Seven years after the end of the series, the adventures of the English aristocrats and their servants continue on the big screen. Daunton Abbey: A New Era. Meeting with his two main actors.
Did you miss the Crawley family of violins, lace, tea and Labrador? They returned Daunton Abbey: A New Eranew film in cinemas on April 27th. (po Downton AbbeyMichael Engler, released in 2019), which continues the adventures of an aristocratic family so British and their servants, seven years after the end of the series (1). Changing scenery: Suddenly leaving Lady Violet (still just as insane as Maggie Smith), some of the characters leave for the south of France, where they meet suspects Nathalie Baye and Jonathan Zaccaï once) shaved clean. As long as the sun, sea, and palm trees hurt their emotional defenses (but never the good behavior of the crossed jackets), Lady Mary, the eldest daughter left in England, has to deal with the filming group that came to film. family castle.
So many shocks that shake Crawls and their environment raise them against the dilemma that has been at the heart of many of the episodes in the series: what approach to take in the face of a changing or even disappearing world? Maintain your habits and traditions, even if it means breaking? Or maybe accept yourself for metamorphosis? So many issues have been addressed with Laura Carmichael (Edith Crawley, the youngest of the family’s daughters) and Elizabeth McGovern (Cora Crawley, her mother) traveling through Paris.
In the video, Daunton Abbey: A New Eraannouncement
Grow with your character
Madame Figaro.- How did you feel when you found your characters and other actors?
Laura Carmichael. It was like coming home, reuniting with family.
Elizabeth McGovern. Everything was very simple, very natural. I wish I had more stories, but we’ve been working together for so long … It’s very easy, very smooth to slip into adventure again.
How does it feel to play a character for 12 years?
EMG.- Television is the only way to accompany a character to see it grow old with you. It is the only medium that allows you to deepen and develop relationships with others as it happens in life. It’s a very unique experience I’ve never had before in my career.
LC.- We took a break at the end of the show and it was good not to be Edita for a while. At the end of the filming, we all felt the need to be free, to be someone else, to embody other characters. Finding them was a real joy. Strange, but that way things looked newer and different.
You talk about growth along with your characters. Have they ever changed you or learned anything about themselves?
EMG.-I don’t know if I learned anything from Koros. Because as soon as I stop interpreting it, I forget. And if I were in his situation (Wealthy American Cora marries British aristocrat for her title when she needed money, editor’s note), I would be completely insane. She adjusts so quickly to her situation that she could never personally choose … It would be hard for me. In any case, its interpretation did not reassure …
LC.- Over the seasons, Edith has gained more freedom and ambition. And it is worth remembering from time to time that I can rely on this power, which I do not have on a daily basis. The sense of security that comes with being Crawley and entering the room has also become a part of me.
EMG.-I understand what you mean. All the Crawleys have that confidence because they were born with it.
LC.- Exactly. I don’t, but know well what it does. And sometimes, use that feeling to bluff a little …
– My daughters would never agree with what I agreed to.
This is how we look at womenin fiction and elsewhere, since the start of the series in 2010. changed a lot. Has this changed your attitude towards your characters?
EMG.- How I value my past and life has changed. I opened my eyes to what I could accept as a young Hollywood actress (Elizabeth McGovern began her career in 1980 at the age of 19 People like others Robert Redford before filming with Milos Forman Ragtime 1980 and Sergio Leone Sometime in America1984, Ed.). I am struck by the thought that women now have the right to say ‘no’. I’m one of those people who had to accept things without even asking. The world was the world, you had to navigate in it and deal with it. My daughters would never accept what I accepted. It’s a huge change that makes me feel good. The world situation is very depressing at the moment, but it is worth welcoming.
Edith, who is a journalist, takes a trip to France and prepares a report. His character says something about working women now more and more …
LC.- It’s my favorite thing to play. At the end of the series, Edith married a rich man, she was afraid she would stop everything. It would be a betrayal of everything his character has created throughout the series! Relief I found her like this: yes, she is in love, married, again a mother. But the “happy ending” doesn’t end there. She continues to work and the husband supports her. It’s great.
Elizabeth, Cora is like you, an American immersed in a very English context. It allows her to look again at what she is going through. Is this your case too?
EMG.- Yes, she’s a little on the sidelines. She is not so corsety of all these traditions. In my life, it has affected me sometimes (Elizabeth McGovern since 1992. was married to the remark of the British Simon Curtis, the film’s director and editor.): The English are so obsessed with trifles, it’s a secret to me. First of all, their nobility titles: I don’t care at all, while they are very strict. It makes no sense to me.
LC.- It also shows how Cora, despite all her chances, supports her daughters. The English girl might not have done it either. Even Mary, the eldest, told him in one of her cruel moments, “You can’t understand, you’re American!
More than fun
Julian Fellowes, developer Downton Abbey, believes that the main function of this series is to entertain. But isn’t that a little further?
LC.-I think he has in mind that he was never forced to give the series an overly documentary side. Julian has his own world, his own tone that does Downton Abbey so different from wires of the same genre. And he has a lot of resources: he can write scenes of pure comedy and others where the emotion is very deep, subtle. That’s why the series has always excited me: we’re on the drama register, it’s obvious, but I’ve always liked the fact that I can be restrained as well.
EMG.- Precisely because Julian’s priority is to entertain, to ensure that the storyline is constant, fun, messages are able to penetrate. About history, about the state of our society as it was not so long ago, about the psychological springs we inherited. We learn something, but we don’t get the impression that we’re lecturing us.
“With Downton Abbeywe learn something but don’t get the impression that we are being lectured.
The series and the film also relate to our approach to change. If we are ready to accept it or categorically refuse …
EMG.- Yes, and it really puts us in this tension between what’s good when things change and benefits when things don’t change. We face it every day. Especially in our rapidly changing society: the internet was invented just 50 years ago and has changed the world in a way that I’m not sure you can support emotionally. It is too much for ordinary people to keep up with such technological advances. Going back to the past, remembering where we came from, is very comforting.
Downton Abbey, is it really done?
EMG.- We’ll see! It is clear that we will always be happy to meet again.
(1) Daunton Abbey: A New EraSimon Curtis (2h06)
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