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world-of-wales · 1 year

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─ •✧ WILLIAM'S YEAR IN REVIEW : MARCH ✧• ─

1 March - William and Catherine carried out engagements in Wales to mark St. David's Day. They started their day out by visiting Pant Farm in Llanvetherine before being received by Her Majesty's Lord-Lieutenant of Gwent (Brigadier Robert Aitken). They later visited Abergavenny Market and Hwb Torfaen in Blaenavon. Subsequently William and Catherine planted a tree for The Queen's Green Canopy at Blaenavon World Heritage Centre.

2 March - William held a Meeting for the Earthshot Prize.

8 March - He received Mr. Alastair Martin (Secretary of the Duchy of Cornwall).

9 March - William and Catherine received the Lord Hague of Richmond (Chairman). Later in the afternoon they visited the Ukrainian Cultural Centre in London where they were recieved by the Ambassador of Ukraine (His Excellency Mr. Vadym Prystaiko).

11 March - William received received the High Commissioners of Belize, Jamaica and the Commonwealth of the Bahamas (Her Excellency Mrs. Therese Rath, His Excellency Mr. Seth George Ramocan, His Excellency Mr. Ellison Greenslade) at Kensington Palace.

14 March - William and Catherine attended the Commonwealth Service at Westminster Abbey. William later appeared in a video segment during the BAFTA Film Awards.

16 March - William attended a Trustees' Meeting for the Royal Foundation via video link.

17 March - William and Catherine attended the 1st Battalion Irish Guards' St. Patrick's Day Parade in Aldershot.

19 March - William and Catherine kicked off their Platinum Jubilee Tour of the Caribbean as they arrived at the Philip S.W. Goldson International Airport in Belize where they were recieved by the Governor-General of Belize (Her Excellency Ms. Froyla Tzalam). They later met the Hon. Juan Antonio Briceño (Prime Minister of Belize) and Mrs. Rossana Briceño at the Laing Building in Belize City.

20 March - The Duke and Duchess of Cambridge visited Che'il Mayan Chocolate Factory in Stann Creek. They later attended a festival of Garifuna culture and met marine conservation experts in Hopkins. William and Catherine also spent time diving at South Water Caye above the Belize Barrier Reef.

21 March - They visited Caracol Natural Monument Reservation and attended a training session of the British Army Training Support Unit Belize (BATSUB) in the Chiquibul Forest. Afterwards William held an Investiture at the San Ignacio Hotel. The Duke and Duchess attended a Reception to mark The Queen's Platinum Jubilee at Cahal Pech ruins where they were received by the Governor-General of Belize (Her Excellency Ms. Froyla Tzalam).

22 March - William and Catherine released photographs and videos of them scuba diving over the Belize Barrier Reef before departing Belize. They arrived in Jamaica for the next leg of their tour and were received by the British High Commissioner to Jamaica (Her Excellency Ms. Judith Slater) and Senator the Hon. Kamina Johnson Smith (Representative of the Prime Minister of Jamaica) at Kingston Norman Manley International Airport upon arrival. Afterwards they met Governor-General of Jamaica and Lady Allen at King's House and attended a Sports and Cultural Event at Trench Town Culture Yard.

23 March - The Duke and Duchess of Cambridge met the Hon. Andrew Holness MP (Prime Minister of Jamaica) at 1 Devon Road, Kingston. Afterwards they visited Shortwood Teachers' College and Spanish Town Hospital. Subsequently, Willliam and Catherine visited the Caribbean Military Technical Training Institute before attending a Reception Dinner to mark the Platinum Jubilee hosted by the Governor-General of Jamaica (the Most Hon. Sir Patrick Allen) at King's House.

24 March - William and Catherine attended the Commissioning Parade for the inaugural Initial Officer Training Programme at the Caribbean Military Academy before departing Norman Manley International Airport for the Bahamas where upon arrival at Lynden Pindling International Airport in Belize City they were recieved by the Governor-General of the Commonwealth of the Bahamas (Sir Cornelius Smith). Afterwards The Duke and Duchess of Cambridge met the Rt. Hon. Philip Davis, MP (Prime Minister of the Commonwealth of the Bahamas) and Mrs. Davis at Sir Cecil Wallace Whitfield Centre in Nassau.

25 March - William and Catherine visited Sybil Strachan School and attended a Celebration for key workers for their work during the pandemic, at the Garden of Remembrance. They subsequently visited Parliament Square and took part in a Platinum Jubilee Sailing Regatta at Montagu Beach in the afternoon. Afterwards they attended a Reception at the Baha Mar Hotel hosted by the Governor-General of the Commonwealth of the Bahamas (Sir Cornelius Smith) to mark The Queen's Platinum Jubilee.

26 March - On their final day while on tour of the Caribbean, William and Catherine visited Daystar Church in Abaco. Afterwards they unveiled a Memorial at Memorial Garden, Abaco to commemorate those who lost their lives in Hurricane Dorian before visiting a beach area in Abaco to meet local stall holders. William and Catherine then visited Grand Bahama Children's Home and Coral Vita (Winners, 2021 Earthshot Prize to Preserve our Oceans) in Grand Bahamas for their final two stops on their tour. In the evening they departed Lynden Pindling International Airport for the United Kingdom in the evening.

27 March - William and Catherine arrived at the Royal Air Force Brize Norton from the Bahamas after wrapping up their Caribbean tour.

29 March - William attended the Service of Thanksgiving for The Prince Philip, Duke of Edinburgh at Westminster Abbey along with Catherine and their eldest children Prince George and Princess Charlotte.

