‘It felt dangerous. You got naggy’: Ethan Hawke and Richard Linklater on power, combovers and Blue Moon

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Ahead of their 11th movie together, the actor and director discuss musicals, the legacy of Philip Seymour Hoffman and what being bald and 5ft tall does to your flirting skills ‘I like this, it’s good,” Ethan Hawke tells Richard Linklater, midway through a lively digression that has already hopped from politics to the Beatles to the late films of John Huston . “What’s good?” asks Linklater. “All of this,” says Hawke, by which he means the London hotel suite with its coffee table, couch and matching upholstered armchairs; the whole chilly machinery of the international press junket. “I like that we get to spend a couple of days in a room,” he says. “It feels like a continuation of the same conversation we’ve been having for the past 32 years.” It’s all about the conversation with Linklater and Hawke. The two men like to talk; often the talk sparks a film. The director and actor first met backstage at a play in 1993 (“Sophistry, by Jon Marc Sherman,” says Linklater) and wound up chattin...
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The Drivers Seat (AKA Identikit) review Elizabeth Taylor captivates in bizarre 70s mystery

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Taylor is both hammy and subtle as a woman on the verge of a breakdown in this preposterous but watchable 1974 drama that features an extraordinary cameo from Andy Warhol

It’s peak 70s Liz Taylor in this arrestingly bizarre movie directed by Italian film-maker Giuseppe Patroni Griffi in 1974, which he co-adapted from the 1970 novella by Muriel Spark and was released under the title Identikit in the US. With her big sunglasses and permanently dishevelled jet-black hair, Taylor gives an intense and more-than-slightly alarming performance in a preposterous, slightly dated yet very watchable psycho-existential mystery, a cousin to the era’s paranoid thrillers. It was shot by Vittorio Storaro, who repeatedly directs light sources into the camera so that the figures often move like shadows behind a disconcerting glow, which is part of the film’s distinctive puzzle.

Taylor plays Lise, a single woman of a certain age who is clearly on the verge of a breakdown. Lise lives in Hamburg, where she is seen buying oddly garish, multicoloured clothes in a department store, high-handedly terrorising the sales assistants and announcing that these garments are appropriate for the warm, southern climes to which she says she is heading. We first see Lise drifting through a surreal department filled with naked mannequins; perhaps The Driver’s Seat has been an influence on Peter Strickland.

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