LONDON (Reuters) - Actors Brendan Gleeson and Michael Fassbender delve into the world of the travelers community in Britain in film “Trespass Against Us”, playing a father and son at odds over the family’s way of life.
“Macbeth”, “Steve Jobs” and “X-Men” actor Fassbender portrays the fast-driving and illiterate Chad, who wants to break away from his father Colby’s criminal ways.
The movie, which hits British cinemas on Friday, is the feature film debut for director Adam Smith, who has previously worked in television and music with The Chemical Brothers.
“I was really drawn to the family aspect of the story and the relationships between fathers and sons that’s described in the film over three generations,” Smith said in an interview.
“And also this idea of this man that’s trying to escape from the shackles of what he’s been brought up to be and give his children opportunities that he’s never had but the dilemma not being as simple as that because he also loves a lot of what he has been brought up to believe.”
The film begins with Fassbender driving across a field with his son on his lap, chasing a rabbit. Chad also teases police in a town car chase and hides under a cow after a heist.
“(Fassbender) knew who he was and he understood the man and you completely believed Michael in this world,” Smith said, adding special measures were taken for the cow scene.
“We actually had an animal handler who claimed to be a cow handling expert and was, when we did the shot ... holding onto ... the back legs of the cow and somehow this was the thing that was going to stop this huge cow crushing Michael Fassbender. Fortunately it worked.”
The film is set in rural western England, with the actors putting on thick accents, which some critics have said may prove difficult to understand for international audiences.
“It was very important to us as filmmakers to get the accents authentic and truthful and it is quite a difficult accent for people who don’t know it,” Smith said.
“And then there’s a lot of slang in there as well which I think the audience, as the film goes on, they kind of catch up with it.”
Reporting by Marie-Louise Gumuchian; Editing by Catherine Evans