Tom Hardy wrote the amusingly witty and sassy Foreword to Tim Palen’s superb book of photography.
The beautifully assembled photographs focus on the honed athleticism of these very fit muscular men.

Of course the book is aptly titled…The Men of Warrior…

….now read the Forward by Tom Hardy.

“Photographers…I’m making a sweeping generalization here, abhorrent as it may sound, or just unimportant as I am unimportant, but I’ve come into contact with these creatures–these beings, these artists (some). My feelings are subjective, couched simply in jouissance, irrational. Nonetheless, in all honesty, my truth, my absolute truth is: I don’t trust them.

As a breed, on the whole, it’s not that I don’t like them, it’s just that I don’t like a lot of their “fashion concept” art; their wanky installation Blow Up scenario push. It doesn’t float my pickle. I sense a delight in all things masturbatory, their printed f_art not worth a scratch of arse. They’re wallop merchants, creative time-wasters, their crews with “shocking” haircuts, traipsing around an “urban” studio in open-toed trainers they’ve never worked out in, 80’s wristbands, and skin-tight T-shirts or stripey stockings over tight jeans or cut-off dungarees–peering through those clumsy clunky red frames with no lenses that MC Serch might have worn (but he needed to see, he had real lenses…I hope).

The whole ordeal makes me want to puke up my innards and drive a nail through them and jump through the window from the fifteenth floor of the meatpacking district studio we’re in, to feel alive for the few seconds it takes me to hit the ground. Why? It’s just my reaction…these shoots give me panic attacks. Of course, this is irrational. I’ve been told I need to play ball with them.

I come across a lot of these creatures in my line of work. I dread being forced to sit in their fuckin’ tree-over-a-beautiful-brook location they just happened to have happened across whilst wandering through the ass end of Belsize Park that morning, fetching a latte to submit to the lipid colony hanging from their protruding fat ass. Or they might take me to the streets of Hachney, to pretend to read poetry in a stariwell: “It’s so street,” they say, and because I’m a “British thesp,” it’s a “juxtaposition.” I hate being told: “Do that thing your character does, with the fists and all so broody,” or “You’re an actor, act for me. Act a part now, be the character, do acting!” while they flounce ‘round waving Polaroids, nibbling celery and hummus, pretending that class A’s are passé.

And the people they talk about I’ve never heard of–ever. But I know very little…Many of this breed are simply morons, charlatans, and like in all the arts, they’re slinging their wares, talking loud, saying nothing, “contributing.” I don’t have the patience for a photographer who hasn’t been to war or something more…well, something more important than fashion (yawn). Funny, because I love all kinds of photos and I get that people like fashion and to each their own. But I, like many other actors (who are just as irritating, I’m sure, to photographers), don’t like being watched. I don’t belong in front of the camera–as myself.

This guy Tim Palen? He was OK… I didn’t mind him so much. I’d do a silly fashion shoot for him…not that he will want me now.

I also find this true of people with guitars.”

Hamlet: the third preview

I saw Hamlet yesterday. I came out of it with a lot of thoughts and a lot of *opinions* and I wasn’t sure if I should write about it. This was only the third preview - this is not the finished show. But I want to say at least this:

There were some things straight off the bat that I connected with and some things I didn’t. I immediately loved and was in awe of Richie Coster (Claudius) and Anatol Yusef’s (Leartes) performances. They are both Brits and they have a “style” that I am used to when seeing Shakespeare. They felt familiar and they made me happy.

There were some production design elements and staging choices that I didn’t connect with and still don’t. Hey, I like costumes, I like sets. Sue me. There are other issues but I won’t dwell on them, things will be much tighter when they’ve done more performances.

But the feeling I’m left with now some 12 hours later is that this is the “realest”, the most relatable Oscar performance I’ve seen yet. I can’t tell for sure if that’s *because* it’s a play and not on a screen but I don’t think it is. I’ve seen many productions of Hamlet and I’ve seen many plays. I admit that throughout the play I wanted him to up the theatrics, to “thesp it up” a bit more. Note, this is what I’m used to and like when I see Shakespeare. I was judging this against my expectations.

