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England’s Rose

@jocrosescrapbook-blog

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 Happy Birthday Dan! Lordy Lordy your 40s will be fabulous

Daniel Jonathan Stevens

Born 10 October 1982 in Croydon, Surrey UK Dan was adopted shortly after his birth and raised in Wales and later Sussex along with a brother (also adopted). His parents are retired teachers. During the summers when he was young, his family visited friends in North-Rhine Westphalia, Germany. He also briefly did an internship in Germany. He attended Holmewood House prep school at 10.

“I think growing up around people with faith is a very interesting thing to have witnessed. I feel very lucky,” he says. “My grandfather is a very devout man, and I found that dedication and the spirit with which it infused his whole life was very inspiring, really. I could only ever hope to be that at peace,” 

At 13 he earned an academic scholarship to Tonbridge School  in Kent where he starred in school productions of Macbeth, Murder in the Cathedral, and Henry IV Pt I under the guidance of Jonathan Smith. In the summers from the age of 15 he acted with the National Youth Theater under the guidance of his other mentor Sir Peter Hall.  Dan, after completing his A levels, won another academic scholarship to study English Literature at Emmanuel College, Cambridge in 2001. There he joined the Marlowe Society (where he once again played Macbeth with friend and flat mate Rebecca Hall as Lady Macbeth) and was active in the Footlights (where he directed and performed in shows like Cabaret  (I’d love to have seen that), comedic skits, writing and performing his own stand-up routines.

“I had very, very long hair. I was quite active when I was younger and, quite naïvely, I used to go on May Day marches every year and anti-capitalist things, before I really knew what any of that meant…now I’m a bit jaded.’”

He starred alongside Rebecca Hall in an acclaimed production under her father Sir Peter Hall’s direction of As You Like It in 2004 first in London and then in New York City, San Francisco, and Los Angeles. They will go on to co-star in Permission as well as the new King Kong v Godzilla movie

Dan met his soon to be wife South African Royal Academy of Music post graduate scholar Susie Hariet in 2006 while performing Romans in Britain in Sheffield. They married in 2009. 

“My wife once built me a bookcase,” chips in Stevens. “It is probably the most romantic thing anyone has ever done for me.” They have three children: Willow, Aubrey, and Eden and currently reside in a suburb of Los Angeles, CA.

“I don’t really fully engage with something unless I’m a little bit scared. I don’t want to be terrified stalk-still, but I don’t love the feeling that something’s too easy.”

In 2006 he starred as Nick Guest in the BBC adaptation of the Man Booker prize winning novel The Line of Beauty by Alan Hollinghurst and adapted by Andrew Davies. Watch Dan in LoB and you’ll see how he can hold the screen with mesmerizing skill. 

He starred in numerous plays over the next few years including Hay Fever with Dame Judi Dench and Arcadia playing Septimus Hodge. In 2006 he played Marban the Druid in Samuel West’s revival of The Romans in Britain to critical acclaim. Film and TV highlights would include 2008’s Sense & Sensibility as Edward Ferrars, 2009’s Hilde in which he first spoke fluent German playing Hildegarde Knef’s husband David Cameron. In 2010 he was cast as Matthew Crawley in ITV’s Downton Abbey which launched him to international success alongside Michelle Dockery when they memorably played Matthew and Mary Crawley.  

Rebecca Eaton, PBS Masterpiece exec producer, noted that “Dan and Michelle had each other’s back and loved to cut loose before interviews. She said before one panel they were dancing in the wings as the music blasted the Petula Clark oldie “Downtown.”

In 2012 he moved with his family to New York City where he made his Broadway debut opposite Jessica Chastain in The Heiress at the Walter Kerr Theater in October 2012. They later lived in Brooklyn Heights for four years. Dan appeared in numerous movies including Summer in February, A Walk Among the Tombstones, Criminal Activities, and as Sir Lancelot in Night at the Museum: Secret of the Tomb. No Dan fan should miss his turn as Colin in High Maintenance (Rachel, Museebat, Solo)

In 2014 he earned critical acclaim and cult status for his role as David Collins in The Guest.

“I play characters who begin with  the  polite home invasion… Then I kill everyone or cause a political scandal.”

