#Jamie Bell Filmography

[denimbex1986]

'The creator behind All of Us Strangers, Andrew Haigh, has shared his thoughts on whether audiences and Hollywood are more accepting of LGBTQ stories than they were 10 years ago.

All of Us Strangers stars Andrew Scott as a lonely gay man who looks back into his past to confront his trauma. The film also stars Paul Mescal, Claire Foy, and Jamie Bell.

Speaking at a Q&A following a screening of the film at the BFI on Wednesday (17 January) Andrew was asked by moderator Russell Tovey about his filmography and its queer themes.

On whether audiences and Hollywood had become more accepting of LGBTQ stories in the last decade or so, Andrew, who felt All of Us Strangers could have been made 10 years ago, gave his verdict.

“I think that there’s an illusion that everything has changed. And it’s much easier. But I don’t know if that’s true.” Elaborating further, Andrew, whose work includes Weekend, Looking, and Greek Pete, revealed he had pitched queer projects and had not had an enthusiastic response. “I don’t think it’s because of the queerness,” he added. “It’s about what you’re saying about queerness.”

An example he gave was: “A historical love story where you’re saying it was rough in the past, and now everything’s fine,” would be “All good,” by Hollywood’s standards.

Andrew then shared that he had tried to make a TV show around the Act Up grassroots political organisation. It was set up in the 1980s to help people living with Aids. The series, Andrew indicated, would have been based on Sarah Schulman’s book Let the Record Show: A Political History of ACT UP, New York, 1987-1993.

“We pitched it to everybody, to all the studios,” Andrew explained. “I thought, ‘This will get made.’ It’s political, it’s queer, it’s really fascinating.” Asked why the idea wasn’t picked up, Andrew theorised: “They didn’t want to do anything that had Aids in it.” This, he then revealed, all happened “a year or two ago.”

He continued saying the response “was hard” to take. “It was political and it was angry and very queer and dealing with really traumatic events, I guess. I was really surprised that no one would make that.” Coming back to the original question Andrew summarised that some things are still easier to make than others. “But I think maybe that’s just the case of TV and film in general. Safe projects are easier to get made,” he concluded. “Especially TV, I think it’s getting better.”'

[destinyc1020]

And Denzel and Hanks have made some things that “flopped” or not everyone liked or didn’t do well but they get grace to move on to the next project and try again but the conversation has been around how Tom, a young actor with a still relatively small filmography doesn’t seem to get that even from people who claim to be his fans. People were clamoring for Uncharted to fail. People were looking for any reason to hate TCR until certain people signed on. Even now everyone is looking reasons to worry about Fred cause Jamie Bell is doing one too. Or everyone loved Cherry until film twitter told them not to. Like Beyoncé said, “Monday, I'm overrated, Tuesday, on my dick. Flip-flop, flippy, flip-floppin'-ass bitch.” You could even see it in this past week with all the news we are getting about Tom suddenly everyone is back on board but all last year, there’s dissertations about his career, directors don’t want to work with him, he needs new agents, Timothee is better than him, blah blah! Y’all don’t see the whiplash?

I love that Beyonce lyric btw lol 😅🤣

It's true! LOL The whiplash is insane sometimes lol.

Btw... Speaking of Timmy, I'm not heavily into his fandom to know this, so Idk how they may have reacted to hearing the announcement of him being cast in a film about a cannibalistic love story? LOL 😅

I know Tom's fandom would have probably freaked out lol. 🤣 It's almost like some fans don't understand that acting is NOT real life lol.

[mavspeed]

are there Any proper Jamie bell stans on this fucking site or am I talking to myself deadass

[akajustmerry]

Ok fascinating. yes. I feel like Tom Holland has the career that Jamie Bell would have had. Jamie is truly homegrown and was the original Billy Elliot and was also at some point up for Spiderman. Now how about Adam Driver? He wasn't born rich but he ticks off all your points. He married into wealth. His wife whom he met in acting school before he hit big is old money. And his flopping as Kylo Ran killed Star Wars but did not kill his career. He inexplicably hit it big after Girls and only works with big name directors now despite his looks and mediocre acting. His rise from small town to marine to hollywood story seems so curated to me. Your thoughts?

i am not a fan of mr driver, but I don’t think he’s an industry plant, or an industry baby. he’s just a white man who had enough class privilege to keep failing upwards despite flops which is v common in hollywoo. marrying old money certainly seemed to give him some industry backing in the middle/later stages of his career, but anyone who got several unwatchable tv movies and random procedural eps in their early filmography (which he does prior to girls) is very likely not an industry plant. his early filmography screams ‘acting for money’ to me. he didn’t start out as a plant BUT he has accrued privileges and resources as a middle-class white man who married wealthy. a key thing about an industry plant/baby is that they start off with the silver spoon of industry backing in their mouth. gaining it later isn’t becoming a plant, it's just considered becoming successful. also, I had no idea my mans Mr Jamie Bell was tapped to play spidey???? whaT??

