#daniel norton photographer

[judi-daily]

The Graham Norton Show, 2012 with Daniel Craig & Javier Bardem Photographer: Jonathan Brady

[moonshynecybin]

5 silly videos that Dorna makes rosquez do in fco au in addition to the newly wed video you mentioned previously

PR activities that hondayamaha make rosquez do in order to sell them as a #normal and #fun couple in the after their outing via explicit photograph in the direct wake of sepang 2015. a short list:

newlywed game. easy. the thing is i think they have to cheat at this one a LOT because theyve mainly been hanging out and fucking in a WORK context in this au up to this point... alternatively its marc knowing vale's favorite movie bc he read it in an interview when he was like 16 and vale feeling like the worst person alive bc he doesnt know as much about marc lmao

formula one day. inspired by this weekend. i think it would be fun to send the new royal couple of motogp to like. monaco 2016 to take rich people pics and watch daniel ricciardo fumble the bag.

track guessing challenge via audio. marc retreating into his mind palace SO serious trying to guess/win while vale is pretendig this is silly slash doesnt matter and still getting just as many as marc correct nonetheless

fan questions. PRE VETTED questions. nontheless the world somehow finds out who tops, bc vale WILL answer those questions in print and has before. we know his exact penis size, his opinion on threesomes, AND whether or not he's a member of the mile high club. he will answer !!!!

joint graham norton or other talk show appearance. they are so drunk lmao

[deborahdeshoftim5779]

23 years since the horror of September 11, 2001.

Never, ever forget that black day.

The following extracts from Fall and Rise: The Story of 9/11 fill me with grief, horror, and anger, though I have no clear memory of the attacks; I was six.

'Then came September 11, 2001.

Torn open, aflame, weakening from within, the Twin Towers of the World Trade Center spewed paper like blood from an arterial wound. Legal documents and employee reviews. Pay stubs, birthday cards, takeout menus. Timesheets and blueprints, photographs and calendars, crayon drawings and love notes. Some in full, some in tatters, some in flames. A single scrap from the South Tower, tossed like a bottled message from a sinking ship, captured the day's horror. In a scrawled hand, next to a bloody fingerprint, the note read:

84th floor

west office

12 People trapped

After the paper came the people. After the people came the buildings. After the buildings came the wars. The ashes cooled, but not the anguish.'

(Mitchell Zukoff- Fall and Rise: The Story of 9/11; Introduction, p xviii)

There are the terrified telephone messages that are too distressing for words:

' "Um, the cockpit's not answering," Betty said. "Somebody's stabbed in business class, and, um, I think there is Mace-- that we can't breathe. I don't know, I think we're getting hijacked." '

(Zuckoff (2019), p 61)

Those were the words of Betty Ong on American Airlines Flight 11, not realising the full extent of the sickening murder-suicide plan concocted by the al-Qaeda terrorists in the cockpit.

The evil that air traffic controller Peter Zalewski 'couldn't quite hear' (p64):

'Unknown at that point to anyone at Boston Center, the foreign-sounding man, almost spitting his words directly into the microphone, had said: "We have some planes. Just stay quiet, and we'll be okay. We are returning to the airport." '

(Zuckoff (2019), pp 63-64)

As the message wasn't caught in its entirety, Mr. Zalewski was unable to warn other pilots of the danger. A further three American airlines would be hijacked, two of them turned into deadly missiles, and one thwarted by inexplicably brave passengers.

The heart-stopping last words of flight attendant Amy Sweeney on Flight 11:

'Michael tried his best to calm Amy. He told her to look out the window and tell him what she saw. "We are flying low," she said. Amy told Michael she saw water and buildings. "We are flying very, very low. We are flying way too low!"

Amy paused. Powerless on the other end of the phone, Amy's colleague and friend Michael Woodward waited, every second stretching into a lifetime. Less than an hour earlier, he'd stood inside the plane, locked eyes with Mohamed Atta, and waved goodbye to his friends.

Michael heard Amy's last words, before the call dissolved into static: "Oh my God!-- We are way too low!" '

(Zuckoff (2019), p 78)

Zuckoff also relays, sentence by heartbreaking sentence, the lives that were about to be ended on Flight 11:

'Amy Sweeney's children would have to get to school, and through life, without her.

Betty Ong's elderly friends would need new rides to doctor's appointments. Her sister Cathie would never again hear her say "I love you lots."

Robert Norton's stepson would have to get married without him.

Daniel Lee's soon-to-be-born daughter would spend her entire life without him.'

(Zuckoff (2019), p 79)

The first sign of impending doom for United Airlines Flight 175:

'Someone in the United plane's cockpit changed the plane's transponder code twice within a minute. Bottiglia didn't notice because he was furiously searching for American Flight 11, which by then no longer existed.'

(Zuckoff (2019), p 83)

The heartbreaking call of Flight 175 passenger Brian Sweeney to his wife, Jules:

' "Jules, this is Britain. Listen, I'm on an airplane that's been hijacked. If things don't go well, and it's not looking good, I just want you to know I absolutely love you. I want you to do good, go have a good time. Same to my parents and everybody. And I just totally love you, and [anticipating heaven or an afterlife] I'll see you when you get there. 'Bye, babe. Hope I'll call you." '

(Zuckoff (2019), p 88)

Passenger Peter Hanson on Flight 175 comforting his father:

' "Don't worry, Dad. If it happens, it'll be very fast." '

(Zuckoff (2019), p 90)

No words.

'United Airlines Flight 175 flew low and fast, banking toward the southern twin of the burning North Tower of the World Trade Center. Flight controllers, airline officials, government and military experts, and everyone else would need to accept a new script for hijackings, one that featured a multipronged murder-suicide plot designed to maximize civilian casualties and terrorize survivors through the destruction of physical and symbolic pillars of America's power.

The evidence flashed on the air traffic controllers' radar screens.

"No!" a New York controller shouted. "He's not going to land. He's going in!"

FROM THE BACK of the plane, with his wife and daughter pressed against him, Peter Hanson spoke his final words to his father: "Oh my God... Oh my God, oh my God."

Lee Hanson heard a woman shriek.'

(Zuckoff (2019), pp 90-91)

America witnessing the second plane crash into the South Tower, and understanding that this was no accident, but a terrorist attack. The country was at war.

'At 9:03:11 a.m., Lee and Eunice Hanson, Louise Sweeney, and millions of others became witnesses to murder. They watched live on television as United Flight 175, traveling between 540 and 587 miles per hour, slammed on an angle into the 77th through 85th floors of the South Tower of the World Trade Center. A bright orange fireball exploded. The building rocked and belched smoke, lass, steel, and debris. The plane and everyone inside it disappeared forever.

In her kitchen, Eunice Hanson screamed.

In her television studio, Diane Sawyer gasped, "Oh my God."...

After replaying thee video to be certain about what they'd seen, Gibson's voice went slack.

"Oh, this is terrifying... Awful."

Sawyer spoke for Eunice and Lee Hanson, Louise Sweeney, and countless others who saw United Flight 175's final seconds. "To watch powerless," she said, "is a horror." '

(Zuckoff (2019), pp 91-92)

The final words between Barbara and Ted Olson on American Airlines Flight 77:

' "What can I tell the pilot?" Barbara asked Ted. "What can I do? How can I stop this?"

Ted wasn't sure how to answer. He decided that he had to tell Barbara about the other two hijackings and crashes at the World Trade Center. Flight 77 seemed bound for the same fate; the question was where the hijackers intended to crash. Barbara absorbed the news quietly and stoically, though Ted wondered if she'd been shocked into silence.

They expressed their feelings for each other. Each reassured the other that it wasn't over yet, the plane was still aloft, and everything would work out. Even as he said the words, Ted Olson didn't believe them. He suspected that neither did Barbara.

