http://aboutactorcharlesdance.blogspot.fr/2013/01/charles-narrator.html
premiere on National Geographic Channel : on 11 may 2013 at 08:00 pm
premiere on National Geographic Channel : on 11 may 2013 at 08:00 pm
Tuesday, 30 April 2013
Monday, 29 April 2013
on BBC1 on Friday May 10th at 8:30 pm
Rob Brydon is back in the host's chair for the seventh series of the comedy panel show. And, as ever, David Mitchell and Lee Mack are the lightning-quick team captains. Over the course of each show, celebrity guests reveal amazing stories about themselves, some of which are true and some of which are not. The aim of the game is to fool the opposition into mistaking fact for fiction and fiction for fact. In this episode, Lee and David are joined by Charles Dance OBE, Stephen Mangal, Isy Suttie and Gok Wan.
http://digiguide.tv/programme-details/BBC+1/10+May+2013/19:30/Would+I+Lie+To+You?/
Lee and David are joined by Charles Dance, Stephen Mangal, Isy Suttie and Gok Wan on the panel
http://digiguide.tv/programme-details/BBC+1/10+May+2013/19:30/Would+I+Lie+To+You?/
Sunday, 28 April 2013
It's All In The Playing parts about Charles and Out on a limb
***Double vision prevailed for me as I observed him. I had adjusted to believing that Charles Dance was Gerry for weeks now. I had made that quantum leap in my imagination, putting the real Gerry somewhere out to pasture....
***We had several more rehearsals with Charles so that we could get his input on the script. I liked working democratically, with everyone feeling free to give me an opinion about what I was doing. His input was valuable, particularly in regard to the British class system and the speech Gerry gives in the House of Commons and to the English press relating to Third World poverty. Dance himself came from a needy background and worked his way up, remembering and identifying with those who were disenfranchised.....
*** Up to now Dance hadn’t asked about Gerry’s true identity. He had the British sensitivity to privacy and anyway probably didn’t really care. As for me, I hadn’t talked to Gerry in some time and wondered if he had seen that the English papers had announced that Charles Dance was playing him. Dance was scheduled to come to America for wardrobe fittings, makeup tests, and more rehearsals....
***Then I remembered Jewel in the Crown. I had been very impressed with Charles Dance. He was new. He had had relatively little film experience. But there was something about his presence that was riveting, particularly when he had the confidence to do nothing.
***Charles Dance arrived for his first rehearsal with the director, Bob Butler. Up to then, I think Charles thought Colin Higgins was the director. He did not know that in American television the producer is the creative mind. The director just sort of makes it happen
If Charles Dance wanted to change a line we had written, I would listen, but if it didn’t sound right I wouldn’t let him do it.
***Brad had brought his girlfriend on location and Charles Dance was accompanied by his wife, JoAnna, and their children. Stan had his wife, Lillian, and I had Harold to hang out with. When locations are pleasant, families and friends and lovers show up because there is something to do during the actors’ working hours.
***“I’m very happy to meet you,” I said, ushering him into the room and looking him over as he entered. He was dressed in a corduroy suit and was blushing through his freckles. His skin looked like a peach-and-rose parfait. Even his hair seemed spattered with freckles. He was dazzling. His body movements were awkward, but he was built like a Greek god. I wondered what weights he used to work out with. He turned around and observed me closing the door behind him. I looked hard at him. As a professional, it’s always interesting for me to compare what I see in a human face in real life to its translation to the screen. On a small screen (TV), Charles Dance had an entirely different countenance from the one I had seen on the big screen (Plenty). I wondered whether the remote look he had had in that film had been his interpretation of the part, because he was playing an insensitive aloof husband who contributed to his wife’s insanity. I looked into his face again. He leveled an insecure ogle at me and blinked.
***We finished with Charles Dance and the Gerry segment of the shoot. Our last scene together was our first meeting—typical of the illogical juxtaposition of reality in the movies. We finished late at night. Charles said goodbye to everyone and suddenly my screen Gerry was out of my life...
***Double vision prevailed for me as I observed him. I had adjusted to believing that Charles Dance was Gerry for weeks now. I had made that quantum leap in my imagination, putting the real Gerry somewhere out to pasture....
***We had several more rehearsals with Charles so that we could get his input on the script. I liked working democratically, with everyone feeling free to give me an opinion about what I was doing. His input was valuable, particularly in regard to the British class system and the speech Gerry gives in the House of Commons and to the English press relating to Third World poverty. Dance himself came from a needy background and worked his way up, remembering and identifying with those who were disenfranchised.....
