Tag Archives: richard armitage

Richard Armitage Was A Dwarf, Now He’s Going To Be A Murder Fairy

Richard Armitage is sinking his teeth into a new, villainous role on NBC’s “Hannibal.”

See the rest here:
Richard Armitage Was A Dwarf, Now He’s Going To Be A Murder Fairy

Matt Damon Morphs Into Excellent Bill Clinton

Matt Damon channeled Bill Clinton on a recent Tonight Show with Jay Leno . He recalled a trip he made to Camp David during the Clinton presidency when he and Ben Affleck brought along their Oscar-winning Good Will Hunting . Damon recalled how a producer from the film told the Prez that he was friends with John Travolta who was starring in Primary Colors , a film considered unflattering to Bill Clinton and did a great impression of him. Damon recalls the story and then morphs into the then POTUS. Check it out…

The rest is here:
Matt Damon Morphs Into Excellent Bill Clinton

REVIEW: Michael Haneke’s Amour A Beautifully Calculated Demise

Austrian filmmaker Michael Haneke has a distinctively aggressive relationship with his audience that ranges from the provocation of  Caché and  The Piano Teacher to the outright antagonism of  Funny Games and  Benny’s Video .  Amour , his latest work and the winner of the Palme d’Or at this year’s Cannes Film Festival , might be considered Haneke’s version of a love story, and its grimness is of a much quieter but no less impactful sort. It is, more than any of Haneke’s previous work, infused with compassion, but of a sort that cuts like a knife. For all that it is, as promised, about love, it’s also a subtly punishing affair that grinds you into the ground as you watch an elderly couple deal with one member’s slow deterioration of health and sanity. Amour starts with firemen breaking into a beautiful Parisian apartment. The bedroom door has been taped up, and inside is the corpse of Anne (Emmanuelle Riva), lying on the bed, scattered with flowers — and it’s here that Haneke inserts the title card, to ensure you know that this will not be a syrupy tale. We cut back to when Anne was alive and living with her husband Georges (Jean-Louis Trintignant), both in their eighties. They attend a concert being given by one of Anne’s former students — a trip that, with the accompanying streetcar ride home, marks the film’s only venture out of the apartment, a location that becomes confining until it shifts into a sort of hiding place to dwell on the misery that life must end, and sometimes does so in messy, undignified failings of the flesh. Riva and Trintignant are the latest in a long line of Annes and Georges that Haneke’s presented over the years (the names have recurred in his films from 1989’s The Seventh Continent through 2009’s The White Ribbon ) and perhaps the most fully realized — they are a couple with a deep connection and a long history together, one that includes moments of chilliness as much as devotion. They’ve been spending a comfortably bourgeois late life together, their middle-aged daughter Eva (Isabelle Huppert), a mother herself, periodically visiting from London where she lives with her British husband Geoff (William Shimell). Anne and Georges surely have some awareness that death is closer than it was when they were young, but when a first brush with mortality arrives, it does so in a frightening way that catches them unaware. Anne has a stroke or a fit, one that leaves her temporarily frozen — it passes before Georges can get help, but it’s a sign of what’s to come. Haneke approaches the story with characteristic unflinching austerity that makes all the more difficult the unadorned scenes of Georges, frail himself, struggling to help Anne off the toilet after a surgery meant to help her instead leaves her unable to walk. Anne, afraid of doctors, extracts a promise from him that he will not bring her back to the hospital, and not long after asks for death. “There’s no reason to keep on living,” she tells him. “Why should I inflict that on you or me?” In the moment, it feels harsh and defeatist — at that point Anne is suffering only from manageable mobility problems, and while life will be different, it’s still open to many of the same experiences. But Anne is not naturally suited to optimistically soldiering on, and prefers not to talk about what’s happening to her to a visiting student or to welcome her son-in-law on a visit. And as things get worse from there, every intrusion into their increasingly difficult existence seems like an invasion, from the nurses who arrive to help care for Anne after another stroke leaves her paralyzed and unable to speak beyond nonsensical phrases. In one of the film’s most wrenching scenes, Georges tries to lock Anne away when Eva comes to visit, not to protect his daughter but to protect Anne from her well-meaning but terrible child who sweeps in and demands to know what else can be done, having no real grasp of her parents’ day-to-day of diaper changes, peach porridge and compulsive crying out (“Hurts! Hurts!” Anne yells), or that some things cannot be fixed, only endured. “Life… so long,” Anne mutters at one point in what may or may not be a moment of clarity. And the prospect of the days stretching out and only getting worse is heavy on this film, as the flesh fails and all that’s left is the promise of waiting out the undignified end of existence. Haneke’s dry-eyed, unsentimental approach makes what would have been, in someone else’s hands, an agonizing ordeal a little more bearable, allowing for moments of relief when a semi-symbolic pigeon finds its way into the house, or a jolt of horror in a nightmare sequence. But the clinical distance Haneke manages so well also makes the film feel like a beautifully crafted but calculated exercise, one gentler and touched with more warmth than his earlier films, but still meant to be a shrewdly knowing knife to the viscera. Follow Alison Willmore on Twitter . Follow Movieline on Twitter .

