Actor-director played parts in The French Lieutenant’s Woman, Absolute Beginners, EastEnders.
Graham Fletcher-Cook, the brother of Rocketman director Dexter Fletcher who had a small role in that film and acted in Eddie The Eagle and Sid And Nancy, has died. He was 55.
A spokesperson for the family confirmed Fletcher-Cook died of cancer on an undisclosed date a while ago. The London-born actor and director got his first taste of acting on a visit to the set of Bugsy Malone in 1976 arranged through The Anna Scher Theatre drama school.
After that he found work on a multitude of films such...
Graham Fletcher-Cook, the brother of Rocketman director Dexter Fletcher who had a small role in that film and acted in Eddie The Eagle and Sid And Nancy, has died. He was 55.
A spokesperson for the family confirmed Fletcher-Cook died of cancer on an undisclosed date a while ago. The London-born actor and director got his first taste of acting on a visit to the set of Bugsy Malone in 1976 arranged through The Anna Scher Theatre drama school.
After that he found work on a multitude of films such...
- 7/2/2019
- by Screen staff
- ScreenDaily
They went from being new romantics in Spandau Ballet to playing London gangsters in the film The Krays. Now the brothers are about to appear on TV together again
An enduring tale of sibling harmony, Gary and Martin Kemp have spent decades working companionably alongside one another without ever, publicly at least, succumbing to fraternal combustion. The arts, and particularly pop music, is littered with brothers (more so, curiously, than sisters) who have tried to do the same and failed, among them Ray and Dave Davies of the Kinks and Noel and Liam Gallagher of Oasis, each undone by ego and the need to dominate. But the Kemps are different, an anomaly. Now both in their 50s, they remain essentially one and the same, and consequently stronger together than the sum of their parts.
But how? Gary Kemp, who, at 53, is two years Martin's senior, thinks that it is down to their upbringing.
An enduring tale of sibling harmony, Gary and Martin Kemp have spent decades working companionably alongside one another without ever, publicly at least, succumbing to fraternal combustion. The arts, and particularly pop music, is littered with brothers (more so, curiously, than sisters) who have tried to do the same and failed, among them Ray and Dave Davies of the Kinks and Noel and Liam Gallagher of Oasis, each undone by ego and the need to dominate. But the Kemps are different, an anomaly. Now both in their 50s, they remain essentially one and the same, and consequently stronger together than the sum of their parts.
But how? Gary Kemp, who, at 53, is two years Martin's senior, thinks that it is down to their upbringing.
- 4/19/2013
- by Nick Duerden
- The Guardian - Film News
Why has the director of Atonement and Anna Karenina decided to make his theatre debut with a Victorian farce hardly anyone's heard of?
As a film director, Joe Wright isn't afraid to give classic texts a vigorous shake. He made his name in 2005 with an adaptation of Pride and Prejudice, scouring away the refinement of Jane Austen's novel and filling the screen with squawking chickens, muddy petticoats and wind-reddened cheeks. His recent take on Anna Karenina was more distinctive still: he set most of it in a huge, ornate theatre – a crisp metaphor for the artificiality of Russian aristocratic life. Luscious to look at and inventively shot, with characters moving fluidly from stage to bedroom, and from auditorium to ballroom, the film has been predictably laden with award nominations: for six Baftas (one of which, for costume design, it won) and four Oscars.
At the age of 41, Wright is...
As a film director, Joe Wright isn't afraid to give classic texts a vigorous shake. He made his name in 2005 with an adaptation of Pride and Prejudice, scouring away the refinement of Jane Austen's novel and filling the screen with squawking chickens, muddy petticoats and wind-reddened cheeks. His recent take on Anna Karenina was more distinctive still: he set most of it in a huge, ornate theatre – a crisp metaphor for the artificiality of Russian aristocratic life. Luscious to look at and inventively shot, with characters moving fluidly from stage to bedroom, and from auditorium to ballroom, the film has been predictably laden with award nominations: for six Baftas (one of which, for costume design, it won) and four Oscars.
At the age of 41, Wright is...
- 2/21/2013
- by Maddy Costa
- The Guardian - Film News
We reveal the 10 debut films in the frame, which include a documentary that doubles as a thriller, an urban drama set in east London, and a postmodern horror
Each year, the Guardian does its bit to contribute to the annual hysteria that is the movie awards season; though ours steers clear of glitzy dance routines, on-camera meltdowns and off-colour jokes about interpersonal relationships.
The Guardian first film award is designed to reward debut directors whose films went on release during 2012 in UK cinemas (festival screenings don't count), and the rollcall of previous winners comprises Joanna Hogg's Unrelated, Gideon Koppel's Sleep Furiously, Clio Barnard's The Arbor and, last year, The Guard, directed by John Michael McDonagh. There may have been a preponderance of British films there, but Britishness is certainly not a requirement: we are looking for ambition of theme, originality of vision, and proficiency of achievement. In other words,...
Each year, the Guardian does its bit to contribute to the annual hysteria that is the movie awards season; though ours steers clear of glitzy dance routines, on-camera meltdowns and off-colour jokes about interpersonal relationships.
The Guardian first film award is designed to reward debut directors whose films went on release during 2012 in UK cinemas (festival screenings don't count), and the rollcall of previous winners comprises Joanna Hogg's Unrelated, Gideon Koppel's Sleep Furiously, Clio Barnard's The Arbor and, last year, The Guard, directed by John Michael McDonagh. There may have been a preponderance of British films there, but Britishness is certainly not a requirement: we are looking for ambition of theme, originality of vision, and proficiency of achievement. In other words,...
- 1/22/2013
- by Andrew Pulver
- The Guardian - Film News
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