#jack rampling

[theoscarsproject]

The Verdict (1982). An outcast, alcoholic Boston lawyer sees the chance to salvage his career and self-respect by taking a medical malpractice case to trial rather than settling.

Between Paul Newman and Sidney Lumet, this movie is soaked in talent, but I don't know! Something about it didn't quite work for me. Courtroom dramas are hard to pull off, but Lumet's basically the king of them, so it was a bummer that it didn't quite land. Still, the performances are great across the board, and the movie has its moments, but yeah, I wish I enjoyed this more than I did. 7/10.

[tayduagyllencevans]

Pride and Prejudice is my favorite book, and Joe Wright's adaptation is my favorite movie in the whole world; however, since everyone and their mother is making their own fancast, here is mine (Part ll):

Imogen Poots as Caroline Bingley

Jack Farthing as Mr Collins and Aisling Franciosi as Charlotte Lucas

Charlotte Rampling as Lady Catherine de Bourgh

James Purefoy as Mr Edward Gardiner and Emily Mortimer as Mrs Gardiner

Rhea Norwood as Georgiana Darcy

[cinevisto32]

Veredicto final (1982)

[floorman3]

The Verdict (Retro) Review- The Greatest Courtroom Drama of All Time is Anchored by the Greatest Performance of Paul Newman's Career

I’ve been a big fan of Sydney Lumet ever since I saw 12 Angry Men many years ago. Ever since I have gravitated towards his work. Dog Day Afternoon is another of his great films which came out in the 70s, my favorite decade of films. The Verdict is a film with 70s aesthetics to it, it’s on a level all its own though. Lumet tapped into something different with this film than he has done before in…

[2ndaryprotocol]

The dazzling legal drama ‘The Verdict’ starring Paul Newman debuted this week 40 years ago. ⚖️🥃💼

“𝚃𝚑𝚎 𝚌𝚘𝚞𝚛𝚝 𝚍𝚘𝚎𝚜𝚗'𝚝 𝚎𝚡𝚒𝚜𝚝 𝚝𝚘 𝚐𝚒𝚟𝚎 𝚝𝚑𝚎𝚖 𝚓𝚞𝚜𝚝𝚒𝚌𝚎. 𝚃𝚑𝚎 𝚌𝚘𝚞𝚛𝚝 𝚎𝚡𝚒𝚜𝚝𝚜 𝚝𝚘 𝚐𝚒𝚟𝚎 𝚝𝚑𝚎𝚖 𝚊 𝚌𝚑𝚊𝚗𝚌𝚎 𝚊𝚝 𝚓𝚞𝚜𝚝𝚒𝚌𝚎.”

[frommybookbook]

#1: Farewell, My Lovely (1975)

OK, here we go, the winner! Farewell, My Lovely is my favorite adaptation and Robert Mitchum is my favorite Marlowe, hands down.

They decided to keep the story a period piece and I think that’s always going to work best for adapting these novels. Chandler’s writing is good enough that it’s timeless and obviously can be modernized successfully, but there’s something about the way a period piece can tap into the melancholy of these stories through nostalgia and the malaise of the past that just works a little bit better. And because this was made post-Hays Code, they could keep some of the raw violence and sex that the early adaptations couldn’t. It's a win-win, in my opinion.

It’s said that Mitchum always wanted to play Marlowe and I can see why: the man was made for this role. I’m a Mitchum fan girl in general and he’s perfect in this movie. He’s got reluctant hope oozing out of his ears, he’s weary, he’s weathered, he’s a good investigator, and just the right amount of womanizing bastard. At 58, he’s a little old to be playing Marlowe but that just adds to the tiredness he carries (his speech where he tells Nulty how tired he is makes me weep). His age also helps in that he lived through the time period of the movie, he was a young man in the 1930s, he knew this version of LA and this world of corruption and vice and he brought that to the role.

And the supporting cast is great, too. Charlotte Rampling as Helen Grayle is incredible and Jack O’Halloran is the perfect Moose Malloy. I love John Ireland as Detective Nulty, too. Like Mitchum he really has the weariness and trampled nature down.

Overall movie score: 5/5, it's just perfect, it's a careful and intentional homage to both the source novel and film noir without being a pastiche of either

Marlowe score: 4.5/5, Mitchum is nearly perfect as Marlowe, in my opinion, he's charming and world-weary and a bit snarky; the only points I'm docking are for his age but still, a young Robert Mitchum is who I picture in my head when I read these books

Perry Mason score: 2/5, it has two actors (Jack O’Halloran and John Ireland) who were in two separate TV movies

And that's a wrap! I've now reviewed and ranked all the Philip Marlowe movies (until they try to make another one, which, just, don't). I've had so much fun doing this series and thank you so much if you've stuck it out for 9 of these!

