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About the Production
"It's a very personal story for me," says writer/director Paul Andrew Williams, who drew on his own family experience to create UNFINISHED SONG. "I guess you could call it semi-autobiographical; there were scenes where I cried because it reminded me of losing elder family members."

Yet Marion's illness and how it affects relationships within her family, made up of her cantankerous husband Arthur and their only son James, is only one element of UNFINISHED SONG. "It's basically about a man finding himself," Paul summarizes. "Whatever age you are, something can change you dramatically."

A frequently hilarious and ultimately uplifting, inspirational comedy-drama, UNFINISHED SONG doesn't wallow in misery. "Some people have this idea that old people just sit at home, dribbling," says Paul who has a bracingly British attitude towards schmaltz. "They actually do have fun, they do get together and they do talk about sex. I wanted to make sure that people see that actually old people do have a good laugh."

"Paul is a very funny guy, but he also writes very truthfully. I defy anyone to watch this film and not get emotionally involved and a bit teary," adds producer Ken Marshall. The two men have collaborated together ever since Paul's award-winning debut, the gritty Brit thriller LONDON TO BRIGHTON. That was followed by THE COTTAGE -- a slapstick comedy horror -- and then tense ordeal drama CHERRY TREE LANE. Compared to them, UNFINISHED SONG -- a gentler, far more sentimental movie -- feels like a radical creative departure in terms of tone.

"Most of my films are a lot darker," admits Paul. "People may be like, where's the killing? Where's the sex?!" However to him, UNFINISHED SONG is an organic progression. "For me, UNFINISHED SONG is just like all my other films in that I want the characters' relationships to be natural. It's still dealing with emotions. It's just dealing with different emotions. I think there are still elements of harshness, though parts of it are very funny. What I attempt to do is capture real life."

"It's the PG film we've been wanting to make," Ken jokes. "It's the one we can take our mums and nans to."

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