Tags: martin freeman


The Hobbit: The Battle of the Five Armies - 104 дня

Когда наш хоббит был маленький и со светлой головой, он тоже путешествовал, И тоже далеко.

Мартин Фриман и труппа театра Youth Action Theatre во время гастролей в Киев (через Москву) в 1989 г.

[фото 1989 года]

Они показали спектакль Blood Brothers

source 1 2

Рассказ о посещении Youth Action Theathre города Киева в августе-сентябре 1989 г.



Лучший сценарий минисериала, кино или драма - Стивен Моффат "Шерлок" "Его последний поклон"

Лучший актер второго плана минисериала, кино или драмы - Мартин Фриман (Джон Уотсон, "Шерлок" "Его последний порклон")

Лучший актер минисериала, кино или драмы - Бенедикт Камбербэтч (Шерлок Холмс, "Шерлок" "Его последний поклон")

Лучший минисериал - "Фарго"
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Richard III - Reviews

The Independent: Richard III, Trafalgar Studios, review by Paul Taylor; ★★★☆☆

The Telegraph: Richard III, Trafalgar Studios, review: ‘underpowered’ by Charles Spencer; ★★☆☆☆

The Guardian: Richard III review – Martin Freeman’s accomplished office politics not enough by Michael Billington ★★★☆☆

The Times: Richard III at Trafalgar Studios by Dominic Maxwell; ★★★★☆

Variety: London Theater Review: ‘Richard III’ Starring Martin Freeman by David Benedict

The Daily Mail: Office politics and gory deaths for the Twitter generation: First Night Review of Richard III by Quentin Letts

London Evening Standard: 'Martin Freeman is a smiling, self-satisfied Richard III' Trafalgar Studios - theatre review by Henry Hitchings; ★★★☆☆

Radio Times: Martin Freeman shows his nasty side in a tight, taut, chilling Richard III by Ben Dowell

Financial Times: Richard III, Trafalgar Studios, London – review by Sarah Hemming; ★★★★☆

What’s on Stage: Richard III (Trafalgar Studios) by Maxwell Cooter; ★★★☆☆

London Theatre Guide: Richard III Review by Mark Shenton; ★★★★☆

The Upcoming: Richard III at Trafalgar Square Studios | Theatre review by Cinzia Leonard; ★★★★☆

The Stage: Richard III Review by Michael Coveney; ★★★★☆

Digital Spy: Richard III review: Martin Freeman chills as Shakespeare’s anti-hero by Emma Dibdin; ★★★★☆

Den of Geek: Richard III Review by Louisa Mellor; ★★★★☆

The Arts Desk: Richard III, Trafalgar Studios by Demetrios Matheou

TimeOut London: Richard III Review by Andrzej Lukowski; ★★★★☆

The Londonist: Martin Freeman Left Stranded In Bizarrely Office-Bound Richard III by Stu Black

Kensington and Chelsea Today: Richard III at Trafalgar Studios by Max Feldman

Exeunt Magazine: Richard III Review by Natasha Tripney; ★★★☆☆
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Emmy 2014 - попытка #3

Огласили список номинантов.
Как доказательство - картинки.

Полный список номинантов

[номинанты выборочно]Outstanding Lead Actor In A Drama Series

Outstanding Lead Actor In A Drama Series

Breaking Bad
Bryan Cranston as Walter White

House Of Cards
Kevin Spacey as Francis Underwood

Mad Men
Jon Hamm as Don Draper

The Newsroom
Jeff Daniels as Will McAvoy

True Detective
Woody Harrelson as Martin Hart

True Detective
Matthew McConaughey as Rust Cohle

Outstanding Lead Actor In A Miniseries Or A Movie

Dancing On The Edge
Chiwetel Ejiofor as Louis Lester

Martin Freeman as Lester Nygaard

Billy Bob Thornton as Lorne Malvo

Idris Elba as John Luther

The Normal Heart
Mark Ruffalo as Ned Weeks

Sherlock: His Last Vow (Masterpiece)
Benedict Cumberbatch as Sherlock Holmes

Outstanding Miniseries

American Horror Story: Coven

Bonnie & Clyde


Luther n


The White Queen

Outstanding Television Movie

Killing Kennedy

Muhammad Ali’s Greatest Fight

The Normal Heart

Sherlock: His Last Vow

The Trip To Bountifu

Outstanding Drama Series

Breaking Bad

Downton Abbey

Game Of Thrones

House Of Cards

Mad Men

True Detective

Короче: у Шерлока 12 номинаций

Ответная реакция Бенедикта на новость о номинации.

