Jim Sturgess thinks spending time away from his girlfriend makes their relationship stronger.
The actor plays Dexter in the movie adaptation of book One Day, with Anne Hathaway taking the part of his love interest Emma. The two get to know each other at university and the story follows them over the next 20 years.
It’s got Jim thinking about love and what it takes to make a relationship work. He’s been with musician Mickey O’Brien for seven years and their jobs mean they frequently spend long periods apart.
“It works in your favour a bit because you really miss that person, and you’re reconnecting when you’re together,” he said. “You cherish the times that you’re with each other.”
The pair work hard to fit into each other’s schedules. Mickey plays keyboard for La Roux, but whenever she has time off she’s more than happy to go to film sets to be with her beau.
“When she’s on tour, she might do two weeks solid then three weeks off, so she’ll come and find me wherever I am, or if I’m not making a film and she’s on tour, I can go and live out my rock ‘n’ roll dream,” he laughed.
Saturday, September 10, 2011
DAVID OAKES
'THE BORGIAS' WINS MORE EMMYS!
Congratulations to 'The Borgias' for winning an Emmy for Outstanding Costumes in A Series (Gabriella Pescucci & Uliva Pizzetti) and Outstanding Original Main Title Theme Music (Trevor Morris)!
Source: David Oakes, Showtime The Borgias.
TINKER TAILOR SOLDIER SPY COSTUMES
Tinker Tailor Soldier Spy: how the costumes were tailored to suit the part
Savile Row, Jermyn Street, Burlington Arcade … Costume designer Jacqueline Durran worked out that MI6's 1970s spies probably shopped in London's West En
Benedict Cumberbatch as Peter Guillam in Tinker Tailor Soldier Spy. 'I wanted his character to look as if he were interested in clothes and had recently bought a fashionable suit,' says costume designer Jacqueline Durran. Photograph: Jack English
Jacqueline Durran made headlines four years ago with the emerald-green evening dress she designed for Keira Knightley to wear in Atonement. It is unlikely the immaculately tailored suits worn by the agents in Tinker Tailor Soldier Spy will have the same impact, but working on the film was an unusual challenge for the Oscar-nominated costume designer; the clothes are just as vital to setting the emotional tone of the film as Knightley's gown was in the adaptation of Ian McEwan's novel. "You just had to pile on the detail to get any kind of message across," she says. "With menswear it is all about detail, rather than making a splash with a big dress."
Watching the film you are able to pick up hints about the characters from their choice of suit. Gary Oldman's sombre George Smiley wears a dark-grey three-piece in the style of the 1950s and a plain Aquascutum raincoat from the same era, the latter inspired by a photograph of Graham Greene given to Durran by director Tomas Alfredson. Office dandy Bill Haydon (Colin Firth) sports a raffish suit made by Savile Row tailors Huntsman, ginger desert boots and bright red socks. "Le Carré gave me some notes where he pointed out that some of the men were quite eccentric dressers," she says.
Durran looked at contemporary images of politicians and civil servants to get an idea of how men of a certain age and status dressed. Anxious to avoid the cliches of early-1970s fashion, such as loud colours and bold patterns that would have been out of place in Alfredson's elegant, wintry film where sunlight is seldom seen, she also researched earlier decades for inspiration.
"I thought that lots of these middle-aged men had bought suits 10 or 15 years ago and stuck with them," she says. "I would look at a character and try to work out where they had bought their suit."
She decided that everything in the film could have been bought from shops within half a mile of Piccadilly in London: "Things from Savile Row, Jermyn Street, Fortnum & Mason, Burlington Arcade – one of those upper-middle-class shops that are never fashionable but always do a certain kind of clothing."
One of Durran's hardest tasks was finding the right pair of glasses for Smiley: "Glasses are incredibly important for actors. It is the only thing between them and the camera, so they have to feel right." The film-makers wanted to distance themselves from the pair worn by Alec Guinness in the acclaimed BBC series, but after 50 pairs they still had not found the perfect ones. Oldman eventually discovered them in Los Angeles, a thick-framed plastic set similar to the ones Guinness used 30 years earlier.
Tom Hardy, who plays field agent Ricki Tarr, has the most interesting wardrobe. In the novel the character is Australian, which encouraged Durran to give him a more expressive style: "He is out shooting people, so we wanted him to be this manly action person. The first person we turned to was Steve McQueen." Inspired by the classic photographs of the Hollywood star taken in the early 1960s by William Claxton, Durran put Hardy in "really straight cord trousers, preppy shirts, simple white short-sleeved T-shirts" and a classic Harrington jacket.
The MI6 office girls were also able to wear more colourful clothes, but again Durran did not turn to 1970s fashion for inspiration: "They were all middle-class girls who spent their weekends in the country. I wanted them to have an old establishment way of dressing. It was the classic English look. I was so happy when I could get someone in a long tartan skirt in the Christmas party scene."
In the end, though, Tinker Tailor Soldier Spy is all about men in suits. You increasingly notice the significance of what they are wearing as the film progresses, which is exactly as Durran intended. "I am doing Anna Karenina now [starring Keira Knightley] and I can tell you that people will notice her changes of costume more than they'll notice the suits, but when there is no one else in the film apart from the men in the suits then you do focus on them."
Watching the film you are able to pick up hints about the characters from their choice of suit. Gary Oldman's sombre George Smiley wears a dark-grey three-piece in the style of the 1950s and a plain Aquascutum raincoat from the same era, the latter inspired by a photograph of Graham Greene given to Durran by director Tomas Alfredson. Office dandy Bill Haydon (Colin Firth) sports a raffish suit made by Savile Row tailors Huntsman, ginger desert boots and bright red socks. "Le Carré gave me some notes where he pointed out that some of the men were quite eccentric dressers," she says.
Durran looked at contemporary images of politicians and civil servants to get an idea of how men of a certain age and status dressed. Anxious to avoid the cliches of early-1970s fashion, such as loud colours and bold patterns that would have been out of place in Alfredson's elegant, wintry film where sunlight is seldom seen, she also researched earlier decades for inspiration.
"I thought that lots of these middle-aged men had bought suits 10 or 15 years ago and stuck with them," she says. "I would look at a character and try to work out where they had bought their suit."
She decided that everything in the film could have been bought from shops within half a mile of Piccadilly in London: "Things from Savile Row, Jermyn Street, Fortnum & Mason, Burlington Arcade – one of those upper-middle-class shops that are never fashionable but always do a certain kind of clothing."
