bringing

LONDON — It’s the day after the London premiere of “Sense and Sensibility,” and its stars, Daisy Edgar-Jones and Esmé Creed-Miles, have shed the glamour of the evening before. Both are curled in chairs in an otherwise empty room in an upscale Hyde Park Corner hotel, modestly dressed in jeans, sneakers and casual tops. Each drinks from an enormous glass bottle of water rather than wasting time with a cup.

The spectacle of a blockbuster red carpet is familiar for Edgar-Jones, whose career took off after the 2020 limited series “Normal People” and has since included “Where the Crawdads Sing” and “Twisters.” But last night marked the biggest such occasion so far for Creed-Miles, best known for the Prime series “Hanna.”

“I was a bit nervous with my friends and family all there,” admits Creed-Miles, who plays the more emotional of Jane Austen’s Dashwood sisters, Marianne. “I’m very lucky because Daisy has done it before and she’s so cool about it.”

“Absolutely not,” says Edgar-Jones, who plays the sensible Elinor. She grins sheepishly. “If anything, I think I’m getting more nervous.”

Both actors understood the high stakes of remaking Austen’s 1811 debut novel, most famously adapted in 1995 by screenwriter and star Emma Thompson and director Ang Lee — a movie that became a generational touchstone nominated for seven Oscars. The new version, in theaters Friday, was adapted by Diana Reid and directed by Georgia Oakley, best known for her evocative 2022 feature debut, “Blue Jean.”

Oakley wanted to re-create the emotions of reading the book as a teenager.

“In comparison to other Austen novels, I remember it feeling quite wild,” Oakley says, speaking separately over Zoom. “I also wanted to capture the spirit of the two older sisters as the beating heart of the story. My memory of it was that their story was the main love story of the book.”

Daisy Edgar-Jones, left, as Elinor and Esmé Creed-Miles as Marianne in a new version of “Sense and Sensibility.”

(Focus Features)

Oakley’s “Sense and Sensibility” emphasizes that relationship between Elinor and Marianne. Although they approach the world differently, they find common ground in each other. It was essential to find the right actor for each role, but also to ensure there was both tension and chemistry between them. Edgar-Jones, 28, was cast first without an audition. There was never any question as to which sister she would play.

“I have played a significant Marianne before,” Edgar-Jones says in a nod to affluent, tortured outcast Marianne Sheridan, her role in “Normal People.” “And I love both characters, but I’m moving into my late 20s now. Elinor has a maturity and a wise older soul quality that I really liked and felt I was right to occupy. I have always been attracted to characters who don’t necessarily have the words to express how they feel.”

Oakley appreciated Edgar-Jones’ restraint. “She is able to show so much by seemingly doing very little,” Oakley says. “Elinor has a lot on her shoulders, so I was looking for an actor who could give a sense of that from the very beginning.”

Creed-Miles, 26, faced a more uphill climb to become Marianne. She describes her first audition as awful.

“It was really bad,” she says. “Maybe I was nervous. I can be a bit of a mess. But someone saw something in me, I guess, and they called me back. This time I worked my ass off and spent days preparing the scenes. They liked that audition enough to bring me in for chemistry reads with Daisy and some of the boys.”

“There’s an earthy, undone nature to the world Georgia made,” Edgar-Jones says of director Oakley’s take on Austen.

(Erik Carter / For The Times)

“The first audition didn’t go exactly to plan,” says Oakley, who didn’t expect to see the actor again. “But [the second time] I was so moved by Esmé performance. We have this idea of how we think people are supposed to speak in a period drama, and Esmé seemed to not be affected by any of that.”

Edgar-Jones and Creed-Miles had previously worked together on the 2018 drama “Pond Life,” which was an asset going into “Sense and Sensibility.”

“It’s a summer I have never forgotten,” Edgar-Jones says of the experience, her first film role. “I met Esmé and we fell in love. We watched a lot of ‘Love Island.’ And then COVID happened and we weren’t reunited until our chemistry read.”

Although they hadn’t completely stayed in touch, there was a natural rhythm between them. “We had so much history and nothing was ever overly discussed,” Edgar-Jones adds. “It was instinctual. That level of intimacy takes time to develop and the fact that I already had years with Esmé meant that it felt very lived in.”

“Sense and Sensibility” was filmed entirely on location around England, primarily in the sweeping countrysides and dramatic coasts of Devon and Dorset. Oakley wanted to emphasize nature and to show how the Dashwood women’s emotional landscapes evolved alongside the shifting landscapes around them, both in the countryside at Barton Cottage and in the more confining social landscape of London. There is a naturalistic aesthetic to the film, augmented by the locations, the costumes and the hair and makeup design. The characters wear muted, sweeping gowns, their hair often loose.