[maximumwobblerbanditdonut]

Next James Bond to be 'younger than mid-30s' as fans may have to wait until 2025

"The name's Bond. James Bond" !

Richard Madden, 34 Jack Lowden, 30 Scottish actors

Tom Hiddleston, 39 Henry Cavill, 37

Dan Stevens, 38 Regé-Jean Page, 31

Nicholas Hoult, 31 Jamie Bell, 34

James Norton, 35

At first sight, SH 👆seems out, with 41-years-old when James Bond 25th is out in October 2021 the clock is ticking and none stopped. He could be deemed out of the list.

That he’s publicly talking about playing Bond probably rules him out. Besides, he certainly has an intrusive fan base that thinks he may well be better placed than anyone else. Forgetting that there are two other Scottish actors in a list of Bond’s possibilities-Richard Madden and Jack Lowden. Whether this means he just doesn’t want to scupper his chances to interpretation, this support does him no favour, he allows these fans organize to have preconceived ideas about how things should work in this industry without proper understanding or guidance spreading inaccurate information, might very well prejudice Bond’s franchise built over the years.

The next James Bond has to be rugged and dangerous. Maybe he isn’t the man for the job. James Bond choices are obvious for a reason. SH is an actor, but Bond requires more than mere acting ability: he needs a style, more presence and touch on the screen. Looking down at Heughan’s filmography, it’s hard to find a role that screams “Bond-in-waiting”. He played an agent in TSWDM rather than 007. Would he want to do that again?

Perhaps… good-looking is not enough because all possibilities considered for Bond are. Can you imagine him beating a henchman to a pulp?-James Bond is quite another thing. Who knows if he was might happen in the screen test? He must prove to get the talent to take on such a huge role. He needs to be further convincing, than a period drama TV shows as Outlander, a Radio Times poll of fans base that found Heughan was the favourite to take on Bond’s mantle or in Scottish evening dress around the Highlands insinuating his Scottish look 007.

Actors who can play James Bond character are younger than him. 👆 Could also be deemed too old to be Bond as bookies slashed the odds on him landing the job. He wears a hairpiece, His hairline was significantly receding, and producers know they don't want another bald Bond. “Time is short”!⏱

[brentwatchesmovies]

Brent’s Top 10 Movies of 2019

Scorsese is probably my favorite living filmmaker, but I’ll be honest, when I heard that Scorsese was making this movie, and *how* he was making it (heavily digital de-aged actors) I was a bit skeptical. De Niro and Pacino haven’t been turning in interesting performances in quite awhile, and Pesci came out of a decades-long retirement for the movie as well. On top of that, the first trailer released did little for me. All that to say I was an idiot to doubt the master.

Scorsese returns to the crime genre that he re-invented many times over the years, this time with the eyes of a man in his 70’s, looking back on his life and career. The movie is very long, but in my opinion, it needs the length. The viewer needs to *feel* the totality of a life, and as is his intent with The Irishman, the *consequences* of this specific life. The final hour or so of this movie feels like a culmination of Scorsese’s career in many ways. The energy and entertainment of a crime/mob epic, with the fatalism and philosophical leanings of a movie like ‘Silence’. It’s a 3.5 hour movie that I’ve already rewatched, and actively want to again, so that alone ought to speak volumes.

Harmony Korine made one of my favorite movies of the 2010’s, the neon-soaked and often misunderstood ‘Spring Breakers’, so I was already in the bag for whatever he did next. When I heard it was a freewheeling stoner comedy where Matthew Mcconaughey plays a guy named ‘Moondog’ costarring Snoop Dogg, I reserved its location on my top 10 list.

This movie doesn’t have the empty heart at its core that defines Spring Breakers, opting instead for a character study about a ‘Florida man’ poet after his life pretty much falls apart. It’s basically plotless, stumbling from one insane, borderline hallucinatory sequence to the next, but I just loved living in the world of this movie. Beach Bum almost feels like a deliriously fun VR simulation of hanging out with Matt McConaughey and his weirdo friends down in the Florida keys. This is one that probably won’t pop up on many top 10 lists but I really adore, and will surely rewatch it a dozen times in the years to come.

Let the record show, I’ve been a huge fan of Bong Joon-ho since I first saw his monster movie/family drama ‘The Host’. Some time later, he went on to make ‘Snowpiercer’, one of my favorite movies of the last decade. All that to say, I think Parasite is probably his best movie, and a true masterwork of thriller direction. It also has his usual brand of social commentary and a script filled with darkness and humor, following a South Korean tendency to juggle multiple tones throughout, sometimes all in one moment or scene.

