Screen talk with my acting idol, Ralph Fiennes

Last night, I had the great privilege to hear the acting guru of my adolescence, Ralph Fiennes, speak at a talk organised as part of the BFI London Film Festival. Interviewed by Francine Stock, Fiennes shed light on his career and his upcoming, second directorial feature, The Invisible Woman, in which he plays the lead as the classic author Charles Dickens. In the following, I will share some of the most interesting aspects of the talk from my own personal point of view.

Ralph Fiennes (left) interviewed by Francine Stock at BFI Southbank, 18 October 2013.

The talk began by tracking down Fiennes's beginnings: how a student of painting would become interested in theatre design, and how the same boy, now enrolled on a foundation course, would come to realise that he actually wanted to be "in the set", rather than designing it. This lead to studies at the Royal Academy of the Dramatic Art, and ultimately, roles in theatre, television, and film.

Fiennes attributes his third film appearance, the role of Heathcliff in a film adaptation of Wuthering Heights (1992), as the role that caught Steven Spielberg's attention. Spielberg invited the young actor to audition for the role of the SS-officer Amon Goeth for his film, Schindler's List (1994), and the pair met face-to-face in Acton, "out of all places", Ralph adds.

The audience is shown a clip from the film, where Goeth pardons a young boy who has failed to clean his bath tub, but then shoots him in the back as he's walking away. The clip is followed by applause, and silence from the man himself.

"I hadn't seen that in a long time. I don't know what to say," Fiennes comments following the powerful, haunting extract.

Stock then directs the conversation to Anthony Minghella's The English Patient (1996), and the different directing styles of Spielberg and Minghella. Fiennes reminisces that while Spielberg was quite vocal and focused on "very specific things, physicality and gestures", Minghella's spoke "gently" and was quite precise. He goes on to suggest that in his opinion, "directors should be like very good teachers, sensitive to actors", after which a yet another clip illustrating Fiennes's brilliance as an actor is shown. Almasy, played by Fiennes, joins a dinner party and acts inappropriately, causing disapproval among his fellow diners.

Talk turns to Coriolanus (2011), Fiennes's directorial debut based on a play by William Shakespeare. Fiennes says than he and the screenwriter John Logan edited the the text and cut about 70 per cent of the original material in order to make it cinematic. It is evident Fiennes feels great pride about the writing, as he labels the work "brilliant" and expresses his hopes that Logan's screenplay could someday be published.

"A screenwriter should convey the film to the reader in a way you can see the film," he suggests. "It should be an edited text but accessible to people."

And so it was that during the post-production of Coriolanus, Fiennes was presented with another screenplay that "jumped off the page". Abi Morgan's screenplay for The Invisible Woman, based on a novel by Claire Tomalin, convinced Fiennes to pursue the drama, which presented its own challenges. He relates that he was forced to research and "embrace the feeling of the Dickensian period" while finding "the humanity inside the characters". He would study Victorian photo albums, witnessing the ageing of specific families by tracing their manners, habits and wrinkles through the photographs, with the ultimate goal of "getting over the period" finding "the beating heart within".

Two clips of The Invisible Woman are shown, after which the audience is given permission to ask the maestro some questions. The first question regards his future - Fiennes reveals that he has just finished filming two films, and is now enjoying a period of reading and not knowing what to do next.

I raise my hand and the microphone is given to me. I ask my childhood idol if he has thought of writing his own material, as he has tried out both acting and directing in the past. He looks me in the eyes (the adolescent girl within me, obsessed with Healthcliff and Lenny Nero, is about to swoon) and answers that he has "thought of it and would like to try it". Furthermore, the collaboration with Morgan has given him "enough confidence to make him feel he might like to try it".

The next question is about tips he might give for your actors auditioning for roles. The respected actor tells the questioner not to give up and to have an audition piece that is both true and meaningful to himself. The actor's own soul "has to come through it". He also warns that there is "much bullshit, flattery and pretense in the business", and that an actor should find interior strength for the life in front of him.

With that, Fiennes departs. My heart is still racing after the opportunity to ask him a question. I feel uplifted, inspired and giddy. Did that just happen? I rush home, full of energy to write and to hone my screenwriting skills. The talk has been truly inspiring and encouraging. I just hope that someday, I might have a career as brilliant and successful as he has had...

Autumn of artsy adventures begins

Autumn has reached London, and with it, a new university term focussing on idea development has began. During our first lecture last week, I submitted my summer elective, an analysis of the problems and solutions in sustaining a long-running television series, as well as three ideas for an original project, all of which enabled me to take another mandatory step towards acquiring those fabulous, juicy carrots I'm pursuing – a master's degree and a career in screenwriting.

I was also given my term two marks, and I was quite pleased. My overall mark was B-, which is also what I received for my script. We were working with adaptations, so I had to choose a short story (R.L. Stevenson's The Body-Snatcher) and write a 30-minute adaptation from it. I was not entirely happy with the piece when I submitted it, and knew it was only a 'first draft', thus the comments made by my marker were well justified: 'although a very strong piece of work, the script could still benefit from tightening the focus of the action and the dialogue to make it sizzle'. As a result, I have spent some time re-working the outline and the dramatic focus, and playing around with the project. I have dozens of ideas, which can hopefully lead to improvements that will make the script 'sizzle'.

My main focus, however, has been on re-working my first university project, a 10-minute short film script that I named A Matter of Time. Reading it now, I am quite horrified by it, and agree that a lot of further work needs to be done for it. It lacks a clear, cohesive structure, the dialogue is far from perfect, and some events could be scrapped altogether. It definitely takes priority over the adaptation, as it is an original piece of work, and I need to have more original work in my portfolio.

So, overall, I am looking forward to the challenges this autumn will bring along writing and study-wise. I have to say, I am quite excited to be writing and creating again. Let's hope this lasts :-)