His main duties in life were being a father and a husband.
Todd Field
Those lucky enough to have acted alongside Tom Wilkinson will attest to the fact that his talent was matched only by his big heart. While some may doubt this in a world of fake positivity, it remains true. However, the truth can sometimes be lost in the retelling and cannot always be regained. But I can assure you of one thing.
Another actor was originally chosen to play Matt Fowler in the movie In the Bedroom, but they dropped out three weeks before filming. I called Leon Vitali and asked for a strong, middle-aged American to play the lead role that audiences were not familiar with. Despite the unlikely request, Leon suggested a talented British actor who Stanley Kubrick admired and wanted to work with. This actor was Tom, who was eventually cast. I had not yet seen his previous works such as The Full Monty or Shakespeare in Love, so watching him rehearse was my first time seeing him act. However, it didn’t feel like acting at all. He embodied the character of a father and husband, which I later realized were his most important roles in real life.
Tom was reluctant to discuss the psychology of a character, preferring to focus on books and poetry. He had a strong attention to detail, similar to a musician, and used rhythm, volume, and precise physical movements in his performances. He scolded me for my gentle approach, insisting I should simply give him a cue like a horse at the starting gate. He was not picky, knew his lines perfectly, and followed direction well. If asked to make an adjustment, he would simply say “I can do that,” and would do it even better and more cleverly than expected. Tom had a way of elevating and inspiring those around him.
We didn’t truly become acquainted until after filming had ended. This only occurred after I persuaded him to attend Sundance or join us at the Russian Tea Room after winning best actor from the New York Film Critics Circle. Tom wasn’t fond of being away from his wife, the talented Diana Hardcastle, and their beautiful daughters Alice and Molly. Family was his top priority.
Tom frequently reached out to express his concern that I had not yet produced another film, and to offer his support. He had a fatherly demeanor, much like Matt Fowler, who was warm and sincere. He made sure you felt well taken care of and that someone you deeply respected truly cared about you.
It is difficult to envision a world without Tom Wilkinson. There is no replacement or equivalent to him. He was truly unique. Tomorrow will begin without his presence, and we will be at a loss without him.
‘Tom brought the glitch of humanity to everything he did’
Tony Gilroy, the filmmaker behind Michael Clayton and Duplicity
I am eternally grateful to Tom Wilkinson. I was unable to make Michael Clayton a success.
For five years, I focused on pursuing financial success and working with actors. Finally, I was given the opportunity to meet with George Clooney and convince him that, despite my lack of experience, I could be a dependable collaborator. After exchanging pleasantries, the interview commenced with the question, “Who do you envision playing Arthur Edens?”
After three weeks, I found myself in a restaurant in Montreal with a script in my pocket, and I offered Tom the role before we even ordered our meal. Was he taken aback by the sudden offer? He portrayed himself that way – surprised, humble, and confused by our excitement – and I believed him. Looking back now, I’m not entirely convinced.
We were treated to exceptional performances by Tom in both Michael Clayton and Duplicity. He effortlessly embodied his characters in every scene and take, even when faced with outrageous demands such as stripping down in a deposition or engaging in intense physical confrontations. His natural talent shone through as he delivered powerful monologues, fought with Paul Giamatti in slow-motion on a rainy airstrip, and executed a wordless, one-take assassination. Tom approached each day with a gentle and slightly bewildered demeanor, but it soon became clear that he had put in a great deal of preparation and was eager to surprise everyone with his skills.
During the filming of Clayton, there was a crucial moment where Clayton had to quickly change from appearing calm and enthusiastic to being ruthless and determined as a lawyer. This occurred on the second day of filming with George, on a snowy street swarmed by paparazzi, and without any prior rehearsal. In the midst of chaos, Tom’s character came to life on the screen, fully immersed and ready to begin. This transformation signaled that Arthur Edens was alive and the scene was successfully captured.