But now I’m not so sure. Oscar has such a command and understanding of the language that his Hamlet feels completely natural. What makes it interesting to me is that his Hamlet feels very contemporary. I literally feel like I’ve been sitting in a coffee shop overhearing some other table’s conversations. With “Hamlet”, the problem in my experience often becomes that he is so caught up in his own misery that watching it becomes a drag. Not so here. There is heartbreak there but it is restrained. I’ve seen more revengeful Hamlets; to me this one seemed more caught up in a situation and trying to survive it whilst trying to do right by his father. More mourning, more frustration, less hate? The emotions seemed more “real” (i.e. relatable) to me.

It is a long production but there wasn’t a dull moment in there. Keegan Michael Key has a fantastic scene. Also there is intermittent singing and some jigging which is great because there was no curtain jig. CURTAIN JIGS ARE LIFE.

Toronto Film Review: ‘Breath’

A pretty complete review.

SEPTEMBER 15, 2017 

Having directed several episodes of his own long-running TV vehicle “The Mentalist,” Aussie actor Simon Baker makes a confident transition behind the camera to feature filmmaking with “Breath,” the tale of two teens’ introduction to surfing under an older man’s tutelage. Baker also plays the adult lead, and co-wrote the screenplay adapted from celebrated Oz scribe Tim Winton’s 2008 novel (his 20th). Though not without its flaws, the movie has authenticity and resonance; there have been plenty of good surfing documentaries, but very few good dramas about the sport — a short list on which “Breath” instantly earns a prominent spot.

Keep reading

fkjdhsjdj @ineffablye @trickortreatryo and I are workin on an au where there’s vampires and Thesp is a Fucking Vampire

Claus teaches European history at a college but mostly he’s a conspiracy theorist and cryptic lover (classic monster movies and the x-files are his only method of entertainment outside of his theories)

thespi is a fuxkin murderer and Gremlin and several centuries old and also. Claus’ fuckin ancestor so that’s fun

miazeklos  asked:

What type of characters are easiest to get into when it comes to roles?

The ones that present the best challenges because you always want to surprise yourself and hopefully the audience with new directions. So I’d say despite his intelligence and arrogance (you can draw the parallel…) playing a New York neurosurgeon who turns into a sorcerer in the MCU is definitely a new direction for this old thesp.

anonymous asked:

variety(.)com/2011/film/news/kasdan-has-time-for-thesps-1118032550 - This article proves that Dylan was with WME in Feb 2011 which I think indicates he's been with them since pretty much the start.

Again, no one said he wasn’t?  Lol, why are you fighting this non-argument?


The Shakespeare Code - Behind the Scenes (Part 3)
Excerpts from Benjamin Cook’s set report from DWM #382 

It’s becoming light already, so the crew prepares to film the episode’s final scene: Shakespeare’s seduction of Martha, rudely interrupted by the arrival of Queen Elizabeth.  “I’ll sit in for Freema on the camera rehearsal,” says Mr. Steffan Morris, the second assistant director.

“Shakespeare is a fool if he goes for that,” laughs Dean Lennox Kelly, who’s playing the Bard.   In between takes, he and Freema lounge on the stage, chatting about R&B music and fellow thesp Alan Cumming (”Dean can talk about anything,” she tells DWM).

Suddenly, David appears from behind the scenery, wearing a ruff and a rabbit mask, like the psychotic bunny from Donnie Darko!  “Too much?” he asks.

“Far too much!” shrieks Freema.  “That’s not a good look, David.”

[…] On stage, Dean is whispering naughtily into Freema’s ear. “Do I make you nervous, sat here next to you?”

“I trust you,” she beams. “Keep your friends close, and your enemies closer. Isn’t that what they say?”

“That’s the one.”

“Dean used to be a stand-up comic,” David explains, “and it shows. He’s very funny, very quick, very witty, and he’s nailed that slightly rock star take on Shakespeare. It’s clever casting, cos it’s not how a lot of people think of Shakespeare; you look at the young bucks of the RSC, I suppose, don’t you? But Dean confounds your expectations.”

Thank you to everyone who shares set photos!!

Other parts of this set available: [ one ] [ two ] [ four ]
[ List of all Doctor Who Behind the Scenes photosets ]


“I don’t know anyone on the planet who hasn’t had their heart broken, and if they exist, I wouldn’t want to meet them.

