Q&A: Ewan McGregor on The Impossible

This article appeared in the Dec. 5 issue of AwardsLine.

Ewan McGregor has played a lot of different kinds of roles since he first rose to prominence in 1996’s Trainspotting, but there’s one that has eluded his grasp: parenthood. In the December release The Impossible, the real-life father of four plays a man whose family is torn apart by the 2004 Indian Ocean tsunami. He struggles to keep his two young sons safe amidst the chaos while searching feverishly for his wife, played by Naomi Watts, and eldest son, played by Tom Holland. Though it’s the third film he’s appeared in this year after Haywire and Salmon Fishing in the Yemen, McGregor doesn’t take much time off. He recently spoke with AwardsLine from the set of August: Osage County, which is currently shooting in Bartlesville, OK.

AWARDSLINE: How did you first hear about The Impossible?

EWAN MCGREGOR: I heard about it through my agent, and I knew about J.A. Bayona and his film The Orphanage, although I don’t think I’d seen it until I’d read the script for The Impossible. I knew Naomi was attached—I’ve worked with Naomi before—and, yes, after reading the script I was left with no doubt. I didn’t know at the time that it was a true story, but there was something very honest and true about the writing. Another one of the main draws for me was that it was the first time in my career that I explored parenthood, although I’ve been a dad for a long time. I must’ve had some kids in films before, but not many, and I’ve never made a film that’s really about that relationship between you and your kids.

AWARDSLINE: How did the script read to you? There’s not a lot of dialogue, so I’m wondering what it was like going through the script the first time.

MCGREGOR: It had a very strong structure. It could have been written in a much more chaotic way—we fly back and forth and back and forth between all of the family’s experiences. I thought it even played against the chaos. (The structure) also started building up the tension about if they were going to find each other. I didn’t feel like it was spare of dialogue. Really good writers don’t feel the need to explain everything with lots of dialogue, I find.

AWARDSLINE:  Were you able to spend any time with Maria Belon’s husband, your character in the film, before you started shooting?

MCGREGOR: I spoke to him on the telephone while I was shooting Salmon Fishing in the Yemen, a few days before I was due in Thailand, so I didn’t get a chance to meet him (before shooting). It’s a funny thing—the real family is Spanish, and because we weren’t playing them as Spanish, I felt like I was sort of free to create him. The whole family came out to visit the set, and when I met him, I thought, Oh, I’m not too far away. It was the writing I guess. The path through the film for me is that he really holds it together, he doesn’t allow himself to collapse until the bus station scene where he does allow himself the luxury to fall apart for a minute.

AWARDSLINE: Did you do any other research for the role?

MCGREGOR: We worked from an amazing documentary Channel 4 in Britain made called Tsunami: Caught on Camera, which was made using all the footage from (tourists’) cameras intercut with interviews with six or seven people who were there. It’s brutal and it’s devastating, and I watched it only twice, no, three times. I tried to go back to it, and I couldn’t. The art department had a great deal of research—photographs of hospitals and coastline shots, hotels, and then of the temples where the bodies were taken. There just reached a point once we started filming that—I mean, we’re spending all day trying to re-create this tragic event, and then we’re surrounded by a Thai crew, most of whom were affected by it and lost people there. All the hotels that we were staying in had been hit by the tsunami, so you’d be in bed at night thinking, Well, who was in this room and did they survive? I would concentrate on getting it right at work, but I couldn’t plunge myself into the horror of it because you can’t sustain that.

AWARDSLINE: You spend most of your time on screen with Oaklee Pendergast and Samuel Joslin, the young actors who play your sons in the film. How were they to work with?

MCGREGOR: They were just absolutely brilliant little guys, and I was always very careful with them. They had a child minder who was also a drama teacher for them, so he would prepare them for the scenes they were going to play, but I’m always very wary of how children are dealt with on movie sets. I said right up front that I wouldn’t involve them in anything that would actually frighten them or play any games with them just to get a desired effect on camera. So we worked quite hard with them. In some of the scenes where we had to huddle and cry—that doesn’t just happen on its own accord. We worked on that, I remember, for about a week or maybe more before we started shooting. And then when we did shoot, they were told quite clearly that when we were was on set, I was their dad. They knew I was their pretend dad, but still whenever I’d arrive on set, they’d run up and go, “Dad! Dad!” I’d send pictures back home to my kids: “Here’s my other family, my secret family in Thailand.” (Laughs.)

Q&A: Naomi Watts On The Impossible

This story appeared in the Nov. 14 issue of AwardsLine.

Naomi Watts plays the matriarch in The Impossible, the unbelievable story of a family reuniting after the 2004 Indian Ocean tsunami. Though Watts’ performance has been praised for the emotion she conveys onscreen, the actress says the role was also physically demanding. She recently spoke with AwardsLine about the challenges of working with real water and the moving meeting she had with her real-life counterpart before production commenced.

