Julie Walters by Tom Browne

entertainment

“I don’t think actors ever

retire” Julie Walters, one of the stars of the new Paddington film, on why she’s enjoying herself more than ever

By tom b rown e

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then again Paddington Bear is a universal figure; he wants to be accepted and to fit in.” Even though she’s a near contemporary of the iconic bear— Julie was born in 1950, while the first story was published in 1958 —she doesn’t have any childhood memories of Paddington. “I remember the figure in the duffel coat, but I never read the books,” she confesses. “I didn’t read much in primary school, apart from The Borrowers. That had a big impact on me; I still can’t pass a hole in the ground without thinking, Are they down there? But not Paddington, no.” Despite this, the script— co-written by The Mighty Boosh

Mrs Bird (Julie Walters) takes an eccentric approach to cleaning in Paddington

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All IMAGES on THIS s prea d: © studi o ca na l

family’s housekeeper, in Paddington, the long-awaited film version of Michael Bond’s delightful children’s stories. Deftly mixing modern CGI effects with live action, Paddington combines old-fashioned nostalgia with quirky contemporary humour (there’s a particularly funny satnav joke in the advance clips shown to the press)—and Julie, for one, has no doubt that modern audiences will embrace it. “I think people will find it amusing as a view of Britain and the British. It’s very English in some ways, but

director Paul King, who also directs this film—was an instant hit. “I knew that it would appeal to lots of children,” she remembers. “It was quirky and eccentric, but accessible at the same time. That’s typical Paul, really; he’s completely and utterly mad, but also creative. You felt free to improvise, up to a point. He’d come up with all these mad ideas for Mrs Bird. She’s an eccentric character anyway, so you can put all kinds of

Paddington in traditional garb; (below) having tea with Mr Gruber (Jim Broadbent) and Mrs Brown (Sally Hawkins) Previous SP read: © GETTY IM AGES/DAVE J HOg an

t would be difficult to mistake Julie Walters for anyone else. From the very moment you’re ushered into her humorous presence, it’s hard to avoid the phrase “national treasure”—even if you suspect she’d rather avoid it herself. “It’s not my term,” she says, with a dismissive wave of the hand. “It’s an easy way to describe people if they’re a bit popular.” We’re in the cosy surroundings of London’s Soho Hotel to discuss Julie’s latest role as Mrs Bird, the Brown

Reader’s Digest

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vigorously. “And that element of things in her mouth…for want of a surprise when a character is funny, better phrase.” but then you suddenly realise, Oh Indeed, the strict, funny and kindmy god, they’re not! Projects that offer hearted Mrs Bird could have been those things appeal to written for Julie, who’s me, because that’s what made her name playing life’s like.” comic characters “We decided When it came to with an underlying that Mrs Bird is approaching Mrs warmth and emotional Bird, Julie turned to a intelligence—one thinks from Glasgow, number of people for of her career-defining because that’s guidance. “I asked performance as the where [my friends who’d read the down-to-earth Susan make-up artist] books as a child to share in Educating Rita, or her Bafta-winning Graham is from” their memories. I grilled my husband about Mrs portrayal of former Bird and he said, ‘Well, Northern Ireland she was very stern, but you knew that secretary Mo Mowlam. So does this she was loving.’ I remember thinking, type of character attract her? That’s a difficult one.” “Oh yes, I like roles with a bit of But it was Julie’s make-up artist weight,” she says, nodding her head

Graham (“as camp as a row of tents”, in Julie’s words) who proved to be an unlikely source of inspiration. “We decided that Mrs Bird was from Kelvinside in Glasgow, because that’s where Graham’s from,” says Julie, chuckling at the memory and slipping into an uncanny Glaswegian accent. “In fact, Mrs Bird becomes more and more like Graham. She’s always shouting things like, ‘Steady the buffs!’ because her husband was a sea captain and she carries around all these old terms.” ulie smiles when i suggest there’s something typically British about Paddington Bear, from the duffel coat, hat, suitcase and marmalade sandwiches to his

“i like a role that’s got a journey”

RD: Did you always want to be an actor? JW: Yes, always. When I hear that some people suddenly discover it later, I think, How did they do that? Why didn’t they always know?

