St Albans’ first ever Film Festival hopes to reel in the next Kubrick

St Albans’ first ever Film Festival hopes to reel in the next Kubrick
St Albans will be hosting its first annual film festival from 8th– 10th March 2013.
The Festival programme will feature talks, workshops, parties and a short-film competition, with thousands of pounds up for grabs. The festival is already attracting interest from around the globe. Filmmakers from as far as Australia, Singapore,
Greece & USA have submitted their work along with entries from around the UK.
The festival is currently OPEN for submissions until the end of December 2012 and Filmmakers of any age
(including children filmmakers) can enter their short film into one or more of six categories:
Main Short Film – Top quality, slick shorts.
Student Film – Made by a student of any age from 5 to 95. We will be splitting this award in 2 and giving a prize
to the best child filmmaker and one to the best over age 16 filmmaker.
Music Video – Any Music Genre accepted.
Documentary – inspiring short docs
Children’s Film U Certificate films for family audiences. Eg: Animations!
Over 18s Films – Something for the grown-ups! Horror, Erotica, War etc..
The city’s Roman heritage has made St Albans a popular location with film-makers, directors and actors. It is
just 20mins by train from London and close to some of the most prestigious film studios in the
world: Pinewood (Superman, James Bond); Elstree (Star Wars, Indiana Jones); and also Leavesden (Harry
Potter). Tom Cruise is currently filming his new movie with Emily Blunt, All You Need is Kill, in the area, and,
as was widely reported, Cruise is so at home in St Albans he recently took his entourage with him when he
popped out for a curry at a local Indian restaurant!
St Albans’ rich film-making history goes way back. Arthur Melbourne-Cooper – the pioneer of moving pictures
– was born in the City, and the much celebrated film director Stanley Kubrick came to settle in the area, where
he created some of his most famous work. Kubrick’s manor was used as a nerve centre for his film
productions. The Shining was finished there, and Full Metal Jacket and Eyes Wide Shut were started and
completed there.

Interested filmmakers can submit their work via the festival websitewww.stalbansfilmfestival.com and each
entry costs £20. Selected films will be showcased in the festival and the best film in each category will win a
cash prize of £500. There will also be a cash prize for the best performance by an actor or actress in the
festival, sponsored by Top Talent Acting Agency.
Festival Director, Leoni Kibbey, says: “I really want this festival to demonstrate how important St Albans has
been and is, in the UK film industry. It will encourage talented filmmakers in the area to make films and show
them to a live audience and will contribute to the cultural consciousness of this historic city. Both local
residents and visitors alike will get the chance to sample some exciting, original films, and we may even find
our new Kubrick! The Festival will put St Albans on the filmmaking map.”
More information regarding venues and judges will be announced in the coming weeks.
“The best thing that young filmmakers should do is to get hold of a camera and some film and
make a movie of any kind at all.” STANLEY KUBRICK

 



What Happened to Kerouac? | Film Review

WHAT HAPPENED TO KEROUAC?

A unique insight into the King of the Beat Generation

Out Now.

 

I read On The Road years ago and a biography on Jack Kerouac. He was definitely a talented writer and I have found it depressing lately that some people don’t know who Kerouac was. That should all change soon when the ‘unfilmable’ On The Road hits our screens this month.
This documentary has access to all of the main people who surrounded Kerouac and were themselves part of the Beat movement. In fact,, one of the reasons this documentary is a success is the amount of access the filmmaker got to the people in Kerouac’s life, including his daughter and ex-wife. It paint a full, comprehensive and entertaining insight in Jack Kerouac’s life.
There is also home movie footage and Kerouac’s appearances on the Steve Allen show. This documentary is a brilliant insight into the historical and artistic time of the beat generation. A great snapshot of history and a must-see.
Jack Kerouac is a cultural icon whose influence is still felt around the world 42 years after his death, not least
with the upcoming film adaptation of his most famous book, ‘On The Road’ starring Sam Riley and Kristen
Stewart. The key protagonists of the Beat Generation are also the subject ‘Kill Your Darlings’, due for release
in 2013, in which Kerouac is played by Jack Huston and Daniel Radcliffe stars as Allen Ginsberg.
Those wishing to know more about this iconic writer need look no further than What Happened To Kerouac?,
an illuminating tribute to the King of the Beat Generation as told by the writer’s contemporaries, friends and
family and by Kerouac himself. This new double disc DVD edition offers a re-mastered version of the original
film and also contains over two hours of additional material including never before seen interviews. What
Happened to Kerouac? is released by 3DD Productions.

