Jun 7 2018
Two for Joy concerns a mother whose depression, triggered by her husband’s death, has a devastating impact on her two children: a teenage daughter forced to grow up fast and help control her younger brother, involved in crime on their council estate. “It’s an uncomfortable film. The performances are gritty,” added Frost. “It explores mental health and grief.”
May 23 2018
The full line-up for the 2018 Edinburgh Film Festival (20 June to 1 July) has been announced by artistic director Mark Adams.
This year’s programme features 21 world premieres, including Stephen Moyer’s directorial debut, The Parting Glass, starring Melissa Leo, Cynthia Nixon, Denis O’Hare, Anna Paquin (who also produces), Rhys Ifans and Ed Asner. Moyer and Paquin will also take part in an ‘In Person’ event.
Other world premieres include Simon Fellows’ thriller Steel Country starring Andrew Scott; comedy Old Boys starring Alex Lawther and directed by Toby MacDonald; coming-of-age drama Two For Joy with Samantha Morton and Billie Piper; Lucid – the debut from writer/director Adam Morse starring Billy Zane and Sadie Frost; Jamie Adams’ British comedy Songbird starring Cobie Smulders; and Netflix original Calibre starring Jack Lowden.
May 23 2018
The General Data Protection Regulations (GDPR) was created in December 2015 to ensure the rights of EU citizens are meeting basic data protection standards. This new regulation is enforceable from the 25th May 2018 and aims to protect the personal data you send and receive. There are already laws in place to do this, but the GDPR will provide uniform regulations throughout the UK and EU.
May 10 2018
UK actress Billie Piper is set to make her feature directorial debut with “anti-rom-com” Rare Beasts. Western Edge Pictures (WEP), whose credits include Alice Lowe’s Prevenge and Vaughan Sivell’s forthcoming Pistorius, will produce.
Piper has written the script for Rare Beasts and she will also star as Mandy, a career-driven single mother, who falls in love with the charming, traditionalist Paul. Western Edge said: “It’s a dark and funny anti-rom-com with a theatrical edge. It’s also a fascinatingly personal comment on the price of modern feminism.”
The film will shoot in London and Spain in September. Sivell produces for Western Edge, in association with 42 (Welcome To The Punch, Watership Down). Executive producers are Sivell, Franki Goodwin, Mike Rattenbury and Will Kane for Western Edge and Josh Varney and Ben Pugh for 42.
The film is being developed by Western Edge Pictures for the Gennaker Group, which also financed Western Edge titles Prevenge and Mr Calzaghe. Gennaker Group have guaranteed cornerstone finance in Rare Beasts.
Mar 29 2018
Billie Piper and the cast of Yerma have kick-started Equity’s Safe Space campaign, which was developed following accusations of harassment in the theatre industry.
The campaign is aimed at encouraging members “to have the confidence to challenge inappropriate behaviour and to report it knowing that the union is always there for them”.
As part of the campaign, posters have been distributed that highlight the union’s harassment helpline.
In addition, Equity is calling for a specially created statement to be read out at the beginning of each new rehearsal period, which underpins a company’s commitment to create spaces “free of bullying and harassment”.
Mar 18 2018
LONDON — Each night, after performing “Yerma,” Billie Piper would face the emotional wreckage she’d caused, playing a woman driven insane by her inability to conceive a child.
“People would come over, in various states of trauma, depending on how it had affected them personally,” she said, recalling the two sold-out runs of the play, a modern version of Federico García Lorca’s 1934 tragedy adapted by Simon Stone. “Some people didn’t even really say anything, they just wanted to be close to us — they wanted to somehow physically connect.”
I certainly had a hard time leaving the Young Vic the night I saw the play, my way blocked by women in tears. And if all this sounds melodramatic, it was echoed in the visceral language British critics used to discuss Ms. Piper’s performance: “shatteringly powerful,” “earth-quaking,” “heart-rending.”
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