“There’s an earthy, undone nature to the world Georgia made,” Edgar-Jones says. “Sometimes there’s distance you can sometimes get from watching a period drama because obviously we no longer wear corsets and bonnets and ride in horse-drawn carriages. But even though this feels very much of the Regency time, it also feels very close.”

“I loved how authentic everything felt,” Creed-Miles adds. “It didn’t feel frilly for the sake of itself. The clothes helped me find a sense of Marianne. I needed the costumes to close that gap.”

“We wore no makeup, even to the point where sometimes I’d put on some lip balm and Georgia would be like, ‘Take it off,’ ” Edgar-Jones recalls.

“The characters started to feel like real people in my life who I knew,” says Creed-Miles. “It was almost like a split personality.”

(Erik Carter / For The Times)

Creed-Miles says the unbuttoned aesthetic felt more true to the time, even if some commenters online have claimed it’s not period accurate.

“We don’t have depictions of women’s internal lives in the way that we do now,” she says. “When you look at a portrait there’s a composure that’s not the same as having a phone picture of someone when they’re getting out of bed in the morning.”

Oakley fills the screen with a palpable yearning. The camera often lingers over the actors’ faces, revealing Elinor’s inner turmoil and Marianne’s dramatic heartbreak. For many scenes, Oakley asked the cast to do silent takes.

“We wanted to tell a story that had space for some quieter moments,” the director says. “The actors were free to speak or make noises, but they couldn’t say the words of the scene.”

“In making this, I realized Elinor isn’t devoid of emotion,” Edgar-Jones says. “She’s full of it, but she’s learned how to govern it. Realizing that she was an extraordinarily passionate person and not a stone was really important for me. By the end, I felt completely marinated in it.”

“The characters started to feel like real people in my life who I knew,” Creed-Miles agrees. “It was almost like a split personality.”

“Circumstances have changed for young women quite drastically over the past 200 years,” director Oakley says. “But the fundamental contradictions around what it means to be a young woman haven’t changed nearly as much as we would like to think.”

(Erik Carter / For The Times)

Oakley’s interpretation of “Sense and Sensibility” has a wistful, almost Brontë-like quality. You can feel each character’s pain and joy and hopefulness. At the premiere, the audience audibly gasped and cheered, even though Austen’s story is well known to many. Oakley didn’t want to make her film overly contemporary, but she feels the story resonates today because Austen is so timeless.

“Circumstances have changed for young women quite drastically over the past 200 years,” Oakley says. “But the fundamental contradictions around what it means to be a young woman haven’t changed nearly as much as we would like to think. There’s this enormous gap between what we tell young women that they can reasonably expect from their lives and what the world is prepared to offer them.”

Creed-Miles admits that she’s recently fought with someone on Instagram about whether Austen was a feminist.“They didn’t have that terminology back then, but she was a rebellious author in that she used these sociocultural structures to explore the trials and tribulations of femininity,” Creed-Miles says. “It was really important to Georgia that we kept that alive. Reading Austin as an adult, I have so much respect and admiration for the themes she was exploring with a really deft hand. It’s never rammed down your throat.”

Edgar-Jones, an Austen fan, agrees that she captured a truth about the human experience. That’s what allows the author’s work to be retold and reimagined over decades.

“The joy of adaptation is that every new person who says these words will bring a piece of themselves and give it new meaning,” Edgar-Jones says. “And every time we explore something again, it will be colored with the context of today. Great art, like this, should be brought to life again and again.”

Officials said today ‘don’t try to smuggle them across the border in your luggage’

A new warning has been issued for anyone bringing food into the UK from the EU – even if it was bought at the airport. In an update today the Department for Environment, Food and Rural Affairs issued an alert for anyone going to Eurpean hotspots like Spain, France, Greece and Italy this half term.

An outbreak of disease on the continent means that a number of foood items are banned – and there is a high chance anyone buying a sandwich, or bringing back produce will infringe the laws. Since last April, those arriving risk having goods seized at UK borders and may face penalties reaching as much as £5,000.

In a new post on X today DEFRA said: “Meat and dairy products from the EU can spread animal diseases. Stay faithful to our biosecurity and don’t try to smuggle them across the border in your luggage.” It’s against the law for travellers entering Great Britain from any EU country to carry items including sandwiches, cheese, cured meats, raw meats, or milk. Therefore, picking up a sandwich at a Spanish airport and taking it into the UK could get you into trouble.

Officials have confirmed that the new rules, which came into force last year, continue to apply as the holiday season gets underway with the start of June. The current legislation states that anyone discovered importing banned products such as sandwiches, cheese, cured meats, raw meats, or milk into Great Britain will face enforcement measures at customs.

