James Hawes Reveals Shocking Secrets Behind ‘The Amateur’ and ‘Lanterns’!

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For over twenty years, James Hawes has been a secret powerhouse in television direction within the industry. He’s consistently shown a talent for storytelling across various genres, yet his work on the first season of “Slow Horses” with Gary Oldman underscored his ability to inject fresh twists into established genres such as spy thrillers. This skill is now evident in his second feature film and debut studio project, “The Amateur,” which features Academy Award winner Rami Malek as the lead actor.

The British director creates a similar stylish atmosphere as seen in films featuring characters like Jason Bourne or Jack Ryan. However, instead of showcasing these familiar figures, he’s telling the story of Charlie Heller (played by Malek), an underrated CIA analyst who is forced to venture into the field. This adaptation, written by screenwriters Ken Nolan and Gary Spinelli, follows Hawes’ interpretation of Robert Littell’s 1981 novel, tracing Charlie’s daring, worldwide quest for justice after the terrorists responsible for killing his wife, Sarah (played by Rachel Brosnahan).

The revised version shares some similarities with the 1981 original, like Charles Jarrott’s film, but it primarily forges its own path, offering viewers a refreshing break from the string of recent revenge and vigilante stories, such as those starring John Wick or Robert McCall in The Equalizer.

Hawes states, in an interview with The Hollywood Reporter, that he believes audiences appreciate the fact that we didn’t transform Charlie Heller into Jason Bourne. Instead, Charlie utilizes his intelligence and ability to manipulate his surroundings to harm his targets, which gives the character a dark and morally ambiguous feel.

Hawes is set to embark on another prominent venture with DC Studios’ and HBO’s upcoming series titled “Lanterns”. In this project, he will collaborate with Chris Mundy (from “Ozark”), Tom King (known for Marvel Comics’ “The Vision”), and Damon Lindelof (renowned for “Lost”, “The Leftovers”, and “Watchmen”). The series, which revolves around intergalactic space cops, has been likened to HBO’s esteemed show, “True Detective”. Hawes acknowledges this comparison, understanding both its similarities and the uniqueness it represents.

The atmosphere seems well-established and authentic. You encounter two characters, Kyle Chandler’s Hal Jordan and Aaron Pierre’s John Stewart, but there’s a surprising blend of wit and humor in this production that you might not anticipate from a show like True Detective. It possesses a unique charm, and in many aspects, it follows the structure of a buddy cop narrative with travel elements throughout the storyline, which is remarkably intricate. Hawes suggests that these comparisons to True Detective are justified, although some may still be puzzled by his reference. However, he also mentions shows like No Country for Old Men, Fargo and productions with a similar American heartland feel.

In a recent chat with THR, Hawes delved into the central theme of The Amateur concerning justice versus retribution. Additionally, he touched upon whether Brosnahan’s role as Lois Lane in Superman at DC Studios may have affected The Amateur in any way.

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For about two decades, you have been an active television director. Your first feature film, “One Life,” was released a few years back. Were you attempting to establish yourself in the feature film industry for some time prior? Or did you only seriously consider it recently?

I veered off course towards premium TV productions, finding it challenging to penetrate the realm of movies. Yet, even though one might aspire for movie roles during their career, I experienced a series of fortunate opportunities in high-end TV. At that time, it seemed these projects were drawing top-tier actors, larger budgets, and perhaps a readiness to experiment creatively more than films did. It was the show “Slow Horses” that paved the way for my initial movie role with “One Life,” and subsequently, having been involved in espionage narratives, the script for “The Amateur” found its way to me.

Marthe Keller played a part in the movie “One Life”. She also portrayed a character similar to Caitriona Balfe’s in your film, in the original 1981 release of “The Amateur”. When you decided to make “The Amateur”, did the fact that Keller had already acted in “One Life” seem like a hint or omen that she was meant for the role?

(Smiling) You know, it’s got me pondering about my recent character choices and if they could be hinting at what’s coming next. Casting Marthe Keller in The Amateur was quite purposeful, especially since I’m a fan of her work from the original and she’s such an exceptional actor with a captivating spirit. Including her as the florist was my subtle way of paying homage to this genre’s rich history.

I’m just as fond of the John Wick series as anyone else, but it seems that its success has led to a wave of imitations. Unfortunately, it appears that the original reasons for why John Wick (2014) was so successful in the first place have been overlooked. Did people discuss The Amateur as being a complete contrast to Wick, Bourne, and Equalizer and their ilk?

I really like the John Wick series, but it seems that many similar movies have been made since then. It’s unfortunate that the original factors that made the first John Wick movie successful are often overlooked nowadays. Do you remember people talking about The Amateur as a movie that was different from John Wick, Bourne, Equalizer, and other action films?

