On a first encounter with Stephen Frears in an elevator in Seville, the heat of the city is visible in the air as he moves through a whirlwind of interviews. He arrived only hours earlier, and his schedule has barely paused since then. He is a filmmaker whose career spans decades, with a presence that feels both unhurried and deeply seasoned as he travels between rooms and events during the Hay Festival Forum in Seville.
In the few conversations he grants, Frears speaks with brevity, yet at the press conference he relaxes, sharing warm remarks about the city and joking that Britain never experiences such temperatures. His persona shifts from restrained to affable as the festival environment brings writers, journalists, and film directors together to discuss literature, architecture, the environment, and related topics during the event held from March 14 to 17.
With refined British manners and a view aligned with many of his peers, Frears visits Seville on the eve of Holy Week. He reflects on a nearly six-decade career, the scripts that he has cherished, and a filmography that is laden with awards yet famously lacking in Hollywood statuettes. He has become a singular voice in European cinema, known for projects that feature strong, complex female leads and human-centered storytelling.
Frears notes his collaborations with some of the most acclaimed actresses in the industry. He describes filmmaking as a conversation, where actors are invited to improvise and explore long, meaningful exchanges rather than simply following a script. He recalls that Helen Mirren once felt unsure about playing the queen, but Frears’s guidance helped put her at ease. His approach emphasizes dialogue, listening, and the capture of genuine moment-to-moment performances.
During the discussion, Frears explains the arc of his British film career—from Victoria and Abdul to more intimate stories of personal relationships set against broader cultural backdrops. He references recent reflections on life in the United Kingdom, including the complications brought by Brexit. He notes that politics can be a distraction from art, and that the audience deserves a thoughtful, steady approach to storytelling. Still, he remains hopeful that change will bring improvement for the country and its creative communities, and he cautions against rushing meaningful reform.
From Queen to Kategate: Frears on power, press, and perspective
Throughout his work, Frears has shown a willingness to challenge traditional narratives about monarchy while acknowledging the influence of iconic figures. He recognizes the actress who has played the queen as a remarkable presence, while maintaining a critical view of monarchical institutions. He jokes about the absence of social media in his daily routine and notes that he stays informed through conversations rather than constant feeds.
The latest public discourse surrounding royal figures has not driven Frears to script other people’s lives. He emphasizes that he does not write his own screenplays; instead, he collaborates with great writers who shape the stories he helps to bring to the screen. He believes in the power of partnership, urging that his best work has come from writers rather than from solitary invention. Frears stresses that his role is to shepherd the best possible material and to guide it into a movie with integrity.
When asked about his limits as a director, Frears emphasizes that he never pretends to know or imitate what he does not understand. He dismisses certain modern trends as not aligning with his memory of cinema from earlier days, where life felt more fully formed and characters more deeply drawn. He laments that some American films have faded, while European cinema faces its own challenges, yet he frames these opinions as personal reflections rather than universal rules.
Despite his skepticism of some current trends, Frears remains deeply curious about the evolving landscape of film. He continues to value the creative tension between director and writer, acknowledging that his own power lies in listening, guiding, and supporting the storytellers who bring their visions to life. The conversation reveals a filmmaker who believes in craft, collaboration, and the enduring value of human stories on screen.