The call abruptly ended.'

(Zuckoff (2019), p 131)

The fateful moment that President George W. Bush had to remain calm after the White House Chief of Staff Andy Card said:

' "A second plane hit the second tower. America is under attack." '

(Zuckoff (2019), p 138)

President Bush's immortal words:

' "Ladies and gentlemen, this is a difficult moment for America... Today we've had a national tragedy. Two airplanes have crashed into the World Trade Center in an apparent terrorist attack on our country. I have spoken to the vice president, to the governor of New York, to the director of the FBI, and have ordered that the full resources of the federal government go to help the victims and their families and to conduct a full-scale investigation to hunt down and find those folks who committed this act. Terrorism against our nation will not stand."

Bush asked for a moment of silence, then said: "May God bless the victims and their families and America." Then he left.'

(Zuckoff (2019), pp 139-140)

The victims of American Airlines Flight 77:

'Eddie Dillard wouldn't return home soon to his wife, Rosemary. Marie-Rae wouldn't save the women's gymnastics team at the University of California, Santa Barbara. Renée May would never surprise her parents with news of her pregnancy.'

(Zuckoff (2019), p 146)

This and more are just a few of the profoundly distressing stories of that day. The injustice of lives stolen because of Islamic terrorism and the hideous, despicable ideology of Islamic jihad that incites these murders. The legacy of trauma on the survivors, including the first responders, who have paid a terrible price for their unimaginable bravery when conducting rescue in the doomed Twin Towers.

NEVER, EVER FORGET

[byneddiedingo]

Marlene Dietrich in Dishonored (Josef von Sternberg, 1931)

Cast: Marlene Dietrich, Victor McLaglen, Warner Oland, Gustav von Seyffertitz, Lew Cody, Barry Norton. Screenplay: Josef von Sternberg, Daniel Nathan Rubin. Cinematography: Lee Garmes. Art direction: Hans Dreier. Costume design: Travis Banton. Film editing: Josef von Sternberg. Music: Karl Hajos, Herman Hand. 

Of the seven films Josef von Sternberg made with Marlene Dietrich, Dishonored is probably the weakest. Dietrich is not to blame: Photographed by Lee Garmes and dressed by Travis Banton, she looks as good as she ever did, and the movie gives her a chance to show her talent for comedy for the first time, when she pretends to be a rather bumptious girl from the country. But the story concocted by Sternberg and co-scripted with Daniel Nathan Rubin, a not particularly distinguished playwright, lacks wit and tension. Sternberg's direction allows the pace of the film to go slack, and his decision to edit the film himself doesn't help: His lap dissolves, for example, linger too long on the old scene as the new one fades in, causing visual confusion. Moreover, Dishonored features Victor McLaglen, of all actors, as the romantic lead. McLaglen was skilled as a heavy or a clumsy goof, and John Ford directed him to an Oscar for The Informer (1935), but he's out of place as the Russian spy who gets entangled with Dietrich's Austrian spy. For some reason, he spends a lot of the film flashing a rictus-like grin. Sternberg's story is based on the career of Mata Hari, about whom MGM made a competing movie starring Greta Garbo and Ramon Novarro the same year. Dietrich plays a war widow who has turned prostitute to survive, and is recruited for the Austrian Secret Service by its chief (Gustav von Seyffertitz) when she proclaims, "I've had an inglorious life. It may become my good fortune to have a glorious death." Through her career as Agent X-27 she is accompanied by a cat who is so faithful -- she even carries it in the open cockpit of an airplane -- that it suggests a witch's familiar. She's also a pianist, who encodes secrets in musical notation. (Not that she's a good pianist: At one point she plays the usually quietly serene opening of Beethoven's "Moonlight" sonata as if it were the "Appassionata.") Dishonored is no sillier than most of the Sternberg-Dietrich movies, but it doesn't wear its silliness with style the way the best of them do. 

[ulkaralakbarova]

When secretive new neighbors move in next door, suburbanite Ray Peterson and his friends let their paranoia get the best of them as they start to suspect the newcomers of evildoings and commence an investigation. But it’s hardly how Ray, who much prefers drinking beer, reading his newspaper and watching a ball game on the tube expected to spend his vacation. Credits: TheMovieDb. Film Cast: Ray Peterson: Tom Hanks Lt. Mark Rumsfield: Bruce Dern Carol Peterson: Carrie Fisher Art Weingartner: Rick Ducommun Bonnie Rumsfield: Wendy Schaal Ricky Butler: Corey Feldman Hans Klopek: Courtney Gains Dr. Werner Klopek: Henry Gibson Walter Seznick: Gale Gordon Vic, Garbageman #1: Dick Miller Joe, Garbageman #2: Robert Picardo Uncle Reuben Klopek: Theodore Gottlieb Detective #1: Franklyn Ajaye Dave Peterson: Cory Danziger Detective #2: Rance Howard Ricky’s Girlfriend: Heather Haase Steve Kuntz: Nicky Katt Ricky’s Friend: Bill Stevenson Ricky’s Friend: Gary Hays Cop: Kevin Gage Cop: Dana Olsen Walter’s Daughter: Brenda Benner Suzanne Weingartner: Patrika Darbo Voiceover Actor: Sonny Carl Davis Voiceover Actor: Moosie Drier Voiceover Actor: Leigh French Voiceover Actor: Archie Hahn Voiceover Actor: Billy Jayne Voiceover Actor: Phyllis Katz Voiceover Actor: Jeffrey Kramer Voiceover Actor: Lynne Marie Stewart Voiceover Actor: Arnold F. Turner Voiceover Actor: Gigi Vorgan Ricky’s friend (uncredited): Carey Scott Kid on Bike (Uncredited): Tony Westbrook Ray’s Boss (uncredited): Kevin McCarthy Film Crew: Sound Effects: Mark A. Mangini Casting: Mike Fenton Casting: Judy Taylor Costume Design: Rosanna Norton Original Music Composer: Jerry Goldsmith Director: Joe Dante Executive Producer: Ron Howard Production Sound Mixer: Ken King Hairstylist: Christine Lee Production Design: James H. Spencer Set Designer: James E. Tocci Producer: Larry Brezner Producer: Michael Finnell Additional Photography: John Hora Music Editor: Kenneth Hall Set Decoration: John H. Anderson Foley Editor: Ron Bartlett Makeup Artist: Daniel C. Striepeke Co-Producer: Dana Olsen Special Effects Supervisor: Ken Pepiot Editor: Marshall Harvey Camera Operator: Michael D. O’Shea Director of Photography: Robert M. Stevens Stunts: George P. Wilbur Associate Producer: Pat Kehoe Dolly Grip: Kirk Bales Key Grip: Charles Saldaña Stunts: John-Clay Scott Supervising Sound Editor: George Simpson Stunts: Eddie Hice Stunts: Gary Epper Stunts: Wally Rose Stunt Double: Brian J. Williams Stunts: Jeff Ramsey Stunts: John Hateley Stunts: Ray Saniger Art Direction: Charles L. Hughes ADR Editor: Stephen Purvis Stunts: Gary Morgan Stunts: Frank Orsatti Second Assistant Director: David D’Ovidio Sound Editor: Warren Hamilton Jr. Costume Supervisor: Cheryl Beasley Blackwell Makeup Artist: Michael Germain Foley Artist: Dan O’Connell Transportation Coordinator: Randy White Boom Operator: Randall L. Johnson Foley Artist: Kevin Bartnof Visual Effects Supervisor: Michael Owens Still Photographer: Ralph Nelson Jr. Script Supervisor: Roz Harris Leadman: Nigel A. Boucher Sound Re-Recording Mixer: Michael Minkler Sound Re-Recording Mixer: Gary C. Bourgeois Foley Editor: Aaron Glascock Sound Editor: Michael J. Benavente Chief Lighting Technician: Leslie J. Kovacs Costume Supervisor: Eric H. Sandberg Greensman: Dave Newhouse Construction Coordinator: Michael Muscarella Stunts: Roydon Clark Stunts: Sandra Lee Gimpel Set Designer: Judy Cammer Assistant Editor: Uri Katoni Lighting Technician: Brent Poe Grip: T. Daniel Scaringi Production Coordinator: Karen Shaw Lighting Technician: Ken W. Ballantine Special Effects: Michael Arbogast Studio Teacher: Adria Later Stunt Coordinator: Jeff Smolek Construction Foreman: Ciro Vuoso Production Accountant: Julianna Arenson Assistant Chief Lighting Technician: Benny McNulty Set Designer: Erin M. Cummins Property Master: Gregg H. Bilson Lighting Technician: E. Christopher Reed Stunts: Rick Sawaya Unit Publicist: Reid Rosefelt Special Effects: Jeff Pepiot Grip: Danny Falkengren Best Boy Grip: Hal Nelson Grip: Paul E. Sutton Special Effects: Thomas R....

