He found time, however, to sit down with Deadline ahead of the market.
DEADLINE:This is an interesting subject.Can you put a bit more flesh on the storyline?
I wanted it to be modern and I felt it should be implicitly about England.
Ralph Fiennescourtesy of 42mp
But apart from that very essential germ, everything else is very different.
It was just the idea that someone from one place comes into a particular kind of small family community.
But in my screenplay, theres an act of violence which smashes everyones supposedly tranquil or seemingly contented lives.
DEADLINE:After directing three features from other peoples screenplays, what spurred you to write your own screenplay?
OnThe White Crow,written by David Hare, I was there from the get-go which was very exciting.
The galvanising force was the characters who crystallised.
DEADLINE:Had your work as an actor and director prepared you for the task?
I wanted to tell a story about things happening today between people.
Its not about contemporary issues, so much.
How much can they own who they are, say who they are, confront who they are.
FIENNES: Its an ensemble piece so there are plenty of characters the experiences of which Im familiar with.
I challenged myself to write somebody whose experience was not mine.
I researched it and talked to lots of people who would reflect back to me.
The film is not about race, its about individuals.
As an actor, Im playing different people whose experiences I dont know all the time.
It defines my work as an actor.
The fundamental springboard for most literature is the act of imagination.
We have to hold to that.
Of course, people are challenging, You cant write about this or that.
Im afraid I dont accept that.
We have the freedom to imagine.
Our imaginations are free.
This is our freedom and the freedom of our inner lives.
DEADLINE:Can you give any more details about the other characters?
FIENNES:Thats under wraps but the central motor is how can we own who we are.
Some people seem quite integrated but there are things not answered in their lives.
DEADLINE:Youve already set a number of the key cast.
How did you pull that together?
FIENNES:Im working with producer Gail Egan, who Ive worked with many years ago onThe Constant Gardener.
We agreed that we ought to give a shot to cast key characters as soon as possible.
Ive invited people who I feel that are right.
I just have such a high regard for her.
Ive written one of the parts specifically with her in mind.
DEADLINE:When are you hoping to go into production?
FIENNES:This summer.
But its good to get your key actors together so that theres a sense of who each other is.
And that will come from being in a room together.
DEADLINE:Youve set the film in your native Suffolk.Is that an important element of the story?
If themes in the film are like different instruments in an orchestra.
Theres a whole section of this orchestra which is about the land, our land, our England.
Who we are day to day on it.
Who are we on this island?
Weve had this division of Brexit and the politics seem very uncertain.
DEADLINE:Do you have any sort of audience in mind for the film?
Im doing Shakespeare at the moment, and were excited that a wide range of people are coming.
Were not doingMacbethfor a specific group.
