Hello and welcome back to our first news roundup of 2018! Here’s our pick of the news from across theatre, TV, and film. It’s everything an actor needs to know and all you can’t afford to miss. How will 2018 be different from 2017?The internet is rife with predictions for how 2018 will shape up. Screen Daily waited until New Year’s Eve to post their own look in the crystal ball. Their key storyline is the one that affects everyone in the industry: How will we change in response to the peal of harassment claims against senior figures? The Weinstein revelations hit Hollywood hard but lasting damage has been wrought in London, too. The allegations against actor and artistic director Kevin Spacey during his time at The Old Vic came alongside allegations against respected directors Max Stafford-Clark and Ramin Gray. These events shook London theatre to the core and...
- 1/3/2018
- backstage.com
Louise Osmond’s documentary is an engrossing study of this mild-mannered giant of British social realism
Louise Osmond’s documentary tribute to Ken Loach could not have been better timed. His powerful, simple new movie, I, Daniel Blake, won the Palme d’Or at Cannes and underlined a colossal international reputation. It’s an engrossing study of this gentle, mild-mannered director with a core of steely determination, who made his bones (as they say in Hollywood) in the BBC of the 1960s, which gave a new generation of working-class writers and film-makers their chance. This has excellent contributions from Tony Garnett and Alan Parker, though it could have given more space to the late Barry Hines, the novelist and screenwriter with whom Loach worked on Kes and other films. Loach emerges as diffident and almost donnish in interviews, although his uncuddly side is revealed in his continuing anger about the...
Louise Osmond’s documentary tribute to Ken Loach could not have been better timed. His powerful, simple new movie, I, Daniel Blake, won the Palme d’Or at Cannes and underlined a colossal international reputation. It’s an engrossing study of this gentle, mild-mannered director with a core of steely determination, who made his bones (as they say in Hollywood) in the BBC of the 1960s, which gave a new generation of working-class writers and film-makers their chance. This has excellent contributions from Tony Garnett and Alan Parker, though it could have given more space to the late Barry Hines, the novelist and screenwriter with whom Loach worked on Kes and other films. Loach emerges as diffident and almost donnish in interviews, although his uncuddly side is revealed in his continuing anger about the...
- 6/2/2016
- by Peter Bradshaw
- The Guardian - Film News
Actor Nigel Terry has passed away at the age of 69.
Famed for playing King Arthur in John Boorman's Excalibur in 1981, opposite Helen Mirren, Terry passed away from emphysema on April 30.
He made his big-screen debut in 1968's The Lion in Winter alongside Peter O'Toole, Katharine Hepburn and Anthony Hopkins.
The actor took lead roles in Caravaggio (1986) and War Requiem (1989) and a number of others, but most of his work was on the stage.
He worked extensively at the Royal Court in the '70s in productions such as Edward Bond's The Fool and Caryl Churchill's Light Shining in Buckinghamshire, and for the Royal Shakespeare Company in 'Tis Pity She's a Whore and Julius Caesar.
Terry continued his stage work throughout the '80s under the direction of the likes of Danny Boyle and Max Stafford-Clark.
His last film was 2004's epic Troy starring Brad Pitt and Orlando Bloom,...
Famed for playing King Arthur in John Boorman's Excalibur in 1981, opposite Helen Mirren, Terry passed away from emphysema on April 30.
He made his big-screen debut in 1968's The Lion in Winter alongside Peter O'Toole, Katharine Hepburn and Anthony Hopkins.
The actor took lead roles in Caravaggio (1986) and War Requiem (1989) and a number of others, but most of his work was on the stage.
He worked extensively at the Royal Court in the '70s in productions such as Edward Bond's The Fool and Caryl Churchill's Light Shining in Buckinghamshire, and for the Royal Shakespeare Company in 'Tis Pity She's a Whore and Julius Caesar.
Terry continued his stage work throughout the '80s under the direction of the likes of Danny Boyle and Max Stafford-Clark.
His last film was 2004's epic Troy starring Brad Pitt and Orlando Bloom,...
