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Nick Davis, Schemes and Mind Maps of Design

Design

My Cousin Rachel (dir. Roger Michell, 2017). On Camera. Rachel: ... Rachel was guilty or innocent of the crimes ascribed to her, but not to tell him.

Typology: Schemes and Mind Maps

2021/2022

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Nick Davis
Film Discussion Group
June 2017
My Cousin Rachel (dir. Roger Michell, 2017)
On Camera
Rachel: Rachel Weisz: The Constant Gardener (05); The Lobster (15); Denial (16)
William: Sam Claflin: The Hunger Games, last three parts (13-14); Me Before You (16)
Louise Kendall: Holliday Grainger: The Borgias (11-13); Great Expectations (12)
Mr. Kendall: Iain Glen: The Iron Lady (11); Downton Abbey (11); Game of Thrones (11-17)
Rinaldi: Pierfrancesco Favino: Angels & Demons (09); Rush (13); won two Italian Oscars
Off Camera
Writer/Director: Roger Michell: known for moving across multiple genres; see titles below
Cinematography: Mike Eley: The Selfish Giant (13), one of the great recent movies nobody saw!
Art Direction: Alice Normington: Suffragette (15); Their Finest (16), also starring Sam Claflin
Costume Design: Dinah Collin: she put Colin Firth in that wet smock in Pride and Prejudice (95)
Film Editing: Kristina Hetherington: lots of British television, including The Crown (16)
Original Score: Rael Jones: several major music-department credits, but rarely as lead composer
Also directed by Roger Michell …
Persuasion (1995) – One of the very best Jane Austen adaptations, based on her last finished novel
Notting Hill (1999) – Romantic comedy uniting Hugh Grant with a major film star (Julia Roberts)
Changing Lanes (2002) – Overlooked drama with Ben Affleck and Samuel L. Jackson as two
anxious middle-class guys who meet in a road-rage encounter and keep pursuing each other
The Mother (2003) – Another tense, hidden gem in which a widowed woman in her 60s (Anne
Reid) enrages her children by starting a sexual affair with a young house painter (Daniel Craig)
Enduring Love (2004) – From an Ian McEwan novel about an Englishman (Daniel Craig again)
being stalked by an unstable fellow survivor (Rhys Ifans) of the same hot-air balloon accident
Venus (2006) – Oscar-nominated character study that was one of Peter O’Toole’s final films
Morning Glory (2010) – Newsroom comedy with Rachel McAdams, Harrison Ford, Diane Keaton
Hyde Park on Hudson (2012) – Promising project on paper, with Bill Murray as FDR having a
historically true pseudo-affair with his cousin Daisy (Laura Linney), but didn’t go over well
Le Week-end (2013) – Lindsay Duncan, Jim Broadbent, and Jeff Goldblum star in another film that
deserved better, about a late-middle-aged couple on a trip to Paris, contemplating divorce
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Nick Davis Film Discussion Group June 2017

My Cousin Rachel (dir. Roger Michell, 2017)

