A widely praised conceptual artist-turned-filmmaker who had been called "a born provocateur" and "a reluctant subversive," Steve McQueen's features were captivating in their simplicity and minimalism....
Fassbender has won a string of honours for his portrayal of a sex addict in the movie, and was also tipped for a Golden Globe and BAFTA.
He was widely expected to be nominated for a Best Actor Oscar, but was left off the shortlist when it was announced last month (Jan12) - and British-born McQueen is sure the edgy film cost its star a place in the category.
He tells the Press Association, "In America they're too scared of sex, that's why he wasn't nominated. If you look at the best actor list you're saying, 'Michael Fassbender is not on that list?'
"It's kind of crazy. But that's how it is, it's an American award, let them have it. He's a once in a generation actor. He's an actor who can transform and transcend, and you actually believe him, so that's the kind of guy he is."
Brad Pitt, Gary Oldman, Jean Dujardin, George Clooney and Demian Bichir will fight it out for the prize at the ceremony on Sunday (26Feb12).
The Jerry Maguire star admits he is so desperate to appear in the Shame filmmaker's next project, he is willing to relocate to London.
He says, "I want to do some U.K. stuff, so I just got myself a U.K. agent.
"I've met too many wonderful people here. I just had dinner with Steve last night, who said he's excited about his next thing and wants to talk to me about it.
"I hate that I come to England and I don't know the films or haven't watched the TV shows; it frustrates the hell out of me.
"So I'm going to come over here for a bit and see if I can inject myself into something."
The An Education star plays Fassbender's estranged sister in the Steve McQueen movie and they made sure to keep their distance from one another until filming had wrapped in an effort to enhance their bitter portrayals onscreen.
Mulligan tells the Press Association, "Michael and I decided not to become friends because our characters are so vicious towards each other.
"So we didn't actually spend any time together. We didn't socialise and when we were at work we were very serious."
Steve McQueen's story about a sex addict is up for Best Film, Best Actor for Michael Fassbender, Best Actress for Carey Mulligan, and the Technical Achievement award.
Tyrannosaur, directed by Paddy Considine, joins Shame on the shortlist for Best Film, going up against Tinker Tailor Soldier Spy, We Need to Talk About Kevin, and Archipelago.
It's a double delight for Fassbender, who receives a second Best Actor nod for his role in Jane Eyre, alongside fellow nominees Kenneth Branagh (My Week With Marilyn), Gary Oldman (Tinker Tailor Soldier Spy), Peter Mullan (Tyrannosaur), Brendan Gleeson (The Guard), and Tom Hiddleston (Archipelago).
In the Best Actress category, Mulligan will compete with Vanessa Redgrave for her role in Coriolanus, Tilda Swinton (We Need to Talk About Kevin), Rachel Weisz (The Deep Blue Sea), Samantha Morton (The Messenger), and Olivia Colman (Tyrannosaur).
The 2012 Evening Standard British Film Awards will be presented at a ceremony in London on 6 February (12).
Filmmaker Steve McQueen has urged the actress, who he directed in Shame, to find a novel she loves and secure the rights to make it into a film.
The Brit admits she's interested in the idea because she hasn't been "struck" by any female roles she's been offered recently.
She tells Little White Lies magazine, "For women you probably do have to take responsibility and create your own opportunities... Steve I saw in L.A. last week and he said, 'Go away and read stuff, find your own things and option books and whatever.' And that is something that I probably should do... But yeah, I can't write. Anything. So I'm kind of stuck there but I could get someone else to write something...
"There's no leading or even large supporting roles that, sort of, have struck me. And some are brilliant but they're things that I feel I don't want to repeat."
We go into a movie expecting to hear a story—to have a character and his or her journey chronicled before us. With Shame, the entire story exists beneath the events happening on screen. To take it at surface value, Shame doesn’t offer much in the vein of story: Brandon Sullivan (Michael Fassbender) is an Ireland-born New Yorker who works at your standard ambiguous big business firm, has an intrusive sister and a sleazy boss, and seems to enjoy pleasuring himself a lot. But Shame’s story is the internal of Brandon, about an otherwise “normal” man’s warfare with his own addiction.
And the described style of the film isn’t just for the sake of the old “show don’t tell” rule. It makes sense to have Brandon’s struggle be masked by the events of the movie. Brandon’s struggle is masked by the events of his life. The story involves the man’s sexual obsessions that line his every thought and compel him to seek out regrettable outlets and his desperate efforts to separate them from his professional, social and family lives—but even more than this, it is about the regret itself that envelops these obsessions.
Near the beginning of the film, we see Brandon on a New York City subway, fixated on a fellow-passenger with a pretty obvious engagement ring. From this point on, we try to understand Brandon: is he at all repelled by the idea of chasing a committed woman as his focus on her ring might suggest? If so, why does he inspire a desire within her, then following her off the subway car and up onto the street?