 

With contributions from fellow Beat writers including Allen Ginsberg, Gregory Corso and William Burroughs
and family members including Kerouac’s ex-wife Edie and his daughter Jan, What Happened To Kerouac?
offers an honest and engaging portrayal of an extraordinary talent through a series of vivid vignettes and
anecdotes that reveal what happened when fame and notoriety were thrust upon an essentially reticent man.
The new 2-disc edition of What Happened to Kerouac? also features ‘The Beat Goes On’, a collection of
interviews that delve deeper into Kerouac’s character including previously unreleased full length interviews
with Abbie Hoffman, Timothy Leary, Michael McClure and Paul Krassner.
Home movie footage and excerpts from Kerouac’s unforgettable appearances on the Steve Allen (1959) and
William Buckley (1968) TV shows are intermingled with captivating recordings of Kerouac reading from some
of his best loved works including On The Road, Mexico City Blues and Doctor Sax. The result is an enlightening
appreciation of Kerouac’s character and of his contribution to modern literature.
“99% pure genius
Kerouac”
Allen Ginsberg
“It brings us closer
to Kerouac than any
other film”
Los Angeles Times
“Abounds in insights
about a writer who
laboured a decade to
attain success and
then spent a decade
being ruined by it”
New York Times

 

Interview with Zawe Ashton of Fresh Meat

Zawe Ashton can totally identify with her character Vod’s sense of style in Fresh Meat because she has been there and done it herself.

“It’s not even like I have outfits in mind for Vod – I have influences in mind. So after last year instead of listening to so much riot girl punk, Vod is maybe going into a more androgynous place where she is playing with gender and masculinity and at the same time her musical influences are extending to discovering more Bowie or New Romantic post punk music.

“She’s not that self-conscious, she draws so much from her surroundings and is so perceptive that anything that seems vaguely anti-establishment she can really chime with and I can identify with that because that is exactly what happened to me when I was studying in Manchester. Being in a smaller environment with people from so many different backgrounds I changed on a daily basis. One day you’d be having an existentialist conversation with a random in a bar then someone would say ‘do you want to get pissed and dance all night to 80s music’. And I’d be like ‘Yeah’. And because Vod is a yes woman she will say yes to all of that and have all these different influences and experiences. She’ll never miss out. Never regret something she didn’t do…I totally did that at uni after I broke up with my first boyfriend, who of course was a musician. I thought, “Right I am going to have a summer of saying yes to everything.” Which I did.

“This job is such a touch! It is so collaborative but you can also trust every single department to just be on it. If I send June, our costume designer, a picture of Prince and say this is our touchstone for this series – the next thing you know I’m wearing a ruffle shirt, a bolero jacket and my hair’s sticking up and it’s Prince. She runs with it, she is so inventive.”

So how has Vod changed since last term?

Explains Zawe: “This series Vod is exploring the friendships she’s made with these people. What is interesting is having new characters come in and seeing Vod’s reaction – she doesn’t like it at all. She is fiercely protective over the whole group. Vod takes on a hell of a lot more than she lets on and the fact that she has lived with these people and let them in over the course of a term has been a big deal. Seeing her relationship with other characters deepen, especially with JP and Josie, has been really satisfying. Also the episode where she falls in what she thinks is love was really funny because it’s Vod opening up even more to different experiences.

“This season we do see her slightly more vulnerable side but she is also almost like a narrator in a way, she clocks absolutely everything – nothing happens in the house without her knowing about it.

