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Post by Leanne on Feb 10, 2008 16:16:11 GMT -5
Kevin McKidd plays Bothwell, Mary's loyal but headstrong protector and lover. Recently, sword fighting and horseback riding have been the order of the day for Kevin McKidd, stalwart of the Scot pack. Even catching up with this talented, young actor requires break neck speed these days, but as he arrives home from the gym he is more than happy to talk about his latest roles. "I'm not really the work out type, but all these active roles mean I've got to at least try and stay in shape," he says. Certainly, his current schedule demands serious fitness. Later today he is off to Italy for talks about his leading role in the epic drama, Rome. This 12-part series, which chronicles the rise of ancient Rome through the eyes of two soldiers, is a major BBC and HBO co-production, which shoots in Rome's Cinecitta Studios, with additional location filming in Europe and North Africa. Yesterday McKidd arrived home from Spain, after completing work on the new Ridley Scott movie, Kingdom of Heaven. The film is set during the 12th century crusades and again called for physical prowess and emotional intensity. But for now, McKidd cheerfully explains why his earlier incarnation as the rough and ready Bothwell helped him as he rode alongside his Kingdom of Heaven co-stars Orlando Bloom, Liam Neeson and Jeremy Irons. It is all a matter of equestrian confidence, he confides. "To be honest, Gunpowder, Treason and Plot got me riding properly because we rode so much. Up until then I'd felt very unsure of horses and didn't see myself as a horse lover," he chortles. "My breakthrough came one particularly hot day; I hauled myself into the greasy saddle and could ride. It had become natural, second nature. "How those Romanian horses ever understood my Scots accent is anyone's guess, but I'm chuffed to say the experience set me up to ride their Spanish cousins with ease." Moving back to Jimmy McGovern's passionate and intense telling of the Mary Queen of Scots story, McKidd is full of enthusiasm. He immediately praises his young, French co-star Clémence Poésy. "She did a brilliant job and is totally believable as Mary, who was a few years younger than Clémence is now. "Mary was a big leap for this lovely, wee French actress. "Initially, she was anxious about her English - which was ironic because it was better than most of us on set! "I was able to reassure her that her accent was accurate - if not perfect - as Mary's first language was French." Once work got underway McKidd says, "Clémence just became the tender, intelligent 19 year old, who was thrown into becoming Mary Queen of Scots - in a land that was wild and dangerous and culturally alien to her. "I think it was a brave decision on the part of Gillies to cast young actors in many of the key roles," says McKidd who has worked with the director several times on his films Hideous Kinky, Regeneration and Small Faces. "A less creative and respected director wouldn't be able to inspire the performances he drew from us. There was a real energy and buzz within the production and everyone was up for giving it their best on every take. "I loved Jimmy's script, which moves from really full in-the-fire action to intimate love scenes between Bothwell and Mary. "Having such well-written drama means every day was a new challenge - interesting and engaging. I hope we pass that on to our audience." But, what does McKidd say to viewers who may not agree with McGovern's telling of history? There are those who say that Bothwell never loved Mary, and manipulated her when she was most vulnerable. "You know, we're not making a documentary or writing a history book here. I think it's too simple to say, 'No, no, that's wrong historically in my view, therefore this drama is invalidated'. "A dramatist of Jimmy's calibre will be inspired by history and then make it fly for the audience." As soon as the script landed in McKidd's hands he felt an affinity with Bothwell. "I've never felt so strongly about any character before. I thought I know this guy, I feel it in my heart. I was desperate to play him. "Bothell's part hero, part anti-hero, which makes him brutally honest. He'll do and say whatever it takes to protect his Queen and Scotland. His love for both is absolute and selfless. "The fact that Bothwell was a proud and noble Scot is irrefutable - he wasn't simply an ignorant hard guy. "For example he would have been able to speak French, but only