As a film enthusiast with a soft spot for British television, I must say that White Christmas is one of my favorite Black Mirror episodes. Directed by Alex Garland, it’s a testament to his unique storytelling abilities and the exceptional performances delivered by Jon Hamm, Rafe Spall, and the rest of the talented cast.
The week leading up to Christmas on British television was brimming with holiday spirit. Shows like Downton Abbey, Doctor Who, Strictly, and many others were broadcast, creating a joyous and entertaining atmosphere throughout.
however, on one fateful Christmas, a shadow fell over the day, transforming our pristine white Christmas into an ominous black one, causing the carolers to disperse.
Millions moved closer to their television screens, eagerly anticipating the unique, holiday-themed episode of Black Mirror for the very first time.
To mark the 10th anniversary of White Christmas, I had the pleasure of chatting with its director, Carl Tibbetts, about the movie that’s anything but jolly during Christmastime.
Black Mirror, White Christmas
Initially, when Tibbetts, known for his award-winning work on White Bear, was proposed to direct a Black Mirror Christmas special, he found it somewhat unusual. However, he soon warmed up to the idea.
On the chilly evening of December 16, 2014, I watched as “White Christmas,” an installment from Charlie Brooker’s gripping sci-fi series, aired for the last time on Channel 4. Soon after, this thought-provoking show found its new home on Netflix.
The narrative delved into three tales spun by two actors (Jon Hamm and Rafe Spall). These stories revolve around a woman who undergoes digital cloning, an individual who experiences a dreadful turn of events as a pickup artist, and a man consumed by his ex-fiancée after their sudden breakup.
They presented a new installment, a Christmas special, which left me taken aback. Frankly, I wondered, ‘How on earth will Black Mirror fit in with Christmas?’ But upon reflection, it indeed manages to excel in the festive spirit.
Tibbetts expresses: “I found it ridiculous, amusing, and intriguing, which made me eager to tackle it since it was somewhat outlandish. It was an obvious choice for me to proceed with the plan.
A Hamm for Christmas
By the time Season 7 rolled around, Black Mirror wasn’t new to attracting big-name celebrities. However, Jon Hamm was arguably the pioneer, making his appearance in 2014, which helped propel the series onto a global stage.
although he doesn’t escape consequences for his misdeeds entirely.
According to Tibbetts, there was widespread enthusiasm for having Jon play that character. Since Jon was highly sought-after, they simply extended a straightforward offer to him. He was an admirer of our production, and coincidentally, in the same year, he also starred in Toast of London.
Even as Mad Men neared its conclusion, he remained highly regarded. He was an impressive addition to the show and proved to be exceptionally gifted. I must admit, I had some reservations about him – I wasn’t sure what to anticipate from someone of his caliber. However, he turned out to be genuinely charming, friendly, generous, kind, skilled, and dedicated as an actor.
He adds: “His character really didn’t have the hardest part, I guess. He didn’t have to plumb the depths. He plays a slightly shallow grifter, which he is very good at – it’s nothing like Jon but he’s brilliant at that! He has a lightness of touch throughout, and a bit of sinister-ness.”
In this gripping episode, I found myself drawn into the enigmatic character portrayed by Spall as Joe. Initially reserved, Joe’s past gradually unveils a chilling tale of heartbreak and violence. The revelation comes when we learn that, following a tumultuous breakup and being cut off from seeing his ex-fiancée and the child he believes to be his daughter, he resorted to an unthinkable act – the brutal murder of his ex-fiancée’s father.
According to Tibbetts, Rafe’s character needed to shoulder the consequences of his actions and gradually unveil himself in a nuanced manner. This revelation should be done subtly, yet he was expected to maintain a certain restraint throughout the entire storyline.
The technical tidbits
Despite appearing straightforward at first glance, bringing White Christmas to life proved to be quite an intricate task. This was due to budget constraints and a tight production schedule that required swift work from the team.