Parasite also follows a big 2019 trend of commenting on class and social dynamics between the rich and the poor. I think that’s part of why it’s done incredibly well at the box office (especially for a Korean language film), the fact that people can relate in a huge way, regardless of which country your from. Parasite is one of the most entertaining movie viewing experiences I’ve had this year and I’d recommend everyone check it out.

If you were to ask me what the funnest movie-going experience I had in 2019 was, I’d have to pick Rian Johnson’s ‘Knives Out’. Hot off making one of the best Star Wars movies ever made (don’t @ me) Johnson decided to make a passion project in the vein of classic Agatha Christie style murder mysteries, and the results are a total blast. Filled with clever twists and turns, weaponizing the structure of murder-mysteries against the audiences expectations, it stays one step ahead of you the entire time.

Aside from the clever mystery of it all, it’s the actors performances and chemistry that really sell this thing. Jamie Lee Curtis and Toni Collette are expectedly great per usual, and Daniel Craig is having the time of his life as Mississippi private-eye Benoit Blanc, but the heart of the movie is relative newcomer Ana de Armas. She brings an emotional weight and anchor to the movie that always keeps you emotionally invested amidst the terrible, money hungry backstabbing by the other heightened characters. I hope everyone sees this movie and Johnson is able to give us another Benoit Blanc adventure somewhere down the line, I’ll be there opening day.

Nobody makes an upbeat, feel-good movie like Ari Aster does! After last years light and breezy ‘Hereditary’ (which I liked a lot but didn’t totally love) he’s back with a completely riveting and emotionally draining (not to mention horrific) masterpiece. What I connected to most in Midsommar is the journey of Dani, played incredibly by Florence Pugh. The way the film portrays the relationship between her and her dog shit boyfriend played by the (usually) charming Jack Reynor keeps you invested in every twist, perfectly paced out over the movies admittedly long runtime.

I won’t get into spoiler territory, but where this movie goes in the end is what makes this a fully 5-star movie for me. After putting you through hell, like Aster loves to do with bells on, Midsommar ends in a euphoric, psychedelic orgy of music and violence that I couldn’t help but laugh out loud. Midsommar rules so hard and I can’t wait for whatever twisted thing Aster cooks up next.

One of my increasingly favorite brands of movies is a finely crafted, primo slice of dad-movie cinema, and James Mangold has made one with Ford v Ferrari. The story chronicles the partnership of ex-racer and designer Carroll Shelby and racer Ken Miles as they work to make a Ford that can compete in the 24 hour race of Le Mans. Bale and Damon are a blast to watch bounce off each other and the race sequences are pretty damn thrilling, combining (what I expect is) a solid amount of great VFX with practical racing to great effect.

I also didn’t expect it to have as much to say about the struggle to create something special by passionate people and not committees while also inside the very machine that churns out products on an assembly line. Just a random note, this original movie was just put out by 20th Century Fox, now owned by Disney but that’s completely unrelated and I’m not sure why I’d even bring that up??? Anyway, I love this movie and dads, moms and everybody else should check it out.

If you saw my list last year, then it must appear like I’m some diehard Mr. Rogers fan. I don’t really have many memories watching his show as a child, but what the documentary ‘Won’t You be my Neighbor’ and this film by Marielle Heller have in common is a shared fascination of his immense empathy and character. It’s only right that America’s dad Tom Hanks should play him, and I was surprised at the end that I was able to get over his stardom and accept him as Rogers. He’s not doing a direct impersonation, and I think it’s all the better for it, instead opting for matching his soft tone and laid back movements.

On a pure emotional level, this movie was a freight train. It didn’t help that the movie covers a lot of father stuff, from losing your own to becoming one yourself (2 big boxes on the Brent bingo card). Heller’s direction is clever in its weaponizing of meta/post-modern techniques, such as one incredible fourth wall break in a diner scene. It literally breaks down the barrier between Mr. Rogers, we the audience, and the films intent to make us feel something.

I cry a lot at movies, that much is well known, but it’s rare that a movie makes me weep, and this one did. Even thinking about scenes right now, days later, my eyes are welling up with tears thinking about the messages of the movie. Mr. Rogers and his lessons of empathy and emotional understanding have rarely been as vital and important as they are right now in our world.

Robert Eggers first film ‘The Witch’ from 2015 is one of my favorite movies of this decade, possibly of all time, so my hype for his black and white, period piece two-hander ‘The Lighthouse’ was through the roof. Even with sky-high expectations, it still blew me away. With dialogue reminiscent of The Witch in its specific authenticity to its era, to the two lead actors giving all-time great performances, It was one of the most entertaining film viewing experiences I had this year.

There’s something about both of Egger’s movies that I really keyed into watching this one: his fascination with shame and the liberation from it. Where Witch was from the female perspective, Lighthouse literally has two farting, drunk men in a giant phallic symbol fighting for dominance. It’s less a horror film than his first, but still utterly engrossing, demented and specific to his singular vision. I can’t wait to see 20 more movies from this guy.

