Director Harry Bradbeer (FLEABAG, KILLING EVE, RAMY) joins host Jenny Curtis to talk about his career, process, and new film ENOLA HOLMES. Through the conversation they discuss:
0:50 - The nature of the pandemic
1:19 - Harry’s parents
1:45 - Finding the arts and connecting to entertainment
3:47 - His first short film
4:44 - Going to America for film school
6:31 - Writing to John Schlesinger, his love of MIDNIGHT COWBOY, his connection to John, and his experience of meeting and working with him.
9:41 - What he said in the letter to John and John’s unique way of introducing Harry to people.
11:29 - Getting involved with Phoebe Waller-Bridge, identifying with FLEABAG, and working as a team to shape the story.
15:05 - The style of the balance and collaboration between Harry and Phoebe.
17:53 - Developing the tool of breaking the fourth wall and how the second series took it further.
20:11 - How they found the inspiration for the story of the second series.
21:09 - Why it isn’t hard to let go of the show now that it has ended.
24:00 - When FLEABAG may reappear.
24:19 - Why he says series instead of season.
24:31 - How he came on board for KILLING EVE and how he connected to the script.
27:33 - How directing a pilot is a bigger responsibility than directing subsequent episodes in a show.
28:29 - Getting into the world of RAMY.
30:24 - Being drawn in by the ENOLA HOLMES script
31:40 - The challenges of fight sequences and how they found a way to keep telling the story through the fights in ENOLA HOLMES.
33:18 - Breaking of the fourth wall in ENOLA HOLMES and what originally made Harry nervous about it.
35:20 - Enola’s line of “our future is up to us” and the other powerful messages for audiences.
36:12 - Working in period pieces.
37:44 - Working with Millie Bobby Brown and developing the role of Enola.
40:16 - The challenges Millie faced in leading the cast, but how she stepped up to the challenge.
41:11 - Discussing the transitional “pop-up” animations.
43:26 - A specific scene that Harry loved shooting and building the world of London.
46:32 - A scene that got cut from the film and why keeping a tight cut is important.
47:30 - Having a life in storytelling.
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Produced and Hosted by: Jenny Curtis
Co-Produced and Edited by: J Whiting
Executive Producer: Stuart Halperin
Theme Music By: Celleste and Eric Dick
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