Downton Abbey’s Maggie Smith and Julian Fellowes on Harry Potter, the Oscars and playing “mean old bags”

As I read through this delightful conversation between two legendary actresses, I found myself deeply moved by their shared history and mutual respect. Maggie Smith, with her wit and unapologetic candor, is a testament to a life spent in the arts, navigating its ups and downs with grace and humor.

Before my encounter with Maggie Smith, both professionally and personally, I had already been a devoted fan of hers. This admiration dates back to when I was around 15 years old in the mid-60s. My mother, feeling that I lacked sophistication, took me on a cultural excursion during a school break. We attended a performance of Arabella at Covent Garden where Joan Carlyle sang, and a ballet production of Sleeping Beauty featuring Margot Fonteyn. To round off the experience, I was treated to Olivier’s famous Othello at the Old Vic.

Despite being prepared for a stellar performance, the instant Desdemona stepped onto the stage, in my eyes, Sir Laurence didn’t have a chance. I’m not particularly fond of the theater, let alone Shakespeare, knowing how stories usually end, but that particular night left me in tears, almost shamefully so, as Mrs. Othello pleaded her innocence and begged for her life. That performance was my introduction to Maggie’s work, and it has stayed with me ever since.

It’s often challenging to pinpoint exactly what makes one actor stand out from another. During a movie night with my father, who isn’t in the industry, he asked me why Anthony Hopkins’ performance seemed superior. “It wasn’t the script,” I explained, “it was his exceptional acting skills.

Maggie possesses an exceptional talent for infusing her work with sharp wit and unexpected depth, even when the material might not warrant it. This trait is particularly appealing in an actor, as it adds a layer of complexity to their performances. What sets her apart further is her distinctive comedic sensibility, rooted in a slightly ironic perspective on reality, which makes her work both amusing and poignant. However, what truly captivates me is her remarkable ability to express profound and moving emotions without a hint of sentimentality.

Typically, actors share the same universal desire as everyone else to be well-regarded. However, an excessive concern with being liked can taint their work, making it ineffective. Maggie, though, remains unaffected by this. She digs deep to find and portray the authentic essence of a character. Whether we admire or criticize her performance is ultimately our choice.

Gosford Park, the period mystery that earned Fellowes an Oscar in 2002, felt like a fairy tale to me for numerous reasons, one of them being that five actors I had envisioned in these roles while writing it ended up playing those very parts. Among them was Maggie, who embodied Lady Trentham, a character inspired by my senior great-aunt. Remarkably, I got the opportunity to observe director Robert Altman as he watched Maggie bring this character to life. Her understanding of the character’s thoughts and motivations was immediate and absolute, showing that maintaining appearances was something she held dear, even regarding it as a matter of honor.

She inquired about the importance of marmalade. I responded by saying that my great-aunt believed that a household could indicate poor management through a lack of homemade jams and preserves. “Understood,” she replied, and this exchange later became a popular line in a movie cherished by many viewers.

In the film “From Time to Time,” directed from my script and set for release this autumn, Maggie brilliantly portrays Mrs Oldknow, a character who embodies an intuitive, deeply empathetic approach. This role sees her as a grandmother struggling with her relationship with her son, vowing not to repeat past mistakes with her grandson. A particularly impactful scene involves her counseling against arguments with children, which always stirs emotions in me. The power of this moment comes from the sincerity of its message and the lack of overly sappy undertones.

On this occasion, we reunite for the third time in Downton Abbey, and it’s Maggie who breathes life into the formidable Violet, the Dowager Countess of Grantham. Violet is determined to shield her family from their own errors, seeing it as her responsibility. It would be dishonest not to confess that I pen stories for Maggie. I have faith in her abilities to portray these women, who may come off as opinionated and domineering, but possess a hidden depth of realism and justice beneath their biases. To clarify, I was raised among such women: my grandmother, my mother, my spouse – they, or have been, strong-willed individuals. It’s the timid women that make me uneasy. However, as I craft them to be tough, I do not despise them at all.

The script is quite challenging, but there’s no other actress who can embody the subtle nuances of relentless determination without losing our sympathy, as Maggie does so effortlessly. She possesses a unique talent that leaves us yearning for her return to the silver screen every time she disappears from it. Her portrayal of Violet is just one more example of this skill. In essence, if we’re speaking hypothetically about a screen duo and I find myself honored by the suggestion, then I can only say: may our collaboration endure for a long time to come.