This is another big movie of 2019, like The Irishman, where you can see the director looking inward, at what his films mean and represent. It initially caught me so off guard that I really didn’t know how to feel about it, but after seeing it again, it’s one of my favorites of the year, and probably Tarantino’s filmography overall. More akin to something like Boogie Nights or Dazed and Confused, letting us live with and follow a small group of characters, it mostly doesn’t feel like a Tarantino movie (until the inevitable and shocking explosion of violence in the third act, of course).

‘Hollywood’ is the most sincere and loving movie Tarantino has made, interested in giving us a send off to an era of Hollywood and artists that have been lost or forgotten (Some more tragically than others). In the end, the movie functions similarly to ‘Inglorious Basterds’ in it’s rewriting of history to give us catharsis. “If only things could have worked out this way.” Luckily in movies, removed from the restrictions of reality, they can. And once upon a time in Hollywood, they did.

Uncut Gems probably tripled my blood pressure by the time the credits rolled. A slice-of-life story about a gambler/dealer in New York’s diamond district, the movie follows Howard Ratner, played by Adam Sandler in easily the best performance of his career. Ratner is basically addicted to living at the edge of a cliff, being chased by violent debt collectors, juggling a home life and a relationship with an employee, and fully relying on risky sports bets to stay afloat. It makes for a consistently tense and unique viewing experience, expertly directed by the Safdie brothers.

Something that might not work for everyone but that I personally loved, is the chaotic way in which the movie is shot. What feels like loosely directed scenes, with characters talking over each other and multiple conversations happening at once, adds an authenticity and reality lacking from most other movies. It’s more adjacent to Linklater (thanks to Adam for the comparison) or Scorsese’s earlier films (also fitting, that he’s a producer on this). Following Howard Ratner as his life descends into chaotic hell was one of the best times I’ve had watching a movie this year.

HONORABLE MENTIONS

AVENGERS ENDGAME

DOLEMITE IS MY NAME

BOOKSMART

JOHN WICK CHAPTER 3

THE FAREWELL

AD ASTRA

[ahandsomechicken]

fun date weekend idea: we go to a cozy cabin somewhere equipped with a massive tv and snuggly couches all around. we watch rocketman. then we watch everything else dexter fletcher’s directed. then we watch taron egerton’s entire filmography. then we watch richard madden’s entire filmography. then we watch jamie bell’s entire filmography. we watch all of these things, even the crappy ones. in between viewings, like when we cook meals and stretch, we listen to elton john and elton john only. then we—wait no where are you going—

[acnara]

I'm very predictable. I see Jamie Bell is part of the cast I watch the movie.

[iangallagherz]

Jamie Bell!!!!

okay so i looked at his filmography bc i really couldn't think of any movies i'd seen him in except rocketman (which, 10/10 yes the best) and wanted to check and see if maybe i was forgetting some but like. was anybody gonna tell me this bitch was in the music video for wake me up when september ends by green day or was i just supposed to find this out myself

name me an actor or director and i’ll rank their top 5 movies

[thenextrush]

Skin: The white supremacist who developed a conscience (Interview)

Skin: The white supremacist who developed a conscience (Interview)

Media Screening (Maven Pictures) Duration: 110 minutes

Having not been familiar with the story or having any preconceptions, as a viewer a vexatious undertone of sympathy toward the character pays off as we’re taken on a journey to understand how Bryon’s extreme views and violent hate has come to be.   The closing credit’s of the film at the State Theatre gave way to a round of applause from…

[that-shamrock-vibe]

Movie Review: Tolkien

My Level of Enjoyment:

It is slightly unclear if I am the right audience for this movie. I do know of all six movies that Tolkien's work is based on, however, I have only ever seen the Lord of the Rings movies and not the Hobbit movies.

I am however a fan of biopics and Nicholas Hoult and both are what intrigued me here and both did not disappoint. 

I took so much away from this movie possibly more so than I did Bohemian Rhapsody because, as a fan of Freddie Mercury and Queen, I've done my research and the movie simply added layers to that research.

With Tolkien though, as I mentioned before, I have never been a huge fan of his or his work. Not because I don't like him or it because I love the type of fantastical world he created with Middle-Earth akin to Game of Thrones, but because, as was commented on quite candidly in this movie, the story and films are long!

I mean honestly I have sat through the Lord of the Rings trilogy once one weekend solidly, and by the end of Return of the King I had forgotten the majority of what I had just seen because all three movies melded into one for me. 

I have never seen the Hobbit movies either. which this movie ends with him starting to write the one book the trilogy is based on, but the one great takeaway of this movie for me, is by the end I wanted to go and watch all six movies just to see this incredible man's mind unlocked.

