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| Version 0 | Version 1 |
|---|---|
| How we made ... Calendar Girls | How we made ... Calendar Girls |
| (about 2 hours later) | |
| Nigel Cole, director | Nigel Cole, director |
| When the actors we’d cast met their real-life counterparts from the Women’s Institute, they were struck by their group spirit, the supportive atmosphere that had got them all through the embarrassment of taking their clothes off to make a calendar. That same spirit started to show on set, with the cast deciding they wanted to experience the venture in the same way as the WI women. They were determined to be nude, even when it wasn’t needed for the camera, for face shots and that kind of thing. | When the actors we’d cast met their real-life counterparts from the Women’s Institute, they were struck by their group spirit, the supportive atmosphere that had got them all through the embarrassment of taking their clothes off to make a calendar. That same spirit started to show on set, with the cast deciding they wanted to experience the venture in the same way as the WI women. They were determined to be nude, even when it wasn’t needed for the camera, for face shots and that kind of thing. |
| This made it harder for me: however strategically we placed vegetables, bits kept showing through and we’d have to reshoot. Even after we’d finished and cut the film, there were things popping out that shouldn’t have been – and a young man from digital remastering had to spend four weeks removing all the private parts. | This made it harder for me: however strategically we placed vegetables, bits kept showing through and we’d have to reshoot. Even after we’d finished and cut the film, there were things popping out that shouldn’t have been – and a young man from digital remastering had to spend four weeks removing all the private parts. |
| Although the nude scenes only took a week, it felt like a year. The more you know you shouldn’t look, the more you want to, and I noticed the film crew keeping very busy, working far harder than they normally do because they didn’t want to be caught gazing. It was a challenge as a director having to confront veteran actors who were completely naked. I’ve never made so much eye contact in my life. I’d offered to strip myself, so we were all in it together. That might have made it easier for me, but the offer was declined. | Although the nude scenes only took a week, it felt like a year. The more you know you shouldn’t look, the more you want to, and I noticed the film crew keeping very busy, working far harder than they normally do because they didn’t want to be caught gazing. It was a challenge as a director having to confront veteran actors who were completely naked. I’ve never made so much eye contact in my life. I’d offered to strip myself, so we were all in it together. That might have made it easier for me, but the offer was declined. |
| The actors were very supportive of each other: a bottle of champagne would be waiting whenever anyone finished their nude scene. They were all women in their 50s and 60s and were thrilled by roles that recognised their sensuality. After one nude shoot, I recall having to tell Helen Mirren to put her robe back on three or four times. | The actors were very supportive of each other: a bottle of champagne would be waiting whenever anyone finished their nude scene. They were all women in their 50s and 60s and were thrilled by roles that recognised their sensuality. After one nude shoot, I recall having to tell Helen Mirren to put her robe back on three or four times. |
| It was rare for a film to focus on middle-aged women and not just show them as mothers or aunties. But this made it harder to cast the male parts: several actors disliked the idea of being subsidiary to women. Also, it was the era of Billy Elliot and The Full Monty, and I was keen to make a film about northern England that was not about poverty and deprivation. These were middle-aged, middle-class women who wanted to break out of the mould. I remember waiting at Skipton station to be collected by Helen Mirren’s real-life counterpart. Every time a battered old Ford came along, I thought that must be her. Then a black BMW roared up blaring rock music and there she was at the wheel. It brought home to me how guilty we all are of stereotyping. | It was rare for a film to focus on middle-aged women and not just show them as mothers or aunties. But this made it harder to cast the male parts: several actors disliked the idea of being subsidiary to women. Also, it was the era of Billy Elliot and The Full Monty, and I was keen to make a film about northern England that was not about poverty and deprivation. These were middle-aged, middle-class women who wanted to break out of the mould. I remember waiting at Skipton station to be collected by Helen Mirren’s real-life counterpart. Every time a battered old Ford came along, I thought that must be her. Then a black BMW roared up blaring rock music and there she was at the wheel. It brought home to me how guilty we all are of stereotyping. |
| Celia Imrie, actor | Celia Imrie, actor |
| I can’t bear taking my clothes off. I have never been a pretty young thing and stripping off is far more daring when you don’t have a figure to die for. But I love a challenge and there was never any question of us wearing flesh-coloured coverings. That would have been a cheat. The real-life calendar girls taught all of us in the cast not to take ourselves too seriously – and Helen, who was used to disrobing for the camera, led us on. | I can’t bear taking my clothes off. I have never been a pretty young thing and stripping off is far more daring when you don’t have a figure to die for. But I love a challenge and there was never any question of us wearing flesh-coloured coverings. That would have been a cheat. The real-life calendar girls taught all of us in the cast not to take ourselves too seriously – and Helen, who was used to disrobing for the camera, led us on. |
| I was the first. I had first-night-style nerves beforehand but, given that my character was supposed to be nervous, the anxiety actually helped. And the rest of the cast made a big fuss of me afterwards in my dressing room, where they’d set out champagne and Twiglets. | I was the first. I had first-night-style nerves beforehand but, given that my character was supposed to be nervous, the anxiety actually helped. And the rest of the cast made a big fuss of me afterwards in my dressing room, where they’d set out champagne and Twiglets. |
| We shot some scenes in the village where the original calendar girls lived. It made us realise how daring they’d been: it’s a very small community and there were a lot of objectors. We were staying in a hotel with a gym and, although I loathe them, I thought I’d better use it, given what I was facing. I crept down at 6am when I thought it would be empty. But when I opened the door, the rest of the cast were already in there working out. | We shot some scenes in the village where the original calendar girls lived. It made us realise how daring they’d been: it’s a very small community and there were a lot of objectors. We were staying in a hotel with a gym and, although I loathe them, I thought I’d better use it, given what I was facing. I crept down at 6am when I thought it would be empty. But when I opened the door, the rest of the cast were already in there working out. |
| Since the film came out, I’m used to being called Bigger Buns now. A girl shouted it when she saw me out walking once, which was embarrassing. I prefer to remember the rather handsome young man in Paris who caught my eye in the street, looked down at my chest and declared: “Les grands gâteaux!” | Since the film came out, I’m used to being called Bigger Buns now. A girl shouted it when she saw me out walking once, which was embarrassing. I prefer to remember the rather handsome young man in Paris who caught my eye in the street, looked down at my chest and declared: “Les grands gâteaux!” |
| More on Calendar Girls | |
| Peter Bradshaw’s original reviewMark Kermode’s original reviewJohn Patterson meets Helen MirrenSimon Hattenstone meets Julie Walters |
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