For a reminder of why I started this series and how I’m rating these movies, you can check out my master Marlowe post and follow the tag #Marlowe movies.

[themovieworldaccordingtotps]

TPS’S 25 ADDITIONAL FAVORITE MOVIES OF ALL TIME (2022 Edition)

Anomalisa Director: Charlie Kaufman, Dino Stamatopoulos Cast: David Thewlis, Jennifer Jason Leigh, Tom Noonan Best Moment: Taxi drive and the Cincinnati chili   Hunt for the Wilderpeople Director: Taika Waititi Cast: Sam Neill, Julian Dennison, Rima Te Wiata, Rachel House, Rhys Darby, Oscar Kightley, Stan Walker Best Moment: Hec and Ricky’s escape   The Irishman Director: Martin Scorsese Cast: Robert De Niro, Al Pacino, Joe Pesci, Ray Romano, Bobby Cannavale, Anna Paquin , Stephen Graham, Harvey Keitel, Stephanie Kurtzuba, Kathrine Narducci, Welker White, Jesse Plemons, Jack Huston, Domenick Lombardozzi, Paul Herman Best Moment: The sequence leading to the killing of Jimmy Hoffa   Dune Director: Denis Villeneuve Cast: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, David Dastmalchian, Chang Chen, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, Javier Bardem Best Moment: First sandworm appearance   C’mon C’mon Director: Mike Mills Cast: Joaquin Phoenix, Gaby Hoffmann, Woody Norman, Scoot McNairy, Molly Webster, Jaboukie Young-White Best Moment: Diner breakdown

[demurely1]

Drama Log 2022

This log is constructed according to ABF rules: I’ve recorded tv or film dramas viewed from Jan to Dec 2022 and graced by AB or one of his previous co-actors…. or some degree of separation ….  or not….

The Witcher (2) -  Eamon Farren, Anya Chalotra, Shaun Dooley

Alex Rider (2) -  Otto Farrant, Vicky McClure, Nyasha Hatendi, Ace Bhatti, Stephen Dillane, Ronke Adekoluejo, Toby Stephens

Hidden Assets -

Trigger Point -  Vicky McClure, Cal MacAninch

This is Going to Hurt  - Alex Jennings

Peaky Blinders - Sophie Rundle

The Witchfinder - John Hollingworth, Michael Culkin, Ricky Tomlinson

Holding - Charlene McKenna

The Last Kingdom (5) - Mark Rowley, Millie Brady

Hidden (3)

Killing Eve (4) - Adeel Akhtar

The Ipcress File - Nora-Jane Noone

Gentleman Jack (2) - Sophie Rundle, Joe Armstrong, Shaun Dooley, Lucy Briers, John Hollingworth

The Favourite - Olivia Colman, Rachel Weisz, James Melville

45 Years - Charlotte Rampling

No Time To Die - Priyanga Burford

Derry Girls (3)

Yesterday -  Ellise Chappell, Meera Syal, Joel Fry

Sherwood -  Adeel Aktar, Ace Bhatti, Alun Armstrong, Lesley Manville, Lorraine Ashbourne, Joanne Froggatt, Sunetra Sarkar, David Morrissey, Lindsay Duncan

Shetland (7)

Bloodlands (2) - Charlene McKenna 

Ridley - Aidan McArdle

Industry (2) - Sarah Parish, Freya Mavor

This England - Neil Stuke

Ghosts (4) - Jim Howick, Mathew Baynton

Strike: Troubled Blood - Kerr Logan, Ian Redford, Ben Crompton

The English -Stephen Rea, Toby Jones 

Detectorists -Toby Jones

[theharpermovieblog]

#HARPERSMOVIECOLLECTION

2023

I re-watched The Verdict (1982)

One of my favorite courtroom dramas.

A drunk ambulance chasing lawyer decides to find his humanity when he takes a medical negligence case against a Catholic hospital and the Arch Diocese.

It's not exactly unworn territory for a law film to have a down on his luck lawyer seeking redemption. But, to have a great writer, great director and great cast behind a film like this is what makes it a stand out.

•David Mamet is a guy I don't have a lot of love for politically, but I can admit he's an amazing writer. Glenn Gary Glenn Ross is up there for one of my favorite plays/films.

•Sidney Lumet is a hero of a director, having made films like 12 Angry Men, Dog Day Afternoon and, a personal favorite, Network.

•Paul Newman is one of my favorite actors, being the star in some of my favorite films like Butch Cassidy and The Sundance Kid, Hombre and Cool Hand Luke.

Lumet's style of crisp dark contrast lighting works wonders in the film's Massachusetts setting. One image is enough to understand the entire atmosphere and tone. Andrzej Bartkowiak as

director of photography does beautiful work. Maybe I'm a little biased because I love Boston and I firmly believe this is the way a movie should look. Lumet also gives Newman and his costars the room to act. Newman is a subtle actor and here his style is nurtured.