“Yes, it’s happened to me. I’ve been upset, my heart’s been broken. Love is love. It’s the purest and rawest thing we have in life and everyone experiences it.”

Aidan and fellow Irish thesp Sarah, who is in a Broadway play, met in 2012 and split their time between Dublin and London.

He does not reveal who broke his heart. One candidate could be former co-star Lenora Crichlow , who he dated while working on Being Human from 2009-11. [x]


Photograph: Sarah Lee for the Guardian
Stuart Jeffries
Tuesday 15 March 2016 14.05 EDT Last modified on Tuesday 15 March 2016 18.00 EDT

Andrew Lincoln: ‘I’m employed to go on a zombie frenzy killing spree"

Once the loveable loser Egg in 90s drama This Life, Andrew Lincoln has found global fame as The Walking Dead’s chief zombie-slayer. So how did the affable Englishman get the part? Maybe it’s down to his death stare.

Andrew Lincoln is eyeing me narrowly. I know that look. It’s the one he has been using for the past six years in the hit US post-apocalyptic TV drama The Walking Dead, before upping the body count. His character, Georgia sheriff Rick Grimes, has macheted, axed, gunned and spiked at least 150 zombies and quite a few humans since the show’s premiere in 2010.

In Britain, Lincoln may still be best known for his performance 20 years ago as lovable loser Edgar “Egg” Cook on BBC2’s then hipster drama This Life, about five twentysomethings trying to cut it in the legal profession. Stateside, though, he is renowned as the go-to guy to take out the undead trash – 14.6 million Americans watched the season six premiere last month. He is the Englishman who slayed America.

So, why the zombie death stare? It’s because I ask him about politics, a subject that sends him scampering off in the opposite direction, as if pursued by an implacable, if slow-moving zombie horde. Interviewing celebrities is often like this.

But surely The Walking Dead is richly allegorical, I suggest. The refugee crisis, resentment over immigration, Islamophobia, distrust of government – all have their onscreen parallels in the show that has made Lincoln globally famous. And Trump’s foreign-policy platform – building a wall to keep out Mexicans and refusing Muslims entry to the US – finds its parallel in The Walking Dead, in which humans build walls to keep out the undead? “I’d rather not be drawn into saying something about Donald Trump,” he says. Disappointing.

In any case, Lincoln argues, The Walking Dead is bigger than mere presidential elections. “In western culture, we have ignored death. We’re running the other way – everything is about life and youth. So, there’s something resonant about walking around with our own death masks. Zombies are the visible embodiment of death staring at us with our own faces.”

True, those death masks are made to order in a studio in California and shipped in their thousands to the set in Georgia each season to be worn by heavily madeup extras, but let’s not spoil the story.

“We’ve got an opportunity in this crazy-ass world we’ve invented – which is obviously very cool ass, bad ass, thrilling exciting, bloody, gory, scary and action-packed – to say something about what it is to be human. It’s about the undead, but it’s also about what it is to be alive.”

Asses notwithstanding, Lincoln speaks in a posh English accent, which is discombobulating, because for eight months of the year, during filming of The Walking Dead, he speaks in an American Southern accent on-set, off-set and at home in Atlanta, Georgia. Maybe his pillow talk is that of a Southern gent – he won’t let on.

“My wife and children think I’m bananas. They’re like: ‘Please stop doing that.’ It’s very unsettling for them because they don’t know who they’re talking to.” Don’t his kids speak American at school in Atlanta? “No, they’re Brits, because they like the cachet of it. As soon as they start to get a bit of an American twang, we pull them out and then we put them back in over here.”

When he flies home to Wiltshire each year, though, he undergoes a transformation akin to what happens when a murdered human regenerates as a zombie: Andrew Lincoln becomes Andrew Clutterbuck.

Born to a South African nurse and a English civil engineer in 1973, young Andrew was told to ditch Clutterbuck by his first agent, because it made him sound like a hobbit. Advice that, given the Postlethwaites, Cumberbatches, Spalls and Broadbents who bespangle the Brit thesp firmament, seems dubious. But still, he tells me, the identity change is useful for him to guard his privacy. Even his credit card reads Clutterbuck.

