Lasse Hallström discusses his latest heart-warming feature.
Lasse Hallström has had a career spanning almost forty years and is often considered one of the most successful Swedish filmmakers in the business. After directing work on a Swedish comedy series, Hallström’s career took off after he learned his craft directing music videos for Sweden’s most infamous bands, ABBA, as well as the documentary ABBA: The Movie (1977). However, the filmmaker’s movie break came in 1985 after he directed the heart-wrenching drama My Life as a Dog which received two Oscar nominations including one for Best Director. Hallström would continue on to direct an array of critically acclaimed films, most notably What’s Eating Gilbert Grape (1993), The Cider House Rules (1999) and Chocolat (2000); all of which would receive Oscar nominations.
The Swedish director is renowned for integrating a variety of cultures, food and assorted philosophies in his feature films and his latest could not a better example of that. The Hundred-Foot Journey features a diverse cast made up of Dame Helen Mirren, veteran actor Om Puri and rising star Manish Dayal and sees an Indian family move to regal France in a bid to open a family restaurant with some competitive competition.
We spoke to Hallström about his renowned filmmaking career, directing a diverse cast and his love for a mix of cultures.
With such a diverse career, directing films like What’s Eating Gilbert Grape? (1993) and The Cider House Rules (1999), what was it about The Hundred-Foot Journey that made you want to get on board as director?
First of all, I was so charmed by it. It was funny, emotional and included two love stories as well as that combination of the culture clash. It was a bit of a sibling to Chocolat (2000), which I made fourteen years earlier. I also thought that the subject matter was as important as the interesting characters, who were the main attraction.
How did you go about casting Helen Mirren as Madame Mallory?
She was actually on board already to direct it. It was supposed to be a Steven Spielberg movie but he ended up producing it so I got to work with him, which was heavenly.
How was it having Steven Spielberg as a producer?
He was great. He gave us feedback for the script, watched over dailies and commented on them. It was great encouragement for me and it was a privilege for him to give me ideas. It’s not too common that a producer is that helpful creatively.
And how was it working with Opera Winfrey as a producer?
She was the one who got the fill going and helped create an interest in making the film. But she wasn’t creatively involved, at least not with me, but she helped get the film made.
How was it filming on location in France?
We shot mostly on the boarder of Toulouse, in a village called Saint-Antonin-Noble-Val. We chose our restaurant location early on but some of the landscape of the restaurant scenes is computer-generated because our location was so desolate.