This situation is unusual, don’t you think? You create a character and hope that an exceptional actor will take them from you. Tom skillfully took over everything I had given him. While emotional authenticity is the main goal, Tom always brings something extra to his performances – a hidden strength, unforeseen understanding, and unexpected vulnerability. It’s this hint of complexity that assures us of the authenticity of his work and Tom brought a touch of humanity to all that he did.
One week prior to filming, I met with him to discuss practical matters. The prop department had given me a case of eyeglass frames to consider, as they were worried about the limited time and Tom’s strong prescription. However, Tom reassured me and said, “Don’t worry about it. I prefer not to see the other actors anyway.”
I am unsure about the reality or performance aspect, but that was his approach. I cannot claim to understand how he reached that point, just as I cannot take credit for the flowers he showed the camera every day. Sometimes, it is best to step back and appreciate your good fortune. Gratitude to you, Tom.
I was surprised by how easily he giggled.
Harriet Walter, a fellow actor in both The Governess and Belgravia.
Initially, Tom was considered to be part of our group, one of the many actors employed at the Royal Court and in the London fringe during the 1980s. I vaguely knew of his existence. However, he became the center of attention when he played the role of King Lear at the Royal Court at a surprisingly young age. I might have muttered some words of praise to him at the nearby pub. He seemed like someone who would not appreciate too much adulation.
After that, I observed and marveled at Tom’s on-screen performances, constantly amazed that someone from our own group had achieved international recognition. He may not have been a star, but he was something even more lasting – a talented and versatile actor. Whether he was hilariously portraying Pecksniff in the BBC’s Martin Chuzzlewit or unraveling in a disturbing manner in Michael Clayton, he always brought a dignified gravitas to his roles.
I was delighted to have the fictional role of being married to him two times – once in The Governess alongside Minnie Driver and more recently in Belgravia. During our time filming The Governess, he took a brief break to attend the premiere of a “promising indie film” that he cautiously believed would be successful. It was titled The Full Monty.
I was always hesitant to penetrate a private individual’s guard, so I felt uneasy around him. He was known for being grumpy and had a certain demeanor. However, as we worked on Belgravia, I grew more confident and discovered that beneath his tough exterior, Tom was actually kind and funny.
He possessed a subtle, clever sense of humor. I recall a time when the actors were dressed in crinolines and cravats, each engrossed in their phone screens. Tom approached me and questioned the constant need to be on our phones. “I suppose there isn’t much else to do while waiting on set,” I suggested. “There’s always conversation,” he responded with a hint of longing. It seemed like not many sought out Tom for casual chit-chat.
It was surprising how quickly he would laugh, or allow us to laugh, when something silly caused us to lose our composure. We were meant to play the roles of the Earl and Countess of Brockenhurst, but we always seemed to forget our names. We attempted Brocklebury, Brackenbury, Broadhurst, and even at one point, Tom elevated himself to the rank of Duke. There was also a moment at the dining table where he lost his place in the dialogue and began rambling nonsensically while the camera kept rolling.
I regret not overcoming my shyness earlier. I could have developed a deeper relationship with him and benefited from it.
“I plan to plant a tree as a tribute to him.”
Judi Dench, co-star in The Best Exotic Marigold Hotel and Wetherby
I have very happy recollections of Tom from The Best Exotic Marigold Hotel in India, and I plan to honor his memory by planting a tree in his name. He was someone whom I greatly respected.
He is not someone you want to mess with.
Cathy Tyson, who plays alongside in Priest
In 1994, I collaborated with Tom Wilkinson on the film Priest directed by Antonia Bird. It was one of the earliest and most important projects for both of us. However, I was in my late 20s at the time while he was in his mid 40s, with much more experience.
In Liverpool, Tom portrayed a priest while I portrayed the housekeeper with whom he was having an affair. We shared a residence with another priest, portrayed by Linus Roache, who was grappling with his beliefs and his sexual identity.
