00:05Come senti a scrivere, come senti a scrivere, come senti a me, a brilliantly named script,
00:11called Tim and Time.
00:14And for some reason everybody else wanted to change the title, I don't know why,
00:18but I thought it was a brilliant title that one.
00:22And so there was quite a big hint in the title that there was going to be about,
00:27there was going to be a time travel element.
00:28In fact, when he spoke to us about the idea originally, that was the central premise.
00:34But it was always stated and pitched and discussed as being the smallest time travel film ever made, basically.
00:43And that that was a device to make the emotional point, as it were.
00:53The premise of the movie is that it's really about leading our lives in the best way that we possibly
00:59can and enjoying what's in front of us and that what we've got is a pretty good set of cards
01:04if we look at it in a certain light.
01:07And it's looking at your life in that sort of light.
01:10And so the time travel device is used to make that point, really, which is if you have the ability
01:16to relive moments in your life, because it's only going backwards time travel that one's able to do and it's
01:22only going backwards inside one's own life with a lot of rules attached to that, is that in the course
01:29of time, is if you've led your life properly in the first place, there's no need to use that device.
01:40Fiona Weir, who casts the picture, and I, right from the beginning, were pretty keen on Donal playing the part,
01:47is that because I think he's a brilliant young actor, he's not been exposed hugely.
01:56He does absolutely have the ability to be extremely dramatic and very funny, which is a very unique and unusual
02:03quality in an actor and ability in an actor.
02:07And also, I felt very much that in terms of Richard doing a screenplay that had familiarities about it in
02:15terms of his work and all the rest of it, that it was very important to have an ingredient in
02:19the movie which was completely different and totally set it apart from the previous romantic comedies and particularly the Hugh
02:25Grant romantic comedies.
02:30So with that in mind, as we started to go through the casting process, and Paul Rich, the first time
02:34he met Donal, or the first several times he met Donal, he had very long hair and a big bushy
02:39ginger beard, so he found it very difficult to imagine that this guy could possibly be the young man that
02:45he had in mind for the movie, but he stuck with it.
02:48He saw various other people, luckily Anna Karenina and its reshoots came to an end, so Donal was able to
02:55have a shave and a haircut, and I think that bagged it for him.
03:03The thing about Rachel, there are two things actually, is that in terms of her playing the part, I think
03:12we did really luck out because there were various other people who had the part and then for various reasons
03:17couldn't do it and so on and so forth, so she came in actually quite late in the event.
03:21But as Richard says, he's right, is that we didn't ever imagine that she'd say yes, which is the only
03:26reason we hadn't gone to her in the first place.
03:29But she is absolutely perfect for it, because she has that great girl-next-door quality, she has that beauty,
03:36she has that humour and wit, but she also has that ability as an actress, and some actors have this,
03:43of whoever she's playing against, she makes them look great.
03:47Meg Ryan had it when she was doing all of her big romantic films, because she's just got that sort
03:54of lovely, lovely quality.
04:01What he and I both often say is that successful British films are usually films that are very honest to
04:08themselves and to a specific area, you know, like, or class or culture, so like Billy Elliot, very successful film
04:18about a specific small, you know, microcosm of our society, Full Monty, similarly, and all the rest of it.
04:24And actually, Richard's films are too, because they're very honest to that, you know, people may not like it, may
04:30like it, whatever, whatever, but because they're very honest emotionally about that W11, if you want to call it that,
04:36group of people and emotions and all the rest of it, they're believable.
04:40And you believe that these people exist, and that what they're going through then transcends and speaks to a much
04:47broader audience.
04:53It's totally misrepresentative of England in actual fact, because in the rainiest summer that we've ever had, we seem to
04:58manage to find the three weeks where the sun shone every single day when we were in Cornwall.
05:02So there is this idyllic quality to the movie. I made the mistake of not buying a house there before
05:10we started.
05:11Apparently, that's what David Lean always used to do, is he'd buy a house where he knew he was going
05:15to shoot, because he knew that if the film was a hit, it would double in value.
05:19.
05:20.
05:21covering
05:22.
05:25.
05:26.
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