Well I always say my favourite two words are ‘The End’. When you get to the end and it’s like: it’s an object now. That’s always good. But Jaggers and Miss Havisham are obviously two gigantic characters from a gigantic intellect and it’s amazing when you’ve got those characters to play with. Olivia Colman (2023) (in this version the character is given the name "Amelia" and is referenced as such) [15] O'Connor, Mary-Frances; Wellisch, David K.; Stanton, Annette L.; Eisenberger, Naomi I.; Irwin, Michael R.; Lieberman, Matthew D. (15 August 2008). "Craving love? Enduring grief activates brain's reward center". NeuroImage. 42 (2): 969–972. doi: 10.1016/j.neuroimage.2008.04.256. PMC 2553561. PMID 18559294. Verity Hawkes and her costume department are basically my way in to Miss Havisham. The first time I tried on Verity's costume, she said "I don’t want it dusty and old, I want it rotten. I think Miss Havisham is darker than that, she is rotten on the inside." It was so great, and the dress is sort of rotting. You know when you see a lemon left in the fruit bowl, and it has gone those beautiful shades of green. The decay is growing up the dress, it’s amazing.

Gillian Anderson. "TV blog: Great Expectations: Falling in love with Miss Havisham". BBC . Retrieved 14 August 2012. The process of hair, makeup and wardrobe with a period drama is so different to anything I've ever experienced, specifically with wardrobe. In our very first meeting with Verity Hawkes, who's the designer, she'd laid out all these incredible sketches that she had drawn up and was explaining the process of what happens to Estella – we see her bloom and rot in her clothing, like you would with flowers. I remember going in for those first fittings and seeing those dresses for the first time – they literally took my breath away. Ronald Frame's 2013 novel, Havisham, is a non-canonical story about Miss Havisham's early life. The story tells how Miss Havisham (given the name of Catherine) is the daughter of a brewer. The story tells of more than just the infamous trauma of being left behind by her fiancé and goes on with her taking charge of her family's business before descending into vengeful madness, adopting Estella, and arranging the meeting of Estella and Pip. I worked most of the time with Fionn and Shalom – they are irritatingly young and beautiful, and really good! I have had a lovely time, and I sort of forget I’m not the same age as them. Then I look in the mirror and go "oh yes, they have given me a great white wig." It’s amazing working with them, they are brilliant. It is very exciting to see where they will go. DB: Steve examines her mental illness in a way that's never really been done before, it feels so much more truthful. She is obviously a fragile character to begin with but then when she was left at the altar it had a profound impact on the course of her life.The dynamic between Pip and Jaggers is like an abusive relationship. Pip does everything Jaggers says and commits all kinds of terrible acts for and with Jaggers because he thinks that this is what he should do to become a gentleman. But, as it goes on, he starts to draw out the humanity in Jaggers and see that he's not as clear cut as he first appears. He's not just evil and, actually, some of the things he does he does for reasons that he tries not to let onto anyone, and I think that Pip breaks through some of that. With Magwitch, Pip doesn't really have very much to do with him. He's a very influential figure in his early life and I think that really affects him. That initial interaction really affects him throughout his life. I think it shakes him up because it's the first time he's experienced anyone who is completely out of his world, who is nothing to do with his village or where he's from. Working with Olivia Colman was incredible. We had a couple of big scenes and she just made it effortless, very easy, very seamless. We had a laugh, and it was huge honour; it's a huge honour to be on this set with everybody. You feel incredibly blessed. Olivia is a national treasure. I have to point a gun at her at one point and I was very nervous about that, and I have to push around a little, and she's a national treasure, so if you harm Olivia you might as well ask Jeff Bezos for a trip to the moon, as there's no place here to hide. DB: I think Shalom is hugely talented. It was so exciting for us to work with her. I think what she brings to the role is a truthfulness. She’s just astoundingly good in the scenes she has with Olivia Colman. We were so excited to meet each other! He was in makeup and I went in and went "hello" and he went "oh!" He got his earbud and I think he put it up his nose, he didn’t know what to do! We had heard so much about each other, from mutual friends, so working with him was so exciting. He is a proper, proper actor. It’s obviously incredibly period, like Victorian, but I think Verity and Niamh Morrison, the hair and makeup designer, both had, surprisingly, a lot of fashion runway references. There were Galliano references, Vivienne Westwood references. So, they were trying to go for something that was a bit more editorial and grungy, not quite traditional. I guess I would describe her style as a weird rotting grunge princess.

KC: We were aware of Samira from her work on Deutschland 83 and it was fantastic to have a female viewpoint for the last two episodes. And also because Samira is not British, having somebody else look at the British class system at that time was very interesting. verifyErrors }}{{ message }}{{ /verifyErrors }}{{ KC: Obviously Ridley is an icon of cinema so having his input and his lens on things is always really invaluable. Many journalists have drawn connections between the jilted Miss Havisham and subsequent jilted brides (life imitates art), such as the widely-reported case of Alice Pinard-Dôges, who committed suicide in 1894. [8] Alternative and derived versions [ edit ]In Chapter VIII, mention is made of her having "a Prayer-Book all confusedly heaped about the looking-glass."