Mamet's script is excellent. His dialogue is pitch perfect as usual and the Character of Frank Galvin is a deep and rich human being of dimension, giving Newman even more to work with.

The supporting cast is rounded out with Jack Warden Charlotte Rampling and James Mason who are excellent as always.

What makes this film so good in it's story, is the fact that even in redemption Newman's character is still somewhat selfish. He wants justice for his client but for himself as well. He's severely broken and acts like a broken man would.

It's a difficult thing to create such a film. There's no action or superheroes or horror things going bump in the night. There is only character.

This is a slow and steady film, which I love for it's slow and steady pace and it's beautiful dark colors and it's wonderful combination of artists.

A great film.

[kinonostalgie]

Prior to "Straw Dogs" (1971), Sam Peckinpah's two previous films, "The Wild Bunch" (1969) and "The Ballad of Cable Hogue" (1970), had been made for Warner Bros.-Seven Arts. His connection with the company ended after the chaotic filming of "The Ballad of Cable Hogue" wrapped 19 days over schedule and $3 million over budget. Left with a limited number of directing jobs, Peckinpah was forced to travel to England to direct "Straw Dogs."

Beau Bridges, Stacy Keach, Sidney Poitier, Jack Nicholson, and Donald Sutherland were considered for the lead role of David Sumner before Dustin Hoffman was cast. Hoffman agreed to do the film because he was intrigued by the character, a pacifist unaware of his feelings and potential for violence that were the same feelings he abhorred in society.

Judy Geeson, Jacqueline Bisset, Diana Rigg, Helen Mirren, Carol White, Charlotte Rampling and Hayley Mills were considered for the role of Sumner's wife Amy before Susan George was finally selected. Hoffman disagreed with the casting, as he felt his character would never marry such a "Lolita-ish" kind of girl. Peckinpah insisted on George, a relatively unknown actress in the U.S. at that time.

Before shooting, Peckinpah instructed Hoffman and George to live together for two weeks, with co-writer David Zelag Goodman in tow. Some of their interactions during this period were worked into the film's script.

The film is noted for its violent concluding sequences and two complicated rape scenes, which were censored by numerous film rating boards. Released theatrically the same year as "A Clockwork Orange," "The French Connection," and "Dirty Harry," the film sparked heated controversy over a perceived increase of violence in films generally. The violence provoked strong reactions (according to the Peckinpah biography, "If They Move ... Kill 'Em!" about one-third of the viewers walked out of the movie's first preview, presumably put off by it). Many critics saw it an endorsement of violence as redemption, and the film as fascist celebration of violence and vigilantism. Others saw it as anti-violence, describing the bleak ending consequent to the violence. offman viewed his character as deliberately, yet subconsciously, provoking the violence, his concluding homicidal rampage being the emergence of his true self. This view was not shared by Peckinpah.

[cleoenfaserum]

ZARDOZ (1974)

Zardoz is a 1974 science fantasy film written, produced, and directed by John Boorman and starring Sean Connery and Charlotte Rampling.

Sean Connery in a jack strap.

I saw the film the same year it came out and the year I got married. I remember some parts of the film and will most likely watch it again. I remember liking the film. By the way, I'm still married to the same woman and will be celebrating in June our 50th wedding anniversary. However, no thanks to the movie.

read more: Zardoz movie review & film summary (1974) | Roger Ebert

REVIE...

958-1link https://youtu.be/SiMe_TYgn1c

The movie depicts a post-apocalyptic world where barbarians (the Brutals) worship the stone idol Zardoz while growing food for a hidden elite, the Eternals. The Brutal Zed becomes curious about Zardoz, and his curiosity forces a confrontation between the two camps. Zardoz - Wikipedia

THE FILM...

958-2link https://ok.ru/video/2884500064778 INTERNET ARCHIVE

958-3LINK https://youtu.be/4fWvLyT_cKk

[priokskfm]

#FREEDOWNLOADS #FREEPROMO #RADIOCHART Ron's Lost In Music (FREE DOWNLOAD) EP supported by a vast & varied bunch including Agent Greg, Alex P, Allister Whitehead, Andrea Forino, Archie B, Bad Panda, BK Duke, Black Legend, Blaise, Blueshift, Booker T, CJ Mackintosh, Colin Williams, Conor Magavock, Danny Rampling, Deaafro, DJ Pope, Dolly Rockers, Fatfly, Freejak, Gene Farris, Graeme Park, Henry Hacking, Huck Finn, J Paul Getto, Jask, Jay J, Joachim Garraud, Jumpin Jack Frost, K&K, Kane Law, Le Visiteur, Lee Harris, Mark Doyle, Mickey Slim, Motion Sky, Quentin Harris, Rae, Rio De La Duna, Roger Sanchez, Roland Clark, Roog, Sarah Favouritizm, Shiba San, Sooney, Steve Taylor, Sugarstarr, Thee Cool Cats, Tom Novy, Vanilla Ace, Vinny Da Vinci, Wax Worx, Widenose & many more. Mastered by Stuart Kettridge at SE Studios Скачать: https://ift.tt/Wdex34h https://ift.tt/md8zgAx

