Wearing produced Boys from the Blackstuff, Pride and Prejudice, Edge of Darkness and many more.
Michael Wearing, producer of iconic television dramas including Boys from the Blackstuff and Edge of Darkness, has died aged 78 (reports Broadcast).
Wearing (right), who held a number of senior positions across drama at the BBC, died on Friday 5 May following a stroke. Wearing is survived by his three children, Sadie, Ella and Ben.
After studying anthropology at Newcastle University and a short career in the theatre, Wearing joined the BBC’s English regions drama department as a script editor in 1976.
Reporting to David Rose, who went on to become founder of Film 4, at the BBC’s Pebble Mill base in Birmingham, Wearing worked with writers including Alan Bleasdale and Ron Hutchinson on a number of Play for Today scripts.
He also worked on series including Stephen Davis’ Trouble With Gregory, which aired as part of BBC2’s Playhouse strand, Hutchinson’s six-part...
Michael Wearing, producer of iconic television dramas including Boys from the Blackstuff and Edge of Darkness, has died aged 78 (reports Broadcast).
Wearing (right), who held a number of senior positions across drama at the BBC, died on Friday 5 May following a stroke. Wearing is survived by his three children, Sadie, Ella and Ben.
After studying anthropology at Newcastle University and a short career in the theatre, Wearing joined the BBC’s English regions drama department as a script editor in 1976.
Reporting to David Rose, who went on to become founder of Film 4, at the BBC’s Pebble Mill base in Birmingham, Wearing worked with writers including Alan Bleasdale and Ron Hutchinson on a number of Play for Today scripts.
He also worked on series including Stephen Davis’ Trouble With Gregory, which aired as part of BBC2’s Playhouse strand, Hutchinson’s six-part...
- 5/9/2017
- ScreenDaily
Playwright whose anarchic works were filled with vividly imagined characters
Snoo Wilson, who has died suddenly aged 64, was in the vanguard of the young playwrights revolutionising British theatre in the two decades after 1968, but Snoo was a very different kettle of fish from the others. While David Edgar, Howard Brenton and David Hare were often overtly political, Snoo was a Marxist "tendance Groucho"; more subtly subversive and humorous. Sometimes the surface frivolity of his work made people think he wasn't serious, but he was always trying to mine under the surface of things, to allow the subconscious to drive his imagination. Snoo used fiercely imagined characters in comic and often savage works that nevertheless, in the best plays, demonstrated an insouciant knowledge of dramatic structure. He was not a believer in naturalism.
Throughout his career Snoo refused to accept that mere reality was all there was – if so, it was...
Snoo Wilson, who has died suddenly aged 64, was in the vanguard of the young playwrights revolutionising British theatre in the two decades after 1968, but Snoo was a very different kettle of fish from the others. While David Edgar, Howard Brenton and David Hare were often overtly political, Snoo was a Marxist "tendance Groucho"; more subtly subversive and humorous. Sometimes the surface frivolity of his work made people think he wasn't serious, but he was always trying to mine under the surface of things, to allow the subconscious to drive his imagination. Snoo used fiercely imagined characters in comic and often savage works that nevertheless, in the best plays, demonstrated an insouciant knowledge of dramatic structure. He was not a believer in naturalism.
Throughout his career Snoo refused to accept that mere reality was all there was – if so, it was...
- 7/5/2013
- by Dusty Hughes
- The Guardian - Film News
The following is an introduction to a new edition of Anthony Burgess's "A Clockwork Orange" [W.W. Norton, $24.95] written by Andrew Biswell. The piece sheds light on the enduring legacy of the novel, and the various dystopian works that influenced Burgess's writing. Biswell also discusses Burgess's (often clever) responses to the novel's adaptation, and ideas for adaptations that never came to fruition:
In 1994, less than a year after Anthony Burgess had died at the age of seventy-six, BBC Scotland commissioned the novelist William Boyd to write a radio play in celebration of his life and work. This was broadcast during the Edinburgh Festival on 21 August 1994, along with a concert performance of Burgess’s music and a recording of his Glasgow Overture. The programme was called "An Airful of Burgess," with the actor John Sessions playing the parts of both Burgess and his fictional alter ego, the poet F. X. Enderby. On the same day,...
In 1994, less than a year after Anthony Burgess had died at the age of seventy-six, BBC Scotland commissioned the novelist William Boyd to write a radio play in celebration of his life and work. This was broadcast during the Edinburgh Festival on 21 August 1994, along with a concert performance of Burgess’s music and a recording of his Glasgow Overture. The programme was called "An Airful of Burgess," with the actor John Sessions playing the parts of both Burgess and his fictional alter ego, the poet F. X. Enderby. On the same day,...
- 9/25/2012
- by Madeleine Crum
- Huffington Post
Updated through 5/17.
"An intriguing tale of an ethical dilemma complicated by academic rivalries and family tensions is told in erratic fashion in Footnote," begins Todd McCarthy in the Hollywood Reporter. "In his fourth feature, New York-born-and-trained Israeli writer-director Joseph Cedar arrestingly tackles what feels like deeply felt personal material, a simmering intellectual and emotional feud between a comparably brilliant father and son, but makes several crucial miscalculations, beginning with the use of one of the most intrusive and overbearing musical scores in memory."
