Renée Zellweger on Bridget Jones's
Baby:
'Bridget makes it OK to be imperfect -
we're all looking for that'
Sally Williams | The Telegraph – August 27, 2016
Twelve years on from her last screen appearance, Bridget Jones is still
smart, funny, and a bit of a mess. Renée Zellweger, Colin Firth and
Helen Fielding talk to the Telegraph Magazine about bringing Bridget – now pregnant – back to life.
When we last saw Bridget Jones on screen, at the end of The
Edge of Reason in 2004, Mark Darcy had just proposed marriage. That
final scene delivered a promise of commitment at last. Their on-off
relationship began in 2001 with the first film, Bridget
Jones’s Diary – based on Helen Fielding’s comic creation,
originally a column, then a book.
Set in London and directed by Sharon Maguire, it sees Bridget (Renée
Zellweger), who works in publishing, meet Mark (Colin Firth), a divorced
human-rights barrister, at a New Year’s Day turkey-curry buffet. Bridget
is warm, gaffe-prone, tortured by the size of her thighs; Mark is
buttoned-up and terribly serious.
‘I like you very much,’ he says (translation: ‘I am in love with
you’). But Bridget fancies her boss, Daniel Cleaver (Hugh Grant), a charming scoundrel who promises great sex and
minibreaks. In Bridget Jones: The
Edge of Reason, the sequel, directed by Beeban Kidron, we find Bridget
and Mark having a post-coital hug with his boxer shorts neatly folded by
her bed.
But this is not a happy conclusion to their tale. It’s more like the
beginning of the end. His formality starts to seem an awful lot like pomposity;
his folded boxer shorts start to annoy her. She chucks him, escapes to
Thailand with Daniel (who is now employed as a travel presenter by the
television channel for which she works) and ends up being saved from a
Thai prison by Mark.
Of course, without the right actors neither of the films would have
worked. The combination of Zellweger, a Texan with an excellent Home Counties accent
and capacity for physical comedy (‘a latter-day Lucille Ball’,
according to one critic); Firth, haughty and smouldering (even in a
home-made sweater with a reindeer on the front); and Grant, revealing a
wickedly seductive darker side, won over audiences.
And now, 12 years later, we have the long-anticipated Bridget Jones’s Baby,
again directed by Maguire, which rejoins the characters after 10 years.
Bridget Jones's Baby
Bridget has broken up with Mark, is a successful news producer and owns
her flat. Daniel Cleaver is a fond memory. But life hasn’t worked
out quite as she’d hoped. Her old friends have settled down with
babies (she’s now godmother to countless children), and she rarely
socialises with them. Instead, she sees her younger, single colleague
Miranda (Sarah Solemani). They are united against their (even younger)
boss, Alice Peabody (Kate O’Flynn), who
wants a populist version of the news.
It is
Miranda who drags Bridget off to a music festival, where she has a
liberating encounter with a handsome American, Jack Qwant, played by Patrick Dempsey. Mark, meanwhile, is still a barrister, has
developed a hard set to his mouth and is married to someone he
doesn’t love.
He and Bridget meet by chance, spend the night together, then go their
separate ways. A few weeks later, Bridget discovers she’s pregnant. But
who is the father – Mark or Jack?
The story of
Bridget and Mark has turned into a kind of cinematic novel, comparable to
Richard Linklater’s Before Sunrise trilogy,
in which the same actors, Julie Delpy and Ethan Hawke, reprise the same
roles over the course of two decades.
Colin Firth on the new Bridget
Here we have Zellweger and Firth in a love story played out over 15 years
and three films. The actors have grown older with the characters. ‘The
passage of time has added texture,’ Firth says when we meet in Los
Angeles. ‘Time adds history, and it’s a collective history now. It’s
not just us as actors, it’s all of it together. It’s us as characters,
it’s the fact that Sharon was there at the beginning as well. We’ve
all had lives in the intervening years – 15 years have gone by for all
of us, and it has taken its toll in some ways, and it’s also added to
our lives. It’s brought regrets, probably for everybody. We all have
those things, and it will have done that for the audiences as well.’
Bridget’s
story still taps into universal themes, Maguire says. ‘There are lots of
women in their 40s who haven’t chosen marriage and children who are out
there on their own.
'Her fear of loneliness is still a very valid fear. It is something we are
all frightened of.’
