Yeah, but guys, can you imagine Remus Lupin going on a premiere of Les Mis in London (1985) because he loved the book and decided to finally go out and have a bit of fun and then hearing “Empty chairs at empty tables”? Because I just did and I am not okay.
"Oh my friends, my friends forgive me
That I live and you are gone.”
"Don’t you think it would be cool if Falcon was also in Avengers 2?"
I would dance the dance of joy. I would dance the goddamn Mamushka. I would DO A JIG on top of Mount Coot-tha while wearing some kind of home-made Falcon t-shirt.
I’m just saying.
I want Steve to just show up at Avengers Tower like, “He comes with me.”
And Tony is just kind of like, “Okay, sure,” because he’s heard about Sam from Hill, and so Sam ends up on Steve’s floor in another apartment, and when Tony realizes that Sam’s wings came from Stark Industries he spends a few days mechanically Bedazzling the fuck out of them, while Sam and Tony debate the merits of classic rock versus R&B.
(And then there’s the time Cap shows up with Bucky and says, “He also comes with me,” and Tony just sort of sighs and hands him keys to that other apartment on Steve’s floor, because he’s quickly learned that some Avengers have a bad habit of bringing home other superpowered freaks like they’re lost puppies or something, like that time Clint showed up with a brunette and a dog and didn’t even bother to ask for keys to the other apartment on his floor, just picked the lock instead.)
Belle will be released in the US on May 2.
Why did you decide to go the route of the Austenesque romance to tell her story?
In so many ways, it’s a romantic love story and it’s a paternal love story as well. It’s as much about her and [her surrogate father] Lord Mansfield, and also the fact that her biological father loved her as well.
It was much more practical in those days, if you had an illegitimate child of color, you could bring them into the household but had to keep them in the servant’s quarters, and have them work with servants where they’d be safe but wouldn’t be a full part of the family. The fact that her father decided that he didn’t want her to be brought up that way and brought her to his uncle [Lord Mansfield] and said, “Love her as I would had I been here,” was important to me.
When I did the research, it surprised me how many people had left Dido money in their will — Lord Mansfield left her money in his will [and] Lady Mary, Lord Mansfield’s sister, also left Dido in her will. The reality of it, then, was that so many people clearly [and] on paper showed their love for Dido that I thought it would have been disingenuous for me to tell a story purely about her suffering and a story that wasn’t about her love.
She had great love. That she married John Davinier, that she was able to baptize all of her children with him in the same church that they married in, I found that that was very romantic and beautiful.
I also wanted to understand, or communicate to the audience, what kind of men would love Dido during this period. Lord Mansfield, who adopted her, and also John [her husband] — what would make them so brave and so courageous enough to be able to love this woman of color during that period?
If I’m honest, I wanted to show a woman of color being loved. We don’t see it that often. I wanted to change the conversation a little bit, change the dialogue a little bit — we are loved, [and] we can be loved. Dido was valuable enough to be loved, she was worthy of being loved, and she was loved. Her challenge was showing people the right way to love her in the way that she needed to be. MORE
Switching gears a bit, how did you make that transition from acting to directing?
I had been writing and producing for quite a while in British television. I wanted to circle my screenplays around some of the things that we’ve discussed — race, gender, and class — and I wasn’t sure that TV was the right place for me to do it.
I had written my first script, A Way of Life — which, thankfully, went on to do quite well critically, and won me a BAFTA and lots of other international awards — and I was very protective of it.
One day, one of my funders at the BFI called me in and said, “Hey. I know you would really like to produce this movie, and that’s all very well, but actually we’d love you to direct it.” I sort of shrunk back into the sofa and said, “No, no. That’s not something I can do. I’m a writer. What I do is write, and this is the best thing I’ve ever written to date, and I don’t want to be the person who ruins it by trying to direct it. This movie is my baby and I’m not going to kill it!”
They were very adamant and said, “Look. You’re not going to kill your movie. We’ll send you to film school for a month” — like a month of film school, what’s that? — “And we’re going to give you some money so that you can shoot a pilot of the movie. We want you do a couple of scenes so you get used to getting behind the camera then we want you to go off and make a movie.”
It took about a month to convince me, to get the courage to accept the offer. Off I went to film school and had one-to-one training with cinematographers, other directors, and editors — I literally had one to one time with all of the heads of department that you’ve have on a real movie, then I went off and shot a pilot. Then I thought, “Wow, I really like this.” Being able to create the characters and then see it through, it felt like, this is what I was born for.MORE
Awesome article on the upcoming film based on the life story of Dido Elizabeth Belle, a real noblewoman who lived in 1700s Scotland.
DAME JUDI DENCH LEARNED DUNGEONS AND DRAGONS FROM VIN DIESEL. SHE NOW ACTS AS DUNGEON MASTER FOR HER GRANDCHILDREN.
This had better not be a joke.
Absolutely 100% true. She even knit him a dice bag while on the set of Riddick.
This makes me so happy.
I’m basically posting this for Vyvy.
This is 1000% the nerdiest thing I’ve ever read and I’m LOVING IT.If this is true, WHY DIDN’T I KNOW ABOUT IT LAST SUMMER. I could have talked to Dame Judi about gaming when she signed my “Peter and Alice” program!! w/dozmuffinxc