London -- Universal Pictures International Entertainment (Upie) and The Works U.K. Distribution are among the backers for multi-hyphenate Noel Clarke's heist thriller "4.3.2.1." which started shooting this week.
Scheduled to shoot on location in London, New York and Pinewood Studios, the movie details three days in the lives of four girls who are unknowingly connected by a major diamond robbery.
Mark Davis is co-directing with Clarke for the film, which stars Emma Roberts, Ophelia Lovibond, Tamsin Egerton, Shanika Warren Markland, Rosanna Arquette, Adam Deacon, Ben Miller and Sean Pertwee.
Damon Bryant is producing the picture.
Actor Clarke shot to fame after writing "Kidulthood" and then writing and directing follow up "Adulthood."
Bryant said: "I'm thankful that this film has been made possible by our partnership with Universal, Pinewood, The Works U.K. Distribution and Molinare Post Production."...
Scheduled to shoot on location in London, New York and Pinewood Studios, the movie details three days in the lives of four girls who are unknowingly connected by a major diamond robbery.
Mark Davis is co-directing with Clarke for the film, which stars Emma Roberts, Ophelia Lovibond, Tamsin Egerton, Shanika Warren Markland, Rosanna Arquette, Adam Deacon, Ben Miller and Sean Pertwee.
Damon Bryant is producing the picture.
Actor Clarke shot to fame after writing "Kidulthood" and then writing and directing follow up "Adulthood."
Bryant said: "I'm thankful that this film has been made possible by our partnership with Universal, Pinewood, The Works U.K. Distribution and Molinare Post Production."...
- 9/17/2009
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
Harry Eden and newcomer Angie Ruiz will star opposite Daniel Craig in the coming-of-age indie Flashbacks of a Fool.
Penned by Baillie Walsh, the film centers on an aging movie star (Craig) who returns to his English seaside hometown for the funeral of his childhood best friend. He experiences flashbacks of his younger years and a summer that resulted in a tragedy that changed his life forever. Eden will play the younger version of Craig's character.
The film, which marks music video director Walsh's feature helming debut, is shooting in South Africa and England.
Left Turn Films is producing. Lene Bausager, Damon Bryant and Claus Clausen will serve as producers, and Craig is executive producing.
Eden, whose credits include the Keira Knightley starrer Pure and Land of the Blind opposite Ralph Fiennes, most recently starred as the Artful Dodger in Roman Polanski's Oliver Twist. He is repped by ICM, ICM London and Melanie Greene Management.
Ruiz was named by People en Espanol magazine as a Cara Nueva (New Face) of 2006.
Penned by Baillie Walsh, the film centers on an aging movie star (Craig) who returns to his English seaside hometown for the funeral of his childhood best friend. He experiences flashbacks of his younger years and a summer that resulted in a tragedy that changed his life forever. Eden will play the younger version of Craig's character.
The film, which marks music video director Walsh's feature helming debut, is shooting in South Africa and England.
Left Turn Films is producing. Lene Bausager, Damon Bryant and Claus Clausen will serve as producers, and Craig is executive producing.
Eden, whose credits include the Keira Knightley starrer Pure and Land of the Blind opposite Ralph Fiennes, most recently starred as the Artful Dodger in Roman Polanski's Oliver Twist. He is repped by ICM, ICM London and Melanie Greene Management.
Ruiz was named by People en Espanol magazine as a Cara Nueva (New Face) of 2006.
- 6/12/2007
- The Hollywood Reporter - Movie News
Former golden couple Sienna Miller and Jude Law were left red-faced Yesterday when they both booked a table at the same restaurant. Miller was dining with British designer Christopher Bailey, while Law enjoyed a meal with long-term pal producer Damon Bryant at The Wolseley in London. The Layer Cake beauty even approached her estranged fiance in a bid to prove to onlookers the troubled twosome are on speaking terms, but the pair hotly deny the chance meeting was anything other than a bizarre coincidence. Spokesperson Ciara Parkes insists, "It was completely unplanned that they would be there at the same time."...
