During the intensity of film screenings and a few wee drams of whisky mist that is Edinburgh we found time to sit down and speak to Steve Nesbit the director of North v South. It had its European premiere during the Edinburgh International Film Festival 201. We talked about changing perceptions and why North v South is not just another gangster film – it’s Shakespearian!
How did the project come about?
The producer Ben was initially working on a completely unrelated project. We are both patrons of a charity, teenage cancer trust, and we met at a charity event for them. Ben introduced me to Brad who plays Gary Little and when I met him on the evening; lively fellow that he he started to do all this characterisation and goofing around really but then we got a little bit more serious and started to talk about different films we liked etc etc. Years ago I started the script for a completely separate project and then when I met Brad he was the missing bit of that script. So initially it was a US based thing and totally different set up altogether; but his performance on the evening made me think My God that’s the guy, a version of that that completes the thing.
When I heard the opening the statement about the gangs in the North and South – I thought Oh God is this a gangster movie. How do you want this film to be perceived?
I would hate for it to be “British Gangster Film” and love it to be the most unique Romeo and Juliet story of the past 10 years
We tried very hard not to make a gangster movie but that was the world and there’s no denying it. There wasn’t a different arena in which we could have set the story that I wanted to tell that would have been remotely authentic enough. It had to be organised crime. But right from the start [it] became our mantra: it’s not a gangster movie – everywhere we went. That was such a hard thing to get anyone to read the script because they go – it’s a gangster film. [For me] It spans different genres.
Which is where I want to come to – sitting there thinking this is a gangster film and then realising this is Romeo and Juliet with a surprise ending – talk to me about that.
[Laughs] My goodness – it was a bit of a gamble the ending because the misdirection is always very difficult to pull off because we’ve seen it all before. And actually I use it twice in the film and if you write it on the paper it looks really cheap but that’s where the beauty of being able to tell this with cameras comes in. You can misdirect through a performance or a scenario the similitude that I talk about so much. That you build up what I call the relationship – this isn’t a love story it is super love. It would have been diabolical not to have them ride off into the sunset.
Was that the original ending, the one that you wrote?
No we had three endings and I did change it twice and then eventually when we shot the pick ups after the principle just for production. There was a bit of hiatus and we took advantage [of that] to write the new ending which was just what we wanted.
What’s the significance of the flower then? What do you want us to see?
Optimism. We like flowers because they are pretty and we are very base when it comes to flowers. There is nothing negative that can be attached to flowers. Both of these characters have been through exceptionally negative situations and very trying that would never occur in real life. So once they’ve got over that particularly Charlotte’s character betrays her own father. The flower sort of says it will be ok.
The film is one of extremes – the love and then the violence and the use of the c word throughout. Was that done on purpose to have those extremes?
Our touchstone from start to finish was the art work of Carvaggio. That was something that carried through the script; the light and dark to literally the production design through photography and also performance. I must admit the picture having not seen it for a couple of months or whatever the swearing particularly – every one is like a slap. And the last time I watched it I was gobsmacked. When you are away from it and not awash with the whole thing and not desensitised – it is very harsh. That is a world we don’t know and we’re not organised crime guys but that’s how they speak with each other.
I thought is this a cliché? It is an interesting and original way of showing Romeo and Juliette but is this not a cliché to not have this use of the swearing which is constant and repetitive and it feels a little boring. But if you’re saying that’s how they speak and that is what you wanted to capture?
I actually cut a lot out and particularly with the c word we had every cast member of the baddies in their performance whilst they were performing would throw it out. Now I can’t say to them actor that was zenith but can you do it now without saying cunt and you can’t do that would be wrong. I do understandit is pretty strong and I do see it past it the audience.
You’ve got an amazing cast. How did that come about?
Massive credit goes to Shikera our casting director – particularly with Elliot and Charlotte one of those things I find most difficult is casting. Just getting started because it is a long list of rejections and of course when you start you go for the most familiar people you can get hold of. You’re not aware of this excellent talent – that’s what casting directors are so good at. The big turning point came when Bernard read the script and decided he was going to do it. He was a touchstone of quality – Bernard Hill and that’s when people wanted it and read it.
You’ve done a horror, now a drama and so what is next for you?
A comedy coming up this year to shoot – a comedy drama. Like North v South it is not specific it is a little bit of hybrid. It is very funny drama.
Are you a writer and a director and is that something you want to continue doing or would you look forward to the challenge of shooting somebody else’s work?
No I don’t think so and I would never say never as you don’t know what is round the corner. In an ideal world I will direct my own stuff. I think the advantage and disadvantage – it is an advantage when you get to the end if it resembles what you set out to do. If you can achieve that it means you’ve thought about. Also a disadvantage as much as I’ll put something on a page on a 90 page script and spent weeks trying to convince people it’s like this but they say it’s not on the page. So what I do now and I am dong one this week for the comedy – I have a session when I present the script. It’s like a read through but a visual read through; it’s lit like this and the camera is here and the way the character coming in and so people can see.
North v South is released in cinemas across the UK on 16 October.
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