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Roger Deakins to Receive Variety Artisan Award At
August 14, 2019 .MEDIA RELEASE. ROGER DEAKINS TO RECEIVE VARIETY ARTISAN AWARD AT TIFF TRIBUTE GALA TORONTO — Joana Vicente and Cameron Bailey, Co-Heads of TIFF, today announced that Academy Award-winning cinematographer Roger Deakins will be honoured with the Variety Artisan Award at this year’s TIFF Tribute Gala awards event. The award recognizes a distinguished filmmaker who has excelled at their craft and made an outstanding contribution to cinema. Taking place on Monday, September 9, at the Fairmont Royal York, during the 44th Toronto International Film Festival, the Gala is an annual fundraiser to support TIFF’s year-round programmes and core mission to transform the way people see the world through film, and to celebrate the film industry’s outstanding contributors. Variety is proud to be the exclusive trade media partner on the event. Deakins won an Academy Award for Blade Runner 2049, and was nominated for an additional 13 Oscars for his work on films including The Shawshank Redemption; O Brother, Where Art Thou?; No Country for Old Men; Skyfall; and Sicario. His illustrious career, spanning more than 40 years, also includes four ASC Award wins for Outstanding Cinematography, four BAFTA Awards, and collaborations with directors such as the Coen brothers, Ron Howard, Martin Scorsese, Angelina Jolie, Sam Mendes and Denis Villeneuve, making him one of the most sought-after cinematographers in the industry. Deakins’ latest work will be featured in the upcoming film The Goldfinch. Directed by John Crowley and starring Ansel Elgort, Oakes Fegley, Aneurin Barnard, Finn Wolfhard, Sarah Paulson, Luke Wilson, Jeffrey Wright and Nicole Kidman, The Goldfinch will have its World Premiere at TIFF and will be released by Warner Bros. -
Redgrove Papers: Letters
Redgrove Papers: letters Archive Date Sent To Sent By Item Description Ref. No. Noel Peter Answer to Kantaris' letter (page 365) offering back-up from scientific references for where his information came 1 . 01 27/07/1983 Kantaris Redgrove from - this letter is pasted into Notebook one, Ref No 1, on page 365. Peter Letter offering some book references in connection with dream, mesmerism, and the Unconscious - this letter is 1 . 01 07/09/1983 John Beer Redgrove pasted into Notebook one, Ref No 1, on page 380. Letter thanking him for a review in the Times (entitled 'Rhetoric, Vision, and Toes' - Nye reviews Robert Lowell's Robert Peter 'Life Studies', Peter Redgrove's 'The Man Named East', and Gavin Ewart's 'The Young Pobbles Guide To His Toes', 1 . 01 11/05/1985 Nye Redgrove Times, 25th April 1985, p. 11); discusses weather-sensitivity, and mentions John Layard. This letter is pasted into Notebook one, Ref No 1, on page 373. Extract of a letter to Latham, discussing background work on 'The Black Goddess', making reference to masers, John Peter 1 . 01 16/05/1985 pheromones, and field measurements in a disco - this letter is pasted into Notebook one, Ref No 1, on page 229 Latham Redgrove (see 73 . 01 record). John Peter Same as letter on page 229 but with six and a half extra lines showing - this letter is pasted into Notebook one, Ref 1 . 01 16/05/1985 Latham Redgrove No 1, on page 263 (this is actually the complete letter without Redgrove's signature - see 73 . -
Robert Icke, Theatre Director: 'Oresteia? It's Quite Like the Sopranos'
Robert Icke, theatre director: ‘Oresteia? It’s quite like The Sopranos’ The director of the Almeida’s acclaimed Oresteia on being inspired by Kenneth Branagh, Michael Grandage and Tony Soprano Susannah Clapp 23/8/2015 Robert Icke, 29, is one of the theatre’s most explosive talents. He was associate director of Headlong from 2010 to 2013, and is now the associate director of the Almeida. His productions include Mr Burns and 1984, which he co-adapted with Duncan Macmillan. His tremendous Oresteia has just transferred to the West End. Do you have a theatrical background? No, my mum’s a teacher and my dad’s a tax inspector. What turned you on to directing? It was seeing Kenneth Branagh as Richard III, directed by Michael Grandage at Sheffield. I was 14 and my dad dragged me away from my PlayStation. It was a proper Damascene conversion - really electric. There was no language barrier. I wrote to Michael Grandage and asked him how he did that stuff. He said: if you come and see me I’ll try to tell you. This was before I’d ever been near a proper rehearsal room. He gave me all this advice, which I scribbled down and have been living by ever since. Didn’t you direct at a theatre in Stockton-Tees while you were still at school? That’s where I learnt to do it. It was a very depressed area. You weren’t allowed to be boring: the audience there would just have left. I remember the first performance of A Midsummer Night’s Dream when Bottom came on in a donkey’s head with these amazing false teeth made by a local dentist. -