Twenty years ago, only one year out of Rada, Lincoln was made when he got his big break on This Life. “There are certain roles in my career that make you scream out loud,” he says. “That was the first without a doubt.”

On one of the first days of filming, he was required to come out of a shower and get it on with his screen wife, Milly (Amita Dhiri). “I was really committed and everybody was really in the zone. But the shower was cold. And I was doing it wrong.

“The director came up to me after the first take very respectfully and said: ‘It’s like you’re in Ballet Rambert trying to dance to get the towel. Can you just get out of the shower normally?’” The scene impressed his mates, but for the wrong reasons: “A buddy in Bath texted me and said: ‘Just watched the episode with you and Amita. That’s one of the best lesbian shower scenes I have had the privilege of witnessing.’”

Did he like Egg? For all that the character fails as lawyer and cafe owner (and supports Manchester United)? “I love him! He was a sweet-natured guy and he spoke to a lot of people who had come out of university and were stuck in a rut and were re-evaluating what they wanted to do and believed in.”

According to Lincoln, when the actors hung out together off-set, they couldn’t quite forget the roles they were playing: “We used to socialise a lot, as we were filming as a gang. Everybody would come up to me at nightclubs because they liked Egg and they hated Jack [Davenport, who played Miles, the posh twerp with a calamitous sex life]. They thought he was a dick. Jack was like: ‘What’s going on? I’m really a nice guy.’”

The 2007 This Life reunion show, in which Egg became, to my mind, an unacceptably successful and smug novelist, bombed. (“Maybe it would have been better to leave Anna, Egg, Miles, Milly and Warren in their graves,” wrote the Guardian’s Sam Wollaston at the time.) “I don’t necessarily read critiques and I don’t judge that as a reason not to see it,” he says. “I mean, it was very nice to see everybody, but I’m not sure we’ll be doing it again.”

Nonetheless, the series gave Lincoln’s career a massive boost. “It gave us leverage and notoriety and access to meetings. It also gave me two years’ experience in front of camera after three years’ theatre training. It made me understand why there are so many people on set, looking at you and touching you.” Touching you? “People are always invading your personal space on set, especially on The Walking Dead.” They’re forever smearing him with zombie viscera, he explains.

I glance sidelong at this London-born, Bath-raised, Rada-trained actor, looking fruitlessly for the ghost of Edgar “Egg” Cook. How did this genial 42-year-old, who today looks good carrying off designer stubble and even a mini-mullet without it going early Michael Bolton, get to be the face of one of the millennium’s most successful US dramas?

Until 2010, after all, his CV was crammed with unremittingly British stuff – not just This Life, but probationary teacher Simon Casey in C4’s 00s dramedy Teachers, and turns in Britflicks such as Richard Curtis’s Love Actually and Made in Dagenham. How did his career switch so dramatically? Lincoln says he was lucky enough to look haggard after the recent birth of his second kid when he auditioned for the role of Rick Grimes. “I hadn’t slept for three days, and I was shell shocked. I had this apocalyptic chic that probably fitted the bill. I looked like I’d survived a zombie apocalypse.”

Frank [Darabont, show creator and director of The Shawshank Redemption and Green Mile] wanted the Gary Cooper of High Noon, a classical leading man, very moral, almost gentle and quiet. But he also wanted a family man, so the perfect storm of meeting someone who had just had his second child was really appealing to him.”

When he got the part, Lincoln signed away a chunk of his life. “You have to sign a standard Hollywood contract of five or six years. Generally, a show doesn’t go past one season, so it is a matter of hedging your bets. But we [he and his wife Gael Anderson, daughter of Jethro Tull frontman Ian Anderson] did have that conversation while our child was screaming during a night feed, and decided to risk it.”

“I’ve always wanted to work in America because of those brilliant east-coast political movies of the 70s and 80s – great scripts, wonderful performances, gritty urban parable.” He cites Serpico, The Conversation, The French Connection and the Godfather trilogy. “Whenever I’m losing faith in the planet I’ll get a box set out and watch those.”

It was one of his co-stars on This Life who lured him over to give it a go. “Jack was one of the main instruments in making me go to America. He said: ‘Come over here. The water’s warm.’”