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rosalyn51 · 1 year

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NEW still photographed by Patrick Redmond

Screen International NEWS First look at Anthony Hopkins and Matthew Goode in ‘Freud’s Last Session’ BY MICHAEL ROSSER 11 APRIL 2023

Babylon Berlin star Liv Lisa Fries has joined Anthony Hopkins and Matthew Goode in the cast of Freud’s Last Session, which is in its final stages of filming in Ireland.

A first look at the film, in which Oscar-winner Hopkins plays Sigmund Freud and Goode plays author C.S. Lewis, has been released by WestEnd Films, which handles sales alongside US-based CAA Media Finance.

German actress Fries plays Freud’s daughter in the film, which is set on the eve of the Second World War and sees the founder of psychoanalysis invite Lewis to debate the existence of God.

Further cast announced today includes Jodi Balfour, known for Apple+ series For All Mankind; Stephen Campbell Moore of Epix recent adaptation of War Of The Worlds; Jeremy Northam, who played UK prime minster Anthony Eden in Netflix’s The Crown; and Orla Brady of Star Trek: Picard and Into The Badlands.

Freud’s Last Session is being directed by Matt Brown and was written by Mark St. Germain with revisions by Brown, based on the play by the same name. Producers are Alan Greisman, Rick Nicita, Meg Thomson, Brown, Hannah Leader, and Robert Stillman. Irish producers are Tristan Orpen Lynch and Aoife O’Sullivan of Subotica Productions.

The project reunites Oscar-winning production designer Luciana Arrighi with Brown, having previously collaborated on 2015’s The Man Who Knew Infinity. Cinematographer Ben Smithard, who previously worked on The Father with Hopkins, has also joined the project.

Costume designer Eimer Ni Mhaoldomhnaigh, Bafta award-winning make-up designer Morna Ferguson (The Wonder) and editor Paul Tothill (Atonement) complete the creative team.

WestEnd Films and CAA Media Finance announced several sales last year that saw Sony Picture Classics secure a multi-territory deal, including North America.

The film is an Ireland-UK co-production made with support from Screen Ireland and the UK Global Screen Fund.

Financing has been provided by Media Finance Capital, LipSync Productions, M.Y.R.A. Entertainment and a pool of independent financiers including 14 Sunset, Movieland Entertainment, the Solomon Directive, the Travelling Picture Show and Lipper/Daly Entertainment.

*Like Jeremy Northam, Jodi Balfour plays Mrs. Kennedy in The Crown. Matthew is Lord Snowdon. Stephen Campbell Moore is in the Downton Abbey movie. Ben Smithard is the DOP. GOODE connections!!! Can’t wait.

#matthew goode #anthony hopkins #freud's last session #sigmund freud #c s lewis #matthewgoode #henry talbot #downton abbey movie #downton abbey #a discovery of witches #jeremy northam #jodi balfour #liv lisa fries #anna freud #freud's last session movie #the crown netflix #the crown #thecrownnet #goode performance

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fearsmagazine · 1 month

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Academy Award-Winning "THE BOY AND THE HERON" Returns to Theaters Nationwide March 22nd, 2024.

In celebration of the Academy Award win for Best Animated Feature for Hayao Miyazaki and Studio Ghibli’s latest feature, THE BOY AND THE HERON, GKIDS, the North American distributor for the Studio Ghibli library of films, is proud to bring the critically acclaimed and award winning feature back into theaters nationwide, beginning March 22nd. Bring back screenings will include exclusive bonus content featuring an introduction from the film’s composer Joe Hisaishi, who received a Golden Globe nod for his work on the film, and a recorded drawing session with supervising animator Takeshi Honda, who was honored at this year’s Annie Awards with a win for Best Character Animation.

Bring back screenings will be in both the original Japanese language, as well as the English-language version, which features the voices of Christian Bale, Dave Bautista, Gemma Chan, Willem Dafoe, Karen Fukuhara, Mark Hamill, Robert Pattinson and Florence Pugh.

The weekend’s achievement at the Academy Awards marked a second Oscar for legendary director Hayao Miyazaki, who earned four previous nominations and won his first Oscar for Spirited Away (released in 2002). He was also recognized at the 2014 Governors Awards with the Academy’s Honorary Award for his exceptional contributions to cinema. Hayao Miyazaki’s Spirited Away and THE BOY AND THE HERON are the only two hand-drawn films to win in the history of this category, which was established by the Academy in 2002. It was additionally the first Oscar win for producer Toshio Suzuki, who previously earned three nominations. The win continued Studio Ghibli’s extraordinary Oscar run, which includes 7 total nominations, with 2 wins. The win also marked the first as a company for GKIDS after 13 nominations in the Best Animated Feature category.

THE BOY AND THE HERON is GKIDS’ highest-grossing release of its 16-year history and Studio Ghibli’s highest-grossing film in North America. To date, it has earned over $46 million at the North American box office, also hitting the milestone of highest-grossing original Japanese animated film of all time, domestically.

GKIDS released THE BOY AND THE HERON in cinemas and IMAX nationwide on December 8, 2023, marking the first title in the Studio Ghibli catalog to be released in IMAX premium formats and opening at No. 1. The film was released in the U.S. in its original Japanese with English subtitles, as well as in a new English-language version featuring the voices of Christian Bale, Dave Bautista, Gemma Chan, Willem Dafoe, Karen Fukuhara, Mark Hamill, Robert Pattinson and Florence Pugh.

