One of the iconic actors of all times Terence Stamp was discovered by actor/director Peter Ustinov for his adaption of Melville’s Billy Budd in 1962. The rookie actor was shoved into the public eye almost overnight and went on becoming a symbol of pride for the London born actor. Here is an interview with the actor by Alex Simon
What struck me while reading your autobiography Double Feature is what an intelligent, reflective person you obviously are, someone who has a rich interior life. Early in your career, the only thing people seemed to talk about was your looks. Was that difficult for you, the feeling that people weren’t seeing the entire person, and perhaps not taking you seriously intellectually?
No, it really wasn’t. At the time, it was the beginning of the sixties, and the thing about my debut was that I was discovered by Peter Ustinov, which was incredibly reassuring. Among that group of sixties actors, Peter O’Toole, Albert Finney, Sean Connery, Michael Caine, I was sort of the juvenile, since I was a bit younger that the rest. That was the drawback. I was never considered for Doctor Zhivago or Lawrence of Arabia, so that was the thing that bugged me at the time. I wasn’t aware of being taken lightly because I never viewed myself as anything other than an actor.
It was a treat to see you playing a normal bloke in Unfinished Song. I thought back to the early chapters of Double Feature, where you talk about your childhood. Even though this was shot in the northern city of Newcastle, you must have felt many parallels between the working class neighborhoods there and the Bow district you come from in London.
Yes and I think it was meant to look like a working class London area. What was interesting for me is that I based my character on my own dad. My dad was emotionally closed down and the only emotion he showed was to my mother. There was no other woman in his life. She was his great love. Once I hit on that idea, it made a lot of things very clear, such as my relationship with my son in the movie. It was one of those curious movies where everything just seemed to gel. People are mystified by the fact that Vanessa and I never discussed our characters or the story, because we both understood so clearly what was being asked of us.
It amazed me that this is the first time you and Vanessa have worked together on-screen.
Yeah, that’s right. We did an Ibsen play, “The Lady from the Sea,” about twenty years ago at the Roundhouse. I never really got to know her. We’re very different personalities. But the fact was, there was always magic on the stage. We got incredible press for what was a very difficult play, so I felt completely confident and I was just thrilled to be able to work with her in a medium that I felt was my specialty, which is film. Vanessa is, I think, our greatest theatre actress. She a wonderful all-around actress, but made her reputation on the stage. I adore Vanessa.
The Collector holds up beautifully today. I actually watched it very late at night on TV when I was about seven, and it left deep scars on my cerebellum.
As it would. Serves you right for being up past your bedtime. (laughs). The thing about William Wyler, really, in my life was at the time I got to work with him, I thought he was one of the greatest directors in the business. I was in awe of him. To be chosen by him gave me an amazing kind of confidence. In truth, Wyler saw something in me I wasn’t aware of yet, myself. It was the first real big shift in my life. It’s like I was a ship that bound for Scotland and Wyler was able to adjust my bearings just so that years later, I wound up in Iceland. It was an incredible moment for me. Wyler was so spontaneous, which made him incredibly modern, although he was in his mid-60s at the time, but he was completely in the moment, like one would expect from a young director. It was a film that was really twenty years ahead of its time.
I always felt Wyler took a page from Alfred Hitchcock in that he cast a handsome leading man to play an absolute maniac.
I had been given the galleys of the book before it was published and thought it was a masterpiece. At the same time, it made me very sad, because I knew I could never play that part. In the book he’s a kind of invisible, spotty, snotty-nosed bank clerk. So I turned down the movie several times, until my agent said “William Wyler is directing. Are you really going to turn down William Wyler?” I was so unconfident, that I agreed to do the test with a girl without a commitment, because I wanted to show Wyler the best I could do, which I was convinced wouldn’t be good enough for him. So Robert Parrish shot the test, then I was asked to go to the old Columbia building on Dean Street in London. I arrived at his office and this little man appeared and started walking toward me down this long hallway. It was Wyler. And he was just staring at me intently, saying nothing. It made me rather unnerved. (laughs) So I said “Did you see the test?” He nodded. I said “Which of the girls did you like?” He said “I haven’t looked at the girls—yet.” (laughs) That kind of reached me and I said “Do you want me for this?” He nodded again and I said “What about the book?” He put his arm around my shoulder and came really close to me and said “We’re not gonna make the book. We’re gonna make a love story—modern.” So I was immediately his accompanist.
That’s very clever on his part, because he probably sensed you were ill at ease.
I think so, too, and it was one of the great experiences of my life. It changed everything.
