‘William Tell’ Director Nick Hamm on Casting Baddie Claes Bang as a Hero and Juxtaposing Bloodiness and Beauty: It’s ‘“Sound of Music” With Violence’

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As a movie enthusiast, I’ve found myself marveling at the diverse cinematic journey of Nick Hamm, a filmmaker hailing from Northern Ireland. From chilling psychological thrillers like “The Hole” in 2001, which catapulted Keira Knightley into stardom, to the lively music comedies such as “Killing Bono” in 2011, and even comedy-thrillers revolving around the iconic DeLorean car in “Driven” of 2018, Hamm has explored a wide range of genres. However, for his next project, he’s daringly stepping into uncharted territories, promising an exciting new chapter in his filmmaking career.

William Tell” is a historical action-packed movie set over 600 years ago, exploring the tale of a Swiss hero believed to have played a significant role in Switzerland’s freedom from Austrian rule under the Habsburg dynasty. Although not widely known, the character of Tell is primarily recognized as an exceptional marksman who supposedly shot an apple off his son’s head – without causing harm to him.

In the main role is Claes Bang, joined by an impressive ensemble including Golshifteh Farahani, Connor Swindells, Ellie Bamber, and Ben Kingsley (portraying a wicked Austrian king with an eyepatch). Hamm’s $40 million reinterpretation of the story delves into the iconic apple shot, its origins, and its consequences, filled with intense sword fights, arrows lodged in heads, and limbs flying through the air.

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Claes Bang leads the cast alongside Golshifteh Farahani, Connor Swindells, Ellie Bamber, and Ben Kingsley (as a menacing Austrian king with an eyepatch). Hamm’s $40 million rendition of the story investigates the legendary apple shot, its precursor, and what followed, complete with bloody sword fights, arrows lodged in heads, and flying limbs.

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Claes Bang stars as the lead character, joined by an array of talent including Golshifteh Farahani, Connor Swindells, Ellie Bamber, and Ben Kingsley (depicting a ruthless Austrian king with an eyepatch). Hamm’s $40 million adaptation delves into the famous apple shot, its genesis, and its fallout, featuring gruesome sword fights, arrows lodged in heads, and limbs flying.

Each version maintains the original meaning but presents it in a slightly different way for variety.

The movie “William Tell” is set to debut in U.K. cinemas this coming Friday, while Samuel Goldwyn is considering a March release date for the U.S. Meanwhile, as the film premieres in British theaters, Hamm delves into distinguishing truth from legend and explains his decision to cast Bang (famed for his recent villain roles on screen) as his hero.

As someone who usually leans towards certain genres in filmmaking, what attracted me to “William Tell” and made me want to be a part of it was… (explain the specific reasons that drew you to the project)

For quite some time now, I’ve been pondering over an idea that’s close to my heart. In my twenties, I dedicated much of my time to theater work as a director and was captivated by the tale of William Tell, penned by Schiller. He is often referred to as Germany’s equivalent of Shakespeare, flourishing in the 19th century alongside Goethe. The play itself is quite challenging to stage compared to typical plays, resembling more an opera libretto. Yet, I found myself questioning: why hasn’t anyone attempted it yet? It seems that most European legends are snatched up by Hollywood. Our narratives are constantly being remade by the Americans, when in reality, they belong to us. These stories possess a longevity that surpasses our lifetimes.

To put it simply, this story you’re working on is a play written in the 1800s, set in the early 14th century, and now being turned into a movie in the 21st century. As I began to rework the narrative, I found that it was astonishingly relevant because Schiller explored themes such as political freedom, its definition, preservation, loss, and the price of attaining it. Incidentally, as I was writing this, the conflict in Ukraine emerged, and by the time I finished, Gaza experienced violence. It’s quite striking to realize that the problems they grappled with centuries ago are still plaguing us today.

Isn’t the story of the apple a familiar one? Yet, how much of it is factual history? Could it be that the legend of William Tell has been subject to numerous artistic interpretations and exaggerations throughout the years?

It’s uncertain if such an event truly occurred in history, as it’s often considered a legend. However, there have been instances throughout history where similar events may have taken place. For example, tales suggest he was a Danish figure. In ancient times, Switzerland served as a trade route connecting northern Scandinavia to Italy and Milan, making it a popular stop for travelers and storytellers. These stories would often be shared in taverns across the Swiss valleys. Whether or not this specific tale is factual remains unknown, even to the Swiss themselves. Yet, it’s important to note that during this era, the Habsburgs began their 500-year reign, and the Austrians were a powerful force attempting to control Europe.

What brought you to casting Claes Bang as Tell?

For that particular role, I couldn’t cast a youthful Talulah. I was aiming for someone who wasn’t portraying Robin Hood at 27, but rather an individual capable of conveying damaged character traits and maintaining an intense on-screen presence without uttering many words. The character needed to endure situations where he isn’t the main focus of the scene, yet he must react effectively despite being put upon. Few actors possess such versatility. After his roles in “Bad Sisters” and “The Northman”, Claes expressed his desire to play a virtuous character. He mentioned that due to his past roles, especially those under Sharon Horgan’s direction, women often dislike him when they see him on the streets of the U.K.

Did you always set out to make it this bloody and brutal?

When creating tales set in realms of royalty, castles, weapons, and ancient times, it’s crucial to meet the audience’s preconceived notions. However, I aimed for an authentic portrayal of my imagined scenario, refusing to soften or idealize it. Yet, I sought to contrast this reality with a tranquil charm, much like the contrast between “The Sound of Music” and violence.

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2025-01-17 14:46