Tom exuded a strong presence. He carried himself with a serious demeanor and was very genuine, not at all like an insincere actor. He had a slightly intimidating aura, making it clear that he was not someone to be trifled with – not because he was a bully, but because he didn’t tolerate casualness or silliness.
Even though the shooting process could be intimidating, it was also motivating. This was especially true for me when I was younger and more reserved. Tom was not just a figure to be controlled; he had intelligence and was highly regarded. Meeting someone like him at a young age, when I was still unsure of myself, showed me what was achievable. It taught me that as an actor, I have the ability to challenge the script and creative choices.
I understood the importance of staying in character. Being too talkative could break that immersion. Our characters never shared a kiss, even though they were involved in a secret affair. This was true to life, as they couldn’t openly display their love. So, the distance between Tom and me, despite playing lovers, actually aided in our portrayal.
I have fond memories of becoming a Priest, and even though we lost touch, I have always been impressed by Tom’s talent. It seems that he has never given a subpar performance. I particularly enjoyed his role as a kind peacemaker in The Best Exotic Marigold Hotel. It was delightful to see such vulnerability from this strong and confident man from the north.
I received a birthday gift of a historical account of labor unions.
Richard Eyre has directed several productions including Stage Beauty, White Chameleon, Three Sisters, The Churchill Play, and Comedians.
In 1974, I encountered Tom, who went by his middle name Geoff at the time. My colleague, David Hare, and I were holding auditions at the Poetry Society in Earls Court for my inaugural season as director of Nottingham Playhouse. Geoff/Tom had recently graduated from Rada and this was his first audition for a job. He was a tall, polite, and reserved man. He shared that he was originally from Yorkshire, the son of a farmer, and had moved to Canada at 11 years old before returning to England at 16. He also mentioned that he had obtained an English degree from Kent University before attending Rada.
After that, he immediately began – I believed – advising me on what we should expect from actors: “Please speak the lines as I spoke them to you, with fluent ease. But if you overact them, as many actors do, I would rather have the town crier deliver my lines. Also, try not to gesture too wildly with your hands, but use them gently…” And so on, quoting Hamlet’s speech to the Players. I have never heard it performed better and we immediately offered him a job.
He remained in Nottingham for a span of two years, demonstrating loyalty, expertise, and modesty in his work. He had a tendency to be outgoing, often making grand gestures with his arms as if embracing the world, but he also had a reserved side, possessing a subtle wit and preferring to keep to himself. He had a knack for humor both on and off stage, occasionally succumbing to fits of laughter. He held firm political beliefs and was a dedicated socialist with a deep understanding of social justice, even gifting me a history of trade unions on my birthday during our initial season together.
If Jonathan Pryce were not also in the company during the same time, he would have been cast in all the leading roles, rather than just a few. He and Jonathan (along with Stephen Rea) were on equal footing in my production of Trevor Griffiths’ play Comedians, which I commissioned at the Poetry Society when I met Geoff/Tom. He portrayed Mick Connor, an Irishman who remains true to his roots without compromising his identity. His performance was flawlessly executed. We moved the production from Nottingham to the National Theatre at the Old Vic, and then to the West End. Geoff became Tom and the world was introduced to his immense charm and exceptional acting skills.
I cried and felt proud of him
Jonathan Pryce is known for his roles in Comedians and A Business Affair as a co-star.
At Nottingham I shared the stage and a flat with Tom. He taught me a few salads and I taught him how to make chips like my mother made them. I loved him. He was as funny as he was uncompromising.
He stood four square on stage as he did in life. He was superb on film with his characteristic intelligence, integrity and wit. He was a rock as Mick Connor in Comedians.
I witnessed his performance of Hamlet in Coventry. In 1993 at the Royal Court, I watched him portray Lear while he was in his 50s. He was exceptional. I was moved to tears and filled with pride. These are emotions I am experiencing again today.
“I have never seen a better audition, both in the past and present, than the one he did.”
David Hare, the person in charge of Brassneck, My Zinc Bed, Wetherby, and Denial.
