Stuart Craig obituary

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Oscar-winning production designer who helped recreate the fantastical world of Harry Potter in intricate detail on screen The production designer Stuart Craig, who has died aged 83 after suffering from Parkinson’s disease, played a major role in bringing the fantastical, magical world of Harry Potter to the screen. Craig’s set design skills had won him three Oscars, for Gandhi , Dangerous Liaisons and The English Patient , but creating the look of the film versions of JK Rowling’s stories about the schoolboy wizard was the crowning glory of his career. He worked on all eight films in the series, from Harry Potter and the Philosopher’s Stone in 2001 to Harry Potter and the Deathly Hallows: Part 2 in 2011, leading a large team of concept artists, art directors, set decorators, construction workers, painters and decorators, prop makers, plasterers and model makers. Continue reading... from Film | The Guardian https://ift.tt/UG5nTaB 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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