This week on The Filmmakers Podcast, host Dom Lenoir chats with Mad About the Boy director Michael Morris about his transition from theatre to television to film, and his latest project—a film that takes the iconic Bridget Jones franchise in a new and unexpected direction.
The Journey to Film
Michael’s career path has been anything but conventional. “I was a theatre director, then transitioned to drama television in America and then went into film,” he shares. His experience across different mediums has given him a deep appreciation for storytelling traditions, from the “old world glamour” of classic cinema to the refined craftsmanship of modern filmmaking.
The opportunity to work with Working Title was a major milestone for him. “As an English person who loves theatre, film, and storytelling, there was a time when English film was either small and edgy or massive and gorgeous. It wasn’t until Working Title did Four Weddings and a Funeral and Notting Hill that you realised you could have a proper, contemporary London story that made you laugh and engaged you emotionally.”
The Evolution of Television
Reflecting on his time in television, Michael highlights the shifting dynamics of the industry. “Transitioning from television, I was very lucky to coincide with the Golden Age when quality actors were returning, great writing was thriving, and the role of the showrunner was being developed. It had become more of an auteur role.”
He credits the rise of high-end television for elevating cinematic storytelling. According to him, shows like Breaking Bad, The Sopranos, or The Wire changed everything. “England had done it before with Jewel in the Crown. You don’t have to concentrate on storytelling for two hours. Films were like novels, TV like comic strips.” Now, TV is as rich and complex as cinema.
Michael recalls a pivotal meeting early in his career.
“I was naive. A producer asked what movies I wanted to make, and instead of saying ones that make lots of money, I started talking about Kieslowski films. He just looked at me and said, ‘Yeah, box office receipts for those aren’t so good.’” That experience taught him about the balancing act of making artistically ambitious films that still find an audience.
Bringing Depth to Bridget Jones
Michael’s latest project is a fresh take on Bridget Jones, a franchise known for its humour and romance. However, Dom mentions that “everyone was surprised by the emotional weight. You go for a Bridget Jones romp, expecting comedy and romance, but this story deals with real-life struggles like grief.”
The film explores Bridget’s journey through loss, seen through both her and her son’s eyes. “It was a real interesting portrait of grief.” Michael explains that it was important for him to share “ a story about grief, not just someone who’s lost somebody. I started to think about films like Truly Madly Deeply, where Minghella was brilliant with balancing grief and loss, but also finding charm; or About Time, which was underrated but beautifully made.”
Michael praises Eric Fellner and the Working Title team for believing in his vision. “I told Eric early on—I don’t love pigeonholing, but I knew many directors would do wonderful rom-coms. I wanted to create a ‘comedy of grief.’” Delivering comedy while feeling Bridget’s emotions.
The Art of Tone
One of the biggest challenges was establishing the right tone. Tone is such a broad word—“that means everything from music to costumes, locations, camera style, film choices, how long you’re pausing. To develop that tone took a long time.”
Michael’s approach to storytelling meant treating grief with authenticity. “ Bridget is a joyful person in a difficult emotional state when we find her. It’s about moving on from grief. Letting go.”
The Importance of Trust in Filmmaking
Working with Working Title meant having the trust to execute his vision.
“Tim Bevan and Eric Fellner are geniuses. There’s always a trustful exercise of wanting control but they trust their directors.”
Michael draws a parallel between To Leslie and Bridget Jones. “They’re very different films, but both women have a very strong sense of themselves and their own identity. Both form some healing bond with their son. The challenge was to do it with a lightness of touch.”
The Role of Performance
A film like this hinges on its performances, and Michael was thrilled with his cast. “ If you were going to choose a leading actress capable of classic physical comedy, but who could turn into a deeply felt emotional performance, you’re going to choose Renee Zellweger, whether it’s Bridget Jones or something else, if you can get her she’s brilliant. Few people can do comedy and drama at her level. Paired with Hugh Grant, Chiwetel Ejiofor and Leo Woodall it was exciting to go into this process knowing everyone on screen is going to support a comedy and an exploration of grief.”
He also highlights the importance of tone when working with actors. A film like this would be completely different with a different approach. Developing the script meant “interrogating every line, every beat, every scenario and every scene” to make sure it was doing what it needed to do.
You can listen to the full episode with Michael Morris on The Filmmakers Podcast here.