[iindulgentfantasies]

𝕷𝖊𝖙 𝕯𝖗𝖊𝖆𝖒𝖘 𝕭𝖊𝖈𝖔𝖒𝖊 𝕽𝖊𝖆𝖑𝖎𝖙𝖞 : Original character based,dash only multi-muse rp blog. Featuring cis female and trans characters. Exploring occasional dark and taboo themes. Smut heavy but not exclusive.

Basics: Please be 21+ to interact due to the nature of this blog. Ageless and blank blogs will be blocked. Low to medium activity and semi selective, so please don't pester for replies. Sideblog, so I am unable to follow back. I don't care about formatting. Please cut posts when and if able to.

¤ Muses ¤ Rules ¤ Open Starters ¤ Wanted opposites ¤ Wishlist

Below the cut are muses for ease of navigation for mobile users.

Elora Norton (Virginia Gardner): 27, waitress, switch

Jordan Seevers (Florence Pugh): 24, detective, sub

Rhea Burton (Sydney Sweeney): 23, nanny, sub

Bexley Danvers (Madelyn Cline): 23, cam girl, switch

Trinity Cerulli (Grace Van Dien): 26, actress, sub

Nadia Diaz (Jenna Ortega), 22, mob heiress, sub

Valentina Cruz (Ana De Armas): 35, arms dealer, switch dom leaning

Imogen Machado (Ruby Cruz): 22, PhD student, trans mtf, sub

Dakota Stephens (Maya Hawke): 25, baker, switch

Ophelia Alvarez (Danielle Campbell): 29, street racer, trans mtf, dom

Lorelei Morrow (Jessica Chastin): 49, surgeon, switch

Emerson Rogers (Hailee Steinfeld): 24, mechanic, sub

MacKenzie Atwood (Kathryn Winnick): 45, bar owner, sub

Sabrina Ford (Erin Moriarty): 30, veterinarian, sub

Annalee Conway (Joey King): 22, streamer, trans mtf, dom

Francesca Perez (Selena Gomez): 33, photographer, sub

Caitlin Gordon (Madelaine Petsch): 28, serial killer, switch

Peyton Cartier (Zendaya Coleman): 25, escort, sub

Hallie Quinn (Ayo Edebiri): 27, teacher, sub

Gemma Keller (Phoebe Tonkin): 34, housewife, sub

[theruggedhuman]

i-D magazine ‘A-Z of Dance’ by Jacob Sutton with Diesel Jogg Jeans from Holmes Production on Vimeo.

Director: Jacob Sutton Commissioned by: i-D magazine with Diesel Jogg Jeans Executive Producer: Laura Holmes for Laura Holmes Production DP: Jackson Hunt Editor: Jarrett Fijal at Bonch Stylist: Tracey Nicholson Music: 'Wut' by Le1f Music Supervision: Pitch & Sync All apparel by Diesel and Diesel Jogg Jeans Diesel Executive Producer: Marcus Ray Executive Producer: Eddy Moretti Executive Producer: Shane Smith Executive Producer: Suroosh Alvi Executive Producer: Andrew Creighton Global Head of Video i-D Magazine: Danielle Bennison-Brown Video Commissioner i-D magazine: Jack Robinson Production Manager: Pia Ebrill for Laura Holmes Production Casting Coordinator: Molly Zinar for Laura Holmes Production Local Producer: Wes Olson for Connect The Dots Local Production Manager: Meghan Gallagher for Connect The Dots Local Production Coordinator: Cassandra Bickman for Connect The Dots 1st AD: Knoko Chappele PA's / Drivers: Hank Hartnell, Jordan Jolliff, Diane Kim, Saul Luzeus and Paris Potter Studio Teacher: Cyndi Raymond Hair Stylist: Tony Chavez at Tracey Mattingly Make Up Artist: Lisa Storey at The Wall Group Stylists Assistants: Camila Dominique Jimenez, Timothy Chernyaev, Ali Raizin Make Up Assistants: Megumi Asai and Hinako Nishiguchi Hair Stylist's Assistant: Mateo Sifuentes Seamstresses: Lauren Bradley and Caroline Flach Focus Puller: Rachel Fox B-Camera Op: Doug Parter 2nd AC: Steve Doyle Camera PA: Nolwen Cifuentes Key Grip: Tom Whitehead Best Boy Grip: Mattew Lim Grip: Ivan Acero DIT: Claire Fulton VTR Playback Operator: Kai Morrison Gaffer: Brandon Musselman Swing: Kevin Kim Editors Assistant: Anna Gerstenfeld After Effects Artists: Matt Detisch Photographers Assistant/BTS: David English Special thanks to: Diesel, i-D Magazine, Bloc Agency, Connect The Dots, Bonch and all our incredible dancers and their managers.

Talent A - Arabesque: Morgan Quinn B - BGirl: Bgirl Terra C - Chicken Noodle Soup: Terence Dickson D - Death Drop: Nick Lanzisera E - East Coast Swing: Yani Marin & Nathan Kim F - Finger-Tut: John 'Pnut' Hunt G - Grand Jeté: Julia Cinquemani H - Harlem Shake: Amanda Meade-Tatum I - Indian Bhangra: Reshma Gajjar J - Jumpstyle: Høps K - Krump: Jigsaw L - Liquid Dance: Phillip 'Pacman' Chbeeb M - Memphis Jookin’: Lil' Buck N - Northern Soul: Levanna McLean O - OMG: Anthony 'Lil' Bob' Cabaero P - Pole: Nicole ‘The Pole’ Williams Q - Questionable: Reid Shapiro R - Rumba: Emily & Junior Alabi S - Step: ‘SoulSteps’ Maxine Lyle, Dionne Norton & Heather DeLeon T - Twerk; ‘TwerkTeam’ Mizz Twerksum & Lady Luscious U - Ultimate: Shofu Tha Beatdown V - Vogue Hands: Javier Madrid of the ‘House of Ninja’ W - Whine Ya’ Waist: Colleen Craig X - Xpress Yourself: Ryan Heffington Y - YMCA: Allison Chu Z - Turf FeinZ: Gary Morgan aka Noh-justice, Donald Brooks aka Torch, Eric Bossett aka Kidd Strobe, Rayshawn Thompson aka Looney2smooth, Byron Vincent Sanders Jr. aka T7, Leon M. Williams aka Mann.

[xtruss]

Movies: Winter Movies Preview! Twelve Must See Films

Tilda Swinton plays both a mother and a daughter, Naomi Ackie portrays Whitney Houston, Damien Chazelle reimagines nineteen-twenties Hollywood, and more.

