|
Post by Leanne on Jun 19, 2009 7:33:15 GMT -5
Ok well Ive been dreadging up a few old articles and stuff from Kevin's life and Im going to post one every Friday ..... or if really good, as I find them as I cant wait to share LOL (with Photos' if supplied) first one is ..... www.bedmod.co.uk/news_details.htmlDecember 01st, 2005 Kevin McKidd Talks to Media Students Kevin McKidd joined BMS Media Studies students on 28th November to discuss his career in the British film industry. The Scottish actor spoke about his experiences whilst shooting 'Trainspotting' and many of his subsequent films, including 'Regeneration', 'Topsy-Turvy', '16 Years of Alcohol' and 'Kingdom of God'. Students asked a number of penetrating questions and they were particularly eager to hear about his current starring role in the BBC series 'Rome'. Kevin ended by entertaining the group with stories about his current film project, the next 'Hannibal' film, which he is shooting in Prague.
|
|
ruralstar
Kevin McKidd Online staff
website McFic
Life is a Journey of the Mind. Anything can happen....Just wait
Posts: 2,233
|
Post by ruralstar on Jun 19, 2009 13:02:59 GMT -5
Neat article. And a great idea Leanne. Thanks for sharing
|
|
|
Post by Leanne on Jun 26, 2009 6:40:53 GMT -5
|
|
|
Post by Leanne on Jun 26, 2009 7:01:51 GMT -5
For Plays 1995 - The Gulliver Award for the Performing Arts in Scotland 1998 Kevin won the distinguished Ian Charleson award. (Britannicus: title role) added this article as the link has been removed ......nice write up about the stage production January 11, 1999, Monday THEATER REVIEW; On the Cusp Of Monsterhood With Nero By BEN BRANTLEY Who is that sleek young time bomb of a man? At moments, he seems as frightened and helpless as a 4-year-old who has lost his parents at the fair; at other times, he is the soul of patrician urbanity, your ideal white-tie dinner partner. Then the eruptions come in nasty bolts of anger. And they aren't half as scary as when his face freezes into a grim, affectless mask. What is he called again? Oh, right. Nero. Yes, that Nero, the Roman Emperor whose name has become a byword for cruel and unusual despotism, and who, as embodied by Toby Stephens, is holding compellingly tormented sway over the Majestic Theater at the Brooklyn Academy of Music in the second of two imports from the Almeida Theater of London. It isn't the familiar full-blown tyrant with violin that Mr. Stephens is portraying in the crackling production of Jean Racine's ''Britannicus'' that opened on Friday night. It's something far more intriguing: a man-boy on the cusp of monsterhood, someone who, in the course of the evening, will take that last step into a state beyond moral redemption. You don't have to look far to see what propels him there: it's Mom, of course, the scheming, power-hungry Agrippina, and she is played to a savory fare-thee-well by Diana Rigg. This fine actress would have seemed to have provided the last word on strangulating maternal figures in her sublimely creepy performance in the television drama ''Mother Love.'' Here, however, she offers an equally forceful portrait that is also much more nuanced. Under the direction of Jonathan Kent, Ms. Rigg and Mr. Stephens perform a mother-and-son duet that works both as enjoyable political soap opera and unsettling psychological portraiture, kindling the histrionic sparks that are oddly absent from their teamwork in Racine's ''Phedre,'' which runs in repertory with ''Britannicus'' through Jan. 17. It's a shame that ''Britannicus'' has been allotted only 4 performances (the remaining two are on Thursday and Friday) to ''Phedre's'' 10 during the Almeida's visit to the academy. You can understand the logic. ''Phedre'' is a known quantity, at least to anyone who took introductory French literature, and the title role, essayed here by Ms. Rigg, has been a testing ground for great actresses for centuries. Yet the Almeida's ''Phedre'' is crippled by a palpable awareness on the part of its creators that they're tackling something big, with an attendant stiffness that isn't entirely offset by Ms. Rigg's viscera-twisting performance. In contrast, all involved in this ''Britannicus'' exude a relaxed, pleasurable confidence. They're having a fine old time. Undoubtedly you will, too, while