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The beauty of having a brilliant script is that everybody reads it and they feel that sense of extra confidence from the very start.
If there’s something wrong with the script, the director isn’t the only person to know.
Darcy (Colin Firth—still the Regency era’s wet shirt contest champ).
“Casting is perhaps the most important element, apart from the script itself, which was so beautifully written by Andrew Davies,” says director Simon Langton.
Two Decades Later Though Austen’s best-loved work is endlessly being adapted for screens both big and small—in the present day, as a Bollywood musical and even with zombies—nothing’s ever quite captured the magic of the BBC miniseries.
But that was the intention: for the actor to feel that this extraordinary woman, who he usually ends up quarreling with, always turns him on in that particular state.
That was one of the most brilliant scenes and it has been copied ever since.
The combination of [composer]Carl Davis’s music and the two of them and the timing was in some ways the most intricate and, I thought, most outstanding part of the entire piece.
SL: Andrew definitely shifted the focus more strongly onto Darcy, even though Elizabeth has the larger part. He has this facility to hang on, to not widen the, shall we say the width, if you like, of the performance itself. Sometimes, he surprises you, but there are people who try things as they go along and it’s almost though as they’re not absolutely sure of the character.
SL: Not to lose sight of the basic functions of having a good story, whatever happens. The costumes were pretty good and the locations were very good, I thought.