— By Richard Brody | November 4, 2022 | The New Yorker

Illustration By Tomi Um

Filmmakers’ real-life stories are fictionalized in some noteworthy new movies, including “The Inspection” (Nov. 18), written and directed by Elegance Bratton. It’s the drama of a homeless gay man (Jeremy Pope) who, facing rejection from his devoutly religious mother (Gabrielle Union), joins the Marines and confronts violent persecution during basic training. Steven Spielberg considers his own childhood in “The Fabelmans” (Nov. 11); Gabriel LaBelle plays young Sammy Fabelman, a budding filmmaker, with Paul Dano as the boy’s father and Michelle Williams as his mother. In “The Eternal Daughter” (Dec. 2), Joanna Hogg returns to characters from her two “Souvenir” movies, a filmmaker named Julia and her mother, Rosalind; in the new film Tilda Swinton plays both women, whose relationship is tested by Julia’s plan to film Rosalind—and by a visitation from a ghost.

Musicals appear in many forms, starting with Kasi Lemmons’s “I Wanna Dance with Somebody” (Dec. 21), a bio-pic about Whitney Houston, starring Naomi Ackie; Stanley Tucci plays the record producer Clive Davis. Damien Chazelle’s new film, “Babylon” (Dec. 23), is a cinema-centric fantasy, set in nineteen-twenties Hollywood, in the early days of talking pictures. It stars Diego Calva and Margot Robbie as aspiring actors and Brad Pitt as a famous one. Steven Soderbergh returns to direct “Magic Mike’s Last Dance” (Feb. 10), the third film in the series, again starring Channing Tatum.

It’s good news that there are documentaries featured prominently amid the season’s high-profile releases. In Laura Poitras’s “All the Beauty and the Bloodshed” (Nov. 23), the photographer Nan Goldin details her addiction to OxyContin and her quest to hold the Sackler family—owners of the drug’s manufacturer, Purdue Pharma—accountable for the opioid crisis. In “Framing Agnes” (Dec. 2), the director Chase Joynt brings to light U.C.L.A.’s previously unpublished archive of interviews with trans people, incorporating dramatic reënactments of some discussions.

Literary adaptations are inevitable during awards season. This year’s batch includes Noah Baumbach’s “White Noise” (Nov. 25), based on Don DeLillo’s 1985 satire about academia, family life, consumerism, and industrial catastrophe; Adam Driver and Greta Gerwig star. “Women Talking” (Dec. 2), Sarah Polley’s adaptation of Miriam Toews’s 2018 novel, is set in a religious community where women who are victims of abuse organize in resistance; the cast includes Rooney Mara, Jessie Buckley, and Frances McDormand.

As ever, fantasies abound, whether freely imaginary, tethered to history, or set in playlands in between. “Glass Onion” (Nov. 23), Rian Johnson’s sequel to “Knives Out,” features the earlier film’s chewily accented detective, Benoit Blanc (Daniel Craig), on the trace of a killer on the private island of a billionaire (Edward Norton). “Avatar: The Way of Water” (Dec. 16), James Cameron’s long-anticipated sequel, is centered on the futuristic family life of the American soldier Jake Sully (Sam Worthington) and the Na’vi huntress Neytiri (Zoe Saldaña) on the planet Pandora. ♦

— Published in the print edition of the November 14, 2022, issue, with the headline “Winter Preview.”

[machinations-ii]

Debut Album of The Strokes' Is This It and Interpol's Turn on the Bright Lights.

TURN ON THE BRIGHT LIGHTS

New York City was in transition in 2002, the devastation of 9/11 still lingered but a new sense of goodwill and compassion flowed through the city with dozens of bands reanimating a faded glory that had come to define the Giuliani era. Arriving after several well-regarded EPS that honed Interpol's Sonic and sartorial sense, it's possible no album captured this moment as vividly as their debut turn on the bright lights. Interpol took shape at NYU in the late 1990s where the band formed partially as a result of mutual fashion appreciation. Frontman Paul banks had come across bassist Carlos dangler in their dorm wearing skin tight black clothing and a giant crucifix. Meanwhile guitarist daniel kessler had already gotten to know Dengler in a world war 1 class after approaching him with a compliment about his shoes, and the trio eventually found replacement drummer Sam Fogerino while he was working in a used clothing store. Soon after coming together, the group started to jam at Funkadelic studios, PDA was already in embryonic form by then. After hustling in the NYC circuit and recording here and there, a chance meeting with Emma Pollock of the Delgado's led to the release of an Interpol EP in 2000 on the esteemed chemical underground label. On the heels of the EP success and in the midst of the post strokes gold rush in New York City, Interpol scored a deal with Matador Records then home to bands like Belen Sebastian, yo a tango, and pavement. Chris Lombardi of Matador claimed that he was most impressed by the business-like manner with which the band conducted themselves the suits first and foremost. Interpol decided to record turn on the bright lights at producer Peter Quedas's home studio in Bridgeport Connecticut to avoid all of the temptations New York City had to offer a hot young band while Cadis has gone on to produce the national, Frightened Rabbit, and Yan C, his most recent credit prior to turn on the bright lights was engineering the get up kids on a wire. Sessions were contentious Carlos D had wanted more keyboards, more nights on the town, and the title of the record to be celebrated baselines of the future. If banks had his way, PDA wouldn't have even made the record. However Quedas protested and told him that's their hit single, which it was. Quedas was not enthused with the new, until the final mix which had him in tears. But for all the seriousness and grandeur of turn on the bright lights moments of humor abounded. The spoken intro of Stella was a diver and she was always down; was recorded while banks was ad-libbing with ice in his mouth “this one called Stella was a diver she's always down”. Anchored by Carlos D and Fogerino’s hulking rhythm section, Banks created it in New York City recognizable to its citizens but in cryptic indelible lyrics. “The subway was a porno”, “relationships were a bracelet” and “they had 200 couches for you to sleep” when it all felt like too much. Beginning with a crowd stoking instrumental that would foreshadow runs opening for U2 and the Cure, turn on the bright lights resulted in music of unusually sweeping and grandiose gestures that felt foreign to rock music in general at the time but especially to indie rock. It's hard to imagine the transition towards the post-punk bombast of Arcade Fire, The Killers, and the National without Interpol opening the lane first. While local papers would occasionally snark at them as fashion victims and post-punk dilettante, critical acclaim for turn on the bright lights was overwhelmingly positive. The brilliance of turn on the bright lights is all the more apparent 19 years later a beacon that continues to shine radiantly during its city's darkest moments. IS THIS IT