getting to know, under the best possible circumstances, a play that doesn't deserve its obscurity among English-speaking audiences. What a play it is: a piano-wire-taut piece of work that obeys the Aristotelian unities while opening windows onto all sorts of levels of contemplation. Although it deals with the corrosive effects of obsessive love found throughout Racine, it is far less monolithic than usual in its approach. ''Phedre,'' as the poet Paul Valery noted, turns into a monologue in the memory. ''Britannicus'' is a concert of voices vying for dominance, none of which are as one-note as you might suspect. It's as entertaining a tale of Roman decadence and cut-throat politics as Robert Graves's ''I, Claudius,'' but it resists turning its characters into mere players in a sinister chess game of good and evil. The motives of the power jockeys in ''Britannicus'' aren't entirely clear even to themselves. Alliances are untrustworthy precisely because human personality is so fluid. Anyone following the current breakneck reversals in the real-life drama of the American Presidency will have no difficulty giving credence to the ever-shifting world of ''Britannicus.'' It was Racine's great inspiration, in reshaping accounts from the annals of Tacitus, to present a fledgling emperor who had not yet become the eponymous Nero of legend. The 22-year-old has ruled Rome for only six months when the play opens, and he is just starting to bristle under the control of Agrippina, whose machinations landed him on the throne at the expense of his rival and stepbrother, Britannicus (Kevin McKidd). Nero especially resents his mother's having arranged the engagement of Brittanicus to the chaste and exquisite Junia (Joanna Roth), and has had the girl made a prisoner in the imperial palace. This political move is complicated by the Emperor's response on having seen Junia for the first time. As he tells one of his tutors, Narcissus (Julian Glover), ''Nero is in love.'' Mr. Stephens does a lot with that simple line, inflecting it with a combination of regal arrogance and embarrassment. He and Mr. Kent consistently and effectively emphasize Racine's idea of Nero at a crossroads. His divided potential, to become an honorable leader and a self-indulgent tyrant, are embodied by his two advisers, the canny but virtuous Burrus (David Bradley) and the devious Narcissus, both persuasively portrayed. Yet there is, from the outset, an unhinged quality to this Nero that the intoxication of power is pushing toward sadism. It's all in the text, but Mr. Stephens taps it with flair, as in his quivering description of his first vision of Junia. What clearly attracts him, more than anything else, is her state of distress. And you are always aware of his profound ambivalence toward his mother, to whom he remains, to his shame, infinitely susceptible. Ms. Rigg has chosen to play Agrippina not as a vengeful serpent but as the ultimate politician, a brisk, unflinching pragmatist with an outsize ego, and the decision works wonderfully. There's a touch of both Margaret Thatcher and Hillary Rodham Clinton to her Roman matron, clad in Maria Bjornson's Chanel-like ensembles. This is someone who has mastered the rules of the game and knows just when to intimidate and when to cajole, plying her majestic alto voice in ways that brook no argument. She accomplishes the considerable trick of showing when she is wounded without ever displaying signs of weakness. For all her self-admiration, she is not a deluded woman, either, and Ms. Rigg makes it believable when Agrippina becomes the voice of the conscience of history, which will condemn her son in the centuries to come. The dead-on look of the show by Ms. Bjornson and the lighting designer, Mark Henderson, suggests an Italian Fascist version of the corridors of Buckingham Palace. Ms. Bjornson and Mr. Kent make terrific use of a set of giant fish tanks, metaphors for both entrapment and the dauntingly public nature of its characters' lives. In the evening's most potent image, Nero hides behind one of those tanks, his face visible to the audience through the water as a melting mask, as he watches an encounter between Junia and Britannicus. As the naive victims of a corps of arch manipulators, Ms. Roth and Mr. McKidd have thankless