Themes:

I think there are two great themes in this movie that resonate with the type of writer Tolkien is, the first is the meaning of language.

There are numerous definitions of what language actually means spread throughout this movie, not just in sounds and ideas but also in the cacophony and beauty behind them, first mentioned by Edith and later with Professor Joseph Wright.

My favourite line in this movie is probably Professor Wright saying “language cannot be stolen only influenced”, because it is true that while every civilisation and culture has its own dialect and way of saying these words, the actual meaning and definitions all are the same at the base heart of them and therefore language does not belong to anyone and therefore cannot be stolen.

The second is this idea of fellowship, which obviously goes on to be a great influencer in Tolkien’s work. But this idea of friendship and the feeling that one small group can change the world, maybe not as a whole but make one small impact such as Tolkien’s writing or Geoffrey’s poetry. I mean it’s obviously not fighting a war but it is still bringing about a small amount of joy in life.

Cast:

This is definitely one of Nicholas Hoult’s best roles in recent years. As mentioned with The Favourite, Hoult is one of those actors who I will watch a movie just to see them in.

He is definitely an actor akin to Jamie Bell or Thomas Brodie-Sangstar who peaked as a child actor but has still maintained modest success in his later years.

I don’t think he’s the type of actor who needs a major blockbuster or successful franchise in his filmography to be a star but he does have a great resume behind him already; be that About a Boy, Skins, X-Men, Mad Max: Fury Road or this, every role does have a sameness where you can tell Hoult is comfortable with the possible exception of Fury Road but each have an understated quality to them that I believe is missed in favour of other bolder actors.

I thought the supporting cast was also very good; Lily Collins was great as Edith Bratt and actually reminded me of Emma Watson or Felicity Jones, the latter of which is ironic as there were likens to The Theory of Everything in this movie but of course Collins was not nearly as dramatic here as Jones was there. But that’s due to story not acting.

The other three members of the fellowship I felt were also well acted, both in child and adult forms. Geoffrey Smith’s actor, both of them, were very good at portraying a young man in the early 20th Century who was clearly dealing with his romantic feelings for Tolkien but not being able to express them because he knew they’d be unrequited. I really loved that dialogue between the two the day after Tolkien had his alcoholic breakdown and it seemed as if Tolkien knew Geoffrey liked him and for them both not to even react to that made this a subtle but great influence for the LGBT Community.

Other actors were fine and did their jobs, I thought the man playing the priest and the woman playing the boarding house caretaker were fine. Although for them to say that any part of Birmingham is civilised I had to laugh at being from Birmingham myself.

Sir Derek Jacobi portraying the professor was a great full-circle moment as his friend and colleague Sir Ian McKellen is famous for being Gandalf in Tolkien’s stories, I know this wouldn’t be the case but I would love it if the professor is who influenced Tolkien in creating Gandalf just for that connection.

Recommendation:

So yeah, if you’re into Tolkien’s work this is definitely a movie for you, if you love biopics you’ll love this, if you want to see Nicholas Hoult as the leading man he should be you’ll enjoy this. I wouldn’t recommend seeing this if none of those checklist options apply to you but if you are curious then check it out.

I rate the movie an 8/10, it was a great depiction of J.R.R. Tolkien’s history, it was a great cinematic interpretation of how he got his ideas. Like I said, this movie made me want to watch all six Lord of the Rings/Hobbit movies just to get some of the references.

So that’s my review of Tolkien, what did you guys think? Post your comments and check out more Movie Reviews as well as other posts.

[denimbex1986]

'The London skyline. Hundreds and hundreds of buildings, both tall and small, housing thousands upon thousands of people. One of the most densely populated cities in the world, yet also one filled with loneliness. These buildings are nothing more than fancy prison cells, separating one stranger from another, making them pass their days with no real change or hope in the future.

Inside one of these haunting apartment complexes lives Adam (Andrew Scott), a screenwriter who is struggling to come up with new ideas. A fire alarm leads to him meeting Harry (Paul Mescal), a charming yet drunk neighbour. Adam refuses his sexual advances, and he then reminisces on his childhood in the British suburbs. He goes out to his childhood home, where he mysteriously finds his parents, who died in a car accident when he was a boy, still young and alive.

All of Us Strangers is a film firmly steeped in fantasy, to the point that examining it through a literal lens is a futile and senseless exercise. In a way, what Andrew Haigh has written and directed (based on Taichi Yamada’s Strangers), can be seen as Adam’s screenplay come to life. All of Us Strangers is a gothic ghost story for the 21st century, not dissimilarly from Joanna Hogg’s moving and underrated The Eternal Daughter. Through the process of filmmaking, of creating art, the artist can resonate with their own grief and the one that unites all of us.

