Its a bold film, that stars David Tennant, Billy Connolly and Rosamund Pike.
And we got to spend some time with the pair to chat about the movie.
Heres how the conversation went…
Ive just been reading about your film on the BBFC website.
And did you have to tune anything with the BBFC?
GJ:We havent been in any negotiation!
We dont really think about positioning the film when were writing it.
But in a comic way, and from the kids perspective.
Its a big, modern problem.
Lots of children have single parents, but we wanted to do it in a comic way.
It tends to be dealt with in dark and heavy way usually.
Have you seen the filmPride?
Or Chris MorrisFour Lions?
Theyre both interesting parallels, given that they mine comedy from unexpected places.
That you’re free to get comedy from anything, and you should.
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GJ:Four Lionsis one of my favourite films of the last few years.
AH:Its true.
Especially serious things are up for comedy.
Because thats what life is like.
So we think its actually a very good thing.
But going back to your original question.
And we kind of go, well we would!
Because we dont make those kinds of distinctions, and I dont know many writers who do.
GJ:It happens.
But that wasnt our experience.
Nobody said that we needed to change anything to go for a 12A audience.
AH:We were given a lot of freedom.
GJ:I think we think its more honest, true to life, to write about serious matters.
And also not to do something thats gentle.
So they kind of come up against each other.
I remember when I was younger, watchingMrs Doubtfire.
And the ending always got me.
Im taken with the idea that youve tried to do this from the kids point of view.
Was that based on experience of friends of yours?
Why did you choose that perspective?
GJ:Its not specific friends experience, I dont think.
Just because it seems to be something that perculates.
And I think children, younger children, often have a fear of it.
They do discuss it at school.
And because they see other children whose parents are getting divorced, there is that fear.
The lack of security.
It is a big problem.
I like that the film has lots of adults in it but not many grown-ups.
AH:Theres a real logic to what they do, which we wont mention.
To be the most adult one.
Because it is funny, and it is universal.
Its the characters of Abi and Margaret.
That doesnt happen here though.
But its a far more interesting character as a result of where her path leads.
Can you talk about capturing those two characters in particular?
AH:We talked about it a lot.
The problem with women roles in social comedies is that theyre often cast as the voice of reason.
Which means that for the actresses, theres not much comic elbow room.
They behave in equally childish ways towards each other.
GJ:Its important for the childrens point of view.
That they have parents who are equally unreasonable, but in different ways.
AH:And its a fantastic performance from Amelia [Bullmore].
Shes suggested [redacted for spoiler reasons] fantastically.
We talked about her a lot, and how much we should show.
Im pleased we did that.
It gave Amelia room.
She did a brilliant job of communicating.
How brutal was the edit?
AH:Not that brutal.
I think our first cut was 110?
GJ:Our first serious cut anyway!
The first serious cut was about 110, 112 I think.
Then we came down to 94, whatever it was.
GJ:I like watching films that are 94 minutes as a spectator.
There are two things about filming it that struck me.
Number one, can you talk about the logistics of filming a traffic jam on the motorway?
AH:Its built!
Our CGI guys will be thrilled to hear you ask that!
A film about a drive down the motorway and they did it for real.
They did that at night, and the logistics were scary!
GJ:The wide shot is CGI.
It has a motorbike moving in it, so you buy it!
For the tighter stuff, we took over the car park near a motorway in Glasgow!
Youre one step away from getting a Spider-Man movie here, yknow…
AH:[Laughs] Yeah!
But I tell you, youre right.
Weve been in situations where weve said that junction there!
And you turn up on Bank Holiday Friday, and its flowing perfectly.
You cant afford to gamble on it.
Come to the Midlands, weve got tons of them there.
AH: Weve even toyed with causing traffic jams!
Just breaking down in the middle of a road somewhere!
The other thing about filming: can we talk about the way you light your film too?
But how does that play out when youre outside?
When youre on a Scottish beach for a week or two, how does that change things?
They occasionally dampened them down a bit.
To be fair, a lot of films wont use make-up on kids.
They have a natural colour and they dont need it.
We used a very good DoP.
Martin [Hawkins], who worked onOutnumbered.
Hes a very good problem solver, has a lot of ingenuity.
GJ:We use cameras that are more forgiving in focus.
Andy, can I ask you about your work onPeppa Pig?
I get no creative input whatsoever!
I go in, I try and think elephant!
I spend a few minutes beforehand working on my backstory.
I think my mother may have been shot by ivory poachers.
I get the impression youve been asked this question before!
AH:Do you know what, I genuinely havent!
I go in, and Im purely a voice artist.
Its actually strangely relaxing, because they will give you very specific notes.
Its highly technical, and you kind of surrender yourself to the process.
The guys there are great, theyve got it in their heads how it will be.
But there was a study that showed the elephant dentist had been constructive in overcoming childrens fear of dentists!
AH:I dont know, but someone showed it to me!
I dont see how!
AH:Im not aware of him handling any dental equipment!
Itd be a great scene, watching him trying to pick some of the stuff up!
Youve got a David Lynch Peppa Pig spin-off coming here.
AH:The Elephant ManDentist!
Before I get chucked out, can I just find out what youre up to next?
Are you looking to do more film work?
AH:Id love to do more film work.
As always, its whoever says yes.
So we dont know!
Andy Hamilton and Guy Jenkin, thank you very much!
What We Did On Our Holiday is in UK cinemas today.
