Over the past four years, you’ve been part of 11 films, and your work rate is incredible. Within these films, you’ve been part of The Super Mario Bros. Movie, Lion King and now Wonka! Are you ever nervous about attaching yourself to giant franchises with already dedicated fans?
No, I don’t have any apprehensions about that. I think that a lot of it is about picking a project that you want to work on, and I think in all of these cases that you’ve just mentioned it was based on the talent that you’re going to work with. Then you might like a particular production designer or somebody who’s doing the wardrobe or the cinematographer. So it’s always about the work. It just happens to be that there are these big franchises attached to that.
What was it about Wonka that compelled you to join the project?|
Paul King. I’ve been such an admirer of his work and I really wanted to do something with him. Since our first meeting, even before our first meeting, I wanted to work with him from way back to The Mighty Boosh. He always has his hands on things that are really special. The Paddington movies are special. I thought “God, if I have an option to work with Paul King, then I’m gonna take it” I’m also a fan of Timothée Chalamet and to see Timothée in this, it’s a big departure from the kind of work that he usually does. I wanted to be part of that too.
I like that you mentioned Paddington, as people were always going to compare the two films. Did you think it was something you had to live up to?
I think people will think, and I thought when I first heard about the project and was lucky enough to be asked to be part of it, that this is the perfect thing in Paul’s oeuvre. It wouldn’t be that there was a comparison to Paddington but it would be that this is perfect for him. It’s got that heartfelt feeling, that uplifting feeling, and that’s Paul’s wheelhouse.