“She’s really caring but at the same time she’s sort of weirdly indestructible. She has such a big heart but is also one of those amazing people who can drink far too much and take too many drugs – like you might say to Iggy Pop ‘you’ve put yourself in some bad situations but you seem to have come through them alright. Still rolling on…’

Also because she is so blunt about things I think she has got a really good grip on what life is. If people die that is just something that happens and you move on. Who knows, maybe aged 40 she’ll have a huge emotional breakdown but for now she’s just a character who has very little subtext, enjoys a good time, has time for people but also insight and will share that. She is her own little thing.”

But Vod also has a few money worries this term and needs to find a job…

“Starting work as a chamber maid is Vod’s idea of hell – that is working for the man. But she is also really good at it. She is massively creative and hard-working but she doesn’t fit into a system and I really identify with that – your work ethic not being that of an institution or a machine. She could probably be great at anything she put her hand to, she’s not limited. But you wouldn’t get out of it what you think… She is definitely born out of her time, she is really modern but at same time there is something sort of old school and punk about her.”

And what are Zawe’s stand-out moments of this series? “I love doing the scenes where we are all together. Those big group scenes are beasts – seriously we are there all day – but they are so satisfying. What is so nice is that you can have reactions off of people, even if you are not saying anything I get an awful lot out of those scenes. The reaction shots are my favourite bits. And exploring the physical proximity of each other – giving this real sense of being in a student house.

Talking of her eclectic mix of fans, Zawe says: “Some people are really drawn in by the hard-living side of Vod and are watching the show thinking ‘that’s someone really good on a night out’. Unfortunately I’m not that person anymore. It is the realisation that I can’t go clubbing all night; I have a job and I’m tired. On the flip side I get lots of lovely mature men and women in their 50s and 60s coming over and saying how nostalgic the whole show feels and how much they like the character because they knew someone like that, so I get both ends of the spectrum. Some lovely fans on twitter made t shirts saying Keep Calm and Trust in the Vod… in that font with a little picture of me. That is definitely the nicest thing that has happened.”

Zawe is currently filming Case Histories for the BBC. She also has another project in the pipeline. “I’ve written a short film for Greg (McHugh). Greg is a superstar, one of the best actors out there working – the characters he creates on screen are superb. I want to direct that. To have a production company and be working out of that writing, directing and acting and hiring teams of people I know will do a good job would be amazing; a dream come true.”

 

Fresh Meat returns to Channel 4 on Tuesday 9th October at 10pm.

Interview with Joe Thomas of Fresh Meat

Joe Thomas got to enact a childhood dream while filming the second series of Fresh Meat.

“I couldn’t quite believe it but basically I got to be filmed busking in the style of Blur,” says Joe. “It was like being able to vent my childhood dream of being in a band when my favourite band was Blur.”

Returning to university for the second term, Joe’s character Kingsley has a new look…

“In the last series Kingsley was relatively innocent but this term he is trying to contrive an image for himself – he has become quite pretentious, probably because he was quite badly hurt in the first term. This includes growing a little beard called a soul patch, which doesn’t really suit him, and developing an interest in music.

“On the downside I have to sing but on the upside it is a song written by Graham Coxon from Blur who are pretty much my favourite band of all time. I got to meet him and it was really nice to meet someone so famous who has done an awful lot with their life yet seemed very much a normal bloke. He is a fan of Fresh Meat which is why he wanted to be involved.

“It is interesting because the song isn’t supposed to be very good so Graham must have had to pull against all his natural instincts to write this tortuous and pretentious thing. The lyrics are very funny and it felt like we really got what we wanted from it; an adolescent, overly complicated epic.

“I do play guitar but only to a level many people can, which is a few chords to a few Blur songs. The only other person in the cast who sings in the series is Charlotte Ritchie, who is actually a professional singer, so it is an unfortunate point of comparison for me.”