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King . -
Film Reference Guide
REFERENCE GUIDE THIS LIST IS FOR YOUR REFERENCE ONLY. WE CANNOT PROVIDE DVDs OF THESE FILMS, AS THEY ARE NOT PART OF OUR OFFICIAL PROGRAMME. HOWEVER, WE HOPE YOU’LL EXPLORE THESE PAGES AND CHECK THEM OUT ON YOUR OWN. DRAMA 1:54 AVOIR 16 ANS / TO BE SIXTEEN 2016 / Director-Writer: Yan England / 106 min / 1979 / Director: Jean Pierre Lefebvre / Writers: Claude French / 14A Paquette, Jean Pierre Lefebvre / 125 min / French / NR Tim (Antoine Olivier Pilon) is a smart and athletic 16-year- An austere and moving study of youthful dissent and old dealing with personal tragedy and a school bully in this institutional repression told from the point of view of a honest coming-of-age sports movie from actor-turned- rebellious 16-year-old (Yves Benoît). filmmaker England. Also starring Sophie Nélisse. BACKROADS (BEARWALKER) 1:54 ACROSS THE LINE 2000 / Director-Writer: Shirley Cheechoo / 83 min / 2016 / Director: Director X / Writer: Floyd Kane / 87 min / English / NR English / 14A On a fictional Canadian reserve, a mysterious evil known as A hockey player in Atlantic Canada considers going pro, but “the Bearwalker” begins stalking the community. Meanwhile, the colour of his skin and the racial strife in his community police prejudice and racial injustice strike fear in the hearts become a sticking point for his hopes and dreams. Starring of four sisters. Stephan James, Sarah Jeffery and Shamier Anderson. BEEBA BOYS ACT OF THE HEART 2015 / Director-Writer: Deepa Mehta / 103 min / 1970 / Director-Writer: Paul Almond / 103 min / English / 14A English / PG Gang violence and a maelstrom of crime rock Vancouver ADORATION A deeply religious woman’s piety is tested when a in this flashy, dangerous thriller about the Indo-Canadian charismatic Augustinian monk becomes the guest underworld. -
Two Sides of a Sovereign
riticsritics ritics Source: The Observer {The New Review} Edition: Country: UK Date: Sunday 18, December 2016 Page: 25 Area: 877 sq. cm Circulation: ABC 190661 Weekly Ad data: page rate £13,933.00, scc rate £58.00 Phone: 020 7278 2332 riticsKeyword: Lyttelton Theatre Two sides of a sovereign Lia Williams and Juliet Stevenson switch roles at random from night to night in Robert Icke’s electrifying Mary Stuart, while Ruth Wilson brings a new toxic dimension to Hedda Gabler Susannah Clapp @susannahclapp Mary Stuart I had expected startling diff erences in Almeida, London N1; until 21 Jan interpretation from these very diff erent actresses, whom I saw play both parts Hedda Gabler in back-to-back performances. What Lytt elton, London SE1; until 21 March is rivet ing is how close they are. Both show uneasy command as Elizabeth Oresteia Last year Robert Icke made and sumptuous composure as Mary. the most compelling drama in London. Both deliver Schiller’s corrugated Mary Stuart Now he stages , written arguments with the passionate fl uency in 1800 , to explosive eff ect. Schiller ’s of ideal politicians. They are so alike play has been stripped back, rewired. in their velvet trouser suits and white Icke’s adaptation is sculptural, rich and blouses that when they lie down, hands incisive. Hildegard Bechtler ’s bare, reaching towards each other, they round design creates an arena in which could be an opened-out version of characters try to break out of circular one person. The diff erences are tiny arguments. Juliet Stevenson and Lia but illuminating. -
P20-21 Layout 1