roles, but they play them with an energetic agitation that makes their inevitable fates the more tragic. And Barbara Jefford, looking like an elegant Miss Marple as Agrippina's confidante, is a nicely restrained foil to Ms. Rigg's grandeur while clearly cut from the same cynical cloth. All of the cast, for the record, is utterly at ease with Robert David MacDonald's first-rate rhymed translation, its artificiality coming to feel like the natural language of a courtly society. As in much of Racine, the most spectacularly dramatic moments take place offstage, but you never feel cheated by only hearing about them. Mr. Kent creates the tense, calculating atmosphere of candidates at a Presidential convention waiting in a private chamber as their fates are decided outside. There is a regal staircase, revealed only in the play's second half, at the back of the stage, with steps leading to an unseen room where a murder takes place that will change the course of an empire. By the play's end, that room, we are told, has become a scene of grotesque chaos. Agrippina's response to the description of that scene, as impeccably rendered by Ms. Rigg, says everything about the world she inhabits. She is appalled and, in some way, broken, but there is also some cold internal mechanism that clicks on and allows her to start assessing the damage and think about tidying up. It is, in other words, politics as usual. BRITANNICUS By Jean Racine, in a new version by Robert David MacDonald; directed by Jonathan Kent; design by Maria Bjornson; lighting by Mark Henderson; music by Jonathan Dove; sound by John A. Leonard. The Almeida Theater Company, presented by the Brooklyn Academy of Music, Bruce C. Ratner, chairman; Harvey Lichtenstein, president and executive producer. At the Majestic Theater, 651 Fulton Street, Fort Greene, Brooklyn. WITH: Diana Rigg (Agrippina), Kevin McKidd (Britannicus), Toby Stephens (Nero), Barbara Jefford (Albina), David Bradley (Burrus), Julian Glover (Narcissus) and Joanna Roth (Junia). www.nytimes.com
|
|
Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
|
Post by Geniusmentis on Jun 26, 2009 7:19:41 GMT -5
Oh, very good old news!!
|
|
|
Post by Leanne on Jun 26, 2009 11:47:36 GMT -5
I'm amazed that I cant find a photo from one of these awards and nothing relating to the The Gulliver Award win...
If anyone finds anything let me know..
I have one very small pix of Kevin receiving an award I need to just see which it relates to ....
|
|
Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
|
Post by Geniusmentis on Jun 26, 2009 12:04:11 GMT -5
I'll try.. Anything about the Ian Charleston Award ? Stage Credits: Far Away - by Caryl Churchill (Royal Court Theatre) - 2000 Role - Todd Tis Pity She's A whore - by John Ford (Young Vic Theatre) - 1999 Role - Soranzo Britannicus - by Racine (Almedia Theatre)-1998 ~~Won the Ian Charleston Award for his performance Role - BritannicusRichard III - by William Shakespeare (Royal Shakespeare Co.) - Role - Richmond The Silver Darlings - by John McGrath (Citizen's Theatre) - 1994 ~~Won the Gulliver Award for his performance Role - FinnTelevision: A Highland Empire (2007) BBC2 .... Narrator Journeyman (13 episodes, 2007) NBC .... Dan Vasser Rome (22 episodes, 2005-2007) HBO/BBC .... Lucius Vorenus The Virgin Queen (2005) BBC mini-series .... Duke of Norfolk Gunpowder, Treason & Plot (2004) Box TV .... Bothwell The Key (2003) BBC Scotland .... Duncan North Square (8 episodes, 2000) Channel 4 series.... Billy Guthrie Anna Karenina (2000) Channel 4 mini-series .... Count Vronsky Magical Legend of the Leprechauns (1999) Hallmark.... Jericho O'Grady Looking After Jo Jo (1998) BBC Scotland.... Basil Richard II (1997) BBC2 .... Henry Percy www.gbutlermovies.com/KevinMcKidd/index.html
|
|
|
Post by Leanne on Jun 26, 2009 12:14:25 GMT -5
yeah I have all of that under stage in the past productions thread its pix of the events I was looking for ok The Silver Darlings - by John McGrath (Citizen's Theatre) - 1994 ~~Won the Gulliver Award for his performance Role - Finn thanks....
|
|
Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
|
Post by Geniusmentis on Jun 26, 2009 12:20:40 GMT -5
No, thanks to you. I had already forgotten a lot of things. I have to freshen up all again and deepen it!!