Julian Fellowes speaks to Dame Maggie Smith…

Were you, at a young age, among those individuals who frequently staged plays in your attic, or did the journey towards acting happen gradually and unexpectedly for you? (Julian Fellowes)

Maggie Smith: It feels like such a distant past, I can hardly recall if there was a specific, brilliant instant when I decided to become an actress. At school, I was never chosen for the main roles in plays. Instead, I found myself usually at the back. However, I do remember taking great pleasure from it – I believe I even portrayed an old page in Twelfth Night, lingering about.

JF: Do you come from a theatrical background?

MS: No, not remotely.

JF: So what did your parents say when you told them what you wanted to do?

My family seemed to have lost hope in me, as I was the younger sibling with twin brothers who unexpectedly aspired to become architects. This perplexed them greatly. Conversely, when I expressed my desire to be an actress, they didn’t show much interest or reaction.

JF: You were quite successful from the start – you didn’t have to wait 20 years for it to happen.

PS: I didn’t truly get going until I was 21, even though I had left school at 16 and started working in stage management before that. There were difficult periods then and there have been since.

Going through tough times is just a part of life. Were there any doubts or hesitations you had when both your sons, Chris Larkin and Toby Stephens, decided to take up acting?

MS: Well no, what can you do? They know how hideous it is, I have been complaining all my life.

However, they also experienced the joyous periods. Your success alongside Robert [Stephens, Smith’s first husband] was indeed remarkable.

PS: They accomplished it, but it was a struggle. During my time in America for a play, I recall hearing some boys conversing. Toby asked, “What’s bothering her?”, to which Chris responded, “Give her a break, it’s a matinee.” From a young age, they were aware of how challenging it was, and that was just theater work. I’ve only done minimal television work, and I had no clue how difficult it could be.

I’ve always admired Violet’s character in Downton Abbey since the start, and our third project together. What makes you an ideal choice for these roles is your ability to portray powerful emotions without resorting to sentimentality that some actors may fall into as they progress. Your talent for this is a great asset to any writer.

MS: I think that is just me, not the way that I am acting – that is my personality.

It seems like your personality isn’t primarily used for gaining approval, as a performer, which can be quite liberating. Do you realize this about yourself?

I don’t agree, it seems like the roles I often get are unlikable old characters. I’m seldom given chances to play more likable ones.

While I don’t find any of your roles dislikable, each character you portray undergoes a transformation. It might seem that Lady Trentham is a harsh bully, but she is actually adored by viewers in Gosford Park, making her everyone’s favorite character.

MS: I know what you mean but I think whatever you do you are put into a pigeonhole.

AP: Bette Davis once noted that an actor who isn’t typecast might struggle to find work, and I believe there may be less actresses in high demand compared to you.

Joan Plowright told me, “These days there aren’t many roles available, and Judi Dench seems to grab them before others even have a chance.

It seems to me that others would agree that Judi, Maggie, and Joan have secured roles for themselves. If an actress reaches a certain age, not being constantly in the spotlight can be a terrifying ordeal. However, continuing to get work makes one of the fortunate ones.

MS: That is very true. I know I am lucky. I am also deeply grateful for Harry Potter.

JF: Do you enjoy the Harry Potter phenomenon?

MS: I barely contributed much, making me question if they even needed my full involvement; I mostly just wore the hat and reacted. Filming has concluded, and I can’t help but empathize with the young cast members who dedicated a significant part of their lives to this project.

JF: I met Daniel Radcliffe when he was in [stage play] Equus and he was charming.

He’s a delightful individual, and I collaborated with him prior to the Harry Potter series, during our work on David Copperfield. It was me who consistently advocated for giving this young talent a chance.

AL: He was extremely kind and not at all angry, a trait you’ve successfully maintained as well. Interestingly, many individuals who achieve success tend to lose the influences that shaped their unique personalities.

As a fan, I’m finding myself in a rather distinct realm compared to the one you seem to be discussing. I’m not fortunate enough to inhabit that space. Some people, unfortunately, find it challenging even to step outside their doors. It’s hard to fully grasp that reality, isn’t it?