- 5/4/2015
- Digital Spy
Hanif Kureishi's muse has long been transgression: dazzling early success was followed by a sex-and-drugs phase, family falling-out and a lacerating novel about marital breakdown. Now, with The Last Word, has he finally pinned down who he really is?
The first time I met Hanif Kureishi it was the mid-80s, and we talked about writing fiction for Faber and Faber whose list I was directing. Kureishi came into my office like a rock star and I remember thinking that he did not seem in need of a career move. He was already riding high on the international success of his screenplay, My Beautiful Laundrette.
In fact, Kureishi was cannily pondering his next step. He was on the lookout for a means of self-expression that might sustain a way of life and over which he could have some control. Movies, he said, were chancy, a gold-rush business. There was...
The first time I met Hanif Kureishi it was the mid-80s, and we talked about writing fiction for Faber and Faber whose list I was directing. Kureishi came into my office like a rock star and I remember thinking that he did not seem in need of a career move. He was already riding high on the international success of his screenplay, My Beautiful Laundrette.
In fact, Kureishi was cannily pondering his next step. He was on the lookout for a means of self-expression that might sustain a way of life and over which he could have some control. Movies, he said, were chancy, a gold-rush business. There was...
- 1/19/2014
- by Robert McCrum
- The Guardian - Film News
Stage and screen actor best known for his roles in Only Fools and Horses, The Vicar of Dibley and Harry Potter
The talented and idiosyncratic character actor Roger Lloyd Pack, who has died of pancreatic cancer aged 69, achieved national recognition, and huge popularity, as Colin "Trigger" Ball, the lugubrious Peckham road sweeper in John Sullivan's brilliantly acted comedy series Only Fools and Horses. He appeared alongside David Jason's Del Boy and Nicholas Lyndhurst's "plonker" Rodney from 1981 for 10 years, with many a seasonal "special" for another decade.
This success cemented a career in which, up to that point, he had played important roles at the Royal Shakespeare Company, the National Theatre and the Almeida theatre in north London – he was a notably anguished Rosmer in Ibsen's Rosmersholm at the National in 1987, opposite Suzanne Bertish – without recognition any wider than usually appreciative reviews.
His enhanced status led to another...
The talented and idiosyncratic character actor Roger Lloyd Pack, who has died of pancreatic cancer aged 69, achieved national recognition, and huge popularity, as Colin "Trigger" Ball, the lugubrious Peckham road sweeper in John Sullivan's brilliantly acted comedy series Only Fools and Horses. He appeared alongside David Jason's Del Boy and Nicholas Lyndhurst's "plonker" Rodney from 1981 for 10 years, with many a seasonal "special" for another decade.
This success cemented a career in which, up to that point, he had played important roles at the Royal Shakespeare Company, the National Theatre and the Almeida theatre in north London – he was a notably anguished Rosmer in Ibsen's Rosmersholm at the National in 1987, opposite Suzanne Bertish – without recognition any wider than usually appreciative reviews.
His enhanced status led to another...
- 1/17/2014
- by Michael Coveney
- The Guardian - Film News
Mojo | Antony And Cleopatra | 12 Angry Men | Solid Air | A Strange Wild Song; The Man In The Moone | The Recruiting Officer
Mojo, London
There's a star-studded approach to casting in Jez Butterworth's play about London gangs, Mojo. Harry Potter's Rupert Grint makes his stage debut after years of Ron Weasley, while Downton Abbey's Mr Bates (Brendan Coyle) adds to his years of fine theatrical endeavour. The top-notch cast also includes Ben Whishaw (Skyfall, Peter And Alice) and Daniel Mays (Mrs Biggs). Mojo, featuring rival gangs and grisly goings-on in 1950s Soho over the kidnap of a teenage pop star, was the first debut play to be performed on the Royal Court's main stage in 40 years since the kitchen-sink classic Look Back In Anger. It was a huge success, becoming a film in 1997, and Butterworth has since written the multi-award-winning Jerusalem. A surefire hit return.