As for why she wanted to reprise the role, Zellweger says, ‘I love this
character and all the people involved. So many people feel they can relate
to her because they’ve shared her awkwardness and they’ve shared her
humiliation. She makes it OK to be imperfect and we are all kind of
looking for that.’
Calories, body image and becoming 'Bridge'
The first Bridget Jones column appeared in 1995. It was an instant
success. With her attempts at self-improvement (listing calorie intake,
units drunk, cigarettes smoked and efforts to achieve ‘inner poise’),
jobs, clothes, love life; drinking bouts with her friends, Shazza and
Jude; and her mother’s attempts to marry her off, Bridget laid bare the
woes of thirty-something single women in the 1990s (and launched such
phrases as ‘smug marrieds’ and ‘granny pants’).
'I got the idea for the calories etc when I looked at my university
diaries, which had a sad lack of social engagements, but these mad
lists of calories: yogurt, 150; carrot, 15; box of Cadbury’s Milk Tray,
4,567, etc,’ Fielding says. The plot and characters were lifted from Jane
Austen. ‘I thought they’d been market-researched for centuries, and
Jane Austen probably wouldn’t mind. Also, she’s dead.’
The book based
on the columns, Bridget Jones’s
Diary, came out in 1996, and together with the sequel Bridget
Jones: The Edge of Reason (1999) sold more than 15 million copies
worldwide. Working Title bought the rights to the columns and the book.
‘This was a character who just flew off the pages,’ says Eric Fellner,
co-chairman of the production company.
Fielding co-wrote the script for the Bridget
Jones’s Diary film with Richard Curtis and Andrew Davies, and worked
on the subsequent films too – Bridget
Jones’s Baby was written with Emma Thompson and Dan Mazer. Before
the first film, Maguire had produced and directed The
Late Show for the BBC, but she had never directed a feature.
Yet she was
uniquely qualified: a close friend of Fielding’s, she was the
inspiration for Bridget’s friend Shazza – ‘a journalist who likes to
say f*** a lot’. ‘Eric and Tim [Bevan, also co-chairman of Working
Title] had imagined an indie, low-budget movie – maybe around $2 million
– so maybe a new director wasn’t going to be such a risk,’ she says.
‘I think they thought, “She can’t mess it up that much.” Then when
Hugh agreed to play Daniel Cleaver and the movie began to become a more
commercial prospect, it started swelling and swelling. Colin joined, then
Renée, and the stakes went right up.
But because it
was incremental, I didn’t have the chance to go, “Oh holy f***, I am
making a $26 million film!”’ She says she cast Zellweger because she
was ‘fantastic’ in Nurse Betty (2000), a black comedy in which she plays a Kansas
waitress; and ‘likeable and warm and grounded’ as Tom Cruise’s love
interest in Jerry Maguire
(1996). Zellweger admits that taking on such a beloved character was
daunting.
Renée on weight gain, Ali G and Spice Girls
‘I had no idea if it was going to work at all – if I knew how to
behave like her, if I was going to look like her, as I wanted to, as
she’s described in the book.’ She agreed to spend six months prior to
shooting in London preparing for the role.
‘I listened to The Archers, I
watched EastEnders and Ali G on TV. I watched the news. I read magazines to see who were
the current-day icons in English culture, to get an idea about who she
might aspire to emulate,’ she says. ‘After a while I was humming along
to Spice Girls songs.’ She also worked as an intern in a publishing
house for three weeks.
Zellweger’s
weight gain for the role (about 2st) has been catalogued at length, and
she can’t quite suppress her frustration when I raise the subject. ‘I
don’t think about it like weight gain,’ she says. ‘She just needed
to look like her lifestyle, and this is a girl who loves her ice cream.
She drinks a lot of chardonnay, smokes a lot and goes to the bar not the
gym. It’s like cutting her hair or wearing those black boots or the
black bra with the see-through top – it’s about creating this
character.’
There are scores
of actors who might have worked as Mark, but Fielding was so taken with
Firth’s portrayal of Mr Darcy (specifically the wet-shirt scene) in the
BBC series Pride and Prejudice, broadcast in 1995, that she fashioned her
brooding character on him.
‘I thought it would be amusing,’ says Firth, of playing Darcy the
second. ‘I’d never done anything that had been referenced in popular
culture. So when the columns were talking about Mr Darcy on television and
I was being mentioned by name, I thought it would be fun to get in on. I
also had a feeling the film was going to do rather well.’