The other major change in Kingsley’s life is the arrival of Heather…

“Kingsley has a new girlfriend, Heather, who is slightly cooler than Josie and maybe, in the long run, not as well-suited. However in the short term she is definitely more together and more able to organise a relationship and as Kingsley needs to be told what to do they fall into one. And immediately he is in way over his head.

“This series Kinglsey is getting on with the outward appearance of being grown up but fundamentally he is still sorting himself out. He doesn’t resolve any of his issues.

“Take the soul patch; it tends to be the first bit of hair that grows so it is a bit like a boy pretending to be a man. Also in Kingsley’s case trying to look a bit tougher.

On a personal note it wasn’t great for me to have to go round in my normal life with a soul patch either – it is not something I’d have chosen.

“It was an interesting experiment and I suppose made me appreciate not having it after I shaved it off. I might grow a full rugged beard one day; I can understand that back to nature, wild look but the soul patch isn’t really in the same category…”

So how does Kingsley feel about Josie this term?

“Kingsley is increasingly worried about Josie and he is really good to her as is not unaware that she is having a bad time. But when somebody is your friend but you do still really like each other it confuses things. So he has this mix of sympathy and desire which is frankly a bit weird. They have this relationship that neither of them are in control of.

“They both behave like they don’t care about each other, Kingsley is uber chilled and relaxed about her and Josie acts like she lives to party but neither of them mean that. They like stability and feeling at peace with the world but by carrying on as if they don’t care and are just free spirits they are damaging each other in the process. And as a consequence they mess up the opportunity to be together.”

So what were Joe’s stand out moments of the series?

“I got to do some minor stunts when we filming in the Peak District and I do like a tussle. There aren’t many times you get to wrestle in the great outdoors and let off a bit of steam; normally it is all about being very controlled. I didn’t do anything particularly adventurous but I got to fight with Greg or even better with Howard who is definitely not a fighter and probably hadn’t had any physical contact with a human for some time.

“And filming on location in the big country house was great – it was the only time it didn’t rain, apart from when we were in the Peak District, and it was so nice to sit in a garden rather than a car park outside the studios. A change of environment can really change your frame of mind plus there is always a bit of fun when cast and crew are staying in the same place – it’s a bit like a school trip!”

Joe is currently co-writing Chickens, a comedy series for Sky, with Simon Bird and Johnny Sweet in which they will also star.

Fresh Meat returns to Channel 4 on Tuesday 9th October at 10pm.

Don’t forget to check out Fresh Meat House which will launch 9th October directly after transmission of the first episode on Channel 4. Go to www.channel4.com/freshmeathouse for a tour of the student digs and to watch exclusive content released at the end of each episode.

Fresh Meat House is a new commission from Channel 4’s Education team who have a focus on life skills for young people

Killing Them Softly | Film Review

Five years have passed since Australian filmmaker Andrew Dominik and Brad Pitt united for the magnificent Western drama The Assassination Of Jesse James By The Coward Robert Ford; a lyrical, revisionist take on what by all accounts had become an American legend. It was gorgeous, poetic and fell flat on it’s on its face at the box-office. The studio simply had no idea how to go about pitching it and it was left to die, the genius gone unsung. Now Dominik has picked himself up, teamed up with Mr Pitt once again and returned to a far more recent moment of American history; the economic downturn viewed through the prism of organised crime. Whilst not hitting the heights of their previous collaboration they have crafted a stark, powerful take on a genre that we think we know inside out and give it an astonishingly contemporary sheen.

It’s 2008. The economy is crumbling, Obama and McCain are gathering their supporters and two clueless street hoods (Scoot McNairy and Ben Mendelsohn) are roped into a raid on a mob protected card game. It’s run by Markie Trattman (Ray Liotta) who has already escaped punishment from criminal overlords for organising a heist on his own games. The plan is for Markie to take the fall for the raid second time round but due to the duo’s own incompetence they are soon pursued by Jackie Cogan (Pitt), a hitman sent to exact justice and restore order.  He has a very specific work ethic; he likes to keep his distance from his targets in order to avoid emotions getting in the way. He refers to this as ‘killing them softly.’ He decides to hire old colleague Mickey Finn (James Gandolfini) to help him adhere to this method, yet this proves to prove more challenging than he can imagine.