One of Durran's hardest tasks was finding the right pair of glasses for Smiley: "Glasses are incredibly important for actors. It is the only thing between them and the camera, so they have to feel right." The film-makers wanted to distance themselves from the pair worn by Alec Guinness in the acclaimed BBC series, but after 50 pairs they still had not found the perfect ones. Oldman eventually discovered them in Los Angeles, a thick-framed plastic set similar to the ones Guinness used 30 years earlier.
Tom Hardy, who plays field agent Ricki Tarr, has the most interesting wardrobe. In the novel the character is Australian, which encouraged Durran to give him a more expressive style: "He is out shooting people, so we wanted him to be this manly action person. The first person we turned to was Steve McQueen." Inspired by the classic photographs of the Hollywood star taken in the early 1960s by William Claxton, Durran put Hardy in "really straight cord trousers, preppy shirts, simple white short-sleeved T-shirts" and a classic Harrington jacket.
The MI6 office girls were also able to wear more colourful clothes, but again Durran did not turn to 1970s fashion for inspiration: "They were all middle-class girls who spent their weekends in the country. I wanted them to have an old establishment way of dressing. It was the classic English look. I was so happy when I could get someone in a long tartan skirt in the Christmas party scene."
In the end, though, Tinker Tailor Soldier Spy is all about men in suits. You increasingly notice the significance of what they are wearing as the film progresses, which is exactly as Durran intended. "I am doing Anna Karenina now [starring Keira Knightley] and I can tell you that people will notice her changes of costume more than they'll notice the suits, but when there is no one else in the film apart from the men in the suits then you do focus on them."
HENRY CAVILL - MICHAEL SHANNON - SUPERMAN
Exclusive: Michael Shannon Talks MAN OF STEEL; Reveals How Director Zack Snyder Offered Him the Role of General Zod
by Adam Chitwood Posted:September 10th, 2011 at 4:48 pm
We’ll have the full interview with Shannon up soon, but we wanted to share what he said about Zack Snyder’s Superman flick today. While he’s barred from getting too specific, Shannon spoke about the how he nabbed the role of villain Genreal Zod, what it was like to screen test with Henry Cavill, and he also commented on all those set photos that seem to be leaking daily. Hit the jump to see what he had to say.
Steve: I, of course, have to ask you about certain other high profile project. I know you can’t talk about the story and I am not even going to ask.Shannon: The Smurfs movie?
The Smurfs sequel actually.
Shannon: Yeah. I can’t talk about it.
But could you talk a little bit about how Zack (Snyder) offered you the role of General Zod in Man of Steel?
Shannon: He reached out to me and he asked me to come out to Pasadena. I went and met him at his house. He lives in Pasadena in the hills and the view from his house is stunningly beautiful. He basically sat there and he ran through the whole…it was almost like he was pitching it to me, which I found to be a little bizarre. I felt like the tables should be turned and I should be on my hands and knees trying to get the part. But he was like, “Yeah, doesn’t it sound great? Then this is going to happen! And then this is going to happen!” I said, “Yeah. That all sounds wonderful.” Then we stood up and shook hands. He took me down and showed me some artwork, storyboards, and stuff. I just remember that the whole time he was pitching the movie there were these hummingbirds behind him in the window flying around. It was one of the most surreal mornings. It was in the morning too right at the beginning of the day. I had just flown in the night before and I was little jetlagged. So it was just very…but then I went back when it was going to go further. I did a test with Henry [Cavill] and we did a scene together. That was intense and my palms started sweating a little bit. After the test, a couple of weeks went by and I was at the grocery store with my family when my phone rang. It was a private number and I didn’t even know who it was. I answered it and he says, “Hey, this is Zack. Want to be General Zod?” I was like, “Yeah. Let me just get these cookies over here. Who is this again?” The whole thing was a real trip.
Are you a little bit surprised by the extreme level of interest in the property and this project?
Shannon: It is surprising that people are snapping photos and stuff and then putting them on the internet. For me, it is like, “Why would you want to do that?” It would be like knowing what your Christmas presents were before Christmas morning. It is taking all of the fun out of it. I know it is a long wait. The film isn’t coming out till 2013. I just keep promising everybody that I will talk about this film a lot after this film has come out. I will give you my number and you can call me up. We’ll have a long conversation about it, but for right now I have to zip the lips.
HAPPY BIRTHDAY, COLIN FIRTH
Now this is a lovely man
Happy Birthday to everyone celebrating today, September 10th, including:
1929 – Arnold Palmer, professional golfer
1933 – Karl Lagerfeld, fashion designer
1945 – Jose Feliciano, musician
1949 – Bill O’Reilly, political commentator
1950 – Joe Perry, musician
1953 – Amy Irving, actress
1958 – Chris Columbus, director
1960 – Colin Firth, actor1968 – Big Daddy Kane, rapper
1968 – Guy Ritchie, director
1969 – Johnathon Schaech, actor
1974 – Ryan Phillippe, actor
1988 – Coco Rocha, model
BLOG-A-LICIOUS BLOG TOUR
Is it better to write or to read?
It's better to watch
***ADULT LANGUAGE WARNING THAT MEANS YOU***
The difference a few centuries can make to writing!!!
CONTINUE THE TOUR...
1. Karen - http://www.karenvwasylowski.
2. Roy - http://royd-spiltmilk.blogspot.com/
3. Janu - http://janukulkarni.blogspot.com
4. Karen - http://www.britsunited.
5. Dora - http://peacefrompieces.
6. Nat - http://readingromances.wordpress.com/
7. Deborah - http://deborahbatterman.com/
8. Sarah - http://sarahbutland.com/blog/
9. Sulekha - http://sulekkha.blogspot.com/
10. Dora - http://blogaliciousauthors.blogspot.com/
CONTINUE THE TOUR...
1. Karen - http://www.karenvwasylowski.
2. Roy - http://royd-spiltmilk.blogspot.com/
3. Janu - http://janukulkarni.blogspot.com
4. Karen - http://www.britsunited.
5. Dora - http://peacefrompieces.
6. Nat - http://readingromances.wordpress.com/
7. Deborah - http://deborahbatterman.com/
8. Sarah - http://sarahbutland.com/blog/
9. Sulekha - http://sulekkha.blogspot.com/
10. Dora - http://blogaliciousauthors.blogspot.com/
DOWNTON ABBEY
The UK’s economic deterioration has led to a revival of interest in its history
Filming the second series of 'Downton Abbey' at Highclere Castle in Berkshire
Britain is in the grip of heritage mania again – not since the 1980s has fascination with the lives and ways of our ancestors been so intense. In 1980, the National Trust recruited its millionth member and, the following year, Laura Ashley launched her first home furnishings catalogue, enabling people to recreate their own slice of country house living. In 1983, the UK government created English Heritage, a body charged with opening 400 historic sites and protecting hundreds of thousands of others. On the big screen there was Chariots of Fire (1981) and a series of successful films made by Ismail Merchant and James Ivory. In 1988, Margaret Thatcher appointed Quinlan Terry, the classicising architect, to remodel the interiors of 10 Downing Street to make them more like an 18th-century country house.