- 9/8/2005
- WENN
More a gallery of beautifully shot cinematic tableaus from the lives of turn-of-the-20th-century rebel lovers Nora Barnacle and James Joyce than a satisfying -- or even comprehensible -- biographical exercise, this Irish/Italian/German co-production arrives with no fanfare in a few local theaters for a perfunctory release via Andora Pictures.
Directed and co-written by Pat Murphy, "Nora" has a tough time, like most of its ilk, making a difficult genius like Joyce (even when played by Ewan McGregor) into an irresistible movie character. Murphy co-wrote the script, based on the biography by Brenda Maddox, with Gerard Stembridge.
While focusing on Susan Lynch ("Waking Ned Devine") as Joyce's lifelong love -- a Galway native who comes from an abusive home life and meets him in Dublin -- is a promising angle coming from a woman filmmaker, "Nora" is still a muddy tale of sex, love, obsession, jealousy, cruelty and abandonment that can keep one at a distance.
The film's atmosphere, including the terrific period sets and costumes, is a real turn-on, in a moody kind of way, and hotel maid Nora and budding writer Joyce's first late-night stroll, which leads to a lusty embrace in the shadows, is a racy start to their affair. She's the take-charge type, and he falls in love instantly. Because of his frustration over not being published in Ireland, a foreign job offer and her "secret" past, they move to Trieste, Italy, and live like a married couple.
Their landlady kicks them out when Nora becomes pregnant, but Joyce's erratic behavior is the real problem. Like a drunk and his moods, Nora and Joyce's love for each other shifts from bitter scenes of verbal fighting to genuinely warm moments when drinking and singing bring them together. She has plenty of untapped love and affection but is fatefully attached to a man who pushes her away.
With a few visits to the sunny seashore and many train trips, "Nora" spans several years and reaches a high point when the lead recalls a former lover while watching a silent Italian movie and tells Joyce. He turns it into the short story "The Dead", and she is deeply hurt. Indeed, Joyce seems to relish punishing her with insinuations that she's a tramp and even prodding her to have an affair with an innocently friendly newspaper editor (Roberto Citran).
During one stretch of separation, the lovers write erotic letters to each other, and the scenario indulges in a flurry of masturbation scenes, but even two children, peacekeeping missions by Joyce's younger brother (Peter McDonald) and Joyce's finally choosing to stop believing Nora detractors like Cosgrave (Daragh Kelly) are not enough to end hostilities. By the film's upbeat end, the viewer has learned a little about one of the world's great writers and earned a pint to unwind afterward.
NORA
Andora Pictures
Natural Nylon Entertainment
Director: Pat Murphy
Screenwriters: Pat Murphy, Gerard Stembridge
Producers: Bradley Adams, Damon Bryant, Tracey Seaward
Executive producer: Guy Collins
Director of photography: Jean Francois Robin
Production designer: Alan Macdonald
Editor: Pia Di Ciaula
Costume designer: Consolata Boyle
Music: Stanislas Syrewicz
Color/stereo
Cast:
Nora Barnacle: Susan Lynch
James Joyce: Ewan McGregor
Stanislas Joyce: Peter McDonald
Roberto Prezioso: Roberto Citran
Cosgrave: Daragh Kelly
Running time -- 106 minutes
MPAA rating: R...
Directed and co-written by Pat Murphy, "Nora" has a tough time, like most of its ilk, making a difficult genius like Joyce (even when played by Ewan McGregor) into an irresistible movie character. Murphy co-wrote the script, based on the biography by Brenda Maddox, with Gerard Stembridge.
While focusing on Susan Lynch ("Waking Ned Devine") as Joyce's lifelong love -- a Galway native who comes from an abusive home life and meets him in Dublin -- is a promising angle coming from a woman filmmaker, "Nora" is still a muddy tale of sex, love, obsession, jealousy, cruelty and abandonment that can keep one at a distance.
The film's atmosphere, including the terrific period sets and costumes, is a real turn-on, in a moody kind of way, and hotel maid Nora and budding writer Joyce's first late-night stroll, which leads to a lusty embrace in the shadows, is a racy start to their affair. She's the take-charge type, and he falls in love instantly. Because of his frustration over not being published in Ireland, a foreign job offer and her "secret" past, they move to Trieste, Italy, and live like a married couple.