|
|
|
Post by Leanne on Jun 29, 2009 6:56:37 GMT -5
June 2002 Live Reviews: Bryan Ferry 03 June 2002 ROCK & POP Bryan Ferry **** Princes Street Gardens, Edinburgh THE annual civilised summer bash in Princes Street Gardens is usually the picnic on the lawn to the Edinburgh Castle concert’s rammy on the ramparts. But this year, the wine carryouts and additional alcoholic incentives provided by sponsors Glenkinchie had taken effect early on, so that as soon as the maestro hit the stage, looking illegally handsome as usual, there was a dash for the footlights. Refreshingly for such a big event, there was no killjoy policy of herding the excitable masses back to their seats, meaning the likes of actor Kevin McKidd and singer/broadcaster Richard Jobson were permitted to goon about along with the glamorous grannies attempting to touch the hem of their idol’s garments. Even with a new album to promote, Ferry leaned more heavily on Roxy Music material than his solo successes. The set was the better for the bias, as recent single Goddess of Love was exposed as a pastiche of Avalon-era Roxy, while the snoozy feel-the-1980s Slave To Love was shown up by comparison with the smooth, superior Dance Away. Although the dreary Oh Yeah (On The Radio) was as mystifyingly popular as ever, Jealous Guy turned into quite a powerhouse, for such a whiny, lachrymose song. Ferry’s fellow hosts at the nostalgia party included Chris Spedding on guitar, Roxy Music’s Paul Thompson on drums and backing singers/dancers who looked like they could have stepped off an early Roxy album sleeve. Both Ends Burning was the cue for the latter to try out some fervid cheerleading moves and, in a reheat of the Roxy reunion tour, they donned fuchsia feathered creations for Virginia Plain and Do the Strand, two songs which could pep up any occasion with their singular verve. Coupled with the free whisky and fireworks, they were positively dynamite. living.scotsman.com/features/Live-Reviews-Bryan-Ferry.2332113.jp
|
|
|
Post by Leanne on Jul 24, 2009 7:00:05 GMT -5
The Big Interview: No Kidding...
... he declined to appear on the Trainspotting poster to go on holiday. But Kevin McKidd survived. And, says Imogen Edwards-Jones, he's finally given up drugs to rub some stubble in Bedrooms and Hallways.
Kevin McKidd is quite unlike most other precocious Brit-flick acting talents. For a start he is very charming: there is none of the usual surly, limp-wristed, floppy-handshake behaviour, peculiar to those thrust into the limelight less than six months after they left drama school. In fact, as I walk into the appointed club to meet him for mid-morning coffee, he leaps out of his chair, smiles a wide and generous smile and hangs well back when it comes to seat-choosing. With curly blond hair, the palest of blue eyes and transparent Boris Becker eyelashes, McKidd is an unlikely looking film star, let alone a glamorous male lead.
Yet he is the star of the new, very racy and very funny romantic comedy Bedrooms and Hallways and has ditched his hefty Highland accent for the more mellifluous, Blairite tones of a homosexual furniture restorer living in the trendy environs of Hoxton in east London. Playing against his usual junkie typecasting, 25-year-old McKidd has managed to pull off one of the more dramatic reinventions in modern British cinema.
"I really enjoyed it," he enthuses, sounding genuinely elated. "it was such a change. Normally I do things on Glasgow housing estates, set in horrible sh*ty places. It was a joy to play a terribly middle class, terribly affluent person who has enough time to worry about his sexuality rather than how he was going to get bread in his mouth."
His film debut was as the mealy-mouthed hardman Malky Johnson in Gillies MacKinnon's Small Faces in 1995. It was, however, later the same year that McKidd hit the big time, playing Tommy, a junkie who later dies of Aids, in the film Trainspotting.
