‘DOWNTON ABBEY’ DIRECTOR MICHAEL ENGLER ON THE EMOTIONAL FINAL EPISODE

Downton Abbey

By ROSLYN SULCAS 

Laura Carmichael, who plays Lady Edith in “Downton Abbey.”CreditNick Briggs/Carnival Film & Television for MASTERPIECE

Over six seasons, 14 directors have worked behind the scenes of “Downton Abbey,” which ended its run on Sunday. As with many series, a house visual style was established early on, with specific guidelines on what Michael Engler — who directed the series finale — described as “tonal sensibilities.” Mr. Engler, who has worked on “Sex and the City,” “The West Wing” “Six Feet Under” and “30 Rock,” spoke about working on the final season in an interview in May atHighclere Castle, where much of “Downton Abbey” was shot, then more recently on the phone. These are edited excerpts from the conversations.

Q. What was it like to work on the last season and the

A. The awareness that the show was coming to an end infused the environment of the whole season. People were very aware they were going to see each other for the last time. There was a lot of emotional stuff happening. I remember when we did the first rehearsal of Edith coming down the stairs in her wedding gown, and Robert says, “How lovely you look,” the two of them started crying. Hugh Bonneville is such a paternal, wonderful man, and he had watched Laura [Carmichael] grow so much over the six years of the series, and this was the end of an era. That occurred so many times. The last scene that Maggie Smith filmed was with Penelope Wilton, and afterward Penelope said, “When I was younger, Maggie Smith was my hero and now she is my friend,” and everyone cried.

Penelope Wilton, left, and Maggie Smith in “Downton Abbey.”CreditNick Briggs/Carnival Film & Television Limited for Masterpiece

What’s amazing is that the series was life changing even for a star like Maggie. I once went to the theater with her and people were swarming her. She said nothing she had ever done before had as much impact as “Downton.”

Q. You are American, and “Downton” is as English as English can be, so were you surprised when the producers asked you to direct these episodes?

A. Very surprised! I was a huge, crazy fan of “Downton,” but it had never occurred to me that I could be involved. But I think in some ways seeing it from the outside was very helpful. I think in Britain, the audience knows these characters as types, whereas Americans see them as individuals.

In the States, we always have this feeling that anyone can do anything or become anyone, so for Americans, it’s really interesting to see how character is defined in relation to the limitations or opportunities that you have in a highly stratified society. In the U.K., I’m aware of real assumptions about class.

Q. What kind of directives were you given about shooting the series?

A. One of the main things is how to present that world. Brian Percival, who directed the pilot, set the style. The metaphor he used is that of the swan — above the water it flows, elegant and graceful, but below the surface the feet are paddling madly. So upstairs, we have dolly shots and steady camera work. Downstairs is hand-held, more rough and scrappy, mimicking the rush and bustle, giving you a sense of the enormous amount of work that is always being done to keep upstairs serene and functioning perfectly.

The extreme close-up is almost never used in “Downton Abbey” and is pretty much discouraged. The formality of the way people speak means that if you get too close, it all feels theatrical. One of the subtle guidelines is that you are watching it more objectively, not getting subjective with angles, or getting inside the psychology. There is very little cutting back and forth between people as you see in most contemporary American television. You allow people to play out a scene within a frame, let the acting do the work.

On the other hand, these are not hard and fast rules. When Carsongets a phone call from the hospital in Episode 5, about Lord Grantham, that’s as tight a close-up as there has ever been because I felt it was potentially a world-changing moment for him. There is also a moment this season when Mary goes to a pub with Henry and Tom. Normally, because they are “upstairs” characters, this would be shot in a smooth and elegant way. But I thought, here she is moving into a rougher part of the world, let’s do it differently. Sometimes breaking the rules can make particular episodes stand out. It’s like learning a language. You can speak it in a rudimentary way or develop a wit and syntax.

Q. What was it like to shoot at Highclere Castle?

A. Because the house is really shown as it is, apart from a few pieces of furniture, it’s extremely sensitive and has to be taken care of in an unusual way. Things take longer than they might in another location because there are areas you can’t put lights near, or certain pieces of furniture that can’t be touched or moved. You really have to respect what it is, and I think that adds to the authenticity. Things haven’t been glamorized. The wall covering in the entryway is an embossed painted leather from the 17th century and it’s quite tattered in places; you wouldn’t build a set like that. But when you live in a house like that for centuries, certain elements just age and aren’t thought of as décor that needs to be maintained or changed.

Q. What was the last scene that you filmed for the finale?

A. It was Edith and Bertie’s reconciliation dinner at the Ritz. We had to shoot from 11 p.m. to 5 a.m. when the dining room was closed. It was the crew’s final scene too, and a lot of them played waiters and diners which made the whole thing like a very glamorous, joyous party. It was quite emotional. Julian came, and at about 3 a.m. we went outside to do an exterior shot. They shut down Piccadilly for us so that we could put in period cars and taxis. Julian looked around and said, “There really are worse jobs in the world.”

Then Michelle and some of the other actors came to the Ritz at 4 a.m. so that we could all be together, and we had a Champagne toast. Our final cast party was at the Ivy restaurant and John Lunn, who composed the “Downton” music, sat down and played it on the piano. Everyone fell silent. It was the music of our story, and of their lives for six years. It was the most stirring, moving moment.

http://www.nytimes.com/2016/03/08/arts/television/downton-abbey-edith-bertie-dinner-director-interview.html?src=me&_r