The actor has long had a fraught relationship with the media and their intrusions on his private life. As he promotes his new film with Steven Soderbergh, he talks about life post-Leveson and his love of theatre
'I'm 40! I'm an adult!" shouts Jude Law. "Aren't I?" We hold these truths to be self-evident, I reply, as the actor, laughing, stares across the table with those adorable baby blues and more hair than's fair. "But," he says more quietly, "part of me thinks I can't play a doctor. Who would come to me?"
You've got to be kidding. Who wouldn't come to Dr Jude? In Steven Soderbergh's film Side Effects, Law plays an Englishman in New York, a slimy limey of a pill-dispensing psychiatrist who becomes entangled in murder, drug switcheroos, a risible lesbian insider trading scam and lots more vaguely voguish, putatively Hitchkockian hokum before the credits. Astute critics...
'I'm 40! I'm an adult!" shouts Jude Law. "Aren't I?" We hold these truths to be self-evident, I reply, as the actor, laughing, stares across the table with those adorable baby blues and more hair than's fair. "But," he says more quietly, "part of me thinks I can't play a doctor. Who would come to me?"
You've got to be kidding. Who wouldn't come to Dr Jude? In Steven Soderbergh's film Side Effects, Law plays an Englishman in New York, a slimy limey of a pill-dispensing psychiatrist who becomes entangled in murder, drug switcheroos, a risible lesbian insider trading scam and lots more vaguely voguish, putatively Hitchkockian hokum before the credits. Astute critics...
- 3/4/2013
- by Stuart Jeffries
- The Guardian - Film News
From Bond to Bourne to hairy monsters and sub-humans, cinema has always loved the tube
The freshest image of the tube in moviegoers' memories is not an encouraging one: a train crashing through the walls of an underground chamber and crumpling into a heap right where James Bond should have been standing. Luckily (and implausibly), the train in Skyfall was empty: although Javier Bardem was a villain, he had at least checked the schedules to cause minimum disruption to the service.
The cinematic possibilities of the tube are as myriad as its destinations. It's a great place for action and chases (The Bourne Ultimatum and Patriot Games got there before Skyfall). It's a realm of concealment, strangeness and subterranean nightmares, but it's a refuge, too. For film-makers, the tube is also very convenient: not only does it boast controllable light and a steady climate, it can also provide a mirror image of the city above.
The freshest image of the tube in moviegoers' memories is not an encouraging one: a train crashing through the walls of an underground chamber and crumpling into a heap right where James Bond should have been standing. Luckily (and implausibly), the train in Skyfall was empty: although Javier Bardem was a villain, he had at least checked the schedules to cause minimum disruption to the service.
The cinematic possibilities of the tube are as myriad as its destinations. It's a great place for action and chases (The Bourne Ultimatum and Patriot Games got there before Skyfall). It's a realm of concealment, strangeness and subterranean nightmares, but it's a refuge, too. For film-makers, the tube is also very convenient: not only does it boast controllable light and a steady climate, it can also provide a mirror image of the city above.
- 1/9/2013
- by Steve Rose
- The Guardian - Film News
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