{"id":11790,"date":"2015-05-07T22:35:31","date_gmt":"2015-05-08T05:35:31","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=11790"},"modified":"2015-05-07T22:35:31","modified_gmt":"2015-05-08T05:35:31","slug":"stephen-bradley-his-noble-journey-exclusive-11-interview","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/stephen-bradley-his-noble-journey-exclusive-11-interview\/","title":{"rendered":"STEPHEN BRADLEY: His “Noble” Journey – Exclusive 1:1 Interview"},"content":{"rendered":"

Embarking on his own five year journey, writer\/director Stephen Bradley brings Christina Noble\u2019s story to the silver screen with the film NOBLE.\u00a0 As I quickly learned during our recent exclusive one-on-one interview, with unending engaging enthusiasm, Stephen Bradley is as indefatigable as Christina Noble herself.<\/p>\n

\"noble<\/a>
Stephen Bradley<\/figcaption><\/figure>\n

Christina Noble is relatively unknown outside of Ireland and the United Kingdom.\u00a0 An inspiring woman, Noble faced loss, hardship and poverty as a child growing up in the slums of post WWII Dublin.\u00a0 But Noble\u2019s faith and positivity not only kept her alive, but helped her thrive and overcome every challenge and bit of adversity the world threw at her.\u00a0 That strength eventually led her to Vietnam in 1989 where she began helping the children of Saigon; children who, like herself as a child, were homeless, hungry, alone and in need of love.\u00a0 And through her perseverance and determination, the Christina Noble Foundation became a reality, eventually expanding with programs across Vietnam and into Mongolia, while earning Christina Noble the honor of Officer of the Most Excellent Order of the British Empire in 1997 for her work as a children\u2019s rights activist and charity worker.<\/p>\n

Initially unaware of who Christina Noble was, Bradley credits his wife, actress and comedienne\u00a0 Dierdre O\u2019Kane, for opening his eyes.\u00a0 \u201cShe read Christina\u2019s books in the 1990’s and has always been a little bit obsessed by Christina as a person and her work.\u00a0 When Dierdre was at the height of her powers as a stand-up comedienne, she did several annual events of fundraising for the Christina Noble Foundation.\u00a0 Then Dierdre and I moved to London and in 2008 we sat down to talk about something we might collaborate on.\u00a0 She said, \u2018Listen, there\u2019s only one thing I want to do and that\u2019s the story of Christina Noble.\u2019\u201d With those words, and O\u2019Kane at the ready, Bradley embarked on what would become a five-year journey.<\/p>\n

\"noble<\/a>
\n\u201cThe first two years were really me traveling back and forth to see Christina in Dublin, to get to know her and hear her story; and I mean \u201creally\u201d get to know her so I could write the screenplay.\u00a0 And also for Christina to trust us enough to give us the rights to make the film.\u201d\u00a0 Ultimately, in 2011, Bradley\u2019s efforts were rewarded when Noble \u201cmade the decision that she did trust us enough, that we got to know each other enough, and I\u2019d spent enough time talking to her about all the stories that aren\u2019t necessarily in the books or in the public domain.\u00a0 At that point she said, \u2018Listen, it\u2019s your film now.\u00a0 Off you go.\u00a0 You don\u2019t need to consult me or anything.\u2019 . . . I suppose in the sense I felt those two years of ground work just gave her that confidence, but it was an amazingly generous and necessary gesture in the sense that I obviously couldn\u2019t have had looking over my shoulder as I made the film. . . And she didn\u2019t see the film until it was completely finished!\u201d<\/p>\n

What struck Bradley most about Noble over the two years of meetings was that, \u201cShe\u2019s a larger than life character.\u00a0 I came at it at a different way than Dierdre did. . . I had to come at it from a completely different angle in the sense that, first and foremost, having to write the screenplay and treat it as a dramatist.\u00a0 In that sense, Christina is a very complicated character.\u00a0 She\u2019s got a lot of conflicting facets to her character and she\u2019s a larger than life character. . . [S]he\u2019s got that classic kind of hero\u2019s journey to her as well.\u00a0 All of those obstacles she\u2019s overcome to break out in the end and into the blue sky of what she has done.\u00a0 I was thinking first and foremost as a dramatist and from that point of view she\u2019s just a fascinating character to make a film about.\u201d<\/p>\n

