Michael Fassbender on Being Poor and Oscars.

Michael Fassbender has done a fascinating interview with the Hollywood Reporter. You can read the full article at the link, but here are a few good quotes.

On how he survived years of struggle: “I would say to myself, I’m good enough. That became my mantra.”

ON GOING NUDE, MEETING SEX ADDICTS AND USING YOUTUBE TO HONE HIS CRAFT
Fassbender says what attracted him to the role of Brandon, a sex addict in the Fox Searchlight indie drama Shame– produced by See Saw Films and Alliance–was the chance to explore the desperate search for connection; playing a young Jung in A Dangerous Method allowed him to morph into a historical character. “I was a bit worried that I’d perhaps bitten off more than I could chew,” he says. “But I’m always interested in trying to investigate different personalities. I want to keep myself guessing and keep the fear element alive, so that I don’t get too comfortable.” Jeremy Thomas, a producer on Dangerous Method, says Fassbender who was director David Cronenberg’s first choice to play Jung read the script over and over again, even during production, something Thomas has never seen an actor do. “It’s one of his secret weapons,” he says. Fassbender says he’s grown deft at using YouTube to study accents (his own is Irish) or to watch a grainy interview with an elderly Jung. For Shame, he met with recovering sex addicts: “One man had the same intimacy issues that Brandon had, so it was very helpful to me, and I was very grateful that he opened up.” Additionally, he says there was no time to feel too self-conscious when shooting Shame, says Fassbender. It helped that director Steve McQueen kept the set intimate. “We moved very fast. We shot it in 25 days, so I kind of had to get over it and get on with it,” he says.

THE ACTOR ONCE LIVED WITH REJECTION, A HOLE IN HIS WINDOW
The son of two restaurant owners, Fassbender moved to London at 19 and attended the Drama Centre. “It took me a while to come to grips with how expensive London was. My parents helped me out, but we never had a lot of money,” he says. “So it was very sticky the first three or four years between paying drama school fees and surviving. The first place I lived was a studio I shared with a Brazilian girl. We weren’t seeing each other or anything, but I remember there was a big hole in the window and it was so cold in the winter.” Fassbender’s first acting role of note was in HBO’s Band of Brothers, which aired in 2001. He was confident it would lead to other offers. It didn’t. “I came to Los Angeles and did auditions for television. I made a terrible mess of most of them and I was quite intimidated,” he recalls. “I felt very embarrassed and went back to London. I got British television jobs intermittently between the ages of 23 and 27, but it was very patchy.” Between roles including a Guinness commercial (in which his character swims from Ireland to New York) and a one-off, Agatha Christie’s Poirot, he took odd jobs to survive, unloading trucks or bartending. He even did market research. “I had to call people who had filed complaints about the Royal Mail and see if they were happy with how their grievances were dealt with. Most of the time they weren’t,” he says. All along, he says, “My goal was for acting to become my main income. I would say to myself, ‘I’m good enough.’ That became my mantra.”

Robert Pattinson; ‘I don’t mind getting naked’.

Robert Pattinson has told The Sun that he does not mind getting naked and stated that it is ‘more difficult for actresses’.

In an interview that should delight his many female fans the 26-year-old Twilight star says; “I don’t really have a problem with those scenes or nudity in general. I think it’s more complicated for actresses who are worried about how those scenes can be exploited by the media and how naked photos are constantly getting posted on the internet.”

Pattinson was talking about his role in Cosmopolis. The film is directed by David Cronenberg.

He says: “The sex scenes with Patricia [Patricia McKenzie] were more difficult.

“It was kind of strange but in the script we were supposed to climax at the beginning of the scene then have this discussion afterwards.

“But David had the brilliant and inspired idea to have us talk while we were having sex.”

He also said that he was grateful to be offered the role and his hopes of breaking away from the Twilight franchise.

He says: “When you’re part of an immensely popular film franchise like Twilight, it tends to overwhelm anything else you’re doing while those films are still part of the public consciousness.

“Now at least a film like The Hunger Games is gaining a lot of attention. That’s a good thing for me because I can break free from a certain perception that’s been formed about me through my character in Twilight.

“It’s ironic but I was offered the part in Cosmopolis on the last day of shooting on Breaking Dawn. It was an incredible feeling to be getting a call from David Cronenberg at that particular moment.

“It also reminds me that I should be very grateful for what the Twilight films have done for me.”

He also says; “It’s up to you to make the most out of your life.” Obviously a wise man.

And Action! The Making of Prose & Cons.

