It was never a man. I remember the next few days very vividly, as I was thinking about who this person was—Helen—and why she was on the train, and what happens in those 10 minutes you lose or gain depending on if you catch or miss your train.
I liked it because it was both poignant and simple. In truth, because I had never written anything properly before, I just let the next thing happen.
But I believe that it is, and I think a lot of people believe in that kind of ultimate destiny. I like that as well—I do believe in that romantic serendipity. That would be great. Why is that? The film asks: Was she meant to catch that train? And the answer is no. But was she meant to meet James? Yes, she was, but through different circumstances. But because one of them dies, you know this was the path she was meant to take.
I did want to talk to you about your ideas of fate—mostly, I wanted to know if you think of Sliding Doors as being a science fiction or a fantasy movie? What would you describe it as? I remember doing interviews when it first came out. I said that I did feel differently now, that I had given myself over a little bit to fate and destiny. It was probably 20 years ago to the day—that would be eerie if it was—when I was doing interviews in Phoenix.
Miramax was distributing the film, and they had me going all over America. There was a group of journalists asking me questions about fate, serendipity, why things happen, what-ifs, all that.
But let me just say something that might make you think about that. I do want to briefly touch on something you mentioned, about how Miramax distributed the film. No one in their right mind is not utterly appalled by the revelations or allegations, whatever you want to call it.
That kind of predatory behavior has to stop everywhere. You mentioned earlier that you always wanted this character to be a woman—did you think of Helen as having a political dimension when you were writing her? Not at all. When I knew she was going to be a woman, I wrote this wonderful speech for her to say after she got fired, which unfortunately we had to cut.
She systematically destroys every single man in that room. There was another line in the script that we ended up cutting. As the camera cuts between her and Gerry, her fringe alternates from being behind her ear to hanging down her face. DVDs can be longer or shorter under different countries' TV systems. Please try one of these times:. James : You know what Monty Python used to say? Helen : "Always look on the bright side of life. Trivia : The scene with Helen and James on the boat where he describes losing his 8 yr old girlfriend to Gary Glitter has a certain unplanned tastelessness to it now since Mr Glitter was convicted of possessing child porn a few years later.
A London woman's love life and career both hinge, unknown to her, on whether or not she catches a train. We see it both ways, in parallel. In London, the public relation Helen is fired from her position in a PR company. While returning home, she does not catch the train in the subway. But in another possibility of her life, she catches the train in the subway. The story shows two parallel lives of Helen: in one life, she stays with her boyfriend Gerry, and in the other life, she finds that Gerry cheats her with Lydia and falls in love with James Hammerton.
Arriving at work one morning, Helen discovers that she had been unjustifiably sacked from her PR job. She is returning home when an amazing thing happens, time reverses itself for a few seconds and a second version of herself is created. In one reality Helen catches the tube train, meets James and arrives home to find her loathsome Lothario lover Gerry cheating on her with his ex-girlfriend Lydia.
In the other reality, Helen misses the tube train, gets mugged, goes to hospital and eventually arrives home to find Gerry alone in the shower.
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