Sam Irons interviewed by Contact Photography blog

Thursday, 4 June 2009

a conversation with sam irons

Landscape photographer Sam Irons was also recently selected to be taken on by LPA Futures. His images are those of quiet exploration and contemplation, in which landscapes are sparse and stripped of context, encouraging us to re-evaluate the space. I spoke to him briefly about his practice:

How have you found the journey of finishing university to being recruited by a commercial agent? Can you tell us how you’ve reached this point…
Since graduating from Brighton, I have worked freelance as a Location Scout. This has allowed me to continue with my own practice, relatively unimpeded by financial pressures, or the worry of how to ‘succeed’ as a photographer. Basically like a continuation of Art School. I’ve shown when I could, and continued to make work that I like, or tried. However, at some point it feels like you have to make a choice in what you aim for, and thereby how you are going to support yourself. I was very lucky in that the LPA Futures competition was my first go at it – although in itself it’s no guarantee that clients will want to commission me…

What do you feel are the main themes recurring in your work?
Basically landscape as an allegory for my experience of being in the world- and as there’s a lot of it that I don’t understand, I’m drawn to landscapes that are not so easily interpreted, that leave you asking how or why they are like that.

Your images are quite clean, and almost geometric in the composition, to the point that the places you photograph take on an element of the surreal- what are you searching for/considering when you take an image?
I think photographs are always surreal, but I also definitely encourage it – I think it’s about defamiliarising yourself, reconnecting with the oddness of being in the world. And again it comes down to not knowing – both photography and life hold this promise of knowledge that they never quite deliver on.

Do you have any advice that you can offer emerging photographers?

I can’t really offer that much at this stage of my career – only that it’s much less exhausting to stick to your own vision rather than trying to conform to others’.

Jeremy Irons to perform at John Mortimer at the Court…and later at the Bar

Jeremy Irons to perform at John Mortimer at the Court…and later at the Bar on 15 November

Photo courtesy of The Royal Court Theatre on facebook and The Evening Standard Tom Hollander, Alan Rickman and Dominic West have joined the cast of John Mortimer at the Court… and later at the Bar, a tribute to the late playwright held at the Royal Court in the Jerwood Theatre Downstairs (of which he was chairman and president) on 15 November. Curated by playwright Stephen Jeffreys, the evening will also features performances from actors including Sinead Cusack, Edward Fox, Jeremy Irons, Emily Mortimer and Harriet Walter. Proceeds will go to the Royal Court’s Writers Development Fund. rct_logo_sm_07


Chiltern Shakespeare Company interview with Jeremy Irons

Follow this link for the original story – An Actor’s Masterclass with Jeremy Irons
From a conversation backstage at the National Theatre with Felicity Norrie and Andrew Rogers, where Mr. Irons, CSC’s longstanding patron, is currently playing Harold Macmillan in Never So Good, to widespread critical acclaim.


Andrew Rogers with Jeremy Irons backstage at the National Theatre
Andrew Rogers with Jeremy Irons backstage at the National Theatre

What made you choose to play Macmillan?
It was a new play, which I thought was good, by a writer Howard Brenton whom I admire. Howard Davies, an old friend, is one of my favourite directors. I had never played the National Theatre – all these elements fuelled my decision. I think my nature is that of a test pilot, not a commercial pilot – I enjoy seeing if something will fly. It is interesting to explore the lives of people who are knocked about by the world and fashioned by events. Plays which explore such development of a person are attractive to me – Never So Good is one such, Richard II, which I played at the RSC, is another.
How do you go about portraying a person many remember?

I do not have the talent for impersonation or mimicry. I need to get to know the character from within, develop an empathy with him and understand him. That involves background reading and meeting with people who knew my subject. For example, there are few photographs of Macmillan wearing spectacles, but his daughter-in-law recalls him wearing them most of the time, but pushed up on his forehead when reading. I also try to watch film footage of the subject, which can tell you a great deal about their spirit. Then there are some instinctive discoveries. Mac had a chipped and dead front tooth which he was embarrassed about as a young man. That affected the way he spoke.
What is it about acting that makes you passionate about it?

It is the craft I have chosen to learn to master. I’m interested in human nature, how we cope with events. Most people are private; we don’t really ever know anyone other than ourselves. We may have someone, a spouse or a friend, who we think we know well, but we don’t really know how it feels to be them. The best part of a relationship is trying to know another person, exploring what makes them what they are, which is sort of what falling in love is. And that is what I try to do to an audience, allowing them to get to understand this person. For me acting is not about showing off but about opening up a character and inviting the audience in.
Have you ways of working which you find particularly helpful?