In March 2015 Dan was cast as The Beast in Walt Disney’s live action remake of Beauty and the Beast. Filming took up much of the summer of 2015 as the complicated process of bringing the Beast to life required him to essentially play the role once in a cgi suit with Emma Watson (Belle), another using MOVA technology to animate the Beast’s face, and a third for the voice and singing.

Beauty and the Beast had its world wide release 17 March 2017 and  went on to earn over $1 billion at the world wide box office.

In 2016 he was cast as the lead David Haller in Noah Hawley’s take on the X Men franchise Legion for FX television. The show premiered in February 2017. The final season of Legion ended in August 2019 where it received almost 100% critical acclaim on Rotten Tomatoes.

Projects also released in 2017  included The Ticket, Norman, and Colossal. Marshall – where he played the prosecutor Lorin Willis going up against Chadwick Boseman’s Thurgood Marshall and saw him co star once again with Josh Gad.  Dan played the young Charles Dickens in The Man Who Invented Christmas. This role will always be one of my very very favorites… that scene with the children never fails to make me smile… those kids adore him.

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Other projects included Apostle, directed by Gareth Evans, the indie film directed by Alex Perry Ross, Her Smell with Elisabeth Moss, Lucy in the Sky and Call of the WildEurovision, starring Will Ferrell. and Rachel McAdams was released in June 2020 on Netflix to great critical acclaim for Dan playing the billionaire, lion loving singer Alexander Lemtov.

The Rental, Blithe Spirit, and Solos are other projects of the 2020 pandemic era. In 2021 Dan starred in and received his first Best Actor nomination (German Film Awards, the Lolas) for the German language Film Ich bin dein Mensch (I’m Your Man) from Emmy award winning director Maria Schrader and starring Maren Eggert.  I’m Your Man won Best Film of 2021 at the German Film Awards, Deutscher Filmpreis, known as the Lolas.

“Tom, played with elegant, fluent German” by Stevens who “delivers a performance that’s subtly comical and stylized. The “surreal twist of Stevens being Stevens is that he’s always the most human being onscreen, regardless of the role.”

Dan was the original star of Martin McDonagh play Hangmen as the brooding, mysterious character Peter Mooney. The play was supposed to run from February - July 2020 but was cut short because of the Covid-19 global pandemic. He had two glorious weeks on stage.

“Security is also terrifying. There’s something thrilling in not going the coziest route…” Dan will never take the easy route. It’s too boring lol :) “I look at other performances … whether it’s imitative or trying to absorb the modes of acting in my memory bank, I don’t know.” 

In addition to film and theater work Dan has other interests. In 2012 Dan sat on the Man Booker literary prize committee.  He’s written freelance stories and articles and is an acclaimed audiobook narrator having won prizes for reading Louisa Young’s My Dear I Wanted to Tell You and The Heroes’ Welcome and Stef Penney’s The Invisible Ones. He has read over 30 audio books and numerous BBC radio plays. He also has a lot of animated voice work– Kipo and the Age of Wonderbeasts, Earwig and the Witch, Cinema Toast, Central Park, The Sea Beast, and Love, Death, and Robots to name a few. 

2022 work included the Starz mini series Gaslit playing John Dean in the Watergate scandal.

October 25 Dan will be in Guillermo del Toro’s Cabinet of Curiosities episode The Outside, directed by friend and Legion Ch 10 director Ana Lily Amipour

November 2022 he will be playing Paul Snider (promoter and pimp and all around scary guy) in Kumail Nanjiani’s Welcome to Chippendales, with yes another ‘tache. 

Future projects include a couple of indie horror films including Tilman Singer’s Cuckoo co starring with Hunter Schafer which will be released in 2023.

Currently he’s in Australia filming Godzilla v Kong 2 which will reunite him with The Guest mastermind Adam Wingard–this is a looooong wait until 2024. Hopefully it will also result in the greatly anticipated (at least by me) sequel to The Guest that Dan and Adam keep hinting at.

“There’s still some rebelling in me to be done. Maybe I’ll now rebel against my own career. For my next part I should choose something completely out of character to what everyone expects.”

To sum up (so you don’t just have to take my word for it lol: The Times of London (a paper usually averse to admitting Dan even exists, much less praise him) said: “More versatile than Eddie Redmayne, more nuanced than Tom Hiddleston (both Cambridge peers of Dan), Stevens has been effortlessly firing out these types of roles every since the Downton gamble paid off with a vibrant Hollywood career as a chameleonic leading man and eccentric supporting player.”