AP: Let me share something with you that I’ve never mentioned before: You were one of my profound enlightenment moments. One summer, my mother came to the realization that she was nurturing a savage in me, and I was promptly ushered into the world of Margot Fontaine, my first opera, Othello. On that night, you captivated me as Desdemona opposite Laurence Olivier, an experience that stood out to me because, while Olivier’s performance was undeniably impressive, it wasn’t the performance of the evening – I believe we were at a time when the tradition of white actors blacking up to play Othello was still prevalent. However, you, in your role as Desdemona, were simply extraordinary. The tears that flowed from my eyes on that night were not the usual ones borne of boredom during Shakespearean performances. Was playing Desdemona a significant role for you?

That was my initial experience, indeed. It happened during my debut season when I joined the National Theatre in the early 1960s. The material was quite intense compared to what I was doing before, which was revue. I was absolutely terrified and apprehensive at the thought of it, initially refusing the offer. However, Beverley [Cross, Smith’s second husband] had to convince me to take on the role.

ALT1: Indeed, he was correct. Those significant opportunities, coupled with those who dare to take such a big risk on you, are noteworthy.

PS: I strongly believe it’s crucial. I’ve never felt compelled to play a specific role as I can’t seem to grasp why others find appeal in it. I’d be unsure of my abilities, which might explain why I don’t get many opportunities. I rely on others to help me identify my potential roles. However, this doesn’t apply at the moment since I’m currently cast as older characters.

That’s quite surprising! I thought you simply followed a script when you exclaimed “At last!” – particularly in the case of The Prime of Miss Jean Brodie.

Initially, when I encountered the script, it was intended for a play, but due to my engagement with “The Master Builder” at the National Theater, I couldn’t participate in it. In fact, I didn’t attend the performance either. This was followed by the movie production.

Yesterday, I watched a movie with my son Peregrine since he hadn’t seen it before, and I was curious about how well it had aged. Sometimes, films you fondly remember end up being less impressive when re-watched, but this wasn’t the situation at all in this case.

MS: I would much rather have done it at the theatre, actually…

JF: Well, now you could…

MS: … now I would have to do it with a Zimmer frame.

You mentioned Desdemona as the turning point when the door of opportunity was unlocked for you. For me, it was Gosford Park that served as the opening to new opportunities. That same year, we attended the Oscars together.

MS: We did indeed. I did a lot of cheering when you won.

You were so cute! I still remember the video of you cheerfully clapping, and yes, you’ve managed to win a total of two awards, right?

MS: Not that night. Helen [Mirren, her Gosford Park co-star] and I were up together that night.

JF: If either one of you had been up on your own, you would have won.

You’re likely correct, we may have divided the votes. It feels quite unusual to win an Oscar. (She won Best Actress for The Prime of Miss Jean Brodie in 1970 and Best Supporting Actress for California Suite in 1979.) This sensation is truly peculiar.

It’s quite astonishing! Just winning a cake in a lottery already fills me with gratitude, so receiving an award is truly beyond belief.

However, the Oscar appears quite unusual since it’s so far from the ordinary. Yet, I didn’t have the chance to attend the ceremony when I received it. Regrettably, I missed out on that significant moment, the grand event, not for myself but for Brodie.

I didn’t need any more success, as you know I was already quite accomplished. However, what struck me as peculiar was that most people, particularly those in America, were unfamiliar with my name. This shift in recognition had a profound impact on me.

After my victory, I remained deeply engrossed in my theater work and showed no inclination towards taking up additional film projects.

JF: Do you still prefer the theatre?

PS: Currently, I can’t engage in theatre performances. The very thought! Since my school days, when we had double Latin classes and later matinee shows on Wednesdays, I’ve always disliked this day of the week. Now, when Wednesday rolls around, I am genuinely thankful that I no longer have to perform a matinee.

JF: Do you have any ambition now?

MS: I don’t have ambition, I really don’t apart from to stay afloat.

JF: There is the element of being a survivor in this industry. Actors are tough.

MS: You have to be tough just to deal with what is said about you.

Read More

• SQR PREDICTION. SQR cryptocurrency
• DOGS PREDICTION. DOGS cryptocurrency
• KNINE PREDICTION. KNINE cryptocurrency
• LDO PREDICTION. LDO cryptocurrency
• JASMY PREDICTION. JASMY cryptocurrency
• EVA PREDICTION. EVA cryptocurrency
• METIS PREDICTION. METIS cryptocurrency
• HI PREDICTION. HI cryptocurrency
• STG PREDICTION. STG cryptocurrency
• UXLINK PREDICTION. UXLINK cryptocurrency

2024-10-03 14:05