In “Danny Deckchair,” writer/director Jeff Balsmeyer brings to the screen the adventures of Danny Morgan, a cement worker who has a major fight with his girlfriend and decides to free himself from his life by tying helium balloons to a deckchair and letting the wind take him wherever it wants.
According to Balsmeyer, the feeling of needing to escape your everyday life and take off with no real destination in mind is fairly common. "Yes, a number of different people have taken to the skies in this way. A man in the UK went up in a banana chair; a guy in California went up in a patio chair and a woman in Denmark went up with just a harness attached to her limbs. There is in fact a sport called 'cluster ballooning' where people just attach balloons to themselves and see where it takes them. Whenever I heard any of these stories I just loved them and over the years the idea for 'Danny Deckchair' grew a little more each time I heard another story," recalls Balsmeyer.
Rhys Ifans joined “Danny Deckchair” early on in the process of getting the project off the ground (pardon the pun). Balsmeyer says, "I couldn't really picture anybody at all in the role until the day when Rhys was suggested. There's no one on earth who could play the part better. Danny's character needed a certain innocence, a kind of capacity for wonder, and Rhys has that in ways I've never seen before. But Rhys also has a wonderful comic edge, very smart and a little goofy. It all adds up to an extremely original sort of charm. He's an actor of remarkable talent, and in 'Danny Deckchair' he transforms into a romantic leading man."
INTERVIEW WITH RHYS IFANS:
How did you get involved in this project?
Jeff [Balsmeyer] sent me a script and I loved it. I met up with him and loved what he had in mind to do with it. That's it. I was onboard.
How did they do the flying scenes?
A lot of [them] we were on a crane, so I was pretty high off the ground. It's a nice feeling. I love being up there. Quiet, no make-up people, no costume. You're just there on your own. It's a good feeling.
How many hours were you up there?
Well, you know, we had plenty up and downs, so it was about two or three days for that. And then we did some blue screen stuff, as well. But it's nice to go to work, sit in a chair, and be swung about.
Did you do many of your own stunts?
All of them except the skydiving. But pretty much most of them. But they're not big stunts. They're just dangerous acting.
Do you enjoy skydiving?
I didn't do the skydiving, but we did it on a blue screen. When I saw it in the cinema, it was kind of exciting.
Did you do anything special to develop Danny's internal side?
I think that's the key to Danny. He's someone who, I guess, given the opportunity, would have led a very creative life. And when that's suppressed, it reveals itself in balloons and deckchairs.
How did you work on the relationship with Miranda Otto?
Oh, it was really easy to cultivate, to fall in love with Miranda Otto, so it was fun. I didn't know if she was onboard but [then] she was definitely in the picture which, again for me, was a draw, having worked with her before and thoroughly enjoyed it. So when we got to shooting, we knew each other very well and that chemistry was easier to get a grasp of.
Did your work on “Human Nature” help that?
Well, we knew each other so it's always easier when all that initial shyness is gone.
Did you always see yourself as the quirky, romantic type?
No, not necessarily. I just see myself as an actor really, be it goofball, romantic leads or serial killer.
Did you take dancing classes?
Yeah, I took some classes. I need classes, believe me. And I danced with Miranda in “Human Nature” as well. I was very happy to hear that she thought I improved slightly by the time we made “Danny Deckchair.”
How did you like filming in Australia?
Well, I'd never been to Australia before. I thought this story could only happen somewhere as vast as Australia. It needs to be this big place with a mythical center to be able to contain a story of this [magnitude]. You need a big country to contain that journey. So I was so excited to be there. It's just a beautiful place and I've always been a fan of Australian films. I just felt deeply honored, really, to work there.
How long did it take you to get the accent?
I did some [work] before I went out, and then of course I had an excellent dialect coach when I was there. It's kind of a lot easier when you're there because you're surrounded by the real thing. It's a process of osmosis, I guess.
Do you prefer working in certain countries?
Generally, I like working away from home only because then you're left with you and the script. No bills and phone calls. You can immerse yourself a lot more in a film if you're away from home.
You've got “Vanity Fair” coming out soon. Who do you play?
A character called William Dobbin. Who I guess [is] a character who's in love throughout the film. He's one of these guys who's in love but can't find it in himself to tell the woman he loves that he loves her. And I guess, in a way, he's the only character in the film with any sort of moral fiber.
Is it amoral to want to rise in social class?
Well, I think it's the way you rise. That's why Thackeray wrote this [character], because he felt that the characters were too bad, that the readers needed a good guy.
Do you underplay the character of Dobbin?
Yeah, absolutely. You can't overplay something you can't say, and he spends the whole film not being able to say what he wants to say. It would look pretty ugly if I overplayed that, I think.
How do you like period costumes?
Love it, [they're] great. That really helps. I mean, I've worn stuff like that in the theater before. It changes your walk. Your voice, as well. It's great.
Can you relate to that time period?
Well, no. I'm 36 years old. No, I know what you mean. In many ways, Thackeray is writing about the beginnings of modern London, if you like, the emergence of a bourgeoisie, of moneyed people who aren't necessarily titled. So there's a lot of parallels there, which I'm sure is why Mira Nair decided to make the film.
Does Mira bring a unique perspective to “Vanity Fair?”
Absolutely. It took an Indian woman to cast me in an English period film. She absolutely brings just a color to it and a vibrancy that you don't often see in English period dramas. And it's very present in Thackeray's novel. Mira's kind of made a banquet out of a rather good meal, I think.
How have things changed career-wise and personally since “Notting Hill?”
Well, career-wise I'm still working, thank God. Personally, I've bought a house in London. So I guess I'm just working more.
"DANNY DECKCHAIR" RESOURCES:
"Danny Deckchair" Photo Gallery
"Danny Deckchair" Credits, Trailer and Websites