So we finished with the first location for Prose & Cons. We have 53 scenes in the bag. 53 scenes. That’s 50% of our movie. Almost. The most surprising thing was how easy it was. Not that it wasn’t hard, it was. It just took me so long to make a film that I guess I thought it would be nearly impossible. It was hard work, but if you work hard it’s no biggie.

Steve McAleavy and Catherine Balavage direct Prose & Cons

Steve was amazing. We are filming on a Canon 60D and Steve is operating it. Steve is the producer/editor/co-director and all-round great guy. Steve and I both have equipment but we mostly used his. He has a lot of Phillip Bloom stuff, and a Fig rig. I haven’t asked how much it all costs and I don’t think he wants me to; adding all of that up will only be painful.

The first actor to turn up is Lynn Howes. Lynn is not only talented but very professional. She knows the script inside out, is good with continuity and thinks of the little things that no-one else does. Jack Bowman plays her boyfriend in the film. Jack is perfect as Jamie. He is very talented and Jack is also fun.

Next up is Bo Wilson. Bo plays her part beautifully. She has a day job as an editor at the Evening Standard, gets up at 5am but still manages to get to Kingston in the evening and give a brilliant performance.

We filmed in Kingston, a beautiful area. We didn’t do too many takes and the actors were professional. Although I feel that because I cast some of my friends they don’t show the proper amount of respect for me as the director. I try to be firm and tell myself; hey, at least they turned up.

Clea Myers came and played my aunt. Clea is in a poignant scene in the film and she is an incredibly giving actress. In acting it matters to act opposite someone else who is talented. The better the actor the better you will be. Clea is obviously a film actress of note. She is one of the most talented people I have ever worked with. Acting on film is thinking, but thinking hard. I read that in Mel Churcher’s book, and it is spot on.

Before we start filming I realise that our of all of the scenes we are filming I am in about 90% of them. That is a lot of lines. Directing and acting is not necessarily hard. As long as you watch the footage back and change if it is not working.

One of the actors drop out at the last minute and we have to deal with the stress of casting while we are dealing with the stress of filming. Fun. Luckily, after a few calls the wonderful Monty Burgess stepped into the breach. He gave a wonderful performance and I cannot imagine anyone else doing the part.

Steve doesn’t have any crew but still manages to do brilliant shots. Steve says that the next time he wants crew and at one point says he doesn’t know why he indulged me: “We should have made a short”. he says. He’s joking. I think.

We had a brilliant time. When you make a film you become like a family. Few things went wrong apart from a broken lens cover (not the lens, thank god), a broken HDMI cable and a parking ticket.

I am very excited about filming the rest of Prose & Cons. I will keep you all updated and get Steve to write something to.

Prometheus | Film Review


This film is clearly a prequel, although Ridley Scott at one point denied it. Long awaited and much discussed, when the trailer was released a while back the internet went mad. The film is visually stunning and has brilliant performances by Michael Fassbender and Noomi Rapace. Rapace plays a driven and intense scientist who’s longing for a child is used against her and twisted in a horrific way. Fassbender is an android made to look like a humanoid so he doesn’t scare the crew.

This film comes 33 years after the first Alien movie and has some elements of the previous movies; a crew on a ship called Prometheus with an android, a scene like the alien coming out of John Hurt but much more icky.

There has been some complaints that the film is slightly predictable, but what monster movie isn’t? It is a monster movie for god’s sake. Prometheus is beautifully made, well acted, thrilling and entertaining. Is also has excellent production design and incredible visual effects. It is an ambitious and impressive film. Definitely worth a watch.

George Lucas Retires.

George Lucas is set to retire and has named Kathleen Kennedy as his successor.

Lucas will work with the Academy-award nominated producer during the transition. Lucas will then become co-chairman of the board of Lucasfilm and will continue as CEO.

“I’ve spent my life building Lucasfilm and as I shift my focus into other directions I wanted to make sure it was in the hands of someone equipped to carry my vision into the future,” said Lucas,

“It was important that my successor not only be someone with great creative passion and proven leadership abilities, but also someone who loves movies,” Lucas added. “I care deeply about my employees — it is their creativity and hard work that has made this company what it is today. As the company grows and expands I wanted to be sure the employees of Lucasfilm have a strong captain for the ship. I also care deeply about our fans and it was important to have someone who would carry on the passion and care that I’ve given the films over the years. So for me Kathy was the obvious choice, she is a trusted friend and one of the most respected producers and executives in the industry.”