Fueled by hype that was extraordinary even by the standards of the British press, The Strokes became instant superstars in the UK long before their fellow Americans heard “is this it” thirty-six stylish lo-Fi down-and-dirty minutes of unwholesome Downton Blues that evoke The Velvet Underground, The Ramones, television, and countless others who will firm New York City as the epicenter of punk rock cool, the strokes debut was already in stores in the UK for months before its eventual American release mere weeks after the September 11th attacks. Is this it subsequently took on an unintended resonance and became a sentimental document of a New York City that would no longer exist after Rudolph Giuliani, gentrification, and the war on terror. The Strokes may not have saved rock and roll themselves but The Libertines, Franz Ferdinand, Interpol, the killers, and the Arctic Monkeys likely wouldn't exist without “is this it”. while several members of The Strokes have been playing together since high school in a project called “just pipe” the band truly took shape after guitarist Albert Hammond jr. joined the group he and singer Julian Casablancas attended the same Swiss boarding school and reconnected after Hammond returned to New York City and serendipitously moved across the street from Elite Model Management which just so happened to be owned by Casablancas’ father. Contrary to the stereotype of The Strokes as a prefab overnight success, the group struggled throughout the late 90s playing to empty rooms before their demo got the attention of Rough Trade ANR man Jeff Travis, nor were they predator naturally cool from the start. before The Strokes first gig Hammond claims the band was so nervous they watched the Eddie Murphy movie Bowfinger to calm themselves. Preliminary sessions for is this it were recorded with Gil Norton best known for his work with the Pixies but also Foo Fighters “ultra slick the color in the shape” for the album itself The Strokes would reunite with Gordon Raphael who previously produced the modern age EP. The unorthodox production of “is this it” was the result of Raphael using a minimal number of microphones and following Casablancas says requests to have it sound like your favorite blue jeans not totally destroyed but worn in comfortable. According to Raphael an A&R guy named Steve obelisk II held is this it most unprofessional sounding music that he has never heard. The strokes declined the invitation from MTV to play alongside the vines in the hives at the 2002 Video Music Awards. The band didn't want to be lumped in to quote the new rock revolution it consisted of mostly bands with the word the and a plural noun in their names. Casablancas told MTV I'm not going to do a band off with them and strokes manager Ryan gentle said “that was pretty much the last time we were played on MTV”. The infamous bare-bottom on the international release of is this it is that of photographer Colin lanes girlfriend, however concerns about whether conservative chain stores like Target and Walmart would carry the record but The Strokes to switch to the American cover shot of a subatomic particle in a bubble chamber Casablancas is rumored to have liked it even more than the original. A more crucial alteration from the international version involves the removal of its own, New York City cops all involved agreed that a chorus of New York City cops they ain't that smart would be considered in poor taste after 9/11 even if the song was written years previous by removing the song from the US release of is this it there's not a single song in a Strokes album that has mentioned New York City by name. Well The Strokes achieved a level of popularity rivaled by few American bands in the 21st century is this it was considered a commercial disappointment in its time it peaked only at number 33 on Billboard while lead single last night topped out at number five of the modern rock chart with some day stalling at Number 17. Long story short, these two albums (and arguably two of the best rock albums of all time) had left a dent in my

life for it defined my teenage years when I had nothing, lost, and frustrated with my life. It reminded me the melancholic time that I had in the past. So I'll leave you guys with a lyrics from each album and try to find the song that corresponds to it :). "I have 7 faces, and I know which one to wear" "Soma is what they would take when hard times opened their eyes and saw pain in a new way"

[escondidolibrary]

National Hispanic Heritage Month is only a few days away (September 15th - October 15th)! Celebrate with us by checking out the following titles by and about Latinx Americans through Curbside Pickup, or digitally through our various free platforms!

 - “A House of My Own: Stories From My Life” by Sandra Cisneros (also available as an eBook and eAudiobook on CloudLibrary)

 - “Latino Americans: The 500-Year Legacy That Shaped a Nation” a DVD PBS miniseries by Ray Suarez (also available as an eAudiobook and video on Hoopla)

 - “Burro Genius: A Memoir” by Victor Villaseñor (also available as an eBook on Libby, OverDrive, CloudLibrary, and Hoopla; eAudiobook available on Hoopla)

 - “Ruben Salazar: Man in the Middle” a DVD documentary directed by Phillip Rodriguez

- “Fruit of the Drunken Tree” by  Ingrid Rojas Contreras (also available as an eBook and eAudiobook on CloudLibrary)

 - “The Crusades of Cesare Chavez: A Biography” by Miriam Pawel (also available as an eBook on CloudLibrary)

 - “ Our America: A Hispanic History of the United States” by Felipe Fernández-Armesto

  - “Cheech is Not My Real Name… But Don’t Call Me Chong” by Cheech Marin (also available as an eAudiobook on Libby, OverDrive, and CloudLibrary)

 - “The Norton Anthology of Latino Literature” by Ilan Stavans

 - “I Am Not Your Perfect Mexican Daughter” by Erika L. Sánchez (also available as an eBook on Libby, OverDrive, and CloudLibrary; available as an eAudiobook on Libby an OverDrive)

 - “Clap When You Land” by Elizabeth Acevedo (also available as an eBook on Libby, OverDrive, and CloudLibrary; available as an eAudiobook on CloudLibrary)

 - “Citizen Illegal” by José Olivarez (also available as an eBook on Hoopla)

- “Cantoras” by Carolina De Robertis (also available as an eBook on CloudLibrary)

 - “The Grief Keeper” by Alexandra Villasante (also available as an eBook and eAudiobook on CloudLibrary)

 - “The Truth Is” by NoNieqa Ramos (also available as an eBook on Hoopla and CloudLibrary)

 - “Undocumented: A Worker’s Fight” a graphic novel by Duncan Tonatiuh (also available as an eBook on Hoopla and CloudLibrary; eAudiobook on Hoopla)

 - “Under the Fifth Sun: Latino Literature From California” Edited by Rick Heide

- “All the Agents and the Saints: Dispatches from the U.S. Borderlands” by Stephanie Elizondo Griest (also available as an eBook and eAudiobook on Hoopla)

- “The Book of Unknown Americans” by Cristina Henriquez (also available as an eBook and eAudiobook on Libby, OverDrive, and CloudLibrary)

- “Mexican WhiteBoy” by Matt de la Peña (also available as an eBook on Libby and OverDrive)

- “The Latino Reader : An American Literary Tradition from 1542 to the Present” edited by Harold Augenbraum and Margarite Fernandez Olmos

- “Sabrina & Corina: Stories” by Kali Fajardo-Anstine (also available as an eBook and eAudiobook on Libby, OverDrive, and CloudLibrary)

- “The Book of Lost Saints” by Daniel José Older (also available as an eBook on CloudLibrary)

- “Chicano Visions: American Painters on the Verge” by Cheech Marin

- “My Beloved World” by Sonia Sotomayor (also available as an eBook and eAudiobook on Libby, OverDrive, and CloudLibrary)

- “Pedro E. Gurrero: A Photographer’s Journey” an American Masters DVD documentary co-directed by Raymond Telles and Yvan Iturriaga

- “Bless Me Ultima” by Rudolfo Anaya (also available as an eBook on CloudLibrary)

- “Children of the Land: A Memoir” by Marcelo Hernandez Castillo (also available as an eBook on Hoopla and CloudLibrary; eAudiobook on CloudLibrary)

- “Always Running” by Luis J. Rodríguez (also available as an eBook and eAudiobook on Libby, OverDrive, CloudLibrary, and Hoopla)

- “Definitely Hispanic: Growing Up Latino and Celebrating What Unites Us” by LeJuan James (also available as an eBook and eAudiobook on CloudLibrary)

- “Bordering Fires: The Vintage Book of Contemporary Mexican and Chicana and Chicano Literature” by Cristina García

- “Willie Velasquez” Your Vote is Your Voice” a DVD documentary directed by Hector Galán

[judi-daily]

The Graham Norton Show, 2012 with Daniel Craig & Javier Bardem Photographer: Jonathan Brady

[jamesginortonblog]

Presented by The Mono Box and Apatan Productions, Reset the Stage consists of a series of short films featuring actors Sharon Duncan-Brewster (Star Wars: Rogue One), Ken Nwosu (Killing Eve) and Danny Kirrane (Don’t Forget the Driver); and introduced by Patrons of The Mono Box: Sir Derek Jacobi, Youssef Kerkour, Susan Wokoma and James Norton.