"All I get is Trainspotting, Trainspotting, Trainspotting. Imagine how much worse it would have been if I were actually on the poster," declares Kevin, sounding surprisingly stoical about what some people think was the biggest mistake of his so far flawless career. Instead of being one of the faces that languishes on a thousand bedsit walls, McKidd elected to go on holiday to Tunisia with his girlfriend (they have since split up) rather than hang around during the long hot summer of 1995 for a boring photo-shoot. The shoot turned into "that poster" and possibly one of the most effective film advertising campaigns of recent years. "I'm glad I didn't do it," he insists. "I genuinely am glad. At the time I was p*ssed off, but now I'm glad. I'm getting the benefits within the business and I don't have to deal with all the other stuff." Probe more deeply about the "other stuff" and it is evident what he means: the glee with which everyone wants Ewan McGregor's theatrical endeavours to fail and the way Jonny Lee Miller's thespian outings are raked over with a fine tooth-comb. "To have that pressure and to have people really scrutinising you must be terrible," he says.
McKidd has spent most of his four-year career specialising in playing low-lifes who either deal in, take, or die of drugs. He played a pusher with Aids in the 1998 BBC television drama Looking After Jo Jo, and a shelf-stacker who is forced into marrying his heavily pregnant girlfriend, in another Irvine Welsh film, The Acid House, which was released earlier this year. "i don't know what it is," he grins, as he contemplates the grubbiness of his previous roles. "Maybe I'm good at being corrupted in films; it seems to happen all the time. Either that or I've got a face that make people want to f*ck up."
But Bedrooms and Hallways is different. Set in and around some of London's more beguiling loft apartments, with a sharp and witty script and fashionable costumes, it is a story of the nature of men, plumbing the depths of their sexual identities. Directed by Rose Troche, it co-stars Simon Callow, Harriet Walter, Jennifer Ehle, James Purefoy as Mckidd's love interest, Brendan, and Tom Hollander as his minx of a flatemate. The action centres on a men's group where everyone bonds in an attempt to discover their maleness, During one session Mckidd's character Leo, admits, shockingly, that he is attracted to Brendan and all hell breaks loose. After a weekend away, a relationship ensues, with profound consequences for all concerned. "There is an awful lot of rumpty pump in it," says McKidd. "Tom Hollander's a very queeny gay. But I'm dull gay, wet Wednesday afternoon gay, sitting and doing a jigsaw puzzle gay. Everything happens to my character so everything else around him is completely nuts. The script is funny and totally different from anything else I'd done. It's a romantic comedy that could make a few of my mates, who could be classed as a bit homophobic, laugh and say: ' Wow, I thought that was funny, so probably my attitude to homosexuals is different to what I thought it was.' It doesn't ram it down your throat but it makes you laugh, so you go: 'Hold on a minute, it's no so bad then.'"
McKidd's obvious enthusiasm for the film is also bound up with his shock at being given the part in the first place. He is the first person to admit that the story of middle-class English boys worrying about their masculinity doesn't exactly have his name written all over it. "I was amazed that they offered it to me," he says. "There are so many average looking, average middle-class male actors in London who could do this part. Apparently I was unflashy. She [Rose Troche]wanted me just there, checking it out, rather than being a show-off." He adds almost confidentially, " I know it's an ensemble piece but getting the chance to play a lead part was great, because it's actually very difficult playing a lead. I really wanted to see if I could do it. It's not an easy thing."
There were also plenty of other aspects to the role that McKidd found not so easy, such as lots of long, passionate kissing with the enviably handsome James Purefoy. "I now understand why women ask men to shave so much," he grins. "It really is a pain in the a*se getting stubble burns." He strokes his cheeks in mock empathy. "Actually, to be honest, I find it more nerve wrecking doing a sex scene with a woman than I do with a man. It's more obvious that you don't want to go too far, you want the girl to feel comfortable. But with James it wasn't that difficult, he's straight and I'm straight, so we both knew there was no, um, well... you know. So in a funny kind of way it was less embarrassing kissing a block. He was a bit much on tongues though. It was probably not my most enjoyable moment of the film, but it wasn't too bad. He ate extra strong mints."