20 Established 1961 Lifestyle Music & Movies Tuesday, September 10, 2019 ortraying a terrorist attack on a New York art museum in “The Goldfinch,” the new film starring PNicole Kidman, evoked fears of psychological trau- ma and uncomfortable real-life parallels, filmmakers said Sunday. The chilling scene at the start of Donna Tartt’s Pulitzer-winning novel, on which the movie is based, sees 13-year-old Theo lose his mother and barely escape him- self through a crumbling pile of priceless art treasures at the Metropolitan Museum of Art. The bombing is shown without sound and strictly from the foggy perspective of the child in flashback sequences, in part to avoid comparisons with incidents such as the 9/11 attacks in the same city, director John Crowley said at Toronto’s film festival. “With our per- spective it felt wrong to reference real terrorist attacks,” he said. “For you to have your head taken to that just did- n’t feel that appropriate.” Kidman, playing the mother of Theo’s friend who is forced to take in the child following the bombing, said she had studied the effects of trauma for her UN ambassador work on war and crimes against women and children, as well as a number of film roles. “So much of the time it is not screaming in the moment” but rather taking “a life- (From left) Ansel Elgort, Nicole Kidman and Oakes Fegley attend ‘The Goldfinch’ premiere Actress Sarah Paulson attends ‘The Actress Nicole Kidman attends “The time to process what has happened,” she said. “As an during the 2019 Toronto International Film Festival at Roy Thomson Hall in Toronto, Goldfinch’ premiere. -
Bhasker Patel
Bhasker Patel Bhasker is currently a regular in ITV's Emmerdale. Agents Olivia Homan Associate Agent [email protected] Gabriella Capisani Actors [email protected] Roles Film Production Character Director Company KAL JISNE DEKHA LEE & THOMPSON BARE FACTS Clive Rohan Tully Brunswick Studios THE MAN INSIDE Rajiv Patel Dan Turner Man Inside Ltd TWENTY8K Uncle Sati Neil Thompson Twenty8K PIERCING BRIGHTNESS Naseer Khan Shezad Dawood Ubik Productions ASHES Indian Man Mat Whitecross Ashes SNOWDEN Sacha Oliver Stone Endgame Entertainment PULP Stan Shaun Magher & Pulp Films Bode O'Toole JUNKHEARTS Hasan Tinge Krishnan Coded Pictures ANUVAHOOD Shopkeeper Adam Deacon Anuvahood The Movie Ltd. DON'T STOP DREAMING Karan Saluja Media...What Else Ltd KIDULTHOOD Menhaj Huda A Stealth & Cipher Films Ltd PARTITION Ken McMullen Bandung / Channel 4 Films United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Character Director Company IN DER KNEIPE Rose Seller C.Cay Wesnigk C.Cay Wesnigk Films TRANSATLANTIS Featured Christian Wagner Christian Wagner Films DAS LETZE ZIEGEL Featured Stefan Dahnert Jost Hering Film Production IMMACULATE Featured Jamil Dehlavi Film Four Int / C'est La CONCEPTION Vie Films A BUSINESS AFFAIR Jabool Charlotte Brandstorm Business Affair Prods. SPICY RICE/ DRAGON'S Shejad / Lead Jan Schutte / Novoskop Film / ZDF FOOD Thomas Strittmatter WILD WEST Co-Star David Attwood / Film Four Int / Initial Films Harwant Bains BEING HUMAN -
Interview: Robert Icke & Andrew Scott: 'There's Method in Their Madness'
Interview: Robert Icke & Andrew Scott: ‘There’s method in their madness’ They might seem an unlikely combo, but their hi-tech Hamlet is bringing the Bard to a youthful crowd Louis Wise 12/3/2017 Another Hamlet! They’re not like buses: they’re always here. Yet Andrew Scott and Robert Icke’s version, recently premiered at the Almeida, stands out from the endless cavalcade. Together, the Sherlock star and the wunderkind director have conspired to give a fresh and dynamic reading of the Danish tragedy. This much is clear from the first scene, where the apparition of the Ghost, Hamlet’s murdered father, has morphed from a sad trundle along the castle walls to a spooky freakout on CCTV. “Sometimes I find it really useful to start with the version that I never need to see,” muses Icke, 30, who has done yet another piece of vicious upholstery on a classic, after his Oresteia, Uncle Vanya and Mary Stuart. “That, for me, is people in Elizabethan costumes — I never need to see that again. I’m done. The play opening with dry ice, and people carrying spears, and pacing back and forth. I’ve seen it a thousand times. It’s dead. It’s completely boring. So then you go, ‘OK, so who are the guys that watch over a palace?’” Cue tetchy security guards watching multiple screens, and a fresh take on a hoary old trope. “That’s what I mean about what you do brilliantly,” Scott, 40, tells Icke. He is relishing being back on stage after a long spell of filming Sherlock, Bond and the like. -
Production Notes
