More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)
19 October
When George MacKay answered questions at @CamPicturehouse yesterday afternoon, it was after a screening of one of his latest, For Those in Peril (2013) - guarding against the peril of forgetting, here is a posting to record the main points...
* Non-spoilery answers *
NB Here is a link to the review
MacKay worked on three films last summer, which, in order, were How I Live Now, For Those in Peril and Sunshine on Leith.
He said that, as he had most involvement with the director in this film, he had found it a more involving experience, whereas he might have relied more on the cast on other projects.
I asked about the voice that he had used for the voiceover, and how it had been arrived at - it sounded like a complex process, not just of director Paul Wright making it sound more breathy in post-production, but of MacKay working with Wright in a studio, trying being himself, being his character Aaron, etc.
I also asked whether MacKay thought that, given that Aaron sees through Michael Smiley's character (Jane's father), he would have taken in what the people in the town were saying about him, or was too absorbed in trying to get his brother Michael back to pay attention - MacKay thought that it would have affected him, but that he knows what he thinks
Host Jack Toye, Marketing Manager at @CamPicturehouse, asked where MacKay saw himself going in twenty years' time - Toye asked if he would be a Hugh Grant by then, but MacKay said that it was not for him to comment
It was also commented that, despite appearing in this film and Leith with an accent, Mackay is not Scottish - I am not so sure that those who do not sound Scottish do not call themselves Scottish, but am assured that MacKay is from London.
Regarding those fellow citizens' derogatory comments, we were told that they had a script for them, but improvised with Wright, who then processed the results in post-production
As to the arduous nature of the part / story, MacKay said that the support from Wright had made it not difficult, but an enjoyable experience
He had not researched mental health much, and his work with Wright had always been to see where the roots to what was happening to his character lay in events, rather than approaching the film as if it were about mental ill-health as such - the status of the doctor whom he sees was left deliberately imprecise regarding being a psychiatrist
At the end, the irrepressible Rosy Hunt from TAKE ONE presented MacKay with two gingerbread figures, the traditional gesture of welcome in these parts
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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