From the get-go, watching Shame is an active experience. As nothing is explicitly delivered to us—I don’t believe the word “addiction” or any pertinent synonyms are uttered, or even alluded to in any overt way, throughout the film—we are forced to become Brandon to understand him. A man who, in the surface, is likely someone we wouldn’t mind being: he’s intelligent, charming and well-liked, handsome, successful. But the difficulty in watching Shame comes along with connecting to Brandon’s less approachable humanity—the man torn apart by his cravings and his resentment. An angry, hypocritical, self-loathing and self-serving man who has never experienced a moment’s peace.
But Shame is unapologetic in its journey to make us accept and invite this uncomfortable character into our understanding. In fact, a whole lot about Shame seems to intend on making us uneasy. The relationship between Brandon and his sister Sissy (played expertly by Carey Mulligan)—from Brandon’s dismissal of Sissy’s desperate, sobbing phone calls, to Sissy’s inebriated embrace of her brother’s (married) boss as he rides right beside them in the backseat of a taxicab, to Brandon’s rage- and humiliation-fueled physical domination of his sister—Brandon is so stricken by these feelings is after Sissy catches him in a compromising position that he doesn’t even bother to put any clothes on before tackling her to the couch and assaulting her with violent insults, provoking a rapid change in her mood and nerve. The long shot of Sissy singing a somber “New York, New York,” in a classy nightclub is at once beautiful and disarming, as we as American audience members are not used to this kind of filmmaking.
Director Steve McQueen is heavily present throughout Shame. His illustration of New York is more alluring—and a bit more disconcerting—than any I’ve seen in recent film. His depiction of Brandon is bold and erratic, which plays perfectly against Fassbender’s quiet, subdued performance. All of the pieces of the film work together, taking different angles, to tell this story of this crumbling man and his domineering shame.
Every action, every moment, every piece of Shame's sparsely distributed dialogue is delicate and strikingly commanding. The performances—not only those of Fassbender and Mulligan, but of James Badge Dale as Brandon's sleazy co-worker, Nicole Beharie as Brandon's woman of interest, and the handful of players whose characters are used and shredded by the destructive path of the dying Brandon. The film is intrusive—it forces us to allow the agonies of Brandon to permeate us as we watch. The film is unbelievably magnetic—there’s not a second in the film that isn’t contextually and visually captivating. In fact, the film is damn near perfect, right up to the culminating turn of events that demands a harsher admittance of the demons that enwrap our main character. Not in recent cinema have we seen such a gripping, authentic and vibrant story—and there are few human reservations more deserving of this attention and beauty than the haunting, despicable and invigorating sensation of shame.
Do you feel the same way about Shame? Let us know what you thought in the comment section or on Twitter @MichaelArbeiter.
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"He gives me criticism on every single part that I do. He's like, 'Yeah, yeah, it was good but don't blink - at all... You don't see Steve McQueen blinking... (I've tried it) and you look like you're crying in every scene.'" Actor Channing Tatum on his father's comments about his work.
The Love Story star was first married to Robin Martin Hoen but the union ended after two years in 1962. She went on to wed producer Robert Evans in 1969 and had a son, Josh, in 1971, but they split after four years together.
Her subsequent marriage to McQueen broke down in 1978, and McGraw admits she left the relationships without any payouts - and as a result, she had to "scale back" her lifestyle due to financial issues.
She tells Town & Country magazine, "I had a romantic, 'Aren't I a good girl?' take on divorce, but the truth is that was stupid. When one stops working at the height of one's career, it's just stupid not to say, 'I want to make sure I have a house.'
"I haven't made a living lately at all. I'm much more famous than I am rich, but I'm able to scale back my lifestyle. I know a lot of people who were where I was who can't imagine living any simpler, but I haven't got a lot of expensive wants."
This Fall, America was graced with a coming-together of some of comedy's great figures: Ben Stiller, Eddie Murphy, Matthew Broderick, Alan Alda and many more stars of past and present joined forces to bring us Tower Heist, a comedy particularly close to the hearts of many of us in this trying economic climate. Now, two months after its theatrical release, we hear the news that Tower Heist is releasing on Blu-ray/DVD this February.
Tower Heist, directed by Brett Ratner, will take Blu-ray/DVD form with a surplus of bonus features and options. You can enjoy a blooper real, audio commentary, and even two alternative endings, plus a whole lot more. Check out the rest of the features below, and catch Tower Heist on Blu-ray/DVD on Feb. 21.
Blu-ray/DVD Bonus Features
Two Alternate Endings – not seen in theatres!
Hilarious Deleted & Alternate Scenes
Plotting Tower Heist—Following the structure of a classic caper movie in three acts, director Brett Ratner, producer Brian Grazer and the entire cast bring this heist film to a whole new level. Viewers will learn how the project started, as well as meet the screenwriters and cast. This exclusive feature reveals the secrets of the set design, special effects and more, including what it took to create the iconic sequence involving Steve McQueen’s car!