Dominik is working from a 1974 novel entitled Cogan’s Trade penned by George V. Higgins. The film retains a stark, minimalist visual tone that recalls the high watermark crime films of the seventies such as The French Connection and Scorpio. It’s a story that takes place in vacant lots, motel rooms and car parks bathed in grey, cold light. It is an environment that feels left behind by the modern world and that we don’t often see in mainstream American cinema. In certain shots, the desolate wasteland resembles something out of a sci-fi apocalyptic vision. Dominik keeps his directorial flourishes to a minimum favouring stationary camera angles and carefully choreographed tracking shots to balletic displays of violence though he does concede to one hauntingly beautiful shootout in the rainfall. Not that any of it is pretty; this is a film where death and violence is an ugly, horrific spectacle. Dominik contrasts such moments perfectly with an uncanny feel for the timing and pitch of each individual scene. His prowess as a writer is the primary one on display though. The action is driven by lengthy, dialogue heavy scenes where in the characters confront the unpleasantness and banal mundanity of their profession. The major factor of the adaptation is the running references to the economic meltdown of the time and the then optimistic promises of the Obama administration. Speeches and news broadcasts that have barely had time to pass into history seep through radio and television broadcasts in the background of crucial scenes.  This does come close to becoming repetitive and forceful yet it instils the narrative with a moral backbone that many of its characters lack and forms a crucial part of what elevates the film from being a run of the mill gangster drama to a scathing critique of capitalist greed. The will of the powerful is broken, and it is left for the people on street level to pick up the pieces and clear up the mess.

Gangsters and hitmen tend to be the sort of characters that are romanticized in the majority of crime cinema that we are exposed to so it’s tremendously fresh to see them presented as repellent, incompetent bringers of their own fates. Pitt is a performer who seems to be getting better and better with age and here Dominik has coaxed another career best from him.  His Jackie Cogan may appear more suave and charming than his counterparts; he strolls onto screen with slicked back hair, a leather jacket and shades to die for and to the sounds of Johnny Cash yet he is thoroughly amoral and brutal.  Scenes where he quietly threatens a local hood at a bar whilst contemplating the hypocrisy of America’s founding fathers positively throb with underlying menace.  He is simply an electrifying presence. McNairy and Mendelsohn excel at making two seemingly irredeemable screw-ups sympathetic for the majority of the running time. If there’s one performance that steals the film however, it’s Gandolfini. Shuffling onto screen with a hangdog expression, immovable sunglasses and the weight of the world on his shoulders, the onetime Tony Soprano gives a tour de force presenting a onetime respected New York mobster as a shambling, train wreck of a man drowning in a sea of alcohol and prostitutes. Scenes where he rails against the younger generation whilst exhibiting the excess and degradation that a life of crime has inflicted upon him echo with grim, comic tragedy that relish in the destruction of typically macho, masculine persona. As with past films of Dominik’s there are virtually no female characters to speak of and when they are spoken of it’s in the most deplorable ways imaginable. I don’t think it’s a fault on his part but rather an apt reflection of a thuggishly brutal world were desperate men struggle to climb over one another to stay afloat.

Killing Them Softly may come on quite strong at moments but it ultimately emerges as refreshingly cynical, relevant thriller that sticks to its guns right through to its brutally honest final line. Hopefully on the basis of this, we will not have to wait so long for Dominik’s next effort.

 

Interview with Homeland Actor David Harewood

David Harewood is the British actor who plays David Estes, the director of the CIA’s Counterterrorist Centre, the the brilliant Channel 4 drama Homeland. A graduate of the Royal Academy of Dramatic Arts, Harewood has been a fixture on the London stage for many years, earning praise for his work in such plays as Sam Mendes’ Othello at the National Theatre, which later went to Broadway.

Harewood appeared in Separate Lies, written and directed by Julian Fellowes; the 2004 screen version of Shakespeare’s The Merchant of Venice, starring Al Pacino and Jeremy Irons; and Blood Diamond, alongside Leonardo DiCaprio and Jennifer Connelly.