Lucas friend and collaborator Steven Spielberg said, “George’s prescience is once again proven by his choice of my long time producing partner, Kathy Kennedy, to co-chair Lucasfilm. Kathy has been a member of both of our families going into a fourth decade so it does not feel like she is going to another galaxy far far away. She will get just as much support from me with Lucasfilm as George has given both of us all these years.”

“George is a true visionary,” said Kennedy. “I’ve seen him build Lucasfilm from a small rebel unit in Northern California to an international fully integrated entertainment company. I’m excited to have the chance to work with such an extraordinary group of talented people. George and I have talked about the enormous opportunities that lie ahead for the company, and as George moves towards retirement I am honored that he trusts me with taking care of the beloved film franchises. I feel fortunate to have George working with me for the next year or two as I take on this role–it is nice to have Yoda by your side.”

Adam Deacon Profile | Film

In the film Payback Season, actor, director, writer and BAFTA-Orange Rising Star award winner Adam Deacon plays the lead role of Jerome Davies, a young man who has risen above his harsh beginnings of life on a council estate to achieve celebrity status as a premier league footballer.

Adam describes the role: “Jerome is living the high life, he’s got the lovely car, the penthouse flat, but fundamentally his family are still living on a council estate, and he has to go back there. I think Jerome’s dilemma is trying to balance his old life with the new life. Old friends start appearing and before you know it he’s involved in extortion. Jerome has tried to leave that life behind him. For me, it was really nice to play a ‘normal’ character; I wouldn’t call Jerome humble, but he’s just trying to do his thing. I also enjoyed playing a character who spoke proper English,” he laughs. “I am not playing the typical ‘d’you get me Blud’ thing, we were actually asked to tone it down.”

“I think it’s a great story as well, you don’t often get to hear about what happens to people on the other side, and I am sure this sort of thing goes on…it’s a great part to play especially after Anuvahood. It’s also nice to get a romantic role, in some of my films I get a girl, it all goes wrong and I’m gone, so it was really good to have a proper romance for once, and Nichola is a lovely girl as well,” he says.

“I definitely believe it’s a story that needs to be told; I am strong believer in films having a proper story, it’s no good just having a kid running round with guns and knives, we have to start thinking out of the box”

Deacon is currently writing another comedy film. “I made a lot of films last year for other people, and this year I have kind of got my heart set on an Adam Deacon film,” he laughs. “These are exciting times.”

Deacon has come a long way from his Stoke Newington School where he was deemed “a joker”, his natural antipathy to academia exacerbated by the “madness” at home. At 12, noticing his enjoyment of music and drama classes, his head of year suggested he apply for the weekly after-school course at the nearby Anna Scher School. He took a Saturday job to pay for a preparatory summer school and was immediately fast-tracked on to the course by Scher herself, who he portrays as a cross between a mentor and a fairy godmother.

“She’d get the rowdiest London street kids – who were in trouble with the police and stuff – and get them to read scripts properly,” he says. “There were kids there with jobs on EastEnders but she never let anyone act starry, or do stuff for money: she wouldn’t let kids do adverts before they were 16, in case they didn’t know what they were selling. I owe everything to that woman. If that opportunity hadn’t been there for me at a young age, I might have ended up inside,” he says ruefully.

Deacon, from Hackney, East London, began acting at the age of 12. His early career included work with Y Touring Theatre Company, with which he appeared in a number of tours including Cracked by Nicola Baldwin.

Deacon made his name as the lead in Noel Clarke’s Adulthood and co-starred in West 10 LDN, a Kidulthood-like TV program made by Noel Clarke. He has also starred as ‘Bones’ in an MTV show called Dubplate Drama. His next role was in 4.3.2.1, a heist movie, released in June 2010 which also starred Tamsin Egerton, Emma Roberts and Noel Clarke, who directed the film.

Recently Adam co-wrote, co-directed and played the lead role in Anuvahood, which was released on March 18, 2011. The film is described as, ‘A pulls-no-punches, coming-of-age story centering on one directionless hopeless shotter, who finds his true worth in the face of urban adversity.’

Adam has featured in various music videos including; Bashy’s “Who wants to be a Millionaire” and Chipmunk’s Chip Diddy Chip. He is also a musician and musical performer most noted for his two tracks on the soundtrack to Adulthood. The tracks are: ‘Adamhood’ and ‘On It 08’.

His television roles include The Boarding School Bomber and more recently The Royal Bodyguard starring David Jason.

