In a recent discussion at The Times and Sunday Times Cheltenham Literature Festival, renowned writer and director Richard Curtis expressed regret over the negative body commentary included in his films, Love Actually and Bridget Jones’s Diary. As the father of a daughter who called him out on it, Curtis admitted that he was shocked and realized that he should never use the word “fat” again. Reflecting on his past works, he acknowledged that these kinds of jokes are no longer funny and recognized his own lack of observance and cleverness at the time.
Love Actually, released in 2003, featured Martine McCutcheon’s character, Natalie, being teased about her weight. She was referred to as “plumpy” and mocked for her “massive … tree trunk thighs.” In one scene, Natalie’s love interest, played by Hugh Grant, even comments on her weight by saying, “God, you weigh a lot” when she jumps into his arms. Curtis admitted that his daughter was right about not using the word “fat” anymore and acknowledged that he may have been unobservant and not as clever as he should have been.
Furthermore, Curtis also addressed the criticism of his past films, including Bridget Jones’s Diary (2001) and Notting Hill (1999), for their lack of racial diversity. He admitted that coming from an un-diverse school and having predominantly white university friends, he didn’t pay enough attention to the importance of representation and inclusivity in his films. He revealed that with Notting Hill, he held onto the false belief that he wouldn’t know how to write diverse characters, demonstrating his own ignorance on the matter.
Curtis recognized that he, along with his casting director and producers, didn’t think enough about diversifying the cast and didn’t look outwardly for inspiration and cultural perspectives. He admitted that they were stupid and wrong in their approach.
These reflections from Curtis highlight the importance of being mindful of the impact of our words and actions, especially in the realm of film and media. At a time when body positivity and representation are essential conversations, it is crucial for creators to be more attentive and intentional in their storytelling.
Acknowledging his past shortcomings, Curtis expressed a desire to rectify these issues in his future projects. This serves as an important reminder that growth and learning should always be ongoing, even for established figures in the entertainment industry. By admitting his mistakes and expressing a commitment to change, Curtis sets an example for others in the industry to follow.
In an era where society is increasingly calling for greater diversity and representation, it is essential for filmmakers and storytellers to listen and learn from the criticism they receive. This enables them to create more inclusive narratives that accurately reflect the world we live in. Films have the power to shape perceptions, and it is the responsibility of creators to ensure that their work contributes to positive change.
In conclusion, Richard Curtis’s recent reflections on his past films, Love Actually and Bridget Jones’s Diary, demonstrate his regret over including negative commentary about women’s bodies. He acknowledges the lack of cleverness and observance on his part and expresses a commitment to being more mindful in his future projects. Additionally, Curtis addresses the criticism surrounding the lack of diversity in his past films and recognizes his own ignorance and lack of attention in this regard. His introspection serves as a reminder to the industry about the importance of representation and inclusivity in storytelling. By admitting his mistakes and committing to change, Curtis provides an example for other filmmakers and creators to follow. Ultimately, these reflections highlight the need for ongoing growth and learning in order to create more inclusive and positive media.