Dipo Baruwa-Etti’s The Madness is performed by Sharon Duncan-Brewster at the Almeida Theatre; Screams by Kiran Benawra is performed by Thalissa Teixeira at the Arcola Theatre; Daniel by Charles Entsie is performed by Ken Nwosu at the Bush Theatre; Roberta Livingston’s Joy is performed by Joan Iyiola at the Young Vic; maatin’s Sharia’s Law is performed by Shane Zaza at the Lyric Hammersmith Theatre; Rush by Sid Sagar is performed by Danny Kirrane at the Southwark Playhouse; and Cynthia by Vivan Xie is performed by Isabella Laughland at the Soho Theatre.

Through mentorship with leading playwrights including Duncan Macmillan, Alice Birch, Lucy Prebble and Theresa Ikoko these seven young writers have been encouraged to speak boldly about where they are and where they would like to be. Directed by Roberta Zuric, Reset the Stage also partnered with creator of photographic series Our Empty Theatre - Helen Murray.

All ticket sales will raise money for the continual work of the company nurturing and providing opportunities to emerging theatre talent.

[wolfpawn]

I Hate You, I Love You, Chapter 73

Chapter Summary - Tom and Danielle head to the spa to relax, but Tom has been on tenterhooks since the Golden Globes.

Previous Chapter

Rating - Mature (some chapters contain smut)

Triggers - references to Tom Hiddleston’s work with the #MeToo Movement. That chapter will be tagged accordingly.

authors Note - I have been working on this for the last 3 years, it is currently 180+ chapters long.  This will be updated daily, so long as I can get time to do so, obviously

tags: @sweetkingdomstarlight-blog @jessibelle-nerdy-mum @nonsensicalobsessions @damalseer @hiddlesbitch1 @winterisakiller @fairlightswiftly @salempoe​ @wolfsmom1​

If you wish to be tagged, please let me know.

Tom insisted they take the Jag to the hotel, so he was driving and as they pulled in, looking at the building, he turned to Danielle. "This is extravagant."

"I know," She gave a loving smile. "It is supposed to be."

"What did you…?"

"If you dare ask me one more time what I paid, I swear, I will hit you," She threatened. "It is paid, it is done, so stop going on about it."

"It's too much Elle."

"No, it's not, now please, get your arse inside so we can relax."

In the week since his return from LA and the Golden Globes speech debacle, Tom was anything but his usual self. He was not half as good-humoured or indeed enthusiastic for many of his favourite things. He was confirmed to go on the Graham Norton show again at the end of the month as well as to get interviewed for GQ magazine, so all in all, there were things to look forward to, but overall, he seemed less animated in himself; something Danielle noticed and hoped that their two days together at the spa, away from the city, noise and talking would help with. Luke had been informed of what they were doing and agreed it was very much needed, promising to keep everything unimportant from them for a couple of days, as well as ensuring to keep an eye on if they were spotted, but Danielle had chosen the hotel specifically for its reputation. Though she had not intended to come with Tom at first, she wanted him to have peace in his time there, so ensured she chose a place that apparently even British Royals had gone on occasion; if they got privacy there, surely Tom and she would have the same experience.

They checked in swiftly and were brought to their room. As Danielle looked around, she smiled at knowing every penny had been worth it, she collapsed on the bed a few moments after the bellboy left their bags.

"Comfy?"

"Not sure if it is the mattress or the blanket, but something is terribly soft." She responded, sighing contently.

"So I could be in for a bad time with my back then?"

Danielle snorted, "You'd swear you were an old man with the way you talk sometimes." Tom smiled down at her, before joining her on the bed, looking at her pensively. "You okay?"

"I think so, thank you for being so good this week, so patient."

"Just remember, no matter what, no one can take your hard work from you, people have forgotten it already."

"Then how come I haven't?"

"Because you are you, trying to please everyone, trying to see if you can step on no one's toes when in truth, but some people want to be offended, they want to find fault in everything you say and do, based solely on the fact that you are famous, and since you got nervous, they are eating it up," Danielle's heart felt like it was breaking as she looked at Tom's eyes, filled with the hurt of what people that called themselves 'fans' had said about him.

Tom looked at her, "I am so glad you're here."

Danielle leant on her elbow and kissed him. "So am I, now I know you are hungry, I heard your stomach, let's get something in the bar to eat."

"Downstairs?"

"Well, there isn't a restaurant in the room here."

"You want to eat in public?"

"Well, it's not public, but yes, I do."

Tom's eyes lit up for a moment before his face fell again. "Are you doing this because of what happened in LA?"

Again, Danielle snorted, "No, nothing like that, one, I'm hungry and two, it's time we started doing things other than hiding in the house, we are not going to be able to hide this forever, though I doubt here is where it goes public, everything is so quiet and private."

With newfound enthusiasm, Tom went for a quick shower while Danielle cleaned herself up and checked her emails. "Ready?" She turned to look at Tom, "What happened, were we spotted?" He asked worried, noting the odd look on her face.

"No, I was asked to do a reshoot for Game of Thrones."

"When?"

"When that GQ interview is on."

"Isn't that okay though?"

"Yeah, no it's actually good timing since you were saying about doing the interview at the house, this ensures I am not spotted, it's just weird."

"Why?" Tom sat beside her.

"They said they weren't willing to take anyone but me apparently."

"That's a good thing though, isn't it?" Tom asked, "You said it is something you want, your own business, if you have directors and producers from the biggest show on telly demanding you, you are going to be very hot property."

"I suppose, it's just weird, I never thought…I thought I was nothing outstanding you know, just your run of the mill."

Tom cupped her face in his hands, "My Elle was never 'run of the mill', you are incredible." Danielle smiled slightly back at him. "Now, lunch."

"Yes."

The bar of the hotel was comfy and empty except for themselves, so the pair chose the seat by the fire, warm and neatly tucked in a corner as they ate a small enough meal, knowing the dinner that evening would be bigger. As they say drinking their tea afterwards, Tom's brow furrowed. "What's bothering you?"

"How am I going to deal with the Taylor questions for the magazine, or if it comes up on Norton?"

"Be honest, if you want to avoid it, do so, if you want to talk about it, be honest."

"I can hardly say I was going through a bad time."

"No, but you had some fun, didn't you?" Tom looked at her, his discomfort blatant. "Look, Tom, you know how I feel about what happened, but it did happen, and for a long time, you will have the badge of 'Taylor Swift's ex-beau' around your neck, sure even if in five years, you are marrying Hollywood royalty, hell, even if you were marrying actual royalty, you will still have that title, it sticks," Tom's brows furrowed further at that. "But that is not as defining as the papers make it seem, and it does not stop the fact that in a few of those pictures, you were actually enjoying yourself, Rome, you seemed fairly happy, some of the other ones, don't lie, just say there were good times."

"I don't want to hurt you."

"How is saying you had some fun before me hurting me? I had fun for twenty odd years before you."

"Look me in the eye and tell me it doesn't bother you."

"What do you want me to say, Tom, I don’t like some parts of it, no. I get jealous, I get normal pangs of envy, I wish I could just call my pilot and fly wherever in the world I wanted at a moment's notice, I wish people would literally be willing to defend me bitch-slapping a newborn puppy because they think that I am above others, but I am not able to, but you know what, I have something that the PR Princess doesn't have."

"What's that?"

"Tits, sass and you."

"Most women tend to have…"

"Tom, I have seen enough pictures of her to say those are bee stings, not boobs, she has a figure I will never have, she is far thinner than me, partly due to genetics, partly due to the fact I like food, but I got the trade-off of boobs and ass, so I think I have the better deal." Tom's eyes flickered down to her cleavage for a moment, his tongue unconsciously sliding over his bottom lip as he did so, "And going by your actions, you seem to agree some bit too."

"Maybe I do." He smirked.

