Toby Stephens: ‘I lost my dad to cirrhosis. The only difference between us was that, tragically, he couldn’t stop drinking’

The actor on missing his late mother, Maggie Smith, being mistaken for Damian Lewis, and looking ‘like a fridge’ Born in London, Toby Stephens, 57, is the son of actors Maggie Smith and Robert Stephens. He trained at Lamda and, in 1992, made his film debut in Orlando. In 2002 he played the Bond villain in Die Another Day. His television work includes One Day, The Split and Black Sails. On stage he has performed for the RSC and the National Theatre, and he is currently starring in Equus at London’s Menier Chocolate Factory, until 4 July, and then Theatre Royal Bath, from 14-25 July. He is married to the actor Anna‑Louise Plowman, with whom he has three children, and lives in London. What is your greatest fear? To be completely alone. Continue reading... from Film | The Guardian https://ift.tt/BhbEa2J via IFTTT

Hugh Hudson: smash-hit pop classic Chariots of Fire director was a hero of British film

Hudson brought an ad-man’s eye to the brilliant 1981 drama about athletics and bigotry, as well as directing the hilarious Cinzano commercials

As the 1980s dawned, British ad director Hugh Hudson took on his first feature film and made it a legendary hit: an inspirational story which supplied a sugar-rush of patriotism and a swoon of nostalgia which hit the spot both sides of the Atlantic. It somehow brought off the trick of being about the underdog and the victim of bigotry and religious discrimination – and yet also being a resounding endorsement of the status quo which could, on grounds of decency and meritocracy, always accommodate the outsider. This was the era of Margaret Thatcher and Ronald Reagan, and the ethos of success for the hardworking and the deserving.

The film of course was Chariots of Fire, the true story of the 1924 Olympic runners Harold Abrahams (played by Ben Cross), a Jew who ran to defy prejudice, and Eric Liddell (Ian Charleson), a devout Christian who found a creationist glory in his speed. It was the destiny of so many involved to be forever associated chiefly, or solely, with this smash-hit pop classic: certainly Cross and Charleson never again found roles to match Abrahams and Liddell. And maybe Hudson himself never again had a triumph like it: though he was no one-hit wonder, later directing the Oscar-winning Tarzan drama Greystoke, and later Revolution, an epic about the American revolution starring Al Pacino which was derided but then grew in acclaim, giving his Hudson his own misunderstood masterpiece moment.

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