Pre-Cannes Networking Event | Social Diary

Frost Magazine proudly sponsored Sheepish PR’s Pre-Cannes Networking Event. Director Howard J Ford, Valeria Bandino, actress, Normski (TV host, DJ), Marc Zammit (actor), Louise Glover (Model of the year and cover model at Playboy), Emma Cony (from Take Me Out), Johny Pach (Sky TV presenter), Robbie Moffat from Palm Tree Entertainment, and Mac Chakaveh, president of the Marbella Film Festival all attended, as did the wonderful Paola Berta.

© S. Dean Photography. Thanks to Paola Berta, Sheepish PR, Beverly Hills UK – Film Society & Events –

Moonrise Kingdom | Film Review

It’s 1965, and we’re on New Penzance Island off the cost of New England. The turbulence of the nation is far away, there’s a storm on the horizon and young love is in the air which has the adults in a fit. This island is the latest whimsical destination of Wes Anderson, the pin up director of commercially successful American independent cinema who has built a loyal fan base since the late 1990s with one of the most unique and recognisable styles in mainstream cinema today.

On said island Anderson introduces us to young Khaki scout Sam and intelligent yet isolated Suzy (newcomers Jared Gilman and Kara Haywood), two twelve year olds who meet by chance and instantly fall for one another. Hated by his fellow scouts, Sam has no hesitation in stealing several camping supplies, quitting the troop and absconding with Suzy who insists on bringing a record player, a Francoise Hardy LP and her collection of science fiction novels. Suzy’s unhappily married parents (Bill Murray and Frances McDormand) are furious and join in the search party led by sad sack Police Captain Sharp (Bruce Willis) and Scout leader Randy Ward (Edward Norton). Time may not be on their side however as the ominous shadows of a hurricane and ‘Social Services’ () bare down upon New Penzance…

From the very opening we clearly are in ‘Wes World’. A gorgeous tracking shot through the elaborate set of Suzy and her family’s home highlights many if not all of Anderson’s directorial flourishes. The very particular framing of the camera and its movement, the positioning of actors and their props, the autumnal colour scheme and frequent overhead shots of hands and key items have defined his style over seven films. I also really admired the incredibly retro titles which even have the traditional serial number beneath the title. His understanding of mise-en-scene (‘what’s in the frame’ for the film buffs) is immediately recognisable and marks him out as one of the few directors working today whom you could instantly recognise from a single frame and Moonrise Kingdom is no exception. His critics accuse him of being to forced in his style and becoming an obstruction to the narrative yet I personally applaud a director who is able to make a film that is clearly their own and can be recognised as a true auteur in the industry.

Anderson is also highly regarded for his skill at marshalling ensemble casts and here he has amassed yet another fine one. Bruce Willis and Edward Norton have a lot of fun subverting their typical ‘dark’ image with fine take on desperate, straight man against the world vibe and it is the former who has the most fun in the role. It could be seen that Willis is deliberately referencing to his back catalogue since he is playing a police officer yet he seems to be playing more to his skills as a comedic actor in the days before Die Hard. The sight of him roaming around the landscape in a beat up station wagon with a bad toupee and Hank Williams crooning away on the soundtrack makes it hard to suppress a chuckle. Previous Anderson stalwarts Bill Murray and Jason Schwartzman tackle their material well and prove further to be the perfect foil for the dry, witty humour. I wish the same could be said for the female performers of the story. Frances McDormand is a brilliant actress and always a joy to watch yet here the role of Suzy’s mother she is not given enough material to form a satisfactory character arc; a sub plot involving an extramarital affair is wrapped up with a mere shrug. Also the magnificent Tilda Swinton is introduced a bit too late into the story to create a fully convincing antagonistic force though I couldn’t help but giggle every time she referred to herself in the third person as ‘Social Services’.

Thankfully it is in its key casting that Moonrise Kingdom truly scores. As the young couple, Gilman and Haywood are simply fantastic and carry the entire film effortlessly. At first their actions appear hopelessly naive yet this is undercut with genuine pathos of young love. There is a deliberate attempt on behalf of the writers to juxtapose the simplicity of their courtship against the dour complexity of the adults of the island. The films setting at a time when this part of America had not yet experienced the turbulent times that would reverberate through the nation’s history is offset with quaint and quiet charm that is genuinely beguiling and in the case of the young love story, quite moving. There is a yearning for a way of American life that simply does not exist today and there is a constant air of slight melancholy running throughout. As the social outcasts discover surprising truths about one another, Anderson focuses on the minuet details of their romance that steadily grow on you and pay off very well indeed.

His critics may complain, but Wes Anderson fans will be on cloud nine with this one and with good reason. With his typically assured style and charm and wit to spare, this easily stands amongst his best work. I personally cannot wait to see what he does next and will always be first in line to enter ‘Wes World’…