In our discussion, we referred to it as a deeply personal, character-focused spy drama. The character of Charlie Heller undergoes a significant transformation throughout the narrative, reflecting his journey from someone grappling with grief, to a person who may not yet embody all he aspires or is capable of. By the end of the film, you witness a marked change in Charlie, from a timid individual barely venturing abroad at the outset, to a more self-assured, daring character. We aimed to ensure that the character was integral to every scene, and we believed this approach would help us create a distinct identity for our production.

Did you prefer a conclusion that showed Charlie tasting revenge yet maintaining his composure, rather than fully succumbing to it? Was a more introspective finale part of your initial vision?

We extensively debated the issue during script development and collaboration with the studio. The moral complexity of whether it was revenge or justice that we were dealing with was a topic of great discussion. In one scene on the beach, after Charlie has killed his second target, Caitriona Balfe’s character questions him about the emptiness that fills the silence following the loss of a loved one, asking “Is this how you plan to fill your silence?” This moment, in my opinion, marks the start of Charlie’s introspection on whether he is indeed doing the right thing and his journey towards uncovering a higher form of justice. In contrast to another version of the movie, where Michael Stuhlbarg’s character’s boat would have been destroyed, causing all the villains to sink to the depths of the Seven Seas.

Directors often find it challenging to establish and maintain the desired mood or style of a project. However, I’ve noticed that regardless if it’s an amateur production or TV work, you consistently manage to grasp and uphold the tone of the piece. Is your ability to do so primarily due to your extensive experience in television, where you either need to establish the tone yourself or adapt to someone else’s?

What you just said is undoubtedly the most significant and complimentary thing I’ve heard today. I’ll definitely keep it in mind. It’s incredibly insightful. The tone is crucial. In Slow Horses, we had to maintain a dangerous tone, but there was also room for black humor. So, we debated about how many fart jokes were too much and how Gary Oldman’s charming wit could coexist with deadly weapons and still seem plausible.

In response to your query, I’d say it’s quite likely. The journey of creating a TV show has been an evolving process, and indeed, aligning your style with established directors is part of that conversation. You can have outstanding concepts during preparation, but the true challenge arises when filming begins, as the production clock ticks away, sets crumble unexpectedly, and you face unforeseen events like a SAG strike. It’s about maintaining the right balance in every scene and shot throughout this process, which is where the real difficulty lies.

During our chat for the trailer launch, I recall you hinting that Rachel Brosnahan’s character would make an appearance in some shape or form throughout the movie. I was impressed by how skillfully you incorporated her into the film through various scenes, flashbacks, fleeting glimpses, and photographs, ensuring that Charlie’s grief remained a constant presence. Many similar films tend to lose sight of the character who initially propels the narrative, so did you pay special attention to this detail?

Making this decision was deliberate, and I acknowledge it might not be everyone’s cup of tea. However, we’re discussing a person grieving over losing someone, and the profoundness of such loss. Inquiline [Balfe] beautifully captures this through her speech about missed sounds: the sound of doors closing, footsteps. One scene that stands out is in the Paris hotel where Charlie sits down, and he becomes acutely aware of Sarah [Brosnahan] placing a glass of water on the nightstand and tucking in the bedding. It instantly hits you that this was an habitual action she would perform, and then it sinks in that she’s not there to do it anymore. It’s a delicate balance to make such moments feel authentic without veering into excessive sentimentality, but I believe we’ve achieved it. You’re perceptive to notice other poignant moments, like his screensaver that he hasn’t found the strength to delete yet, or the puzzle he plays with, which was something that came home after she passed away.

As it turns out, Rachel was chosen to play Lois Lane in Superman when production began. Did they have any last-minute talks about possibly including extra scenes with Rachel due to her growing popularity?

We didn’t initially include, but we ended up adding a few additional scenes featuring Rachel. Last night in Tokyo, I shared a meal with her, and we discussed the matter.

Indeed, a previous version of the trailer included a scene where Sarah poses a question to Charlie: “Don’t you sometimes ponder what happens to all the artifacts you uncover for them?

Absolutely on point! It seems the rhythm and speed of editing in the film was crucial, as it occasionally pulled focus from the scene’s required concentration. However, I believe we struck a good balance overall, avoiding being too distracted by Rachel’s prominent silhouette. By the way, I am a huge admirer of Rachel’s talent – she’s an exceptionally intelligent actress with a wide range, demonstrating various aspects in her performance.

Did you already have your DC Studios job at that point, too?

Actually, no, that’s not what happened. It’s fascinating how life leads us in unexpected directions, and it might just be a coincidence that I was approached by showrunner Chris Mundy for the project titled “Lanterns.

Marthe Keller’s florist arranges the plotline, but I’ve never witnessed anyone being manipulated so cruelly with their pollen allergy as a weapon. Was everyone intrigued when this idea was proposed?

