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DB: To have an actor like Ashley play such a powerful role in a period drama just feels very exciting and it's something we haven't really seen before. I worked most of the time with Fionn and Shalom – they are irritatingly young and beautiful, and really good! I have had a lovely time, and I sort of forget I’m not the same age as them. Then I look in the mirror and go "oh yes, they have given me a great white wig." It’s amazing working with them, they are brilliant. It is very exciting to see where they will go. Gillian Anderson. "TV blog: Great Expectations: Falling in love with Miss Havisham". BBC . Retrieved 14 August 2012. When we meet Pip he's quite young and he is a very enthusiastic, excited kid in a lot of ways, although also quite unsatisfied. He's unsatisfied with where he is, what he's been born into and has these aspirations for travelling the world, seeing the Empire, going to Cairo to become a gentleman and escaping the situation he's in, which is not a particularly happy one at home. He lives with his sister and her husband – they’re a slightly dysfunctional family. I think he's a character who's possibly going through a lot of grief as well, like the death of other family members years before. As the story goes on, it's just him trying to shake that off and trying to become his own person and make his way in London.
verifyErrors }}{{ message }}{{ /verifyErrors }}{{ More fun. For me, writing becomes a chore when you know what you’re about to do. You think “I’ve got to do this and this in the next three scenes, so here we go.” I prefer to not really know where it’s going. You know it’s going in a certain direction, but you don’t know how you’re going to get there. That’s what makes it fun, the freedom to go in a different direction.We were so excited to meet each other! He was in makeup and I went in and went "hello" and he went "oh!" He got his earbud and I think he put it up his nose, he didn’t know what to do! We had heard so much about each other, from mutual friends, so working with him was so exciting. He is a proper, proper actor. Anne Bancroft (1998) (a version which modernised the story to the twentieth century and changed the names of several characters) Working with Olivia Colman was incredible. We had a couple of big scenes and she just made it effortless, very easy, very seamless. We had a laugh, and it was huge honour; it's a huge honour to be on this set with everybody. You feel incredibly blessed. Olivia is a national treasure. I have to point a gun at her at one point and I was very nervous about that, and I have to push around a little, and she's a national treasure, so if you harm Olivia you might as well ask Jeff Bezos for a trip to the moon, as there's no place here to hide. How do you balance staying true to the source material whilst also making it feel timely and modern?
Olivia Colman (2023) (in this version the character is given the name "Amelia" and is referenced as such) [15] I think the casting is inspired. I was excited when I heard Ashley was going to be playing Jaggers – he’s mastered language as a rapper and is an incredible actor. As an actor you'd be lying if you didn't say that you're always intrigued as to who’s going to be the other cast members! I’m a massive fan of Olivia. It just works. When they said Olivia was going to play Miss Havisham I was like: they’ve nailed that. Sometimes adaptations can be a bit dusty and old, but I think Steven's was unashamedly modern. While Miss Havisham's original goal was to prevent Estella from suffering as she had at the hands of a man, it changed as Estella grew older: KC: Steve’s version of Miss Havisham is not a gothic masterpiece stuffed away in a dusty room. She is very human and very flawed. Olivia’s performance captures all this, she’s cruel, funny, witty, vulnerable. It’s a brilliant performance, of course. Tell us about Ashley Thomas as Jaggers. Was the role of Jaggers always expanded when you were scripting the adaptation?It’s humbling, there's no doubt about it. I'm from the Elephant and Castle, that's where I grew up and where I live now, and it's where this is all set. There was a great line in one of the earlier drafts, where Jaggers sends Pip off to South London and says, "Take this letter to the Walworth Road." Pip says, "What if anyone stops me?" And he says, "Don't talk to anyone within two miles of the Elephant and Castle, they're not to be trusted," and I just laughed. That's where I'm from, I live on the Walworth Road. I really wanted to tell, for what it's worth, my interpretation of who Magwitch is. Steven Knight is amazing. I was such a huge fan of his. As soon as I saw this audition fall into my inbox I was like, oh my gosh, I couldn't breathe. He's incredible. The adaptation is so different and exciting. There are so many characters that I feel are different from the book. One of my favourite characters in our version is Jaggers, who I think is almost unrecognisable from the novel. He's got an incredible imagination and it's going to be really good fun to watch. While Estella was still a child, Miss Havisham began casting about for boys who could be a testing ground for Estella's education in breaking the hearts of men as vicarious revenge for Miss Havisham's pain. Pip, the narrator, is the eventual victim; and Miss Havisham readily dresses Estella in jewels to enhance her beauty and to exemplify all the more the vast social gulf between her and Pip. When, as a young adult, Estella leaves for France to receive education, Miss Havisham eagerly asks him, "Do you feel you have lost her?" The dynamic between Pip and Jaggers is like an abusive relationship. Pip does everything Jaggers says and commits all kinds of terrible acts for and with Jaggers because he thinks that this is what he should do to become a gentleman. But, as it goes on, he starts to draw out the humanity in Jaggers and see that he's not as clear cut as he first appears. He's not just evil and, actually, some of the things he does he does for reasons that he tries not to let onto anyone, and I think that Pip breaks through some of that. With Magwitch, Pip doesn't really have very much to do with him. He's a very influential figure in his early life and I think that really affects him. That initial interaction really affects him throughout his life. I think it shakes him up because it's the first time he's experienced anyone who is completely out of his world, who is nothing to do with his village or where he's from. I like any of the scenes with Miss Havisham, Estella and Pip when he’s being educated. I think they’re just great.