[andyheckchefboydardee]

The Charlottes, and the Double J's, a band consisting of gainsbourg and rampling, and The Double J's, james and jack provide wonderful ideas for this years halloween costumes

[denimbex1986]

'Out Brit filmmaker Andrew Haigh has crafted an exquisite, melancholic, lyrical meditation on love, death, family and memory, anchored by a truly arresting performance by Andrew Scott. "All of Us Strangers," loosely and queerly adapted by Haigh from the Japanese novel "Strangers" by Taichi Yamada, centers on Adam (Andrew Scott, in a rich, nuanced performance deserving awards attention), a frustrated screenwriter who lives in a virtually empty high-rise, outside London. The only other apparent tenant is a mysterious boozy younger man named Harry ( Paul Mescal, crazy-sexy), who hits on Adam and the two eventually hook up. Meanwhile Adam reconnects with his long dead parents (Jamie Bell & Claire Foy, both flawless) who are, once again, living in his childhood home in the suburbs. Oh, and both are the same age as when they perished in an auto accident when Adam was 12, meaning they're both significantly younger than their son. But this is no gimmicky supernatural thriller, although it can be viewed as a ghost story of sorts. Haigh has more ambitious aspirations that delve into identity, desire, grief, regret, abandonment, fear, loneliness and forgiveness. Not too heady!

And the film is told through the autobio-Haigh-lens which is unapologetically queer.

Haigh is no stranger to telling gay stories, both obvious and peripheral. In 2009 he made his first feature, "Greek Pete," which followed a London rent boy around for a year. His breakout hit, "Weekend," released in 2011, chronicled a 48-hour gay romance and is already considered an LGBTQ classic. The film starred Tom Cullen and Chris New.

"45 Years" followed in 2015, dissecting a marriage in crisis. Charlotte Rampling received her first Oscar nomination for her role opposite Tom Courtenay.

The quietly bold HBO series, "Looking" premiered in 2014. The cast included Jonathan Groff, Murray J. Bartlett, Frankie J. Alvarez and Russell Tovey. "Looking" presented an authentic peek at a gaggle of gay friends in modern-day San Francisco. The show only lasted 2 seasons but was given a movie-length wrap episode in 2016.

The highly underrated indie, "Lean on Pete," (2017) took a current but, also, prescient look at the ethical and moral divide in the U.S. Haigh also kept the enigmatic lead character's sexual orientation cryptic. And as played by the gifted Charlie Plummer, that ambiguity had a decidedly queer lean.

"The North Water," a 2021 miniseries based on the novel by Ian McGuire and created by Haigh, had its share of homoerotic scenes between leads Colin Farrell and Jack O'Connell.

"All of Us Strangers" is Haigh's most personal queer exploration. It's also his most haunting, mesmerizing and best film to date.

EDGE had the pleasure of a zoom chat with Haigh.

EDGE: Andrew, the relatability to so much of this film for me was so deep and almost profound. I've spoken to quite a few people queer and not queer, who feel the same. So, through specificity you've achieved universality.

Andrew Haigh: That's very nice. That's always kind of what your goal is. Nobody wants to see a story that is just about something very specific--that has nothing else to say. That doesn't work. You have to always ground it in something universal bubbling underneath. That's what I was trying to do. It's so nice that it does work for people and works for different types of people. That's important. I didn't want to make it just for one group of people, so I'm really pleased about that.

EDGE: Can you speak about taking the Yamada novel and making it your own?

Andrew Haigh: Yeah, so the central idea is the same. I love that central idea of meeting your parents again, it felt like it unlocked something in me, and it unlock this idea about being able to talk about your past and what the past has done to you and how it can be hard to leave it behind. I don't just mean in terms of grief. I mean, in terms of how we felt when we were young and childhood experience...

This idea that we are so formulated by the first 10, 15 years of our lives and we can never really escape that. I see that in everybody. I see in people who are 70... your childhood has defined you who you are as an adult. It's almost impossible to escape it. And so that felt like such an opportunity to be able to tell that story within this strange sort of ghost story, metaphysical love story, whatever you want to see this as.

EDGE: You're reminding me, Jane Fonda said when she was writing her autobiography that she needed to go back to examine in order to move forward. I feel like the older we get, the more we seem to look back.