Absolutely, the audience has been responding positively because our movie presents something unique. I believe they appreciate that we didn’t transform Charlie Heller into a character like Jason Bourne. Instead, he learns to navigate and outwit his adversaries using his intelligence and environment rather than relying on conventional fighting skills. This approach made the storyline more complex and morally challenging for Charlie, as seen when he struggles with performing actions that border on torture to extract information. This struggle adds depth to his character and makes it more compelling for viewers.

You might find it interesting to know that my preferred scene from the movie is where Charlie sits by himself at his kitchen table. He’s hidden in the corner of the shot, while the TV is on at the other end. The lighting and color scheme were both tastefully done.

I’m grateful for your observation, and I believe it’s due to the strategic placement of tension within the shot. He appears to be seated as far from the camera as possible, perhaps signifying his distance from the news about his wife’s passing. The location, reminiscent of where we previously saw him preparing coffee with her, adds a sense of familiarity. Yet, he seems isolated in the space, giving an impression of solitude. In the film “One Life,” I employed a similar technique when photographing Anthony Hopkins, who was portrayed as lonely while playing the piano in the center of a room. This framing can effectively convey a feeling of loneliness that appears to resonate well.

Charlie’s response to Sarah’s demise was deeply moving, as well as a profoundly touching interaction between Charlie and Caitriona’s persona. Yet, it was just as disheartening to see Charlie feeling let down by Jon Bernthal’s character opting for technical assistance rather than companionship.

It’s clear to me, and that scene was brilliantly executed. Kudos to the screenwriters! At the onset of the movie, you notice Heller’s obvious excitement as he encounters someone who is essentially a renowned high school quarterback. This interaction takes place in public, where his CIA peers might observe. The depiction of him losing his lunch over this encounter effectively conveys his sense of isolation, his desire to belong, and the company he aspires to keep.

After hearing about the captivating performance by Caitriona, I couldn’t help but approach her privately and express my admiration: “I must say, I knew you were talented, but that scene surpassed all expectations.” The depth of emotion and authenticity in that moment left a lasting impact on me.

Is it amusing to everyone that Jon portrays the role of a character named ‘The Bear’ on a series titled ‘The Bear’?

It turned out to be an unexpected coincidence, and it gave us quite a chuckle. This thing actually existed before Jon’s selection. It’s unclear whether it seeped into our unconsciousness, influencing our thoughts about him, or if it was just the Punisher at play – I can’t quite recall. However, Jon brought a fantastic vibe to the set during those scenes, as if he had been dropped in by parachute.

Did you happen to meet Jon in Moscow as well, since it was likely that he could speak Russian during a scene given that he had learned acting there?

In our conversation about him taking on the role, he unexpectedly revealed his ability to speak Russian. He expressed, “I can handle this in Russian,” and it’s always exciting when such instances occur. It adds a touch of realism to the character at that particular moment.

Previously mentioned, you’ve been developing several installments for DC Studios’ Lanterns. Could it be that the tone is similar to True Detective?

In a conversational manner, this series exudes a grounded vibe; it’s unexpectedly humorous, even for a show like True Detective. It features an unlikely duo, yet the dialogues are laced with humor that you wouldn’t anticipate. The narrative structure is quite intricate, reminiscent of a buddy cop tale, but with unique twists as the story unfolds across various locations. Chris Mundy and his team have truly outdone themselves, making comparisons to True Detective justified. However, some might still question the subject matter. To clarify further, I’d also mention shows like No Country for Old Men, Fargo, and others that share a similar Americana charm. This production is not just gritty, but it has a touch of wry humor, making it more humorous than True Detective.

Last year, Aaron Pierre’s captivating portrayal in Rebel Ridge left an indelible impression on me, and I eagerly watched as he vied for the John Stewart role soon after the movie’s premiere. To what extent did the acclaim surrounding his performance sway the casting decision?

In my opinion, he performed the role entirely on his own in the room, using various acting techniques that made it seem as if he was perfectly suited for the part. His aura was simply captivating, exuding power, coolness, and subtlety all at once. I wanted this universe to feel authentic, and while there are limitations to how deeply we can ground characters in a series centered around Green Lantern, they have been effectively established. This is a world where the existence of Green Lanterns and aliens is accepted as fact, and everything else unfolds within our familiar reality.

What’s your impression of the leadership at DC Studios?

Indeed, from my perspective, it’s been nothing short of inspiring, nurturing, and downright exhilarating. In the coming months, I’ll have a better understanding, but at this moment, [Lanterns] has genuinely sparked a surge of creativity within me.

Have you ventured past the beginner level and lanterns? or Are you still exploring, or perhaps seeking some time to rest on a shore instead?

After years of non-stop work and fantastic opportunities, it’s high time for me to take a break at the beach. I crave a moment of respite. The jobs have been piling up one after another, but soon, I plan to pause and catch my breath. However, while taking this break, I’ve been brainstorming some exciting concepts for future projects, both in features and on TV. These ideas are my own creations, so we’ll see how they develop.

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The Amateur is now playing nationwide in movie theaters.

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2025-04-12 02:59