"Besides, be honest," Tom's smirk fell, he knew whatever Danielle was about to say was going to be something important. "What is her MO? Date 'em, get dumped or dump, whatever way around it is, then write scathing songs about them. Go first, make it that you are all 'oh, we had a great time, it was nice when we had it' so that when Little Miss Bratty decides to get bitchy and catty in her new album, anything she says looks immature, you struck first, you set the tone, and it was a polite mature one."

Tom eyed her carefully, "If you decide to go into PR, Luke will make you partner in fifteen minutes."

"Look, it's all about just getting on with things, you will have this on you for a while, it's like a skunk smell, dealing with these questions is the ketchup bath."

"I don't follow."

"Saw it in a movie, apparently ketchup gets rid of skunk spray smell, anyway, you need to do this Tom, there are going to be questions, and that is something you have to endure, just don't let it get you down, sooner you accept them and move on, the sooner we are fully rid of her and the world focuses on her finding her next victim," Danielle stated.

"What about us?"

"Well, in that time, I was hoping that among the work, promotion tours and general life juggling, you and I would be getting more and more comfortable and perhaps try and throw in a few days away for ourselves in a nice location, photographers hopefully not included, lest I be accosted by Greenpeace trying to put me back in the ocean." Tom looked at her in bemusement, but Danielle just smiled back. "You know some people are going to say it, don't deny it."

"Elle?" She looked and him expectantly. "Thank you."

"What for?"

"All of this, being so understanding."

"Some would argue I am the one with everything to lose here, why wouldn't I be understanding?"

"You're not like that."

"No, yet people will think such things."

"Don't let them eat at you like that."

"It will, I know it will from time to time, I just can't let it show."

"No, you cannot let what they say matter, they are only out to upset you," Tom stated sternly. "Why are you smiling at me like that?"

"Because you cannot see the hypocrisy of your words, you are letting people getting to you at the moment. You are allowing people who have never met you, who will never know the dorky sweet man that loves his mum more than words, who still is protective over his sisters, even though they are both happily married and who nerds out at the idea of the summer listings for the Globe this year, dictate your mood, your happiness, yet you give out to me that I would allow it."

Tom looked at her for another moment with his brows furrowed. "Damn you." Danielle laughed. "You're right."

"I usually am," She winked. "Now, your treatment starts in half an hour, so get your fine ass upstairs so you can be ready."

"What about you?"

"There is a conservatory at the back of the hotel, it looks over the gardens, I am going to get my ass down there with a cup of tea and relax with a nice book." She grinned.

"You're not getting anything done?"

"No, you are, you need to relax, so come on," she rose from her seat.

Notes:

[thezfc]

Hi z, in regards to the uniform thing. I think it's a really conscious choice. He was actually on the Graham Norton Show with Daniel Radcliffe when he spoke about the fact that he wore the same t-shirt and jeans everyday leaving the theatre when he did Broadway on purpose. He did it so that the paps would tire of photographing him. The paps were finding they couldn't sell their pictures of him because they always looked the same as the day before and so on. Smart guy if you ask me.

Yes but that was just leaving his play every day, not in his regular life. And for interviews. And to pose for photographs. And to play openings. And out to dinner. And walking his dog. And Comiccons and and and...

[elizascharlesdanceblog]

CD - A Remarkable Man

Charles Dance on making Godzilla: 'The catering was sensational!'

Ryan Gilbey

Freed from Game of Thrones and waging eco-terror in the new monster flick, cinema’s go-to bad aristo talks about turning down 007 and paparazzi ambushes.

Charles Dance is 15 minutes late. “London, yer know?” says the 72-year-old actor through a mouthful of pastry. His friends call him “Charlie” and Americans call him “Chuck”, though for his mother there was never any ambiguity. “‘His name’s Charles,’ she’d say. She ’ad a few ideas above ’er station.” The voice is rougher and more gor-blimey than the one to which audiences are accustomed, as well as friendlier and less imposing. His thinning hair, formerly red and now sand-coloured, is swept back, and he is wearing a blue short-sleeved shirt over a white T-shirt. The silver bracelet halfway up his forearm could pass for memorabilia from Game of Thrones, in which he played Tywin Lannister, shot by his own son with a crossbow while on the loo.

Any confusion between the upper-class roles in which Dance has specialised throughout his 35-year film and television career, and the man he really is – the working-class son of a mother who was in service from the age of 13 – was cleared up long ago. But that hasn’t stopped him playing commanders and archbishops, monsignors and monarchs. He will soon be seen in the third series of The Crown as Lord Mountbatten, while in the new blockbuster Godzilla: King of the Monsters he reprises the aristocratic menace routine that has kept him in fancy silver clasps since the days of starring opposite Eddie Murphy in The Golden Child and Arnold Schwarzenegger in Last Action Hero.

Godzilla takes place mostly in darkened rooms or during inclement weather. Major characters drift through the film, their storylines petering out arbitrarily. I couldn’t make head nor scaly tail of it. And Dance? “I had difficulty staying awake,” he jokes, as though imitating an old duffer who’s wandered into a multiplex by mistake. Then he reverts to normal volume: “No, I didn’t say that! I mean, it’s spectacular.” He plays a former British colonel turned eco-terrorist who has a vested interest in facilitating Godzilla’s reign. Before he says a word in the film, he has already shot someone in the head and is thereafter restricted to the odd line and the occasional scowl. Was his performance cut? His laugh is booming and good-natured. “I keep hearing that! ‘I wish there was more of you.’ It’s what was offered. I just like working. Unless it’s complete and utter crap. I’ve got somepride.” There were clear compensations in this case. “The catering was sensational,” he says.

And, as he points out, it has been a while since he did a mega-budget movie. After all, Godzilla couldn’t be more different from Happy New Year, Colin Burstead, Ben Wheatley’s family-get-together film for the BBC in which he played the cross-dressing widower Uncle Bertie without a hint of camp. “Ten days we shot that in. Handheld cameras, communal green room. SAS film-making.” The character’s sartorial preferences were Dance’s idea. “I told Ben: ‘Ever since his wife died, I think Bertie’s worn women’s clothes. He’s been doing it so long, the family accept it.’ He turns up in his modestly heeled shoes and a bit of cashmere, his twin set and pearls.”

I remind him that the role marked his third foray into women’s fashion. “Riiiight,” he says suspiciously. Well, there was Ali G Indahouse, in which he writhed around at Sacha Baron Cohen’s behest in a red rubber micro skirt, thigh-high leather boots, leopardskin crop-top and drop earrings. He rolls his eyes. “Ah yes. The director said: ‘We’ve had an idea for the ending.’ I was kind of forced into that.

”And for one scene in White Mischief, the 1987 drama about the amoral British upper-class in Kenya during the second world war, the toffs interrupt their routine of polo and wife-swapping for a cross-dressing party. “Joss Ackland was there in bombazine and a tiara. I had on a mid-blue chiffon affair. Then Greta Scacchi comes out looking gob-smackingly gorgeous in this jacket with nothing underneath. Joss said, ‘This is all wrong. We should be going to each other’s wardrobe and just putting on whatever fits.’ He stormed off to complain to the director and I went with him. There’s Joss with his handbag on his arm, me standing there in me gear. I thought, ‘Here we are, expecting to be taken seriously …’

”White Mischief was pivotal for him, cementing his image as a sexy but faintly cold-blooded member of the ruling class. The ITV end-of-the-Raj drama The Jewel in the Crown had already made him a sensation three years earlier. The Sun called him “Dishy Dance” and the People claimed he had given up jogging because of the women flinging themselves under his running shoes on Hampstead Heath. Not that he was in danger of having his head turned – he had been “shlepping around the provinces” in theatre for nearly a decade before that big break, which didn’t happen until his late 30s.