Go here to see the original:
REVIEW: Michael Haneke’s Amour A Beautifully Calculated Demise

Richard Armitage Talks ‘Hobbit’ And Thorin Oakenshield, Takes A Phone Call From Sauron

Standing well over 6′ tall, with an athletic frame and impeccably coiffed hair, Richard Armitage the silhouette screams matinee idol , which makes it all the more impressive that Richard Armitage the person screams “Dwarf!” But, then, this isn’t your older brother’s axe wielding, pipe smoking, occasionally tossed comic relief. As Thorin Oakenshield, the leader of a band of not so merry dwarves looking to reclaim their ancestral homeland from the ravages of the dragon Smaug in The Hobbit: An Unexpected Journey , Armitage takes his first bold, steely-eyed, heroic steps into the world of Middle Earth, embodying with method exactness the badass anti-hero of J.R.R. Tolkien’s original. Before that, though… a little bit of fun. Armitage recently sat down with Movieline in New York City where he revealed the physicality of being a dwarf, his facility for speaking in tongues, his hard fought battle scars, and the number one reason you should always answer an interrupting telephone. Movieline: Here’s what we can do. We can do the entire interview in Khuzdul [the fictional language created by J.R.R. Tolkien for the dwarves of Middle Earth]. Khuzdul! Do you speak dwarvish? I speak some dwarvish. Do you speak it fluently? There isn’t really that much [in The Hobbit ]. Baruk Khazâd! Khazâd ai-mênu! No. You can’t fool me. That’s from Lord of the Rings .* Do you know dwarf sign language? [Huge laughter from Armitage as he crosses one forearm perpendicularly over the other, giving an especially vigorous non-dwarf signal.] Yes, any dwarf could understand that. But, no, this is a real thing. Tolkien made dwarf sign language because, you know, it’s too loud to talk in the mines. Actually, we did work with Terry Notary and we did work on a kind of sign language. That scene in Bag End where Dwalin head butts Balin as a dwarf greeting — it’s a visceral, physical greeting. The language implies [physicality] as well. Physical sort of found its way into the vocal for me. Physical as in changing your body? Is there a physical choreography to being a dwarf? A way to walk? It’s sort of informed by the skeleton of these creatures because they’re not really human. Their center of gravity is much lower, their torsos longer — which was really tough for me because I’m the other way around. I’ve got really long legs and a short body. So all of my belts were down here on my hips, and slowly they work their way up to where your waist is. I was constantly having to pull them down. There were other things we worked on — chewing up the ground as you walk. You know, when a dwarf starts running it takes a long time to stop. They’re very heavy, very stooped trains. They can’t stop immediately. Like, they’ll crash through a wall. Their bone structure is heavy and solid. And those huge boots, which I think are going to be a big fashion statement next year. Why not a trend following all these hot dwarves? [Laughs] Oh yeah, we were baking! Dwarves baking wasn’t what I think these websites that listed ‘hot dwarves’ were thinking. Was there ever advice or conversation with John Rhys Davies [who played Gimli the dwarf in Lord of the Rings ]? No. Was there something in his performance that you ever looked at? No. He came to visit and said hello. But we started from scratch. With this dwarf physicality, were you able to escape unscathed from all these battle scenes? I put my tooth through my lip when we were shooting the Battle of Azanulbizar. You see Thorin fighting six orcs. And we choreographed it on the ground and then filmed it on platforms so everything gets higher by about two feet. I actually smacked myself in the face with the shield and had this huge swollen lip that was bleeding down my neck. I was so angry at myself. You know when you hit yourself? I was so bloody angry. And then Andy [Serkis] came and showed me a mirror. I was like, ‘Oh God.’ He said, ‘Do you want to carry on?’ I said, ‘Yeah, cause it looks good.’ It looked really good. It looked really kind of real. In the original film, both Elijah [Wood] and Andy [Serkis] were able to take props home. If I go to your house will I see Ocarist above the mantle? You have Ocarist in the umbrella stand. Cause I want to be able to pick it up. You also have the shield in the kitchen drawer. And on the wall you have the map and key. I’ve got the full kit. The only thing I wanted was the key. But I was very kindly — [Armitage is cut off when the phone in the hotel room where we are conducting the interview rings, interrupting us.] Do you need to answer that? Maybe I should. It’s Sauron. You can tell by his ring.