Harold Pinter Theatre, SW1, Wed...
Mojo, London
There's a star-studded approach to casting in Jez Butterworth's play about London gangs, Mojo. Harry Potter's Rupert Grint makes his stage debut after years of Ron Weasley, while Downton Abbey's Mr Bates (Brendan Coyle) adds to his years of fine theatrical endeavour. The top-notch cast also includes Ben Whishaw (Skyfall, Peter And Alice) and Daniel Mays (Mrs Biggs). Mojo, featuring rival gangs and grisly goings-on in 1950s Soho over the kidnap of a teenage pop star, was the first debut play to be performed on the Royal Court's main stage in 40 years since the kitchen-sink classic Look Back In Anger. It was a huge success, becoming a film in 1997, and Butterworth has since written the multi-award-winning Jerusalem. A surefire hit return.
Harold Pinter Theatre, SW1, Wed...
- 11/9/2013
- by Mark Cook, Lyn Gardner
- The Guardian - Film News
More Bard, more Chekhov, and some choice revivals pepper this week’s lineup of new plays on the boards, with some notable stars getting their feet wet in classics (Alison Pill, Elizabeth Olsen, Alessandro Nivola, Mary Elizabeth Mastrantonio), and expect more of the same this spring: Toni Collette, Michael C. Hall, and Oscar winner Marisa Tomei will join recent Best Actor Tony recipient (and acclaimed scribe) Tracy Letts in a new play by Will Eno on Broadway. Moreover, buzz has restarted that James Franco may finally make his long-awaited Main Stem debut in a revival of Of Mice and Men...
- 10/19/2013
- by Jason Clark
- EW.com - PopWatch
More Bard, more Chekhov, and some choice revivals pepper this week’s lineup of new plays on the boards, with some notable stars getting their feet wet in classics (Alison Pill, Elizabeth Olsen, Alessandro Nivola, Mary Elizabeth Mastrantonio), and expect more of the same this spring: Toni Collette, Michael C. Hall, and Oscar winner Marisa Tomei will join recent Best Actor Tony recipient (and acclaimed scribe) Tracy Letts in a new play by Will Eno on Broadway. Moreover, buzz has restarted that James Franco may finally make his long-awaited Main Stem debut in a revival of Of Mice and Men...
- 10/19/2013
- by Jason Clark
- EW.com - PopWatch
She had warmth, wit and talent. But most of all, she embodied the quality of friendship, recalls the playwright
Anna Massey was for a long time acknowledged and admired as the owner of the best fictional voice on BBC radio, and if you were lucky enough to meet her in person, then you would recognise that the voice was the woman: funny, warm, intelligent and lucid, with a sharp edge which very quietly but firmly kept you in line.
She and I were friends for 40 years, and if she hadn't died so soon, we intended to be friends for a great deal longer. In fact, when I think of friendship, I think of Anna: regular phone calls, very good jokes and steadfast loyalty.
She appeared in my first play, Slag. It had made a fair splash at Hampstead in 1970 when I was just 23, but the following year the Royal Court...
Anna Massey was for a long time acknowledged and admired as the owner of the best fictional voice on BBC radio, and if you were lucky enough to meet her in person, then you would recognise that the voice was the woman: funny, warm, intelligent and lucid, with a sharp edge which very quietly but firmly kept you in line.
She and I were friends for 40 years, and if she hadn't died so soon, we intended to be friends for a great deal longer. In fact, when I think of friendship, I think of Anna: regular phone calls, very good jokes and steadfast loyalty.
She appeared in my first play, Slag. It had made a fair splash at Hampstead in 1970 when I was just 23, but the following year the Royal Court...