does so as a concession to Mary during a couple of intimate scenes. Gillies' direction brings these moments through with subtlety and beauty." It seems ironic now that McKidd started acting because of athletic inadequacy. Before the age of 14 he was 'a big beefer' unable to play football. So he ended up in a school play, enjoyed the buzz, and knew acting was for him. However, his parents were less keen and he studied Engineering at Edinburgh University before switching to a drama course. Since then he hasn't looked back. He appeared with Robert Carlyle and Ewan McGregor in Trainspotting, was acclaimed for his role as Johnny in Acid House and was a very credible operetta singer in Mike Leigh's Topsy Turvy. Recently, he starred in Dog Soldiers. Television audiences will remember him as a passionate Count Vronsky opposite Helen McCrory in Anna Karenina, and as Duncan in The Key, BBC TWO's epic Scottish drama last year. Despite a strong work ethic, keeping a work-life balance is important to McKidd. After his imminent meeting in Italy, he is relishing three weeks at home with his wife, Jane, and their two young children. Then he heads off to do battle proper in Rome. www.bbc.co.uk/northernireland/drama/gunpowder/cast_interviews_mckidd.shtmlOffical website : www.bbc.co.uk/northernireland/drama/gunpowder/
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Post by anaterra on Feb 16, 2008 12:19:26 GMT -5
While searching for movies I wanted to show my students, I found out that the Gunpowder DVD did get released in Brazil, so I rented it. Kevin is soooo good in this series!!! One thing that I noticed is that his scar seems to be more visible, maybe because it fits the character well. By the way, does anyone know how he got the scar?
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Post by Leanne on Feb 16, 2008 12:58:00 GMT -5
that is the million dollar question ? trust me when I find the answer you will all be the first to know there are a few movies that the scar is more prevalent (and put to good use) and in some mag shots it looks like its been airbrush out I think we can count out sport injury because in many interviews he has stated he didn't play sport its probably a childhood injury (boys will be boys) LOL
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Post by Leanne on May 25, 2009 6:28:56 GMT -5
After a long development phase, over six months, I was getting restless as none of the films were succeeding in finding their money. One day I found a script waiting for me with two names on it... Jimmy McGovern and Mary Queen of Scots. I had wanted to work with one of Jimmy's scripts again for a long time. And my secondary School in Glasgow was located in Battlefield, the site of Mary's final battle. Throughout my childhood she was a romantic ghost on the hill above the school, forever watching the battle. This would be two TV films back to back, the other part being about James First, who Bobby Carlisle had agreed to play... it couldn't look any better. I met with producers Gub Neal and Willy Wands. When I learned the budget, schedule, and that they would be shooting in Romania, I told Willy (an old colleague from THE ESCAPIST) that it would be hell -"...but we like hell, don't we Willy?" he gave me a sceptical look and said -"No, Gillies, you like hell". But I know Willy does likes hell really, whether or not he admits it and soon, with troubles on the floor, Willy the producer stepped in as Willy the first assistant director and ran the floor, pulling the crew together and making it possible. Once we committed, things took a turn for the worse when the BBC withdrew half a million pounds from the budget. This placed us in a state of emergency and, I can honestly say, this was the toughest shoot I have yet encountered. Our backs were always, up against the wall, every day. Nigel Willoughby saved our bacon, lighting fast and beautifully. So did designer Andy Harris, who pulled together a disparate crew of Brits and Romanians and built period exterior streets and interior palaces on the Bucharest set. Special mention to editor Pia Di Ciaula again, who cut two films beautifully on a much diminished schedule. Seriously, when you are in trouble you need to be surrounded by the best people who contribute, know what is required and take responsibility and never resort to complaining. Casting the film was a treat. I needed a very young French actress to play Mary and found Clemence Posey, who turned twenty one during the shoot. She found all