Power Players: Tim Bevan, Robyn Slovo talk about 'TTSS"

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http://theenvelope.latimes.com/news/la- ... 3460.story

Spy movies are typically big-budget studio fare featuring brand names like "Bourne" and "Bond." But "Tinker Tailor Soldier Spy," an adaptation of one of the genre's classic books, puts aside the stunt-heavy set pieces and will sneak into Oscar season on Dec. 9.

Focus Features' film is based on John le Carré's 1974 novel about a British secret intelligence agent looking for a mole during the Cold War. It brings together a slew of England's best actors — including lead Gary Oldman, Colin Firth, Tom Hardy and John Hurt — with Swedish director Tomas Alfredson, who received critical success with the 2008 vampire drama "Let the Right One In."

Opening in December amid a slew of movies vying for award voters' attention, "Tinker Tailor" stands out as the thinking man's spy drama, short on action, heavy on dialogue and intrigue. The film has already premiered in Britain and seven weeks in had grossed a healthy $22 million.

The Envelope spoke to British-based producer and Working Title Films co-chairman Tim Bevan, who was nominated for Oscars for "Elizabeth" and "Atonement," as well as producer and Oscar-contending newcomer Robyn Slovo.

Did you always see this as the kind of movie that would be put out by a specialty label and get an awards push, as opposed to a more commercial thriller?

Tim Bevan: I don't think that's where it started, but once the team of Tomas, screenwriters Bridget O'Connor and Peter Straughan, and Gary Oldman came together, it began to look like an awards movie.

The thing about Le Carré is he unravels at his own pace. It's not what you would call a traditional thriller. There's an element of the dramatic.

Robyn Slovo: I would add that Le Carré's thriller is incredibly character-based. It's about a group of men. It's not a traditional thriller in that sense.


The benefit of coming out in December is it's easier to get awards voters' attention. The drawback is you're up against a lot of other films pursuing the same strategy.

TB: The good news is we got a very warm response in the U.K. It did commercial numbers and found a mature audience. From my experience, if you're after a mature audience, you're most likely find it this time of year.

Interestingly, I think in terms of English-language films, it's one of the few from this side of the Atlantic this year. When I look what's in the awards movie package this year, it's a lot of big sentimental movies. So this is counter-programming of a sorts.

You have a lot of men in your cast who seem like candidates for a supporting actor nomination. But sometimes that means they could cancel each other out.

RS: In that category we'll have to see what the people think. We'll watch when it opens in America and who rises to the surface in terms of critical attention. It's an embarassment of riches, really.

TB: The joy of the movie is there are these eight to 10 fantastic performances.

You must be hoping that Gary Oldman will finally get his first Oscar nomination.

TB: It will be a bit of a travesty if he doesn't. It's a very, very sophisticated, brilliant performance.

Any other categories for which you have high hopes?

RS: The production design [by Maria Djurkovic] is pretty extraordinary.

TB: I think the score [by Alberto Iglesias] is pretty extraordinary too.

Tim, you've been though award seasons before. Does that give you any optimism this particular movie has good prospects to receive some trophies?

TB: This movie was made with very good intent. There was no cyncism related to awards. So when the people involved are speaking about the movie, they can do so in a very genuine manner. I think that's a great help.

This is quite a complicated film, however, so we need to screen the hell out of it to get people talking.