‘I don’t have a relationship with my face’: Judi Dench models for a live sculpture

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To raise money for lymphoedema research, the actor sat before an audience for artist Frances Segelman, who admired her youthful, ‘pixie-like’ face while rendering it in clay It began as a blob: a 12kg lump of clay the size of a watermelon. Three hours later, it had become Judi Dench’s head, 50% larger than usual, twinkle-eyed even in terracotta. At Claridge’s hotel in London on Monday evening, Frances Segelman hosted her latest ticking-clock sculpt: paying guests watch as she kneads a celebrity bust on stage, the subject sitting quietly beside her. In the past, Segelman has done Simon Rattle, Joan Collins, Joanna Lumley, Boris Johnson, Mr Motivator and major-league royals, almost always for charity. Continue reading... from Film | The Guardian https://ift.tt/xlS0kJN via IFTTT
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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