- 12/12/2011
- by David Hare
- The Guardian - Film News
Author and playwright best known for his literary drama Tom and Viv
Michael Hastings, who has died aged 74, shot to prominence in the first wave of new playwrights at the Royal Court in the 1950s. His best known play, Tom and Viv, about the difficult marriage of Ts Eliot and Vivienne Haigh-Wood, was presented there in 1984, by which time he was well established as a novelist, biographer and author of short stories. He was an unclassifiable writer, despite his sporadic allegiance over the years to the Royal Court. Much of his work is imbued with his experience of travelling in Spain, Kenya and Brazil. The fractured domestic relationships which he documented in Tom and Viv, and in his last West End play, Calico (2004), reflect his own difficult childhood and a lifetime interest in psychoanalysis.
Hastings was brought up by his mother, Marie, in a council flat in Brixton, south London.
Michael Hastings, who has died aged 74, shot to prominence in the first wave of new playwrights at the Royal Court in the 1950s. His best known play, Tom and Viv, about the difficult marriage of Ts Eliot and Vivienne Haigh-Wood, was presented there in 1984, by which time he was well established as a novelist, biographer and author of short stories. He was an unclassifiable writer, despite his sporadic allegiance over the years to the Royal Court. Much of his work is imbued with his experience of travelling in Spain, Kenya and Brazil. The fractured domestic relationships which he documented in Tom and Viv, and in his last West End play, Calico (2004), reflect his own difficult childhood and a lifetime interest in psychoanalysis.
Hastings was brought up by his mother, Marie, in a council flat in Brixton, south London.
- 12/1/2011
- by Michael Coveney
- The Guardian - Film News
The Arbor
Directed by Clio Barnard
2011, USA
In her video instillation piece Trauma 2000, the British conceptual artist Gillian Wearing placed want ads in various newspapers, seeking individuals willing to be taped while detailing their most painful, intimate stories. Of those who volunteered, many opened up about the emotional, physical and sexual abuse they had suffered as children and as spouses. To make the telling bearable – indeed, possible – Wearing employed a device: each volunteer donned a cheap, near-featureless plastic mask that hid the entire face except for the eyes. The masks add an additional layer of aesthetic distance, erecting a second artifice between subject and viewer, this one more readily visible than the camera itself. Like the camera, the eye slits focus both attention and expressive intent. We are drawn to the way the pupils dance in the white of the sclera, the blinks and darts moving in time with the timber of the voice.
Directed by Clio Barnard
2011, USA
In her video instillation piece Trauma 2000, the British conceptual artist Gillian Wearing placed want ads in various newspapers, seeking individuals willing to be taped while detailing their most painful, intimate stories. Of those who volunteered, many opened up about the emotional, physical and sexual abuse they had suffered as children and as spouses. To make the telling bearable – indeed, possible – Wearing employed a device: each volunteer donned a cheap, near-featureless plastic mask that hid the entire face except for the eyes. The masks add an additional layer of aesthetic distance, erecting a second artifice between subject and viewer, this one more readily visible than the camera itself. Like the camera, the eye slits focus both attention and expressive intent. We are drawn to the way the pupils dance in the white of the sclera, the blinks and darts moving in time with the timber of the voice.
- 5/26/2011
- by Louis Godfrey
- SoundOnSight
Although Clio Barnard’s new film The Arbor chronicles the rough-and-tumble life of celebrated British playwright Andrea Dunbar (Rita, Sue and Bob Too), an alcoholic who died from a brain hemorrhage at age 29, it is anything but conventional in its aims and methodology. Shot in and around Brafferton Arbor, a street on the Buttershaw Estate in Bradford, Yorkshire, where Dunbar lived and worked while raising her three children, The Arbor reconstructs the late writer’s gritty milieu through the testimony of her eldest daughter Lorraine and other family members, whose words are lip-synched by professional actors in evocative set-designed environments. Barnard, an installation artist and filmmaker who used the technique previously for a 1998 short film called Random Acts of Intimacy, also cuts in scenes from Dunbar’s heavily autobiographical play The Arbor, performed outdoors by a mix of actors and estate residents, as well as bits of archive.
Though embraced...
Though embraced...