As a result, Lincoln has become part of a successful British invasion of American TV, joining Matthew Rhys (The Americans), Dominic West and Idris Elba (The Wire), Ruth Wilson (The Affair), Michael Sheen (Masters of Sex), Martin Freeman (Fargo), Damian Lewis (Homeland), not to mention Lennie James and David Morrissey, his fellow Brits on The Walking Dead.

None of his compatriots, though, manage to go quite as nuts on screen as Lincoln. In a recent episode, Grimes – understandably vexed after his girlfriend and her son are eaten by zombies, and his son has his eye put out in a shooting accident – picks up an axe to vent his spleen on the milling zombie hordes. Does he really go nuts or is the scene so choreographed that he has to be controlled? “Oh, I’m going nuts. Don’t worry about that. I’m employed to go into a zombie frenzy killing spree. That’s what I do.

“It is choreographed, of course, because otherwise we would have a lot of insurance problems. We’re very fortunate that we have a lot of committed, hardcore stunt zombies.”

But what does Lincoln know? He has never seen the show. “I haven’t watched myself for 15 years, because I don’t enjoy it. There’s a lot of working parts that can change your performance in between you giving it and it going out. I just realised I’d prefer to have my own imagination about what the story is.”

If he had seen the results of his work, he might share the worries of some critics. Rick Grimes, they fear, has become less Gary Cooper and more a tooled-up nutjob devoid of a moral compass – perhaps even the show’s villain – rumoured on fan sites to be facing termination. Lincoln won’t comment on whether Grimes is going to be written out, but in any event he is now plotting his exit strategy from the show. Like anyone spearheading a lucrative franchise – think Craig as Bond, Spacey as President Underwood, Clarkson on Top Gear — he risks getting typecast and becoming frustrated.

“The fun of my job is I get to dress up for a living and play different people,” he says. That dream has been thwarted because of commitments to the show. “The window of opportunity is so small. I was going to do a play and it would have meant me getting off a plane from America and going straight to rehearsals, doing the play, getting back on plane and going straight back to America. I couldn’t do that. My No 1 responsibility when I’m not slaying zombies is being a parent.

What does his wife do while he is taking out the zombie trash? “Everything. She’s the reason I’m able to do this mad job. She has built a life in Atlanta while I’m away filming. I don’t have a smartphone or apps or anything and people ask me why. I say: ‘My wife is my app.’ She’s magnificent. She’s in the most honourable profession in the world – she’s a full-time mum.” He glances at the female PR across the room for approbation and says unexpectedly: “Fight the power!” Quite so, although if I compared my wife to an app, I’d be sleeping on the sofa tonight.

Lincoln doesn’t do social media either. To keep the madding crowds of fans at bay? “I’ve got nothing to say and I’m just too busy. But I don’t get it – people taking photos of their own food? That’s very odd behaviour.” The PR woman gently objects that she does just that. “Oh God! That’s why I’m not on social media – straight away you’ve isolated half the world!”

Does Andrew Lincoln have what it takes to survive a zombie apocalypse? I get the zombie death stare for one last time, before he cracks a smile. “I think my wife is the one who would get me through, probably. If I did survive, it would only be due to her incredible dexterity in all things.” Onscreen, Andrew Lincoln may be a buff, zombie-slaying post-apocalyptic survivor; offscreen, he’s as helpless as a kitten up a tree.

This is a Warrior film release interview (meaning post-Bronson & post-Inception but pre-Max) with Tom Hardy that’s both hilarious and insightful.  The interviewer did a good job capturing both the childlike playfulness of Hardy, and the edgy intimidating feel to being in a room with him.

Tom Hardy: ‘It’s a normal human impulse to watch two people kick the hell out of each other’ - Stuart Jeffries for the Guardian


Hardy jogs into the room flanked by minders as if he’s entering a boxing arena. How about sorting things out mano a mano, I suggest? It could make both our careers. He could get the slightly bonkers rep Christian Bale has had ever since he bawled out his director of photography on set, which might help establish him in Hollywood (Hardy’s current focus). And getting bopped by an angry thesp adds lustre to a hack’s CV. Hardy looks game: “What – out the back?” No, here. “Absolutely!”