In a speech on St George’s day 1993, Major spoke of his image of England: “The long shadows falling across the county ground, the warm beer, the invincible green suburbs, dog lovers ... old maids bicycling to holy communion through the morning mist.” By 1993 this was far from many people’s experience of England: few old maids would have felt safe cycling anywhere, especially in the mist.
The Millennium Dome in London
Yet, in some ways, it could be argued that this was not only a political fad, it was part of a zeitgeist, for the huge interest in heritage from the late 1970s to the early 1990s had markedly declined by 1997, when Labour came to power. As the millennium neared, there was a forward-looking feeling in Britain: we threw out our chintz, replaced our chandeliers with recessed spots and worried about the millennium bug. Laura Ashley, the standard bearer of homely heritage-based Englishness, nearly went under and from 1997 the number of visitors to heritage sites fell sharply, hitting its lowest point for a decade in 2001.
In fairness there were other factors that contributed to this decline, particularly the restrictions following an outbreak of foot and mouth disease in 2001 that led to large parts of the countryside being closed, driving tourists away. At the same time, the rise of budget airlines made it cheaper to fly to Malaga than to catch a train to Penzance. As a result, 1997 was a high-water mark for the heritage industry. After a steep decline in visits to heritage sites, numbers stagnated until 2008.
In the wake of the economic crisis, things have markedly changed and heritage and history have returned with a vengeance. In 2009, visitor attractions rose 10.9 per cent over the previous year. National Trust attendances were up 16.2 per cent and English Heritage saw a 13 per cent increase, with membership of the two organisations also booming. On a like-for-like basis, the National Trust has nearly 4m members and English Heritage just over 1m.
So it seems that just as the downturn of the 1980s fired an interest in heritage, a similar thing has happened today. The revival has partly been driven by shifts in tourism, some of it the so-called staycation effect, which has resulted in 25 per cent of UK residents changing their holiday habits and staying at home in the hope of a cheaper holiday. Inbound tourism has been important too with the Americans, closely followed by the French and the Germans, capitalising on a weaker pound, coming to the UK to enjoy its heritage.
The economic crisis has necessitated a revival of simple pleasures. Sales of bicycles have rocketed, camping is a popular holiday choice once more and people want to take their children to castles and abbeys. Britain’s history and heritage seem secure and safe, a reassuring antidote to a world where economic uncertainly prevails. So it does seem that there is an inverse relationship between prosperity and heritage – economic bust means heritage boom.
Simon Thurley is a historian and head of English Heritage
www.visitbritain.org.uk
www.nationaltrust.org.uk
www.english-heritage.org.uk
COLIN FIRTH - SIGNED FOR NEW FILM 'THE RAILWAY MAN'
Jonathan Teplitzky begins shooting the big-screen adaptation of Eric Lomax's real-life account in February.
TORONTO -- Colin Firth has boarded Frank Cottrell Boyce and Andy Paterson’s big-screen adaptation The Railway Man, which Lionsgate International is launching to buyers at the Toronto Film Festival.
Lionsgate UK, a division of Lionsgate, is retaining distribution rights in the U.K.
Railway Man -- the first major investment from Daria Jovicic’s Latitude Media -- is based on former British army officer Eric Lomax’s best-selling account of his torture by the Japanese during the construction of the “death railway” during World War II and his mission decades later to seek revenge on his tormentor.
Jonathan Teplitzky is directing The Railway Man, while Boyce and Paterson are penning the adapted script. Paterson, also a longtime producer, is producing with Chris Brown, Bill Curbishley, while Lionsgate UK CEO Zygi Kamasa is executive producer.
“To have Colin Firth in such a compelling story as The Railway Man is a real coup for us. We’re looking forward to working with Andy, Chris, Bill and Jonathan on this epic tale of love and redemption which we think will have universal appeal for audiences around the world,” said Kamasa.
Railway Man is an Australia-U.K. co-production between Archer Street and Pictures in Paradise.
"The Railway Man is an amazing story and to have the chance to make it with Colin Firth as Eric is really the best gift any director could hope for,” Teplitzky said.
Teplitzky and Paterson are currently in Toronto for Saturday’s premiere of Burning Man, starring Matthew Goode and Bojana Novakovic (Teplitzky directed the independent film, which Paterson produced).
Railway Man reteams Paterson and Firth, who worked together on Girl With A Pearl Earring.
Teplitzky beings shooting Railway Man in February on location in the U.K., Thailand and Queensland, Australia.
Firth is represented by CAA and Independent Talent. He will next be seen in Tinker Tailor Soldier Spy, directed by Tomas Alfredson
Lionsgate UK’s upcoming slate includes Toronto title Salmon Fishing in the Yemen, directed by Lasse Hallström and starring Emily Blunt, Ewan McGregor and Kristin Scott Thomas, and which Lionsgate is co-producing with BBC Films and Kudos Film and Television.
Lionsgate UK, a division of Lionsgate, is retaining distribution rights in the U.K.
Railway Man -- the first major investment from Daria Jovicic’s Latitude Media -- is based on former British army officer Eric Lomax’s best-selling account of his torture by the Japanese during the construction of the “death railway” during World War II and his mission decades later to seek revenge on his tormentor.
Jonathan Teplitzky is directing The Railway Man, while Boyce and Paterson are penning the adapted script. Paterson, also a longtime producer, is producing with Chris Brown, Bill Curbishley, while Lionsgate UK CEO Zygi Kamasa is executive producer.
“To have Colin Firth in such a compelling story as The Railway Man is a real coup for us. We’re looking forward to working with Andy, Chris, Bill and Jonathan on this epic tale of love and redemption which we think will have universal appeal for audiences around the world,” said Kamasa.
Railway Man is an Australia-U.K. co-production between Archer Street and Pictures in Paradise.
"The Railway Man is an amazing story and to have the chance to make it with Colin Firth as Eric is really the best gift any director could hope for,” Teplitzky said.
Teplitzky and Paterson are currently in Toronto for Saturday’s premiere of Burning Man, starring Matthew Goode and Bojana Novakovic (Teplitzky directed the independent film, which Paterson produced).