In 1968 you had two amazing cinematic experiences working with the two greatest directors in Italy: Federico Fellini (Spirits of the Dead: Toby Dammit) and Pier Paolo Pasolini (Teorema).
To be frank with you, I do think about my career as before and after Fellini, because that was such a landmark for me. I knew he’d written Toby Dammit for (Peter) O’Toole and I knew Peter wouldn’t do it. I knew I was the second choice. But he loved me and the price was that I love him back, which wasn’t hard. So those four weeks were a real rush for me and it was only because of what had happened to me during the Fellini shoot that I was able to give them kind of performance in Teorema that I was able to. Fellini got the best acting out of me I’d ever done at that point. So by the end of that experience, I was no longer acting. I was just being, which prepared me for the experience with Pasolini, who didn’t want acting. Pasolini used to film me without me knowing with his own camera, when I wasn’t on set, when I wasn’t acting. It didn’t take me long to realize what he was doing. He just wanted me being, just being myself. Being present in the present. That was a new strata of performance for me.
Did you feel you got to know Pasolini as well as you did Fellini?
No, not at all. He was very cold, very distant, very closed down. He was very gay. He wouldn’t speak to me at all, really. If he had a piece of direction for me, he’d tell (actress) Laura Betti to ask me to do something. “Tell him to play this scene with an erection.” (laughs) “Tell him to play this scene with his legs spread astride.” He came to London to meet me with the producer, Franco Rossellini, who was Roberto Rossellini’s nephew, and they were staying at Claridge’s, which was a strange choice of hotel to stay at, and he told me the story of the film. “It’s the story of a bourgeois family: father, mother, son, daughter and maid. A guest arrives. He has a divine nature. He seduces everybody and he leaves.” I said ‘I can do that.’ (laughs) He was just very intellectual. It wasn’t that he was being cold or mean to me. I think he wanted to isolate me, wanted to throw me back on myself in a way I hadn’t acted before. There was virtually no dialogue, so that made it easy.
Pasolini’s murder is like the JFK assassination of Italy, with loads of conspiracy theories and so on. Any ideas of your own?
Apparently he was that kind of gay guy where what turned him on was heterosexual youth. It was always very dangerous, his sex life. I’ve met lots of gay guys like that, especially in my youth. I come from a very tough part of London and what turns those guys on are these very sort of rough, good looking kids. And those guys get beaten up a lot. That was all a part of it, I guess, and from what I gather, that’s what happened to Pasolini. I guess you can’t get that kind of sexual satisfaction without the risk. I’m not familiar with any of the conspiracy theories you mention.
One last Toby Dammit question: how much did you actually get to drive that amazing Ferrari?
Oh, I drove it a lot! (laughs) It was absolutely wonderful. It was very heavy, with quite a heavy gearbox, not like the Ferraris of today. I had quite a time in that car, let me tell you. (laughs)
I’ve heard various reasons given for your exile to India during the seventies.
It wasn’t that I chucked it all and went off to find myself in India, it’s that I couldn’t find work and I couldn’t bear it. I couldn’t bear waking up every day and the phone not ringing, or if it did, it was my agent telling me they were looking for a “young Terence Stamp,” and I was twenty-seven. So I decided to travel instead of waiting around, and months became years. I didn’t do anything of any significance between ’69 and ’77, when I got the “Superman” movies. I don’t want to mislead you and make it sound like it was a romantic, idealistic decision on my part.
But I got the impression that India had a profound effect on you.
It did, but what had an even more profound effect was when Fellini introduced me to Krishnamurti. I found him impossible to comprehend and one of the things that happened when I went to India was I decided to start a bit lower down the ladder, thinking perhaps I could refine my intelligence gradually so that one day perhaps I would be able to understand Krishnamurti, and that’s basically what happened really.
The movie I saw as a teenager that got me interested in your earlier work was Stephen Frears’ The Hit.
That was a wonderful movie, wasn’t it? I think it’s the most Zen movie I’ve ever made. I don’t talk about that one a lot, but it’s one of my favorite films that I’ve done.
Before we wrap up, we have to talk about Steven Soderbergh’s The Limey and the sequel that you wrote yourself.
I was inspired to write it by Soderbergh. It was his idea. I tried to get people to write it and nobody was interested. I knew if I didn’t put pen to paper, it wouldn’t get done. So I did and it just fell out of my left hand as I was writing it, it was so easy. Then the bastard decided he was going to retire! (laughs) The last thing I wanted was to direct something. Apparently he doesn’t want to make any movies in the foreseeable future. It’s a beautiful screenplay and it was a very rich experience to write it. But I don’t have any real psychological ambitions at this point in my life. I’m not one of these actors who feels he has to direct because he feels unfulfilled performing. I haven’t heard from Steven in a long time, so I think he’s just taken another path.
