Jamie Dornan takes on the role of Dr Leslie Ferrier in the murder mystery film A Haunting In Venice, based on Agatha Christie’s Hallowe'en Party. He talks about how this third film is different from the previous two - Murder on the Orient Express and Death on the Nile, working with director-actor Kenneth Branagh, and bonding with the cast on set.
A Haunting In Venice follows detective Hercule Poirot as he reluctantly attends a seance where one of the guests is murdered, and it is up to him to uncover the identity of the murderer. The film also stars Tina Fey and Michelle Yeoh, and is showing in cinemas now.
A Haunting In Venice follows detective Hercule Poirot as he reluctantly attends a seance where one of the guests is murdered, and it is up to him to uncover the identity of the murderer. The film also stars Tina Fey and Michelle Yeoh, and is showing in cinemas now.
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FunTranscript
00:00 We're all kind of trapped in this place
00:01 and very strange things are happening.
00:03 [upbeat music]
00:05 - Somebody is dead.
00:10 [glass shattering]
00:11 No one shall leave this place until I know who did it.
00:14 - A ghost killed her.
00:15 [glass shattering]
00:18 - There must be a rational answer for all of this.
00:21 - Just admit that you are up
00:23 against something bigger than you.
00:25 - No!
00:25 [dramatic music]
00:29 [hissing]
00:31 [explosion]
00:33 [clicking]
00:43 [upbeat music]
00:45 - I think with the movies themselves,
00:49 as a finished piece,
00:50 they have a really good blend of something
00:54 a little bit cheeky and a bit funny,
00:55 but also riveting with the whole mystery of it all as well.
00:58 Keeps you going and there's a darkness to it,
01:00 but I feel that "Hunting of Venice"
01:02 leans into it much more.
01:03 Michael Green's script is much darker.
01:06 Without totally losing that sense of the playfulness
01:09 of what Agatha Christie created,
01:12 but it definitely is sort of seeped in a darkness
01:15 more than the previous two films that Ken's done.
01:18 [clicking]
01:20 It's been a lovely thing working with Jude again
01:28 and watching him grow as a boy and as an actor.
01:30 It's a lovely relationship
01:32 because there's so much care involved from both sides.
01:35 Leopold needs Ferrier because it's his father,
01:39 but Ferrier almost needs him as a support
01:42 almost more than the other way around.
01:44 He wishes that he could be a better father for him
01:47 and be stronger for his son,
01:49 but he's sort of incapable of it.
01:52 [clicking]
01:54 [upbeat music]
01:57 You felt like you were in a real enclosed building.
02:02 What that does is it creates a sense of like,
02:05 you know, authenticity essentially
02:07 and we're all really in this place
02:08 and of course there's lights and there's cameras
02:11 and boom mics and all sorts of stuff,
02:13 but anything that can help and aid the experience
02:18 of we're all kind of trapped in this place
02:21 and very strange things are happening is crucial.
02:24 I've never been on a set like this before
02:26 and it was amazing to have this created for us
02:29 'cause it makes our job a lot easier.
02:31 [clicking]
02:33 [upbeat music]
02:36 You know, having to be number one in the call sheet,
02:40 be prominent in nearly every scene,
02:43 but also, you know, having to deal with an ensemble,
02:47 a lot of actors, let alone all the other aspects
02:51 that go into filmmaking.
02:53 There's a lot of notes he has to give
02:54 to a lot of different, you know, people.
02:57 So to be able to be taking that on
02:59 whilst also trying to stay in his own character,
03:01 it's an incredible feat, I have to say.
03:03 My hat is firmly off to him with how he manages it
03:05 and he manages it so seamlessly.
03:08 It's a real talent, that.
03:09 [clicking]
03:12 When we're not shooting, we're all in a tent together.
03:17 There's people bringing chess boards, there's games,
03:19 there's lots of snacks, we're talking.
03:21 It creates this real sense of a unit and a company,
03:25 like a company of actors and we're all in this together.
03:28 - There it's you scream and shout and no one hears.
03:32 We do now.
03:33 Alicia Drake, find your voice.
03:38 [breathing heavily]
03:40 - It just got cold.
03:41 Does anyone else feel a chill?
03:42 - Is someone there?
03:44 [gunshots]
03:50 - Right.
03:52 - Yes.
03:53 - She didn't touch the key, I swear.
03:54 - She must have, you can't all be such fools.
03:57 - This is wrong, this is very wrong.
03:59 - Who is there?
04:00 Alicia Drake, listening.
04:04 We are here, listening.
04:07 It is the hallowed tide.
04:09 We are close, your spirit is close.
04:12 Your voice is loud.
04:14 Alicia.
04:17 [gunshots]
04:18 - Hey, Alicia.
04:19 - Alicia, I feel you are in pain.
04:22 - Does it hurt?
04:23 Please tell me.
04:24 - Did someone hurt you?
04:27 [gunshot]
04:28 - Yes.
04:29 [dramatic music]
04:32 [upbeat music]
04:35 [upbeat music]
04:38 [upbeat music]
04:40 [BLANK_AUDIO]