Chairwoman.

Hello, ladies and gentlemen. Welcome to the press conference for the movie, Snow Cake; the opening movie for this film fest, Berlinale. I am going to introduce our guests to you and I’m starting from your left. This is the writer of the story, the scriptwriter, Angela Pell. Welcome to Berlin. Next to her we have one of the producers of the movie, Mr. Niv Fichman. Welcome to Berlin. And next to him this is Andrew Eaton, one of the producers. Welcome. And another producer sitting next to him, this is Gina Carter, welcome. And this is Emily Hampshire, who played Vivienne, welcome. And this is the fantastic Mr. Alan Rickman. And please welcome Sigourney Weaver. And next to me is the director of the movie, Mr. Marc Evans. Welcome to Berlin.
So, I think you must have questions. There’s one. Just wait for the microphone.

Journalist.

Ms. Weaver, can you tell us how you prepared for the role? And I’m also curious as to whether you think this is a movie about autism, or if it’s just a movie with an autistic woman in it?

Sigourney.

Well, I’ll answer the second question first if I may. I think one of the reasons that I wanted to do the movie was not about autism, it was about a woman, a very unique woman who also happened to have autism. I think that’s what I felt most appealing about it. As for the preparation it was err … it took me a long time even to understand how to prepare for this part because everyone with autism is so unique and to find someone like Linda took me a long time. I have to say it was one of the most fascinating years I ever spent researching this part and I learnt so much. I met so many wonderful people, and then it was very satisfying to get to use it in the part. I had a lot of help, a lot of help, and I’m very grateful to everyone who helped me try to do this accurately.

Chairwoman.

Thank you. Another question – over there.

Another journalist.

[{I’ve omitted the Welsh he spoke here. :D}]

The question goes to Sigourney Weaver. You used one phrase in the film and refer to the phrase, “You typical people”. After your research into the film and into autism are you any closer to working out what or who is typical?

Sigourney.

Is that a question to me? Well, I will answer in Welsh. [Laughs] I wish I could.

Alan.

Say … Diolch yn fawr.

Sigourney.

What does that mean? Long live Wales?

Alan.

Thank you.

Sigourney.

Oh. [Laughs]. I guess, yes and no, you know. What I perceived is there are problems that are shared by a lot of people on the spectrum. They have those in common. But as for every person that I met on the spectrum, they are completely unique, and I would not want to be in the business of generalising about this particular condition.

Chairwoman.

And another question over there.

Another journalist.

I want to thank you for an extraordinarily moving film. I’d like to know how did you prepare … how did you come across this part?

Sigourney.

How did I come across this part?

Journalist.

Yeah. How did each of you find this movie?

Sigourney.

[Grabs onto Alan]

I found it through him and … [points to Alan] I don’t know how you found it?

Alan.

It came to me from Gina and Andrew, the producers, and Marc, and I went to meet them and on some level Angela had said that she had written it with me in mind. [Makes a face] So [laughs] it wasn’t difficult. You just read it and say yes, immediately. Then the difficulty started! [Laughs]

Chairwoman.

Okay, another question over there.

Journalist.

Hello everybody. Two questions, first one to the director; second one to the script author, Mrs Pell.

I loved the film very much myself. Also thank you very much. Great opening movie especially compared to last year. [Laughs]

The question is about the use of music in this movie. There’s this wonderful chord that you have struck, first scene where Alan Rickman sits in the plane, we hear this music and .. well … this is how I read it. All the time when this music appears, something magical is happening especially with the character of Linda. Could you comment a little bit about how this music actually worked for you? And the second question Angela can answer after that.

Marc Evans.

Well, I love music and so every time I think about the film I think at some point what the music might be, and we just discovered … we didn’t discover … we found an already discovered band called Broken Social Scene. A Canadian band, who work very much as a creative, a co-operative, together bringing instruments and riffing with musical ideas. And how we made the music - we put them in the studio with the film for nine days, and they sort of became characters in the film, I think, for the period they were making the music. And they produced this feeling of otherness. I think what none of us wanted to do really was to make a film that was a socialist realist piece or social issue film; and before starting the film, Angela Pell, the writer, wrote me a little note saying, ‘You know living with an autistic person can give you moments of hell but they can also give you glimpses of heaven’. And we wanted something heavenly and ethereal and other in the music. And I’m so glad you liked it cos I think it’s just delightful.