I sometimes ask myself what would happen if a particular scene wasn’t in the script. How would that affect the story or character? When you learn what would be lacking, then you understand the function of the scene. It leads you to what must be communicated from that scene. It is essential to understand what your character wants. That girl? To kill that girl? Food? And then how does he set about getting it? Each character often wants different things, which is why when they come together we get drama. So that you might know the purpose of each line, Max Stafford-Clark does this intention thing. You have to say after each line “…he said, to….” and then an action word, maybe “impress” or “make angry”. Actors can be terribly sloppy, especially with Shakespeare. They play huge phrases with the same intention when each half line, or line, may have a different one. If you get the thoughts behind each line right that will then help you keep the lines in your mind. I always learn through thoughts – I know what I’m thinking, therefore I know what I am saying. Sometimes I continually get a certain line wrong in rehearsal. It is always because I haven’t considered accurately what am I saying there, and why. When I know a part, I know the thoughts all the way through. and the lines simply hang on them, and of course, if you are thinking those thoughts and feeling those thoughts, then, the lines come alive, and hopefully an audience will understand.

Jeremy Irons as Harold Macmillan and Anne Chancellor as Dorothy
Jeremy Irons as Harold Macmillan and Anne Chancellor as Dorothy

Is there anything different for an actor in working on Shakespeare?

No, I think it is like being given a Rolls Royce to drive. It is wonderful language, in that it can (except for some of the more esoteric jokes) sound like natural speech if it is done right – Simon Russell Beale is a master at this and yet he doesn’t make any concessions to modernity. In Shakespeare’s work so much of the character is invoked by what he says and how he is saying it, so if you speak Shakespeare right, with confidence, knowing it, using the verse, it will take you to emotional places which you don’t have to search for, they will appear. I think breathing technique is especially important in Shakespeare, you have to know when to breathe. You need to be entirely comfortable with the text so that you can make it work for you – you are not having to work hard for the text. It has to be second nature. Making Shakespeare’s comedy work for a modern audience without selling out Shakespeare is always an interesting challenge. The comedy is often in the script and not in trying to make the script funny. Actors often get it wrong. To over embellish may ruin the moment. Yes, you have to have instinct and timing but you have to play the situation for real and not think ‘I’m doing a funny bit’. It’s funny; you’re not.
How would you describe the role of a director?

He is the chef: he decides what dish he is trying to make, he chooses the ingredients, yet he is not certain how it will turn out. He goes through a process, sometimes applying heat, sometimes letting it stand. Every now and then he tastes it – perhaps adds a little more of this, a little of that. When he has to serve it up he lays it out in front of his audience, and awaits their response. How much is he a part of the creation? He is essential. Food doesn’t cook itself. Some directors talk a lot before they start to block. Howard Davies is very experienced. With Never So Good he put it on its feet immediately. Just by doing that we all learnt a lot about the structure and needs of the play. But this does not suit all plays, and Howard has the ability to recognise that actors work at different paces. That what you have to do is encourage them and make them feel comfortable, letting them come to the boil at their own pace. You must know the right moment to give input to an actor. If they are working properly, actors are doing much of their own work at home, out of the theatre, going over the lines, mulling over a scene. You go home and think about it, and stuff happens, in the bath, while you are sleeping, in the supermarket. Some directors think that every actor needs an answer to: “how do I do this?” or “what is this moment about?” Sometimes the best thing the director can say is: “I don’t know. We’d better find out.”
Looking to the future, what Shakespeare would you like to do?

There are always parts waiting for you in Shakespeare. I’ve dreamed of filming Richard II, though I’m now too old to play him myself. This man raised amongst the sophisticated culture of Bordeaux, and forced by events to come to England. John O’Gaunt’s speech is central to the theme of the piece. His great love for this country is echoed when Richard returns from Ireland and kisses the beach as he disembarks in Wales. I would film it almost like a requiem, with music accompanying shots of some of the great beauties of this country, in their fairest seasons, with the finest light. People moving distantly in a landscape, but hearing the language in your ear. I’ve always wanted to film this great requiem, this long, long phrase of a falling man. Like an onion, skin after brittle skin comes off until finally you reach the soft centre of the onion. And then you understand him.


UPDATED – Jeremy Irons at TS Eliot poetry reading event


TS Eliot widow exults in his poetry reading

hart poetry hour 6.30.09 1 hart poetry hour 6.30.09 2 hart poetry hour 6.30.09 3

by Geordie Greg

London Evening Standard

In a rare public appearance, TS Eliot‘s widow Valerie attended a reading of her husband’s poems last night at London University.

“It was marvellous to hear Tom’s poems and to have them read so well,” she said. It is 86 years since TS Eliot published The Waste Land, revolutionising English poetry and placing him as its greatest 20th century exponent.

The readers were Nobel Laureate Seamus Heaney, actor Jeremy Irons, The Wire’s star Dominic West and actress Anna Cartaret as part of the TS Eliot International Summer School. It is more than 44 years since Valerie Eliot was widowed and she has been the sole executor of his literary estate ever since, cleverly allowing Andrew Lloyd Webber to use her husband’s feline verse for the musical Cats which effectively bankrolled Faber & Faber as the music became a global hit.

