I couldnt tell whether Hawkins purposefully chose those words to chime with where we were stood.
Im not after titillation, though Ill always listen to some of that.
No, I want to know what youre up to professionally.
From left: Guillermo del Toro, Mark Gustafson, Sally Hawkins and Alexandre Desplat attend a live performance of Despla\t’s score for ‘Guillermo del Toro’s Pinocchio’ at Abbey Road StudiosDave Benett/Getty Images
Its easier to pose such a question face-to-face rather than over the telephone.
Im going to put the phone down now, ever so politely, came the ever-so-courteous put-down.
I began to feel very fine.
Sally Hawkins being directed by Craig Roberts on set of ‘Eternal Beauty’
They have such a history of screen work together.
The proposed film carries the working titleWithout Smoke, and its in early stages of development, says Hawkins.
Roberts later confirms the production via his press rep Romilly Bowlby at DDA.
He died before his time, Hawkins explains, and hes not ready to depart.
Its about a spirit trapped in a house and a mother trapped in fear, Hawkins continues.
She always has wanted to write.
Their creativity influenced everything, Hawkins tells me.
The film wont happen for a while.
Hawkins appears in that with Timothee Chalamet, Olivia Colman, Rowan Atkinson and Keegan-Michael Key.
STRIKE UP THE BAND!
Seated directly behind the man on the big drums I was transfixed.
Its a joyous melancholy.
Its sad, butPinocchiois not sad, and we had to find the balance.
Earlier I enjoyed watching him interact with del Toro.
They ribbed each other like a seasoned comedy duo.
Well, Desplat says, life is short.
You cant take yourself too seriously; otherwise you are an asshole.
That sounds so wicked in a French accent.
We are having fun.
We had a good time, we enjoy life and we say, Lets share it with everyone.
Why suddenly be very serious and full of ourselves?
he wonders with a slight Gallic shrug of the shoulders.
He had fun too, he says, scoring for Greta GerwigsBarbiefilm.
DesplatsPinocchioscore has beenrecognized by BAFTA, along with the film and production design.
The composer remains sanguine about such matters.
Another BAFTA would even the score.
NOW, THATS A MOVIE!
I do one more slow stroll, crisscrossing the Abbey Road Studios.
I spy Lawrence Atkinson and quickly avert my eyes.
What I observed cannot be unseen.
The CEO of DDA publicity has had some coiffeur playing around with his hair.
I request a photo for future shenanigans.
OK, lets call it blackmail.
Its pointed out to me that at least he has hair on his bonce.
Kate Winslet portrays her and also is a producer.
The two have been friends since makingEternal Sunshine of the Spotless Mindtwo decades ago.
Kuras was the cinematographer.
Its not a movie, she recalls telling her friend.
A while later, Kuras is shown a fully edited version: Now, thats a movie!
Shortly after that, she and Winslet discuss potential editors.
Kuras tells Winslet she has someone in mind.
The guy who cutLand,Kuras responds.
Go ahead, Winslet says.
By the time he was signed up, Mikkel E.G.
Nielsen hadcollected an Oscarfor his acclaimed work onSound of Metal.
See, you did someone a favor and you found yourself an editor, I tell her.
Nodding sagely, Kuras smiles and says.
Always help out if you could.
I saw a lady being comforted by Donmar staff and helpful bystanders.
She sipped some water, and all seemed well.
I kept thinking about the effortless transition that brought the show to a halt.
Waschkes sympathetic inquiry was admirably done.
But it was Patricia Hodges face that drew my eye.
She didnt do anything.
Her physicality was that of Fanny Farrelly, the upper-class matriarch in Hellmans play.
I always say that your senses follow the heat onstage, and mine were locked on Hodge.
A Watch on the Rhineends its Donmar run on February 4.
Shes sure to be named a Dame sometime soon, methinks, for services to quality.
By the way, remember the name Henry Hunt.
Hes 12 and plays Hodges younger grandson.
He has star quality too.