"Eliezer Shkolnik [Shlomo Bar-Aba], a curmudgeonly professor, and his son Uziel [Lior Ashkenazi] are both well-known Talmudic scholars and researchers," explains Barbara Scharres, blogging for the Chicago Sun-Times. "Uziel, however, reaps awards and honors galore, while his jealous father has suffered a career of being overlooked. Uziel wins a major academic award in their mutual field, but through the mistake of an office assistant, Eliezer is informed that he is the winner.
"An intriguing tale of an ethical dilemma complicated by academic rivalries and family tensions is told in erratic fashion in Footnote," begins Todd McCarthy in the Hollywood Reporter. "In his fourth feature, New York-born-and-trained Israeli writer-director Joseph Cedar arrestingly tackles what feels like deeply felt personal material, a simmering intellectual and emotional feud between a comparably brilliant father and son, but makes several crucial miscalculations, beginning with the use of one of the most intrusive and overbearing musical scores in memory."
"Eliezer Shkolnik [Shlomo Bar-Aba], a curmudgeonly professor, and his son Uziel [Lior Ashkenazi] are both well-known Talmudic scholars and researchers," explains Barbara Scharres, blogging for the Chicago Sun-Times. "Uziel, however, reaps awards and honors galore, while his jealous father has suffered a career of being overlooked. Uziel wins a major academic award in their mutual field, but through the mistake of an office assistant, Eliezer is informed that he is the winner.
- 5/17/2011
- MUBI
Daring and funny, a French love letter to 1920s Hollywood gets a standing ovation from Peter Bradshaw
Until yesterday, a British contender – Lynne Ramsay, with We Need to Talk About Kevin – seemed to be cantering ahead in the race for the Palme d'Or. But now Terrence Malick has shot out of the starting gate with The Tree of Life – and yet another film, in my view, is galloping ahead. Frenchman Michel Hazanavicius's glorious picture The Artist is a formally daring and sublimely funny movie about the end of silent movies in 1920s Hollywood. It is itself silent and in black and white, with inter-titles and a full, continuous orchestral score. Endlessly inventive, packed with clever sight-gags and rich in stunningly achieved detail, The Artist is a pastiche and a passionate love letter to the silent age; it takes the silent movie seriously as a specific form, rather than as obsolete technology,...
Until yesterday, a British contender – Lynne Ramsay, with We Need to Talk About Kevin – seemed to be cantering ahead in the race for the Palme d'Or. But now Terrence Malick has shot out of the starting gate with The Tree of Life – and yet another film, in my view, is galloping ahead. Frenchman Michel Hazanavicius's glorious picture The Artist is a formally daring and sublimely funny movie about the end of silent movies in 1920s Hollywood. It is itself silent and in black and white, with inter-titles and a full, continuous orchestral score. Endlessly inventive, packed with clever sight-gags and rich in stunningly achieved detail, The Artist is a pastiche and a passionate love letter to the silent age; it takes the silent movie seriously as a specific form, rather than as obsolete technology,...
- 5/16/2011
- by Peter Bradshaw
- The Guardian - Film News
Jonathan Franzen's family epic, a new collection from Seamus Heaney, Philip Larkin's love letters, a memoir centred on tiny Japanese sculptures ... which books most excited our writers this year?
Chimamanda Ngozi Adichie
In Red Dust Road (Picador) Jackie Kay writes lucidly and honestly about being the adopted black daughter of white parents, about searching for her white birth mother and Nigerian birth father, and about the many layers of identity. She has a rare ability to portray sentiment with absolutely no sentimentality. Isabel Wilkerson's The Warmth of Other Suns (Random House) is a fresh and wonderful history of African-American migration. Chang-rae Lee's The Surrendered (Little, Brown) is a grave, beautiful novel about people who experienced the Korean war and the war's legacy. And David Remnick's The Bridge (Picador) is a thorough and well-written biography of Barack Obama. The many Americans who believe invented biographical details about Obama would do well to read it.
Chimamanda Ngozi Adichie
In Red Dust Road (Picador) Jackie Kay writes lucidly and honestly about being the adopted black daughter of white parents, about searching for her white birth mother and Nigerian birth father, and about the many layers of identity. She has a rare ability to portray sentiment with absolutely no sentimentality. Isabel Wilkerson's The Warmth of Other Suns (Random House) is a fresh and wonderful history of African-American migration. Chang-rae Lee's The Surrendered (Little, Brown) is a grave, beautiful novel about people who experienced the Korean war and the war's legacy. And David Remnick's The Bridge (Picador) is a thorough and well-written biography of Barack Obama. The many Americans who believe invented biographical details about Obama would do well to read it.
- 11/27/2010
- The Guardian - Film News
It is rare for me to love a book and its film adaptation equally -- or almost equally, perhaps with a slight bias to the novel in question. I am very fond of Stella Gibbons' 1932 novel Cold Comfort Farm ... and the 1995 movie, which you can watch online for free, is very nearly as entertaining. Flora Poste, played by Kate Beckinsale, is a 1930s headstrong young woman obviously modeled on the heroines of Jane Austen, particularly Emma Woodhouse (whom Beckinsale later played in a BBC production). Flora is left nearly penniless when her parents die, and rather than live with her friend Mrs. Smiling (Joanna Lumley) in London and learn how to work for a living, decides to throw herself on the mercy of relatives. She ends up at Cold Comfort Farm in bleakest Sussex with her Starkadder cousins, and the chaotic state of their lives appalls her so much...
- 1/19/2010
- by Jette Kernion
- Cinematical
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