But that larger than life persona, with a lifetime of experiences, provided another challenge for Bradley – which chapters and stories of Noble\u2019s life to incorporate into the script. \u201cIn a way, that was one of the hardest things.\u00a0 I did write some other storylines and some other subplots and some of the even harder events that happened to her, and it was a question of honing that down and trying to get to the essence of Christina\u2019s character, and therefore, jettisoning\u00a0 – not wanting it to be too much story for an audience.\u201d<\/p>\n

\"noble<\/a>
Stephen Bradley and Dierdre O’Kane on location of NOBLE<\/figcaption><\/figure>\n

Because of the 40 year expanse of time to cover, Bradley needed to construct a script that\u2019s not only engaging for an audience, but true to Noble and life\u2019s events.\u00a0 Approaching the story with a non-linear format proved to be the way to go.\u00a0 With NOBLE, he found that sweet spot as he takes the audience back and forth in time but in looks into the 1950’s and 70’s, gives little breadcrumbs of information with each visit, just enough to give the audience a sense of what happened and how that shaped Noble\u2019s life in the 1989 \u201cpresent day\u201d, while deepening interest and creating a desire for \u201cmore\u201d, all of which would slowly be dispensed as the film progressed.\u00a0 Looking at it from the audience\u2019s point of view, Bradley believes \u201cThere\u2019s two things about audiences.\u00a0 One, they are really savvy.\u00a0 People know how to watch films now.\u00a0 They\u2019ve watched a lot of films, they know the language of cinema and television, and they join the dots really fast.\u00a0 But they also like to be given little puzzles, I think, to work the brain, the storytelling brain, and to engage with the film.\u00a0 That\u2019s what I was trying to do there.\u201d<\/p>\n

Key to making the non-linear format of the film work was the casting and \u201cgetting the cast of the three Christinas (representing ages 10-years, teenaged and adult) to completely match in the way that they do.\u00a0 Also, that the audience loves each one of them so that you\u2019re not in danger of spending some time with one of them and cutting away to another and the audience is gonna go, \u2018No, I don\u2019t like this one so much.\u00a0 Why couldn\u2019t we stay with the other one.\u2019 I think that\u2019s a really important part of the casting end of those three amazing performances by those three actresses.\u00a0 That really helped me.\u00a0 That gave me the confidence in the edit to go through with what I had written in the screenplay, which was that structure.<\/p>\n

\"Dierdre<\/a>
Dierdre O’Kane as “Christina Noble”<\/figcaption><\/figure>\n

And what about the three actresses who play Christina Noble?\u00a0 Gloria Curtis, Sarah Greene and Dierdre O\u2019Kane. \u201cAs I said, that is probably the single most important thing with the film because as you said, if there was a flaw, then you lose the audience.\u00a0 And as an audience you then get frustrated and annoyed with it.\u00a0 I always referenced the film \u2018Shine.\u2019\u00a0 That had the same age groups.\u00a0 It had David Helfgott as a 10-year old, a late teenager and then the Geoffrey Rush age.\u00a0 That was a great guide for me in showing me how important that was to get right.\u00a0 In a way, I often say to actors that part of the breaks in this business is there\u2019s either a script coming down the tracks for you or there isn\u2019t.\u201d<\/p>\n