[Alan says something about Emily, can’t hear what.]
Marc. Oh, I have to also thank Emily, of course, cos when I got to Canada, Emily Hampshire, who plays Vivienne, made me a CD of Canadian music. I also made her a CD of Welsh music and that is why The Super Furry Animals are in the film also. There was one track on it which was the track which ultimately is the dance between Linda and her memory of Vivienne. And it sort of became the - Anthem For A Seventeen Year Old Girl I believe is the original title – and that sort of became a touchstone for the film because it had this beautiful, childish and yet profound magical quality to it. So yes, I have Emily to thank for that as well.

Gina.

Also Emily gave Marc the tape and we used this song by [?] and the singer was actually called Emily as well.

Emily.

That’s why I liked it.

Journalist.

My second question goes to Mrs Pell. I don’t know if this is true, I heard somewhere that you actually have an autistic son?

Angela Pell.

That is true.

Journalist.

Could you comment on how much that influenced the great writing that you did with this movie? Cos the lines are incredible.

Angela.

I think living with my son, Johnny. The whole film sort of came from that really. So all my experiences, bouncing on the trampoline, eating snow, that’s all down to my son really, so yeah. I wanted to write a film that showed that sometimes living with an autistic person can be a pain in the bum, but actually most of the time it’s really good fun and very enlightening. I think that answers the question.

Chairwoman.

Okay, another question on the right.

Another journalist.

Hello, welcome to Berlin. I have three questions. One’s to Mr. Foster? What inspired you about the script? One for Mr Alan Rick[], how did you enjoy playing your role which is a kind of sad role? And one for the character Vivienne. It was a great short role you played. How was it playing beside big stars like Sigourney Weaver and Mr. Rickman?

Marc Evans.

Am I Mr. Foster? [laughs]. I am now. It was just actually I really erm thank the producers a lot cos the films I’ve done before are really grim and dark and horrific. And this was a film that was so … a script that was so lovely and redemptive and above all else had real human beings in it. I think it’s fair to say that the real source of everything that happened, through directing and acting and everything was that script. It was very inspirational to read and I was surprised and glad that they let me have a go at it. It was something I just wanted to do as soon as I read it.

Alan.

Well, I don’t think that he is that sad really. He actually finds himself by the end of the story and there’s kind of a huge release at whatever you want to call his personality. It’s very reactive, you know, and a lot of that is down to the great gift of working with Emily and Sigourney. Sigourney did the most enormous amount of work which was like a huge present to me because it was so true and truthful. So there was always this reference point. You knew you were reacting to something unbelievably accurate. So in a way I think acting has never been so easy for me, [laughs] and I could just be, you know. I find acting really rather difficult. And Emily is in a way the heart of the film for us both because it’s coming to terms with the sudden loss to him and shocking loss of this young girl and trying to find out what loss it is to this woman he has a relationship with. Everything about it was just new to me and that’s a thrill.

Emily Hampshire.

Acting with Alan and Sigourney was an actor’s dream. And more than that they were just really nice to me which they didn’t have to be. [Laughs] I mostly worked with Alan but me and Sigourney danced together which was really good. [Laughs]

Marc.

I have to say that the moment of Sigourney and Emily dancing together was quite late in the shoot and it was like this presence in Sigourney’s character’s life that they never were in the same scenes together. And it was quite an emotional process shooting that dance because the looks between them spoke volumes, I thought.

Chairwoman.

I have another question for Mr. Evans. I think you found a lot of comical aspects in a situation that is supposed to be a sad story, so, how did you keep this balance between comedy and sadness?

Marc.

I had these actors basically. [Laughs] I think it was in the script and about the actors playing it truthfully, I think, because hers is an absurd world and he finds himself in an absurd situation. So that was their gift to me.

Chairwoman.

Another question. Someone over there? Okay.

Another journalist.

I would like to ask a question to Mr [Rickman]. I would like to know, you are so accustomed to stealing films from others, how do you feel having Sigourney Weaver steal the film from you?

Alan.

[Pause and laughs]

I’d like to think that acting isn’t a competition. I’d like to think that we’re all in it together. So, I don’t really understand your question. [Laughs] From somewhere deep in my gut I don’t understand your question.