The reading in the Brunei Gallery was organised by Josephine Hart, who has pioneered public poetry readings at the British Library and recorded CDs of verse read by Harold Pinter, Ralph Fiennes, Roger Moore, Edward Fox and many other great British actors, with a CD and book given to every secondary school, introducing pupils to the auditory power of poetry.

Mrs Eliot, 82, married the American-born poet in January 1957; he was 37 years older than her. She was the great love of his life, rejuvenating him after his disastrous first marriage to Vivien who was mentally ill.

Mrs Eliot edited the first volume of her husband’s letters and also the facsimile volume of The Waste Land with the manuscript showing how Ezra Pound cut it brilliantly by a third, ensuring its position as the most important poem in modern history.

She said she was moved and exhilarated by the readings which were fast, lively and produced a standing ovation from the audience.

“History before our eyes, an incredible connection,” said Heaney.


Jeremy contributes to Hardy Amies documentary

Fit for a Princess: The Hardy Amies exhibition

The archive of the Savile Row designer, which includes unseen photos of the Royal Family, is to be shown to the public for the first time

By Rachel Shields

Sunday, 25 October 2009

Fittings taking place at 14 Savile Row

He dismissed Noël Coward as “common”, told Marlene Dietrich never to wear trousers, and was desperate to dress Wallis Simpson. As dressmaker to the Queen for almost 40 years and a leading Savile Row tailor, Hardy Amies’s career offered him an unrivalled insight into the world of the rich and famous.

Now the public will also be able to peer into his world, as his vast archive, containing unseen photographs of the royal family, letters from Cecil Beaton and Margaret Thatcher, and intimate diaries, sketches and clothes are unveiled.

The exhibition, which goes on show at the label’s fashion house – 14 Savile Row – will include more than 7,000 of the couturier’s sketches, from unseen drawings of a young Princess Elizabeth in the year she became Queen, to sketches of his costumes for

the film 2001: A Space Odyssey.

“Hardy Amies was one of the most important British couturiers of the 20th century,” said Rosemary Harden, manager of Bath Fashion Museum. “Historically, British fashion had not been as established as French fashion, but Amies was key in changing that. We have a suit of his from 1948, which shows how he took the French ‘New Look’– with nipped-in waists and full skirts – and made it very British.”

The designer, who was knighted in 1993 and died in 2003, opened his first couture house at 14 Savile Row in 1946, after a stint in the British intelligence service during the Second World War. Just one year later, his designs appeared on the cover of Vogue, and in 1955 he was appointed official dressmaker to the Queen.

The son of a civil servant, Amies was famously impressed by wealth and the aristocracy, and the exhibition highlights the designer’s snobbish tendencies and often acerbic personality. “He could be very funny and quite vicious sometimes in his asides,” said Freddie Fox, who worked alongside Amies as the Queen’s milliner. “That was fine if you were on the right side; if you were on the other side it wasn’t funny at all.”

Notes by Amies also reveal that his very public dislike of Wallis Simpson – the American divorcee who scandalised the royal family when she married the former Edward VIII – was exaggerated, admitting he liked “her understated appearance and clean lines”.

“He would have liked to have dressed her, but couldn’t because there would have been a conflict of interest,” said Austin Mutti-Mewse, the exhibition’s curator. “The Queen had softened towards Wallis by this point, but there was still a rift.”

The designer admitted that he thought that men were better than women at designing clothes for women. In a letter to a friend, he wrote: “Coco Chanel is an extraordinary woman and a great designer, but even she doesn’t have the objective view.”

Also on display will be letters from Amies’s friends and clients, such as Nancy Reagan. Some of the designer’s famous friends – including Princess Michael of Kent, Jeremy Irons and Lady Astor – have taken part in a documentary about his life which will be screened inside the exhibition.

Timed to coincide with the 100th anniversary of his birth, the exhibition, Sir Hardy Amies: A Century of Couture, will open on 2 November. It is the first time a British couture house has opened its archive to the public.

New photos by Sam Irons

Sam Irons has added new photos to his website:

All photos copyright Sam Irons.

Click on the photos for larger images:


2009 Christmas Cards from the Prison Phoenix Trust

Support one of Jeremy Irons’s favorite charities and buy your 2009 holiday greeting cards from the Prison Phoenix Trust:


Christmas Card 2009

A prisoner from HMP Wymott, has won this year’s PPT Christmas card competition. He painted the stunning ‘Fallow Deer’ with subtle purple, green and browns. That colour version is for sale at £5.00 for a pack of 10.

Contact us to place your order.

The Prison Phoenix Trust
PO Box 328, Oxford
United Kingdom