After he had completed it, he sent it to a few friends who worked in theatre in London and New York for feedback.
Lane started talking with Simon Egan and Gareth Unwin of Bedlam Productions , and they invited Seidler to London to rewrite the play again, this time for the screen. Together, Lane and Bedlam Productions organised a reading of the play in Pleasance Theatre , a small house in north London, to a group of Australian expatriates, among whom was Tom Hooper 's mother. She called her son and said, "I've found your next project". Instead of trying to contact his agent, Lane asked an Australian staff member to hand-deliver the script to Geoffrey Rush's house, not far away from hers in Melbourne.
Unwin reports that he received a four-page e-mail from Rush's manager admonishing them for the breach of etiquette, but ending with an invitation to discuss the project further. If you hear the real speech, he's clearly coping with his stammer. But it's not a perfect performance. He's managing it. The production team learned—some nine weeks prior to the start of filming—of a diary containing Logue's original notes on his treatment of the Duke. Hooper said some of the film's most memorable lines, such as at the climax, when Logue smiles, "You still stammered on the W" to the King, who replies, "I had to throw in a few so they would know it was me" were direct quotations from Logue's notes.
Once they met with Firth and heard him read for the part, Seidler and Hooper were convinced of his suitability for the role. Most was shot in the three weeks before Christmas because Rush would be performing in a play in January.
The schedule was further complicated by Bonham Carter's availability: she worked on Harry Potter during the week, so her scenes had to be filmed during the weekend. To emphasise Logue's humble background, the entire street was transformed into one from s London. Large advertisements for among other things Bovril and fascism were added to walls, grit and grime to streets and buildings. The production had asked for permission to film in the Abbey but were denied due to the demands of tourism. Its size allowed them to build sets showing not just the coronation, but the preparations before it.
The room, ornate and vast, met the occasion: the daunting nature of the new King's responsibilities was shown by surrounding him with rich detail, flags and royal portraiture. The crew investigated Logue's former consultation rooms, but they were too small to film in.
Instead, they found a high, vaulted room not far away in 33 Portland Place. Eve Stewart, the production designer, liked the mottled, peeling wallpaper there so much that she recreated the effect throughout the entire room. The scenes of the Duke of York at home with his family were also filmed here; showing the Prince living in a townhouse "subverted" expectations of a royal drama.
Elland Road was used for the speech elements of the prince stammering his way through his first public address, and Odsal Stadium was selected because of the resemblance of its curved ends to Wembley Stadium in They filled the terraces with inflatable dummies and over extras dressed in period costumes.
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Live actors were interspersed to give the impression of a crowd. Additional people, as well as more ranks of soldiers on the pitch, were added in post-production with visual effects.
His sister, Kate Firth , also a professional voice coach to actors, proposed exercises the King might have done with Logue, and made suggestions on how to imagine Logue's mix of physical and psychological coaching for the film. In an interview with Allan Tyrer published by the British Stammering Association , Swain said: "[It] was very interesting while we were working on the film just to think tonally how far we could go and should go with the strength of George's stammer.
I think a less courageous director than Tom [Hooper] — and indeed a less courageous actor than Colin [Firth] — might have felt the need to slightly sanitise the degree and authenticity of that stammer, and I'm really really pleased that neither of them did. The film's original score was composed by Alexandre Desplat. In a film about a man struggling to articulate himself, Desplat was wary of overshadowing the dramaturgy: "This is a film about the sound of the voice.
Music has to deal with that. Music has to deal with silence. Music has to deal with time. The minimalist approach emphasises the protagonist's struggle for control. The music rises to a climax in the coronation scene. Hooper originally wanted to film the scene without music, but Desplat argued that it was the real climax of the story—the point when the friendship was ratified by their decision to trust each other.
To create a dated sound, the score was recorded on old microphones extracted from the EMI archives which had been specially made for the royal family.
When Desplat later joined the team to write the music, he praised and defended Anwar's suggestion. Hooper further remarked that the stature of the piece helps elevate the status of the speech to a public event. The score also won a Grammy at the 54th Grammy Awards. All tracks written by Alexandre Desplat , except where noted. Hooper employed a number of cinematic techniques to evoke the King's feelings of constriction. He and cinematographer Danny Cohen used wider than normal lenses to photograph the film, typically 14mm, 18mm, 21mm, 25mm and 27mm, where the subtle distortion of the picture helps to convey the King's discomfort.
Roger Ebert noted that the majority of the film was shot indoors, where oblong sets, corridors, and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas. Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes. The approach carried over to Firth as well. In the first consultation scene, the Duke is squeezed against the end of a long couch framed against a large wall, "as if to use the arm of the sofa as a kind of friend, as a security blanket?
At other times, the camera was positioned very close to the actors to catch the emotion in their faces: "If you put a lens 6 inches from somebody's face, you get more emotion than if you're on a long lens 20 feet away," Cohen said in an interview. Historical dramas traditionally tend to use "soft light", but Hooper wanted to use a harsher glare, which gives a more contemporary feel, and thus a greater emotional resonance.
To achieve the effect, the lighting team erected huge blackout tents over the Georgian buildings and used large lights filtered through Egyptian cotton.
Your Kings Speech How To Beat Your Public Speaking Fears
The filmmakers not only tightened the chronology of the events to just a few years but even shifted the timeline of treatment. The Duke of York actually began working with Logue in October , ten years before the abdication crisis , and the improvement in his speech was apparent in months rather than years as suggested by the film.
I give it every evening at dinner on board. This does not worry me any more.
In The News
Robert Logue, a grandson of Lionel, doubted the film's depiction of the speech therapist, stating "I don't think he ever swore in front of the King and he certainly never called him 'Bertie'". Hugo Vickers, an adviser on the film, agreed that the alteration of historical details to preserve the essence of the dramatic story was sometimes necessary.
The high-ranking officials, for instance, would not have been present when the King made his speech, nor would Churchill have been involved at any level, "but the average viewer knows who Churchill is; he doesn't know who Lord Halifax and Sir Samuel Hoare are. Even better: memorize.
7 Tips to Help You Overcome Your Fear of Public Speaking
Have the opening, and closing nailed down and then have a bullet point version of the rest of your speech memorized, suggests Rochelle Rice , one of the 69 Accredited Speaker with Toastmasters International and a board member of the National Speakers Association. Practice, practice, practice. If you put on a front, the audience will pick up on it.
There is no harm in researching other speaker styles, but a speaker needs to develop a style distinct to their personality, never imitate styles. Enthusiasm and boredom are contagious. Even if you have given the speech before, be sure to make tweaks to engage the specific audience.
We can never be over-prepared," says Murad.
Your brain gets slowed down by complicated instructions, says Wyeth. Sports psychologists encourage professional golfers to pick one word as they get ready to putt. You probably won't be Tony Robbins on your first try.
Tackling the Fear
It takes time, practice and patience to hone your skills," says Rice. As counter-intuitive as it may sound, intense concentration will trip you up, says Wyeth. It's not consciously accessible.
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You can't knock on its door and say, 'Ok, cerebellum, I'm ready to speak. If you don't want to choke, don't monitor your own performance. Be well-rehearsed, trust yourself, and get on with it. Well-meaning people will tell you to slow down and continuously assess yourself. Don't do it. Dive in with both feet. It'll keep your feet out of your mouth. Get Make It newsletters delivered to your inbox.