the qualities for Mary -fragile beauty, spirit, even youthful arrogance. Playing opposite her as Bothwell I was blessed with the wonderful Kevin McKidd, who I have worked with on SMALL FACES (gang leader Malky Johnson), REGENERATION (soldier being cured with electricity), HIDEOUS KINKY (Danish hitchhiker, Henning, dying of sunstroke). In fact I brought in lain Robertson, Stephen Duffy and Gary Sweeney, all from the SMALL FACES cast. It was a special pleasure to cast Gary Lewis as John Knox. When he turned up on set with long grey hair and beard I didn't recognise him. The whole cast was fuelled up and ready to give it 100%, and this is a great pleasure for a director. Gub Neal and I made the decision to cast the film young -just because it is a period drama doesn't make the characters old. We wanted the energy that hungry young actors can provide. Another special pleasure was working with Bobby Carlisle for the first time. He is the kind of actor I love -prepared, committed, coming in with his own agenda, but never failing to communicate and listen. This dynamic stimulates me to come up with my best notes as director. I am once again in between films and developing several new movies. I am also writing my own film- FLESH AND BLOOD, set in Glasgow, to star Gary Lewis as a man searching for his runaway son in Glasgow. This is a personal film, in the way that SMALL FACES was personal. I have been writing it for a couple of years now, trying to get it right. My brother, Billy MacKinnon, is writing COSTAS, which I hope to direct. The idea came from a story he told me in my car driving back from Norfolk. lt is about the rise and fall of a contemporary Romeo. It is about men and women and sex, what men think of themselves, what they think about women. It should be funny and painful and, in places, a bit dark. It is currently being developed through Box TV as a feature film. www.gilliesmackinnon.co.uk/
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Post by singer201 on May 25, 2009 13:24:01 GMT -5
Somehow I had missed this little piece on GT&P, and had always wondered how a "non-athletic" Scottish actor came to ride horses as decently as he did in Rome. As a horsewoman, I know it doesn't come easily to an adult without quite a bit of practice and experience.
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Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
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Post by Geniusmentis on May 25, 2009 14:34:32 GMT -5
He is good in everything he does. He can sing very well, he can play guitar.
I'd like to see him dancing alone (a part in 16 years alcohol) in something enough elaborated. I've only seen him in ballroom dances and country dances.
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Post by singer201 on May 25, 2009 14:56:09 GMT -5
KMK does a tiny bit of stage musical dance in DeLovely, mostly in snatches of the finale, Blow, Gabriel Blow. It's not enough to really see though. Kind of like the horseback riding in Rome, just when I was ready to evaluate his technique in the saddle, they'd pull the camera off him.
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Post by cl3me on May 25, 2009 17:29:39 GMT -5
Somehow I had missed this little piece on GT&P, and had always wondered how a "non-athletic" Scottish actor came to ride horses as decently as he did in Rome. As a horsewoman, I know it doesn't come easily to an adult without quite a bit of practice and experience. As a horseperson as well, I noticed how at ease KMK was on horseback in ROME - no stunt doubles. I still have yet to see Gunpowder....my next KMK mission.
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Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
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Post by Geniusmentis on May 25, 2009 17:45:08 GMT -5
You'll like Gunpowder very much!! His character is so passionate!!
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Post by singer201 on May 25, 2009 22:15:56 GMT -5
I'll have to take another look at GTP, since I'm a little better educated in my English history than the last time I watched it. I was struggling to understand the story, and it will make more sense this time with some research behind it. Have to watch for Kevin's riding in it.
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Post by odoacer on May 26, 2009 1:38:38 GMT -5
Not only his riding. His whole performance is absolutely overwhelming ! Bothwell could teach Vorenus a trick or two....