Wonderful post!!

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“And I went in and I did my scenes, And then I came out of the room and Dan Stevens was seated in the waiting area. And we had just done an adaptation of Turn of Screw together or just a few months before….

I was like, “Dan!” And he said, “How are you doing?” He said, “You up for Mary?” I said, “Yeah.” I was like, “Matthew?” He was like, “Yeah.” And I thought, “Oh that could work.” I just had a feeling like…cause we’d just worked together. And I looked at him, and it’s like I knew in some way.“ Michelle Dockery PBS bts

I just rewatched THE EPIC KISS scene from 1.06, and I'm in floods of tears. Prepare for another (very) long analysis!

PART ONE

We start with Matthew and Mary seated at a corner of the dining table - much, much closer than what's appropriate. They're literally only inches apart. They're surrounded by sandwiches, strawberries and wine. SO ROMANTIC.

"We can drink to Sybil's safe return", Matthew says, popping open the wine decanter. "Why not", Mary answers, with a lovely smile. I need to remark on her voice is uncharacteristically soft and gentle here. She has grown increasingly "softer" with every interaction with Matthew. "I'll ring for a glass", she says, already getting ready to summon someone. She knows the rules of this house, she knows propriety. Having people at her beck and call is what she has known all her life.

"No, never mind that", Matthew forestalls her before she can go any further. His voice, too, has a noticeable dip. He pours the glass in the cup of wine, and, like the gentleman he is, gives it to her. He begins to pour the wine into the water glass. Mary stares at it in slight shock for a moment, and then her face relaxes into another (adoring?) smile. Where once she might have looked down upon Matthew for flouting decorum, she now finds it endearing BECAUSE SHE IS IN LOVE WITH HIM. I also noticed that Matthew filled up three-quarters of Mary's wine cup, and his water glass held only one-quarter full of wine.

Mary then makes one of her trademark snarky observations. "You're not very fastidious about doing things properly, are you?" she asks. A year ago, that remark might have been interpreted as mocking Matthew's middle-class status. Those were the reasons she resented him. But now, spoken with that teasing tone and smile, it can only be taken as playful flirting. SHE IS SO CLEARLY FLIRTING.

Matthew grins, and he lets out a soft exhalation of breath. He agrees with her. No, he doesn't always "do things properly." He may have become part of the aristocracy, but that's not who he is, that's not who he's grown up with. It's started to feel a little more like home, but in so many, many ways, it's still alien to him.

"Are you?" he asks. This, in my opinion, is a two-sided question. On one face of the coin, it's rhetorical. Matthew's known Mary for a year and a half at this point. He knows she belongs to the elite upper class. She's grown up in the lap of luxury. Obviously, she likes things "done properly." But it might also be taken as him wanting to get to know her better, whether beneath all the charm and poise there's a more fun, carefree side to her, unrestricted by rules and propriety. He's seen that side of her on some occasions (most notably when they both giggled together at Sir Salty Pudding), and he knows she has a sense of fun.

Mary confirms this, albeit obliquely. Mary never ever gives a straight response. "Less than you might think." Translation: I know I seem like a cold-hearted bitch and a snob to boot, obsessed with grandeur, but I do have a relaxed and fun side, I BEG YOU TO SEE IT.

Their eyes meet over their glasses of wine, and they toast each other. Matthew's eyes are on Mary as he starts to drink, but his gaze soon drops down to his glass of wine. Mary, on the other hand, mirrors his action, but her eyes flick upward and SHE WATCHES HIM DRINK THE WINE. Just as Matthew finishes his sip, she quickly looks back down again. She doesn't want to be caught staring at his lips and thinking HOW BADLY SHE WANTS TO KISS HIM.

Matthew continues the conversation. "Are you at all political?" This speaks as him being truly, truly interested in her, in her opinions. Unlike her other suitors, who likely are only interested in her beauty, rank and fortune. Matthew sees HER. He wants to get to know the real Mary. Presumably they've spent quite some time over the last eighteen months getting to know each other like this, but there's still so much to discover there. He wants to know how she thinks, what she believes. And he respects her for it.