More than 50 years ago, Richard Eyre and I were participating in auditions for the annual company at Nottingham Playhouse, as was common at the time. On the final day, Geoff Wilkinson entered the ballroom in Earls Court and gave the most impressive audition I have ever witnessed, even to this day. One of his speeches was from a play by Charles Wood about a meticulous schoolmaster. This young actor displayed a level of maturity beyond his years and his humor was incredibly dry. After his performance, Richard and I exchanged surprised looks and admitted that we had no available roles to offer him – Jonathan Pryce was already cast as our leading man. However, we were delighted to invite Geoff to join us in Nottingham as part of the cast.
I am always pleased to mention that I co-wrote Brassneck in 1973 with Howard Brenton. The play is a satire on civic corruption and it begins with a scene between the characters Tom (later known as “Tom”) and Paul Dawkins.
One or two years later, the Playhouse doorkeeper, after a Saturday matinee, uttered the most unexpected request over the Nottingham Tannoy. “Could Mr Wilkinson please come to the stage door where a Mr Wajda is waiting for him?” Yes, Andrzej Wajda had travelled unannounced to cast him, unknown, in Joseph Conrad’s The Shadow Line. It took a great Polish director to set Tom off on his exceptional film career. But film’s gain was the theatre’s loss.
In 2000, I convinced Tom to return to the Royal Court and star alongside Julia Ormond in My Zinc Bed. The play, which explored the theme of alcoholism, was an instant hit and became the fastest-selling play in the Court’s history, thanks in part to the dynamic trio of Tom, Julia, and co-star Steven Mackintosh. However, Tom had mixed feelings about the success. In a previous production in 1993, his portrayal of a testy and choleric king had been compared to Paul Scofield’s iconic performance. He was also praised for his impetuous role in An Enemy of the People at the Young Vic in 1988. But as time went on, Tom’s discomfort with receiving attention and showing off began to affect his relationship with live performances. He much preferred working in film where he could focus on his work and avoid the pressure of public recognition. He disliked the showmanship and business aspects of the industry.
Some may find it unusual for an actor to dislike praise and pretense, but this is a common trait, and Tom embodied it perfectly. In 1984, during the filming of Wetherby, I placed him in an ensemble with esteemed actors such as Vanessa Redgrave, Judi Dench, Marjorie Yates, and Ian Holm. As they strolled together under the night sky, admiring the stars, it was impossible to determine who had the most experience and who had the least.
Our previous time together was during the production of Denial, where he portrayed the notable lawyer Richard Rampton to the delight of many. At this point, respected directors such as Todd Field, Julian Fellowes, and Antonia Bird had cast Tom in leading roles, rather than just supporting ones to add a quick burst of energy and sophistication. My screenplay depicted the events surrounding the lawsuit between historian David Irving and Deborah Lipstadt over accusations of Holocaust denial. Due to the film’s focus on historical accuracy, I felt obligated to use the exact court transcript. In a single impressive take, Tom flawlessly delivered the defense counsel’s lengthy speech, showcasing his impeccable acting skills. After the shoot, I stumbled upon Tom smoking outside and asked him how he managed to pull off such a feat. With a hint of grumpiness, Tom simply replied, “That’s just part of the job.” But I could sense that he was pleased with my inquiry.
“A brief burst of light appears between his thighs. The last image we see.”
, is a British filmmaker.
Peter Cattaneo, the British filmmaker behind The Full Monty.
Tom’s versatility as an actor played a crucial role in the success of The Full Monty. The movie skillfully balanced between humor and emotion, and Tom seamlessly transitioned between deceit, loneliness, and frustration while still portraying honesty, sensitivity, and impeccable comedic timing. His response to being discovered ballroom dancing by the group was executed flawlessly, his devastation after a failed job interview was heart-wrenching, and his delivery of lines like, “You’re fat, he’s thin, and you’re both bloody ugly” had a true Yorkshire edge.