Their landlady kicks them out when Nora becomes pregnant, but Joyce's erratic behavior is the real problem. Like a drunk and his moods, Nora and Joyce's love for each other shifts from bitter scenes of verbal fighting to genuinely warm moments when drinking and singing bring them together. She has plenty of untapped love and affection but is fatefully attached to a man who pushes her away.
With a few visits to the sunny seashore and many train trips, "Nora" spans several years and reaches a high point when the lead recalls a former lover while watching a silent Italian movie and tells Joyce. He turns it into the short story "The Dead", and she is deeply hurt. Indeed, Joyce seems to relish punishing her with insinuations that she's a tramp and even prodding her to have an affair with an innocently friendly newspaper editor (Roberto Citran).
During one stretch of separation, the lovers write erotic letters to each other, and the scenario indulges in a flurry of masturbation scenes, but even two children, peacekeeping missions by Joyce's younger brother (Peter McDonald) and Joyce's finally choosing to stop believing Nora detractors like Cosgrave (Daragh Kelly) are not enough to end hostilities. By the film's upbeat end, the viewer has learned a little about one of the world's great writers and earned a pint to unwind afterward.
NORA
Andora Pictures
Natural Nylon Entertainment
Director: Pat Murphy
Screenwriters: Pat Murphy, Gerard Stembridge
Producers: Bradley Adams, Damon Bryant, Tracey Seaward
Executive producer: Guy Collins
Director of photography: Jean Francois Robin
Production designer: Alan Macdonald
Editor: Pia Di Ciaula
Costume designer: Consolata Boyle
Music: Stanislas Syrewicz
Color/stereo
Cast:
Nora Barnacle: Susan Lynch
James Joyce: Ewan McGregor
Stanislas Joyce: Peter McDonald
Roberto Prezioso: Roberto Citran
Cosgrave: Daragh Kelly
Running time -- 106 minutes
MPAA rating: R...
More a gallery of beautifully shot cinematic tableaus from the lives of turn-of-the-20th-century rebel lovers Nora Barnacle and James Joyce than a satisfying -- or even comprehensible -- biographical exercise, this Irish/Italian/German co-production arrives with no fanfare in a few local theaters for a perfunctory release via Andora Pictures.
Directed and co-written by Pat Murphy, "Nora" has a tough time, like most of its ilk, making a difficult genius like Joyce (even when played by Ewan McGregor) into an irresistible movie character. Murphy co-wrote the script, based on the biography by Brenda Maddox, with Gerard Stembridge.
While focusing on Susan Lynch ("Waking Ned Devine") as Joyce's lifelong love -- a Galway native who comes from an abusive home life and meets him in Dublin -- is a promising angle coming from a woman filmmaker, "Nora" is still a muddy tale of sex, love, obsession, jealousy, cruelty and abandonment that can keep one at a distance.
The film's atmosphere, including the terrific period sets and costumes, is a real turn-on, in a moody kind of way, and hotel maid Nora and budding writer Joyce's first late-night stroll, which leads to a lusty embrace in the shadows, is a racy start to their affair. She's the take-charge type, and he falls in love instantly. Because of his frustration over not being published in Ireland, a foreign job offer and her "secret" past, they move to Trieste, Italy, and live like a married couple.
Their landlady kicks them out when Nora becomes pregnant, but Joyce's erratic behavior is the real problem. Like a drunk and his moods, Nora and Joyce's love for each other shifts from bitter scenes of verbal fighting to genuinely warm moments when drinking and singing bring them together. She has plenty of untapped love and affection but is fatefully attached to a man who pushes her away.
With a few visits to the sunny seashore and many train trips, "Nora" spans several years and reaches a high point when the lead recalls a former lover while watching a silent Italian movie and tells Joyce. He turns it into the short story "The Dead", and she is deeply hurt. Indeed, Joyce seems to relish punishing her with insinuations that she's a tramp and even prodding her to have an affair with an innocently friendly newspaper editor (Roberto Citran).
