William Hill: Starring Eric Cantona, Seagulls and a Set Fit for a Bond Villain

Will> The underpinning concept behind the series of films was about repositioning the William Hill brand from one associated with traditional betting formats - like horse racing and greyhounds - to a sharper and more accessible one that strikes a chord with a football loving audience. So, it was a rare and exciting chance to make something compelling and new without typical restrictions. 

However, beyond the performance, the VFX and the surrealness of it all, the most important aspect was nailing the fact that - as a brand - we understand the beautiful game and all its (often ridiculous) idiosyncrasies. All inspiration ultimately came from the films’ iconic protagonist - the number 7’s number 7 - Eric Cantona. His irreverent persona and unwavering commitment to never taking himself too seriously (at all) was the perfect springboard to push the boundaries as far as we dared. These are unequivocally Eric’s films; we simply gave him the platform to turn his collars up and do his thing.

Will> From the treatment stage I really wanted the films to appeal on multiple levels, the aspiration from the get-go being that every scene, shot and frame was loaded with detail. So simultaneously the films have serious production value to grab attention as well as a deeper look and feel that makes the audience want to see the same thing time and time again… a kind of “did I just see that?” approach with a twist of the unexpected. I know this is a well trodden road, but I feel like on this occasion - with the support of the ECD and the sheer bloody quality of the assembled team - we really managed to pull it off. 

There are so many hidden details across and within the series of films, each designed to catch the eye and stoke the flames of football fan’s attention and this concept extends into all areas of the mise-en-scene. In (fun) fact , I'm currently thinking of creating a spot for the Easter-egg shaped ball competition for the discerning spectators out there. Coupled with this I wanted to ensure that every department was of equal importance, so from the choice of the Alexa 35 by our DOP, Chris Clarke, the backstories fed into the casting director, Emma Garret, that informed our casting (take a bow Mr.BigHands). The way these characters were styled and insanely executed by Tom and Emma Lipop - our choice of locations in Czechia, the production design and finally the brilliant and beautifully crafted VFX by Luigi Russo and his team at Framestore. There are of course many, many more people involved without any of whom the films simply wouldn’t have been made.

Will> Thematically, the thread that binds the films together is Eric. His presence, and on the occasions he wasn’t included physically, his influence, has an impact on each and every scene… So even when he’s not there in person he’s in the frame somehow; be that as a Regal figure in a picture frame in the back of a pub, on a talking tattoo, a beer mat or an air freshener hanging from the rear-view mirror of a black cab.

Will> A lot of the inspiration for Eric’s characters draws upon his well-known personality and infamous backstory, so there’s lots of reference to seagulls, Kung-Fu, Crowns, Kings and upturned collars. But more than this I wanted to make sure that every role Eric played had its own unique backstory that he could riff on, dial up and make his own. Eric will always be Eric but there are different sides to him that I felt we could play on… from turning the tables and making him a referee to making him a Ghost in the Shell like hologram in a high-tech football lab, to him becoming a Trawlerman dodging seagulls in a pub or as the one and only Erling Haaland in a barber’s shop.

Will> Ignore the rule ‘never meet your heroes’ - from start to finish Eric was brilliant fun, incredibly generous with his time and the person on set who continued to push for more and often drove the spirits of production forward. His performance throughout the films maintains a well-known high standard and his warmth was evident from our very first encounter - outside his trailer with him sporting that Eric Haaland style wig. Long golden locks and a full white beard is a thing. The aspect of working alongside him that gave me the most enjoyment however was his willingness to try anything and (often) everything on set. He never said ‘no’, always wanted ‘one more for Eric’ (which usually is the selected take) and consistently poked fun at himself in a knowing way. He was a joy and his attitude kept us all going.

Will> A good friend told me, “Remember to enjoy this one”, which was a mantra my DOP, Chris, and I often repeated to one another during a pretty full-on shooting schedule. I have to admit it’s not always something I’m able to do but, on this occasion, and against all odds, I did (very much). So my favourite memory would be the overall camaraderie that spanned the shoot, something instigated by our first AD, Rawdon de Fresnes, enhanced by our effervescent producer, Mikey Levelle, and solidified by the rest of the crew both from the UK (shout out to Natalie Uglow) and the team in Prague at Stillking Films (shout out to the Swiss army knife of production Yiri Matura).

Will> Probably the set-up we shot last, which sees Eric play the role of the factory boss of the North London Tears factory. I’m probably not allowed to say just how late it was when we found ourselves standing in the middle of the old Soviet era electrical testing plant somewhere miles out of the city centre. As you’ll see from the films, the place was like a Bond villain lair on steroids and I’m simply so glad we fought hard to shoot there. Reverb for days.