Can you tell us a bit about the story?
It’s not a direct sequel. When I reviewed the movie after a lot of writers passed on it, including Tom Stoppard, I saw that The Limey was a real complete circle. So what I did was, I took the character of Wilson and took Steven’s idea of a vehicle for Julie Christie and myself. Wilson has just completed a 25 year sentence, having been put behind bars by his best friend, who betrayed him and while he was behind bars he’s married the girl he was always in love with. So he’s had 25 years to think about how he’s going to wreak vengeance upon this guy and how he’s going to get the girl back. We start with the first day of freedom and those two agendas. It’s like a canvas, the story of enduring love, but the canvas is stretched over this very violent revenge story.
We have to touch on Ken Loach’s Poor Cow, which was used as the flashback scenes in The Limey. How well did you get to know your co-star, Carol White?
Very well. Carol and I were very good friends, as I was with her younger sister, Jane. They were both great beauties. Carol was amazing. She had that wonderful quality, as though…she wasn’t like any of the characters that she played, but the great quality she had was that the camera just saw the very best of her. She could play these tragic characters so well because the camera just could see right into her, into the best of womanhood. Making that film was when I learned about improvisation. Ken Loach always had two cameras going, with no screenplay, and would just say “Action!” It really taught me how great things are born out of spontaneity.
I understand you were offered the role of James Bond after Sean Connery stepped down and you’ve regretted it ever since. True?
No. What happened was, I was taken out to dinner by Harry Saltzman, who was Albert Broccoli’s producing partner at the time, and over dinner, he put it out there that he’d be interested in me doing it. I was flattered, but felt so self-conscious because Sean had been so successful in it and so identified with it. I suggested to Harry that if he started the movie with 007 disguised as a kind of Japanese warrior, by the time the new actor was revealed, the audience would have become accustomed to the fact that Terence was doing it. Needless to say, I never heard from him again. (laughs)
Terence Stamp is still one of the finest actors that reflect power onscreen. The entertainment industry has been indebted to his contribution and the impact he had on the general population of his time. We wish to see him go a long way with his brilliant performance in future.
Source: Huffington Post
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Top 10 Quotes On Leo Messi To Read Today
Lionel Messi will stand out forever as one of the best footballers the world has ever observed.
The Argentina hotshot has scored over twofold the measure of objectives of any other person to have shown up for Barcelona ever. He is entirely a marvel.
Rather than laud about Messi’s brightness ourselves, we’ve gathered a portion of the best tributes to the forward from a portion of the greatest figures in the diversion. There’s gleaming recognition from Roy Keane in there…
“For me to watch Messi is a pleasure – it’s like having an orgasm – it’s an incredible pleasure.”
“I think he reached and surpassed the level of Maradona. He does incredible things, at a speed that is insane.”
“I have seen the player who will inherit my place in Argentine football and his name is Messi. Messi is a genius.”
“Messi does not need his right foot. He only uses the left and he’s still the best in the world. Imagine if he also used his right foot, then we would have serious problems.”
“Once they said they can only stop me with a pistol. Today you need a machine gun to stop Messi.”
“Although he may not be human, it’s good that Messi still thinks he is.”
“The other day I saw one of his games. He was running with the ball at a hundred per cent full speed, I don’t know how many touches he took, maybe five or six, but the ball was glued to his foot. It’s practically impossible.”
“I was a big fan of Maradona growing up and of the current crop Ronaldo is good, but Messi is the best I’ve ever seen. I don’t dish out praise lightly, but Messi deserves it. I look for weaknesses in his game and I can’t find them.”
“Don’t write about him, don’t try to describe him, just watch him.”
The Best 5 Oprah Winfrey Interviews
Oprah Winfrey is a household name, the one the world won’t soon overlook. Once the wealthiest dark lady on the planet, her profession has been going for longer than generally relational unions. Regardless of whether she’s ingraining confused feelings of trepidation into the hearts of oppressive moms, meeting disturbed pop stars or losing the heaviness of a little youngster (and after that picking up it appropriate back) it appears like everything the lady does stand out as genuinely newsworthy.
Here are 5 of her most crucial scenes and interviews — on the off chance that you’ve possessed a TV in the past two decades, you’ll perceive no less than a couple.
The Tom Cruise Interview
As though the world required reminding that Tom Cruise was a psycho, in 2005 he allowed us the new chance to see the insane person in its particular territory. Voyage, manically infatuated with Katie Homes, skipped around the set in what might end up a standout amongst the most public presentations of big-name incited craziness ever to elegance arrange TV. One might say that he never experienced the experience down.