Andrew Haigh: I'm 50 now and I feel like the last 10 years, I've really felt it. I think when you're young, you don't look back, obviously, there's nothing to look back on. But as you get older, you're like, Okay, I've got however many years I've got left, I need to go back, I need to recalibrate, I need to have a reunion with my own path, so I can understand why I am the way I am. So, it makes total sense to me. But you have to stare it in the face. And you have to throw yourself into it in order to find some kind of way to move forward. I think that's why the film does resonate because I feel like we all want that. And the idea that we could actually have a world in which you could physically meet your past, again, is quite powerful.

EDGE: This is like a 1980s question, but we keep boomeranging, don't we? Did you get any pushback wanting to tell a queer specific and Andrew Haigh-specific story?

Andrew Haigh: I'm Yeah, that's interesting because that's two different things, isn't it? I like that. When the producers came to me with the book, the minute I said I want to do this, but I have to make it queer, they were like, of course great, do it and make the story you want to make. And Searchlight and Film4 were the same--they were l excited by the idea that I had made it specifically queer. There was no pushback... And then specific for me, is again, something different. And I feel like luckily, I've been making films now for long enough that people understand what that film will be. And they wanted to support that. So, it felt good.

EDGE: How did you decide on the structure and tone of the film?

Andrew Haigh: That was probably the biggest struggle. I did a lot of versions of the script... to fill in the structure, which there is a sort of logic but then I throw myself away from the logic. There's lots of things that I'm trying to do at the same time. And in many ways, I wanted just to plot it emotionally. If all this is a manifestation of Adam's need, what does that mean for the plot?... What does that make the tone of the film feel? And especially when you're dealing with something that could be seen as ghosts, there's so much weird logic that gets put onto those stories. Can they eat? What happens to them when he's not there? Is he really in the house?... At one point during the writing, I was like, I've got to free myself from the eternal, endless questions that you can ask yourself about the plot, and just make it be a film about feeling and texture and emotion and let that drive it.

EDGE: Speaking to that, I was fascinated by the quiet moments, the details, the lingering close ups, I've seen a few films lately, where there was all that minutia, and I was just fucking bored. Here, I was never not mesmerized.

Andrew Haigh: That's nice, because it's so true, there's no point, putting the camera on someone's face if they're not giving you something that is interesting. It just doesn't work. It's pointless... like someone standing by the window, looking out to show that they're lonely only works if something's happening or you're feeling something. For me, it is about that fine tuning and calibrating in the edit, so you're not bored and you're giving the audience something new each time or something surprising or there's something underneath what you're giving... I feel like I've always been trying to find that in everything I do. It's finding that space for the character just to exist and for you to lean in and listen more and concentrate more. I feel like if you can do that you're enveloping the audience into the story and into the world. And if you do it right then it can work.

EDGE: And, of course, your cast assemblage helps because you get such authentic and deeply affecting performances from your actors, whether it's Tom and Chris, or Charlotte and Tom or Charlie Plummer. And Andrew, Paul, Claire and Jamie here. Can you tell me a little bit about your selection process?

Andrew Haigh: The selection process is always the thing that I spent so long thinking about it. If you get that wrong, it's not going to work. And it's all about trying to find people that make sense together. That's how I how I do it. And also trying to find the right kind of people, not just as actors, but as basic human beings. I spend a lot of time reading interviews that actors might have given, watching clips of them when they're being interviewed. And then I have to sit down with them and talk to them before I go forward. I want to know what it is that they care about in terms of the material. I want to know if they're going to be open enough as collaborators to share their own experience, and me share my experience, of life and relationships and family and all that kind of thing. Then if you can get that, I think you just develop a trust. And they know I'm not going to screw them over... I love that process. I love working with actors. I love letting them be what they want to be as much as what I want them to be. That's the trick, you've got to just let it come out of them and don't try and force it into some preconceived notion of what you need that performance to be.

EDGE: I've never heard another director say that he's watched interviews (as part of the casting process). You can get so much from somebody from that.

Andrew Haigh: So much. And, also, you can see what they're showing and what they're hiding. I think I'm relatively perceptive about people and it's what they're not showing that is the most interesting thing to me. You can see a certain vulnerability in people when they're doing interviews... I also think that what an actor chooses to do with their career says so much about the person they are. Like Charlotte in "45 Years" Her choices have been so fascinating in her career that I'm like, well, you're an interesting person. There were choices that you (made). It's so important. The work that someone does defines them in so many ways. So, you have to take that on board when you're trying to make a casting choice.

EDGE: And the chemistry between Andrew and Paul were off the charts, but Claire and Jamie, too. Did you make them all shag before? I'm joking.

Andrew Haigh: (laughs) Yes, it was a really awkward session. We were in a bad hotel, and we were like, come on, this is what we got to do. We've got to really force ourselves through this. (laughs)

EDGE: Have you ever been in a situation where the chemistry wasn't working? Not necessarily on this film? And what did you do?