- 4/27/2011
- by Damon Smith
- Filmmaker Magazine - Blog
Versatile Irish stage actor who became a familiar face across British drama
Before he became a familiar face on television and cinema screens, the outstanding Irish actor Tp McKenna, who has died after a long illness aged 81, bridged the gap between the old and the new Abbey theatres in Dublin. He appeared with the company for eight years during the interim period at the Queen's theatre; the old Abbey burned down in 1951, the new one opened by the Liffey in 1966.
During that time he made his reputation as a leading actor of great charm, vocal resource – with a fine singing voice – and versatility. He was equally adept at comedy and tragedy, a great exponent of the best Irish playwriting from Jm Synge and Séan O'Casey to Hugh Leonard and Brian Friel. The elder son in Eugene O'Neill's Long Day's Journey Into Night was a favourite, much acclaimed role.
It was Stephen D,...
Before he became a familiar face on television and cinema screens, the outstanding Irish actor Tp McKenna, who has died after a long illness aged 81, bridged the gap between the old and the new Abbey theatres in Dublin. He appeared with the company for eight years during the interim period at the Queen's theatre; the old Abbey burned down in 1951, the new one opened by the Liffey in 1966.
During that time he made his reputation as a leading actor of great charm, vocal resource – with a fine singing voice – and versatility. He was equally adept at comedy and tragedy, a great exponent of the best Irish playwriting from Jm Synge and Séan O'Casey to Hugh Leonard and Brian Friel. The elder son in Eugene O'Neill's Long Day's Journey Into Night was a favourite, much acclaimed role.
It was Stephen D,...
- 2/17/2011
- by Michael Coveney
- The Guardian - Film News
'I've been very lucky – I've worked consistently and I haven't had to kiss a lot of people on stage'
What got you started?
You're born with the performing gene. I was a show-off at school, so it was inevitable I would become an actress.
Who or what have you sacrificed for your art?
Nothing at all. I have lived an entirely egotistical life, for myself alone.
What's the best advice anyone ever gave you?
Max Stafford-Clark once told me to "play the opposite". It's about showing a character's layers: when you're playing a happy person, you show them sad; when you're playing an angry person, you show them contented. I don't like Max very much, but I think he's a very good director.
Is it more difficult for women to sustain an acting career than for men?
Everything's harder for women: harder to start, to stay employed, to run a life with a family.
What got you started?
You're born with the performing gene. I was a show-off at school, so it was inevitable I would become an actress.
Who or what have you sacrificed for your art?
Nothing at all. I have lived an entirely egotistical life, for myself alone.
What's the best advice anyone ever gave you?
Max Stafford-Clark once told me to "play the opposite". It's about showing a character's layers: when you're playing a happy person, you show them sad; when you're playing an angry person, you show them contented. I don't like Max very much, but I think he's a very good director.
Is it more difficult for women to sustain an acting career than for men?
Everything's harder for women: harder to start, to stay employed, to run a life with a family.
- 1/4/2011
- by Laura Barnett
- The Guardian - Film News
How do you follow a film that sweeps the Oscars and wins universal acclaim? If you're Slumdog Millionaire director Danny Boyle, you switch genre, downsize, work harder... As well as directing 127 Hours, a film that tells the true story of stricken climber Aron Ralston, Boyle is taking a production of Frankenstein to the National and overseeing the Olympics opening ceremony. And what drives such relentless energy and enthusiasm? A fear of mediocrity...
There is a celebrated scene in Danny Boyle's film Trainspotting in which Sick Boy and Renton are discussing greatness, how it comes and goes in a minute:
Sick Boy: "It's certainly a phenomenon in all walks of life."
Renton: "What do you mean?"
Sick Boy: Well, at one time, you've got it, and then you lose it, and it's gone forever. All walks of life: George Best, for example. Had it, lost it. Or David Bowie, or Lou Reed.
There is a celebrated scene in Danny Boyle's film Trainspotting in which Sick Boy and Renton are discussing greatness, how it comes and goes in a minute:
Sick Boy: "It's certainly a phenomenon in all walks of life."
Renton: "What do you mean?"