Kevin McKidd has come a long way since he lay in his bed in a council estate on the outskirts of Elgin in north Scotland, dreaming of Steven Spielberg discovering him. "I always thought I wanted to be Eliot," he explains. "I wanted to have an alien as a mate. I wanted to be in a Spielberg movie and hang out with E.T. because he was the coolest thing I'd ever seen." The son of a plumber and a secretary in a lemonade factory, who is now the administrator of a disabled children's theatre company in Elgin, McKidd, the youngest of two brothers, had an impoverished working-class upbringing. With no artistic influence, he fell into acting as a result of athletic inadequacy. "I couldn't play football because I was really fat," he explains patiently. "I was a big beefer. When i was 14, I shot up and lost it, but before that I was very short and dumpy." He pauses and winces slightly. "Ask my mum if you don't believe me. The first time I went on stage was during a school play and everyone laughed, either because I was fat, or because I was being funny. I wasn't sure. Anyway, it was a good buzz and I just knew that's what I wanted to do."
His parents were less than keen. They wanted him to do something grown up that had a future. So Kevin, by way of appeasement, did engineering for part of one term at Edinburgh's Queer Margaret College [Wasn't it University of Edinburgh? -G] in 1992 and then switched to the drama course. "As soon as it started to work they were very supportive," he remembers. "they are really cool people," he adds. "They said: 'Look, we married young, had kids young, we never had the chance to know what we could have done, so make sure that you give it a stab.'"
He managed more than a stab. In 1995, during the last year of his course, he fortuitously landed the lead in John McGrath's production of Neil Gunn's The Silver Darlings at the Citizen's Theatre in Glasgow. From then on McKidd was in demand, moving straight from The Silver Darlings to Small Faces and from there to Trainspotting and so on. In a bid for self-improvement he has been treading the boards, most recently last year with Diana Rigg, in the title role of Britannicus at the Albery Theatre for the Almeida, which transferred to New York for two weeks. "I'd never been to the States before so that was brilliant," he enthuses. "The whole thing was wonderful, there were queues around the block and everyone kept coming up to me in the dressing room afterwards and saying: 'You were totally... totally...' And I was going: 'What? Totally what?' No one ever said what it was."
Now living in Camberwell with his new fiancee, Jane, McKidd's New York experience has made his move to London less disorientating. "It makes London feel small," he says. "I felt quite intimidated by London until I went to New York. I've been living here for a year and I still find it hard to adjust. Everyone knows your business. People come up to me and 'Oh yea, you were in New York, weren't you?' In Glasgow everything goes on behind closed doors, whereas here, knowledge is power."
McKidd's move to London seems to have worked and he has achieved a lot in an extremely short space of time. All the risks he has taken seem to have paid off, even the slightly dubious movie of starring in The Acid House. Not an obviously good one in the light of the ridiculous success of Trainspotting.
"Initially I didn't want to do it," he admits, running his hands through his hair. "I was worried about type-casting. It's rehashing old territory, and all that. Then I spoke to the director and he told me how he wanted to shoot it and I just liked the ideas."
He genuinely laughs at the idea that actors are able to plan or choose any element of their career. "That's b*llocks." he laughs. "People say 'I chose to do this role. I chose to do that role.' B*llocks. Most people, unless you're doing really well, are offered a role and you say all right, I'll do it. In the end, you don't want to get too obsessed withy our career plan. The last thing you can do is say: 'I have done that. I've done this. What I really need to play is a 25-year-old Asian with haemorrhoids."
It is surely only a matter of time before the siren calls of Hollywood come down the line. But would McKidd like to go across the pond? "If there was some big action film then I'd do it. But I don't have a six-pack and I'm not stunningly good looking, so I'm not leading man America status."
If he thinks he's not quite to Spielberg's taste, then what will he do in the next half decade, until he's 30? "Anything where I don't have to be Scottish," he laughs. "I'd love to be able to get a job, big enough to pay off my parents' mortgage. I haven't made enough money to be able to do that, but I'd love to. I'd love to say: 'I know I was a pain in the a*se as a kid, but there you go.' But I don't know if that'll ever happen." So any more inopportune trips abroad planned? "Oh no," he laughs. "I'm going to make myself available for any kind of publicity this time around."