Firth on Hugh Grant
His favourite memory is fighting with Grant in the Italian fountain in
Kensington Gardens for The Edge of
Reason. ‘Very, very funny and extreme and unchoreographed,’ he
says. ‘But oh my goodness, it was cold. It was November, it was about
two degrees, and between takes you have to stay wet, so we had a little
tub of warm water to sit in, in our suits, until it was time to get back
into the cold water.’
For Bridget Jones’s Baby he had to carry a heavily pregnant Bridget
over Chelsea Bridge. ‘No acting was required. It is my actual suffering
you see on screen.’
The column ran weekly from 1995 to 1998, in the Telegraph from 1997. Then,
after a gap of seven years, Fielding, by now living in LA and a mother
(she has two children with Kevin Curran, co-executive producer and writer
of The Simpsons; they separated in 2009) decided to revive Bridget.
Mad About the Boy
The character in the new film is based on the Bridget of these 2005
columns, rather than Fielding’s most recent book, Mad About the
Boy,
published in 2013, in which Bridget is in her early 50s, has two children
and is a widow following Mark’s shocking death. (‘I did get a call
from Helen saying, “Are you sitting down?”’ Firth says.)
‘The Bridget Jones’s Baby
film was already in development when I had the idea for the Mad About the Boy novel,’ Fielding explains. ‘And I just started
writing instinctively, like writers do. It takes a lot longer to make a
film than it does to write a novel – all you need for a novel is you, a
laptop and a lot of chocolate.’
She is
unconcerned by the idea of two Bridgets at different stages. ‘It’s
fine. I think audiences are used to the idea of prequels and sequels and
series of books and films coming out at different points in time. It’s a
comedy series, not a history of the Battle of Trafalgar, and it wouldn’t
be Bridget Jones to get everything in a perfectly straight line.’
‘I knew [making the new film] was going to be a slightly haunting
experience – I was very close to the stories in the first one,’
Maguire says. ‘But at the same time I was very nosy to know what had
happened to the characters.’
Zellweger: 'I was fatigued'
In the years after making the first film, Zellweger was nominated for a
Bafta and a Golden Globe for her work as Bridget Jones, won an Oscar for
Cold Mountain, and became so busy with back-to-back films that it
threatened to overwhelm her.
‘I was fatigued and wasn’t taking the time I needed to recover between
projects, and it caught up with me,’ she told Vogue
recently. She took a six-year break from Hollywood, yet agreed to return
as Bridget. ‘The Bridget experience seems separate somehow,’ she says
now. There is a family involved. I share a long history of awkward moments
with Colin and different kinds of struggles with Sharon and Eric. These
relationships are grounded in something substantial. Bridget Jones is
always there,’ she continues. ‘Whenever I go out somebody brings her
up: “Love Bridge Jones”; “I am Bridget Jones, I have to tell you
what happened”; “No, no, that scene in the film – I am her”.
It’s a blessing to be part of something that means so much to so many
people.’
A new love rival
Bridget Jones’s Diary launched Colin Firth into romantic comedies such
as Mamma Mia! and Love Actually. ‘I was now doing films where I was one
of the guys on the poster,’ he says. ‘That had never happened
before.’
And now, of course, Mark has a new rival. ‘It has a tremendous
history,’ says Patrick Dempsey, ‘and I didn’t want to know too much
about that because that would have inhibited me. The character [of
Bridget] is so beloved.’ Will there be a fourth film, I ask Fellner?
‘I really hope so,’ he replies. ‘The characters Helen has created
are people you want to spend time with; you want to see what happens to
them. It’s like being with your mates.’
‘I very much wanted to bring Bridget to a younger generation,’ Maguire
says. ‘She’s out there swinging in the wind on her own. The only
people she hangs out with are the new thirty-somethings – that was
exciting for me.’
‘I think at heart Bridget is about the gap between how people feel
they’re expected be and how they actually are,’ Fielding says. ‘And
Bridget Jones’s Baby is about the gap between how people expect their
life to turn out and how it actually does. Increasingly, we inhabit a
world in which the external – beauty, fame, thinness – is celebrated
more than being human, warm and kind. 'I think it’s especially hard for
kids now, when they’re all judging themselves by how many ‘likes’
they get online. It’s great that Bridget seems to have quite a following
among teenage girls. I hope it helps them remember that being a good
person and a good friend is more important than having a bottom like two
snooker balls and a posh handbag.’
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