Sick Boy: Well, at one time, you've got it, and then you lose it, and it's gone forever. All walks of life: George Best, for example. Had it, lost it. Or David Bowie, or Lou Reed.
- 12/6/2010
- by Tim Adams
- The Guardian - Film News
This groundbreaking study of the life of troubled playwright Andrea Dunbar merges documentary and performance to mesmerising effect
Verbatim theatre is a new form of contemporary political drama, in which the proceedings of some hearing or trial are reconstituted word-for-word on stage, acted out by performers. Now artist and film-maker Clio Barnard has experimentally and rather brilliantly applied this technique to the big screen, ventriloquising the past with a new kind of "verbatim cinema". She has journeyed back 30 years with a movie about the late Andrea Dunbar – dramatist and author of Rita, Sue and Bob Too – who, physically weakened by alcoholism, died in 1990 of a brain haemorrhage aged 29.
Dunbar came from that part of Bradford's tough Buttershaw estate known as "the Arbor". Barnard has interviewed Dunbar's family, friends and grownup children and then got actors to lip-synch to the resulting audio soundtrack, talking about their memories. Passages of Dunbar's autobiographical...
Verbatim theatre is a new form of contemporary political drama, in which the proceedings of some hearing or trial are reconstituted word-for-word on stage, acted out by performers. Now artist and film-maker Clio Barnard has experimentally and rather brilliantly applied this technique to the big screen, ventriloquising the past with a new kind of "verbatim cinema". She has journeyed back 30 years with a movie about the late Andrea Dunbar – dramatist and author of Rita, Sue and Bob Too – who, physically weakened by alcoholism, died in 1990 of a brain haemorrhage aged 29.
Dunbar came from that part of Bradford's tough Buttershaw estate known as "the Arbor". Barnard has interviewed Dunbar's family, friends and grownup children and then got actors to lip-synch to the resulting audio soundtrack, talking about their memories. Passages of Dunbar's autobiographical...
- 10/21/2010
- by Peter Bradshaw
- The Guardian - Film News
A film about Andrea Dunbar and her daughter calls for a better understanding of the devastating effects of social change
There was a painfully poignant moment on the Buttershaw estate in Bradford yesterday when a blue plaque to mark the life of playwright Andrea Dunbar was erected on the council house where she lived until her death at the age of 29 in 1990. Most famous for her play Rita, Sue and Bob Too (1982), which was later adapted for the cinema, she was characterised as a writer who exposed the fallout of Thatcherism on the English working class.
The blue plaque was accompanied by the first public screening in the city of a new film, The Arbor, which traces the life of Dunbar and her eldest daughter Lorraine, now 29. Every decade since 1980, when Dunbar's first play was produced, the story of this family has been represented either on stage or in film.
There was a painfully poignant moment on the Buttershaw estate in Bradford yesterday when a blue plaque to mark the life of playwright Andrea Dunbar was erected on the council house where she lived until her death at the age of 29 in 1990. Most famous for her play Rita, Sue and Bob Too (1982), which was later adapted for the cinema, she was characterised as a writer who exposed the fallout of Thatcherism on the English working class.
The blue plaque was accompanied by the first public screening in the city of a new film, The Arbor, which traces the life of Dunbar and her eldest daughter Lorraine, now 29. Every decade since 1980, when Dunbar's first play was produced, the story of this family has been represented either on stage or in film.
- 10/18/2010
- by Madeleine Bunting
- The Guardian - Film News
Andrea Dunbar shot to fame with Rita, Sue and Bob Too, her frank play about a Bradford estate. Now her own brief life is the subject of a film
The Buttershaw estate in Bradford is no longer the wilderness of burnt-out cars and waist-high grass depicted by its most famous resident, the playwright Andrea Dunbar, in the 1980s. A balmy Saturday morning finds most of the gardens well tended and the plain, postwar semis in a good state of repair. I'm here to watch the shooting of a new film about Dunbar's life. But when I head towards a cluster of vehicles that has attracted a crowd of onlookers, I discover that they belong not to film-makers, but the police. What's going on? "Drugs raid," says a bystander. "Welcome to Buttershaw."