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Post by Leanne on Sept 19, 2009 14:48:48 GMT -5
GUNPOWDER, TREASON AND PLOTOn the Romanian set of the BBC’s costume drama starring RobertCarlyle(The Telegraph Magazine, 2004)In the grounds of a Renaissance palace outside Bucharest, a family inseventeenth-century garb is strolling beneath the dappled shade of thechestnut trees. The father – ginger-haired, bearded and moustachioed – is ofratty appearance, and drags one foot awkwardly behind him; the children runto their mother’s embrace clasping fronds of leaves. Suddenly, a deepScottish voice startles the peace of the sylvan glade.‘SHUSH!’ it yells. ‘F–ing shut the f– up! Have you got that?’The three dozen bystanders at whom this is directed – all in modern dress– do not look particularly put out; but then, being Romanians, they are used tobeing dictated to. The owner of the voice, a stocky television producer calledWilly Wands, turns apologetically to the strolling family.‘Sorry about that, folks. I am extremely upset today, Bobby, and’ – he givesthe bystanders a further glare – ‘it can only get worse.’‘Bobby’ is Robert Carlyle, and his presence here in the role of King JamesI is a measure of the importance of the BBC’s new costume drama.Gunpowder, Treason and Plot covers 45 years of British history from MaryQueen of Scots’s accession to her son’s establishment as the first King ofEngland and Scotland. It brims with conspiracy, lust and bloodshed, and isacted with relish by a cast which also features Tim McInnerney, CatherineMcCormack and Daniela Nardini – as well as a Bardotesque Frenchnewcomer, Clemence Poesy, as Mary. -------------------------------------------------------------------------------- Page 2 But the BBC is, if anything, even more excited about those behind thecamera. They include director Gillies MacKinnon, who was responsible forHideous Kinky, Regeneration and Small Faces; co-producer Gub Neal, theguiding hand behind Prime Suspect; and the controversial scriptwriter JimmyMcGovern, creator of Hillsborough. With Robert Carlyle as the fourth ace inthe pack, you have as strong a hand as current British television is likely to bedealt.Most of this dream team know each other of old. Neal, McGovern andCarlyle all worked together on Cracker; Neal and McGovern collaborated onHillsborough; MacKinnon directed McGovern's first screenplay, Needle.‘Jimmy and I nearly did other things together,’ says MacKinnon, ‘but theywere never quite right. I always had an awareness of Mary Queen of Scots,because her final battle – at Langside, near Glasgow – took place on the siteof my secondary school; so when this script arrived on my desk with Jimmy’sname on it, I thought, “Destiny!”’A tousled, denim-jacketed figure in his mid-fifties, MacKinnon has alugubrious look to him which reminds one of a cartoon bloodhound. But thisbelies a ready, deadpan sense of humour, and as the royal family prepares togo through its paces again, his calm presence is like a cool balm after WillyWands’s stentorian ranting. ‘I do believe it’s time to try another shot,’ hesays. ‘And if it doesn’t work, we can always do it again.’The story of how MacKinnon and his crew found themselves in Romaniais an epic in itself. It begins in 1998, when Jimmy McGovern wascommissioned to write a feature film about Mary Queen of Scots, which forvarious reasons never went into production. Three years later, the BBC askedhim for a television script about James I to mark the 400th anniversary of theGunpowder Plot in 2005. ‘Then when he’d written the story of James I,’ GubNeal explains, ‘he realised that it was a nonsense to have the story of James’s -------------------------------------------------------------------------------- Page 3 mother strung out there in feature-film hell – so we came up with the idea ofbringing the two together as a drama about the early Stuarts.’ Neal, in themeantime, was hoping to make a series about Hitler with Robert Carlyle, onlyto see his star poached for the same role by CBS. ‘So I thought, I’ll offerJames I to Bobby and he can use Hitler as a rehearsal.’ (James I, you willgather from this, does not emerge as a sympathetic character.)Even with the Mary Queen of Scots story scaled down for television, theproject was always going to be hugely expensive, and Romania was chosen asthe location because the BBC’s money would go much further there. ‘Ourbudget is £4.5 million,’ says Neal simply. ‘In the UK, this would cost us £12to £15 million.’It would be wrong to say that the two halves of the drama fit seamlesslytogether. Although they share the same high production values, each has acompletely different cast, and the James I story is altogether more modern:not only does McGovern draw strong parallels between the Gunpowder Plotand 9/11 religious terrorism, but he also has several of his characters talkdirectly to camera, addressing us on our sofas across the centuries. ‘MaryQueen of Scots,’ he admits, ‘is one story, about the Queen and her love forBothwell: it’s mountains, hills, lochs and passion. And James I is another,about a deeply flawed man in England.’Lochs, of course, are hard to come by in Romania, though in other respectsthe country seems little removed from sixteenth-century Scotland. Headingout of Bucharest towards today’s main location, Mogosoaia Castle, we passhiggledy-piggledy haystacks, an old man with a herd of goats, and a numberof farmers driving ancient horse-drawn carts with their wives bobbinguncomfortably in the back. ‘John Prescott should get a couple of those,’ saysGub Neal. ‘Then we could call him Two Nags.’ -------------------------------------------------------------------------------- Page 4 Anxiety about horses is a recurring motif of conversations on set. We havenot been long at Mogosoaia – a magnificent cloistered palace – when a greymare bolts across the gravel; it is captured among the caravans and riddenback to a chorus of barking from half a dozen stray dogs. ‘If Clemence felloff and broke her leg, I would really feel up crap creek without a paddle,’ saysGillies MacKinnon of his leading lady – who subsequently reveals that shehas hardly ridden since falling off (and breaking her arm) at the age of 7.Kevin McKidd, who plays Mary’s fearless lover Bothwell, speaksapprehensively of ‘great smelly creatures with short reins’, and Steven Duffyis no more confident in the role of Bothwell’s arch-enemy Lord James.‘Gillies always has a list of questions on his call sheet,’ he says, ‘and one ofthem was, “Does Steven know how to dismount?” I had some riding lessonsat home in Scotland, but then when I got here I realised that the horses onlyunderstood Romanian.’McKidd and Duffy both worked with MacKinnon on Small Faces, andtheir loyalty to him is obvious. ‘I’m not keen on TV work,’ says McKidd,‘and Gillies is the only reason I’m doing this. His directions are always bangon: he demands the truth of you, in a very gentle way; and he asks youropinion, which is quite rare. He’s not got much vanity of the “This is myfilm” type: he’s willing everyone to pull together. You feel as if you’re part ofa repertory company.‘I always remember him ringing up and offering me a part in HideousKinky. He said, “It’s only a little part, with two days’ filming, but I’ll makesure they happen fourteen days apart, so at least you can have two weeks’holiday in Morocco.” Not many guys think like that.’From Mogosoia we move to the nearby Media Pro Studios, built in theFifties to a Soviet blueprint and recently refurbished. On the 26-acre lot, setsare being hammered together on a scale unimaginable in Britain, where -------------------------------------------------------------------------------- Page 5 standby carpenters cost £300 a day as opposed to $6. Here is the façade ofthe Palace of Westminster; around the corner, an entire Edinburgh street; nextto the canteen, the courtyard of a generic Scottish Castle. ‘Watch your feet,’says art director Andy Harries as he leads the way into the castle’s Great Hall:‘we have blood on the floor from a previous massacre.’Gunpowder, says Harris, is ‘a hugely ambitious project. I’ve worked in theindustry for 25 years, and I’ve built more sets for this than everything else puttogether.’ He is full of praise for the studios, but the job is not without itsheadaches: ‘We have a shot the day after tomorrow when Mary arrives inLeith, and we haven’t built Leith yet.’Harris is another MacKinnon loyalist, having worked with him on half adozen films. ‘I’ve known Gillies since he was at Glasgow Art School, andhe’s never really changed. He’s a very visual person, and when we talk he’llsay, “Make it look like this painting or that painting.” For this we talkedabout Rembrandt, Goya and Piranesi – but chiefly Rembrandt.’Although Harris’s research was tireless, the fact that much of the actiontakes place in an amalgam of Holyrood Palace and Edinburgh and Stirlingcastles will be a red rag to those who care about historical detail. Indeed, thewhole question of authenticity looms so large over this project that Gub Nealand Gillies MacKinnon have developed a line of defence which veers fromclose reasoning to bravado and occasional hubris. ‘What history gives us iscontext,’ insists Gub Neal. ‘It’s a wonderful setting in which to tell a tale, butto be hamstrung by factual accuracy