Bedrooms and Hallways is on general release from April 9
The Times (Metro) 27 March 1999
|
|
ruralstar
Kevin McKidd Online staff
website McFic
Life is a Journey of the Mind. Anything can happen....Just wait
Posts: 2,233
|
Post by ruralstar on Jul 24, 2009 9:11:03 GMT -5
I haven't seen this article before. What a refreshing read. Kevin cracks me up. Alot of things have changed in the last ten years, but his atttidue hasn't as per more recent interviews and I think that's great
|
|
Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
|
Post by Geniusmentis on Jul 24, 2009 9:34:02 GMT -5
Wonderful interview! Very funny the part about the beard and the kisses with Purefoy.
I agree completely about the photos for Trainspotting and I was bored too to see his name always near Trainspotting, Traispotting...That's enough!!
The problem is that I agree with everything goes out from his mouth and that scares me a lot, because he always says what I have already thought!!
|
|
|
Post by odoacer on Jul 24, 2009 13:13:51 GMT -5
Sensible, levelheaded man...
|
|
|
Post by samill21 on Jul 25, 2009 3:54:40 GMT -5
Just awesome. This is why Kevin is the only actor I am sure I will ever really take an interest in. Ruralstar is correct - it appears that his attitude hasn't changed and that is why we love and admire him and his work.
|
|
Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
|
Post by Geniusmentis on Jul 25, 2009 4:35:00 GMT -5
Yes, not only a wonderful (from every point of view) actor, but even a splendid person.
So, I want to thank Kevin's mum for the very good work done with his son, not only aesthetically ;D but even with education: we all thank you for the wonderful gift to the world!!!
|
|
|
Post by Leanne on Jul 31, 2009 10:44:17 GMT -5
Introducing Kevin McKidd
Yes, it's another interstellar Scot.
CV: 25-year-old Scots actor; played Tommy in Trainspotting and mad Malky Johnson in Small Faces. Catch him in big flicks The Acid House ('intense'), Hideous Kinky, Bedrooms and Hallways and Mike Leigh's fiercely anticipated Gilbert and Sullivan movie ('Yes, I sing').
On Hideously Kinky: 'I have on word to say in it. I'm just a total acid-tripped-out Swedish guy in the middle of Morocco who deosn't know why he's there. IT's my favourtie part of the past two years.'
And Bedrooms and Hallways? 'I play Leo. He's 30, gay, with a lot of f****d-up relationships behind him. He's decided he's going to be a bachelor, stay at home and watch telly... quite unusual for a gay role.'
And when Mr McKidd's not acting? 'Piano lessons. That's the only reason I bought my house - to get a piano. It's an old school one - upright and covered in graffiti.'
Last cried: 'Watching Animal Hospital. I was a bit miserable and lonely at home. This kitten was really ill and had to have an operation because its spine was out of kilter... Oh God! I feel like I'm in a men's group.'
Last kiss: 'Sadly, it was probably my auntie. I haven't had a romantic kiss in quite a long time. Too long a time.'
Ambtions for 99: 'To have a bit more of a laugh. Life's been getting quite serious. I want more stories about mad things that have happend.'
Such as? 'Well, me and my mates went to a Buddhist retreat in Barrow-in-Furness recently. We were supposed to meditate, but we ended up getting hammered with the locals, then waking the monks up the next morning, peeved on the doorstep.'
Sarah Bailey
ELLE UK January 1999
|
|
Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
|
Post by Geniusmentis on Jul 31, 2009 11:42:03 GMT -5
Oh, a lovely young Kev!
|
|
marcy
KMKonliner
Posts: 2,528
|
Post by marcy on Jul 31, 2009 14:33:35 GMT -5
My, how things have changed. Now, why don't we get those kind of fun interviews in the US?
He cried over a kitten?...love him more!
|
|
Geniusmentis
KMKonliner
McVid
I only have 2 neurons and one of them is usually sleeping.
Posts: 4,067
|
Post by Geniusmentis on Jul 31, 2009 15:52:08 GMT -5
He cried over a kitten?...love him more! I thought that too!! So sweet!!
|
|