THE BOY AND THE HERON made its international premiere at the Opening Night Gala of the 48th Toronto International Film Festival (TIFF). Tickets to all five TIFF screenings sold out in record time and the film received glowing reviews, placing in the top three for the TIFF People’s Choice Awards. For Best Animated Feature, THE BOY AND THE HERON has won the BAFTA Award, the Golden Globe and several prestigious critics awards including the New York Film Critics Circle and Los Angeles Film Critics Association honors. It was also recognized by the National Board of Review as a Top Film for 2023 and won two Annie Awards in 2024. In addition, THE BOY AND THE HERON Composer Joe Hisaishi garnered Best Score nominations from the Golden Globes and the Society of Composers and Lyricists, and was celebrated at this year’s Annie Awards with the Winsor McCay Lifetime Achievement Award.

About “THE BOY AND THE HERON” After losing his mother during the war, young Mahito moves to his family’s estate in the countryside. There, a series of mysterious events lead him to a secluded and ancient tower, home to a mischievous gray heron. When Mahito’s new stepmother disappears, he follows the gray heron into the tower, and enters a fantastic world shared by the living and the dead. As he embarks on an epic journey with the heron as his guide, Mahito must uncover the secrets of this world, and the truth about himself.

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#film news #movie news #boy and the heron #studio ghibli #Hayao Miyazaki #Academy Award-Winning #theatrical return #Youtube

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denimbex1986 · 1 month

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'THE POWER OF LOVE

When lensing an amalgamation of haunting and precious memories and heartbreak, director Andrew Haigh and cinematographer Jamie D. Ramsay SASC wanted to avoid being too heavy handed with nostalgia, instead opting for a subtle and organic visual expression of reminiscence and relationships.

Much like the journey of reflection and discovery that unfolds in author Taichi Yamada’s novel Strangers – a traditional Japanese ghost story of love, loss, the afterlife, and treasured and sometimes painful memories – the process of translating the book for the screen took writer-director Andrew Haigh (Lean on Pete, 45 Years, Weekend) on his own emotional voyage.

In Haigh’s cinematic reimagining, All of Us Strangers, we meet Adam (Andrew Scott), a 40-something gay screenwriter who lives alone in a high-rise flat in London. Still impacted by grief from the traumatic incident in his childhood which claimed the lives of his parents, when Adam meets Harry (Paul Mescal), who lives in the same block of flats, the love that grows has a transformational power.

Returning to his childhood home, Adam is transported back to the ‘80s and as past and present collide in a nostalgia-infused dreamlike world, he has the opportunity to spend moments with his parents who have been frozen in time at the age they were when they passed away. Memories of those he has lost and feelings of grief and suffering are revisited as Adam has conversations he wished he could have experienced if his parents had lived to see him reach adulthood.

In the telling of an ethereal tale of the power of love, Haigh wanted to “pick away” at his own past in the same way as protagonist Adam, even choosing to shoot the scenes with Adam’s parents at the director’s childhood home in Croydon, South London. “I was interested in exploring the complexities of both familial and romantic love, but also the distinct experience of a specific generation of gay people growing up in the ‘80s,” says Haigh, wanting “to move away from the traditional ghost story of the novel and find something more psychological, almost metaphysical.”

Speaking on a panel session following a BAFTA screening of the film which British Cinematographer attended, Haigh spoke of his interest in “the need to connect, or to soften whatever the pain is that you carry around with you.” While some changes were made to the story that unfolds in Yamada’s book, the central idea of the protagonist getting the chance to meet his parents, and “go back in time to have those conversations again, get to know them and them get to know him” felt really powerful to Haigh.

“I wanted to incorporate the idea of a love story into that and see how those two things connect and bounce off each other,” says the director. “There is a sense of yearning – he has lost his parents and is yearning for them as well as yearning to find someone to give him comfort and love. His parents are also yearning to be alive again and to spend more time with their child.”

A fresh narrative

The script stood out as extraordinary to Jamie D. Ramsay SASC, a cinematographer who finds it “rare to come across a piece of literature in script form that excites you, feels fresh and unlike something you’ve seen before.” He was fascinated by exploring the way people deal posthumously with trauma. “It touched me because there’s a lot of emotion attached to the subject, especially for those who grew up feeling prejudice against homosexuality and uncomfortable to come out to their parents. That was a childhood trauma that stuck with Adam, coupled with the grief he experienced,” says Ramsay, speaking to us from the location of his next production.

The feeling and “the way the movie moves you” always come first for the cinematographer, and is then “serviced by the next layer which is the choice of lights, glass, and style. “So in this film, there’s the feeling of loss as well as the emptiness of never being able to get the acceptance of the two most important people in your life. The relevance of the story to the current day when isolation is all too common struck a chord with me, and I also wanted to be part of making the movie because I love Andrew’s previous work – he’s an incredible filmmaker.

“He’s a rare director who has impeccable taste and direct sharp vision about what he wants to do. However once you have aligned with him and understand what he’s looking for creatively, he hands it over to you and trusts you completely.”

The South African/British cinematographer is familiar with lensing heart wrenching stories with sensitivity and creative flair, having won the Bronze Frog at Camerimage 2022 another adaptation of a book – Oliver Hermanus’ Living which sees a civil servant reflect on his life and how to spend his remaining days when faced with a fatal diagnosis. Ramsay’s work on All of Us Strangers also struck a chord with audiences and immersed them in another emotional story, resulting in the film being selected in this year’s Main Competition at Camerimage and scooping multiple British Independent Film Awards including Best Cinematography, Best Film, and Best Director.