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RD: What is it about a script that makes you say yes? JW: It’s got to work as a whole and there has to be an integrity of sorts—even if it’s a light comedy, it’s got to be based in truth. Generally speaking, I like a role that’s got a journey and a development of some sort.

RD: If you weren’t an actor, what would you be? JW: A writer. I wrote a novel called Maggie’s Tree [about a group of actors in Manhattan], and I loved writing my autobiography as well. RD: What books do you have by your bedside at the moment? JW: I’ve just finished The Gift of Rain by Tan Twan Eng, which is set in Penang during the Second World War. It’s very moving. And I’ve read the first ten pages of Ian McEwan’s new novel The Children Act.

RD: Had you worked with any of the cast of Paddington before? JW: I’ve worked with Jim Broadbent on everything—we go way back. And I knew Hugh [Bonneville] from The Mary Whitehouse Story. There was a dream scene where we snogged—he’s never been the same!

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RD: Are there roles that people always remember? JW: It’s usually Two Soups. There’s a scene in Indian Summers [an upcoming BBC drama] where I come out with a couple of plates. All the young actors

adopted name (as in the original stories, he’s rechristened by the Brown family after being discovered at London’s Paddington station). Despite hailing from “deepest, darkest Peru”, he’s a familiar figure. Likewise, the film is a roll call of British acting talent, headed by Hugh Bonneville, Sally Hawkins, Ben Whishaw and Jim Broadbent. This, you sense, sits well with Julie—the affection with which she’s held by the British public partly derives from the fact that she’s never fled these shores for Hollywood, even though she has a huge international profile largely through her role as Molly Weasley in the Harry Potter films. “I was given an agent and taken under the wing of Columbia Pictures after Educating Rita came out,” she fell about laughing—I thought, Play the bloody scene! RD: If you could be a fly on the wall, whose wall would you choose? JW: Barack Obama’s, firstly because I’d like to know what he really thinks in private, and secondly because he’s very attractive!

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recalls. “They arranged all sorts of interviews, but nothing ever came of it. I just felt that the best writing and talent was in the UK. The stuff I was getting was c**p…well, not c**p, but just stuff I didn’t want to do. After all, the best American material is always going to go to the best American actors.” After eight Baftas (including the Bafta Fellowship earlier this year), two Emmys and a Golden Globe, it’s difficult to argue with her decision. In fact, along with fellow Brits Helen Mirren and Judi Dench, Julie is arguably one of a select group of actors who’s been able to have

Returning to the stage in The Last of the Haussmans at the National Theatre

from the National Theatre [The Last of the Haussmans] and I thought, God, this is fantastic! And, she concludes, roles such as Mrs Bird suit her down to a tee. “I love the part because she has great lines, but she isn’t in it all the time. And she doesn’t break down and cry, thankfully. I don’t really want any more thrusting leading roles where I’m working six days a week…but don’t put that in, for goodness’ sake!”

With husband Grant Roffey

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The school nativity may be an institution, but it’s also a minefield of mishappenings—as these parents on mumsnet.com can testify: “We were so proud watching our son in the starring role of Joseph in the nativity...until he picked the biggest bogey out of his nose and wiped it all over Mary’s shoulder!”

a successful career on her own terms—and it’s one that shows no sign of slowing down. “I don’t think actors ever retire, to be honest,” she confesses. “They might be forced to. I did consider it when I turned 60 [Julie is now 64]. I thought to myself, I could easily not work. But then this script came through

the perils of the play

Julie in the title role of Educating Rita, the part that made her famous

Paddington is released on November 28th. You can hear more of our interview with Julie in the new Reader’s Digest podcast, which is available on iTunes

“A fight broke out over who was going to hold the baby Jesus. Joseph pushed Mary off the stage and one the three wise men wet himself in all the confusion.” “My teachers hated my brother, as he was a little toerag in those days. But every child must have a role in the Sunday School play, so he was cast as the straw in the stable! We dressed him in yellow cords and a yellow jumper and tied some straw around his middle. He spent the entire production lying on the side of the stage.” 12•2014

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