Tim Bevan

There's good sort of... uh sort of relationship between the two but also uh in the scenes that they're not together they're they're particularly good daisy edgar jones is is terrific in this and you can sort of read so much uh that's going on uh in with her uh and and her character and so i was like okay if both of these actors who i've not normally very fond of have pulled out really good performances that probably comes down to the director doesn't it george oakley it's only her second feature film The screenplay is by Diana Reid, and this is only her first produced screenplay.

So there's not a huge sort of track record to work on, although it's produced by working title films out of the UK, Tim Bevan and Eric Felner.

Their track record is absolutely outstanding.

Yeah, incredible.

[upbeat music] Hello, and welcome to the Sense and Sensibility podcast.

I'm Tim Bevan.

And this time we're talking about how we built our visual world.

Our director, Georgia Oakley, is back, this time with her production designer, Francesca Di Mottola, and our cinematographer, Arnaud Potier, on locations, set design, and the look and feel of the movie.

Hello and welcome to the Sense and Sensibility podcast.

I'm Tim Bevan and today we're going to tell you about the part of the filmmaking that no one talks about.

The slightly less glamorous process of turning script into a shoot.

We're joined by our first AD, Donald Bentley, and my fellow producers, Joe Wallet and India Flint, on how we got our film up and running.

[theme music] Welcome back to Sense and Sensibility podcast.

I'm Tim Bevan.

India and I are joined by two members of our brilliant cast, Daisy Edgar-Jones, who played Elinor, our lead, and George Mackay, who played Edward opposite her.

[classical music] Hi, I'm Daisy Edgar-Jones and I play Elinor Dashwood.

Hi, I'm India Flint.

I'm one of the producers.

And I'm Tim Bevan, and I am one of the producers.

So the idea of these conversations is to sort of try and demystify a little bit and probably d- and go to spaces that you wouldn't necessarily do in an EPK-

At the time of the creation of the first series, Edgar Wright was 24, Jessica Stevenson was 26, and Simon Pegg was 27.

They were each living in a reality similar to the characters of Tim, Daisy, and Mike.

It was all about living in squats, taking drugs, trying to find work, being out of work, and then trying to convince a landlady to rent you a room.

It was about being a Gen X 20-something in London in the '90s and the huge gulf between the ambition of what you want to do and the reality of doing it and the procrastination and the laziness and the idea of having big ideas, but not having the drive to make them happen.

They met when they both worked as waiters at Chiquito's, a Tex-Mex chain of restaurants.

The character of Mike was originally older and an expert assassin.

Nick Frost had zero acting experience, but he had great chemistry with Simon Pegg and as they were best friends in real life, it made sense to cast him as Tim's best friend, Mike.

Now, Spaced developed a feverish cult following, and then it suddenly ended, and fans held their breath for what would happen next.

I really did choke on my cappuccino several times.

And I have to give a particular nod to Working Title Films, the company founded by Tim Bevan and Eric Fellner, without whom the British film industry would be a much poorer place.

They continue to produce first-rate work that appeals to a wide range of international

audiences.