He was always so well prepared and he committed to every moment with conviction. It takes an enormous leap of faith to pirouette in a dole queue – the final flourish in a heightened scene that could so easily have come unstuck in that context.
Tom consistently displayed gentlemanly behavior on set, effortlessly winning over the hearts of those around him with his natural charm and warmth. Despite Gerald’s arrogant and self-important behavior, Tom’s portrayal ensured that the character remained relatable. Amidst the ridiculous shenanigans, Tom infused Gerald with emotional authenticity, humanity, and most importantly, a sense of dignity.
After much deliberation, we finally settled on the perfect freeze-frame for the end of the Full Monty. We went back and forth multiple times until we found a shot where Gerald’s legs were briefly illuminated in a magical way as the naked group turned towards the cheering audience. This was the ideal final frame for us.
He expressed to a coworker that he believed he could do without a manager.
, and The Second Best Exotic Marigold Hotel
John Madden is known for directing successful films such as Shakespeare in Love, The Debt, The Best Exotic Marigold Hotel, and its sequel, The Second Best Exotic Marigold Hotel.
Tom shared with a coworker of mine that he believed he didn’t require a director, and I agree with that assessment. I collaborated with Tom on four movies, and almost a fifth, and I restrained my input to allow him the freedom to pursue his vision, even when he wasn’t sure of what that was. However, his contributions were consistently unexpected, intelligent, often comical, and always genuine. No matter what he did, the audience immediately connected with him.
He possessed incredible talent, had a grumpy demeanor, and was a master of comedy. He was a one-of-a-kind and unforgettable genius.
Perhaps he played for Leeds FC.
, is the recipient of BAFTA’s Rising Star Award.
Bill Nighy, who appeared in both Valkyrie and The Best Exotic Marigold Hotel, was honored with BAFTA’s Rising Star Award.
Tom’s absence has left a void in the world, as he was a remarkable individual and an exceptional performer. I had a great admiration for him and felt privileged to have known him.
The individual was a forward-thinking liberal, which takes bravery. He possessed dancing skills and potentially could have been a player for Leeds FC. He had strong moral values and a pleasant sense of humor. I deeply cared for him.
“He inquired, ‘Are you a flatterer?'”
Christopher Eccleston, who is also a co-star in the film Dead in a Week (Or Your Money Back)
I vividly recall encountering Tom in a historical BBC show from the late 1970s or early 1980s. I was unaware of his identity at the time. I was simply observing this actor, adorned in elaborate attire, portraying a character who gradually succumbs to an almost uncontrollable anger. The intensity built up slowly. At that point in my life, I was 18 and just beginning to contemplate pursuing acting as a career. It was a rarity to witness such rawness on television, especially in a period piece. The tension left a lasting impression on me – the juxtaposition of traditional costumes with the modern energy and authenticity of the performance was exceptional.
During breaks on the set of Dead in a Week (Or Your Money Back), I inquired with Tom about the project. To my surprise, he responded with confusion, claiming he had never participated in a historical television drama as I had described. He denied any involvement and jokingly questioned if I was trying to flatter him. I’ve always respected him as an actor and appreciated his dark sense of humor.
I had a feeling that I was going to have an amazing time.
Marion Bailey, co-star of Dead in a Week (Or Your Money Back), has passed away.
There are a few actors who were active during my career that have always inspired me and filled me with admiration and joy.
Tom Wilkinson was definitely among the best, both in theater and film. His performances seemed effortless and down-to-earth, but were always complex and, most importantly, genuine.
Finely tuned and subtle but never afraid to play with the erratic, unpredictable aspects of a character – and somewhere just below the surface there was always wit and a twinkly hint of danger.
Before being given the opportunity to star as his wife in the movie Dead in a Week (Or Your Money Back), I was an actor in my middle years. I eagerly accepted the role, although I was a bit nervous about working with one of my idols. In the film, he portrayed a skilled assassin who also led a seemingly ordinary life with a love for bridge and pet budgerigars.