Excerpt from:
Richard Armitage Talks ‘Hobbit’ And Thorin Oakenshield, Takes A Phone Call From Sauron

Here’s Your First Look at Richard Armitage as Dwarf Leader Thorin Oakenshield

It turns out Peter Jackson hasn’t run out of dwarves . Over the weekend, TheOneRing.net revealed a picture of the thirteenth Hobbit dwarf, Thorin Oakenshield. Thorin is important for multiple reasons: he’s the dwarf leader, he’s carrying something called “Orcrist, the Goblin Cleaver,” and he’s played by moderately famous actor Richard Armitage. Bona fides! Click through for your first look.

Read this article:
Here’s Your First Look at Richard Armitage as Dwarf Leader Thorin Oakenshield

AP Praises Democrat Push To Abolish Filibuster

If you’re a Democratic Senator floundering in the polls and about to lose a reliably blue seat, what’s the best way to boost your image? Call up the Associated Press and spout clichés about reforming politics. It worked pretty well for one Michael Bennet, freshman Senator from Colorado. On Thursday, AP writer Jim Abrams interviewed him about a host of suggestions to change the rules in the Senate, allowing him to call the system “out of whack” and “broken.” Abrams then spoke with Senators Claire McCaskill and Tom Udall, from Missouri and New Mexico respectively – both states conveniently being places where the Democratic party is losing its edge. Abrams mentioned their reform proposals with very little background and failed to challenge their selective outrage. Get ready for 16 paragraphs of Democrat campaign talk dressed up as a news report : Those who hold the Senate in low esteem can get a sympathetic ear from some of the chamber’s newer members. These lawmakers also are fed up with the Senate’s ways and would like to change them. “A graveyard of good ideas” is how freshman Democrat Tom Udall of New Mexico sees the Senate. “Out of whack with the way the rest of the world is,” says another freshman, Michael Bennet, D-Colo. “Just defies common sense” is the impression of Claire McCaskill, a first-term Democrat from Missouri, in describing the filibuster-plagued institution. You see, everyday Americans are not fed up with Christmas Eve voting antics, efforts to stall the swearing-in of newcomers, or voting on bills that no one reads. Those ways won’t change. Just the part about Republicans blocking liberal agendas. What actual changes are being proposed? Abrams helpfully lists them: Bennet, the Denver school superintendent appointed to his post after former Sen. Ken Salazar became interior secretary, has put forth an elaborate plan to make the Senate more workable. It includes eliminating the practice known as a “hold” in which a single senator can secretly prevent action on legislation or nominees; ending the ability to filibuster motions to bring a bill up for debate; banning earmarks for private, for-profit companies; imposing a lifetime ban on members becoming lobbyists; and restricting congressional pay raises. “It was immediately apparent to me that the system was broken,” said Bennet, who won a hotly contested primary and faces a tough election this fall. Ah, no one knows more about the broken system than a public school administrator given a Senate seat. Party bosses were not thrilled with Bennet in 2009, claiming that his lack of experience and unpopularity with voters would inevitably give the seat to Republicans in 2010. The party went all-out to protect him from a primary challenger, securing Obama’s endorsement and spending millions on his campaign. It was mere days ago, on August 10, that Bennet won the primary, but since then he’s been trailing Republican Ken Buck. So he trots out familiar reform ideas on earmarks and lobbyists. Every time a political party is facing massive defeat, these things come up but are never imposed. The move to change filibuster requirements is a well-known mission among the far left – a cynical scheme to make slim majorities more powerful. As for anonymous holds, anyone who witnessed the public crucifixion of Rep. Bart Stupak (D – Mich.) immediately understands why Senators would want objections to remain private. Bennet’s reform plan would not allow holdout Senators to stall a vote discreetly. If anyone delayed a vote long enough to read the entire bill or consult with constitutional lawyers, the Senate would publicize their objection and wait for the media to Stupak them. The end result would be more hurried votes from Senators going along to get along. While some of Bennet’s suggestions are good, others will simply discourage dissent and weaken the minority. Yet the AP didn’t bother to examine any unintended consequences. Nothing negative was said about Bennet’s proposal. And in the case of Senator McCaskill’s ideas, Abrams used the vaguest wording possible: McCaskill also has worked with a Republican, Tom Coburn of Oklahoma, to bring more transparency to bills passed by “unanimous consent,” meaning they are approved without debate or roll call votes. Bringing more