Chairwoman.

Any more questions? Over there on the left.

Journalist.

Mrs Weaver I would like to know in which way has your roles changed now?

Sigourney.

You know I think it’s hard for actors to find roles as wonderful as Snow Cake, so it raises the bar. Also the experience of working together in such a tight ensemble and such an intimate experience. It’s something I enjoyed very much. But I think I can only speak for myself, you know; with acting you have to set sail and go and see what comes. You can’t kind of have extraordinarily high standards or whatever. You just have to follow your gut, as Marc was talking about earlier, and look for something that moves you and that you would want to see and as a story that you would want to tell. And so that’s continuous throughout a career and if you’re lucky enough to pick and choose what you can do.

Chairwoman.

Thank you. Another question on the right.

Another journalist.

I would like to ask Ms Pell, why did you choose the snow as the main motive, as the main symbol of the film? Is it only connected to Alex’s character that he finally sees the sun at the end, or does it have deeper connotations?

Angela.

I think the only reason I chose it is because my son keeps eating it and I quite liked eating it when I tried it so that was like my main theme. When we first started working we talked about having a thaw at the end so it became more so when we started working on it. But originally it was just there purely because my son does it.

Chairwoman.

A question from the first row?

Journalist.

Ms Weaver it is nice that you talk about autism as a condition and not as a mental ... I like your movie very much but what was the most impressive experience you had … err if I understand, you were in contact with autistic people? I think your movie in a way is for society to understand that mental patients are not always … they not always for them have to be in psychiatric institutions. Many of them are able to have a family life if there is someone by them who can take care of them. What was the most impressive experience you had when you were in contact with them – supposed to be people who do not have contact with reality? What was the most impressive experience for you?

Sigourney.

Well, I think the world concentrates on seeing people in terms of assets and deficits and people think of autism as being a definite deficit for people. Having been with or worked with people on the spectrum for many months I think we have to begin to see it as a gift. We may not understand what it’s there for but if you’re in the presence of someone with autism, you know, you learn so much. You learn how to play and see things. You learn how to experience things. And you also learn how jarring the world is. I think it’s hard for me to say [just] one thing but I certainly think I really experienced how to learn to enjoy very simple things. I loved the time I got to spend with them and I consider the people I got to spend with, friends. So I know there was a bond. It’s fascinating. There are so many, to me, misconceptions – that is one of the things I discovered.

Chairwoman.

Another question on the left.

Journalist.

My questions are for Marc and Angela. What is the role of Maggie’s character when it doesn’t have much to do with the story? Is it just to make the story less traumatic or tragic?
Angela. I didn’t hear the question, sorry.
Journalist. In the story Maggie seems to be a second parallel story going on which doesn’t have anything to do with the main story.

Angela.

I think when I first started writing it I imagined a triangle with Alan stuck in the middle of two very strong women. And Linda and Maggie are two very strong women. She is part of the story, she has her own issues. And it all adds to Alan’s journey really.

Chairwoman.

Are there anymore questions? I have a question for Mr Eaton, one of the producers. Can you tell us a little about how you got the script, what you thought of it when you saw it, and did you see it and read it and love it or …?

Andrew Eaton.

I knew Angela’s husband, Henry, who is also a writer and producer. Angela sent me the script. And if you know someone who sends you their work it always makes you very nervous if you don’t like it and you have to tell them you don’t like it. But I thought it was one of the best first draft scripts I’d read in my life. I called her immediately and said I thought it would make a wonderful film. There’s a great story when Alan first met Marc and Gina, where he said a lovely thing. He said if this was a house I’d tell you to take it off the market. So that was a nice way of him allying himself to the project.

Chairwoman.

Thank you. Another question for Mrs Pell. I wanted to know what happened after the movie ended. Can you tell us something about it?

Angela.

No! [Laughs] I didn’t want it to be tied up nicely so … you know, whatever. I don’t know what happened to them afterwards.

Chairwoman.

I wanted to know if he comes back or not.
Any more questions? There’s another one on the right.

Journalist.

Hi, it’s me again. This is a question for Mr Rickman. Ten minutes ago you said you find acting rather difficult. Let me explain where I’m coming from with this. Harrison Ford once said, “you know I go there, I learn the lines, I stand in position. That’s it. You know it is actually very easy.” So, one could think - people are very mean - one could think, is Alan Rickman forcing himself to act? What do you mean when you say it’s difficult? Do you consider it a worthy and interesting challenge and do you want it to be that way? Could you say something about that?