On the initial day of shooting, we were waiting in a small room while the crew prepared. For about five minutes, there was an uncomfortable silence as I contemplated whether to interrupt the filmmaker’s necessary state of complete attention and concentration.
Unexpectedly, he began with a calm and serious tone, telling a comically mischievous story about an old friend of mine. It was then that I realized I was going to thoroughly enjoy working with him, and that indeed turned out to be true.
He brought laughter to my days. He was a pleasure to work with and to observe, with a great sense of humor and a generous and kind nature. His skills in film acting were top-notch.
It was a wonderful opportunity and honor to have been able to showcase my skills with him, but it is unfortunate that I will not have the chance to do so again. He was truly unique and his passing is a significant loss.
At the moment, the interaction felt awkward and tense. However, I later discovered the reason behind it.
Wilkinson portrayed Ewen MacAskill, a Guardian journalist, in the movie Snowden.
As a member of an earlier era of journalists, it was customary for us to maintain anonymity and stay behind the scenes, represented only by a byline. Therefore, it came as a pleasant surprise in my later years to be portrayed in a film. It was even more gratifying that this portrayal, though small, was done by one of the most beloved actors in the UK, Tom Wilkinson, who has been nominated for an Oscar.
In May 2015, I was invited by director Oliver Stone to observe the filming of his 2016 biopic “Snowden” about the US whistleblower and spy Edward Snowden. In 2013, Snowden had handed over a large number of confidential documents regarding government surveillance to reporters, including myself, during a meeting in Hong Kong.
The Munich studio had replicated the Hong Kong hotel room where I, along with my colleagues Laura Poitras and Glenn Greenwald, had spent a week conducting interviews with Snowden. I was impressed as I watched Wilkinson, who portrayed a sincere earnestness even in the dialogue that could sometimes be cliché.
During breaks from filming, the screenwriter, actors, and other individuals inquired about events happening in Hong Kong, fascinated by the story they had been working on for the past few months. However, Wilkinson did not express any interest in learning more.
I eventually requested an interview and he agreed to do it during a smoking break. We stepped outside of the studio. It felt like a strange and tense interaction. Despite the freezing temperatures and even during a thunderstorm, he graciously answered all of my questions. However, he seemed distant the entire time. He never made eye contact and instead focused on puffing on his cigarette while gazing at the sky. I questioned whether he valued his privacy, was bothered by the interruption during filming, or simply uninterested in the role.
For a while, I was confused about this, but a potential explanation has emerged after his passing: that this type of behavior was not uncommon for him. In a tribute to Wilkinson shared on Instagram, Scottish actor Jack Lowden, currently receiving praise for his role in Slow Horses, recounts a similar experience. “During breaks from filming, Tom would walk by and ask me, ‘Jock, wanna smoke?’ We would go outside and he would talk to me while staring off into the distance. He never turned to look at me, similar to how people feel more comfortable opening up when driving a car and their eyes are focused on the road,” he stated.
During the Munich interview, Wilkinson thoughtfully took a moment to contemplate each question before giving a subdued response. Initially, I had the impression – which later proved to be incorrect – that he did not sympathize with Snowden. Although he did not share the passionate fervor of Stone and actor Joseph Gordon-Levitt, who portrayed Snowden, Wilkinson recalled the excitement surrounding the revelations in the Guardian about government surveillance. He stated that he did not consider Snowden to be a traitor. “A person like him is necessary. I believe that individuals who put themselves in such vulnerable positions have a level of simplicity in their perspective that eludes the rest of us,” he remarked.
We laughed about the Scottish accent he used in the film. “I’ve always been comfortable with that accent,” he remarked. I mentioned that mine was a rough, incoherent Glaswegian accent, while his sounded more polished like an Edinburgh one. He admitted that could be true since he learned his Scottish accent while filming Burke and Hare in Edinburgh. Perhaps it was for the best – subtitles may have been necessary for American viewers if he had imitated mine.