Discovering the look

It is the smooth-flowing conversation between director and DP during the five-week prep and five-week shoot which Ramsay believes was key in the creative process and a result of Haigh being “super smart and knowing what he wants.” For Ramsay, a DP is “a visual ideas engine which the director then guides into place” and as Haigh knew so specifically what he wanted in terms of the story being told, the pre-production period of fleshing out their approach to the film was a joy.

“Andrew didn’t have a fixed idea of what it should look like though, which is great for me because I love the process of finding out what it should look like with the director,” adds Ramsay. “When the director is autonomous and has a strong visual idea, it’s difficult for you to collaborate and truly imprint your personality onto the film. We discovered it together through deep conversation, starting with what the narrative was really about, who the characters were, and then just talking about the references that appealed to us over the years.”

These inspirations included Ingmar Bergman productions such as Swedish period drama Cries and Whispers (1972) due to its unsettling movement, even though the narrative themes differed to All of Us Strangers. Taking creative influence from that production subconsciously and “allowing it to sit in the background” of their decision making, the filmmakekodrs explored Haigh’s wish to “create a sense of nostalgia but not be too heavy handed with it,” producing a subtle memory of sadness.

While Yamada’s book was a strong influence on Haigh, when shooting an adaptation of a novel, Ramsay “tries to avoid being affected by outside sources besides the script” and rarely reads the book because it “overprescribes your creativity and imagination”.

Discussions led them to explore the organic feeling of memories, and decide that those recollections of the filmmakers’ and protagonist Adam’s past would feel analogue. “We knew it would probably be things like 35mm prints from the ‘80s and early ‘90s, 300g printed records, a photo diary, or a tape deck which are all indicative of the era we grew up in, and the era in which the lead character went through this trauma,” says Ramsay.

The duo agreed this organic and analogue feeling would drive the visual approach – they wanted “to feel the dust on the negative, to feel that human touch to the film. We never wanted something that felt overly structured and overly perfect, it had to feel flawed.” With the touch of the filmmakers behind the lens combined with the creations of the art department shaping the final result on screen, the choice to shoot on 35mm 3-perf film was made quickly, working with Arricam LT and Kodak VISION3 500T, 250D and 50D film stocks and processing, scanning and dailies colour carried out at Cinelab.

“You can’t argue the value of shooting on 35mm film and I had great support from the teams at Kodak and Cinelab in terms of the tests and the dailies. Choice of film stock was largely driven by function as much as aesthetic. When you don’t have a huge budget for lighting and you’re using a lot of practical light, having the speed of 500T is really useful,” says Ramsay. “From a light perspective, we also did a lot of transitionary filming and having the extra bit of love out of the 250D allowed us to transition between day into night smoothly. For a lot of our daily life sequences we went for 50D because we love the robust strength it offers.”

The more vintage aesthetic was paired with cutting-edge technology in line with the filmmakers’ aim to “not be overly dramatic with the feeling of nostalgia.” Already venturing into a more organic technique of shooting on film, they wanted to avoid “adding another layer by using vintage lenses to achieve flares”. Instead they sought “the reality and responsibility of a sharp set of lenses, offset with the romance and organic nature of film” which led them to test multiple options before landing on Zeiss Master Primes.

“That contrast played with the analogue versus digital, the pastels versus the primaries which we kept leaning into,” says Ramsay. Colour palette was largely inspired by the era, selecting signifying tones that felt aesthetically pleasing as well as true to the time period. “We then worked out the evolution of those tones in a contemporary context. And whenever we went back in time, we imprinted those tones onto those moments,” says Ramsay.

A “journey of colour” that was birthed in Adam’s childhood found its way into his apartment in adulthood. “From the art department through to the camera and lighting crew, we all wanted to convey the feeling that Adam never quite grew up. He got Peter Pan syndrome and was locked into an area of his life he couldn’t move past.”

Haigh and production designer Sarah Finlay spoke about the design of the film needing to look quite naturalistic and avoid jumping in and out of the different time periods visually. Haigh’s childhood home needed to be modified in some ways to look as he had remembered it. He “wanted the past and present to bleed into each other and a lot of the design was more about feeling the past.”

Vintage meets cutting-edge

Both Haigh and Ramsay are fans of the look and feel of film, but they also wanted to create a “feeling of being out of touch with reality – a symptom of the self-induced isolation and loneliness Adam experienced.” This resulted in a collision between the analogue and digital filmmaking world, and Adam’s apartment being built in a studio at Wembley Park Studios in London. Incorporating virtual production techniques, the set was surrounded by an LED wall comprising ROE Visual Ruby 2.3mm (running on the Helios processing platform), upon which all of the views from Adam’s apartment were displayed. The 120ft by 50ft volume was built with the help of the team at Creative Technology – which supplied the LED screens – and plates were captured in and around Stratford, East London.

“In doing so, we could manage the time of day, luminance, position of the view, cloud structure, movement of traffic, or whether we wanted to do a time lapse with the clouds,” says Ramsay. “It just allowed us to put the reality a little bit outside of the realm of normal, just beyond his apartment. This helps create a slightly strange feeling in his apartment, which is a significant location as it’s where 30 minutes of the movie takes place.”

Ramsay enjoyed a harmonious combination of old and new technology, using ARRI SkyPanel LED lights to create an ambience matching the colour of clouds displayed on the LED wall in addition to 12K or 24K ARRI T12 or T24 tungsten fresnel lights to create the feeling of a sunset illuminating the room.