Andrew Haigh: ...I've been really lucky. I do think the reason that chemistry sometimes doesn't work is that you just set it up wrong. And you don't nurture the right environment on set. That is so important. If you can nurture that environment so they don't spend time locked away in their own trailers not talking to each other, that you create an environment where people are getting to know each other. I think so much of my job on set is to understand what people need.... it can be quite exhausting. You're like a therapist, basically, for the whole of the shoot...But I think that's what you need to do as a director to make sure that everybody is comfortable enough to give the best performances.

EDGE: There's so much conversation about actors playing queer roles versus the best actor for the job. I'm curious where you land. And how did it relate to the casting of Andrew Scott?

Andrew Haigh: I did want someone that was that was queer to play Andrew's character, because there's so much nuance I'm trying to pick out genuine feeling that I needed that character to have. And I think any of us who are a certain age who grew up at a certain time, it's in our body. It's baked into our DNA. How we felt the fear, the terror, the worry--all that stuff. And I didn't want to have a straight actor playing that role. Because I'd have to then try to explain all that. You know what it's like, you sit down with a gay person, there's so much shared experience you don't even need to talk about...you go into a room full of queer people you're like, I can breathe a little bit easier. Most of the time, it depends if who you're in a room with, but most of the time...

But then outside of that, there's lots of choices that go into who you cast for the role. I understand the arguments about why it can only be a queer person playing a queer role, but I really do think it depends on the role. Look, I'm gay, I wrote it. The producer Graham was gay. You don't need everybody to be gay. You just need enough people who know what they're talking about to be part of that project.

EDGE: I wanted to talk about internalized homophobia because it's there in the film. It comes from the people who shape us, doesn't it? Parents, relatives, friends...

Andrew Haigh: ...So many of us have dealt with internalized homophobia for so long in our lives. We've grown up with it. Every day you were going to school and having to deal with it, having so much shame. Sometimes you can hear a younger generation sort of think, 'Oh, you guys are just full of self-loathing, you're fully shame, get over it! And you're like, hold on, we weren't born with self-loathing or shame, it was put upon us by the world we lived in. So, you can't condemn us for having those issues that were put upon us... It doesn't just go away when it's embedded in you growing up. And it is from our family. It's from everybody, the TV, the news... I think it's a life journey for a lot of queer people to shed that internalized homophobia. And for me, personally, it's been a journey. And the film is another step in that journey to shed that. It's a very complicated thing.

There's a line in the film when (Claire Foy) asks if Adam's lonely, and that it's a very lonely life. And he's like, If I am lonely, it's not because I'm gay. And he's right. But also, being gay in the world has made him lonely. So, it's not being gay that makes you lonely, it's being gay within the world that can make you lonely.

EDGE: "Lean on Pete." I adore that film. I really appreciated that you never felt the necessity to force a sexual orientation on Charlie. There was no obligatory girlfriend or hookup scene, I'm assuming that was deliberate.

Andrew Haigh: Absolutely. And it's so weird to me--in the original novel, there's no sense that that kid is queer--but there's something to me when I thought about Charlie that he felt like a queer kid. So, in some strange way, it felt like it was a story, as well, about a kid trying to find his way in the world and being torn between this freedom--this desire for freedom--but also a craving for stability. I feel like sometimes as queer people we're told we've got to just go and find our new family... well, no, sometimes we want the stability of our actual family. I felt like that spoke to America, as I see it, and even in a bigger way about this conflict between stability and freedom. America was born on this search for freedom, the individual, but that cannot be great for everybody... We don't all need to be let free in the world to fend for ourselves.

EDGE: There's a lot of anxiety and stress involved in filmmaking. You seem like a really well put together person, how do you deal with it and not go insane?

Andrew Haigh: It's a funny thing because I feel like I'm actually quite an anxious person. And I feel like during the process, there were so many times when the anxiety of making it is almost overwhelming. Why am I doing this? Why am I putting myself through this? And that's writing, shooting, is all different anxieties, editing, the fear that that project is now going to be in the world, and how is it going to be taken? Filmmakers. It's an exposing art form. Even if it's nothing to do with you, you're exposing something about yourself. I don't care what anyone says, you care about the reaction, you care how people take it. So, it can be a stressful thing. I mean, you can just ask my poor partner who has to deal with my stress and anxiety constantly at the end of each day. But there was something that still makes me want to do it. I can't imagine I would want to do it forever... I know some filmmakers keep working into their 70s and 80s. I can't imagine that will be me. I feel like there will be a time when it's like, you know what, that's enough now, I've done what I can do, and I need to have a quieter existence.'

