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Before production had begun on the expected film adaptation of Enid Blyton‘S The magical distant treedirector Ben Gregor was afraid he would cast one of his stars Andrew Garfielda little off.



“We wrote a song for the film and we sent it to Andrew early on,” Gregor explains The Hollywood Reporter. “And I hadn’t worked with him yet and you don’t know… With actors you can put them off sometimes.”



But Garfield loved it. The gesture ultimately played an important role in the atmosphere that Gregor later cultivated on set: an atmosphere of sincerity, trust and that crucial Blyton ingredient: magic. “Everyone put themselves in the foreground,” says Gregor.



The project has been making headlines in recent months for its release successive announcements of great hit casting: first came Garfield and Claire Foy (The Crown), then came Nicola Coughlan (Bridgerton, Derry girls) and Jessica Gunning (Baby reindeer), and just when you thought it couldn’t get any better, Rebecca Fergusonstar of Dunewas brought on board.



Jennifer Saunders (Absolutely fantastic, Shrek 2) Nonso Anozie (Sweet tooth, Ted Lasso) Dustin Demri-Burns (Slow horses, The Great)Hiran Abeysekera (The life of Pi, The father and the murderer), Pippa Bennett Warner (Gangs of London, Look how they walk, Chloe) and Sirs Lenny Henry, Michael Palin and Simon Russell Beale line up next to them.



The talent is eye-catching, and Gregor is well aware of it. The filmmaker (Britannia, Cuckoo, Black operations, Paternity) worked with a script from Paddington 2 mastermind Simon Farnaby. “He has such a big heart, he really embraced what the actors did,” says Gregor about his fellow countryman. The shoot has been completed and Gregor is talking THR he’s about to show the producers the director’s cut.



Based on the Distant tree series of children’s novels from beloved author Blyton, the film follows Polly (Foy) and Tim Thompson (Garfield) and their children, Beth, Joe and Fran (played by Delilah Bennett-Cardy, Phoenix Laroche and Billie Gadsdon), who find themselves forced to moving to the remote English countryside. There, the children discover a magical tree and its extraordinary and eccentric inhabitants – far from the distractions of their 21st century screens.



From Neal Street Productions, Elysian Film Group and Ashland Hill Media Finance, The magical distant tree is a film for adults and children, says Gregor, because he doesn’t do what everyone else does. “What you have to do is just treat young people like sensible adults,” he says, almost humming as he takes the opportunity to discuss this passion project in depth.



Below, Gregor talks to THR about how he came to Blyton late in life ‘because he had been knocked out of her books as a child’ by his sisters, practiced magic, and how he got this group together: ‘It was like a religious conversion that, when it came to them ended up, what we’ what they were doing, they just said, ‘I have to be involved in this.’



This seems like a real labor of love for you.



Yes, that’s true. I’ve never been surrounded by so many people with such good ideas, whether it was the design or the way the camera works, or the actors and what they brought to the table. Everyone just wanted to create, to make it together in a way that I’ve never experienced before.



I really wanted to make it a group project because I’ve never seen so many people making so many different things, like even the sets and the workshops to make all the mushrooms and all the magical flowers – there were people making mushrooms for months… There many people’s first instincts are in the film, the first drafts or what they always wanted to do or what they thought they couldn’t get away with. And we want that energy because Blyton is a wild, creative force.



Were you a Blyton fan before you got involved? The magical distant tree?



They were my sister’s books and were kept under strict supervision. There was hellfire whenever I went near them, so maybe they had a talismanic, unavailable quality for me. So I’m doing well with it The magical distant tree as an adult. I mean, I knew it as a kid, but I felt like I finally got to be a part of it after being turned away from it a few times.



Can you give us an idea of ​​where the film is, in terms of a timeline?



Yes, it’s an exciting time. We are editing. I’m going to show the producers the director’s cut. You know, Nick and Pippa from Neal Street (Productions), Danny from Elysian (Film Group) and Jane and Mel from Neal Street too. They have been so generous with time and space to let me find the film. And they had a lot of confidence in it. It was a wonderful experience to work with them. I knew it would be like this. So they’re going to see it next week, we rented a cinema. We’re going to show them on the big screen. And the editor and I, Gary Dollner, are brilliant, so it’s an exciting time where I know what it is, and they have an idea what it is, but they haven’t quite seen what it is yet.



And I want to ask because I wrote up the casting news as it was announced and the ensemble you’ve assembled is incredible. Claire Foy, Andrew GarfieldRebecca Ferguson, Jennifer Saunders, Nicola Coughlan, Jessica Gunning, and that’s before we mention Sirs Lenny Henry and Michael Palin or the supporting cast. How did you do it?



Well, there’s a snowball effect when people get what we do – it’s something else. And it was very heartfelt, and there was only one type of cast member participating in the film. And it was like a religious conversion. When it got to them, which we did, they just said, “I need to be involved in this.” And more and more crazy people did that.