*** Up to now Dance hadn’t asked about Gerry’s true identity. He had the British sensitivity to privacy and anyway probably didn’t really care. As for me, I hadn’t talked to Gerry in some time and wondered if he had seen that the English papers had announced that Charles Dance was playing him. Dance was scheduled to come to America for wardrobe fittings, makeup tests, and more rehearsals....
***Then I remembered Jewel in the Crown. I had been very impressed with Charles Dance. He was new. He had had relatively little film experience. But there was something about his presence that was riveting, particularly when he had the confidence to do nothing.
***Charles Dance arrived for his first rehearsal with the director, Bob Butler. Up to then, I think Charles thought Colin Higgins was the director. He did not know that in American television the producer is the creative mind. The director just sort of makes it happen
If Charles Dance wanted to change a line we had written, I would listen, but if it didn’t sound right I wouldn’t let him do it.
***Brad had brought his girlfriend on location and Charles Dance was accompanied by his wife, JoAnna, and their children. Stan had his wife, Lillian, and I had Harold to hang out with. When locations are pleasant, families and friends and lovers show up because there is something to do during the actors’ working hours.
***“I’m very happy to meet you,” I said, ushering him into the room and looking him over as he entered. He was dressed in a corduroy suit and was blushing through his freckles. His skin looked like a peach-and-rose parfait. Even his hair seemed spattered with freckles. He was dazzling. His body movements were awkward, but he was built like a Greek god. I wondered what weights he used to work out with. He turned around and observed me closing the door behind him. I looked hard at him. As a professional, it’s always interesting for me to compare what I see in a human face in real life to its translation to the screen. On a small screen (TV), Charles Dance had an entirely different countenance from the one I had seen on the big screen (Plenty). I wondered whether the remote look he had had in that film had been his interpretation of the part, because he was playing an insensitive aloof husband who contributed to his wife’s insanity. I looked into his face again. He leveled an insecure ogle at me and blinked.
***We finished with Charles Dance and the Gerry segment of the shoot. Our last scene together was our first meeting—typical of the illogical juxtaposition of reality in the movies. We finished late at night. Charles said goodbye to everyone and suddenly my screen Gerry was out of my life...
Saturday, 27 April 2013
Friday, 26 April 2013
Charles was at Barbican theatre last night : in the audience and backstage : his friend Fanny Ardant was narrator in Stravinsky
http://www.theartsdesk.com/classical-music/monteverdi-choir-london-symphony-orchestra-gardiner-barbican-hall
"I met Fanny Ardant at the Institut Francais and we have talked about doing a project together. I’d love to do The Lion in Winter with her but the rights aren’t available. But we text each other and have lunch whenever I’m in Paris. There is a gratifying amount of mutual admiration.”
and
Uwe Boll's Event Film and German group Kinostar have taken world sales rights to Viy, a 3D fantasy epic from Russian director Oleg Stepchenko featuring Jason Flemyng (X-Men:First Class) and Game of Thrones star Charles Dance......
Produced by Alexey A. Petrukhin and Alexander Kulikov for Marins Group Entertainment and Russian Film Group, Viy is said to be budgeted at $75 million. The feature shot at Prague's Barrandov studios and the Russian/German/U.K./Czech co-production is currently in post at CinePost in Munich.
Event Film will begin sales on the feature in Cannes and plans to release a first trailer for Viy later this month.
http://www.hollywoodreporter.com/news/cannes-3d-fantasy-epic-viy-446749
about Viy
http://aboutactorcharlesdance.blogspot.fr/2012/03/pic-of-day_07.html
http://www.theartsdesk.com/classical-music/monteverdi-choir-london-symphony-orchestra-gardiner-barbican-hall
"I met Fanny Ardant at the Institut Francais and we have talked about doing a project together. I’d love to do The Lion in Winter with her but the rights aren’t available. But we text each other and have lunch whenever I’m in Paris. There is a gratifying amount of mutual admiration.”
and
Uwe Boll's Event Film and German group Kinostar have taken world sales rights to Viy, a 3D fantasy epic from Russian director Oleg Stepchenko featuring Jason Flemyng (X-Men:First Class) and Game of Thrones star Charles Dance......
Produced by Alexey A. Petrukhin and Alexander Kulikov for Marins Group Entertainment and Russian Film Group, Viy is said to be budgeted at $75 million. The feature shot at Prague's Barrandov studios and the Russian/German/U.K./Czech co-production is currently in post at CinePost in Munich.