Feature Commentary with director Brett Ratner, editor Mark Helfrich and co-writers Ted Griffin & Jeff Nathanson
Blu-ray Bonus Features
Tower Heist Video Diary – Director Brett Ratner takes fans through the filmmaking process with these personal video production diaries from the set.
-Picture-in-Picture – featuring pre-visualization and storyboard comparisons of some the film’s most exciting scenes.
-The Music of Tower Heist
pocket BLU™ App: The popular free pocket BLU™ app for smartphones is now even better with newly updated versions for iPad®, Android™ tablets, PC and Macintosh computers, with features made especially to take advantage of the devices' larger screens and high resolution displays.
-Advanced Remote Control: A sleek, elegant new way to operate your Blu-ray™ player. Users can navigate through menus, playback and BD-Live™ functions with ease.
-Video Timeline: Users can easily bring up the video timeline, allowing them to instantly access any point in the film.
-Mobile-To-Go: Users can unlock a selection of bonus content with their Blu-ray™ discs to save to their device or to stream from anywhere there is a Wi-Fi network, enabling them to enjoy content on the go, anytime, anywhere.
-Browse Titles: Users will have access to a complete list of pocket BLU™-enabled titles available and coming to Blu-ray™. They can view free previews and see what additional content is available to unlock on their device.
-Keyboard: Entering data is fast and easy with your device’s intuitive keyboard.
-And with UNIVERSAL'S SECOND SCREEN, viewers can enjoy an innovative and interactive viewing experience, that allows them to control, interact and explore Tower Heist with groundbreaking new features right on a networked tablet or computer, in synchronization with the movie on the television screen! While the movie plays, experience features such as:
-Flick View: Interact with the movie; move content from the Tablet to the TV screen; and compare storyboards, animatics and other executing content by “Flicking” them from on their tablet to their TV screen, simply by gesturing their fingers upwards on their tablets.
-Behind the Scenes w/Flick View: Viewers get an all access look at the making of the film featuring interviews with cast and crew.
-Storyboards w/Flick View: Viewers will be able to take a closer look at the storyboards created for some of the amazing sequences in the film.
-The Music of Tower Heist—Songs from the Tower Heist soundtrack are highlighted with the option to add to a playlist and purchase.
BD-LIVE™ - Access the BD-Live™ Center through your Internet-connected player to access the latest trailers, exclusive content, and more!
The 79 year old is the last surviving member of the main cast of the 1960 Western, which also starred Yul Brynner, Steve McQueen and Charles Bronson, and he has now signed up to appear in a new independent film called The Magnificent Eleven.
The job will mark Vaughn's first feature project in a decade.
In the original film, which was a remake of Japanese movie Seven Samurai, Vaughn played a good guy gun slinger, but in the new picture, he will tackle the role of a villain called American Bob.
Vaughn tells Britain's Daily Mail, "I like any kind of bizarre comedy and that’s what this is. I like playing sociopaths and psychopaths who are also funny. It’s very cleverly written with a lot of oddball gags. I have a line in one scene where I say to this guy who was a tiler, 'I’m giving you a chance to live for one reason - because you did such a good job on my bathroom'."
Vaughn will next be seen playing a role on the U.K.'s longest running soap opera, Coronation Street.
Awarded the OBE (Officer of the Order of the British Empire) in the Queen's Birthday Honors List for his services to the Arts
Awarded the CBE (Commander of the Order of the British Empire) in the Queen's New Years Honors List for his services to Visual Arts
Grew up in West London
Won the Turner Prize for his film installation work and exhibition at the Institute of Contemporary Arts in London, England
Directed second feature starring Michael Fassbender, playing a sex addict, in "Shame"; also co-wrote with Abi Morgan
Feature directorial debut with "Hunger," about a Northern Irish prison hunger strike; also co-wrote with Enda Walsh; film starred Michael Fassbender
Named the Official War Artist for Iraq in association with the Imperial War Museum
A widely praised conceptual artist-turned-filmmaker who had been called "a born provocateur" and "a reluctant subversive," Steve McQueen's features were captivating in their simplicity and minimalism. A devotee of the <i>nouvelle vague</i> style of the 1960s French New Wave, McQueen started his film career off with a series of experimental shorts exhibited in an unusual fashion, including screening without sound and/or on multiple art gallery walls rather than a conventional screen. Known for his meticulous sense of detail and guarded personality, McQueen maintained that his work was apolitical, though this was disputed, given its implied criticism of how the British government treated Irish Republican Army prisoners and displayed reluctance to suitably honor military personnel killed during the Iraq war. One of the few artists to garner instant acclaim upon transitioning to feature films, McQueen's "Hunger" (2008) and "Shame" (2011) - both starring Michael Fassbender - were heralded for their quiet, refined power and McQueen was cited as one of Britain's most promising and creative directors. This early promise was met in "12 Years a Slave" (2013), a harrowing period drama that won several Academy Awards, including Best Picture and Best Director for McQueen.