Railway Man reteams Paterson and Firth, who worked together on Girl With A Pearl Earring.
Teplitzky beings shooting Railway Man in February on location in the U.K., Thailand and Queensland, Australia.
Firth is represented by CAA and Independent Talent. He will next be seen in Tinker Tailor Soldier Spy, directed by Tomas Alfredson
Lionsgate UK’s upcoming slate includes Toronto title Salmon Fishing in the Yemen, directed by Lasse Hallström and starring Emily Blunt, Ewan McGregor and Kristin Scott Thomas, and which Lionsgate is co-producing with BBC Films and Kudos Film and Television.
Friday, September 9, 2011
KEIRA KNIGHTLEY, ANTONIO BANDERAS - THE SKIN I LIVE IN
Toronto Film Festival Day 2: Antonio Banderas gets the kinks out in `The Skin I Live In"
Published: Friday, September 09, 2011, 8:09 PM Updated: Friday, September 09, 2011, 8:38 PM
How do you keep awake in Toronto with up to 16 hours of screenings a day – plus Tweets, blog posts, and grab-your-notebook-and-get-a-quote parties to cover before you go to sleep?
Well, you could try starting the morning with two quick cups of black coffee and a Jason Statham action picture, and then follow with a large Coke and back-to-back efforts by two of cinema’s best, and most sexually outrageous directors.
That was what Friday served up, anyway, starting with “Killer Elite,” which isn’t a remake of the old Sam Peckinpah “The Killer Elite,” but instead a brand-new testosterone fest with Statham, Robert De Niro and Clive Owen throwing punches and firing assault weapons.
As a double-crossing spy thriller, it’s more confused than intricate. But the action scenes are cleanly shot – including one terrifically wild three-way bout among a man with a gun, a man in handcuffs, and a man tied to a chair. And it certainly helped wake me up.
Good thing, because I needed to have my wits about me, as coming up was a double feature of Pedro Almodovar and David Cronenberg.
Almodovar’s film, “The Skin We Live In,” may be his best – and his most feverish – since “Talk to Her” in 2002. It’s a wild mix of style, surrealism, melodrama, Gothic horror and transgressive sexuality – and it reunites him with one of his great, early stars, Antonio Banderas.
What film lover could ask for anything more?
The story stars Banderas as a mad plastic surgeon who, years after his wife was horribly scarred in a car crash, conducts secret experiments at his sprawling estate. (By which point fans of classic horror are already thinking of “Eyes Without a Face” – the elegant 1960 French film released in a butchered version in America as “The Horror Chamber of Dr. Faustus.”)
But there’s more to this mix – including a dose of Italian master Mario Bava, a bit of Hitchcock’s “Vertigo” and touches of fine art, including visual quotes from artists as disparate as Louise Bourgeois and Goya.
And then, as the story deepens (and sickens) there’s that elusive, illusive touch that makes it pure Almodovar – the fascination with twin narratives and mirrored characters, the devotion to strong woman and admiration of female survival, the truly subversive approach to sex, gender and love.
Before the summer started, I saw Banderas at a preview party for the upcoming “Puss in Boots” and asked him about the Almodovar project. He smiled wickedly. “We’re going to mess with a lot of people’s minds,” he said.
Keira Knightley is both patient and therapist in "A Dangerous Method"He was absolutely right. So consider yourself warned – or, depending on your taste, about to be delighted.
Oddly, Cronenberg’s “A Dangerous Method” didn’t mess with my mind at all – despite its subject (abnormal psychology) and its director (whose films, from “Videodrome” through the original “Crash,” remain some of our era’s most disturbing).
And that was disappointing, especially when you consider we’re dealing with medicine and science (never shown to great advantage in Cronenberg films) and have Viggo Mortensen on hand (who burned his way through the director’s “Eastern Promises” and “A History of Violence”).
Yet Cronenberg’s subject – the split between Sigmund Freud and Carl Jung, and the influential theories of patient-turned-psychiatrist Sabine Spielrein – never becomes truly involving. And Cronenberg’s style – deep-focus, rigidly composed shots of people talking and riding around in carriages – has a “Masterpiece Theatre” fustiness.
Mortensen is surprisingly good as Freud, and Michael Fassbender is decent as Jung (it’s not his fault that, in glasses and little moustache, he looks like a Michael Palin character from “Monty Python”). And Keira Knightley shows a nearly pornographic abandon in her bedroom scenes as Spielrein (although in the rest of the film she simply goes too quickly from raving lunatic to merely troubled neurotic).
But despite all the frank sex talk and naughty bedroom play, the whole thing seems weirdly tame.
Yes, it’s got lovely period details, and some great acting (Vincent Cassell has a wicked turn as a purely guiltless satyr). The story proceeds in neat, chronological order and even ends with a few title cards, to let us know what happened to whom. It’s possibly the most accessible movie David Cronenberg’s made in years.
But I don’t want him to be accessible. I want him to be daring. And more than 30 years into his career, Almodovar still is.
Online, follow Stephen Whitty at twitter.com/StephenWhitty
Well, you could try starting the morning with two quick cups of black coffee and a Jason Statham action picture, and then follow with a large Coke and back-to-back efforts by two of cinema’s best, and most sexually outrageous directors.
That was what Friday served up, anyway, starting with “Killer Elite,” which isn’t a remake of the old Sam Peckinpah “The Killer Elite,” but instead a brand-new testosterone fest with Statham, Robert De Niro and Clive Owen throwing punches and firing assault weapons.
As a double-crossing spy thriller, it’s more confused than intricate. But the action scenes are cleanly shot – including one terrifically wild three-way bout among a man with a gun, a man in handcuffs, and a man tied to a chair. And it certainly helped wake me up.
Good thing, because I needed to have my wits about me, as coming up was a double feature of Pedro Almodovar and David Cronenberg.
Almodovar’s film, “The Skin We Live In,” may be his best – and his most feverish – since “Talk to Her” in 2002. It’s a wild mix of style, surrealism, melodrama, Gothic horror and transgressive sexuality – and it reunites him with one of his great, early stars, Antonio Banderas.
What film lover could ask for anything more?
The story stars Banderas as a mad plastic surgeon who, years after his wife was horribly scarred in a car crash, conducts secret experiments at his sprawling estate. (By which point fans of classic horror are already thinking of “Eyes Without a Face” – the elegant 1960 French film released in a butchered version in America as “The Horror Chamber of Dr. Faustus.”)