Really, I was only joking. For one thing, Tom Hardy would batter me. You just have to look at his improbably pronounced neck muscles to realise that.

Hardy settles on the sofa and pours coffee. For the next hour he writhes and giggles as he chats about his career prospects. As he pours, I ask him about a line in the production notes for Warrior, in which he plays a troubled war vet who, for reasons that made sense when I saw the film, has to cage-fight his brother in a martial arts contest at the drama’s climax. It’s Raging Bull meets Rocky meets Rolf Harris’s song of fraternal solidarity, Two Little Boys. But one passage troubled me: “The son of a Cambridge academic father, Hardy is the first to admit that prior to Warrior he was not a fighting man and not intimately familiar with 'alpha male territory’.”

Surely this makes his dad sound like a mortar board-sporting ponce rather than what he was, namely, the esteemed writer of gags for comedian Dave Allen who, along with his artist mother, brought up their only child (Tom, born 15 September 1977) in the genteel London suburb of East Sheen. “The point is my father’s not really into throwing his fists. He’s got lightning wit, backchat and repartee to get himself out of a scrap – and nothing else. My father came from an intellectual and studious avenue as opposed to a brawler’s avenue. So I had to go further afield and I brought all kinds of unscrupulous oiks back home – earless, toothless vagabonds – to teach me the arts of the old bagarre.”

Hardy – with his machine-gun verbosity, rococo vocabulary and the non-remote possibility that he could turn at any moment and chuck me out of the window – is an appealingly odd interviewee. He pronounces bagarre with an exaggerated angry French accent. Then he repeats it. “Bagaaaaarrrre! It got me into an enormous amount of scrapes and trouble – and eventually I ended up in Warrior, where he [his character Tom Conlon] does it for a living.”


Hardy takes a sip of coffee, rolls on the sofa and stares at the ceiling. This would be the moment to take him. Cushion over the face. Shimmy down the fire escape. PR minder finds him later, open-mouthed and dead. Perhaps not. He sits up again. “In hindsight I can see it’s great drama, but when you’re getting your teeth kicked in and eating endless chicken and broccoli, you don’t really care.”

What does he mean? To look like a cage-fighter he had to eschew carbohydrates and eat chicken and broccoli incessantly. That wasn’t all. “I did two hours boxing a day, two hours muay thai, two hours ju jitsu followed by two hours choreography and two hours of weightlifting seven days a week for three months. So come on! You have to really want to do that, so it was a challenge.”

Hardy’s Warrior regimen put on 28lb of muscle. But what interests him is not the fighting style per se, but its spiritual dimension. “Ju jitsu is very Buddhist. All that we fear we hold close to ourselves to survive. So if you’re drowning and you see a corpse floating by, hang on to it because it will rescue you.”

Hardy rolls over to look at the ceiling. “But the embrace is about the breaking of cycles. The film asks: 'What part do we play in those cycles and what is fated?’ That’s very Greek.” But his character has to be beaten virtually to death by his brother to be spiritually reborn, which is very Christian.

Let’s not go nuts about Warrior’s spiritual dimension. It’s mostly blokes tearing lumps out of each other in a cage encircled by people screaming for blood and/or death. “Again, that’s Greek,” says Hardy. “It’s the gods who have decided to sacrifice this man. But let’s watch. Who do you want to win? Red car? Or blue car? Let’s watch two people kick the shit out of each other.”


Did that resonate for him because he was a drunk and a drug addict? Hardy collapsed in Soho after a crack binge in 2003. “That was a lesson to me, I was fed to the Kraken and popped out the other side. In death I was reborn, just like in the film. Because I’d always been this adrenal kid and then I became a little shit. I’m not now.” He’s eight years clean.

What did playing opposite a recovering alcoholic mean to him? (Nolte is also a recovering alcoholic.) “I guess I’m more sympathetic to the alcoholic. I know in recovery that you are entirely responsible for your actions but I also know you’re not the same person you were yesterday. Paddy doesn’t think he’s the same person he was yesterday, he doesn’t even understand that person.” So how can you be responsible? “Well, that’s the conundrum of the human condition, isn’t it? Deciding when you’re responsible is hard fucking work, man.”