I have not encountered Wilkinson since, and I have not viewed Snowden since 2016. However, I will always be thankful for his portrayal of me on screen.
‘I melted’
with
Rachel Weisz, who stars alongside in Denial with…
He appeared to perform with no safety precautions, displaying daring and humility. His talent and compassion were truly admirable. I was motivated by the depth of his abilities, his kindness, and the way he conducted himself in life.
After collaborating on a scene, he complimented me with the words: “You did well, kid.” I felt touched.
‘One of the dogs pissed all over Tom’s fancy velvet trousers’
, directed the critically acclaimed film, “Girl With a Pearl Earring”.
Peter Webber, the director of the award-winning movie “Girl With a Pearl Earring”, also helmed the production of the highly praised film, “Girl With a Pearl Earring”.
When I first met Tom, he told me, “Being good in this industry isn’t sufficient. You must excel in achieving success.” Despite being incredibly skilled in acting, Tom was also wise about the unpredictable and unstable nature of his job. He had enough experience to know what it requires to survive and succeed in his field.
He exuded a hint of darkness, adding depth and complexity to his characters. His work always hinted at a genuine and intricate human experience, with a balance of light and darkness. He possessed a quality shared by many renowned actors – the ability to fully embody a character and comprehend their flaws and vulnerabilities.
To work with him, you had to be at the top of your game. He was highly intelligent and had no patience for foolishness. He also possessed a strong determination and discipline. In one particular scene of Girl With a Pearl Earring, he sat in a chair with two large hunting dogs by his side. We were running behind schedule that day and everyone was tense as we rushed to finish. Finally, the cameras were set and the lighting was ready. To the amusement of the crew, one of the dogs suddenly urinated on Tom’s fancy heavy velvet period costume. I expected him to make a scene and delay filming for 30 minutes while he changed clothes. However, Tom understood the pressure we were under and simply shook his leg and gave me a nod. Expecting the worst, I asked him what he wanted to do. Without hesitation, he said “Roll ’em.” We were able to complete the scene in just a few takes. And when I called out “scene complete,” Tom calmly got up and walked away to change out of his damp and smelly clothes without saying a word.
What a resilient person. He will be remembered fondly.
The individual stated, “I came across some tapes and have been practicing in the shower.”
Jay Roach, director of Recount
I am saddened by the passing of Tom Wilkinson, as it means we will no longer be able to witness his exceptional performances. It is a devastating loss and I am also personally affected, as I had the opportunity to collaborate with him on our HBO project, Recount. It was an incredible experience that I have always hoped to repeat, but unfortunately have not been able to.
Tom greatly improved our film in countless ways. There were multiple opportunities for Recount to fail. The presidential election in 2000 was a highly divisive event in US history – a crisis that challenged the very existence of our country (later overshadowed by Trump). The majority of the film’s creators were liberals at HBO, so we were concerned that it would be perceived as biased propaganda. Along with starting with a well-written and balanced script by Danny Strong, we made an effort to rise above preconceived notions and gain the attention and respect of audiences from all perspectives by casting exceptional actors. This was especially important for the role of James Baker, the chief lawyer for the Republican party who was brought in to represent George Bush in the legal battle against Al Gore’s team in Florida.
At that point, I had encountered the genuine Jim Baker. I had analyzed his charming assurance, his clever political strategy, and his relentless determination to succeed at any cost when faced with adversity. Tom Wilkinson was the solution.
I was feeling a bit unsure about directing my first drama, especially since I had previously only directed comedy films. When I first spoke to Tom on the phone, I couldn’t help but ask about the Texas accent. My parents were from Texas and were very proud of Jim Baker, so I knew I would receive criticism if the accent wasn’t authentic. I asked Tom if he wanted an accent coach, but he declined and said he had already found some tapes and had been practicing in the shower.
Something about that confidence, which again, he shared with Baker, made me think we’d be OK. And we were. He showed up fully prepared, entirely off book for the whole film, and completely dialled in on a very distinct Houston accent that never once faltered.