"Yes", Mary answers, picking up a strawberry and twirling it between her fingers. Matthew's presumably very hungry. He's just lifted the lid of the plate of sandwiches, but as soon as Mary starts to speak, his gaze is on her and only her. Everything else can wait. Mary remarks on the by-election, about how she can't get excited about it, because nothing will change. They exchange a smile and a light giggle. The conversation between them flows smoothly and elegantly. They make each other smile and laugh and they like the way the other speaks.

PART TWO

"Thank you for coming to Sybil's rescue", Mary's saying. It's worth noting here that Matthew's hand is still holding the half-filled wine glass, and HIS MOUTH IS HANGING OPEN AND HE IS STARING AT HER. "You were very brave", she continues. This unexpected praise, from Mary of all people, seems to make him uncomfortable. He glances away from her for a moment and down at the table before meeting her eyes again. We already know the darling is too modest, but this sort of thing coming from MARY is uncharted territory. "She told me you knocked a man down." Her tone is so appreciative, so admiring, Matthew doesn't know how to deal with it. So he deflects, pretending he didn't really do anything at all. He gives a half-smile, then says "I hope I did my duty."

Are you a creature of duty?

Not entirely.

This is so telling of both Matthew and Mary's characters. Just like Matthew, she wants to know who he is. Yes, she's already fallen in love, but these two can never resist witty banter, or a verbal sparring match because they're just ... intellectually, on the same wavelength. Mary's basically asking him if he's always so honourable and overly moralistic. And he says not ENTIRELY. Yes, those are his most striking flaws, the tendency to overlook what's best for himself (and sometimes others) in favour of abstract principles, but sometimes, despite himself, Matthew can see where he's going wrong. He's not always a creature of duty. He has his own mind and he follows it.

From this point on, this is where the tension starts to escalate. Mary takes the plunge.

"When you laugh with me, or flirt with me ... is that a duty? Are you conforming to the fitness of things? Doing what's expected?"

OH GOD. This is SO direct. It would have been highly improper for a lady to speak of such things, and yet Mary does. Because with Matthew, rules and decorum simply don't matter. Not because of his middle-classness, but because he's her equal and she is his. He won't judge her, there's no need to pretend around him. She can be herself with him.

So anyway, back to these two lines. "When you laugh with me, or flirt with me..." We've already seen M/M sharing a laugh together, having the same sense of humour, and the garden bench flirting scene was SO ADORABLE, as well as many flirtatious encounters before that. Clearly they're both masters at it. Mary asks him if it's a duty. She knows that would sting him. The very first thing she heard him say about her, even before she ever laid eyes on him, was that he wants the autonomy to choose who he marries, and he does not want any of the Crawley sisters being PUSHED at him. They both know it's expected of both of them to go for each other. Mary's the eldest daughter, Matthew's the heir. It's the conventional way things are done in the upper class - again, of "doing things properly." They both know the other well enough that they (especially Matthew) want to marry because they WANT TO, not because they HAVE to. But now they've both fallen for the one person they never meant to like in the first place, and duty has NOTHING whatsoever to do with it. Their love is helpless. They're drawn to each other against their will. It is not a duty, and they both know it.

By the time she finishes her flirty questioning, Matthew's face ... I'm lost for words as to how to describe his expression. I truly am. His face shows incredulity, but he knows exactly what's going on. She's still playing her games, and he's done with it. He wants to stop meandering around her, because they've flirted with each other so many times and they both sense the mutual attraction. His mouth is open, smirking, and now Mary is IN FOR IT. He's had it, with her on/off attitude.

"Don't play with me. I don't deserve it. Not from you."

One of the most striking (and more importantly, realistic) trait of Matthew is that while he so evidently adores Mary, he is never blind to her faults. He's not standing for her crap. When she is in the wrong, he calls her out on it.

NOT FROM YOU. Only three words, but they mean SO SO MUCH. He holds her in such high esteem. He loves her, and he does not deserve to be toyed with her. Not from the one woman he has given his heart to, long before either of them realised it.