During one stretch of separation, the lovers write erotic letters to each other, and the scenario indulges in a flurry of masturbation scenes, but even two children, peacekeeping missions by Joyce's younger brother (Peter McDonald) and Joyce's finally choosing to stop believing Nora detractors like Cosgrave (Daragh Kelly) are not enough to end hostilities. By the film's upbeat end, the viewer has learned a little about one of the world's great writers and earned a pint to unwind afterward.
NORA
Andora Pictures
Natural Nylon Entertainment
Director: Pat Murphy
Screenwriters: Pat Murphy, Gerard Stembridge
Producers: Bradley Adams, Damon Bryant, Tracey Seaward
Executive producer: Guy Collins
Director of photography: Jean Francois Robin
Production designer: Alan Macdonald
Editor: Pia Di Ciaula
Costume designer: Consolata Boyle
Music: Stanislas Syrewicz
Color/stereo
Cast:
Nora Barnacle: Susan Lynch
James Joyce: Ewan McGregor
Stanislas Joyce: Peter McDonald
Roberto Prezioso: Roberto Citran
Cosgrave: Daragh Kelly
Running time -- 106 minutes
MPAA rating: R...
Directed and co-written by Pat Murphy, "Nora" has a tough time, like most of its ilk, making a difficult genius like Joyce (even when played by Ewan McGregor) into an irresistible movie character. Murphy co-wrote the script, based on the biography by Brenda Maddox, with Gerard Stembridge.
While focusing on Susan Lynch ("Waking Ned Devine") as Joyce's lifelong love -- a Galway native who comes from an abusive home life and meets him in Dublin -- is a promising angle coming from a woman filmmaker, "Nora" is still a muddy tale of sex, love, obsession, jealousy, cruelty and abandonment that can keep one at a distance.
The film's atmosphere, including the terrific period sets and costumes, is a real turn-on, in a moody kind of way, and hotel maid Nora and budding writer Joyce's first late-night stroll, which leads to a lusty embrace in the shadows, is a racy start to their affair. She's the take-charge type, and he falls in love instantly. Because of his frustration over not being published in Ireland, a foreign job offer and her "secret" past, they move to Trieste, Italy, and live like a married couple.
Their landlady kicks them out when Nora becomes pregnant, but Joyce's erratic behavior is the real problem. Like a drunk and his moods, Nora and Joyce's love for each other shifts from bitter scenes of verbal fighting to genuinely warm moments when drinking and singing bring them together. She has plenty of untapped love and affection but is fatefully attached to a man who pushes her away.
With a few visits to the sunny seashore and many train trips, "Nora" spans several years and reaches a high point when the lead recalls a former lover while watching a silent Italian movie and tells Joyce. He turns it into the short story "The Dead", and she is deeply hurt. Indeed, Joyce seems to relish punishing her with insinuations that she's a tramp and even prodding her to have an affair with an innocently friendly newspaper editor (Roberto Citran).
During one stretch of separation, the lovers write erotic letters to each other, and the scenario indulges in a flurry of masturbation scenes, but even two children, peacekeeping missions by Joyce's younger brother (Peter McDonald) and Joyce's finally choosing to stop believing Nora detractors like Cosgrave (Daragh Kelly) are not enough to end hostilities. By the film's upbeat end, the viewer has learned a little about one of the world's great writers and earned a pint to unwind afterward.
NORA
Andora Pictures
Natural Nylon Entertainment
Director: Pat Murphy
Screenwriters: Pat Murphy, Gerard Stembridge
Producers: Bradley Adams, Damon Bryant, Tracey Seaward
Executive producer: Guy Collins
Director of photography: Jean Francois Robin
Production designer: Alan Macdonald
Editor: Pia Di Ciaula
Costume designer: Consolata Boyle
Music: Stanislas Syrewicz
Color/stereo
Cast:
Nora Barnacle: Susan Lynch
James Joyce: Ewan McGregor
Stanislas Joyce: Peter McDonald
Roberto Prezioso: Roberto Citran
Cosgrave: Daragh Kelly
Running time -- 106 minutes
MPAA rating: R...
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