Andrew Haigh’s filmography is characterised by such deep tenderness and understanding of love and longing, and All of Us Strangers shows two sides of that. With the romantic relationship that he strikes with Harry, Adam gets a chance to be vulnerable and naked with another person, one of the most beautiful and important parts of sharing your body and soul with another person. Casting Mescal is a particularly inspired choice, as he balances sensuality and sensitivity with ease, making his quiet conversations with Scott ring oh so true.

On the other hand, there is the relationship between Adam and his parents, with Haigh himself likely drawing from personal experience in exploring familial love. After all, both the director and his fictional character grew up in England in the late ‘70s and early ‘80s, right when Margaret Thatcher was Prime Minister: amongst the various traumas that the Iron Lady caused to young and old generations, she introduced the infamous Section 28, which essentially rendered homosexuality of any kind illegal for over two decades (the brilliant indie Blue Jean, directed by Georgia Oakley, focuses on this dark period).

Not only was Adam victim of bullying due to his unwillingness to hide his sexuality identity, he also never got to fully come out to his parents. This is when All Of Us Strangers truly shines: every moment between Andrew Scott and his on-screen parents, Claire Foy and Jamie Bell, is an immensely cathartic experience. Finally getting to show himself for who he is, confronting them about what happened in his childhood, and ultimately not being able to let go of their newfound love again, is a truly emotionally heartbreaking journey. But this is where the power of the film lies, as the earnestness of the dialogue and the genuine, grounded performances become a gift for all the queers who never managed to be honest with their parents. A sequence featuring the Pet Shop Boys cover of “Always On My Mind” is a particularly touching and wholesome scene, and another example in how a form of art (in this case music) can help people freely express themselves.

The final minutes of All Of Us Strangers seem to be what makes or breaks the film. Confusion and even bafflement are understandable when taking the entirety of the film at face value, but on further reflection, it is clear what Andrew Haigh is saying with his nuanced characters and gentle, delicate direction: Adam once saw himself as singular, alone, one among thousands of faceless individuals, but through his processing of grief he learns to control and embrace his emotions. He finally sees himself for who he is: one of many bright stars, floating together in the cosmos, connected by the power of love. We are all strangers, going through the same yearnings and troubles in life, and that is what ultimately unites all of us as we make meaningful connections that shape us. And, as a popular Reddit post said years ago, we are a mosaic of everyone we have ever loved, even for a heartbeat.'

[beautifulfaaces]

Belmont Cameli

Facts

March 1, 1998

American actor

Filmography

Eli [Along for the Ride: 2022]

Jamie [Saved by the Bell: 2020-2021]

Marcus [The Husband: 2019]

Appearance

brunette

brown eyes

Roleplay

playable: young adult

[mavspeed]

do you? love this show? or does it just have taron egerton in it

jfndjjs I get the joke but honestly I only like shows/movies if they’re good, they don’t get a pass for sucking even if they have my fave in it. inspector lewis and Robin hood and billionaire boys club I’m addressing you Directly

[philippinecb]

BILLY ELLIOT - Stephen Daldry

À l'occasion de la journée internationale des droits de l'enfant qui s'est déroulée hier, les basiques du ciné vont aborder la thématique - vous vous en doutez - de l'enfance au cinéma.

Alors on aurait pu parler des 400 coups de Truffaut ou encore, sorti plus récemment, de Tomboy de Sciamma, mais quoi de plus intéressant que de partir sur un réalisateur à la filmographie majoritairement consacrée à l'enfant : Stephen Daldry, connu pour avoir donné vie au personnage de Billy Elliot à l'écran ?

Dans son film Daldry compose avec justesse le portrait d'un jeune garçon en pleine recherche identitaire, épris de danse classique, mais confronté à un milieu où la virilité masculine prédomine. Il nourrit cette thématique déjà bien contrastée de nombreux questionnements, sur le genre, la famille, les amis, la sexualité, un tout, naissance d'un dilemme omniprésent: être ou faire semblant d'être.

Ce contraste s'exprime aussi bien esthétiquement que techniquement, que ce soit au niveau des couleurs : le bleu, le jaune, ou encore du côté d'une excellente maîtrise du montage alterné.

Le réalisateur signe là une oeuvre aboutie et mature. Billy Elliot se présente également comme un vrai plaisir sonore : The clash, Tchaikovsky, T-rex, de quoi nous régaler, et renforcer les émotions qui sont suscitées. Mais n'oublions pas la danse, fondement dans Billy Elliot. Le travail chorégraphique magnifiquement exécuté par Jamie Bell vient sublimer le propos et nous émouvoir.

Adapté aux plus jeunes, et incontournable pour tous, Billy Elliot est un film touchant, étonnant et sensible, qui mérite d'être vu, revu et rerevu!

[cumberbatch-daily-blog]

A Detailed Biography

Disclaimer: I provide with a lot of links about almost eveything. The links of the sites of the organisations are provided in case you are interested in learning more about the organisation and/or want to help/donate. 

