Therefore, I pronounce him: a slightly thorny character, but mostly good fun.
Nobel Sonopens in select theaters December 5.
ALANRICKMAN: Warm enough?
CL
RICKMAN: This is ridiculous.
Its been noisy, too.
RICKMAN: Noisy and cold.
They [Randall Miller and Jody Savin] were telling us the story of how you first met.
RICKMAN: I dunno.
And who knew that was going to happen when I didSweeney Todd, so I like collaborations.
It at least involves a measure of trust, which is a good thing.
Is there a shorthand you have with the director now?
Whether its somebody like Randy or Tim?
You kind of know how they work?
RICKMAN: No because I think theyll change and so will you.
It just means theres a sort of atmosphere of possibility and play and lets try this.
I feel quite free with them.
RICKMAN: To be perfectly honest, my head doesnt know whats different.
Thats what Bill said.
RICKMAN: I have no clue.
Youre just working and youre trying to do the work.
RICKMAN: Money is everything.
In my experience, anyway.
Is it nice returning to work with the same group of people?
Its like a repertory company in a sense.
RICKMAN: Yeah, it was.
Again, its about trust and respect as much as anything.
Theyre part of American film royalty.
What was fun about playing a character thats as pompous and egotistical as Eli?
(giggles)
RICKMAN: Whats your problem with him?
(laughs) No, it was fun because theres no area of judgment to be made.
He makes no judgments on himself; everything is possible as long as it suits him.
Big old playground to jump into.
When you got this script, you didnt know them or anything.
Apparently a lot of people turned it down here before they gave it to you inLondon.
Was it the script that you thought was so lovely, written?
Or was it the role?
Its got a bit of this, and a bit of that.
And so I like that very much.
You do seem to pick a lot of these snobby, sleazy roles.
RICKMAN: Name them.
What is it you find so enjoyable about them?
RICKMAN: Name them.
No, I actually dont play a lot of them, as it happens.
Its just some of the ones that get more publicity.
But the majority of the work that Ive done is perfectly ordinary people.
Do you want me to list them?
For Snape or the Sheriff ofNottingham.
Well, ultimately obviously not.
RICKMAN: I didnt say anything.
But you dont know that until the last book.
RICKMAN: So your point is?
(giggles)
Im just backing her up.
Look, I dont judge characters anyway for anything.
I just get on and play them.
And its just that some of them get a lot of publicity.
The one thing they all have in common though is theyre all complex characters.
RICKMAN: I hope so.
I hope they live through three dimensions.
I like it when stories are left open.
Thats what I like about Jo Rowling as a storyteller, its full of possibilities.
RICKMAN: Not really.
And also new writing excites me.
Thats very much the area I operate in in the theater back inEngland.
Its always great to read something absolutely new.
What was that and where was it?
RICKMAN: Its a play calledCreditorsand I did it at the Donmar Warehouse.
I think that it probably will come toNew Yorknext year.
What are you playing inAlice in Wonderland?
RICKMAN: The caterpillar.
How do you get into something like that?
RICKMAN: Well, fortunately its animated.
RICKMAN: But its my face on an animated caterpillar.
So, its a mixture.
RICKMAN: So Ill be with a live actionAlice.
I will be a construct.
Who is theAlicethat youre playing opposite?
RICKMAN: Mia [Wasikowska] is her name.
I dont know what I know her surname.
I met her yesterday because theyre shooting right here.
Shes a young 19-year-old, apparently absolutely brilliant and certainly delightful person.
Or does that mean anything to you?
RICKMAN: I meansI didnt know that actually.
No, absolutely, totally.
I mean, Im staying I apartment inHollywoodat the moment and it was built in the 1930s.
To touch oldHollywoodlike that is a thrill.
RICKMAN: I dont know.
And so they think that theyre protecting you maybe, and actually theyre not.
But I really dont know.
And people have different agendas.
The kind of movies that are made are different, you know?
Now youre going to work with them again next summer?
Or is that not a definite thing?
Theyre doing two films inNew Zealandand they said they want you for both of them.
RICKMAN: Yeah well, read em first and them am I free?
No, Im due to direct a movie myself this year, hopefully.
Will that be shot inEnglandor here?
RICKMAN: Itll be shot… actually, it wont be here.
But in the world that we live in now,Parismay suddenly becomeHungaryorCzechoslovakiaorLithuania.
As long as the architecture matches, its fine.
Is there a lot of filming inLithuania?
RICKMAN: There is at the moment.
I think any country that comes up with tax breaks.
Its like Brian was just saying aboutNew York.
Everythings moved toNew Yorkbecause there are huge tax breaks for filming there.
Would you be in the film as well or just direct it?
Would you ever direct yourself?
Do you one particular scene from this movie that was your favorite to work on?
RICKMAN: I related to going to the gift basket and looking for the chocolate.
I think that was born out of personal experience.
I mean, I brought that to the movie.
RICKMAN: I dont know that there was, really.
Quite tight, their writing.
Sometimes here and there youll change a word.
I dont need to tell you that, but from an acting point of view.
Are you somebody on the stage who changes the performance every performance that you do?
Or are you very locked into your performance?
RICKMAN: I think it depends on what the director wants.
And having so much fun doing it.
RICKMAN: I was.
Is the film that youre going to be directing, is that a contemporary drama?
Is it set inBritain?America?
RICKMAN: Set inEnglandandFrance.
Do you have a cast in mind yet?
RICKMAN: I do.
And I cant possibly comment.
But its calledThe House in Paris.
And its a beautiful novel by Elizabeth Bowen and Hilary Shor is producing it.
And watch that space.
