Directed by Lasse Hallstrom
Lasse Hallstrom’s Casanova, a sparkling satire set in 18th century Venice, is a departure from his more somber Chocolat and Cider House Rules. He wanted, he says, to tackle something lighter, to go back to being silly.
“In the ‘60s, I made Swedish television comedies—although that might seem a contradiction in terms to most Americans,” Hallstrom quips. “This is my first action-comedy. I was a little scared at first, because it’s such a departure for me, and I’m suspicious of—almost allergic to—broad comedies, especially American ones. Which is an odd thing to say, now that I’ve made one.”
MERIN: How did you choose Casanova?
HALLSTROM: I got the script several years ago. I didn’t like it, but it gave me the idea of doing a comedy, something lighter. I wanted to go back to being silly. The script changed completely when Jeffrey Hatcher rewrote it. His well-constructed, elegant, witty script excited me. I think he was inspired by Goldoni and Commedia dell’ Arte. The story’s a complete fabrication. I didn’t worry about the details of the real Casanova’s life—in fact I stopped researching Casanova because our story was so different from his, it made me nervous.
MERIN: How did you transform modern Venice into 18th century Venice for the shoot?
HALLSTROM: We chose locations away from postcard Venice, mostly. We shut down canals, and St. Mark’s Square and the Doge’s Palace. We removed power lines and modern rooftops digitally. The 18th century backdrop had to be absolutely accurate.
MERIN: Was it hard to get permits?
HALLSTROM: Venice is a grand old lady and needs to be respected. There’s bureaucracy, high drama and an extraordinarily silly amount of paperwork required. They want a locked script and camera angles before issuing permits. We rewrote scenes a day before filming, so it was a constant Catch-22—a wonderful chaos. I thrive on chaos, but was blessed with nine producers to clear the way. We were inspired by Venice—the city’s a real character in the film.
MERIN: Casanova (Heath Ledger), a rake being chased for chastening by the Catholic Church, falls for Francesca (Sienna Miller), a liberated, sword-fighting woman. Could Casanova exist today? Could Francesca have existed then?
HALLSTROM: We have contemporary seducers. I probably shouldn’t mention names—but Warren Beatty, didn’t he used to be a Casanova? And Henry Kissinger, he’s that kind of guy—very smart, a good listener and has that wide range of appeals that a Casanova must have.
But with this script, seduction interested me less than satire. It’s true, women like Francesca didn’t exist back then, and we’ve taken liberties with other characters—Bishop Pucci (Jeremy Irons), Paprizzio (Oliver Platt) and Francesca’s mother (Lena Olin)—to make them funny. They’re all, in some ways, anachronistic. That’s one reason 18th century Venice must be absolutely real. But, most importantly, the performances make it work. If emotions are real and honest and completely fill these anachronistic larger-than-life characters, it’s funny. Performances are the key, and timing. And, by the way, this is my first film that—according to focus groups, at least—doesn’t drag in spots. Its timing is very quick.
MERIN: Casanova doesn’t have many love scenes, yet it’s rated “R.” Why?
HALLSTROM: The “R” is for something that happens under a table. We wouldn’t cut it, and Disney supported our decision. But maybe “R” works for us. Casanova with a “PG-13” seems a bit lame. If I’d anticipated the “R,” however, I’d have made a sexier film.
MERIN: You’re known for discovering actors—like Charlize Theron in Cider House Rules, and now Sienna Miller in Casanova. How do you choose your casts?
HALLSTROM: Actually, I pride myself on finding new talent. I’m interested in seeing to it that actors flourish in front of the camera, in making them relaxed and confident enough to do their best. Everyone auditions for me. Actors don’t like that, because auditioning is such an awkward situation. When I arrived from Sweden, my excuse was I didn’t know American actors. Now I’m here ten years, that no longer works—but I still require auditions. For Casanova, Heath’s agent had to talk him into auditioning. He nailed the character…
Sienna impressed me with her elegance and command of language. Francesca has a lot to say, and not all young girls could handle that. Jeremy Irons’ performance as Scar in The Lion King was a perfect audition for Pucci. Oliver Platt’s emotional life is so huge, he makes ridiculous characters—even Paprizzio—real and sympathetic.
MERIN: You were with the Weinsteins at Miramax for many years. Do you think you’ll work with them again?
HALLSTROM: My last film under contract to them was An Unfinished Life. I might go back, but I should move around a little first—or I’ll appear to be a Weinstein soldier for life.
MERIN: Were you disappointed with their handling of An Unfinished Life?
HALLSTROM: I knew in advance they were dumping it—releasing it with about 20 movies during two months. I was in good company, and knew it would be watched on DVD…
MERIN: What’s next for you?
HALLSTROM: Hoax, a film about Clifford Irving’s fake Howard Hughes biography. It stars Richard Gere—who’s very surprising, and different from anything he’s done before—and Hope Davis and Alfred Molina. It’ll be released next year. n