But there’s more to this mix – including a dose of Italian master Mario Bava, a bit of Hitchcock’s “Vertigo” and touches of fine art, including visual quotes from artists as disparate as Louise Bourgeois and Goya.
And then, as the story deepens (and sickens) there’s that elusive, illusive touch that makes it pure Almodovar – the fascination with twin narratives and mirrored characters, the devotion to strong woman and admiration of female survival, the truly subversive approach to sex, gender and love.
Before the summer started, I saw Banderas at a preview party for the upcoming “Puss in Boots” and asked him about the Almodovar project. He smiled wickedly. “We’re going to mess with a lot of people’s minds,” he said.
Keira Knightley is both patient and therapist in "A Dangerous Method"Oddly, Cronenberg’s “A Dangerous Method” didn’t mess with my mind at all – despite its subject (abnormal psychology) and its director (whose films, from “Videodrome” through the original “Crash,” remain some of our era’s most disturbing).
And that was disappointing, especially when you consider we’re dealing with medicine and science (never shown to great advantage in Cronenberg films) and have Viggo Mortensen on hand (who burned his way through the director’s “Eastern Promises” and “A History of Violence”).
Yet Cronenberg’s subject – the split between Sigmund Freud and Carl Jung, and the influential theories of patient-turned-psychiatrist Sabine Spielrein – never becomes truly involving. And Cronenberg’s style – deep-focus, rigidly composed shots of people talking and riding around in carriages – has a “Masterpiece Theatre” fustiness.
Mortensen is surprisingly good as Freud, and Michael Fassbender is decent as Jung (it’s not his fault that, in glasses and little moustache, he looks like a Michael Palin character from “Monty Python”). And Keira Knightley shows a nearly pornographic abandon in her bedroom scenes as Spielrein (although in the rest of the film she simply goes too quickly from raving lunatic to merely troubled neurotic).
But despite all the frank sex talk and naughty bedroom play, the whole thing seems weirdly tame.
Yes, it’s got lovely period details, and some great acting (Vincent Cassell has a wicked turn as a purely guiltless satyr). The story proceeds in neat, chronological order and even ends with a few title cards, to let us know what happened to whom. It’s possibly the most accessible movie David Cronenberg’s made in years.
But I don’t want him to be accessible. I want him to be daring. And more than 30 years into his career, Almodovar still is.
Online, follow Stephen Whitty at twitter.com/StephenWhitty
HENRY CAVILL'S SUPERMAN SUIT MAY HAVE TO GO (EVERYONE INSERT THEIR OWN JOKE HERE)
Posted Sep 9th 2011 8:00PM
There's been a lot of talk about how hot Henry Cavill is in the skintight 'Man of Steel' suit, but his pants-less look is pulling focus for all the wrong reasons. Showbiz Spy reports that too many comments about Superman's super package are making producers rethink the entire costume. Doubtful, but let's have some fun.
"All everyone's talking about is Superman's crotch and those missing pants," an unnamed movie insider tells the site. "The new look was supposed to create new interest in a classic character but the way things are going Superman may be forced to get his pants back on. It's either that or 'Man of Steel' could be the first R rated Superman movie!" Uh-huh.
And this is the part where we refrain from riffing inappropriately on the film's title. We'll just note that the area seems rather prominently lit. (We're not staring. We swear.)
What do you think? Is the suit too sexy for Superman?
[via Showbiz Spy]
Photos courtesy of Warner Bros. and the 'Man of Steel's' Facebook page.
Tags:
KENNETH BRANAGH AND DAVID TENNANT - LIFE AND FATE
David Tennant: Kenneth Branagh and David Tennant on Life and Fate (BBC Radio 4)
September 9, 2011 By 1 Comment
Kenneth Branagh and David Tennant introduce the characters they play in the upcoming BBC 4 Radio Play: Life and Fate (BBC Radio 4).
Branagh and Tennant star in an eight-hour dramatisation of Life and Fate by Vasily Grossman. Thirteen episodes will be broadcast from 18 to 25 September on Radio 4. This epic masterpiece, centred around the bloody battle of Stalingrad, charts the fate of both a nation and a family in the turmoil of war. Completed in 1960, the novel was deemed so dangerous by the KGB that the book itself was arrested.
In this first clip, they introduce the characters.
In this second clip they’re asked what makes radio drama special? Kenneth Branagh and David Tennant on why actors continue to come back to the medium.
Branagh and Tennant star in an eight-hour dramatisation of Life and Fate by Vasily Grossman. Thirteen episodes will be broadcast from 18 to 25 September on Radio 4. This epic masterpiece, centred around the bloody battle of Stalingrad, charts the fate of both a nation and a family in the turmoil of war. Completed in 1960, the novel was deemed so dangerous by the KGB that the book itself was arrested.
In this first clip, they introduce the characters.
In this second clip they’re asked what makes radio drama special? Kenneth Branagh and David Tennant on why actors continue to come back to the medium.
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CAST OF DOWNTON ABBEY REVEAL FILMING SECRETS
DOWNTON ABBEY SPECIAL: The cast and crew reveal the secrets of filming Downton
By Jessica Fellowes
Last updated at 10:07 PM on 9th September 2011
Pot plants, what Brilliantine did to Carson's hair and why mushrooms were vital for gory battle scenes...
It is authenticity, not just period atmosphere, that has made Downton Abbey such a huge success. Listen carefully and you will hear the actors say ‘nye-ther’ and ‘eye-ther’ rather than ‘nee-ther’ or ‘ee-ther’, an Americanism that didn’t come to these shores until American GIs were based here in the Second World War.
Attention to detail is vital – not least because, as with the first series, eagle eyes will be out there among the millions of viewers trying to spot glitches and historical howlers. Every attempt is made to get the period right.
Dan Stevens, playing Matthew Crawley, recalls having to re-shoot a scene because he hadn’t stood up when Violet, the Dowager Countess, came into a room. He also had to learn to doff his hat on any occasion a woman walked past.
LADIES IN WAITING: Muffled up against the cold in their parkas - and protective hairnets - Michelle Dockery (Lady Mary) and Laura Carmichael (Lady Edith) take a refreshment break between takes
‘We worked hard on my doff,’ he says.
That quest for authenticity began with the grand house used for filming. The country was scoured for the right location, and 30 possible houses inspected, before Highclere Castle in Berkshire, home of the Earl of Carnarvon, was chosen.
The imposing Highclere, built in the mid-19th century, looked the real deal from the outside. The interior was perfect too, largely because its contents were those of an aristocratic family similar to the Grantham clan. Very few props had to be imported to create the right period feel.