On Camera Rachel: Rachel Weisz: The Constant Gardener ( 05 ); The Lobster ( 15 ); Denial ( 16 ) William: Sam Claflin: The Hunger Games , last three parts ( 13 - 14 ); Me Before You ( 16 ) Louise Kendall: Holliday Grainger: The Borgias ( 11 - 13 ); Great Expectations ( 12 ) Mr. Kendall: Iain Glen: The Iron Lady ( 11 ); Downton Abbey ( 11 ); Game of Thrones ( 11 - 17 ) Rinaldi: Pierfrancesco Favino: Angels & Demons ( 09 ); Rush ( 13 ); won two Italian Oscars Off Camera Writer/Director: Roger Michell: known for moving across multiple genres; see titles below Cinematography: Mike Eley: The Selfish Giant ( 13 ), one of the great recent movies nobody saw! Art Direction: Alice Normington: Suffragette (1 5 ); Their Finest (16), also starring Sam Claflin Costume Design: Dinah Collin: she put Colin Firth in that wet smock in Pride and Prejudice ( 95 ) Film Editing: Kristina Hetherington: lots of British television, including The Crown (16) Original Score: Rael Jones: several major music-department credits, but rarely as lead composer Also directed by Roger Michell … Persuasion ( 1995 ) – One of the very best Jane Austen adaptations, based on her last finished novel Notting Hill ( 1999 ) – Romantic comedy uniting Hugh Grant with a major film star (Julia Roberts) Changing Lanes ( 2002 ) – Overlooked drama with Ben Affleck and Samuel L. Jackson as two anxious middle-class guys who meet in a road-rage encounter and keep pursuing each other The Mother ( 2003 ) – Another tense, hidden gem in which a widowed woman in her 60s (Anne Reid) enrages her children by starting a sexual affair with a young house painter (Daniel Craig) Enduring Love ( 2004 ) – From an Ian McEwan novel about an Englishman (Daniel Craig again) being stalked by an unstable fellow survivor (Rhys Ifans) of the same hot-air balloon accident Venus ( 2006 ) – Oscar-nominated character study that was one of Peter O’Toole’s final films Morning Glory ( 2010 ) – Newsroom comedy with Rachel McAdams, Harrison Ford, Diane Keaton Hyde Park on Hudson ( 2012 ) – Promising project on paper, with Bill Murray as FDR having a historically true pseudo-affair with his cousin Daisy (Laura Linney), but didn’t go over well Le Week-end ( 2013 ) – Lindsay Duncan, Jim Broadbent, and Jeff Goldblum star in another film that deserved better, about a late-middle-aged couple on a trip to Paris, contemplating divorce

Also adapted from fiction by Daphne Du Maurier … Jamaica Inn ( 1939 ) – Early Hitchcock thriller about a woman uncovering a seaside crime ring Rebecca ( 1940 ) – Classic mystery in Gothic/Romantic vein about the young bride (Joan Fontaine) of a handsome, distant widower (Laurence Olivier) who remains obsessed with his first wife My Cousin Rachel ( 1952 ) – The first feature adaptation of our story, produced by 20th Century Fox only a year after the novel appeared; starring Olivia de Havilland and Richard Burton The Birds ( 1963 ) – Hitchcock’s third Du Maurier treatment, about a murderous flock in California Don’t Look Now ( 1973 ) – Sinister mystery about an English couple (Donald Sutherland and Julie Christie) taking a trip to Venice after their young child’s death, running into strange ghosts My Cousin Rachel ( 1983 ) – British miniseries adaptation, with Geraldine Chaplin as Rachel Facts about My Cousin Rachel you may appreciate… 20th Century Fox has retained the rights to My Cousin Rachel since buying the book in 1951 and producing the first film the following year. When Michell read his mother’s copy of the novel three years ago and got the idea of re-making it, he wrote to Fox, who quickly signed on. Neither Michell nor his cast watched the original movie of My Cousin Rachel so that their creative choices would not be influenced by those of the earlier actors and filmmakers. Michell thought quickly of Rachel Weisz to play the title figure. She signed on based on the script and a first conversation with Michell. He encouraged her to form a firm opinion as to whether Rachel was guilty or innocent of the crimes ascribed to her, but not to tell him. Over the entire course of filming, he never asked and she never confided her view of the story’s events. Sam Claflin, a graduate of several youth-targeted films, had been imploring his agent to find more complex, adult characters for him to play—and then discovered that what made William so exciting to play was that he was not particularly adult or complex. Instead, he viewed William as remarkably simple, an orphan raised amidst privilege, suddenly denied what he wants and having a childish fit. He also decided that William was a virgin, a kind of delayed adolescent. Michell believes that one reason Du Maurier has been so popular with filmmakers is that her writing includes so many details about setting and lighting—as if she has already been inspired by cinematic techniques, or is writing in hopes of her masterly plots being adapted for film. Du Maurier never specifies exactly when the story unfolds. Michell and his design teams elected to situate the plot sometime in the 1830s—“after canals but before railways,” in the director’s terms, because advances in high-speed transportation would have made it too easy for the people in the story to travel or correspond quickly, uncovering answers to their questions. Most of Rachel was shot in an existing house on the coast of Cornwall, where the weather could change very quickly from sunshine to storm fronts. Despite the problems of shooting amid unpredictable climates, the filmmakers liked how these sudden alterations mirrored the characters’ changing senses of Rachel’s innocence or guilt and kept these shifts in the film.