transparency! Who wouldn’t want that? But what exactly does McCaskill have in mind? This NBer had to search for an explanation elsewhere. Turns out that McCaskill doesn’t want to actually end the practice of passing bills without a vote – she even uses unanimous consent to forward things herself – but she joined Coburn on one superficial request . Coburn’s idea is that if his colleagues allow passage of a bill with no vote, they should at least sign a statement confirming they physically looked at it. That’s what McCaskill is trumpeting as brave new reforms. But without any actual details of the proposal, readers would have no idea how tedious it really was. If Abrams wanted to highlight reform efforts, it might have made sense to speak with Coburn and include his take on the “broken” system, perhaps even allowing him to explain the transparency thing. But Abrams didn’t quote anything positive from a single Republican. Up next was the reform plan from Senator Udall. Turns out Abrams saved the best for last: Udall has what might be the simplest but most radical proposal. He says that when the new session opens next January, he will offer a motion that the Senate adopt rules by a simple majority. That would make it vastly easier for the majority to modify filibuster rules with proposals. Doesn’t this sound great? Not only could the Senate pass controversial bills with 50 plus 1, they could change long-established rules, remove procedural hurdles, or rig the process to favor the majority’s whims. Each new session of the Senate could theoretically operate on a different playing field regarding everything from cabinet nominations to spending bills. The process to censure a senator or impeach a president could also be watered down. Toward the end, Abrams did at least acknowledge a certain amount of hypocrisy from Democrats who suddenly have no interest in protecting the minority: Udall calls his approach the constitutional option. Five years ago, Democrats called it by the more ominous name of the “nuclear option” when then-Majority Leader Bill Frist, R-Tenn., threatened to push through a simple majority rule for overcoming minority Democrats’ opposition to President George W. Bush’s judicial nominees. In the end, nothing happened. Udall’s idea has been put forward several times in the past, Senate historian Don Ritchie said. But “the Senate has always gotten up to the cliff and decided to step back.” “Some of the people advocating these changes might be very glad they didn’t succeed if they end up in the minority,” he said. That’s as close as Abrams got to discussing the negative possibilities. Four paragraphs from the end, he finally got around to quoting one Republican: “I submit that the effort to change the rules is not about democracy,” Republican leader Mitch McConnell of Kentucky said at a recent hearing on the history of the filibuster. “It is not about doing what a majority of the American people want. It is about power.” Supporters of the 60-vote supermajority say it helped prevent Democrats from attaching a government-run public option – an idea unpopular with many Americans – to the health care law. And growing national sentiment that Congress should quit adding to federal deficits was reflected when Democrats needing Republican votes to reach the 60-vote threshold were forced to cut future food stamp benefits and an energy program to pay for a $26 billion jobs bill this month. Just when it looks like Abrams was being fair, wait for the handy little nugget in the very last sentence: Both times, the changes grew out of considerable agitation for reform, in 1917 during World War I and in 1975 after years of civil rights advocates being stymied by filibusters, said Sarah Binder, a political science professor at George Washington University. That’s right, folks. The Senate successfully broke a filibuster to pass the Civil Rights Act in 1964, and that’s why they changed the rules 11 years later. But the internet is such a great thing. Turns out Time magazine has online archives from 1975, allowing NBers to see what contemporary accounts actually said. Turns out that liberal Democrats like Walter Mondale were trying to lower hurdles to pass – wait for it – national health insurance. In a news report that sounds eerily like 2010, Democrats back then were complaining that in “a period of economic crisis” the do-nothing Republicans were blocking them from creating more government programs. There was a side note that dealt with “civil rights,” but only because Democrats wanted voting ballots printed in multiple languages. So the last time these ideas were enthusiastically pushed in the Senate, liberal Democrats were angry because their pet agendas couldn’t pass through. Yet Abrams found a professor who white-washed it as heroic efforts to provide civil rights, and that’s the final sentence left ringing for readers in 2010. It’s nice to know that a prestigious news wire like the Associated Press is doing such hard-hitting investigations.

