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KC: It really taps into themes that are there in Steve's writing in his other works. He looks at things like class and social mobility and, in this version, the time that it's set, the way that empire and commerce has affected and shaped London, for example, are all things that very much interest Steve. Miss Havisham's father was a wealthy brewer and her mother died shortly after she was born. Her father remarried and had an illegitimate son, Arthur, with the household cook. Miss Havisham's relationship with her half-brother was a strained one.
What makes this version different is the casting choices – they have really thought outside of the box. People can see themselves in a piece like this where they may have been excluded previously just because of the nature of the way the world was at the time. London at that time was a melting pot of different cultures. You had people from Asia, Africa, and the Caribbean, even before the Windrush era. I think it is important that these shows show that representation. I don’t think it’s about being woke, it’s just about being accurate to the time. This team have really endeavoured to make that happen. KC: He brought a real authenticity and honesty to the part and you really feel for Pip and his journey through London and his eventual downfall. It really hits hard. He's a terrific actor. O'Connor, Mary-Frances; Wellisch, David K.; Stanton, Annette L.; Eisenberger, Naomi I.; Irwin, Michael R.; Lieberman, Matthew D. (15 August 2008). "Craving love? Enduring grief activates brain's reward center". NeuroImage. 42 (2): 969–972. doi: 10.1016/j.neuroimage.2008.04.256. PMC 2553561. PMID 18559294.In Chapter VIII, mention is made of her having "a Prayer-Book all confusedly heaped about the looking-glass." I like any of the scenes with Miss Havisham, Estella and Pip when he’s being educated. I think they’re just great. How do you balance staying true to the source material whilst also making it feel timely and modern? Until you spoke to [Estella] the other day, and until I saw in you a looking-glass that showed me what I once felt myself, I did not know what I had done. What have I done! What have I done! (Chapter XLIX) Ronald Frame's 2013 novel, Havisham, is a non-canonical story about Miss Havisham's early life. The story tells how Miss Havisham (given the name of Catherine) is the daughter of a brewer. The story tells of more than just the infamous trauma of being left behind by her fiancé and goes on with her taking charge of her family's business before descending into vengeful madness, adopting Estella, and arranging the meeting of Estella and Pip.
Perry, Keith (28 June 2008). "Pining for lost love can be physically addictive". The Daily Telegraph. London, England . Retrieved 25 March 2014. verifyErrors }}{{ message }}{{ /verifyErrors }}{{ Collin, Robbie (29 November 2012). "Great Expectations, review". The Daily Telegraph. London . Retrieved 9 March 2013. Both Sunset Boulevard and What Ever Happened to Baby Jane? were inspired by David Lean's adaptation of Great Expectations, as were, by extension, the characters of Norma Desmond and Baby Jane Hudson, and their homes. [9] In film and television [ edit ] Anne Bancroft (1998) (a version which modernised the story to the twentieth century and changed the names of several characters)Miss Havisham repents late in the novel when Estella leaves to marry Pip's rival, Bentley Drummle; and she realises that she has caused Pip's heart to be broken in the same manner as her own; rather than achieving any kind of personal revenge, she has only caused more pain. Miss Havisham begs Pip for forgiveness. The process of hair, makeup and wardrobe with a period drama is so different to anything I've ever experienced, specifically with wardrobe. In our very first meeting with Verity Hawkes, who's the designer, she'd laid out all these incredible sketches that she had drawn up and was explaining the process of what happens to Estella – we see her bloom and rot in her clothing, like you would with flowers. I remember going in for those first fittings and seeing those dresses for the first time – they literally took my breath away. Mazur, Matt (5 January 2011). "The Devil is a Woman: Sunset Boulevard, Norma Desmond, and Actress Noir". International Cinephile Society . Retrieved 30 June 2018. DB: To have an actor like Ashley play such a powerful role in a period drama just feels very exciting and it's something we haven't really seen before. DB: I think Shalom is hugely talented. It was so exciting for us to work with her. I think what she brings to the role is a truthfulness. She’s just astoundingly good in the scenes she has with Olivia Colman.
Tell us about Ashley Thomas as Jaggers. Was the role of Jaggers always expanded when you were scripting the adaptation? We were so excited to meet each other! He was in makeup and I went in and went "hello" and he went "oh!" He got his earbud and I think he put it up his nose, he didn’t know what to do! We had heard so much about each other, from mutual friends, so working with him was so exciting. He is a proper, proper actor. I think the casting is inspired. I was excited when I heard Ashley was going to be playing Jaggers – he’s mastered language as a rapper and is an incredible actor. As an actor you'd be lying if you didn't say that you're always intrigued as to who’s going to be the other cast members! I’m a massive fan of Olivia. It just works. When they said Olivia was going to play Miss Havisham I was like: they’ve nailed that. Sometimes adaptations can be a bit dusty and old, but I think Steven's was unashamedly modern. KC: Steve’s version of Miss Havisham is not a gothic masterpiece stuffed away in a dusty room. She is very human and very flawed. Olivia’s performance captures all this, she’s cruel, funny, witty, vulnerable. It’s a brilliant performance, of course.BBC One – Great Expectations – Miss Havisham". Bbc.co.uk. 1 January 1970 . Retrieved 14 August 2012. It's hard to describe him really because he goes on a journey. It depends which Magwitch you're talking about, you know, he's quite different at the beginning to the end. Magwitch is a troubled man. On the surface, he's a convict, a rogue, a highwayman, a legend of the road, and he's lived the life of sin. We meet him when the repercussions of that are in full swing. Then there’s an awakening, and from there on he's someone who is trying to do the right thing in life. Ryan, J. S. "Donnithorne, Eliza Emily (1826–1886)". Australian Dictionary of Biography. Canberra: National Centre of Biography, Australian National University.
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