When I asked Steven Knight, the writer and director of gripping British drama Locke, whether or not he would consider directing from a script that wasn’t his own, his response was immediate; “No, I couldn’t conceive of doing that, I’d feel for the writer!” With a screenwriting résumé that includes Dirty Pretty Things, Eastern Promises, and Peaky Blinders, it’s a position that Knight has often been in. Last year saw his first foray into life behind the camera with the underwhelming Jason Statham vehicle Hummingbird, but his sophomore effort is anything but. Bolstered by a knockout performance from Tom Hardy, Locke is a fascinating and clever opus that gets the most out of its simple premise.
I got a chance to speak with Knight ahead of the film’s UK release this week, and he talks to us about cutting down 30 hours of footage, his directorial experience on the film, and Hardy’s Welsh accent. Have a read below.
Tom Hardy’s career has sky-rocketed since 2010’s Inception, with great performances in critically acclaimed Tinker, Tailor, Soldier, Spy and Warrior cementing his place as one of the finest actors in the business. Later on this year, he’ll be reuniting with Christopher Nolan for that ‘small’ film The Dark Knight Rises, but before that he joins Chris Pine (Star Trek) in This Means War, a romantic comedy at its core with a hint of action.
Read the rest of this review here.
Tinker, Tailor, Soldier, Spy is not your typical spy film. You won’t find Gary Oldman’s George Smiley engaging in fisticuffs with evil men, or saying a cool line after offing a villain. Action has been replaced with words – a lot of words – resulting in an absorbing, if at times slow-paced, whodunnit of a film which unfolds in meticulous fashion.
Read the rest of the review on Yin & Yang here