These measures have been put in place following a foot and mouth disease outbreak affecting Europe. In a recent development, those travelling to Greece have been alerted to a newly identified outbreak in the country. This recent information confirms that the prohibition on all food products – including duty free purchases – will continue for an extended period.

Border officers will be on the lookout for illegal food products, with offenders given the option of handing over their items or having them seized and disposed of. Officials warn that “In serious cases, those found with these items run the risk of incurring fines of up to £5,000 in England.”

As confirmed cases of foot and mouth disease (FMD) continue to increase across Europe, the UK Government has introduced bans aimed at halting its spread.

The restrictions, intended to protect domestic animal health, farmers’ livelihoods and UK food security, prohibit the personal importation of meat and dairy products from cows, sheep, goats and pigs originating from the EU, reports Wales Online.

Authorities have confirmed that Foot and Mouth Disease (FMD) presents no danger to humans, and there are currently no recorded cases within the UK. Nevertheless, it remains a highly contagious viral illness affecting cattle, sheep, pigs and other cloven-hoofed animals, including wild boar, deer, llamas and alpacas.

Labour MP Ben Goldsborough has questioned whether adequate steps are being taken to inform the public through a parliamentary written question. He asked Environment, Food and Rural Affairs Secretary Emma Reynolds: “If she will make an assessment of the potential merits of funding public awareness campaigns, including advertisements at airports and ports, on (a) foot and mouth disease and (b) African swine fever.”

DEFRA minister Dame Angela Eagle detailed the extensive actions recently taken to publicise the ban: “Biosecurity is a priority for this Government. To protect UK farmers and animals from serious diseases like Foot and Mouth Disease and African Swine Fever, we used the Christmas period as an opportunity to remind the public about the personal imports ban on travellers from the EU and EEA countries bringing dairy and meat products to GB, that came into force last year.”

She further stated: “This included promoting awareness of the rules to the travelling public and extending our reach through partnership channels across Government and with industry. Our insights survey results indicate that over 90% of respondents are aware that they should not bring back meat and dairy products from these countries.”

Dame Angela added: “Any decisions on funding paid campaigns will be made based on the current threat level, evidence of effectiveness and available resources, ensuring maximum impact in protecting UK biosecurity.”

The outbreak on the continent represents a considerable threat to farming businesses and livestock. FMD can trigger significant economic losses through reduced production in affected animals, as well as restricted access to overseas markets for livestock, meat and dairy products.

Following confirmed outbreaks of FMD in Germany, Hungary, Slovakia and Austria earlier this year, the Government has already prohibited personal imports of cattle, sheep and other ruminants, pig meat and dairy products from those nations.

The new measures apply exclusively to travellers entering Great Britain, and will not be enforced on personal imports arriving from Northern Ireland, Jersey, Guernsey or the Isle of Man. Speaking at the launch, Farming Minister Daniel Zeichner said: “This government will do whatever it takes to protect British farmers from foot and mouth. That is why we are further strengthening protections by introducing restrictions on personal meat and dairy imports to prevent the spread of the disease and protect Britain’s food security.”

Restrictions on meat, dairy and animal products for human consumption

You cannot bring in any of the following:

• cheese, milk and dairy products like butter and yoghurt
• pork
• beef
• lamb
• mutton
• goat
• venison
• other products made from these meats, for example sausages

You can bring the following into Great Britain from any country without any restrictions:

• bread, but not sandwiches filled with meat or dairy products
• cakes without fresh cream
• biscuits
• chocolate and confectionery, but not those made with a lot of unprocessed dairy ingredients
• pasta and noodles, but not if mixed or filled with meat or meat products
• packaged soup, stocks and flavourings
• processed and packaged plant products, such as packaged salads and frozen plant material
• food supplements containing small amounts of an animal product, such as fish oil capsules

Dr Jorge Martin-Almagro, UK Deputy Chief Veterinary Officer for international and trade affairs, issued a stark warning: “Following the detection of foot and mouth disease in EU countries resulting in a rising risk of introduction into Great Britain, we have extended restrictions on the personal imports of food products that pose a risk in FMD transmission.”

He went on to emphasise the Government’s preparedness, adding: “Robust contingency plans are already in place to manage the risk of this disease to protect farmers and Britain’s food security. This biosecurity measure combined with all others we have implemented are critical to limit the risk of FMD incursion. I would urge livestock keepers to continue exercising the utmost vigilance for signs of disease, ensure scrupulous biosecurity is maintained and to report any suspicion of disease immediately to the Animal and Plant Health Agency.”

Nevertheless, Dr Martin-Almagro points out that certain exceptions to these restrictions do exist, explaining: “A limited set of exemptions from these rules in place. For example, a limited amount of infant milk, medical foods and certain composite products like chocolate, confectionery, bread, cakes, biscuits and pasta continue to be allowed.”

For further details click here.