Mary looks downwards, acknowledging his gentle rebuke, but just as he lifts up his glass of wine for another sip, she begins again. You must be careful not to break Sybil's heart. I think she has a crush on you. She's thrown caution to the winds, but by some weird contradiction, she's testing his attraction to her. She's been through this too many times. Suitors who only consider her a pretty ornament on their arm. Kemal Pamuk, who did not respect her, whom she blindly flirted with and had to pay the heavy price. She trusts Matthew, but needs to be sure of him. Matthew, obviously, doesn't interpret this as anything other than her still playing with him.

Again, it's quite bold for a lady to speak to a man about things such as crushes and flirting, but neither of them care because that is the level of comfort they have around each other. Sybil's starry-eyed gazing at Matthew back at Crawley House, and his gentlemanly, brotherly protectiveness and tenderness towards her has so visibly stung Mary to the core. You can see it in her face, SHE wants to be the ONLY woman Matthew will ever look at like that. She has finally realised Matthew won't hang around for ever. She could lose him, possibly to her youngest sister.

Matthew looks back at her open-mouthed, still with that barely-visible half-smile. He sets down his wine glass. He's decided to play along. He knows perfectly well Sybil doesn't have any romantic feelings for her. He's fond of her, loves her as a sister. The possibility of her having a crush on him has never entered his mind. Matthew's decided to use it, again, to tell Mary off for some of the pain she has caused him. (Because let's face it, she was pretty nasty to him in the beginning).

"That's something no one can accuse you of." Judging by the way you've treated me in the past, no one would dream that you, of all people, could ever feel anything for me romantically. His wine glass is set down, and it looks so FINAL. His arms are crossed, his head lowered. In that moment, nothing exists for him but Mary.

It's at this point that Mary starts fingering her necklace in that obviously flirty way. "Oh, I don't know." Classic Mary, again, never giving a straight answer because that's not who she is. She speaks in riddles. Oh, I don't know. Translate this as: Maybe you shouldn't be so certain of that.

Matthew is unconvinced. Still, you can see his eyes darkening, his lips barely moving because all they want to do is kiss her. "I assume you speak in a spirit of mockery." He's been hurt and disappointed (namely the Strallan dinner) to take Mary at her word. It is unfathomable that you could ever have a crush on me.

Mary responds, still fingering the necklace. "You should have more faith." Again, she's asking him to see her, the real her, who is kind and gentle and doesn't bite out witty retorts. The Mary who has fallen in love with him. She's asking him to trust her, to trust her love for him.

The next line is one that blew my mind the first time I saw it. Matthew leans forward, ever more closely, and basically questions as to how she ever expects him to have faith in her attraction to him, given the way she's behaved and spoken to him previously. "Shall I remind you of some of the choicest remarks you made about me when I arrived here?" The Andromeda/Perseus/sea monster conversation comes to mind. To Matthew, Mary was always his Andromeda. But to Mary, he's gone from being a hideous sea monster to a total Perseus. "Because they live in my memory ...... as fresh as the day they were spoken." Because he has listened to her, listened to every word she's says and has said. He so deeply values what she's said, he can't forget it. It's etched, like he says. His face is so, so close to hers, the sexual tension is sizzling. It's at breaking point. His passion that's been simmering for so long just beneath the surface is shining through. His voice is low and intense.

Mary's eyes when she looks up at him are so soft and dark and truly apologetic. "Oh, Matthew, what am I always telling you? You must pay no attention to the things I say."

She's asking him to forget every single unkind remark she made, every time she put him down, toyed with him, hurt him. She takes all of it back. Because she loves him.

The next few seconds are BURSTING WITH SPARKS. Matthew's eyes drop down to stare right at her lips. He's probably been indulging this fantasy for a while now, and then they slowly drag back up to her eyes. He reads her unspoken longing, her plea for him to kiss her. They both move at the same time and then THEY'RE KISSING. THEY LOCK LIPS AND THEN MARY'S HAND DELVES SO DEEPLY INTO HIS HAIR AND HER THUMB BRUSHES AGAINST HIS EAR AND THEY'RE SNOGGING BECAUSE THEY CAN'T TAKE THIS ANY MORE ANY LONGER THEY'VE LOST THEMSELVES IN EACH OTHER BECAUSE THEY LOVE EACH OTHER SO SO MUCH *cue me screaming into a cushion*

I can't type another coherent word, so if anyone's bothered to read this rambly waffle the whole way through, I'm so very grateful to you!!!