“I haven’t been able to achieve that with any other light besides the fresnel tungsten head which have a warmth and analogue feel,” he says. “My sweet spot is a specific combination between old and new such as using 35mm film against the LED wall to soften the wall. And by embracing LED technology to marry the colour tone of the wall with the ambience, you then create an interesting synergy with the analogue feel of an old fresnel.”

Helping Ramsay achieve this synergy was Warren Ewen, a gaffer the DP has collaborated with a number of times in the UK, who “goes above and beyond” and is “one of the strongest hands on set.” Working with a stellar lighting crew, the DP learnt about safeguarding himself from an exposure perspective and making sure there is enough lighting in place to service what is needed when shooting on film.

In addition to the benefits Ramsay and the crew enjoyed when working with the virtual set, the cast expressed their appreciation for having a visual context of the outside world displayed on the LED wall in contrast to their experiences of green screen shoots. However, Ramsay’s greatest challenge when shooting on the volume was occasionally discovering moiré in the dailies. “It gave me sleepless nights because when we got our dailies moiré might be introduced in the strangest situations – in reflections on the set as if a glass, mirror or wall was acting as a sensor,” he explains.

“That’s still a mystery that needs to be solved. It’s the hard thing about seeing your dailies 16 hours later when shooting on film. But Andrew was so collaborative and supportive throughout, knowing we were going down the 35mm and virtual production route and the emotional turmoil we might encounter along the way. But the results were well worth it.”

Prior to shooting commenced Ramsay explored technical challenges that might arise for scenes which were to be shot against the LED wall with his longtime colour collaborator, Joseph Bicknell, colourist at Company 3. “After understanding the story in broad strokes and Jamie’s perspective on it, I like to create a strong show LUT for him to load in camera during tests, so he can see live how it might react before photography,” says Bicknell. “Once we have that test footage we’ll dial in the look further, I’ll make a few adjustments and he shares his thoughts which we built into the ﬁnal show LUT. The overarching look of the ﬁlm didn’t end up straying far from this in the ﬁnal grade.”

Bicknell felt the production was a “masterpiece” from the first time he watched the cut without ﬁnal mix or colour as “all the mood and intensity was there”. Haigh and the cinematographer’s shorthand was so strong that Ramsay had a clear idea of the visual vibe the director desired when it came to collaborating with Bicknell again in the final grade. “Andrew is very supportive in that way and has a lot of confidence in the HODs he’s picked because he loves what they do. He trusts them and that’s why it’s wonderful to work with him,” says Ramsay.

Exploring the film’s emotional qualities, in the grade Bicknell and Ramsay worked with DaVinci Resolve to achieve a “light blend of magical realism to help the audience travel through the story”. On speciﬁc scenes they used colour to more forcefully convey emotion, for example during moments of distress such as the sequences that take place on the underground. “Inspiration for this was partly taken from the performances but also what was happening in the sound design,” says Bicknell.

Reacting to the moment

The majority of the narrative plays out in Adam’s childhood home, which Haigh was keen to shoot in the house he grew up in. But, as Ramsay highlights, shooting in quite restrictive spaces such as those in the house location with low ceilings and small windows would have been tricky even when working with small digital cameras. “The fact we are shooting on 35mm cameras with 1,000 foot loads made filming and lighting tough,” he says. “We managed to get permission from the property’s current owner to cut out a doorway to extend the lounge but it was still very challenging.”

Wanting to work within a wider frame to allow themselves the option to isolate characters, but also centralise characters in important moments led the cinematographer and director to adopt a 2.39: 1 aspect ratio. “There are scenes where we isolate the characters on either side of the 2:39 aspect ratio and others where we centralise the character and tighten the eyeline to a great extent,” says Ramsay, using the sequence where Adam and his parents are all in bed together as an example. Haigh and Ramsay wanted this to be an uncut scene, and to hide when the cast members in the bed needed to switch and move, creating a beautiful yet strange and jarring experience.

“This was difficult as we were on location at the house in Croydon and needed to build a cage inside the bedroom from which we could suspend the 35mm camera with a 1,000 foot mag above the characters,” says Ramsay, who likes to operate and “react to the feeling of a moment”, and was behind the camera for All of Us Strangers. “I had my grip Kevin Fraser seven inches above this rigging, operating the dual slider as the scene developed. It’s tough to find 35mm familiar crew but Kevin’s very comfortable with rigging film gear.”

Meanwhile, Ramsay was on the zoom, timing it precisely to push in so another character disappeared from the frame. “Each time they had to leave the bed without us feeling the bed move, and then another character got in and they were revealed. Building a structure to support the 35mm gear on location was difficult but what was most important to us was having absolutely no cuts in that sequence, so there was no chance to lose the audience’s attention, locking them in this dream.”

As well as not being too heavy handed with the sense of nostalgia, Haigh wanted to avoid being overbearing with the suggestion of Adam’s different states of mind, wanting the subtlety to almost make the audience question where they were and whether it was the past or present. “The only time we pushed it was the club sequence where Adam is intoxicated and that feeling was motivated more by the drugs he had taken than by the state of mind and the presence of ghosts in his life,” says Ramsay. “For the club scene, we had more free rein to really push the lighting, transitions, use reflections and break the fourth wall by Adam looking into the camera, confusing the situation.”

While pushing the camera movement and making it more confusing in that sequence, the filmmakers wanted everything else to be fairly stable, with a “slight movement and breath to it” achieved by shooting on zoom lenses and moving “constantly in and out of the zoom, to make everything feel like it was breathing a little and slightly strange.”