It was amazing. The relationship between Estella and Miss Havisham is incredibly toxic and dark, especially the way that Steven has adapted it. I was really excited and nervous when I found out Olivia Colman was essentially going to be playing my mum. They're such heavy scenes so it's really fun when we're on set and straight after we yell "cut" we're just laughing and making light of the situation, so that's been lovely. She's such a dream, I literally pinch myself thinking about it. I can't believe I'm working with her. Miss Havisham repents late in the novel when Estella leaves to marry Pip's rival, Bentley Drummle; and she realises that she has caused Pip's heart to be broken in the same manner as her own; rather than achieving any kind of personal revenge, she has only caused more pain. Miss Havisham begs Pip for forgiveness. Ronald Frame's 2013 novel, Havisham, is a non-canonical story about Miss Havisham's early life. The story tells how Miss Havisham (given the name of Catherine) is the daughter of a brewer. The story tells of more than just the infamous trauma of being left behind by her fiancé and goes on with her taking charge of her family's business before descending into vengeful madness, adopting Estella, and arranging the meeting of Estella and Pip. Verity Hawkes and her costume department are basically my way in to Miss Havisham. The first time I tried on Verity's costume, she said "I don’t want it dusty and old, I want it rotten. I think Miss Havisham is darker than that, she is rotten on the inside." It was so great, and the dress is sort of rotting. You know when you see a lemon left in the fruit bowl, and it has gone those beautiful shades of green. The decay is growing up the dress, it’s amazing. KC: Obviously Ridley is an icon of cinema so having his input and his lens on things is always really invaluable.DB: It was great to have Ridley read the scripts and get his thoughts, as well as being across the casting and director selection. It’s a privilege to have both Ridley and Tom as part of our creative team. BBC One – Great Expectations – Miss Havisham". Bbc.co.uk. 1 January 1970 . Retrieved 14 August 2012. Can you tell us about the relationship between Pip and Miss Havisham and what it's been like working with Olivia Colman?
Mazur, Matt (5 January 2011). "The Devil is a Woman: Sunset Boulevard, Norma Desmond, and Actress Noir". International Cinephile Society . Retrieved 30 June 2018. We first see Compeyson in Pip's life on the marshes. He's just escaped the hulk, and he and Pip stumble across each other--there's some distance between them--and Pip knows that there's something wrong with this person, something quite insidious and malevolent, and decides not to approach him, but Compeyson, being the charmer that he is, thinks he can talk anybody round, thinks he can get close enough to silence him, because Magwitch is on the marshes looking for Compeyson, and he doesn't want anything to thwart his escape. So the it's quite a horrible introduction for Pip to Compeyson.Many journalists have drawn connections between the jilted Miss Havisham and subsequent jilted brides (life imitates art), such as the widely-reported case of Alice Pinard-Dôges, who committed suicide in 1894. [8] Alternative and derived versions [ edit ] KC: It really taps into themes that are there in Steve's writing in his other works. He looks at things like class and social mobility and, in this version, the time that it's set, the way that empire and commerce has affected and shaped London, for example, are all things that very much interest Steve.
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