On British television, Harewood was a regular on such series as The Vice, Robin Hood and Babyfather. He was also seen as Mandela in the television movie Mrs. Mandela. Harewood also guest stars in a number of series including Doctor Who, Strikeback and Criminal Justice.

 

A surprising number of fans of Homeland don’t realise that you’re a Brit. Explain where you’re from…

I’m from Small Heath in Birmingham. It’s hilarious to me. I’ve been acting for 26 years, in everything from Casualty to The Bill to The Vice, I’ve played Othello at The National Theatre – it’s taken me 26 years to be an overnight success, as the old gag goes, and it’s hilarious that all these Brits think that I’m American. And here in America, whenever I turn up on the red carpet, they’re all stunned to find out that I’m British.

 

That’s particularly impressive that the Americans themselves are stunned. That clearly shows that you’re doing something right.

Well, yeah. It’s always something I try to do. I’ve always tried to put character ahead of personality. I’m really glad that, even today, people kind of recognise me, they kind of know where I’m from, but no-one’s able to place me. I think that’s because I’ve done so much stuff, and hopefully it’s a testament to my ability to act.

 

Growing up in Birmingham, you were a very useful goalkeeper, weren’t you?

Very useful – The Cat, I was once known as. [Laughs] I used to play a lot as a kid, and I had trials as an All England Schoolboy. But I was never going to do it too seriously. Whenever it rained, on a wet, windy Saturday morning, I’d stand there thinking “What on earth am I doing here?” My heart was never really in it. But I played with some fantastic footballers, and it was a huge part of my life.

 

You went to RADA at the age of 18. Did that open up a whole new world for you?

Completely! I’d never really paid much attention at school – I was always a bit of a clown, really – that’s why I started acting. I wasn’t particularly attractive, and I wasn’t particularly academic, so the only way I could really get any attention was to mess about and be a bit of an idiot. At the time it was fantastic, but I suppose it was to the detriment of my education. Then I turned up at RADA, and went in on my first day, and they’re all talking about Brecht and Moliere and Dostoyevsky, and I’m thinking “Who the hell are they?” It was a real eye-opener. I really started to appreciate literature, and it was a wonderful journey. I was very lucky, I had a wonderful few years there.

 

Did you struggle to find work after you left?

I was very lucky, I came straight out and got a job. I played Romeo for Temba Theatre Company, which was the biggest black theatre company at the time. I’ve always been really, really busy, I’ve been very lucky. I think I spent the first five or six years just not stopping. I didn’t have any difficulty – the difficulty came much later on, when I got older and started to play roles with more authority on stage, that there were fewer and fewer roles for me on screen to do. That’s when I started to struggle, because of the frustration of playing really authoritative, strong roles at The National, but really struggling to match that on screen. I’ve been really, really fortunate to fall into this role [in Homeland].

 

Landing the role must have been a great thrill – acting opposite actors of the calibre of Claire Danes, Damian Lewis and Mandy Patinkin.

I hadn’t worked for a year when I got the gig – partly for personal reasons, and partly because I just couldn’t get a gig, and then suddenly to find that I was sharing a screen with them was just extraordinary. I’ve just had a wonderful year. I suppose it’s like football – you play with better footballers, you get better. I’ve really found that just by watching them and working closely with them, seeing how they prepare and how they execute, has been a real joy, and I can only hope that there are more roles for me of this calibre, working with this calibre of actor. It’s been an absolute pleasure, it really has.

 

When you’re filming something like Homeland, do you get a real sense that you’re making something that’s going to be really, really good, or can you never tell?

A bit of both. I think everybody was very surprised by the immediacy of the success of the show – we were still filming the show when it became a massive hit in America. It’s kind of a goldfish bowl filming here in Charlotte, North Carolina – I think people do watch it here, but I was really surprised when I went to New York how many people were coming up to me and saying they enjoyed the show. I think in LA it’s such a huge show – it’s on posters and billboards everywhere, and this isn’t that kind of town, where there are billboards for TV shows.