While Dierdre O\u2019Kane as the adult Christina Noble was a given, finding the teenaged and 10-year old Christinas are stories unto themselves.\u00a0 \u201cIn Sarah Greene\u2019s case, she had been working away in Ireland, hadn\u2019t really broken through despite the fact she\u2019s an incredible actress and incredibly beautiful.\u00a0 I saw her in the National Theatre in Ireland.\u00a0 I saw her do a play.\u00a0 I got a ticket for the last night of the play and she just dominated the stage and seduced the audience.\u00a0 The whole audience fell in love with her.\u00a0 She was magnetic.\u00a0 I knew she had a very similar energy to Dierdre.\u00a0 I intended to be very professional and audition loads of actresses for that role but Sarah Greene came in on the first day and as soon as I saw her in this role, I knew that I had to offer it to her.\u00a0 So that was a great break for me as well.\u00a0 And she and Dierdre are just a fantastic match.\u201d\u00a0 Once cast and shooting was underway, \u201c[E]ven though she didn\u2019t shoot in Vietnam, I brought [Sarah] to Vietnam to watch Dierdre in action so she could feed off Dierdre.\u201d<\/p>\n

\"Sarah<\/a>
Sarah Greene as teenaged”Christina Noble”<\/figcaption><\/figure>\n

For O\u2019Kane, going beyond her decades long knowledge and \u201cbit of obsession\u201d with Christina Noble and her life\u2019s work, in addition to reading each and every draft of the script along the way, together with husband Bradley, the couple \u201clived and breathed the film solidly for a year before we started shooting.\u201d\u00a0 Bradley describes O\u2019Kane as being \u201cincredibly focused.\u00a0 She went to Vietnam with Christina for ten days before we started shooting and shadowed her 24 hours a day to get under her skin. . .We had talked about the film and the script so much that by the time we came to shoot, we were both completely on the same page.\u00a0 We were both in the zone.\u201d<\/p>\n

On seeing NOBLE, what proves amazing is the performance of Gloria Cramer Curtis as 10-year old Christina.\u00a0 The persona and essence Curtis gives to Christina is carried through by Greene and O\u2019Kane, but the film was actually shot in reverse.\u00a0 \u201cWe shot all of Dierdre\u2019s stuff first and then I let Sarah and Gloria feed off of what Dierdre had done.\u201d\u00a0 As Bradley notes, \u201cIt\u2019s hard to find great child actors.\u00a0 It\u2019s a question of seeing a lot of them and finding the \u2018Gloria\u2019 that\u2019s there amongst all of them.\u201d\u00a0 When it came to casting the young Christina, Bradley had only seen Curtis\u00a0 on a tape but his enthusiasm in describing his finding her is infectious.\u00a0 \u201cShe hadn\u2019t actually learned the lines so she probably wasn\u2019t as good as some of the others at that point, but I just saw something in her.\u00a0 Then I did about four auditions with her to make sure that she was as good as I thought she was and that she could take direction.\u00a0 She was just amazing.\u201d\u00a0 One of the endearing touchstones of the film which is carried throughout by each of the actresses are little moments of lightness with Christina talking to God in a very childlike manner of bartering and bargaining with him.\u00a0 Although one might think this is a cinematic move, Bradley assures us that\u2019s not the case.\u00a0 \u201cThat kind of childlike way of talking to God is something that Christina has carried right through her life.\u201d<\/p>\n

\"Gloria<\/a>
Gloria Cramer Curtis as 10-year old “Christina Noble”<\/figcaption><\/figure>\n