"A fantastic early birthday present! Can't wait to come and sweat on the red carpet, applaud everyone else winning. And then get drunk and dance!

"That's amazing news to start the day with here in Boston! An early birthday present. I'm honoured to be in such great company, not least Martin. Thrilled for all who make Sherlock and especially those who have been nominated in soo many categories. "
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Richard III - Martin Freeman

выходные и интернет - две вещи несовместимые, хотя все и обещают 4G

Вот такой он Ричард III в исполнении Мартина Фримана.


Практически все отзывы о спектакле сводятся к трём вещам: вы не видели ещё такого Мартина Фримана, Мартин Фриман великолепен, нужно смотреть.

Один из первых отзывов, содержит спойлеры по спектаклю.

Ещё один из больших отзывов.

Советы тем, кто идёт на спектакль (содержит спойлер).

А ещё Мартин был на последнем (в этом сезоне) радио-шоу Грэма Нортона, где они пообщались по поводу Ричарда III.

Послушать до 11 июля включительно.

А ещё куча негодующих статей о "поклонниках", которые приходят на спектакль.
Daily Mail, The Telrgraph.
И вот почему эти люди имеют возможность посетить спектакль, а я нет?
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Review: Richard III (starring Martin Freeman), at Trafalgar Transformed

Review: Richard III (starring Martin Freeman), at Trafalgar Transformed
(текст содержит спойлеры по спектаклю)

There is much to like about Richard III. He is an one-man slaughter house, although he is more the senior executive than the cleaver. He is manipulative but he confides in us. In that respect, he is a bit like Hannibal. We spent so much time in his head we might as well like him. Or even trust him. And here is the great truth about Richard III: everyone knows he is the villain so he doesn’t have to be played as one.

Martin Freeman made his name playing “good guys” but this is an oversimplification (as most things in the media are). His performances brim with intelligence and occasional frustration. As Richard III, he starts tentatively but quickly hits his stride. In the scene where Richard does the impossible and woos Anne over her husband’s dead body, the openness of his approach is both alluring and frightening. If his good guys are frustrated by their virtue, his bad guy is frustrated by the absence of ambition. That’s why he kills, because no one is as ambitious as he is. It seems fair. At least to him. But he makes a pretty good case of it.

His performance is a rich combination of contempt, impatience, a sense of the ridiculous and a sweaty kind of wit, no more so than when he faces his nightmares. His final monologue is brilliant, his final moments – with a sly node to Indiana Jones – worthy of a vile but seductive king.

The other actors enter the fray with the same energy and glee: Forbes Masson is a brilliantly confident Hastings, a man who fancies himself a wheeler and dealer, only to realise that his head has been on the block all along. Gina Mckee is a heartbreaking Elizabeth, especially when Richard tries to convince her to broker a marriage with her daughter. She is broken by grief and fear but still won’t give him an inch. Lauren O’Neil’s Anne projects an intelligent kind of stoicism and. when it counts, she shows she is made of a harder metal.

Jamie Lloyd has a no nonsense approach to Shakespeare. He goes for the jugular, sort of speak. I don’t mean he is plain but he finds a way to untangle the threads and that makes for a very satisfying telling of the story. The 70s setting is a blessing and a curse. I come from a country that had a proper hardcore dictatorship in the 70s and everything in the production – the faded yellows and the static of interrupted tv broadcasts – smelt of that fear. But the design, while beautiful in itself, is impractical: the set is dominated by two long desks and five smaller ones. The actors have no space to move and they have to work hard to keep the momentum going.

Regardless, the vitality of the production is hard to deem. It captures a place where fear goes hand in hand with ambition, and the flow of blood, sweat and tears is the price one accepts to pay for sitting at the head of the table for a precious few moments.

In a time-honoured tradition with my Shakespeare reviews, the following section has SPOILERS. Don’t read if you don’t want to be spoiled about the production.

