Richards Curtis is widely recognized for his significant role in shaping modern romantic comedies, having penned and directed iconic films such as “Four Weddings and a Funeral,” “Notting Hill,” and “Love, Actually.” However, his professional journey is not limited to the filmmaking realm; it also encompasses a deep commitment to charitable endeavors. After visiting Ethiopia in 1985 during a period of famine, Curtis embarked on a mission to help those in need. He co-founded Comic Relief, produced Red Nose Day, and played a role in the creation of initiatives like Make Poverty History. His efforts over the years have yielded over $2 billion in funds raised, directly aiding more than 170 million individuals globally.
This Sunday, the film academy will honor Curtis with the prestigious Jean Hersholt Humanitarian Award, highlighting his philanthropic contributions. Receiving an Oscar holds a special significance for Curtis, as he fondly recalls waiting for the awards broadcast in the UK during his teenage years. “I’ve been excited by their existence for 50 years,” Curtis reflected. He expressed gratitude for the award, acknowledging its uniqueness among philanthropic work, which often doesn’t seek recognition. “This is particularly a special award, but it’s not work for which one expects praise or needs praise. So it’s very lovely,” he added.
In an interview, Curtis discussed his dual career, the evolution of romantic comedies, and Hugh Grant’s exploration of new roles. He was asked whether he anticipated Comic Relief’s longevity when it first began. Curtis noted that the initiative took off in unexpected ways, surging in public support. Initially, the goal was to raise £5 million, but the first show exceeded expectations, raising £15 million and more in subsequent years. “I thought it was going to last a year. Instead, it’s lasted a lifetime,” he mused.
With the recent social shifts post-pandemic, Curtis reflected on the concerns of younger generations, who are increasingly passionate about issues related to gender, diversity, and climate change. He pointed out that there’s now a more nuanced understanding of problem-solving and empowerment, especially recognizing the relatively small amounts of money that can make significant differences in both local and global contexts.
When asked about the intersection of his filmmaking and charitable work, Curtis revealed that he doesn’t see them as distinct from one another. While he has authored serious films touching on topics like malaria and G8 summit negotiations, his primary focus in his own films has been on intimate romantic stories. “What is slightly peculiar is that I have written two very serious movies,” he remarked, emphasizing the contrast with his lighter works.
Curtis admitted to being somewhat puzzled by the lasting appeal of his films, reflecting on a chance encounter with Chris Rock, who praised the blend of humor and sentiment in his work. “There must be something in that combination that makes people feel comfortable with the heart of it,” he speculated.
While many aspire to replicate the charm of his creations, Curtis acknowledged that the film industry often experiences fluctuations in popularity and trends. He expressed enthusiasm for contemporary shows like “Nobody Wants This” and “Colin from Accounts,” alongside his love for earlier works such as “(500) Days of Summer” and “The Worst Person in the World,” suggesting that engaging storytelling continues to emerge, albeit in different formats.
Regarding Hugh Grant’s recent choice of roles, Curtis shared his excitement about Grant’s transition to more complex characters. He humorously suggested that playing a charming figure was more challenging for Grant than portraying darker roles. “Now he’s a self-evident psychopath,” Curtis joked, appreciating the shift in casting that allows Grant to explore diverse characters.
At 68 years old, Curtis is contemplating his legacy as he receives this significant award. He reflected on the duality of his life, equally split between filmmaking and philanthropy over the past 15 years. He expressed a firm belief in cinema’s potential to induce change, emphasizing the importance of incorporating impact producers to enhance films’ effectiveness in addressing real-world problems. “I do think that that might be worth us all thinking about is whether movies should have impact producers — a mechanism that actually tries to make the film as effective as possible in the real world,” he noted, pondering how to meld the two facets of his life going forward.