[alexlacquemanne]

Aout MMXXIII

Films

L'Appel de la forêt (The Call of the Wild) (2020) de Chris Sanders avec Harrison Ford, Omar Sy, Karen Gillan, Dan Stevens et Bradley Whitford

Indiscret (Indiscreet) (1958) de Stanley Donen avec Cary Grant, Ingrid Bergman, Cecil Parker, Phyllis Calvert et David Kossoff

Jojo Rabbit (2019) de Taika Waititi avec Scarlett Johansson, Roman Griffin Davis, Thomasin McKenzie, Taika Waititi, Sam Rockwell et Rebel Wilson

Le Verdict (The Verdict) (1982) de Sidney Lumet avec Paul Newman, Charlotte Rampling, Jack Warden, James Mason, Milo O'Shea, Lindsay Crouse et Ed Binns

Mondwest (Westworld) (1973) de Michael Crichton avec Yul Brynner, Richard Benjamin, James Brolin, Dick Van Patten, Anne Randall, Majel Barrett et Terry Wilson

La Grande Lessive (!) (1968) de Jean-Pierre Mocky avec Bourvil, Francis Blanche, Roland Dubillard, Jean Tissier, Michael Lonsdale, R. J. Chauffard, Jean Poiret, Karyn Balm et Alix Mahieux

La Traversée de Paris (1956) de Claude Autant-Lara avec Jean Gabin, Bourvil, Louis de Funès, Jeannette Batti, Georgette Anys, Robert Arnoux, Laurence Badie et Myno Burney

Austerlitz (1960) d'Abel Gance avec Pierre Mondy, Jean Marais, Martine Carol, Elvire Popesco, Georges Marchal, Vittorio De Sica, Michel Simon, Rossano Brazzi, Claudia Cardinale et Leslie Caron

La Bride sur le cou (1961) de Roger Vadim avec Brigitte Bardot, Joséphine James, Mireille Darc, Edith Zetline, Michel Subor, Jacques Riberolles et Claude Brasseur

Hiroshima, mon amour (1959) d'Alain Resnais avec Emmanuelle Riva, Eiji Okada, Bernard Fresson, Stella Dassas et Pierre Barbaud

Quo vadis (1951) de Mervyn LeRoy avec Robert Taylor, Deborah Kerr, Leo Genn, Peter Ustinov, Patricia Laffan, Buddy Baer et Finlay Currie

La Classe américaine : Le Grand Détournement (1993) de Michel Hazanavicius et Dominique Mézerette avec Christine Delaroche, Evelyne Grandjean, Marc Cassot, Patrick Guillemin, Raymond Loyer, Joël Martineau, Jean-Claude Montalban, Roger Rudel et Gérard Rouzier

Beethoven 3 (Beethoven's 3rd) (2000) de David M. Evans avec Judge Reinhold, Julia Sweeney, Joe Pichler, Michaela Gallo, Mike Ciccolini, Jamie Marsh et Danielle Keaton

The Big Short (2015) d'Adam McKay avec Christian Bale, Steve Carell, Ryan Gosling, Brad Pitt, Melissa Leo, Rafe Spall et Marisa Tomei

GoldenEye (1995) de Martin Campbell avec Pierce Brosnan, Sean Bean, Izabella Scorupco, Famke Janssen, Joe Don Baker, Judi Dench, Robbie Coltrane, Tchéky Karyo et Alan Cumming

The Grand Budapest Hotel (2014) de Wes Anderson avec Ralph Fiennes, Tony Revolori, F. Murray Abraham, Saoirse Ronan, Mathieu Amalric, Adrien Brody, Willem Dafoe et Jeff Goldblum

Le Hussard sur le toit (1995) de Jean-Paul Rappeneau avec Juliette Binoche, Olivier Martinez, Claudio Amendola, Isabelle Carré, François Cluzet, Jean Yanne : le colporteur juif et Pierre Arditi

Heat (1995) de Michael Mann avec Al Pacino, Robert De Niro, Val Kilmer, Tom Sizemore, Diane Venora, Amy Brenneman, Dennis Haysbert, Ashley Judd, Mykelti Williamson et Natalie Portman

Excalibur (1981) de John Boorman avec Nigel Terry, Helen Mirren, Nicol Williamson, Cherie Lunghi, Nicholas Clay, Paul Geoffrey, Robert Addie, Gabriel Byrne, Patrick Stewart et Liam Neeson

Le Grand Chantage (Sweet Smell of Success) (1957) d'Alexander Mackendrick avec Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner, Sam Levene, Barbara Nichols et David White

Séries

Castle Saison 2, 3

Rire et Châtiment - Le Flic fantôme - La Guerre des cuisines - Doublement Mort - Espion d'un jour - Présumé coupable - Mort par prédiction - Rencontre avec le passé - Duel à l'ancienne - Anatomie d'un assassinat - Triple Tueur - Célèbre à tout prix

Happy Days Saison 1

Échec ou mat - La Première Bagnole - La Première Cuite de Richie - Une visite inattendue - Le Festival rock - Le Club des Démons - Fonzie vient dîner - Nuit au palace - Une rupture difficile - Qui perd gagne - Rendez-vous surprise - Le Tatouage de Richie - Richie et les beatniks - Le Garçon d'honneur - De la bagarre dans l'air - Un homme prudent

