RB: He is certainly a different character than most of the roles we have seen you in. Is that what attracted you to the role?
HF: Oh, definitely that's part of it. But also the people involved and the quality of the script.
RB: Speaking of the people involved, you work with Diane Keaton and Rachel McAdams, two widely respected actresses, in this film. What were you most struck by in their performances?
HF: Rachel has a really interesting ability to do comedy with some real emotional underpinning. A lot of people don't have quite the capacity to do both at the same time, but there was always an emotional reality to what Rachel brought. And Keaton, well Keaton's a force of nature. She also has a truth to her, and she's a wonderfully capable technician. Working with her is like playing pingpong. You give her one in the corner with a lot of spin, and it will come back with the spin still on it. She's fun to work with. She's really smart and really interesting.
RB: The screenwriter of Morning Glory, Aline Brosh McKenna, had a huge hit when she wrote The Devil Wears Prada. This film has some similarities in that it takes place in an office with a difficult boss. Are you the male Miranda Priestly?
HF: I actually think the films are quite different. I saw The Devil Wears Prada, and the only thing I can say they have in common is a degree of real wit, and I think Aline is skilled with language and skilled with character, but I wouldn't say she has recreated that film. It's not imitative at all.
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