Here Be Monsters. I mean SPOILERS.

And so, what about Lady Anne? In Shakespeare’s text, Richard gets married to her and then rids of her in his usual underhanded way (with poison, or something similar, somewhere off stage). Not so here. Richard tells Gatesby

“Rumour it abroad
That Anne, my wife, is sick and like to die”.

in the presence of Anne, who listens horrified. In the next scene, Anne – fully aware of what’s about to happen – tells Buckingham:

“For never yet one hour in his bed
Have I enjoy’d the golden dew of sleep”.

And after that, Richard meets his wife and he kills her with his bare hands. This scene is horrific. Anne puts an almighty fight but in the end Richard manages to choke her with a telephone cord (this is echoed in his nightmare at the end of the play) and cuts her. All the while, he exerts and grunts and some of it is reminiscent of sexual activity. It’s disturbing, it’s harrowing and a line is crossed.

Richard finds a strange kind of comeuppance in his final moments: face to face with Richmond, he carries only a knife while Richmond points a gun at him. Richard pulls a face at the inadequacy of his weapon, cries for a horse and Richmond shoots at him. It’s the right combination of shocking, silly, weird and pointless that any struggle for power is.

Мартин Фриман в роли Ричарда III
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Richard III @ Trafalgar Studios / Martin Freeman

А вот и первый отзыв о "Ричарде III" с Мартином Фриманом.

Richard III @ Trafalgar Studios / Martin Freeman

It’s exciting to see Trafalgar Transformed back after an amazing first season, in which I was blown away by The Pride and quite liked Macbeth. The newest play in the season is Richard III starring Martin Freeman. An interesting choice to play Richard III and certainly got me excited.

[Spoiler (click to open)]

Jamie Lloyd’s production is curious – as you walk into the theatre and see the stage set-up in a kind of 70s cabinet office, you start trying to piece Richard III together with what you know about the 70s. To be honest, I don’t know much. I spent the whole of the play trying to understand why it was set during that period, and it wasn’t until I was on my way home on the bus reading the programme that I realised I was just ignorant of the 1979 Winter of Discontent. I was born in that year, yet have little knowledge of it. Is it therefore a strong enough part of history that the reference will be clear to the average audience member? I don’t think so, personally, but time will tell.

So the set theme doesn’t really add to the experience of the play, but that doesn’t wholly matter. (Although you really are asked to use you imagination when Richard cries out “A horse, a horse, my kingdom for a horse!”) There’s strength in the pacing, the movement and, of course, the acting. I was pleasantly surprised by Martin Freeman’s performance. I’ve always had a sneaking suspicion that he just plays Martin Freeman, so to see him let go of what I think are his acting crutches (certain facial expressions) and really embody a character was great. He was so committed and really took command of the role.

Freeman’s Richard is not the caricature I generally imagine Richard III to be. We’ve seen the hunchbacks with pronounced limps and walking sticks, but here he is much more understated. He has tons of charisma and plays the comedic elements well, grabbing the attention and sympathies of the audience from the outset in his opening monologue. Freeman is very adept at delivering the dry humour of Richard III, something I think is probably quite natural for him.

Jamie Lloyd has chosen to stage a bloody Richard III with deaths happening on stage, rather than off, as it was written. It increases the tension and the action; I have no idea how traditionalists will feel about that. But I am not a traditionalist and I enjoy a bloodbath on stage. In fact, I often feel with Shakespeare that the deaths are not tangible, real things -I like gritty, dirty theatre, so I appreciated the impact that the deaths had on me in this production. I was also on the front row, so there’s a very real connection you make as an audience member to the play as a whole when someone is strangled right in front of you. (Splash back from the blood is not as bad as we were lead to believe, so don’t worry on that front!)

The performance got a full standing ovation from everyone aside from myself and friend. It’s a first preview and there were mistakes. We got a tumble from Gina McKee, a nipple slip when someone’s boob popped out, a fumbled line here or there – it’s a first preview, this is completely acceptable, but leave the standing ovation to when a performance is so perfect it knocks your socks off! I understand Martin Freeman is popular, but I have no bigger pet peeve than everything getting a standing ovation these days…I rarely give them…

Richard III is on at the Trafalgar Studios until 27th September.