The Whitney Houston Interview
For reasons that make no sense, numerous were amazed when Whitney Houston admitted to substantial medication use with her ex, Bobby Brown, in a 2009 meeting with Winfrey. The visit with Houston, a standout amongst the most beautified and loved performers of present-day times, was a standout amongst the most foreseen encounters of the decade. The medication utilises — for the most part, weed bound with first-rate cocaine — is all anybody appears to recall from the discourse.
The James Frey Interview
Author James Frey had his name dragged through the soil as extortion amid one of Oprah’s most discussed debates. His A Million Little Pieces, which had been displayed as an official journal, was found to have been a creation. Winfrey didn’t take too benevolently to this news, notably, since she’d picked the novel for a portion of the pervasive “Oprah’s Book Club.” The two, in the end, made decently, however it most likely doesn’t feel great when Oprah is frantic at you. It’s presumably something like influencing your grandmother to cry.
The Barack and Michelle Obama Interview
This scene was the first run through Winfrey had met a sitting President and First Lady, and it was an immensely foreseen portion. It was a weird occurrence that Obama had recently declared Osama canister Laden’s demise to the country just before the scene publicised, and not one that went unnoticed. The couple appeared to be cheerful over the span of the meeting, specifying how pleased they were the point at which their little girl met the Pope. Obama got his offer of feedback for requiring some severe energy from driving the country to show up on a television show, yet it regardless turned into an immortal bit of American history.
The Rihanna Interview
Rihanna’s meeting with Oprah on her Oprah Winfrey Network did not only talk with a pop star — is transformed into an open exchange about abusive behaviour at home in the wake of Rihanna’s manhandle on account of her ex, Chris Brown. Winfrey went to the vocalist’s house on the island of Barbados to have an expanded visit. Some startling disclosures, similar to the way that she was still enamoured with the man who’d beaten her silly, were come to. It was a disputable minute for Rihanna, yet a shelter for Oprah—it was one of her most astounding appraised interviews ever.
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Top 5 Crazy Celebrity Interviews
As this point in our way of life’s history, the big name meet has turned out to be ubiquitous to the point that it’s hard to astonish us any longer. They ask pretty much similar inquiries, which result in the same, unsurprising answers. It resembles painting by numbers. Be that as it may, occasionally, we get a break from the dreariness, and everything goes to pieces. That is the point at which we liven up in our seats and truly begin focusing.
Truly, the big name meet doesn’t generally go as arranged. Now and then individuals get furious, or an awful instance of the snickers, or they say something that sounded a considerable measure more interesting in their mind then it did leaving their mouth.
Here are only 5 of our most loved insane celebrity interviews.
The Michael Caine Impression
Sir Michael Caine examined his chance in Korea, the Stanislavsky school of acting and crying on a sign in this great 2007 meeting with British anchor person Sir Michael Parkinson. The subject he got most worked up about, notwithstanding, was each one of those loathsome Michael Caine impressions.
Steve Carrell scares Ellen DeGeneres
The glow between good companions Steve Carrell and Ellen DeGeneres is evident in this clasp from 2010, in spite of the last’s edgy want for exact retribution. The reason? A prior meeting, where Steve got her great and legitimate
Russell Brand seizes Morning Joe
It’s difficult to pinpoint precisely what turned out badly and when in this 2013 meeting with the undoubtedly un-messianic Russell Brand, however, it’s enticing to state it was comfortable begin. Russell surely looks awkward at the proposal that moderator Mika Brzezinski doesn’t know his identity, and it goes downhill from that point, with Russell, in the end, blaming his hosts on their absence of behaviour. Trust ol’ Russ to make it bright, however.
Mila Kunis is a freakin’ sport
In March 2013, British radio moderator Chris Stark was given ten minutes’ notice that he’d be talking with Mila Kunis about her new film Oz the Great and Powerful. The outcome was a line of scrutinising that scarcely referenced the film, and rather rotated around Chris’ neighbourhood bar, football club, a specific British chicken eatery, and drinking diversions with his companions. He welcomed Mila to every one of the four, getting “enormous chap focuses” when she said she’d do her best to go to. Mila, on her part, said it was the “best meeting of the day.
Bruce Willis versus Stephen Colbert
Bruce Willis is a broadly thorny character with regards to interviews, for example when this 2013 junket meets turned out badly for Magic FM radio host Jamie Edwards. So this disaster with Stephen Colbert looked amazingly conceivable when Bruce showed up on The Late Show in 2015 — until, that is, it didn’t.
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