Difficult locations to control where the crew were at the mercy of what already existed included the Whitgift Centre shopping centre in Croydon. Shooting there demanded the crew carefully pick the time of day they were filming due to the large glass ceiling through which the sun would shine.

“Sequences that were fun to work out included the tube scenes which were shot on a tube line we had access to for a certain amount of time and could go back and forth on,” says Ramsay. “Adam’s journey always needed to appear to be in one direction, so I needed to work out when to mirror his placement on the tube and when to switch extras, so he always seemed like he was going in the right direction.”

In scenes taking place on the train, reflection was an important motif because “reflection is your self-identity” and the filmmakers “wanted to represent the decay of Adam’s psychology through the way he was seeing himself in those moments.” In line with Haigh’s subtle storytelling, the director wanted the use of reflections to be gentle and quiet rather than overbaked. “So, it was a case of choosing when to do it and leaning into what exists in reality,” says Ramsay. “For example, tube windows morph your face naturally, so we thought let’s lean into what happens in this environment and use it as a tool.”

Haigh emphasises the importance – “especially when lensing a story with queer identity at the heart of it – that the reflection a person gives to the world can be very different to how they feel. It can be quite problematic and traumatic.” The director felt it was important that Adam sees himself in a different light each time he looks at his reflection “and things are changing and he’s learning or coming to terms with things.” Another central and constant theme running through the film for crew and cast was conveying the power of love and that “long after you’re gone, that feeling of love remains.”'

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destinyc1020 · 3 months

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did the baftas announce TV noms or is that in a diff ceremony altogether and not announced now

It's a totally different ceremony altogether. And no, they haven't been announced yet. These are just the film award nominations that came out today. 😊

The BAFTA TV Awards should be coming out in May. The nominations should probably come out around March. But voting is currently in session! 😁

#bafta #bafta awards

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scotianostra · 9 months

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Happy Birthday Bill Forsyth the Scottish film director and screenwriter.

Born in Glasgow July 29th 1946 and educated at Knightswood School. On leaving aged 17, he answered an advertisement for a “Lad required for film company” and spent the next eight years helping make short documentary films.

Leaving documentary production in 1977, Forsyth wrote the scripts for Gregory’s Girl and That Sinking Feeling in the hope of breaking into feature films.

Obtaining finance, however, proved frustrating and problematic. The BFI Production Board rejected Gregory’s Girl three times. Forsyth later said, “I remember one torment of a meeting when I tried to explain that Gregory’s Girl was really a structuralist comedy… I suspect my script was too conventional although nobody actually told me as much.”.

That Sinking Feeling was eventually made in 1979 with amateur actors from the Glasgow Youth Theatre, including John Gordon Sinclair (who later took the lead in Gregory’s Girl , its tiny £5,000 budget was raised from a variety of sources.

Forsyth’s distinctive voice as writer-director is already apparent in this tale of a robbery of stainless steel sinks by a gang of unemployed Glasgow teenagers - intensely humanistic and humorous yet with an underlying seriousness of purpose. This ability to create a self-contained yet believable world with a keen sense of the absurd and bizarre in the everyday is perhaps only rivalled by the work of British television writer Alan Plater. The film opened to great popular and critical success at the Edinburgh and London Film Festivals but was unable to secure more widespread distribution.

Gregory’s Girl was Forsyth’s breakthrough film. This acutely observed story of adolescence and first love set in a Scottish new town was rapturously received by both critics and public alike. Forsyth’s reputation seemed to be secured by the success of his next venture, Local Hero, a first collaboration with producer David Puttnam.

In 1999 he made Gregory’s Two Girls as a sequel to Gregory’s Girl, with John Gordon Sinclair playing the same character, but it received mixed reviews.

Gregory's Girl, to me, is still a very funny film, but it feels dated, that's not to say that it hasn't stood the test of time with some folk, indeed The Glasgow Film Theatre (GFT) will show a 4k version of the 1980 cult classic on August 17th, which will be followed by a Q&A session with some of the cast including Gordon Sinclair(Gregory), Clare Grogan, tickets go on sale this Monday (31s) at 12 noon.

Last year the popular Scottish actor Peter Capaldi where he spoke of how Bill Forsyth saved him from living off pakora and lager after starring him in Scottish cult classic Local Hero. The Doctor Who and The Thick Of It star praised the Scots film director in an acceptance speech after receiving the Bafta Scotland Award for Outstanding Contribution to Film & Television on Sunday.

I love Capaldi's affection for our country, speaking to the audience while holding his Bafta, Capaldi said the award was “for getting lucky, and for being lucky enough to be born in Scotland”.

He said: “Forty years ago I was just up here (in Glasgow) as an art student, living off pakora and lager for breakfast.

“Bill Forsyth scooped me up and put me in Local Hero.

“It was an act of kindness and confidence that baffled me and much of the industry to this day, but I wouldn’t be here without him and nor would a lot of others.”

Capaldi landed this breakthrough film role aged 24 playing Danny Oldsen, a naive young oil industry executive, in the film.

#scotland #scottish #history #glasgow #glaswegian #filmmaking #filmmaker #peter capaldi

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natarlove · 2 years

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Tim Roth: You could see in the material, the film-maker he would become

August 28, 2022 • 15 min

Tim Roth is an acting legend, BAFTA winner, and an Academy Award nominee. He first came to international attention in Quentin Tarantino's breakout movies Reservoir Dogs and Pulp Fiction

Since then Tim has been in all sorts of movies and TV shows, most notably The Incredible Hulk, Planet of the Apes and more recently he’s reprised his role as Emil Blonsky in She-Hulk.

