While The Eye of the Storm is currently playing in cinemas across Britain, we were fortunate enough to speak to the renowned Australian filmmaker behind the adaptation of Frank White’s eponymous Nobel prize winning novel – catching up with Fred Schepisi, to discuss the pressure of taking on such a project, working with Geoffrey Rush, and what it was like directing his very own daughter…
Your previous feature was 8 years ago – was the lengthy break out of choice, or were there just not many intriguing projects coming your way?
I had a number of projects that we raised the money for, only to have it disappear as we were about to go into production. Of course this project was done in 2011. It took a while longer to get going than we all thought it would.
Had you read The Eye of the Storm before getting involved in the film?
I was familiar with Patrick White’s work but not this particular novel. I was aware of course that it was the main reason he won the Nobel prize. The only Australian author to ever do that.
It’s a hugely triumphant novel, did you feel a pressure in bringing it to the big screen knowing there was already an established, expectant fan base out there?
Yes there was a lot of pressure. But I fortunately had good allies in the initiating producer Anthony Waddington, the screen writer Judy Morris and all the actors who were themselves great fans and wanted to ensure that we did the project justice. Plus a few of the Patrick White aficionados put in their two cents worth. In a way the scale of the novel actually helped because a lot of it is about the inner lives and almost every thought of the characters. So it was great research for the actors. Also it was easier to extract the main story than one would have thought.
Your lead trio of actors are all outstanding – you must have been thrilled to have got them all on board?
What a cast. They were extremely collaborative. Just as concerned about the whole as they were about their individual character’s roles. They also happen to be the finest talents around. And not just the three main actors. Every part was played by very famous and highly regarded theatre actors.
Was it a challenge to allow the audience to find sympathy within Elizabeth Hunter despite her vindictive ways?
Showing all these characters with all their flaws and yet being able to draw the audience in to empathise with them as they got to know all the reasons for their behaviour was no mean feat. It was something we all were aware of, right from the writing stage. It was constantly under review in every scene.
Although the overriding theme is that of death, how important was it for you to implement an incandescent wit to this title?
It’s all there in P. White’s novel. Gallows humour. Pithy wit. Incisive humour. We just had to meter it out in the right places.
The character of Basil is a brilliant one, bringing that humour to the title. You’ve been in the industry a long time now – have you ever encountered any ‘Basils’?
I have encountered quite a few ‘Basils’. Even Geoffrey Rush at time was thinking “Oh God I’m almost playing myself.” He is of course not as conceited or shallow as Basil.
Your daughter Alexandra is also in the film, what was it like directing your very own offspring?
We were very nervous at first but it soon became a professional thing on both our parts the same as for everybody else. Can’t be any other way. You may notice however, how nervous Geoffrey Rush was in the ‘sex’ scene. Which was perfect for the content of that scene.
Finally, your next film is Words and Pictures – how is that coming along?
One day ago I just finished shooting Words And Pictures – an original screenplay by Jerry Di Pego, starring Juliette Binoche and Clive Owen. A great romantic dramedy. We are all very pleased with it.