would be very, very demeaning.’So, in Jimmy McGovern’s script, Mary Queen of Scots and Bothwell fallpassionately in love, even though the historical Bothwell was – in the wordsof Mary’s biographer Antonia Fraser – ‘a man either inspired by familytradition of advancement through queens, or plain personal ambition,unmarked by any trace of sentiment or sensitivity’. Similarly, a pivotal -------------------------------------------------------------------------------- Page 6 episode in James I’s story has the young James agreeing not to take revengeon the English if they cut his mother’s head off. ‘James wanted the Englishthrone, and he hadn’t seen his mother since he was nine months old,’ saysJohn Day, author of the most recent life of Mary; ‘and by agreeing to berecognised as Elizabeth’s successor while his mother was still alive, he madeMary expendable. But to say that he actually connived at her execution isvastly exaggerated and a bit silly.’‘We’re not making a documentary,’ protests Gillies MacKinnon, ‘nor do Ithink we should be. Without wanting to equate Jimmy with Shakespeare, he’sremythologising Mary just as Shakespeare did Macbeth. It’s the charactersthat drive a story, and in the end all I care about is getting to the bottom ofthem.’McGovern himself makes a distinction between recent and more distanthistory. ‘If you work on something like Hillsborough, where some of thepeople involved are still alive, you have a moral duty to get it right. But whenthe story is 400 years old, and the facts are disputed, your duty is to take aclear line and stick by that. You can’t state all the competing arguments.’The actors, at least, seemed only too delighted with McGovern’s script. ‘Ireally liked the intensity of it,’ says Clemence Poesy. ‘It’s full of this energythat keeps getting wilder and wilder, so that as an actor you just have to go forit.’‘What he gets right,’ says Steven Duffy, ‘is that he forces you to look atboth sides of the issue. Nothing is black and white. There are no heroes –they’re all playing to win, and they don’t mind how they do it.’McGovern has always been an overtly political writer, and the issue withthe greatest contemporary resonance in Gunpowder, Treason and Plot isterrorism. ‘In a just and holy war, the Church accepts that innocents may haveto die,’ declares one of the plotters, like a seventeenth-century apologist for -------------------------------------------------------------------------------- Page 7 suicide bombing; while James – with Rumsfeldian zeal – sees his enemies’activities as an excuse to ‘lay waste half the world’.‘When something of massive importance like 9/11 happens,’ saysMcGovern, ‘it makes you search for your place in the history of humanity. Ialways argue that you must condemn violence; but then you should have theguts to say, “What brought these people to this level of bloodthirst? What isthe source of their grievance?” ’In the case of the Gunpowder Plotters, it is James I’s refusal to grantCatholics the toleration they expected. Catholicism has been a recurrentsubject of McGovern's work, and he admits that his Jesuit education tingeseverything that he does: ‘It’s always there – the whole process of the severeexamination of conscience, whether your own or somebody else’s. I thinkthat’s gold dust for any writer.’Gillies MacKinnon says that he is glad McGovern’s Mary Queen of Scotsscript never reached the big screen. ‘I think that a lot of the guts would havebeen taken out of it. Feature films today are all about conforming to thegeneral knitting pattern of what a commercial project is: Mary would havehad to be a heroine, whereas the character that’s emerged is much morecomplex – more neurotic and vain and flawed.’Britain, he argues, has ‘emasculated itself’ as a country that makes films.‘It’s getting very hard to do anything that doesn’t fit into an obvious category– which is a lot to do with the American influence. Yet the most commercialfilms of the last ten years – Trainspotting, Charlotte Grey, The Full Monty –were made by people who simply had a passion for cinema. We’ve got to getback to that or we’re doomed.’Robert Carlyle believes that McGovern and MacKinnon are both rarities –the former for the quality of his work, the latter for his depth of knowledgeand clarity of vision. ‘Gillies and I talked about various films that had -------------------------------------------------------------------------------- Page 8 influenced him – from La Reine Margot through to various Japanese things Ididn’t know, like Throne of Blood – and it was quite fascinating. It makes youfeel safe: that you’re with someone who really knows what he’s doing, andwhat