His latest film is in cinemas early next month and it’s a small New Zealand film called Punch, which he made with first-time kiwi director Welby Ings.

Actor Tim Roth joined the Sunday Session with Francesca Rudkin to discuss his upcoming film, and his career til now.

#Tim Roth #francesca rudkin

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udo0stories · 15 days

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The Glasgow Film Festival's Industry Focus has revealed its complete program. This five-day event gathers professionals from the Film and TV sectors, both locally and globally, for a comprehensive schedule of panel talks, workshops, screenings, and networking opportunities. The program emphasizes the involvement of female-identifying talent in all areas of the industry. GFF Industry Focus highlights a range of topics geared towards all levels and sectors of the industry – from individuals seeking pathways into the industry to established professionals – with a program that provides a platform for professional development and a meeting place to help connect creatives with business delegates. The industry program will conclude on 7 March when the festival team and Industry Advisory Board will launch their 10-Year Vision for Glasgow Film Festival’s Industry Focus. They will lay out their ambitious plans for talent development and the future of the industry program. Young adults aged 15-25 interested in film careers can explore the BFI Film Academy: Behind the Scenes. This program, co-curated by GFF Young Ambassadors, offers industry events tailored for youth. Key highlights of the Industry Focus include: The Animatic Live Pitch: Participants present their projects to animation executives like Netflix's Lauren Castro and Julio Bonet and Aardman's Helen Argo for a chance to win £5000 in development funding. Filmmaking with Kevin Macdonald: Glasgow's own Kevin Macdonald discusses his career and latest works. NextGen: A discussion with emerging British filmmakers Lucy Cohen, Adura Onashile, and Charlotte Regan, along with industry professionals like Mia Bays and Eva Yates. Book to Screen live pitching event: Scottish publishing houses pitch their books to producers and production houses in collaboration with Publishing Scotland. Script Spotlight: Actors perform script extracts from BAFTA Connect members, with feedback for both actors and writers. Working in Hostile Environments: A panel discusses capturing images in high-risk areas with filmmaker Robbie Fraser, journalist David Pratt, and Mac McGearey from North Star Safety Group. Comedy Showcase with BBC Scotland: Executives discuss pathways for comedy talent in Scotland, followed by performances and clips. 121 sessions: Industry delegates can seek advice from established members including Ben Sharrock, Paul Sng, Paul Laverty, San San F Young, Julia Short, Carolynne Sinclair Kidd, and representatives from MUBI, British Film Council, Scottish Documentary Institute, and UK Global Screen Fund. Fireside Chat series: Discussions on the changing role of the Sales Agent, international sales and distribution, funding pathways for producers, and building a sustainable production career. Working Differently Panel & Networking: Panel on inclusivity and neurodivergence in the film industry followed by a networking event. Current Climate: The Distribution & Exhibition Landscape: Speakers share insights on the exhibition and distribution landscape in the UK. Coffee Morning networking events: Hosted by BFI National Lottery Filmmaking Fund, BETCU Vision, and Czech Film Fund. Allison Gardner, CEO of Glasgow Film and Director of GFF, mentioned: “The Industry Focus at Glasgow Film Festival is crucial for Scotland's screen sector, offering valuable opportunities for film professionals from Scotland, the UK, and beyond to connect, network, and exchange ideas. The expanded program will serve as a central hub for industry-related activities during the festival. This year, we're excited to unveil our ambitious Industry Focus 10-Year Vision, developed in collaboration with our Industry Advisory Board, to the screen industry.” Isabel Davis, Executive Director of Screen Scotland, added: “Glasgow Film Festival’s industry program is a pivotal moment for Scotland's screen sector to gather, share ideas, establish new connections, and stay updated on industry trends. The program's growth introduces a range of fresh and innovative events for Scotland's thriving talent pool.

We look forward to witnessing the emergence of new creative partnerships and projects as a result.”

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freddiemercurylegendabovelegends · 7 months

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In these days, October 1980, London, UK, Anvil Studios - Freddie Mercury in control room with Brian May, Roger Taylor and Rehinold Mack (producer), during recording session for the 'Flash Gordon' soundtrack

📸 Photo credit John Henshall

🔸Queen's ninth studio album was the original soundtrack to the movie based on the comic strip character Flash Gordon.

Flash Gordon was released in the UK on 8th December 1980 – a day that will forever live in history as a notorious date because it happens to be the day that John Lennon was shot dead outside his apartment in New York.

The album reached No 10 in the UK charts, achieving Gold award status. It was well received by the press and critics alike and each review of the film made a special reference to the music from Queen. The LP was nominated for a BAFTA award and an Ivor Novello, and the film premiered in London on 11th December 1980.

(➡️source: queenonline.com)

#freddie mercury #queen band #london #zanzibar #legend #queen #brian may #john deacon #freddiebulsara #roger taylor #flash gordon #1980

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theultimatefan · 2 months

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'National Lampoon,’ ‘Kingpin’ Star Randy Quaid To Attend FAN EXPO Cleveland, April 12-14

Randy Quaid, known for iconic roles as “Cousin Eddie” in several National Lampoon films and as “Ishmael” in the 1996 comedy Kingpin, will appear at FAN EXPO Cleveland, set for April 12-14 at the Huntington Convention Center, the convention announced today. Quaid, who has had more than 100 film and TV roles, will attend all three days of the event, greeting fans, signing autographs, posing for photo ops and conducting an interactive Q&A session.