AWARDSLINE: When did you first hear about the story of Maria Belon in The Impossible?

NAOMI WATTS: My agent called and said, “There is this movie about the tsunami,” and my first reaction was, “How’s that going to work?” It just wasn’t like a slam-dunk, “Oh, I want to do that.” But then he mentioned the director (J.A. Bayona), and obviously, I knew The Orphanage and thought that film was brilliant. Meeting (Bayona and producer Belen Atienza), the level of passion that came through in that meeting was so intense and so wonderful—it was very seductive. I knew right away that I wanted to do it.

AWARDSLINE: You spent a good amount of time researching the role and talking with Maria. What kind of questions did you have for her?

WATTS: I was very nervous. I just thought, Oh, God. I’m an actor, and this is a woman who nearly died and nearly lost her entire family. Is this going to be an uncomfortable situation? I felt frozen with fear on how to begin that conversation. We had a couple of emails in the lead up, and then finally we got in a room together. I think she had her own anxiety about it, and we didn’t actually speak for a few minutes. We just looked at each other, and it’s, like, just one look in her eyes told her whole story, and we both just started to cry. It’s such a big event that’s taken place in her life, and to be retelling this story brings it all up again. She was completely open to talk endlessly and with great detail about every beat in the story. I was very fortunate to have that guidance. When you’re making a film, it’s very easy to get caught up in the process, but we were always grounded by this very real thing that took place. Not just Maria. Every time you walked on the set there were hundreds of extras who were telling their version of their story. It was all deeply moving.

AWARDSLINE: How much time did you spend in rehearsals?

WATTS: With Ewan (McGregor), I didn’t have any rehearsals, but with Tom (Holland), we had about 3½ weeks together, and I just loved it. I went home at the end of the first day of the rehearsal and told Liev (Schreiber, her husband) how much I loved the director because I thought his way of doing things was just brilliant and fun. (Bayona) had us sit down in front of each other and draw each other. It felt kind of goofy and silly—particularly because neither of us can draw. (Laughs). But it was just, like, “Let’s do this. Let’s hang out.” (We were) free to explore weaknesses, strengths, whatever. It was (about) creating a forum so that we both felt completely safe and bonded and could have this family history.

AWARDSLINE: You shot the water sequences in a water tank in Spain—what was that like?

WATTS: Working with water is one of the more difficult things to do on film, and it certainly lived up to its reputation. But it was a very well-planned, worked-out science. They had this gigantic pool that had currents running both ways, and you were strapped into these sort of giant flowerpots, and you would just be forced to move with the current, against the current. Tom enjoyed it and thought it was like going to the water park. Me? No, not so much.

The underwater stuff was incredibly difficult, and I did not like that at all. It’s always nerve-wracking holding your breath, and obviously, the longer you hold it, the better the shot’s going to be so you always want to try to get the best stuff. But we were anchored into a chair (with) weights on us to keep us down. You had the oxygen tank right there up until you rolled, and you’d push it away and then the chair starts spinning, and you have to do all your arm-acting and head-flipping. There was one point when I was about to get out of the chair, and I couldn’t get out. It was a technical problem, and it really freaked me out. I remember being really angry when I came out of the water because it just made me panic, and that’s the emotion that came out of me. And it’s funny because when Juan Antonio had me resurface in the movie and I’m holding onto that tree and I can’t see any member of my family, he had me shouting and screaming and I didn’t quite understand it. I kept thinking, Wouldn’t I just be exhausted and terrified? It

Behind The Scenes On The Impossible

When the production team behind Summit’s The Impossible met with 2004 Indian Ocean tsunami survivor Maria Belon at a quiet coffee shop in Barcelona in the spring of 2008, they weren’t certain that she would agree to have her family’s harrowing story told in a feature film. Producer Belen Atienza knew they were in for an emotional afternoon—she was the one who first heard Belon’s story on the radio, a drama so profound that it left Atienza in tears after it concluded. But Atienza, director Juan Antonio Bayona, screenwriter Sergio Sanchez—who have a shorthand from working together on Bayona’s Spanish-language horror hit The Orphanage—gained Belon’s trust in a simple way: They listened.

“We were all really nervous,” Atienza recalls about the initial meeting. “She talked for three and a half hours. It was exhausting for her and for us. We didn’t open our mouths—we were just listening—and she was extremely thorough.”

The resulting film, an almost unbelievable tale of one family’s struggle to reunite amidst a country’s horror and loss, stars Naomi Watts and Ewan McGregor, whose performances started some Oscar buzz after the film’s premiere at the Toronto Film Festival in September. The Impossible also has the benefit of being cofinanced and distributed by a studio familiar with nurturing films through awards season, Summit, which was behind the Oscar-winning film The Hurt Locker in 2008. The Impossible doesn’t open in the United States until Dec. 21, but it has already earned the distinction of having the biggest opening weekend in Spain’s boxoffice history, with $13.3 million on 638 screens.