 

David Estes is a fairly ambitious character, intent on climbing the greasy pole. What are your feelings towards him?

To be honest with you, I really struggled with him during the first season – I just didn’t know who he was. I told that to the writers at the end of the season, and they’ve done a fantastic job of really filling him out this year and giving him much more of a personality. Last year he was just the authority figure in the background who was always anti-Carrie. That was difficult, because I didn’t know why he had such antagonism towards her, and I didn’t know who he was. I only really discovered that when I played a scene right at the end of the season, when I played a scene with Mandy Patinkin, when you realise that actually he is implicated, and inextricably linked to this whole bomb attack on Abu Nazir, and how much he’d buried all of that information, and how much he was linked to the Vice President. I didn’t know any of that until the very last couple of episodes. It was a huge revelation to me that the reason why I’d been so antagonistic about Carrie finding out about Abu Nazir was because I’d been responsible for this drone strike. It was a huge piece of the jigsaw for me, when I read those scenes, and it’s been like taking a cork out of a bottle. This season has been fantastic for me, because now I know who he is, I understand him, I like him. Yes, okay, he may have sold his soul to a certain extent to get where he wants to, but who wouldn’t? A lot of us, to get where we want to be, would do what we can. It’s fascinating being out here in the world of American politics during an election. You see the real dirty side of politics, with the ads they’re running. If you want to get where you want to get to, you might have to do things that are seemingly unpalatable.

 

Why do you think they went for two Brits in key roles in the series?

That’s the million dollar question, isn’t it? It’s what everybody’s been asking. And we’ve got a third Brit – we’ve got Rupert Friend joining in this series. The director just says that they were the most interesting tapes that he saw.

 

When you’re on set, between scenes, or when you break for lunch, do you keep talking in an American accent, or do you revert back?

It’s quite extraordinary – all three of the British actors have almost an unspoken rule that nobody’s ever mentioned – we nearly always stay in our American accents when we’re at work. Damian’ll come to work and I’ll be like [puts on American accent] “Hey, man, how’s it goin’?” And he doesn’t look at me and say “What the f*** are you talking like that for?” It’s just unspoken. Every now and again one might drop out of accent and talk about the Olympics, or about something political that happens in the country, like the riots last year, when you have to get out of the accent. But most of the time you just forget, it becomes second nature.

 

You’ve mentioned that it’s election year in America. I hear that Homeland is Barack Obama’s favourite show. Is that a great thrill?

Oh it is. He’s metnioned it several times in interviews – it’s a fantastic thrill. It’s unfortunate that we were on hiatus when he was here for the Democratic convention. I’m sure he knows that we film the show here in Charlotte. Apparently, because his big speech was moved from the stadium to indoors because of the weather, he might be coming back to the state just to do something for the volunteers. Wouldn’t it be amazing to get a visit from the President?

 

Dare I say that it probably wouldn’t be as much of a thrill to have Mitt Romney visit?

Not really! I am astonished it’s so close, to be honest with you. It’s just beyond me that people are even considering him. But there are a lot of people who aren’t convinced by Obama. A lot of people are saying they’re not even going to bother voting this time. That’s bad, that people feel that politics doesn’t mean anything to them. That’s the scary part, that he’s going to lose because the people who voted for him last time just can’t be bothered this time.

 

Season 2 is about to Premiere in the US. Are you excited?

I’m really genuinely excited. From a personal point of view, it’s great because Estes has been given a lot more to do in this series. But it’s just such a fantastic show, I think people are going to be really, really excited to see it. I’ve read so many tweets and blogs where people have said it’s just a one season show which they can’t take any further, but these writers are fantastic. They’ve managed not only to recreate the same amount if tension, but to ratchet it up again. I think fans of the show are going to be very, very pleased.

 

Are you allowed to give us any hints about what we can expect from the series?