Event Film will begin sales on the feature in Cannes and plans to release a first trailer for Viy later this month.
http://www.hollywoodreporter.com/news/cannes-3d-fantasy-epic-viy-446749
about Viy
http://aboutactorcharlesdance.blogspot.fr/2012/03/pic-of-day_07.html
http://aboutactorcharlesdance.blogspot.fr/2013/04/charles-will-be-at-world-book-night-2013.html
the video here :
http://www.hibrow.tv/player.html?em=pyd2s2YjrLgIoWoVbXvqFmVq_CQ-Qgmm
...Over 100,000 books were distributed this year and a number of literary and arts luminaries including Tracey Chevalier, Mark Haddon, Lucy Fleming, Charles Dance, Lemn Sissay (below) and Rupert Thomson (above) gave talks and readings of their work to celebrate the occasion....
http://www.independent.co.uk/arts-entertainment/books/features/world-book-night-authors-celebrate-the-written-word-with-massive-books-giveaway-8590392.html
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the video here :
http://www.hibrow.tv/player.html?em=pyd2s2YjrLgIoWoVbXvqFmVq_CQ-Qgmm
http://www.independent.co.uk/arts-entertainment/books/features/world-book-night-authors-celebrate-the-written-word-with-massive-books-giveaway-8590392.html
"I couldn’t write this review without mentioning the one and only Charles Dance, he commands such a presence on stage and his deep baritone grabs your attention instantly – you may have realised I have a small crush. His reading from, ‘Damage’ by Josephine Hart, was especially poignant since her death in 2011."
"But perhaps the biggest treat was seeing thee amazing Charles Dance reading an extract from damage by Josephine Hart-as a huge fan of Rebecca, I was quite in awe of seeing Max de Winter the flesh"
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Wednesday, 24 April 2013
“I wish he would stop glottal stopping. He’s a good speaker but it completely detracts from what he’s saying and it feels patronising, as if he thinks that’s how he should be talking to the common man.
“You can see the rest of the Labour politicians starting to pick up on it, because they’re thinking ‘Oh, this is how we’re meant to be speaking’. It’s pathetic.”
Does he think there’s any similarity between the bloody politics of Game of Thrones and the bickering of the Coalition? “Certainly not,” said Dance. “We’re sexier and crueller. Though I suppose it might be more entertaining if the Coalition were more like us.”
http://www.standard.co.uk/news/londoners-diary/stop-acting-down-charles-dance-tells-ed-miliband-the-glottal-stops-have-goa-go-8586046.html?utm_source=twitterfeed&utm_medium=twitter
“You can see the rest of the Labour politicians starting to pick up on it, because they’re thinking ‘Oh, this is how we’re meant to be speaking’. It’s pathetic.”
Does he think there’s any similarity between the bloody politics of Game of Thrones and the bickering of the Coalition? “Certainly not,” said Dance. “We’re sexier and crueller. Though I suppose it might be more entertaining if the Coalition were more like us.”
http://www.standard.co.uk/news/londoners-diary/stop-acting-down-charles-dance-tells-ed-miliband-the-glottal-stops-have-goa-go-8586046.html?utm_source=twitterfeed&utm_medium=twitter
Tuesday, 23 April 2013
I only keep Charles parts cos...the info is about the screenplay he's working on
In the second of our three Game of Thrones panels we chatted to two dastardly Lannisters and the honourable Brienne of Tarth to celebrate the release of Game Of Thrones: The Complete Second Season on Blu-ray and DVD this week.
Season Two sees Charles Dance return as Lannister patriarch Tywin, who plans his strategy against the Starks and Baratheons in an effort to keep his grandson Joffrey on the Iron Throne.
Please note that there was a inordinate amount of laughter and naughtiness from these three who have a very obvious fondness for one another.
It was the biggest battle that’s ever been televised, I believe.
Gwendoline Christie: On a personal level I really thoroughly enjoyed the scene in episode 10 between Jaime and Brienne.
Charles Dance: How do you remember it all in such detail?
CD:Oh God, I cant remember! It's such a long time ago. It’s just a great series to work on you know. The scenes that we’re given to play are so well written. It all kind of merges into one.
NCW: They’re not memorable though, are they? [Laughs]
CD: Smartarse.
GC: I know, I know dear.
CD: How do you deal with him?