‘But we did bring in potted palms,’ says production designer Donal Woods, ‘because they were all the rage back then.’
Working at Highclere, the cast were awed by its grandeur. When Jessica Brown-Findlay, who plays Lady Sybil, first saw the looming house and stood in its vast rooms, she realised what it signified.
MAKING A MEAL OF DINNER TIME: A dining scene may last only a few minutes, but it can take between 10 and 12 hours to film. This is because the director needs to shoot each actor in turn, and that can mean three or four takes per person. Dan Stevens, who plays Matthew Crawley, says he quickly learned not to eat during these scenes. 'If you decide you're going to eat, say, five mouthfuls of chicken, then by the end of the day you've had about 70 and it's cold and congealed'
For the Granthams, it wasn’t about demonstrating how rich they were but about preserving and valuing a home that their family had lived in for generations. ‘Suddenly I could see why they were so protective,’ she says. But there was one problem with Highclere as a location.
Like most great houses today, the public rooms are beautifully maintained but the servants’ quarters no longer exist. So for the below-stairs scenes, Donal had an entire oor of servants’ quarters constructed at Ealing Studios, 60 miles away. That meant scenes above and below stairs were sometimes shot weeks apart, which made for interesting continuity issues.
Even servants need a touch of make-up
Thomas the footman might be filmed leaving the kitchen with a plate of food and not appear in the dining room until a fortnight later! The look of the kitchen, with its grey walls, buff-coloured cupboards and flagstone floor, was the result of research trips to real country houses, notably Harewood House in Leeds.
It had to exude a busy atmosphere compared with the calmness of upstairs. ‘This is the factory end of a beautiful house,’
Donal explains. ‘It’s not a National Trust picture of serenity.’ Its colours were muted and monochrome to emphasise that there were two utterly different worlds within one house. ‘The idea was that when the camera took the viewer from “below stairs”, through the green baize door and into “upstairs”, they’d be hit with a blaze of colour, almost like a slap in the face.’
Strangely, authenticity went so far as to create an unwitting divide in the cast, between those playing upstairs characters and those in downstairs roles. Filming in two different locations added to this, since few of the upstairs actors ever filmed at Ealing, and vice versa. For Zoe Boyle, playing newcomer Lavinia, Matthew’s love interest, Highclere was the place to be.
‘We all stayed in a hotel near the house and there was the feel of a theatre company about it. Maggie Smith was hilarious and had us all in stitches.’
But Siobhan Finneran, as O’Brien, Lady Grantham’s maid, preferred Ealing. ‘I loved all the scenes around the table in the servants’ hall. We all got on very well and there was such a good atmosphere there.’
Finding the clothes to fit the period was a challenge for costume designer Susannah Buxton.
‘They have to be hired, bought or made,’ she explains. ‘And in the same way that the people of that time would re-use pieces for themselves, we re-use them in the show. The jacket Lady Edith wears down on the farm in Series Two was one of her smart jackets from the first series.’
LOOK AT HIM GO! Allen Leech, who plays chauffeur Tom Branson, says the 1920 Renault he has to drive is a nightmare. 'The owner drives it first, then I get in and the gears start clunking. Once a huge piece of metal fell off. It's a hand-crank start and you have to be careful because once it starts spinning you can lose your thumb'
For Anne ‘Nosh’ Oldham, the hair and make-up designer, there was a particular problem because most women of that period did not use make-up. The answer was to use an Armani or Chanel base, which is translucent but gives luminosity for the cameras. ‘We also add a bit of blusher and some lip colour.’
They used Brilliantine hair cream in Jim Carter’s hair, for his role as butler Carson, until he said it made him stick to his pillow at night. But it was with the war-wounded that the make-up department came into its own. A character blinded by poison gas wore special lenses that made his eyes look ‘cloudy’.
Real amputees played soldiers who had lost limbs in battle, but bloody stumps had to be fabricated.
‘We got the best effect with apples, using mushrooms for the exposed bone,’ says Anne. ‘It was all held together with gelatine and stuck on a pop-sock so that the men didn’t have to wear it all day but could put it on when needed.’
The new series of Downton Abbey starts on ITV1 next Sunday, 18 September.
PERFECT SETTINGS
Finding the right locations took the producers all over the country
Highclere in Berkshire (left) and Ealing Studios in West London (right)
1. HIGHCLERE, BERKSHIRE
The grand country seat of the Earls of Carnarvon had the right feel both inside and out for the Granthams’ ancestral home.
2. EALING STUDIOS, WEST LONDON
Most of the scenes below stairs were filmed on purpose-built sets in London – so some actors had to travel back and forth.
Ackenham in Suffolk (left) and Bampton in Oxfordshire (right)
3. ACKENHAM, SUFFOLK
The drama in the trenches was filmed at a location in Ackenham, near Ipswich, built for First and Second World War re-creations.
4. BAMPTON, OXFORDSHIRE
All the village scenes, including the exterior footage of the Crawleys’ house, were shot in the pretty location of Bampton.
Read more: http://www.dailymail.co.uk/femail/article-2035574/Downton-Abbey-The-cast-crew-reveal-secrets-filming-Downton.html#ixzz1XUhoZz6y
A WONDERFUL VIDEO - MINE
I was just looking and my video and am so proud and I love the music
Darcy and Fitzwilliam
3D
Three Musketeers Featurette Hits
Behind-the-scenes from Paul W.S. Anderson's The Three Musketeers
By Jarrod Sarafin September 09, 2011
Source: Apple, Summit Entertainment
Screenshot from Paul W.S. Anderson's 3D revision THE THREE MUSKETEERS(2011).
© Summit Entertainment
Plot Concept: The hot-headed young D'Artagnan (Logan Lerman) joins forces with three rogue Musketeers (Matthew MacFadyen, Luke Evans and Ray Stevenson) in this reboot of Alexandre Dumas' story. They must stop the evil Richlieu (Christoph Waltz) and face off with Buckingham (Orlando Bloom) and the treacherous Milady (Milla Jovovich). The action adventure is given a state of the art update in 3D.
The Three Musketeers slashes into theaters October 21, 2011.
THREE MUSTKETEERS' DIRECTOR PROMISES 'GOOSED UP' ACTION
'Three Musketeers' Director Promises 'Goosed Up' Action
'We're making a 21st-century Three Musketeers,' Paul W.S. Anderson tells MTV News in our Fall Movie Preview.
