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The Wedding Car was the last of the six films | 0:00:00 | 0:00:03 | |
It's My Shout, a film training scheme, made for BBC Wales. | 0:00:03 | 0:00:07 | |
The idea came to first-time writer Catherine Kerr-Phillips | 0:00:07 | 0:00:11 | |
when exploring the Gower Peninsula, near Swansea. | 0:00:11 | 0:00:14 | |
She wanted to look at the concept of modern-day relationships. | 0:00:14 | 0:00:18 | |
I was driving through the Gower and I saw a very clapped-out, | 0:00:18 | 0:00:22 | |
little...I think it was a Peugeot 106 or something | 0:00:22 | 0:00:25 | |
and it kind of made me laugh because it was a really old, little, | 0:00:25 | 0:00:29 | |
tatty car but it had wedding ribbons on it. | 0:00:29 | 0:00:31 | |
That made me notice the car and I was going to toot my horn at it. | 0:00:31 | 0:00:34 | |
When I looked inside the car there were two fellas in the car, | 0:00:34 | 0:00:36 | |
both wearing suits and it kind of got me thinking, | 0:00:36 | 0:00:38 | |
"What was the story there? | 0:00:38 | 0:00:40 | |
"What would happen if you lived in some kind of remote, | 0:00:40 | 0:00:44 | |
"little village in the Gower and you were secretly gay?" | 0:00:44 | 0:00:48 | |
The production team decided to base the film in a rural | 0:00:49 | 0:00:53 | |
part of South Wales. | 0:00:53 | 0:00:55 | |
They thought that such an area would provide a realistic setting | 0:00:55 | 0:00:59 | |
for the main theme of the story. | 0:00:59 | 0:01:01 | |
It's probably really hard for people. | 0:01:01 | 0:01:03 | |
I mean, it's hard for anyone, probably, to come out as being gay. | 0:01:03 | 0:01:06 | |
but if you've got all the pressure from what people expect from you, | 0:01:06 | 0:01:10 | |
certain pressure from your community, | 0:01:10 | 0:01:12 | |
from your family or whatever, | 0:01:12 | 0:01:13 | |
maybe there are places, I don't know... | 0:01:13 | 0:01:17 | |
I think the more remote the place, the harder it is for you to come out | 0:01:17 | 0:01:20 | |
as being gay and say, "Look, I'm sorry but this is the way it is." | 0:01:20 | 0:01:24 | |
I think, possibly, it wouldn't be as widely accepted. | 0:01:24 | 0:01:27 | |
The main actors, Tom Murton and Shaun Llewelyn, | 0:01:27 | 0:01:30 | |
study at the Royal Welsh College of Music and Drama. | 0:01:30 | 0:01:34 | |
They were captured by the story's appeal | 0:01:34 | 0:01:36 | |
and could see an almost comedic potential to the relationship. | 0:01:36 | 0:01:40 | |
We first saw the script at the audition, | 0:01:40 | 0:01:43 | |
just didn't really want to stop reading it. | 0:01:43 | 0:01:45 | |
We did the read-through together and then | 0:01:45 | 0:01:47 | |
when we actually did the audition we were put together as well. | 0:01:47 | 0:01:50 | |
In a way that helped the chemistry be there from the start. | 0:01:50 | 0:01:53 | |
It helps the characters' histories, | 0:01:53 | 0:01:55 | |
as well, because how well they know each other, we can just use that, | 0:01:55 | 0:01:58 | |
we don't have to make that up, cos it's already there. | 0:01:58 | 0:02:01 | |
Filming was not without its problems, | 0:02:01 | 0:02:04 | |
particularly when trying to find suitable locations. | 0:02:04 | 0:02:08 | |
The original intention was to film the wedding scene in a church | 0:02:08 | 0:02:12 | |
but the team found resistance, due to the homosexual themes of the film. | 0:02:12 | 0:02:16 | |
When we were researching for the script, | 0:02:16 | 0:02:19 | |
we were speaking to a lot of people and I think socially it's a lot more | 0:02:19 | 0:02:22 | |
acceptable but I think we did suffer a few complications in trying | 0:02:22 | 0:02:26 | |
to source certain locations. | 0:02:26 | 0:02:28 | |
We were quite respectful to, obviously, faith, | 0:02:28 | 0:02:30 | |
originally it was a church, we had to go processes like that. | 0:02:30 | 0:02:32 | |
So, that was quite a difficult one. | 0:02:32 | 0:02:35 | |
We ended up settling on a location here in Usk, it's got a lot | 0:02:35 | 0:02:38 | |
more character to it and adds a lot more character to the story. | 0:02:38 | 0:02:40 | |
Yeah, I think social acceptance, | 0:02:40 | 0:02:42 | |
I think that's what we're trying to show in this film. | 0:02:42 | 0:02:45 | |
The most difficult scene to film was the wedding ceremony. | 0:02:45 | 0:02:48 | |
It included more than 50 supporting artists and the main actors. | 0:02:48 | 0:02:53 | |
Becky, the bride, played by Hannah Barker, was jilted at the alter. | 0:02:53 | 0:02:58 | |
Hannah explained how she would feel in a similar situation. | 0:02:58 | 0:03:02 | |
I'd be gutted, I'd be absolutely gutted! | 0:03:02 | 0:03:05 | |
Humiliated, obviously, not knowing that your fiancee's gay, erm, | 0:03:05 | 0:03:10 | |
but then you'd also feel a bit guilty - why would you not know? | 0:03:10 | 0:03:14 | |
So, I'd probably cry a lot and get very drunk! | 0:03:14 | 0:03:19 | |
The most difficult task for the director was to keep the pace, | 0:03:19 | 0:03:23 | |
tension and comedy of the film up until the climax kiss. | 0:03:23 | 0:03:28 | |
He had to make this come as a surprise to the audience. | 0:03:28 | 0:03:31 | |
I think the moment of the impact that we see in the final scene | 0:03:31 | 0:03:34 | |
between Rob and Barry, I think | 0:03:34 | 0:03:35 | |
there's a little bit of acceptance from the crowd. | 0:03:35 | 0:03:38 | |
There's acceptance from people we meet along the way, as well, | 0:03:38 | 0:03:40 | |
and we're trying to include that in the story. | 0:03:40 | 0:03:42 | |
GASPS | 0:03:44 | 0:03:46 | |
Sorry, we are going to get paid, aren't we? | 0:03:49 | 0:03:52 | |
'It is showing the progress in the modern-day world, which is amazing!' | 0:03:52 | 0:03:57 | |
It's not, sort of, it's not the '50s any more, people are normal people | 0:03:57 | 0:04:03 | |
and it's how to play that without | 0:04:03 | 0:04:07 | |
-giving anything away. -Putting it in someone's face. | 0:04:07 | 0:04:09 | |
There needs to be more stuff like this on the telly as well. | 0:04:12 | 0:04:16 | |
Just because people are brought up and it's not | 0:04:16 | 0:04:18 | |
seen as something that's normal and so seeing it | 0:04:18 | 0:04:23 | |
and it being out there is better, really. | 0:04:23 | 0:04:26 |