Read the original:
AP Praises Democrat Push To Abolish Filibuster

Valerie Plame ‘Fair Game’ Movie Tosses Name Leaker Richard Armitage Down Memory Hole

The only way we even know the name of Valerie Plame (and fame seeking hubby Joe Wilson) is that that former Deputy Secretary of State Richard Armitage leaked her name as a CIA officer to columnist Robert Novak. That is what set in motion the long drawn out Plamegate affair in which only Scooter Libby was convicted of something other than leaking her name. So you would figure that the supposedly biographical movie scheduled for a November USA release about Plame, Fair Game , would feature Armitage front and center as the principal villain. Right? Wrong. The fact is that “Fair Game” has tossed Richard Armitage down the memory hole. The man who is responsible for the reason that any of us even know who Valerie Plame is appears nowhere in the extensive IMDB cast credits for this movie. Of course, the aforementioned Scooter Libby (David Andrews) who did not leak her name is listed. Also listed in the cast is the Armitage-leaked name of Valerie Plame (Naomi Watts), fame seeking hubby Joe Wilson (Sean Penn), Nervous Analyst #1 (Louis Ozawa Changchien), Chauvinist Analyst (Sean Mahon),  Head Paparazzo (Harry L. Seddon), Four Seasons Waitress (Satu Rautaharju), Starbucks Employee (Angela Lewis), and Turkish Embassy Guest (Marsall Factora). However, as for the person who made the “Fair Game” movie possible by leaking Valerie Plame’s name, he appears nowhere in the cast credits. Ironically you can learn more about the real facts of the Plame case (and who leaked Plame’s name) by reading the IMDB “Fair Game” message board than by seeing the movie itself. Some sample posts that delivers the information that the “Fair Game” propanda movie refuses to touch: …The film conveniently leaves out the fact that we know who leaked her name and that character isn’t even in the film… Funny how neither Novak nor Armitage are in the film then, right? Libby didn’t leak Plame’s name. Armitage (a Bush critic and enemy) “leaked” it and only after he was specifically asked by Novak why on earth James Wilson was sent to Niger in the first place. Novak then called the CIA to make sure it was ok to publish her name, and they gave him what he considered the green light. The CIA made absolutely no effort to convince him he shouldn’t print the name, so he printed it. That’s how real journalists in a free state operate. If the CIA wanted the name kept secret, they could have easily done so. Novak himself has kept names out of articles many times over the years for exactly such reasons. The CIA made no efforts, most likely because Plame wasn’t all that “undercover” and they genuinely didn’t have any valid reasons to convince Novak not to use her name, so they didn’t bother.  Wilson was hired by the CIA to investigate claims about yellow cake in Niger. He later wrote an op-ed piece attacking the Bush administration using his experience investigating in Niger as source of authority. It became a big news story. At that point, the smarter journalists started wondering who this Wilson guy was, and did some background checking on him. This background check left them puzzled, because their was nothing in Wilson’s resume which would even remotely recommend him being sent on such a mission. So Washington DC based reporter Robert Novak called around trying to find out why Wilson got sent. Eventually, George W. Bush enemy and Colin Powell lap boy Richard Armitage told Novak that Wilson’s wife works at the CIA and she’s the one who pushed him for the job. I am amazed how Hollywood is willing to lose hundreds of millions, if not billions, to sell their leftist progapanda. At some point this will be self-limiting, when they run out of money or studio stockholders tire of losing money.  The final poster above has a point. “Fair Game” is doomed to become another leftwing proganda flick flop that will follow in the wake of many other such box office bombs. However, it is not too late for the producers of “Fair Game” to salvage this movie. Your humble correspondent recommends that they do some creative editing to remake this movie as a comedy. Keep all the original scenes but edit in one of my favorite actors, Bruce McGill (who also portrays the CIA Deputy Director for Operations Jim Pavitt), with a shaved head and a lot of jacket padding to play the part of a phantom Richard Armitage who nobody in the movie even notices. As the boring melodramatic “action” in the movie takes place, McGill as Armitage  appears in many of the scenes yelling things like, “HEY VALERIE! Nobody would even know you if I hadn’t leaked your name! Why don’t you or anybody else here even acknowledge my existence?” Not only would such a movie be more accurate but it would draw much more box office sales than the doomed-to-fail original.

Read the original here:
Valerie Plame ‘Fair Game’ Movie Tosses Name Leaker Richard Armitage Down Memory Hole