‘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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Timestalker review – Alice Lowe’s anti-romcom is a darkly hilarious spin through history

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The actor and film-maker’s ingenious comedy sees her play a gamut of characters who meet gory ends chasing a not-worth-it love interest

The Taoist philosopher Zhuangzi dreamed he was a butterfly – but couldn’t be sure if the butterfly wasn’t the one having the dream about him. Film-maker Alice Lowe dreams her way into a cosmically recurring persona in this likably chaotic, flawed comedy; she plays a woman who regenerates Blackadderishly throughout the years, from the 1680s to the 1980s, forever in love with the same man, forever destined to sacrifice herself for him, almost but not quite in possession of the knowledge that this guy is unworthy of her. At each stage, the incarnations of the past are perhaps dream-memories and the personae of the future are prophecies. Or … is she just very, very mad?

In 1688, Lowe is Agnes, a humble Scottish maidservant who is enamoured of a heretical preacher (Aneurin Barnard) who is about to be executed. In 1793, she is a poutingly bored noblewoman who conceives an erotic fascination for a dandy highwayman in the Adam Ant style, with the memorably annoying name of Alex O’Nine Ribbons (again Barnard). And in 1980, with leg-warmers and a frizzy hairstyle which makes her look like Barry Gibb or the Cowardly Lion, she plays a British woman in a drolly unconvincing-looking New York who has become a stalker-superfan of a new romantic pop star (Barnard once more). In addition, she is briefly to be seen as a magician’s assistant in Cleopatra costume in 1940 and even more briefly – almost subliminally – as some kind of Jane Eyre-ish schoolmarm in 1847 who is decapitated by a carriage wheel. (This last episode is so bafflingly fleeting that some of it must surely have been lost in the edit.)

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