By Kara Warner (@karawarner) 
Based on the beloved and familiar tale of adventure, intrigue and that famous "All for one and one for all" motto, the film features an ensemble cast: Logan Lerman, Christoph Waltz, Milla Jovovich, Orlando Bloom, Ray Stevenson, Matthew Macfadyen, Luke Evans, Juno Temple, James Corden and Mads Mikkelsen.
But don't let the PG-13 rating fool you: Anderson told MTV News that what his film lacks in bloodletting, it makes up for with airships and swashbuckling. And everyone knows that anytime the word swashbuckling is involved, you're in for a good time.
MTV News: What made you want to retell this story, and how is your version different?
Paul W.S. Anderson: I'm a huge fan of "The Three Musketeers," the book I read at school. I grew up watching the Richard Lester adaptation of the novel, and I love the core story of the book, and that's pretty much what we've stayed true to: the basic story of D'Artagnan leaving Gascony, coming to Paris to seek his fortune and wanting to be a Musketeer and meeting the Musketeers. All that has stayed entirely true to the book in terms of character and narrative. The only thing we've goosed up is the action part of the movie to up the ante, considering we're making a 21st-century Three Musketeers.
MTV: What can you tell us about those intriguing airships in the trailer?
Anderson: One of the things I found a little repetitive in the book is when the Musketeers returned from London with the diamonds, because they had to fight their way out of France to get the diamonds back and then they had to ride back, it kind of felt like a part of the book that had very little incidents because they're covering the same grounds, only less happens. I always thought that was something maybe we could add some action to, and that's where the idea for the airships came from. It's based up on the theory, Da Vinci drew these fantastic designs of war machines. Some of these got built, a lot of which didn't, his flying machine, his tank. In addition to being a great artist, he was a great military thinker and designer of military hardware. We have this idea that in the movie one of his great inventions is kind of brought to life, that's where the airships come from. They're probably in reality, a hundred years too early, but Da Vinci was so far ahead of time we're using that to justify the intro of the airships. What that allowed me to do as a filmmaker was have some fresh, spectacular action at the tail end of the movie.
MTV: We've seen your lovely wife, Milla Jovovich, in a lot of your movies. What new sides of Milla will we see in this film?
Anderson: It was one of my attractions for making the movie. I'd always wanted to see Milla in a period film. I always felt that she would look awesome in the dresses, and she's got a kind of period face as well. I always knew that she would fit well into the 17th century. One of the big attractions to making and seeing the movie is seeing these opulent costumes and also the fact that it features M'lady De Winter, who's one of the original really bad girls in literature and bad girls in movies. Milla does quite a lot of action, but in real 17th-century dress, in the corsets and skirts flying. It's pretty exciting and unique. I've never seen anything done like that before.
MTV: We've seen that she can handle big action scenes
Anderson: She can, but I have to say: Having to do a swordfight in a corset and a huge heavy skirt was incredibly demanding. She had to train wearing the corset while she was doing the stunt training for the film, because it altered your body weight completely. Also, the corsets are designed to look attractive rather than allow you to do action scenes. They're quite restrictive on your breathing, so some things she had to train very, very hard for, but she was insistent that she wanted to do a big action scene wearing the period costume. She was already a good martial artist, but she became an excellent swordswoman. She trained very hard to do the sword fighting. In the movie, in the trailer, even when the swords hit, there are all these sparks that come off them, and I'm sure people are going to think that was computer-generated, but the fact is those were real metal blades. ... The actors got their bruises and rapped knuckles and black eyes and bloody fingers, so I hope everyone appreciates the sword fighting, knowing that it's them doing it.
MTV: With all the fight sequences you've filmed, have you picked up any skills yourself?
Anderson: I'm not a world-class martial artist, but whenever we block a scene with the actors, I always put myself in the scene. Obviously, I'm not as flexible as Milla and my high kicks aren't as high, and I don't have as much stamina, but I'll block through the whole fight being her to show her what I want. I'll do that with every actor. I get in there whether its 17th-century pistols or machine guns if we're doing a "Resident Evil" movie. In that regard I'm kind of a method director. I would never ask an actor to do anything that I wouldn't be willing to do, whether it's walk on a really high building or fall off something. Anything I'm asking an actor to do, I would be prepared to do as well. I would do it badly, of course. That's why they're actors and getting paid all that money. It's good thing I'm stuck behind the camera.
From "Abduction" to "Muppets, "Moneyball" to "Breaking Dawn," the MTV Movies team is delving into the hottest upcoming flicks in our 2011 Fall Movie Preview. Check back daily for exclusive clips, photos and interviews with the films' biggest stars.
Check out everything we've got on "The Three Musketeers."
THE TOP TEN LOVE QUOTES FROM THE MOVIES (hint - #6 should have been #1)
Compiling the top love quotes from movies is no easy feat. While memorable love quotes can be found in romantic comedies and dramas, they can also be found in fantasy and suspense films. Here's our list of movie love quotes that strikes a cord:
- "The greatest thing you'll ever learn is just to love and be loved in return." One of the best love quotes from movies is hauntingly sung in Baz Lurhmann's "Moulin Rouge." You either hated or loved Luhrmann's frenetic explosion of color and music. Either way, it's hard to argue the fact that love, without a doubt, is the greatest thing of all.
- "That's why they call them crushes. If they were easy, they'd call them something else." After 27 years, there's still no movie that captures teenage angst like "Sixteen Candles." Jim Baker (Paul Dooley) delivers one of the most memorable love quotes when he points out that they don't call them crushes for nothing.
- "You can stand it! You married me for it!" The recent passing of Elizabeth Taylor has shed a renewed spotlight on her movies. One of Taylor's most memorable lines was as Martha in "Who's Afraid of Virginia Woolf." George, played by Robert Burton, screams that he can't stand Martha's tirades, to which Martha screams, "You can stand it! You married me for it!" While not traditionally romantic, this is a quote that reminds us that if you marry someone, you'd better love the hysterical fits, too.
- "You are what I never knew I always wanted." Sometimes it's the person that comes out of nowhere who completely changes our life. "Fools Rush In," starring Matthew Perry and Salma Hayek, may be a completely forgettable movie with the exception of this one line that melts the heart of even one-night stands.
- "This is true love. Do you think this happens every day?" In his quest to save Princess Buttercup in "Princess Bride," the irresistible Westley (Cary Elwes) fights a giant, gets tortured and becomes partly paralyzed. What for? True love, of course! Do you think it happens every day?
- "You have bewitched me, body and soul, and I love, I love, I love you." With these few words Mr. Darcy erased any doubts that Elizabeth Bennett still had regarding his feelings. The 2005 version starring Keira Knightley and Matthew Macfadyen is so luscious you practically want to be swinging in the rain yourself. A line from an 1813 novel that still captures our heart deserves to be recognized as one of the top movie love quotes.