Equally strong to Bradley\u2019s story structure and casting is the film\u2019s cinematography and for that job, Bradley called upon Trevor Forrest.\u00a0 Describing him as \u201ca young guy\u201d and \u201ca great cinematographer\u201d, Bradley discovered him through another film.\u00a0 \u201cI had seen him shoot a film called \u2018Una Noche\u2019 that won a prize at Tribeca and was shot in Cuba.\u00a0 That had that similar vitality to it that I needed for Christina\u2019s story.\u201d\u00a0 Also essential for Bradley was the film be a \u201croller coaster of emotional entertainment rather than a dreary ordeal. . .\u00a0 It was all about finding the essence of Christina\u2019s character which, in all aspects of the film, including the cinematography, is what kind of drove me on.\u00a0 One of the things with Christina is she doesn\u2019t have any gray or black or darkness in her life in terms of the colors that she brings to all of her surroundings.\u00a0 I wanted to use that in the cinematography.\u00a0\u00a0 We shot the film on widescreen and we shot it on 35mm.\u00a0 We shot it on film, probably the last time I\u2019ll ever get to shoot on film in my life.\u00a0 Actually, it was the last film that was processed at the Technicolor lab in London. . . But I wanted to shoot on film because I was in the 1950’s, I was in the 1960’s and I was in 1989 which was all pre-digital.\u00a0 It also gave me other tools to play with.\u00a0 Like we used three different stop-types for each different period, and a different grading method; all of which film gave us more latitude with.\u201d<\/p>\n

Also important to Bradley and in choosing Forrest very essence and vibrancy of Vietnam.\u00a0 \u201cWhen you are in Vietnam, the light and the color and the life of the street, you just suddenly realize that you\u2019re going to be able to capture a sort of epic scale to this film on a relatively modest budget just by being in Vietnam.\u00a0 Again, that was part of my thing with Christina\u2019s story.\u00a0 It\u2019s an epic story, it\u2019s a classic modern day hero\u2019s journey with real scale to it.\u00a0 What the streets of Saigon let me do, along with Trevor\u2019s cinematography, was included in that scale in the film.\u201d<\/p>\n

\"noble<\/a>
movie still from NOBLE<\/figcaption><\/figure>\n

Color and production design is an important storytelling tool for Bradley and particularly with NOBLE.\u00a0 Color in the daylight scenes in Vietnam have vibrant pops of turquoise, slips of reds and pinks while nighttime is filled with darker, richer saturations dotted with neon. Bradley gives much credit to his production designer Cristina Casali.\u00a0 \u201cWe had to bring Ho Chi Minh City back to the Saigon of 1989.\u00a0 We allowed ourselves a couple of licenses, like, there wouldn\u2019t have been that many motorbikes in those days like there are in some of the wider street scenes.\u00a0 Cristina is very clever.\u00a0 She had a whole bag of tricks of ways of covering up anachronisms, and ways of bringing color to sharp moments in the frame.\u00a0 Also, sometimes we closed down the streets and we introduced traffic which was pure 1989 cars and bikes and bicycles and people.\u00a0 That was full on set dressing.\u00a0 So there were a few times we had full on set dressing and there were other times that we were sort of massaging what was there and framing to suit our period.\u201d<\/p>\n

As comes as no surprise, shooting in Vietnam presented many logistical challenges for Bradley and his team.\u00a0 \u201cFrom the start you\u2019re working in 30-35 degrees Centigrade [90-95 degrees Fahrenheit] and it\u2019s hot!\u00a0 It\u2019s hot!\u00a0 Then it\u2019s a bustling, very vibrant, very busy city.\u00a0 So it was difficult shooting there.\u00a0 We had an amazing producing partner, Melanie Gore-Grimes, and a lot of her experience was in shooting large scale commercials for Ridley Scott\u2019s company in far off locations.\u00a0 She was able to go into Vietnam and really get organized.\u00a0 It took us about eight months to get all the permissions that we needed and to really get our act together in terms of the different way of shooting in Vietnam.\u201d\u00a0 Interesting is that despite the growth and revitalization in Vietnam since the war very few films have shot in Vietnam so Bradley \u201cactually ended up bringing 35 crew from the UK with me, as well as probably 100 Vietnamese people in Saigon who worked on the film.\u00a0 It was a new way of working.\u201d\u00a0 During pre-production, Bradley was also \u201cshuttling between Vietnam and Liverpool which is where I shot all the Irish and English material.\u00a0 So I was running two art departments and shuttling between the two.\u00a0 It was challenging, particularly on the budget level, but I knew that Saigon was gonna offer up all the things you\u2019ve described that are there, so it was really worth putting in that work.\u201d<\/p>\n