Benedict Timothy Carlton Cumberbatch is a British actor having performed in television, films, theatre and radio productions. He was born in London in 1976 to parents Wanda Ventham and Timothy Carlton, both actors. He grew up in  the Royal Borough of Kensington and Chelsea. He has a half-sister, Tracy Peacock, from his mother's first marriage.

Education

Benedict attented the boarding Brambletye School in West London at the age of 8, and he was an arts scolar at Harrow School after. At school he was involved in many Shakesperian works, such as Titania, Queen of Fairies and A Midsummer Night’s Dream, at the age of 12. His drama teacher has referred to him as “the best schoolboy actor” he had ever worked with. Benedict after finishing school at Harrow’s, he took a gap year, travelling to India, where he was a volunteer teacher at a Tibetan Monastery in Darjeeling. He then, attented University of Manchester from where he gratuated with a BA in Drama. He continued his acting training getting his masters degree in Classical Acting at the London Academy of Music and Dramatic Art.

Theatre

Benedict has performed some major roles in theatre since the early days, including George Tesman in Hedda Gabler (March 2005) for which he was nominated for an Olivier Award for Best Supporting Role, and David-Scott Fowler in After the Dance (June 2010), with the play actually winning four Olivier Awards. The same year he also performed in The Children’s Monologues, a charity event in London, which was produced by Dramatic Need. Following the next year, Benedict started playing Victor Frankenstein and his creature in Frankenstein (February 2011) at the Royal National Theatre, receiving an Olivier Award for his performance.  In 2013, he was also a part of a cast featuring members of the Royal National Theatre Company in 50 years of Stage, the Royal National Theatre’s landmark event for its 50th anniversary. Benedict returned back on stage, starring in Hamlet (August 2015), earning his third Olivier nomination for his performance.

Television

Benedict began his televesion career landing two seperate guest roles in Heartbeat (2000, 2004). He continued on his television path playing Freddy in Tipping the Velvet (2002), Edwards Hand in Cambridge Spies (2003) and Rory in Fortysomething (2003) next to actor Hugh Laurie. His first main part in television came in 2004, when he palyed Stephen Hawking in tv film, Hawking (2004), for which he was nominated for a BAFTA TV award for Best Actor and winning the Golden Nymph for Television Films - Best Performance by Actor. He portrayed Edmund Talbut in To The Ends Of The Earth (2005), making also brief appearances in comedy sketch show Broken News (2005) and sitcom Nathan Barley (2005). He also palyed alongside Tom Hardy in tv adaptation Stuart: A Life Backwards (2007). Benedict played the lead character in 2008′s The Last Enemy (2008) which earned him a nomination for a  Satellite award for Best Actor in TV Film. The following year, he played the role of Luke Fitzwilliam in Marple: Murder Is Easy (2009) and Bernard in Small Island (2009), which earned him a BAFTA TV nominatation for Best Supporting Actor. Following 2010 Benedict will land the role of Sherlock Holmes in BBC’s adaptation of Sherlock (2010-) which will be a standpoint for his career onwards. In 2012, Benedict played Christopher Tietjens in Parade’s End (2012) with his performance earning him a second Emmy Award nomination for Best Actor in Miniseries. In 2016, Benedict played Richard III in Shakespeare’s play, the second series of films of The Hollow Crown (2016).

Film

Benedict started his career in the big screen, playing the role of William Pitt the Younger in Amazing Grace (2006) which got him a nomination for the London Films Critics Circle “British Breakthrough Acting Award”. He also got supporting roles in Atonement (2007) and The Other Boleyn Girl (2008) as well as appearing in the role of Joseph Hooker in autobiographical film, Creation (2009). He continued his filmography appearing in 2010′s The Whistleblower (2010), Four Lions (2010) and portraying Peter Guilam in Tinker Tailor Spy (2011) featuring also Gary Oldman and Colin Firth. In the same year he appeared as Major Jamie Steward in Steven Spielberg’s War Horse, next to Tom Hiddleston. In 2012, Benedict provided the voice and motion capture for Smaug the dragon and the Necromancer in the Hobbit films based on Tolkien’s novel. He reprised his role as Smaug and the Necromancer for The Desolation of Smaug (2013) and The Battle of the Five Armies (2014). Benedict told the Total Film about the motion capture asperct of the films and the facial markers he used to highlight the dragon’s experssions and movements “You just have to lose your shit on a carpeted floor, in a place that looks a little bit like a mundane government building. It was just me as well, with four static cameras and all the sensors.” 2013 was a busy year for Benedict as he appeared as Khan in Star Trek Into The Darkness (2013), Jullian Assange, the founder of WikiLeaks in The Fifth Estate (2013), William Prince Ford, a slave owner in 12 Years A Slave (2013) and portrayed Charles Aiken (little Charles) in August: Osage County (2013) in which he also recorded a song titled “Can’t Keep It Inside”. Benedict portrayed mathematician Alan Turing in the film The Imitation Game (2014), earning him nominations for the Golden Globe, BAFTA, SAG and Academy Award for Best Actor. He was also casted in Black Mass (2014) opposite to Johnny Depp. In 2016 he starred in Marvel’s Doctor Strange (2016) playing the role of neurosurgeon Stephen Strange and Dormammu. Benedict will reprise the role of Strange in Marvel’s Thor: Ragnarok (2017) and will also play Thomas Edison in The Current War (2017) which is said to be released sometime in 2017. 