And he was married with two children, so the tabloids weren’t interested in his love life until he split from his wife in 2004 and began dating much younger women. (He had a daughter with one of them, Eleanor Boorman, seven years ago.) Getting tailed by photographers in his 50s and 60s was no fun. “I was going to a shrink for a while and I got papped coming out of there. Pain in the arse. Lowest of the low.”

He was more prepared for the fuss over Jewel than he would have been if he had played James Bond, a part he was invited to test for – and refused – in 1986. “I think I’d have fucked it up. It might’ve gone to my head a bit. When Jewel happened, you couldn’t open a paper without reading about me. I was ‘the thinking woman’s crumpet’. But Bond would’ve been much bigger. I might’ve blown it.” He’s been eyeing the names currently in the frame. “Young Richard Madden is pretty good. Or James Norton. I think Daniel’s been fantastic. What he lacks in the wit of Roger Moore he makes up for in a sense of danger.”

Walking on set on his first day, he wore a T-shirt that read: 'I’m Cheaper Than Alan Rickman'

Without the slightest prompting, he identifies White Mischief as the fork in the road: the moment when he could have pushed his career to the next level, but didn’t. It was in 1988 that Michael Caine said: “Charles Dance is the one. Why? Because he wants it.” Caine approached him in a restaurant: “He told me, ‘I’ve got money on you. Don’t let me down.’ I thought: ‘Fucking hell, that’s nice.’” But Dance himself isn’t sure he ever really did want it – whatever “it” was. “Maybe if I’d had more cardinal ambition. I mean, I’m ambitious, but I don’t tread over people. And sometimes I just don’t feel like it. I thought: ‘No, I don’t want to go off to LA and sit in endless bloody meetings. If it’s meant to be, it’ll be.’ I’m a bit like that.

”Then there was the competition. “Jeremy Irons was, and still is, a few feet ahead of me. Who else? Alan Rickman, bless him.” The shallowness of the casting pool was vividly brought home when he received the script for Last Action Hero. “I get to my character’s entrance and it says: ‘The door opens and there stands Alan Rickman.’” Still, he was a good sport about it. Walking on set on his first day, Dance wore a T-shirt that read: “I’m Cheaper Than Alan Rickman.”

It has been a career with obvious highlights: he was the only person to sleep with Ripley in the Alien series (in David Fincher’s Alien 3), played the director DW Griffith for the Taviani brothers in Good Morning, Babylon, and was part of the flawless ensemble in Gosford Park. On the other hand, he was in the medieval stoner romp Your Highness and was recently seen licking Luke Evans with a long, leathery grey tongue in Dracula Untold. He has done Celebrity Antiques Road Trip and Who Do You Think You Are?, where he met the South African great-niece and the three great-great-nephews he never knew he had. He read solemnly from Fifty Shades of Grey and Mel B’s autobiography on The Big Fat Quiz of the Year to much comic effect, and is in the forthcoming Kingsman prequel.

But a significant part of his acting range is currently being neglected. When I asked earlier why he hadn’t yet written an autobiography, his response was humorously gruff: “Who wants to read another book by an actor?” The question of what is missing from the scripts he gets offered prompts an altogether gentler, more ruminative answer. “I’d like to properly front something,” he says softly, his hearty manner replaced by a note of introspection. “If anyone was brave enough to do a remake of Death in Venice, that would be ideal. I notice I tend to be brought in to give a bit of weight to something, you know? Maybe I should be more choosy. I’d just like to be fronting things a bit more than I am.”

source: TheGuardian

[ulkaralakbarova]

An aging thief hopes to retire and live off his ill-gotten wealth when a young kid convinces him into doing one last heist. Credits: TheMovieDb. Film Cast: Nick Wells: Robert De Niro Jack Teller: Edward Norton Max: Marlon Brando Diane: Angela Bassett Burt: Gary Farmer Steven: Jamie Harrold Danny: Paul Soles Jean-Claude: Martin Drainville Laurent: Serge Houde André: Jean-René Ouellet Albert: Claude Despins Sapperstein: Richard Waugh Sapperstein’s Cousin: Mark Camacho Woman in Study: Marie-Josée Colburn Man in Study: Gavin Svensson Tuan: Thinh Truong Nguyen Cop: Carlo Essagian Drunk: Christian Tessier Storekeeper: Lenie Scoffié Tony: Bobby Brown Philippe: Maurice Demers Guard: Christian Jacques Guard: Henry Farmer Guard: Dacky Thermidor Guard: Gerard Blouin Old Engineer: Charles V. Doucet Worker: Pierre Drolet Bureaucrat Official: Norman Mikeal Berketa Ironclad Tech: Eric Hoziel Janitor: John Talbot Thug: Richard Zeman Thug: Nick Carasoulis Special Appearance: Cassandra Wilson Special Appearance: Mose Allison Man at Airport (uncredited): June Järvenpää Film Crew: Original Music Composer: Howard Shore Editor: Richard Pearson Director: Frank Oz Director of Photography: Rob Hahn Story: Kario Salem Screenplay: Lem Dobbs Producer: Lee Rich Screenplay: Scott Marshall Smith Producer: Gary Foster Production Design: Jackson De Govia Costume Design: Aude Bronson-Howard Script Supervisor: Rebecca Robertson Casting: Margery Simkin Key Makeup Artist: Francine Gagnon Key Hair Stylist: Corald Giroux Makeup Effects: Matthew W. Mungle Construction Coordinator: Alain Brochu Supervising ADR Editor: Marissa Littlefield Sound Effects Editor: Paul Urmson Story: Daniel E. Taylor Art Direction: Tom Reta Set Designer: Félix Larivière-Charron Camera Operator: Nathalie Moliavko-Visotzky Dialogue Editor: Nicholas Renbeck Art Department Coordinator: Genevieve Ferderber Set Designer: Lucie Tremblay First Assistant Director: David Sardi Boom Operator: Markus Wade Music Editor: Suzana Peric Property Master: Denis Hamel Art Direction: Claude Paré Rigging Grip: Alain Brouillette Supervising Sound Editor: Ron Bochar Stunt Coordinator: Jean Frenette Set Decoration: K.C. Fox Production Manager: Alain Gagnon Set Designer: Céline Lampron Greensman: Ray Légaré Boom Operator: Nathalie Piche Still Photographer: Phillip V. Caruso Steadicam Operator: Angelo Colavecchia First Assistant Camera: Maarten Kroonenburg Location Manager: Michèle St-Arnaud Prop Maker: Patrice Jacques Set Designer: Charlotte Rouleau Sound Re-Recording Mixer: Lee Dichter Special Effects Supervisor: Louis Craig Chief Lighting Technician: Jean Courteau Production Coordinator: Victorine Tamafo Set Designer: Claude Lafrance Foley Editor: Kam Chan Dialogue Editor: Fred Rosenberg Stunt Coordinator: Bud Davis Armorer: Julie Coulombe Art Department Coordinator: Michelle Drolet First Assistant Camera: Tony Rivetti Sr. Sound Effects Editor: Lewis Goldstein First Assistant Editor: Richard Friedlander Art Department Coordinator: Michel Bouchard Foley Editor: Frank Kern Dolly Grip: Alain Masse Production Controller: George Lakes Armorer: Brent Radford Executive Music Producer: Budd Carr Executive Producer: Adam Platnick Executive Producer: Bernard Williams Stunt Coordinator: David Leitch Movie Reviews: JPV852: A go-to for a solid heist-thriller that features two great performances by De Niro and Norton with honorable mention to Brando who looked a little worse for wear. Not the top notch in the genre but still a breezy but still suspense-filled watch if you don’t want anything thought-provoking. Still makes me chuckle that it was Frank Oz to be the one to direct three generations of great actors… **3.75/5**