The two of you, Charles and Nikolaj, are obviously both in Season One and nobody knew how big it would be, both critically and commercially. How was it coming back into Season Two when you knew that. Was there a sense of confidence?
CD: You are so full of shit!
NCW: It's true though! So it was big surprise to everyone. Clearly.
CD: I was surprised that he was back! [laughs] No I think we were all aware that we were dealing with something that was pretty bloody good, actually. The production values are great and the quality of the writing is wonderful. I would have been astonished knowing the number of books there are there’s a wealth of source material if we hadn’t continued after Season One.
Of all of the things you had to learn for your parts, was there any skill that was useful for real life?
CD: Not really. No.
Gwendoline, women have a major role in the story. Your character is very much a warrior. I would like your insight on the role that women play in the show.
CD: I can only agree with that, really. The women have to be more devious and more scheming than the men. Not just as much as, but more so, to get anywhere in the Seven Kingdoms. I think.
Charles, do you listen to Rammstein or death metal before you go on or something?
CD: No, I just learn the lines and avoid the furniture. [Gwendoline laughs]. And pretend. That’s what we’re doing. I haven’t come across anything yet that I’ve had to go off and do deep preparation for. We have the good fortune of having really, really good scripts to work with.
Your characters do some pretty bad things throughout the series. How do you empathise and get into their heads? How do the characters justify their actions?
CD: Well we’re pretending. We’re in a mythical world. If it’s likened to anything it’s like the medieval period which was ruthless and cruel and feudal. And I think most of us have been doing it long enough to have done a fair amount of history in our work and we know what that period is about. As I say, even though this is mythical that’s my terms of reference anyway for this thing. And although there are a lot of pretty nasty things happening in the world now, we’re a lot more civilised than life was then. But y’know, we pretend, because that’s the way people behaved.
Nikolaj, do you have to get dragged away from the happiest place on Earth, Denmark to work in unforgiving locations and in uncomfortable clothing?
NCW: Yes!
CD: “Happiest place on Earth?” Is that really?
NCW: The happiest people.
CD: Is that so?
There are a couple of really huge battle sequences in Season Two....
CD: Well they’re carefully choreographed, you know, for safety reasons and shot in bits and pieces and then all thrown together in the cutting room. But it’s guys marshalling their forces for the directors. But they’re all pretty experienced at doing that kind of thing and we also have a very good outfit that provide most of the horses. It’s an outfit called The Devil’s Horsemen that are based in this country and the horses are really, really good. Quite often in movies you get some terrible riding school nag that’s been ridden into the ground and doesn’t respond to any of the normal signals you give him. But I think, in my experience anyway, we’re quite lucky and there’s some bloody good horses on this actually, which is great for us. They do as they’re told, when they’re told.
What was your most memorable day of shooting?
CD: I had some scenes with a young actress called Maise [Williams] who was 13 at the time. And I was just astonished working with her because she’s just so very, very good, and her understanding of the medium and what the scenes were about, and her tirelessness because we work quite long days. She was an absolute joy to work with, but then I have the pleasure of working most of the time with Peter Dinklage who is phenomenally gifted. He must be the envy of every dwarf actor in the world, I should think. Parts like this don’t come along very often for people who are not little people. But for people like Peter it’s very, very rare. And he’s a joy to work with because he’s so good and he’s also a very, very nice guy. Tywin Lannister treats him like shit and I spend a lot of time apologising at the end of scenes. “I’m so sorry Peter for some of the things I’ve had to say to you." But I just like working, really.
Charles, over the last 25 years you’ve stared in many movies as well as TV shows. How would you describe the development of the TV industry over the last ten years?
CD: Well Gwen was saying earlier actually that the dividing line between film and television is becoming more and more blurred now. I think that the quality of television that’s coming out, especially out of America now is really, really good. Gone are the days when we would rather pompously say in this country, “we make the finest television in the world”. Well we don’t anymore. We used to and we still produce some pretty good television. But what is coming in from America… the best of American television is phenomenal. Because they spend money in the right places. In this country we seem to be kind of more concerned with making junk reality television or spending money on real estate which is what the BBC tends to do a lot of the time now. And there’s some very, very good television being made. Film wise the British film industry is still a cottage industry, of course it is one because of lack of finance, but the thing that people never ever talk about is we have the worst climate in the world to accommodate a film industry. That’s why we have a cottage industry because you can never know from one day to the next whether the sun is going to shine or whether it’s going to piss down with rain.