he’s trying to achieve.’Those for whom James I is synonymous with the Authorised Version ofthe Bible will be dismayed by the cruel, Machiavellian – not to mentionactively bisexual – figure cut by Carlyle. (One of the most entertaining thingsin the drama is his sparring with his Danish queen, whom he forbids even topretend to love him.) ‘He was a bastard,’ Carlyle says bluntly. ‘But you haveto say that he was a man of his time. Life was cheap, and he went along withthat to protect his position and power.’To his odious character is added a deformed appearance. This Carlyleachieved not through elaborate make-up, but by wearing a built-up shoe. ‘It’sa simple thing,’ he says, ‘but sometimes the simplest things work. I did a roleon stage years ago where I just put a stone in my shoe to create a slight limp,and it’s amazing how much difference it can make.’According to Gillies MacKinnon, the most exciting thing for a director isto coax something from an actor that neither of them had bargained for.‘When we walk on the set in the morning, we know quite a lot about how it’sgoing to be, but there’s always the possibility of finding something more inthe character that Jimmy has constructed for us. That for me is what it’s allabout – and I get that 100 per cent from Bobby.’He has one scene above all in mind. A red-blooded Catholic leader,Thomas Percy (played by Richard Harrington), visits James to plead fortoleration, and is told that he can have it in return for one thing – a sexualfavour. ‘We didn’t know how far they would go,’ says MacKinnon, ‘but boy,when it came to it, they really went for it.’ -------------------------------------------------------------------------------- Page 9 ‘It’s a brilliantly written scene,’ agrees Robert Carlyle. ‘We thought,“How are we going to play that?” – and I have to say, Richard looked prettynervous. But I’m really pleased with it, because there’s something quitedisgusting about it. And that’s always what you’re looking for – a momentwhere you can let the character take over and leave your own self behind.You want the audience to think, ‘Ugh!’ Google Docs tinyurl.com/l94x6n
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Post by cl3me on Oct 4, 2009 10:21:03 GMT -5
I am considering buying this on DVD but will cost a pretty penny as I will have to have it shipped from the US....so before I indulge I have a quick question about whether the series is historically correct in relation to: is the murder of Riccio (Mary's Italian assistant) covered in the series? Thoroughly? The reason I ask, is that my ancestors (Clan Tweedie) were implicated in the murder of Riccio, so I wouldn't mind having a bit of my family history on film as well as adding to my KMK collection.
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Post by Leanne on Oct 4, 2009 11:07:38 GMT -5
Cl3me it is covered....
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Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
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Post by Geniusmentis on Oct 5, 2009 5:40:41 GMT -5
I am considering buying this on DVD but will cost a pretty penny as I will have to have it shipped from the US....so before I indulge I have a quick question about whether the series is historically correct in relation to: is the murder of Riccio (Mary's Italian assistant) covered in the series? Thoroughly? The reason I ask, is that my ancestors (Clan Tweedie) were implicated in the murder of Riccio, so I wouldn't mind having a bit of my family history on film as well as adding to my KMK collection. Noooo, poor Riccio, he was my ancestor!!!! Ahahahah. I'm jocking!
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Post by drwyatt on Aug 13, 2012 7:36:40 GMT -5
does anyone know where I can get a copy of this? My husband loves history of GB and obviously I love KMK so its a win win if I can just get my hands on it. we are us based so cant' use an international dvd
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Post by Leanne on Aug 13, 2012 8:30:32 GMT -5
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Post by drwyatt on Aug 13, 2012 11:01:39 GMT -5
thanks, it says it's no longer available so tempted to download from youtube, but i know it would just fry my computer i love kmk but not that much
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Post by Leanne on Aug 14, 2012 5:26:38 GMT -5
If I find it anywere else Ill give you a heads up
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marcy
KMKonliner
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Post by marcy on Aug 22, 2012 0:57:40 GMT -5
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