\"noble<\/a>
movie still from NOBLE<\/figcaption><\/figure>\n

While Stephen Bradley and his audience have learned about Christina Noble through the journey of\u00a0 NOBLE, one has to ask what Bradley has learned about himself on his journey in bringing this story to life.\u00a0 \u201cWow.\u00a0 That\u2019s an amazing question. . .I\u2019ve been writing and directing for 20 years now and I suppose the most exciting thing and the thing that\u2019s most satisfying and that I\u2019ve learned a little bit about myself doing it, is just having the confidence to do all of those roles.\u00a0 There have been ups and downs.\u00a0 We\u2019ve got to this stage but one of the greatest battles has been pushing the film up the hill so it can reach its audience.\u00a0 I hope that we\u2019ve all shown a bit of tenacity.\u00a0 At times it looked like we wouldn\u2019t get to where we are now, even though we knew we had the film that we had.\u00a0 I think I\u2019ve learned a lot about the film business and I suppose about myself in relation to the film business and how, if you do keep going and you\u2019re confident in the material and the material has turned out well, then you\u2019ve really just got to keep pushing.\u201d<\/p>\n

This journey has also given Bradley food for thought on the film industry as a whole, finding that \u201cthe film industry is totally in flux and I think there are new ways of finding audiences.\u00a0 That\u2019s not just to do with digital technology because obviously I\u2019m a big fan of the theatrical experience and I want this film, which has been shot as a widescreen experience taking an audience to Vietnam and into the 1950’s, to be seen on the big screen, but I hope that people are going to still have that desire to have the theatrical experience very much as I would like to keep making films for theatres.\u201d<\/p>\n

\"Stephen<\/a>
Stephen Bradley<\/figcaption><\/figure>\n

As NOBLE hits those theatres across the US, not one to rest on his laurels, Bradley is back at work.\u00a0 While admittedly difficult to get back to the writing after the years spent on NOBLE, \u201cI have finished a script that\u2019s ready to go into production .\u00a0 A psychological thriller set in the Second World War in France that I\u2019m hoping to do with Cillian Murphy. . .Then I\u2019m developing a comedy with five actors who became best friends on another film that I made, one of whom is Domnhall Gleeson who\u2019s in \u2018Ex Machina\u2019 at the moment and is in the new \u2018Star Wars\u2019 and all of that.\u00a0 We\u2019re developing a film together with four of his best friends who are all very fine actors and doing very well in Ireland and the UK.\u00a0 That\u2019s a fun project.\u00a0 And I\u2019m writing a storyline for a big family crime saga set in the 1930’s in New York.\u201d<\/p>\n

As a final postscript to our interview, Stephen Bradley left me with these words which apply not only to the making of a film, but of life. \u201cWhenever we have problems, all we have to do is look at the story of what Christina did and our problems pale into insignificance in terms of all the things she overcame. That was always a great boost.\u00a0 We could always feel fortunate where we were.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Embarking on his own five year journey, writer\/director Stephen Bradley brings Christina Noble\u2019s story to the silver screen with the film NOBLE.\u00a0 As I quickly learned during our recent exclusive one-on-one interview, with unending engaging enthusiasm, Stephen Bradley is as indefatigable as Christina Noble herself. Christina Noble is relatively unknown outside of Ireland and the […]<\/p>\n","protected":false},"author":2,"featured_media":11791,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[2752,2753,320,2762,2763,2471,2473,2764,2758,2761],"class_list":["post-11790","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-christina-noble","tag-dierdre-okane","tag-director","tag-ireland","tag-liverpool","tag-noble","tag-stephen-bradley","tag-uk","tag-vietnam","tag-writer"],"yoast_head":"\nSTEPHEN BRADLEY: His "Noble" Journey - Exclusive 1:1 Interview - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by industry professional and film critic debbie lynn elias...\" \/>\n<meta name=\"robots\" content=\"index, follow, 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