PRODUCTION NOTES “This town – it’s all secrets. Everyone knows something you don’t” 1 The Town is a three-part contemporary drama from Big Talk Productions starring BAFTA winner Andrew Scott alongside an outstanding ensemble cast including Julia McKenzie, Charlotte Riley, Gerard Kearns, Kelly Adams and Martin Clunes. The first television series by Laurence Olivier award-winning playwright Mike Bartlett, The Town follows a shocking incident within an otherwise normal family. Mark Nicholas (Scott) returns to the town where he grew up to find his grandmother Betty (McKenzie) is now living in his childhood bedroom and he barely knows his teenage sister Jodie (Avigail Tlalim). Mark is drawn back into the life he left behind. Hardest of all is meeting his first love Alice (Riley), now married with a child. Thrust into the complicated lives of his former neighbours, it’s not surprising there are awkward moments as Mark becomes reacquainted with his past, including his old friends ‘down the pub’ Lucy (Kelly Adams), Carly (Aisling Bea) and Jeff (Sam Troughton). Running parallel with Mark’s story, we get to know the town Mayor, alcohol-soaked Len (Clunes). With his world falling in around him, Len is stumbling from one PR disaster to another. As we get to know the community, we’re also introduced to the enigmatic Inspector Franks (Douglas Hodge) from the local police force whose links to the family are stronger than it first appears... Mark struggles to decide whether he should stay permanently to be with his family. But a new life is difficult to build in the place you used to call home and now feels like you barely know it. -
Hamlet West End Announcement
FOLLOWING A CRITICALLY ACCLAIMED & SELL-OUT RUN AT THE ALMEIDA THEATRE HAMLET STARRING THE BAFTA & OLIVIER AWARD-WINNING ANDREW SCOTT AND DIRECTED BY THE MULTI AWARD-WINNING DIRECTOR ROBERT ICKE WILL TRANSFER TO THE HAROLD PINTER THEATRE FOR A STRICTLY LIMITED SEASON FROM 9 JUNE – 2 SEPTEMBER 2017 ‘ANDREW SCOTT DELIVERS A CAREER-DEFINING PERFORMANCE… HE MAKES THE MOST FAMOUS SPEECHES FEEL FRESH AND UNPREDICTABLE’ EVENING STANDARD ‘IT IS LIVEWIRE, EDGE-OF-THE-SEAT STUFF’ TIME OUT Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June. Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End. Rupert Goold, Artistic Director, Almeida Theatre said "We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.” Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I'm delighted we're going to continue our work on this play in the West End this summer. -
THE BIRTHDAY PARTY by Harold Pinter Directed by Ian Rickson
PRESS RELEASE – Tuesday 6th March 2018 IMAGES CAN BE DOWNLOADED HERE @BdayPartyLDN / TheBirthdayParty.London Sonia Friedman Productions in association with Rupert Gavin, Tulchin Bartner Productions, 1001 Nights Productions, Scott M. Delman present THE BIRTHDAY PARTY By Harold Pinter Directed by Ian Rickson CRITICALLY ACCLAIMED 60th ANNIVERSARY REVIVAL OF THE BIRTHDAY PARTY ENTERS FINAL WEEKS AT THE HAROLD PINTER THEATRE STRICTLY LIMITED WEST END RUN STARRING TOBY JONES, STEPHEN MANGAN, ZOË WANAMAKER AND PEARL MACKIE MUST COME TO AN END ON 14TH APRIL Audiences now have just five weeks left to see the critically acclaimed West End production of playwright Harold Pinter’s The Birthday Party. The company for the major revival, which runs 60 years since the play’s debut, includes Toby Jones, Stephen Mangan, Zoë Wanamaker, Pearl Mackie, Tom Vaughan-Lawlor and Peter Wight, and is directed by Ian Rickson. Stanley Webber (Toby Jones) is the only lodger at Meg (Zoë Wanamaker) and Petey Boles’ (Peter Wight) sleepy seaside boarding house. The unsettling arrival of enigmatic strangers Goldberg (Stephen Mangan) and McCann (Tom Vaughan-Lawlor) disrupts the humdrum lives of the inhabitants and their friend Lulu (Pearl Mackie), and mundanity soon becomes menace when a seemingly innocent birthday party turns into a disturbing nightmare. Truth and alliances hastily shift in Pinter's brilliantly mysterious dark-comic masterpiece about the absurd terrors of the everyday. The production is designed by the Quay Brothers, with lighting by Hugh Vanstone, music by Stephen Warbeck, sound by Simon Baker, and casting by Amy Ball. For more information visit TheBirthdayParty.London -ENDS- For further information please contact The Corner Shop PR on 020 7831 7657 Maisie Lawrence [email protected] / Ben Chamberlain [email protected] LISTINGS Sonia Friedman Productions in association with Rupert Gavin, Tulchin Bartner Productions, 1001 Nights Productions, Scott M.