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“Genius – The Thousand Sides of a Friendship” – Interview with Colin Firth
For his role as the stammering King George VI in “The King’s Speech”, Colin Firth was awarded the Oscar. Yet the British multi-talent does justice to every role. Whether in the drama “The English Patient”, the “Bridget Jones” comedies, or as a singer in the ABBA film “Mamma Mia”. Following appearances in the action thriller “Kingsman” and the war drama “The Railway Man”, Firth now stars in the biopic “Genius – The Thousand Sides of a Friendship” as editor Max Perkins, who, in 1920s New York, discovered authors such as Ernest Hemingway, F. Scott Fitzgerald, and Thomas Wolfe.
Mr Firth, you wear a hat in every scene of the film – what’s the story behind that?
Firth: Max Perkins, who I play, really did always wear a hat – at least, there are barely any photographs of him without headgear. I only know of a single picture where that’s not the case. Perkins was quite famous for his hats at the time.
Do you know the reason for this particular fondness?
Firth: One reason for the hats was his hearing difficulties. Perkins didn’t want to wear a hearing aid, and with a hat, sounds were apparently clearer to him than without. He also once mentioned how useful this headgear was for deterring unwanted visitors: anyone sitting in the office with a hat on was obviously just about to leave.
Has your own relationship with hats changed because of this role?
Firth: I was actually quite glad when I could take the hat off again after filming ended. (Laughs) It’s remarkable how much fashion has changed. For my grandfathers’ generation, it was unthinkable to leave the house without something on your head. Today you stand out if you wear a hat.
How do you prepare to play a character who really existed?
Firth: On the one hand, I was able to rely on the excellent source material by Scott Berg. On the other, I met with members of Perkins’s family, including his grandson Max, who bears an uncanny resemblance to his grandfather. What stood out from all the accounts of him was how taciturn and introverted he was – I used that as my guiding principle for the role.
The extrovert counterpart is the young, wild author Thomas Wolfe, played by Jude Law. Isn’t that the more rewarding role for an actor?
Firth: Playing Tom Wolfe would certainly have been great fun – but, unfortunately, nobody asked me! (Laughs) In truth, I find this Max Perkins a marvellous role. He’s the type who listens and thinks. He avoids the limelight himself – what a refreshing contrast to today’s age of exhibitionism, where everyone tries to take as many selfies as possible and is constantly showing off on Twitter and Facebook.
Was everything better in the old days, before social media?
Firth: I’m not one of those who generally condemn social media. They’re wonderful tools that enable many people to express their opinions freely. There are blogs written quite brilliantly or brilliant films made on smartphones. But there is a flipside: if everyone voices their opinion everywhere, there’s no one left to provide context and structure. Anyone reading the online comments below newspaper articles will quickly notice how often civilised interaction is lacking.
Your current film is called “Genius” – what makes a genius in your view?
Firth: Genius is an abstract term, just like art, time, or beauty. For me, its value is always in the eye of the beholder. That’s why I’m not fond of such terms being declared universally valid, preferably all in capital letters. I don’t believe that anyone will ever find a definitive definition of what ultimately makes a genius.
David Bowie, for example, is generally regarded as a genius…
Firth: That seems to be undisputed today. Yet I well remember having a big row with a teacher about it in 1978 when I was at school. I called Bowie a genius and got the reply: ‘Nonsense, he’s talented and wears nice costumes, but he’s not a genius!’ It was exactly such controversies that made Bowie who he was, as he constantly played with boundaries. In the creative world, you can only become a genius if there’s a corresponding controversy as to whether you actually are one.
You look back on a tremendous acting career, including an Oscar. Did you dare dream of that at the beginning of your working life?
Firth: At the start of my career, I didn’t even dare dream of finding work at all. And I wasn’t particularly talented in other fields, either. Not only that – I didn’t much fancy doing anything else. That’s the arrogance of youth: you think you’re bound to be something better. I remember waking up one morning and thinking: ‘What do I have to do today? Three hours of maths, two hours of geography – I can’t put up with that every day!’ Because I liked acting, I decided to give it a try, even if it meant earning a living as a kitchen porter while waiting for a part. I preferred to be happy this way, rather than do something I knew I’d hate. That was a pretty childish attitude – I was only 14 at the time. But I was set on it. Even if I’d only ever made it as an amateur, I’d have been an amateur. What happened afterwards was a bit of a surprise…
What is the most important quality for an actor?
Firth: I’ve been in this profession for 30 years now, so I can’t single out one most important quality. Acting thrives on collaboration – you need to be able to do that. There are creative jobs you can do alone. As an actor, you are completely dependent on others. I don’t want to talk about talent because that’s a mystery. But you should be curious. You need a certain amount of courage. And you must be as honest as possible.
Would you recommend this career to your own children?
Firth: No, I wouldn’t recommend this profession to anyone. If someone asks, I’d honestly say how much joy acting brings me. But I’d also say just as honestly that this profession doesn’t suit a lot of people. And even if it does, there are problems. Acting can make you quite neurotic.
Luckily, you have a second string to your bow: since 2011, you’ve been named as a co-author of a scientific paper on brain research. Professor John Jost of New York University, an authority in political psychology, even calls you a “scientific ambassador”.
Firth: (Laughs) I think that’s quite undeserved. But, of course, I like the idea of being referred to as a neuroscientist.
Are you prouder of that than of your Oscar?
Firth: Probably, yes. I just need to convince people of it. (Laughs) I was very pleased that these scientists used my name in their paper. The real work, of course, was done by those researchers. I only had the questions on the subject. Unfortunately, I’d be totally incapable of contributing anything further in that field.
What does fame mean to you these days?
Firth: Fame brings certain privileges, but you have to pay a price that many people underestimate. A writer friend once told me that the great thing about his job is that you remain invisible. And that invisibility is like a superpower. If you have too much fame, you lose that superpower. There are times when being well-known isn’t pleasant. I love my work very much – and unfortunately, that goes with the job. If it means I can keep working, I’m ultimately grateful for it.
Which is your favourite Colin Firth film, and which do you wish you hadn’t made?
Firth: There are films I’m not especially proud of, but I won’t tell you their titles. One of my firm favourites is certainly “A Single Man”. Another favourite is definitely “Mamma Mia!” There aren’t many films where you start with a grumpy, sceptical audience and – at the end – the whole cinema is up dancing. I’ve seen that effect at so many premieres around the world. Perhaps that means the film really has achieved something…