Radio

Benedict has partcipated in various radio productions for the BBC with some of his best-known roles being in John Mortimer’s novel Rumpole and the Penge Bungalow Murders (2009) playing young Rumpole. He also played Captain Martin Crief in Cabin Pressure (2008-2014), Angel Islington in BBC’s radio 4 adaptation Neverwhere (2013) and Werner Heisenberg in BBC’s radio 3 adaptation Compenhagen (2013). In June 2014 he read the orginal BBC radio bulletins from June 1944 for the 70th anniversary of the Normandy landings. 

Narration

Benedict has narrated many documentaries for the National Geographic and Discovery Channel. He has read several audiobooks including Cassanova, The Tempest, The Making of Music, Death in a White Tie, Artists in Crime and Sherlock Holmes: The Rediscovered Railway Mysteries and Other Stories. He has also done voice overs for commercials for Jaguar, Pimms and Google+. He also provided the voice of Dante Alighieri in Girlfriend in Coma (2012). He also naratted the documentary Jerusalem (2013) as well as the documentary Christiano Ronaldo: The World at his Feet (2014).

Music

Benedict recorded  a song titled “Can’t Keep It Inside” for the film August: Osage County (2013). On September 2016 he appeared on stage with Pink Floyd singing lead vocals on the song “Comfortably Numb”.

Production

In 2013, Benedict Cumberbatch, Adam Ackland, Patrick Monroe, Ben Dillon and Adam Selves launched SunnyMarch Ltd, a production company. The first project of the company was Little Favour (2013), Benedict playing the leading role directed by Monroe.

Personal Life

In 2005 Benedict with his two friends were abducted and held captive at gunpoint while in KwaZulu-Natal, South Africa. Eventually they released them wihout explaining anything to them. Benedict has said about the above incident: “It taught me that you come into this world as you leave it, on your own. It’s made me want to live a life less ordinary.” On February 2014, Benedict and British opera director Sophie Hunter, married at the 12th centure Church St. Peter and St. Paul on the Isle of Wight.

Charity

Benedict is an ambassador for the Pince’s Trust as well as a supporter of the organisations Odd Arts, Anno’s Africa and Dramatic Need whose focus is using arts to help young disadvantaged people. He also took part in the Ice Bucket Challenge for the Motor Neurone Disease Association. Benedict has also donated artwork for charities including the Willow Foundation and Thomas Coram Fountation for Children.

Stop The War Coalition:

He joined the Stop The War Coalition protest in London against Iraq in 2003. 

Stand Up To Cancer:

In 2014, he participated in a video campaign for Stand Up To Cancer as he also posed for photographer Jason Bell for an exhibition at Pall Mall, London, to mark 10 years of the “Give Up Clothes For Good” charity campaign, which has raised  £17 million for Cancer Research UK. 

Feminism:

Benedict identifies as a feminist, as in International’s Women Day 2014, he was a signatory of Amnesty International’s letter to Prime Minister David Cameron for women’s rights in Afghanistan.

LGBT Community

In an interview for the OUT magazine he opened up about experimenting with his sexuality while on boarding school. He quoted as saying: “ While there was experimentation, it had never occurred to me as, 'Oh, this is that!' It was just boys and their penises, the same way with girls and vaginas and boobs. It wasn't out of desire.” LGBT group Stonewall responded positively to Benedict’s comments, saying, "Seeing someone in the public eye – especially somebody as influential as Benedict – talking positively around gay issues, is powerful for young lesbian, gay and bisexual people. It is often difficult for those growing up to find role models who demonstrate that it is equally okay to be gay or straight."  

Migrant Crisis

In 2015, Benedict fronted a video campaign for Save The Children, its mission to aid Syrian refugees. He also condemned UK’s response to migrant crisis in a speech at the audience after his performance in Hamlet. He was giving nightly speeches after his performances in Hamlet asking for donations to help the refugees. The money raised was more than £150,000 for Save The Children.

The same year, Benedict was appointed Commander of the Order of the British Empire (CBE) in the 2015 Birthday Honours for services to the performing arts and to charity. He also, received the honour from the Queen at an Investiture Ceremony at Buckingham Palace on 10 November 2015.

Sources: Wikipedia | Biography.com