British actor Colin Firth is to show off his softer side by playing beloved British children's character Paddington Bear in a new film. The King's Speech star will give voice to the cuddly character in a new movie based on the books by English author Michael Bond, about a bear from Peru who is adopted by a family who find him lost and alone at the London railway station which gave him his name.
Firth will reunite with his The Railway Man co-star Nicole Kidman, who plays the movie's villain, and Downton Abbey's Hugh Bonneville as head of the family which adopts Paddington.
He tells Britain's Daily Mail, "Paddington will be computer generated, and I will speak his lines with, I suspect, a slight Peruvian flavour. Every other character in the film will be real, live, human beings. But the idea is that Paddington will have something of me in his DNA because I'm going to do some sessions wearing one of those helmets with cameras to capture my face muscles, and all that data will somehow be incorporated into Paddington. Then they'll use motion- capture equipment on someone more bear-size than me to do all the full body, bear stuff."
Firth's co-star Kidman insists she was thrilled to have been offered the chance to make a film about the famous bear as she has been a fan of the stories since childhood, adding, "I just had to do the bear film. My agent called and said: 'We've got this offer from London for you to be in a film about a Paddington Bear.' And I said: 'You mean the Paddington Bear?' I was read the stories when I was little and I grew up with Paddington. I know all about his adventures and what mischief he got up to."
Filming will kick off in London in the autumn (13).
The movie star was sexually assaulted at gunpoint and beaten by an intruder at the shoe store she worked at before she found fame.
She opened up about her ordeal in 2009 after online comments about a gang rape victim in the U.S. left her feeling disgusted, and now she has waded into the furore surrounding the Umbrella hitmaker's latest promo.
In the video, Rihanna 'murders' her sex attacker, shooting him at a railway station before a series of flashback images show her grappling with him outside a nightclub as he tries to attack her.
Union insists the video hit home with her because she also tried to shoot her rapist, but missed.
She admits she's glad she didn't injure her attacker - as it would have "added insult to injury".
In a post on her Twitter.com page, Union writes, "Saw Man Down by Rihanna. Every victim/survivor of rape is unique, including how they THINK they’d like justice to be handed out. During my rape I tried to shoot my rapist, but I missed.
"Over the years I realized that killing my rapist would’ve added insult to injury. The DESIRE to kill someone who abused/raped you is understandable, but unless it’s self defense in the moment to save your life, (it) just ADDS to your troubles.
"I repeat SELF DEFENSE to save yourself/protect yourself, I’m ALL for. Otherwise victim/survivor taking justice into your own hands with violence equals more trouble for you!!"
Union's rapist turned himself in to cops and he was sentenced to 33 years behind bars.
The former Baywatch star was set to leave Liverpool Lime Street railway station to travel to London after finishing her run in traditional festive pantomime Aladdin when an overzealous fan tried to board the same carriage.
British Transport Police officials were alerted and tried to convince the man to leave, but after the run-in turned nasty, cops were forced to use pepper spray to restrain the suspect.
Photographs of the incident show four officers carrying the suspect away from the train while a terrified Anderson looks on.
A spokesperson for British Transport Police said a 21-year-old was taken into custody "after an altercation took place in which a police officer was assaulted. The man became verbally abusive to rail staff (as) he was asked to produce a ticket. British Transport Police attend(ed) and the man became violent and assaulted an officer and was arrested. Officers were forced to use capture spray as the man resisted arrest."
A representative for the star wrote on Twitter.com, "Pamela Anderson is safe and sound on train back to the English capital - no problems with her safety due to excellent security personnel."
The star, who recently appeared on reality show I'm A Celebrity... Get Me Out Of Here!, was travelling late on Friday when a fellow passenger allegedly attempted to punch him.
Joly called police and a man was arrested at a railway station in Oxfordshire.
In a series of posts on his Twitter.com page on Friday evening, he writes, "Getting hassled by a drunk on the train home - oh the joy of minor celebrity status... Memo to self - never take public transport again - normal people very frightening.
"Police now stopped train at Didcot to arrest drunk man. Drunk man who tried to punch me and broke my reading glasses - jungle safer than here. Drunk man now arrested by police. Sadly - being on telly means you can't lamp the t**t back."
If the railway thriller Unstoppable looks familiar it’s only because its director Tony Scott and star Denzel Washington partnered just over a year ago on another railway thriller The Taking of Pelham 123. In Unstoppable the train is granted a bigger slice of the narrative pie than it received in Pelham serving not only as the film’s principal setting but also its primary villain. Stocked with a payload of dangerous chemicals Train 777 (that’s one more evil than 666!) hurtles unmanned towards a calamitous rendezvous with the helpless residents of Stanton Pennsylvania. Surely an upgrade over a hammy John Travolta no?
On whom can we depend to put a stop to this massive killing machine this “missile the size of the Chrysler Building ” in the ominous words of Rosario Dawson’s station dispatcher? Not the entry-level clods (Ethan Suplee and T.J. Miller) whose ineptitude originally set the train on its fateful path. (In a chilling testament to the potential dangers posed by the obesity epidemic a chunky Suplee runs to catch up with the coasting train in the hopes of triggering its emergency brake before it leaves the station only to collapse in a wheezing heap unsuccessful.) Certainly not their supervisor (Kevin Dunn) a middle-management goon more concerned with impressing his corporate superiors than ensuring proper rail safety. And most definitely not the parent company’s feckless golf-playing (the nerve!) CEO whose disaster-containment strategy is dictated purely by stock price.
No sooner or later the burden of heroism must fall on the capable shoulders of our man Denzel. As Frank Barnes a resolutely competent locomotive engineer on a routine training assignment with a reluctant apprentice (Chris Pine unshaven) he emerges as the only force capable of preventing the Train of Doom from reaching its grisly destination. Of course in any train-related emergency such as the one depicted in Unstoppable a litany of things must go wrong before the task of averting disaster becomes the sole responsibility of the engineer of another train. And screenwriter Mark Bomback (Live Free or Die Hard) trooper that he is takes care to cycle through every single one of them lest we question the believability of such a scenario. Because believability is so important in films like this.
Denzel’s most formidable foe in Unstoppable it turns out is his own director. As an alleged “old-school” filmmaker Tony Scott largely eschews the usage of CGI but he embraces almost every other fashionable action-movie gimmick occasionally to nauseating effect. When the camera isn’t jostling about or zooming in and out jarringly it’s wheeling at breakneck speed across a dolly track; countless circling shots of key dialogue exchanges give the impression that we’re eavesdropping on these conversations from a helicopter. No static shots are allowed and cuts are quick and relentless giving us nary a moment to catch our breath or recover our equilibrium.
These are the tactics of an insecure director one with startlingly little faith in his material or his performers. As Unstoppable nears it climax we’re invested in the action not because of the incessant play-by-play of the TV reporters who’ve converged on the scene — a ploy mandated by Scott’s frantic style which by this point has left the story teetering on incoherence — but because of our almost accidental bond with the film’s protagonists who despite the director’s best efforts have managed to make just enough of an imprint on our consciousness that we’d prefer they not perish in a fiery train wreck.
The chance encounter of a middle-aged widow with an eccentric American recluse disrupts her solitary artist's life. The political conflicts in Ireland threaten their quiet existence in a remote coastal village.