As a dedicated film enthusiast, I must confess that we found ourselves cutting it close. In fact, we were still in the sound studio the night before the deadline, as this particular episode was a bit longer than usual.
As a cinephile, I found myself immersed in the intricate web of elements that went into crafting this masterpiece. The post-production phase was no small feat; it required meticulous work to seamlessly merge multiple narratives and weave a coherent through-story. This wasn’t just about Jon’s journey, but also his own unique tale needed to emerge from the tapestry as well.
I found the narrative unity and the gradual unveiling of Rafe’s character quite captivating. From the very beginning, his posture, turned away from Jon, added an intriguing layer as he gradually turned towards us, unfolding bit by bit. At the time, there were numerous technical aspects to consider.
One chilling element of the episode sees the cabin that Matt and Joe are staying in (which actually turns out to be a cookie), gradually changing to resemble the cabin where Joe murdered his ex-fiancee’s father.
According to Tibbetts, as Rafe’s character evolved, so did the entire story, and the location they were in, which turned out to be a cookie set, transformed scene by scene. They would interchange parts of the backdrop, and insert different pieces in certain scenes on specific tapes. The development was gradual, with a steady unveiling over time.
In one of the concluding sequences of this unique program, character Joe portrayed by Spall found himself living through time at an accelerated pace – equivalent to 1,000 years per minute – inside a cabin. Meanwhile, Wizzard’s I Wish It Could Be Christmas Everyday filled the airwaves on repeat from the radio (the song that was playing during the fateful incident).
With each forceful impact on the ground, the radio miraculously regenerated, blasting the tune more intensely. This uninterrupted scene was skillfully captured by Tibbetts who commented, “Given its surreal quality, I believed we could pull off filming it without cuts, emulating a style reminiscent of Michel Gondry’s work. We managed to come up with this idea rather hastily.
I made an effort to consistently maintain a perspective in my work, even as it alternated between different points of view. I ensured that each shift was cohesive and seamless for the reader.
Ghosts of White Christmas past
Just as many directors tend not to rewatch their own productions for extended periods, Tibbetts typically avoids viewing ‘White Christmas’ for years. However, a chance encounter led him to discover that the episode remains compelling and relevant in multiple aspects.
Approximately a year back, I believe I caught a glimpse of it, possibly under my wife’s watchful eye. It seemed less intimidating to me than I had remembered initially. However, despite the entertaining aspect of it, there were certain technical aspects during its production that moved at a fast pace and didn’t meet my full approval.
However, what truly captivates is the storyline woven throughout, the kind that spins a tale and a yarn so enthralling, keeping you utterly engrossed from start to finish – the continuous narrative.
This work isn’t flashy or fast-paced with lots of action. Instead, it’s rather slow, somber, and emotionally impactful. I made sure to avoid visual repetition, keep things interesting, and let the camera contribute to the narrative in addition to dialogue.
Initially, I had doubts about how seamlessly it fit together. However, upon closer inspection, it indeed did. I observed it and found myself appreciating it. The continuity, the dialogue, and Charlie’s unique narration serve as a guide, leading us through these grim, dystopian stories.
As a passionate movie enthusiast, I’ve often found myself delving into discussions about the intriguing series, Black Mirror. In particular, the episode White Bear stands out, with its striking resemblance to Tales of the Unexpected and Hammer House of Horror. It had this unique, eerie British feel that made it strangely familiar yet unsettling.
One and done?
Although Black Mirror has achieved remarkable success with just one Christmas special titled “White Christmas,” could there be potential for an additional one?
Tibbetts ponders, “Indeed, they’ve completed one already, haven’t they? To embark on another, there must be a compelling motive. It needs a strong narrative. It requires a solid reason for creating something with a Christmas theme.
It’s quite possible that they might, but it would take an exceptionally strong motivation for them to do so during Christmas once more.
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2024-12-16 12:35