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Gillian Anderson. "TV blog: Great Expectations: Falling in love with Miss Havisham". BBC . Retrieved 14 August 2012. O'Connor, Mary-Frances; Wellisch, David K.; Stanton, Annette L.; Eisenberger, Naomi I.; Irwin, Michael R.; Lieberman, Matthew D. (15 August 2008). "Craving love? Enduring grief activates brain's reward center". NeuroImage. 42 (2): 969–972. doi: 10.1016/j.neuroimage.2008.04.256. PMC 2553561. PMID 18559294. DB: I've known Brady for several years and it was really exciting to finally get a production away with him. When Brady came to us with his vision for it was just really it felt so personal to him. He’s bought an enormous depth to the story and a personal insight – and he's a really lovely human being.
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 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.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 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.
Until you spoke to [Estella] the other day, and until I saw in you a looking-glass that showed me what I once felt myself, I did not know what I had done. What have I done! What have I done! (Chapter XLIX) Working with Fionn Whitehead has been very interesting. He is a really talented actor and we have been getting along on set. He likes to play his music from his little speaker and I love music as well. We have been really catching a vibe and laughing, making jokes and just enjoying each other’s company. I think that rings through on screen. Even though, at first, the characters are at odds, they come together and get closer and our relationship off screen starts to show on screen. There is a comfortability between us that is shining through.What makes this version different is the casting choices – they have really thought outside of the box. People can see themselves in a piece like this where they may have been excluded previously just because of the nature of the way the world was at the time. London at that time was a melting pot of different cultures. You had people from Asia, Africa, and the Caribbean, even before the Windrush era. I think it is important that these shows show that representation. I don’t think it’s about being woke, it’s just about being accurate to the time. This team have really endeavoured to make that happen. 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 ] 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. How do you balance staying true to the source material whilst also making it feel timely and modern? Well, A Christmas Carol is a short story, so it was more contained. So much is known as part of our culture with A Christmas Carol. You know, Scrooge dances on Christmas morning. You don’t want to be someone who comes along and says “right, I’m going to vandalise what you think of A Christmas Carol, I’m going to make it totally different and turn it all on its head.” I don’t think you should do that. So with Great Expectations, the scene with Magwitch on the heath is what people think of, so I wanted to keep that. I think A Christmas Carol was easier in a sense because there was a more simple map, whereas with Great Expectations there’s more freedom to play with those characters.
It’s obviously incredibly period, like Victorian, but I think Verity and Niamh Morrison, the hair and makeup designer, both had, surprisingly, a lot of fashion runway references. There were Galliano references, Vivienne Westwood references. So, they were trying to go for something that was a bit more editorial and grungy, not quite traditional. I guess I would describe her style as a weird rotting grunge princess. In Chapter VIII, mention is made of her having "a Prayer-Book all confusedly heaped about the looking-glass." 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. 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. Both Sunset Boulevard and What Ever Happened to Baby Jane? were inspired by David Lean's adaptation of Great Expectations, as were, by extension, the characters of Norma Desmond and Baby Jane Hudson, and their homes. [9] In film and television [ edit ]Can you tell us about the relationship between Pip and Miss Havisham and what it's been like working with Olivia Colman? 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. 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?"
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