[there’s a fun video interview (press junket - I’ll never find it again) in which Hardy and his Warrior co-star Joel Edgerton are both asked whether they now feel they could win a real fight.  They’d each done that crazy 8-10 hour per day training regimen listed above for 10 weeks before shooting started, and kept going during the shoot - so they both must have had some chops - but they both laughed answering basically ‘No way.’ They each commented that they’d talk their way out if they could, would get their asses kicked if they could’t - basically neither man is inclined to be aggressive in real life.]


Behind the scenes of The Girl in the Fireplace (Part Two)

Excerpts from Benjamin Cook’s behind-the-scenes article in DWM #370

The horse will be filmed in a studio next week - so not to get hoof prints on the black-and-white chequered floor in the Great Hall - and the visual effects bods will add him into the scene in post-production.  This means that David has to engage in the embarrassing art of mime…

“Neigh,” he deadpans, as he gallops around the Great Hall on a strange scaffolding contraption.  To be honest, he looks a bit silly.  He admits later that he isn’t looking forward to meeting the real horse next week.  “I’m allergic to horses,” he sighs.  “I’m going to be standing as far away from it as I can.”


The spaceship set is redressed as a different stretch of corridor, for the scene in which Rose and Mickey are overpowered by two clockwork droids.

Ominously, this is shot 666.  Some wag has drawn a pair of horns on the clapperboard, which is unnerving Billie.  “I hate those devil things,” she cringes.

While no one is looking, David commandeers a camera.  “C'mon, rock and roll!” he enthuses.  “Good shot, David!”

“Shall we go for a take?” says Peter Bennett, as a gaffer drags David away from the camera.


The Doctor appears in the corridor, with Arthur in tow, and stares through the stone door.  He tells Arthur not to wander off. 

“Let’s go for a take,” calls Peter, “but this time can we not say A-C-T-I-O-N?”

Arthur - who’s actually quite an experienced thesp - recognises the word ‘action’, and gets a bit over-eager as a result.  Throughout the take, Arthur’s handler lies on the floor, coaxing him.

“We friends now?” David asks Arthur.  “Yeah, you bet we are!”

On the next shot, Euros suggests filming the rehearsal too.  “It might do something interesting,” shrugs Euros referring to the horse, “like sing!”

“Ten green bottles…” mumbles David.

But there’s hope for Arthur yet.  On the final take, he gives David an impromptu melancholy nudge when asked not to wander off.  It wasn’t in the script, and it wasn’t planned, but David reacts, and Euros is delighted.

“And… cut!” he says, before adding:  “Good horse!  What a marvelous take!”

Other parts of this set are available here: [ one ] [ two ] [ three ] [ four ]
Other behind-the-scenes photosets here ]

Rising star Lily-Rose Depp has joined the cast of Stephanie Di Giusto’s directorial debut “The Dancer,” a 19th-century drama based on the life of American performer Loie Fuller.

Depp will topline Isadora Duncan, a San Francisco native who grew up in poverty and became a dance prodigy, quickly achieving worldwide fame. She had a crucial role in the life of Fuller, who will be interpreted by French musician-turned-thesp Soko. Fuller was a dancer born in rural America who pioneered the Serpentine dance and turned out to achieve international recognition at the turn of the 20th century.

The movie, which is penned by Di Giusto, Thomas Bidegain (“The Cowboys,” “Dheepan”) and Sarah Thiebaud, will chronicle Fuller’s fateful relationship with Duncan.

The high-profile international cast also comprises Gaspard Ulliel (“Saint Laurent), Melanie Thierry (“The Zero Theorem”), Francois Damiens (“Heartbreaker”) and Louis-Do du Lencquesaing (“Taj Mahal”).

Alain Attal, who is producing via his outfit Les Productions du Tresor, pointed out Di Giusto was a talented video artist who will give the project a unique visual identity. Vincent Maraval, Wild Bunch’s co-founder, is co-producing, along with Jean-Pierre and Luc Dardenne’s Les Films du Fleuve and Artemio Benki for Sirena Films.