Someone like Nicola Coughlin, for example, who is actually the leader (of the tree’s group of residents), Moonface (Nonso Anozie) thinks he is the leader of the tree gang, but it is actually Silky (Coughlin) who is in charge. She was absolutely amazing and was very passionate about doing it. She is an incredibly perfect Silky. And Rebecca Ferguson was just crazy at the end of the day, and she was just fantastic to work with, so fun and creative. I think they all like the freedom because we worked very closely with VFX…. We don’t hide the VFX at all. We’re not saying there’s no VFX, like we’ve created a magic trick. But it meant that the actors could see, touch, feel and do a lot of things so they could improvise. So it has a pretty fresh playing style. Andrew and Claire, the most wonderful parents of this family. They’ve taught me so much, and they’re so kind, and Claire is such a natural artist. It’s just unbelievable how good she is. And Andrew is just brilliant.



Was it equal parts improv and Simon Farnaby’s script?



Simon Farnaby is a fantastic writer who I have known through comedy for many years, but I have absolutely always loved his work. He has such a big heart, he really embraced what the actors were doing. So we would rehearse, and then I would collect all the rehearsal notes here and there of the actors’ ideas. I would send them to him. He would especially love them and then enlarge them. So when they came to rehearse the next day, we got new pages, and they had gotten a pass from Farnaby, and they suddenly felt like, “Wow, it’s not just lip service being paid.” A lot of people get lip service in movies, I think… And we have a song.



In the movie?



We were going to do a cover, but I was like, “I want our own song.” I wanted something like ‘You have a friend in me’ because it’s symbolic. The father, Andrew Garfield, is a kind of Captain Fantastic meets Mosquito Coast visionary, who wants to save his children from the screens and bring the family back together. And then circumstances conspire to force them to take this opportunity and go to a place where there is no Wi-Fi and no electricity, and that’s how those kids respond. There’s a scene early on in the movie where he plays this song, the family song, and they can’t stand it. They leave him there. Then the children sing the song later. So the song is very important. And then with the composer Isabella Summers, who is one half of Florence and the Machine – she is the Machine – she is a brilliant and wonderful person. We wrote a song for the film and sent it to Andrew early on. And I hadn’t worked with him yet and you know, with actors sometimes you can put them off, but I wanted to show what we had done. And he absolutely loved it. And because we have put ourselves out there, we have earned the trust. So everyone put themselves out there.



What was it like working with the children? Delilah Bennett-Cardy, Billie Gadsdon and Phoenix Laroche?



The children themselves are almost the triumph of the film. The performance is so strong from them. They are the three most important children. They are simply brilliant. Because if you have bad kids in this, you have a bad movie no matter how you look at it. Far from being annoying, they are very sweet and very wonderful. And really hold the screen, hold the space. They feel so realistic. Their emotional trajectories throughout the film feel so relatable to anyone who tries to fight their kids over screens, or to anyone who’s seen the light in their kids’ eyes dim a little with too much screen time. It’s about the light that comes into their eyes and that’s basically what the film is.



You speak about it so eloquently and passionately.



I’m so sorry. After this you can happily invoice me.



Absolutely not! I wonder how you find that balance between making a film that resonates with adults as well as with children?



There is a very simple answer to that, which is that you definitely don’t try to do what everyone else is doing. When people make things for kids, they have a lot of kid parts and then adult parts, right? That just doesn’t work. What you need to do is just treat young people like sensible adults. Involve them, tell them a good story, make it funny, but make sure it makes sense. When we go to the cinema, we want to play. It’s like going to a playground or a gym. That’s a childish instinct. We all have that within us. So if you make a really heartfelt film for young people, adults will love it. Watching Paddington2look at The sound of music. Look at a really good family movie animation that’s doing so well. Why am I crying after two minutes? Upwards? This isn’t real. Those are cartoons. If you are generous to your audience, if you are generous to how they feel, they will respond.



Filmmaking is boring. My basic principle is that filmmaking is boring, okay? And that helps you get through the day. Actors want to make something great, but they want to make something of the idea and finish a little early, or make something great and no one uses their mood. Some people think you need stress to be brilliant. Personally, I don’t think you do. But of course there are many brilliant, moody directors. They are very, very good, but on the less moody side. With the kids we had little rituals that we did to gain energy and funny high five things. We had a very good first AD, Lydia (Currie), she was also very good with them. Because there are a lot of hours and things with how long they can stay on set (so the kids) don’t get too tired. And we wanted to do night shots. We wanted to do ambitious things because the world has to be spectacular and that sometimes meant shooting at night, but I feel like the kids had a great time.



Well, now I’m even more excited to see it.



I wish we could talk for another three hours. I could still go on. It’s crazy, isn’t it?



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