I can tell you that the second season begins in Israel. And I can tell you that Carrie will be back in the CIA in some capacity, and that, from what I hear, though I still don’t know, the mole will be revealed. You’re all going to be very surprised.

 

You were awarded an MBE at the beginning of the year. How did that feel?

Absolutely tremendous. It remains, and always will be, one of the proudest days of my life. To have gone there and got that pinned on, and had my daughter and mum be at the palace watching me get that award, it’s one of the proudest things that ever happened to me. I’m really, really chuffed about it.

 

Series 2 of Homeland will be on Channel 4 in October.

Meeting Place Director Jason Croot Tells All

Frost caught up with super talented visionary director/actor/producer Jason Croot. [disclaimer: I play Grace Holloway in this film]

 

What was the idea behind Meeting Place?

Hello frost readers, We wanted to create something original and after having several ideas we kept it simple [by] not have any back story and filming actors who create there own scenes I love improvisation and Meeting Place is 100% improv.
Tell us about the film.

The film is a montage of conversations edited together a day in a London Cafe the twist is 80% of the conversations are between 2 actors who are the same person which gives the film a certain unique edge
How did you cast?

I like to work with actors I’ve worked with before also new actors fresh out of drama school we have a real mix in the film and some fab acting displays
What was the hardest part of the process?

Dare I say it the now getting people to watch the film I don’t have the funds to market like the big boys since giving my first feature away for free which as notched up 10,000 views in 8 months, I hope people will enjoy Meeting Place it’s a entertaining film
You act, write and direct. What is your least favourite thing to do when making a film? How hard is it to juggle everything?

I love directing and the process of filmmaking it is time consuming but rewarding when you receive good feedback and reviews, the acting is with me and I strive to keep learning and improving
Do you have any favourite characters in it?

I was blown away by some of the improvisation and have so many scenes I like I can’t really narrow it down
What did you shoot on?

We shot on a Sony HDV
What was your main inspiration for the film?

Jim Jarmusch’s Coffee and Cigarettes we did not try to copy it, but it is a great film and very simple but watchable
Where can people see the film?

I have had a few enquiries of distribution but I’ve decided the best method for this film is stay in control and I stumbled on a few good online mediums we will anounce the sites on our facebook page http://www.facebook.com/#!/MeetingPlaceFeatureFilm

What’s next for you?

I have few irons in the fire on acting and the directing front but always looking for new productions to work on

 

The Inappropriateness of Love By Paloma Kubiak | Theatre Review

Intimately showcased in the upper decks of an Islington theatre bar, The Inappropriateness of Love delves into the complexities of the emotion, capturing each character’s hope and struggle to love and be loved. 


Performed by Paradigm, a new London fringe repertory company, and written/directed by Sarah Pitard, the dark comedy explores the entangled relationships between six characters, linked together by the affable yet somewhat nerdy, Scooter.  

 

The plot is driven by Scooter’s compulsion to attend his old university friend’s wedding with a ‘plus one’, rather than face the embarrassment and reality of his impending loneliness.

 

As the story unfolds, the audience is invited to share Scooter’s experience of risk-taking and rejection when it comes to his therapist Jessica, the stilted relationship with his elderly mother and his ignorance of best friend Zoey’s feelings towards him.

 

In other serious scenes dealing with divorce, cheating and break-ups, the play is given a slight comedic uplift through outspoken, tarty receptionist Stephanie who’s dating senior manager, Darren (therapist Jessica’s ex-husband).

 

The audience warms to her character, perhaps because of her evident vulnerability and the one-night stand scene with Scooter also provides an awkward, yet funny combination.

 

In the same way Pitard wrote ‘there’s a little bit of me in all the characters’, I too was reminded of those first pangs of love for a professional figure, a doomed office romance and the tumultuous period with an older, divorced lover.

 

The Inapproriateness of Love exposes the vulnerability of the heart through thoroughly convincing acting and scenes.
For it’s premier performance this week, it’s well worth seeing at the Hen and Chickens Theatre till 29th September 2012.

www.paradigmtheatrecompany.co.uk