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into a 120-page script. And even up until the last second we were<br />
changing dialogue and changing scenes.<br />
“For me, it was about getting the script right and it was the<br />
development that took so many years. When you’re developing<br />
someone’s life story into a two-hour film, you’ve got to pick the<br />
moments. And with Freddie’s life it took so much work, and so<br />
many writers came in to help to build this story and hopefully tell<br />
the right story. We all know you get one shot in a film at telling<br />
the story and it was never quite right for a long time. I would keep<br />
going off to do another movie, then coming back to the drawing<br />
board and figuring out how we can get this done.”<br />
Growing up in London, King remembers seeing Queen<br />
on the “Top of the Pops” television show and marveling at<br />
the flamboyance of Freddie Mercury. “I was just mesmerized<br />
watching him because of his looks and voice and the chemistry<br />
he had with an audience,” he recalls. “I always said that if he<br />
was a politician he could go in front of 400,000 people and just<br />
command respect and show them and teach them where to go.<br />
No one cared if he was straight or gay, which you couldn’t say<br />
about many entertainers. So, for me, it was all about telling the<br />
life story of someone that people don’t know a lot about.”<br />
After much negotiating and difficulty, King managed to<br />
obtain the movie rights from Brian May, Roger Taylor and<br />
Queen’s longtime manager, Jim Beach. “But they were very<br />
opinionated in the early days about the movie they wanted,” King<br />
recalls. “I told May, ‘We’re making a film, not a documentary,<br />
and if you don’t stick to every minute of history and every song it’s<br />
okay, you can get away with it.’”<br />
He finally won over May and Taylor, but then, he says, “the<br />
whole Sacha Baron Cohen thing happened.”<br />
He was shooting Hugo at the time, which co-starred Baron<br />
Cohen. “Sacha clearly had a passion to play Freddie Mercury, but<br />
there was no script and there was nothing done at the time,” King<br />
says. “As a producer, until I have a screenplay and until I have a<br />
director, I’m not going to ever hire a cast member. Sacha wanted<br />
me to sign his deal and I didn’t, and he got mad and it all kind of<br />
kicked off from there.<br />
“There was a lot of talk from him about how in the script<br />
Freddie dies halfway through and then the movie is about the<br />
band. Well, that’s never, ever been the case. The movie is bookended<br />
with the Live Aid concert and starts and ends with Live Aid.<br />
“Then the whole Sacha and Brian May thing became a war in<br />
the press, and for me it was always about Brian May, who anytime<br />
could say, ‘Let’s not bother making this film.’ Queen didn’t need<br />
to make the film. They didn’t need money, so the friction between<br />
Sacha and Brian May became nerve-wracking to me, because any<br />
minute he could have just pulled the plug.”<br />
King spent hours and days sitting with the band and asking<br />
questions about Freddie and their lives with him. But all the time<br />
he was worried that they might change their minds. “Whether<br />
I had the rights or not, if they weren’t going to support the film<br />
and didn’t want to get involved, I would never make the film. So<br />
that was always the big tension for me. Other than that, I think<br />
they’ve been terrific.<br />
“But there were times where they would be like, ‘Are we<br />
actually going to make this movie?’ And I don’t think Brian May<br />
ever thought we were going to make the film. And when I said I’d<br />
got it green-lit at Fox, I think I called his bluff in a way.” He laughs.<br />
“But it was a lot of meetings, a lot of getting together and<br />
I realize that their life stories are going to be on 6,000 screens<br />
around the world, so I understand how nervous they are.”<br />
Ben Whishaw was mentioned as a possible Freddie Mercury,<br />
but again, no script was ready. Then, King recalls, “I was in<br />
London shooting a film and Denis O’Sullivan, who works with<br />
me, called me and said, ‘I think I’ve found our Freddie Mercury.<br />
I’d love you to fly back to L.A. to meet this guy Rami Malek and<br />
spend some time with him.’<br />
“So I did and I think he was really nervous, but there was a<br />
little bit of Freddie in him then and he really wanted this gig.<br />
And I think we would have been killed if we had a white Freddie<br />
Mercury. Freddie was born in Zanzibar and went to school in<br />
Mumbai, while Rami has an Egyptian and Greek background.<br />
But it wasn’t about the look; I wasn’t looking for an impersonator,<br />
there was just something about him.<br />
“He put himself on an iPhone, copying one of Freddie’s<br />
interviews and he sent that to me. And I was like, ‘Oh my<br />
God, that’s Freddie Mercury.’ I knew right then that was it—<br />
done, done, done! Sometimes it’s a gut feeling and I know it<br />
sounds a bit corny, but I knew he was right for the part. I’ve<br />
worked with Daniel Day Lewis and Leo and all these guys and<br />
this performance I think is one of the best I’ve ever seen. It’s<br />
unbelievable. Unbelievable.”<br />
The songs in the movie are performed by Freddie, Rami and a<br />
Freddie sound-alike named Marc Martel.<br />
“Rami sings a little bit in the film, there’s a lot of Freddie<br />
Mercury obviously, and a lot of Marc Martel. He sent a video to<br />
Brian May and Roger Taylor and he sounds exactly like Freddie<br />
Mercury. We knew that we had someone we could use for parts<br />
that maybe Rami couldn’t do and obviously Freddie didn’t do.<br />
So we were in Abbey Road recording studio for maybe two and a<br />
half months with Marc and with Rami, recording bits and pieces<br />
that we knew we needed. It’s hard to find someone who can sing<br />
like Freddie Mercury and I’m not sure the movie would have<br />
happened if we didn’t have Marc.”<br />
But with a star, a singer, Queen’s cooperation and the script<br />
problems solved and shooting well underway, the problems were<br />
by no means over.<br />
The famous Live Aid concert at Wembley Stadium, which<br />
bookends the film, was an extremely tough location shoot on a field<br />
in the north of England with 4,000 extras. It was, says King, a “heavy<br />
load” on the shoulders of Bryan Singer. And then allegations of<br />
sexual assault surfaced against him in Los Angeles.<br />
Reports at the time said he was fired from the movie by 20th<br />
Century Fox because of the allegations, but Graham King explains it<br />
slightly differently. “I like Bryan Singer,” he says. “I think he’s really,<br />
really smart and he did an amazing job on this film. Unfortunately,<br />
he’s got a lot going on in his world and in his head—a lot of personal<br />
issues, family issues and a lot of things. It came to a point where<br />
he just wanted to take a break from filming. He came to me in<br />
November and wanted a hiatus until after Christmas so he could<br />
deal with his problems and come back after the holidays.<br />
“But when you have momentum going on a film, it’s hard to<br />
do that and tell the actors to come out of their character and come<br />
back later. So obviously I discussed it with the studio and they were<br />
pretty adamant not to have a hiatus. And that’s kind of when it<br />
happened.” Dexter Fletcher took over the directorial reins for the<br />
last 16 days of filming, but Singer retains sole directing credit.<br />
Graham King currently has 20 projects in development, but it<br />
is Bohemian Rhapsody that is consuming his thoughts and giving<br />
him restless nights.<br />
“Right now, my fear is making sure that people enjoy the film<br />
that I’ve spent nearly a decade trying to get made,” he says. “I was<br />
nervous about showing this footage here today, because it’s the<br />
first time and it’s kind of like letting your baby go.” <br />
24 FILMJOURNAL.COM / OCTOBER <strong>2018</strong><br />
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