The film unit, it turns out, is in the next street, Brafferton Arbor, where Dunbar grew up, and after which her first play,...
The Buttershaw estate in Bradford is no longer the wilderness of burnt-out cars and waist-high grass depicted by its most famous resident, the playwright Andrea Dunbar, in the 1980s. A balmy Saturday morning finds most of the gardens well tended and the plain, postwar semis in a good state of repair. I'm here to watch the shooting of a new film about Dunbar's life. But when I head towards a cluster of vehicles that has attracted a crowd of onlookers, I discover that they belong not to film-makers, but the police. What's going on? "Drugs raid," says a bystander. "Welcome to Buttershaw."
The film unit, it turns out, is in the next street, Brafferton Arbor, where Dunbar grew up, and after which her first play,...
- 4/12/2010
- by Alfred Hickling
- The Guardian - Film News
Andrea Dunbar shot to fame with Rita, Sue and Bob Too, her frank play about a Bradford estate. Now her own brief life is the subject of a film
The Buttershaw estate in Bradford is no longer the wilderness of burnt-out cars and waist-high grass depicted by its most famous resident, the playwright Andrea Dunbar, in the 1980s. A balmy Saturday morning finds most of the gardens well tended and the plain, postwar semis in a good state of repair. I'm here to watch the shooting of a new film about Dunbar's life. But when I head towards a cluster of vehicles that has attracted a crowd of onlookers, I discover that they belong not to film-makers, but the police. What's going on? "Drugs raid," says a bystander. "Welcome to Buttershaw."
The film unit, it turns out, is in the next street, Brafferton Arbor, where Dunbar grew up, and after which her first play,...
The Buttershaw estate in Bradford is no longer the wilderness of burnt-out cars and waist-high grass depicted by its most famous resident, the playwright Andrea Dunbar, in the 1980s. A balmy Saturday morning finds most of the gardens well tended and the plain, postwar semis in a good state of repair. I'm here to watch the shooting of a new film about Dunbar's life. But when I head towards a cluster of vehicles that has attracted a crowd of onlookers, I discover that they belong not to film-makers, but the police. What's going on? "Drugs raid," says a bystander. "Welcome to Buttershaw."
The film unit, it turns out, is in the next street, Brafferton Arbor, where Dunbar grew up, and after which her first play,...
- 4/12/2010
- by Alfred Hickling
- The Guardian - Film News
When Fergus Henderson was diagnosed with Parkinson's disease, he risked losing much more than his career as one of the country's top cooks. Then he met Professor Marwan Hariz, who drilled into his skull and rebooted his brain. Here, Fergus, Emma Thompson, Ruby Wax and Max Stafford-Clark talk about their relationships with the doctors and therapists who've transformed their lives
Fergus Henderson, Chef
In October 2005, Professor Marwan Hariz Performed Deep Brain Stimulation Surgery On Fergus Henderson To Treat The Symptoms Of His Parkinson's Disease
I thought I had a trapped nerve because I was walking around with an arm like John Wayne on horseback, so I went to the doctor and he told me it was Parkinson's. That wasn't a particularly good moment. I was showing classic symptoms – I'd had the John Wayne arm for about a year but I'd sort of carried on regardless. I went for a rather...
Fergus Henderson, Chef
In October 2005, Professor Marwan Hariz Performed Deep Brain Stimulation Surgery On Fergus Henderson To Treat The Symptoms Of His Parkinson's Disease
I thought I had a trapped nerve because I was walking around with an arm like John Wayne on horseback, so I went to the doctor and he told me it was Parkinson's. That wasn't a particularly good moment. I was showing classic symptoms – I'd had the John Wayne arm for about a year but I'd sort of carried on regardless. I went for a rather...
- 2/7/2010
- by Ursula Kenny, John Hind, Alice Fisher, Laura Potter
- The Guardian - Film News
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