Were you into something that was really important to you when you were a teenager?
CD: I used to worship Steve McQueen. I saw every film Steve McQueen ever made and a whole bunch of us would wait for the next Steve McQueen movie. It didn’t matter what it was. I was a big fan of his. But I never dressed up as any of Steve McQueen’s characters. Or went to Comic Cons or anything like that. He just had enormous presence the minute he walked on the screen you couldn’t take your eyes off him. He wasn’t the greatest actor in the world, but he was a movie star and the king of cool. And to my delight a few years ago I managed to acquire a Ford Mustang which I’d always wanted having seen Bullitt. And I kept it for as long as I could.
Charles, a few years ago you directed Ladies In Lavender. Is there any chance of you directing an episode of Game Of Thrones – if you could get the time?
CD: I don’t think they’d let me. I’m just about to finish a screenplay for something that I’m gonna do next year.
Will you be directing that as well?
CD: Yeah. And there is another thing in the pipeline that I might.... well I’m talking to HBO about it in fact, but I don’t want to tell you what it is!
Looking ahead to Season Three, is there anything you can tell us to look out for without spoiling the plot?
CD: Look out for the arrival of Dame Dianna Rigg, a kind of female version of Tywin Lannister, we had a lot of sparring to do.
Monday, 22 April 2013
Friday, 19 April 2013
Q: How was it doing scenes with Charles Dance?
MW: I just got on with him really, really well. He was a little bit intimidating but I think that helped a lot with the script and stuff because Tywin (Lannister) is supposed to be intimidating. Charles is just a really, really lovely guy and I learned a lot from him as well. When we did the reverse shots in our scenes he sat in for my lines. He could have gone home and someone else would have read his lines but he said, "No, it’s fine, I’ll sit there," which was really nice. I tried to make a good impression because being a child actor, you’re always proving yourself. But I really liked him, he was funny.
Q: What has been your favorite scene over the last two seasons?
MW: It was when I was doing that scene with Charles Dance and I say, "Anyone can be killed." It felt like when you’re acting on a stage, and you either have the audience or you don’t. I did it on my close-up -- and I just felt like I sort of meant it, you know? It was all quiet and it took a couple of beats until someone said "Cut!" and then it was like, a charged atmosphere. I felt good after that. It’s that feeling: I don’t get it so much from acting but every now and then it comes up and I can’t describe it. I get it a lot more dancing -- it’s just a little buzz that you get. That’s why you go to work I guess
http://www.bworldonline.com/content.php?section=Weekender&title=Maisie-Williams:-dancing-and-fighting-in-the-%3Ci%3EGame-of-Thrones%3C/i%3E&id=68889
or :
Which was your favourite Arya’s scene so far?
MW: I just got on with him really, really well. He was a little bit intimidating but I think that helped a lot with the script and stuff because Tywin (Lannister) is supposed to be intimidating. Charles is just a really, really lovely guy and I learned a lot from him as well. When we did the reverse shots in our scenes he sat in for my lines. He could have gone home and someone else would have read his lines but he said, "No, it’s fine, I’ll sit there," which was really nice. I tried to make a good impression because being a child actor, you’re always proving yourself. But I really liked him, he was funny.
Q: What has been your favorite scene over the last two seasons?
MW: It was when I was doing that scene with Charles Dance and I say, "Anyone can be killed." It felt like when you’re acting on a stage, and you either have the audience or you don’t. I did it on my close-up -- and I just felt like I sort of meant it, you know? It was all quiet and it took a couple of beats until someone said "Cut!" and then it was like, a charged atmosphere. I felt good after that. It’s that feeling: I don’t get it so much from acting but every now and then it comes up and I can’t describe it. I get it a lot more dancing -- it’s just a little buzz that you get. That’s why you go to work I guess
http://www.bworldonline.com/content.php?section=Weekender&title=Maisie-Williams:-dancing-and-fighting-in-the-%3Ci%3EGame-of-Thrones%3C/i%3E&id=68889
or :
Which was your favourite Arya’s scene so far?
Monday, 15 April 2013
Which shows are your favorites?
I have to say, that after some initial resistance, I'm now a complete Game of Thrones addict.
Who is your favorite character?
I'm very proud of the fact that we got Charles Dance into Midnight's Children to play William Methwold. We actually have the head of the Lannister dynasty in our movie!
http://www.rollingstone.com/movies/news/q-a-salman-rushdie-talks-midnights-children-other-projects-20130415
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