Quaid first gained notice for a co-starring role opposite Jack Nicholson in the 1973 light comedy-drama The Last Detail. In addition to the “Cousin Eddie” turns in Vacation, Christmas Vacation and Vegas Vacation and Amish bowler “Ishmael” alongside Woody Harrison and Bill Murray, Quaid has had supporting roles in such favorites as Independence Day and Brokeback Mountain.

Quaid won a Golden Globe Award and Peabody Award for his portrayal of President Lyndon Johnson in the TV Movie LBJ: The Early Years and has been nominated for Oscar, Emmy and BAFTA Awards.

Quaid is added to a first-rate FAN EXPO Cleveland celebrity roster that features The Lord of the Rings “four hobbits” Elijah Wood, Sean Astin, Billy Boyd and Dominic Monaghan, Danny Trejo (Machete, From Dusk Till Dawn), Charlie Cox (“Daredevil,” “Boardwalk Empire”), legendary director Sam Raimi, Vincent D’Onofrio (Daredevil, “Law & Order: Criminal Intent”), Alan Tudyk (Star Wars, “Firefly”), Brent Spiner (“Star Trek: The Next Generation,” Independence Day), “Charmed” star Rose McGowan, “Harry Potter” standout Matthew Lewis and Jason Lee (“My Name is Earl,” The Incredibles) and many others.

Single-Day Tickets, Three-Day Passes, VIP Packages and Ultimate Fan Packages for FAN EXPO Cleveland are available now. Advance pricing is available until March 28. Additional guest news will be released in the following weeks, including event schedules, special events and more.

Cleveland is the sixth event on the 2024 FAN EXPO HQ calendar; the full schedule is available at fanexpohq.com/home/events/.

http://www.fanexpocleveland.com

#comic con #cleveland #randy quaid

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world-of-wales · 1 year

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─ •✧ WILLIAM'S YEAR IN REVIEW : MAY ✧• ─

3 MAY - William opened James' Place in London.

4 MAY - William held an Investiture at Buckingham Palace.

5 MAY - He received Admiral Sir Antony Radakin (Chief of the Defence Staff)

6 MAY - William attended a SportsKey session at the Doug Ellis Sports Centre in Birmingham where he was received by Her Majesty's Lord-Lieutenant of West Midlands (Mr. John Crabtree).

8 MAY - William appeared in a video address at the 2022 Bafta Television Awards as he introduced a special segment highlighting “Planet Placement".

10 MAY - William visited the the Palace of Westminster along with Cahrles and Camilla in his role as the Counsellor of State for the State Opening of the Parliament where they were received at the Sovereign's Entrance by the Marquess of Cholmondeley (Lord Great Chamberlain) and the Duke of Norfolk (Earl Marshal). Later in the afternoon, he and Catherine attended the opening of the Glade of Light Memorial in Manchester where they were received by Her Majesty's Lord-Lieutenant of Greater Manchester (Sir Warren Smith).

11 MAY - William and Catherine were received by Her Majesty's Lord-Lieutenant of Renfrewshire (Colonel Peter McCarthy) as they visited St. John's Primary School in Port Glasgow. They later visited Wheatley Group in Kennishead where they were received by Mr. John McLeod (Deputy Lieutenant of the City of Glasgow). They subsequently visited the University of Glasgow.

12 MAY - William visited Heart of Midlothian Football Club at Tynecastle Park in Edinburgh where he was received by Mr. Kingsley Thomas (Deputy Lieutenant of the City of Edinburgh).

13 MAY - William and Catherine took part in the 2022 Mental Health Minute as they took over the radio staions for a special 60-second broadcast. He later invested Mrs. Deborah James with the insignia of a Dame Commander of the Most Excellent Order of the British Empire.

14 MAY - He attended the FA Cup Final between Chelsea Football Club and Liverpool Football Club at Wembley Stadium.

15 MAY - William departed for the United Arab Emirates from Heathrow Airport in London.

16 MAY - William was recieved by The Queen's Ambassador to the United Arab Emirates (His Excellency Mr. Patrick Moody) as he touched down at Abu Dhabi International Airport. He paid his Condolences to The President of the United Arab Emirates following the death of Sheikh Khalifa bin Zayed Al Nahyan before flying back to the United Kingdom in the evening.

17 MAY - William held an Investiture at Windsor Castle in the morning. Later in the afternoon he presented new Colours to 1st Battalion Irish Guards.

18 MAY - William was received by Her Majesty's Lord-Lieutenant of Staffordshire (Mr. Ian Dudson) as he unveiled a new Submariners Memorial at the National Memorial Arboretum in Alrewas.

19 MAY - The Duke of Cambridge recieved The President of the Republic of Colombia. He and Catherine were received by Her Majesty's Lord-Lieutenant of Greater London (Sir Kenneth Olisa) as they attended the Royal Film Performance of "Top Gun: Maverick" at the Odeon Luxe in Leicester Square.

24 MAY - William paid a visit to Royal Marsden Hospital in London. Later in the evening, he attended a Reception at the Cavalry and Guards Club in Piccadilly.

25 MAY - William and Catherine gave a Garden Party at Buckingham Palace along with The Earl and Countess of Wessex, Princess Beatrice and The Duke and Duchess of Gloucester.

26 MAY - William held a Meeting for the Earthshot Prize.

27 MAY - William received the Lord Hague of Richmond and Mr. Simon Patterson (Chairman & Vice Chairman, The Royal Foundation).

28 MAY - William took the salute at the Colonel's Review of The Queen's Birthday Parade on Horse Guards Parade.

30 MAY - William was spotted at the Houghton Horse Trials supporting Zara who was competing in the event.

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