Inspecteur Barnaby Saison 11

Les Noces de sang - Fusillé à l'aube - L’assassin est servi - Macabres Découvertes - Une alliance maléfique - Le Crépuscule des héros - Le Mystère du bois des moines

Downton Abbey Saison 1, 2

Question de succession - Le Nouvel Héritier - Le Diplomate turc - Entre ambitions et jalousies - La Rumeur se propage - La Fiancée de Matthew - L'Entraide - La Maison des intrigues - Portés disparus - Nouvelles Vies - Épidémie - L'Esprit de Noël

Affaires sensibles

Mai 68, le coup de théâtre du Général de Gaulle - Autoroutes françaises : la machine à cash - William Randolph Hearst : de Citizen Kane à Donald Trump - Orson Welles - La guerre des mondes - François Fillon et le "Pénélopegate" - Contrat Première Embauche, mieux que rien ou pire que tout ? - 31 août 1997 : mort d'une princesse anglaise

Kaamelott Livre II

Spangenhelm - Les Alchimistes - Le Dialogue de Paix - Le Portrait - Silbury Hill - Le Reclassement - Le Rassemblement du Corbeau - Les Volontaires II - Le Terroriste - La Chambre - Le Message Codé - La Délégation Maure - L’Enlèvement de Guenièvre - Les Classes de Bohort - Le Monde d’Arthur - Les Tuteurs - Les Jumelles du Pêcheur - Sept Cent Quarante-Quatre - L'Absolution - Les Misanthropes - La Cassette - Plus Près de Toi - La Révolte - Sous les Verrous - Séli et les Rongeurs - Un Roi à la Taverne II - L'Ancien Temps - Le Passage Secret - Les Mauvaises Graines - La Garde Royale - L'Ivresse - Mater Dixit - Spiritueux - La Ronde - Merlin l'Archaïque - Les Exploités - L’Escorte II - Le Larcin - La Rencontre - Les Pigeons - O'Brother - La Fête du Printemps - La Voix Céleste - L'Invincible - Amen - Le Cadeau - Le Complot - La Vigilance d’Arthur - Les Chiens de Guerre - Always - Arthur in Love - Excalibur et le Destin - L'Absent - The Game - La Quinte Juste - La Fumée Blanche - Unagi II La Joute Ancillaire - Le Donneur - Le Jeu du Caillou - L'Alliance - Le Secret d'Arthur - Aux Yeux de Tous - Immaculé Karadoc - La Morsure du Dace - Les Neiges Eternelles - Des Hommes d'Honneur - Stargate - Feue la Vache de Roparzh - Les Vœux - Le Pédagogue - Perceval et le Contre-Sirop - L'Oubli - L'Ambition - Le Poème - Corpore Sano - Le Havre de Paix - L'Anniversaire de Guenièvre - La Botte Secrète II - Les Parchemins Magiques - L'Enragé - Trois Cent Soixante Degrés - Pupi - Vox Populi II - Le Rebelle - Les Félicitations - Les Paris - Les Esclaves - Les Drapeaux - Le Guet - Le Sort Perdu - La Restriction - La Corde - Le Tourment II - Le Plat National - Le Temps des Secrets - La Conscience d'Arthur - La Frange Romaine - L'Orateur - Les Comptes

Le Coffre à Catch

#127 : Dream Match + Kozlov : J'en ai rêvé, Teddy l'a fait ! - #128 : La ECW et Mark Henry nous gâtent de cadeaux ! - #129 : Le pire main event de la ECW : Agius pète un câble ! - #130 : On démarre l'année ECW 2009 avec le Connard du Catch ! - [LIVE] Coffre à Catch Hors-série : ECW December to Dismember

Columbo Saison 1

Accident

Idéfix et les Irréductibles

Labienus tu m'auras pas - Une affaire corsée - Turbine encrassée - Une Ibère dans la ville

Biographies WWE Saison 1

Bret "The Hitman" Hart

Batman, la série animée Saison 1

Les Enfants de la nuit - Version originale - Les Oubliés du Nouveau Monde - Fugue en sol Joker

Spectacles

One Night Only : The Bee Gees Live in Las Vegas (1997)

Livres

Vies des douze Césars de Suétone

Détective Conan : Tome 12 de Gôshô Aoyama

Détective Conan : Tome 13 de Gôshô Aoyama

Hero Corp Tome 3 : Chroniques - Partie II de Simon Astier et Francesca Follini

Les 7 prochaines vies de Greta Thunberg : Que sera, dans vingt cinq ans, Greta devenue ? de Fréville

[rainingmusic]

Crippled Black Phoenix - 444