- "You make me want to be a better man." Making it as a top love quote on numerous lists is this zinger from "As Good As It Gets" when Melvin (Jack Nicholson) tells Carol (Helen Hunt) exactly what every woman wants to hear.
- "I am someone else when I'm with you, someone more like myself." A movie starring Angelina Jolie and Antonio Banderas as lovers who can't quite trust each other is bound to be full of memorable love quotes. This one makes the list for pointing out that love lets us be who we really are.
- "If you look for it, I've got a sneaking suspicion… love actually is all around." This is the ending line from David's voiceover at the intro of "Love Actually." Hugh Grant plays David, the newly elected prime minister that catches the eye of a naive female staffer. Released in 2003, David and Natalie are just one of the couples whose story serves to show that love, despite the world's miseries, still exists.
- "I love you even when you're sick and look disgusting." Rounding out this list of top love quotes from the movies is another line from "Love Actually." The delightful Colin Firth, as Jamie Bennett, declares to his girlfriend that he still loves her even when she's full of snot. Now that's love!
Thursday, September 8, 2011
MATTHEW MACFADYEN, KEIRA KNIGHTLEY, JOE WRIGHT
Joe Wright to direct ANNA KARENINA
For lovers of sweeping love stories, good news. Focus Features announced plans for an adaptation of Leo Tolstoy's great novel ANNA KARENINA to be directed by Joe Wright and adapted for the screen by playwright Tom Stoppard. Keira Knightley (who has worked with Joe Wright before on PRIDE AND PREJUDICE and ATONEMENT) will star as Anna, with Jude Law appearing as Anna's husband Aleksei Karenin; and Aaron Johnson as Count Vronsky. The film will also star Kelly Macdonald, Matthew Macfadyen, Domhnall Gleeson, Alicia Vikander, Emily Watson, Olivia Williams and Ruth Wilson. Focus Features CEO James Schamus commented, "Joe Wright is a master filmmaker, and with Tom Stoppard's brilliant screenplay this Anna Karenina will be full of both pageantry and emotion. To realize Joe's vision, we have the perfect producing partners in Working Title and Paul Webster, whose acumen is unsurpassed. With Keira Knightley playing this iconic role and a splendid cast supporting her, today's moviegoers will be drawn to this powerful story." The film will be produced by Working Title and will start production this month in the U.K. and Russia
Source: Focus Features
For lovers of sweeping love stories, good news. Focus Features announced plans for an adaptation of Leo Tolstoy's great novel ANNA KARENINA to be directed by Joe Wright and adapted for the screen by playwright Tom Stoppard. Keira Knightley (who has worked with Joe Wright before on PRIDE AND PREJUDICE and ATONEMENT) will star as Anna, with Jude Law appearing as Anna's husband Aleksei Karenin; and Aaron Johnson as Count Vronsky. The film will also star Kelly Macdonald, Matthew Macfadyen, Domhnall Gleeson, Alicia Vikander, Emily Watson, Olivia Williams and Ruth Wilson. Focus Features CEO James Schamus commented, "Joe Wright is a master filmmaker, and with Tom Stoppard's brilliant screenplay this Anna Karenina will be full of both pageantry and emotion. To realize Joe's vision, we have the perfect producing partners in Working Title and Paul Webster, whose acumen is unsurpassed. With Keira Knightley playing this iconic role and a splendid cast supporting her, today's moviegoers will be drawn to this powerful story." The film will be produced by Working Title and will start production this month in the U.K. and Russia
Source: Focus Features
HENRY CAVILL - Superman
HENRY Cavill may get a new costume for the upcoming Superman flick.Producers on the movie may be forced into a radical rethink of their leading man’s look after a deluge of comments about his “package”.
Cavill has been snapped in a redesigned Superman suit which doesn’t includes the characters cape and tights but not his red pants.
“The pictures of Henry on the Man of Steel shoot have certainly created a buzz about the movie but it’s a little off target,” reveals a movie insider.
“All everyone’s talking about his Superman’s crotch and those missing pants. The new look was supposed to create new interest in a classic character but the way things are going Superman may be forced to get his pants back on. It’s either that or Man of Steel could be the first R rated Superman movie!”
Henry recently revealed how he has endured nightmarish workout regimes in order to get into shape as the Man of Steal.
“The physical training has been extensive and exhausting,” says Henry, 28, who also had to pump iron for new movie Immortals.
“I think I was doing 9 to 5, at one stage, with the training. You certainly learn a lot, when you go through that process. When you’re training and you get to that rep which is difficult, and you know you’ve got 10 more reps to go in that one set, and another five sets after that, and you say, ‘I don’t really have to do this. I can do something else.
“If I just put the weights down and have a bit more rest, it will be fine.’ It teaches you how to negotiate and win the negotiation. As my new trainer says, ‘It doesn’t have to be fun to be fun!’”
Source: Showbizspy, Henry Cavill Fanpage
Man Of Steel begins Chicago shoot as Michael Shannon reveals role nerves
Michael Shannon, one of the stars of the Superman: Man of Steel film, has confessed to being nervous about taking on the role of General Zod.
Shooting has now wrapped in Illinois and moved to Chicago for a ten day stint, but the Boardwalk Empire actor told MTV that he's 'still getting his foot in the pool'.
Michael Shannon says he will reinvent General Zod in the Superman reboot'I just started working on it and all I can say is it's very well written and there are a lot of great opportunities to reinvent it for myself. The challenge is for me to do that,' he said.
'There's nothing holding me back and I think they're counting on me to give my interpretation so I'll do the best I can.'
Christopher Nolan, who is responsible for the rejuvenation of the Batman franchise, is producing the new Superman film, which many are hoping will see the tale of the popular superhero receive a psychologically dark makeover.
Henry Cavill will be squeezing into the lycra catsuit to tackle the role of Superman, with Enchanted star Amy Adams starring alongside him as Lois Lane, and Diane Lane and Kevin Costner starring as the eponymous hero's adoptive parents.
Henry Cavill will be squeezing into the lycra catsuit to tackle the role of Superman, with Enchanted star Amy Adams starring alongside him as Lois Lane, and Diane Lane and Kevin Costner starring as the eponymous hero's adoptive parents.
Read more: http://www.metro.co.uk/film/874860-man-of-steel-begins-chicago-shoot-as-michael-shannon-reveals-superman-role-nerves#ixzz1XPSCS4wV
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