Though bringing Belon’s story to the screen wasn’t without its challenges—from uncooperative weather to complex visual effects—Sanchez says Belon made her intentions clear during the first meeting, and it became a constant refrain during production.

“Maria kept saying, ‘This is not our story. This is the story of lots of people,’” Sanchez recounts.

The first step in giving the story more universal appeal and demonstrating how the tsunami’s destruction of 300,000 lives touched multiple countries was to dramatize the family itself. Belon is Spanish, but Watts and McGregor play their roles as British. Sanchez says the decision was clear after he finished the first 40-page treatment for the film, most of which ended up having English dialogue. Atienza adds that, more importantly, it made sense from a
business perspective.

“We needed to finance the budget, which was 30 million Euros, and the Spanish-speaking market is not so big,” she says. “There is no question that an English-speaking film has a potential for a much wider worldwide audience.”

Yet as big a concession to the truth as that might seem, it’s one of the few instances that the script veers from the details that Belon provided during months of meetings and email exchanges with the production team. However, 30 drafts later, Sanchez says some aspects of the story didn’t make the final script both to compress time and to keep the script grounded.

“Sometimes we were just bringing the story down a few notches,” Sanchez explains, “because there were some moments in the real story that were so incredible that it’s, like, ‘Nobody will believe this. We have to make this simpler because otherwise it’s going to look like a movie.’ ”

Watts, who was the first actor to sign on to the film, admits that hearing the concept for the script didn’t initially pique her interest. But that all changed when she started reading.

“Right from the first page I felt like, this feels real, this feels authentic,” Watts explains. “Yes, the tsunami is the important backdrop of the film, but at the core of it was this beautiful family story with a whole lot of heart that I found incredibly moving.”

For McGregor, it was a chance to play a role he’s had in real life for more than a decade. “One of the main draws for me was that it was the first time in my career that I explored parenthood. I mean, I must’ve had some kids in films before, but not many, and I’ve certainly never made a film that’s really about that relationship,” McGregor says.

Re-creating such devastation on a grand scale meant that Bayona had to ensure that every scene in the film was fully realized before shooting commenced, so that he could focus on the performances. Ultimately, he storyboarded the whole film.

“Everything had to be very controlled. Everything had to be written on paper,” Bayona explains, adding, “so all the time I was trying to put life back into the process.”

Bayona allowed for about three weeks of rehearsals: Watts and her young costar Tom Holland worked together, while McGregor and the two actors playing his sons, Samuel Joslin and Oaklee Pendergast, forged their own relationships for the screen. (Incidentally, Watts and McGregor’s characters are separated for much of the film, so they didn’t spend any time rehearsing together.)

Bayona was intently focused on maintaining the realism required to engage the audience, which is why many of the extras are locals who lived through the tsunami and there’s no digital water at all in the film.

“We did it almost the old-fashioned way,” the director says. “We barely used green screen, and sets were huge. We were trying to be faithful to the real story.”

Watts and Holland shot their wave scenes in the second-largest tank in the world in Spain, strapped into containers Bayona refers to as “teacups” to keep them protected as a series of pumps churned the water. It took about a month to complete the tank shots.

“We did have a lot more dialogue on the page than we actually ended up saying,” Watts says. “We quickly worked out that you cannot speak in those situations because you’d just be swallowing a bucket full of water. It felt very safe, but it was difficult.”

The final onscreen tsunami sequence was a series of tank shots and miniatures, which when combined with a bass-heavy soundtrack is one of the most frightening scenes in the film. It also happened to be a real nail-biter for Atienza.

“We had to destroy the miniature because the big wave goes against the hotel. The miniature was really expensive, so we had one shot for that. That was the most tense moment,” Atienza recalls.

The tension continued when the production moved from Spain to Thailand, where the monsoon season was supposed to have just ended. Nevertheless, it rained from mid-October through Christmas, forcing some rewriting and shooting some of the more emotional scenes earlier than anticipated.

“For the first time in a century, the monsoon lasted until Christmas,” Atienza says. “So our nightmare was that we were running out of interior effects to shoot. We had to change the schedule around all the time—the art department went totally crazy.”

Despite the forces conspiring against completion of the film, Bayona says he believes he did justice to the story that Belon first told in that café in Barcelona. There was no official screening for the family because Belon was onhand for much of the shoot. But the family of five was at the film’s Toronto premiere, where the audience gave them a standing ovation.

“It already felt like a film when Maria was telling the story on the radio,” Atienza recalls.