In this production, he faced off against John Hurt as Warren Christopher and captivated us with his acting. He skillfully portrayed both a kind and wise political figure and a fierce and merciless gunslinger, earning him nominations for an Emmy and Golden Globe.
Tom had a welcoming and approachable demeanor that made it easy for us to engage with him. His positive attitude gave us confidence in our actions.
On one occasion, he managed to make me burst into laughter with his inexperienced direction. During his team’s first meeting, which included Bob Balaban as Ben Ginsberg, the recount lawyer, there was something specific I wanted from his speech. Usually, I try to keep my notes concise when working with actors, as I don’t want to overcomplicate things. However, on that day, I couldn’t seem to find a simple way to express my direction. So, I approached him from behind the camera and went on about the theme and purpose of the speech, asking for something different from what he had given. Tom calmly responded, “I’ll do that.” As I walked away, I overheard him asking Balaban if he understood what I was talking about. It was too amusing, and I couldn’t help but turn back and say, “Thanks for humoring me, Tom. But now, let’s ignore my ramblings and try another take.” He did just that in his own way and completely blew us away. We quickly moved on to the next scene.
Tom taught me a great deal. I was fortunate to witness his brilliance and kindness. I only wish I had another chance to continue working with him and expand my knowledge even further.
He grasped his chin and turned it, while his forehead was creased in concentration.
Justin Theroux, who appeared in the TV series John Adams and directed Dedication.
After learning about Tom’s death, once I had processed my surprise and sorrow, one particular memory stood out. It does not highlight Tom’s talent as an actor or his reserved but occasionally irritable kindness that he consistently brought to work.
Actually, the memory is not very significant. However, it does demonstrate his unassuming usefulness as an actor for the everyday person, and his determination to always fulfill the necessary role. I’m not entirely sure why this specific memory stuck with me, but it definitely added to my admiration for him.
In 2005, I had the opportunity to direct Tom in a small independent film. After our fast-paced 23-day shoot, he had to quickly depart from New York to begin work on another movie.
I went to his cold waiting area to talk about a scene we were scheduled to film that day. When I walked in, I noticed Tom: big and intimidating, sitting on the edge of a couch with a low coffee table in front of him. He was leaning over a stack of crumpled script pages, holding onto his chin and twisting it. His forehead was wrinkled in concentration.
The pages we received were not related to the scene we were going to film. They were not even for our movie, but for his upcoming project which had a bigger budget than ours. As I took a seat, he quickly gathered his pages and apologized. He explained that it was a very long monologue and admitted to feeling a bit nervous about it, without asking for reassurance. I vaguely remember him mentioning that it might even be delivered off camera.
He showed annoyance with how long it was, commenting briefly that actors can achieve a lot with fewer words. He also mentioned that most writers never seem to grasp this concept. He appeared somewhat resentful about now having to learn it all.
Setting aside our individual tasks for the day and my role as director, we engaged in a conversation, as actors often do, about the best way to handle such a mammoth speech – how to tackle it on the day of filming.
Is it possible to break it down into smaller parts? Start with the beginning of the monologue in the wide shot, and then film the second half in the same way. Practice for a few takes, but save the most important part of the speech for his closeup. Alternatively, we could split the speech into two parts and film the first half before lunch and the second half after a break. Since it was not going to be shown on camera, did he really need to memorize it? To be transparent, these suggestions were more from me and not him attempting to find a solution.
He retrieved the pages, puckered his lips, and proceeded to examine them once more. He turned each page until he reached the top of the pile, then set them aside and turned his attention towards me. “Okay,” he stated, prepared to continue and talk about the scene we were preparing to film. Intrigued, I prodded for more information.
“What is your plan for accomplishing it?”
He pulled his chin towards his chest, leaned in and made eye contact with me.
“I am determined to master everything and complete it in one go. Every single time.” He grinned widely and mischievously. “That will prove them wrong.”
Source: theguardian.com