Alan.

No, but if anyone in the room could help me I’d be grateful. [Laughs]

Sigourney.

I have to say I have to commend Alan. I think one of the things we talked about was that he was going to have to work with the character of Linda. Someone who never looks at him, or never looks in his eyes, and I have to thank him publicly and privately for being so generous to me because he really allowed me to get out there as Linda. And I can’t think of any other actor who would be so generous to let me do this accurately and never say anything like, “I need a little of …” . You know, I mean he just totally respected what I was trying to do and he was always there for me and we tried very much to be always there for each other and it was very difficult sometimes because the scenes are complex and they go all over the place. It was really an amazing ensemble experience for us to have that trust. I mean I felt like we were trapeze artists and every time I was in the air he caught me and I’m so grateful.

Alan.

It was a luxury, and I suppose to answer your question a bit I guess as you get older you realise that the job is to make some sort of honest connection to your work and who you are as a person and try to understand this accident of being an actor that turns into a choice somewhere along the line, and it’s very humbling to … well; and also it makes a lot of sense. And I notice myself arranging pencils in a line on my desk. [Laughs] And so you realise that the spectrum of autism is something that everybody in this room is on one way or another. So you know, you could apply that to all sorts of areas of human activity and it was very humbling in that sense. You really knew that you had to make a gift of yourself to the film not just your technical skills. I’m not sure what … maybe Emily from a different perspective would like to add something to that as she’s coming from the other end of the … age spectrum. [Laughs]

Emily.

I have nothing to add. [Laughs]

Alan.

There you go you see. She has nothing to add and I talk too much. [Laughs]

Chairwoman.

There’s another question over here. One of you?

Journalist.

I’ve got a question for Mrs Weaver. Do you think you are selecting other roles now than you did twenty, thirty years ago? Do you tend to choose within the same range or is it very different? Also I think that you are maybe the actress who is best at portraying really strong women. Either it’s Alien, or Gorillas in the Mist. Is this something you want to continue or are you looking for other things now?

Sigourney.

The question presumes, I think, a lot of control over where one’s career goes, which I think is an illusion. I think you’re offered certain kinds of things in your career when you’re younger and I actually always felt happy not to get too many girlfriend roles but I also wanted to do more love stories. I think you deal with the hand you are dealt. I have enjoyed life after Alien; I’ve gotten to do so many different things. I’ve been so fortunate with the choices that I’ve been able to make. You know, I don’t try to play weak women, I just try to play women and I think women are strong and they hold the world together and so I haven’t changed the way I approach my work. It just happens now that I’m doing less archetypal characters perhaps.

Chairwoman.

Thank you. Any more questions?

Journalist.

Hello. A question to Mr Rickman and Ms Weaver. Have you already made some sightseeing in Berlin? Is there something you want to see?

Sigourney.

I just got here. I would love to do some sightseeing in Berlin.

Alan.

I … we just got here this morning. I hope we’re given time. Berlin’s changing so fast. There are things which weren’t open last time I was here. I can’t wait to get out there and see, I just hope we don’t spend too long in this kind of situation. Then we can go and be tourists. [Laughs]

Chairwoman.

Okay I have one last question to Mr Evans. Maybe you can tell us something about the shooting of the movie? It took place in Ontario, is that true?

Marc.

It took place in a little Northern town called Wawa, which Niv Fichman introduced us to, which he was familiar with and erm it had a population of about three thousand people and theoretically had a lot of snow. But by the time we got to shoot it the snow had gone so the good people of Wawa helped us dig the snow up from the lake and we put it in Linda’s garden.
Chairwoman. And it stayed there?
Marc. And it stayed there, yeah, more or less.
Chairwoman. It was just not snowing, or what was the reason?
Marc. The Spring had come. In a way I was obsessing about this lack of snow and Alan was generous enough to say to me, “This film isn’t about snow, it’s about people. It’s going to be fine” And I think he was right.
Chairwoman. Yes, I think he was right too. If no one has any more questions I would like to thank you all for your interest, and I would like to thank you all for making this wonderful movie. Thank you.

[Applause]