Depp’s slate also includes Rebecca Zlotowski’s Paris-based period drama “Planetarium” in which she will star alongside Natalie Portman. Ulliel has just finished shooting Xavier Dolan’s “It’s Only the End of the World” opposite Marion Cotillard, Lea Seydoux and Vincent Cassel.

Lensing of “The Dancer” will begin Sept. 28.
(Thanks to


Tom is #1 on GQ UK’s Cool List (December 2014). #killingit

TOM HARDY - Age: 37 - Nationality: British - Occupation: Actor

All Inked up: Don’t get us wrong. we love the current crop of ludicrously talented, silly-surnamed thesps from the upper crust – Benedict Cumberbatch, Eddie Redmayne etc – but among them Hardy is a breath of fresh air. Unkempt, wild and tatted to the eyeballs: “different" is putting it mildly. His reluctance to do press only adds to the intrigue. Oscar winner-in-waiting: Hardy has made a name for channelling the wild (in his breakout, Bronson) and unstable (Bane in The Dark Knight Rises), so it's no shock he’s next up in the reboot of Mad Max, the only blockbuster that could end up at the Oscar races. Locked down: Proof of Hardy's intense magnetism could be found in this summer's Locke, which consisted of nothing but Hardy, in a car talking on the phone. It was one of the most gripping films of the year.

Benedict Cumberbatch ''Really Happy'' After Engagement

When E! News caught up with the 38-year-old thesp at the premiere of his upcoming flick The Imitation Game, hosted by Chanel, we had to ask the Sherlock stud how it feels to be the biggest heartbreaker of 2014—and no surprise, the handsome Brit was as polite and humble as ever. 

“There’ll be another one…” he joked of his heartbreaker status. “And I don’t know that I really deserve that title. I think most people are just really happy as we are." 

Following the exciting news, fans have rallied around the star and seem genuinely excited that Cumberbatch has found his match, but according to the newly engaged celeb, the only support he needs is from his bride-to-be. 

"It is,” he said when asked if it’s nice to have such strong support his loyal admirers. “But the only support I really need to be honest I need is the woman I love who I proposed to." 

But lucky for Benedict, in case he’s too busy with award season, the Internet has already begun planning his I-dos, naming his Sherlock co-star Martin Freeman as a must in the wedding party. 

"I’m sure they do, I’m sure they do,” he said with a laugh when asked if he’s aware that the Internet wants Freeman to be his best man. “I think we’ll let the Internet talk to Martin Freeman.” [x]

Eddie Redmayne Officially in Talks for Harry Potter Spinoff ‘Fantastic Beasts’

Eddie Redmayne has been offered the role of Newt Scamander in Warner Bros.’ hotly anticipated “Harry Potter” spinoff “Fantastic Beasts and Where to Find Them,” according to sources.

As Variety first reported, Redmayne was the front-runner for the role and was intrigued by the part but wanted to wait for a finished script before committing. Insiders say that now that the script has been delivered, he is very happy with what he has read.

J.K. Rowling is making her screenwriting debut on the trilogy.

Though director David Yates may be considering a few other actors, it’s looking like Redmayne has the inside track.

WB declined to comment on this story.

Set in New York roughly seven decades before Harry Potter’s saga starts, “Fantastic Beasts” is based on the Hogwarts textbook of the same name and follows the adventures of its author, Newt Scamander. Scamander is described as a “magiczoologist,” which in the “Harry Potter” realm is a person who studies magical creatures. Besides Scamander, there are four other main roles — two American girls and two American boys — that the studio is currently looking to cast.

“Although it will be set in the worldwide community of witches and wizards where I was so happy for 17 years, ‘Fantastic Beasts and Where to Find Them’ is neither a prequel nor a sequel to the ‘Harry Potter’ series but an extension of the wizarding world,” Rowling explained.

Yates and the studio were expected to meet next week for the two female leads but wanted to make sure Redmayne was locked up before those tests began.

Though he had committed to a new project following his Oscar win, he has finished production on Tom Hooper’s “The Danish Girl,” which bows in November.

Warner Bros. and Redmayne recently worked together on “Jupiter Ascending,” in which he played the villain opposite Channing Tatum. Though that film failed to meet expectations at the box office, the British thesp is still in high demand following his Oscar win.

Redmayne is repped by CAA and United Agents. (x)