Jeremy Irons Reads TS Eliot

All audio, photos and all text ©BBC

Jeremy Irons reads the complete collection of T.S.Eliot’s English poems, almost in their entirety, across New Year’s Day, 2017, on BBC Radio 4.


Part One – Prufrock and Other Observations

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Martha Kearney talks to award-winning novelist Jeanette Winterson about her first experience of reading T.S.Eliot and the transformative impact of his language on her as a teenager. She explains why the turn of the year is a good time to read Eliot’s work.

Jeremy Irons reads:
The Love Song of J. Alfred Prufrock
Portrait of a Lady
Preludes
Rhapsody on a Windy Night
Morning at the Window
The ‘Boston Evening Transcript’
Aunt Helen
Cousin Nancy
Mr. Apollinax
Hysteria
Conversation Galante
La Figlia Che Piange

With contribution from Jeanette Winterson


Part Two – Poems (1920)

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Martha Kearney talks to Anthony Julius ( the new Chair of Law and the Arts and University College London) and writer Jeanette Winterson about the enduring power and beauty of the opening lines of Eliot’s poem ‘Gerontion’ – ‘Here I am, an old man in a dry month, Being read to by a boy, waiting for rain.’ and explore references in the poems that have been judged anti-semitic. They consider how we should read these poems now, and what we can learn from Eliot’s ‘ugly’ references’.

Jeremy Irons reads:
Gerontion
Burbank with a Baedeker: Bleistein with a Cigar
Sweeney Erect
A Cooking Egg
The Hippopotamus
Whispers of Immortality
Mr Eliot’s Sunday Morning Service
Sweeney Among the Nightingales

With contributions from writer Jeanette Winterson and lawyer and academic Anthony Julius


Part Three – The Waste Land

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Martha Kearney explores the resonance and the contemporary appeal of ‘The Waste Land’ with award-winning novelist Jeanette Winterson. Jeanette explains why this poetry of fragments can still speak to us so powerfully, whilst the former Archbishop of Canterbury Rowan Williams and the Scots Makar Jackie Kay, both make contributions to explore the emotional and creative impact of the poem.


Part Four – The Hollow Men, Ash Wednesday and Ariel Poems

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Martha Kearney is joined by the acclaimed actress Fiona Shaw, who has performed ‘The Waste Land’, to explore the impact of Eliot’s language on her own life and to consider the imagery and the seductive music of his poems of spiritual struggle.

Jeremy Irons reads:
The Hollow Men
Ash Wednesday
Journey of the Magi
A Song for Simeon
Animula
The Cultivation of Christmas Trees


Part Five – Four Quartets

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Martha Kearney and Rory Stewart MP, ( and author of ‘The Places in Between’ – an account of a six thousand mile trek from Herat to Kabul ) discuss Rory’s unusual encounter with what Eliot regarded as the culmination of his achievement: the sequence he called the ‘Four Quartets’. Rory learned the entire poem whilst walking through Nepal. He explains why he also used language from the poem when he was campaigning in his constituency, and the importance to him of Eliot’s sense that ‘soil’ and roots matter, even in an poem about time and timelessness.

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Jeremy Irons in Their Finest – New Trailer

Their Finest will screen at the Sundance Film Festival and then go into general release in U.S. theaters on March 24 and U.K. theaters on April 21.

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Jeremy Irons Has a Dark Horse for Your Oscar Pool – Vanity Fair

Jeremy Irons Has a Dark Horse for your Oscar Pool

A freewheeling conversation with a refreshingly honest industry vet, who wishes more people were talking about The Man Who Knew Infinity.

December 23, 2016

Awards season is in mid-stride, loping toward our eventual exhaustion with the same six movies. But one man with a mild, mellifluous voice says “not so fast.” Jeremy Irons (whose shelf already holds one Oscar, one Tony, two Golden Globes, three Emmys, and a nomination from the Central Ohio Film Critics Association) feels a sense of urgency about a film released earlier this year, The Man Who Knew Infinity—and if it takes tongues-wagging about a possible best-supporting nod for himself to get people to notice this lower-budget film, then that’s what it’s going to take.

The Man Who Knew Infinity stars Dev Patel as Srinivasa Ramanujan, a largely self-taught mathematical genius who emerged from India in the early 20th century. He eventually made his way to England’s Cambridge University by sending his theorems to professor G.H. Hardy (played by Irons), who originally thought they were a prank. The film is a celebration of learning, of friendship, of cultural exchange, and concludes with a title card explaining how Ramanujan’s “lost notebook” is still being used to study black holes—a concept that didn’t even exist when Ramanujan was still alive.

Vanity Fair was scheduled to speak to Mr. Irons for 20 or 30 minutes, but we ended up chatting for an hour. His voice is just so rich and lovely that you don’t want to hang up.

Vanity Fair: You are a man with many projects, but I appreciate pumping the brakes to say, “Wait, I made a film worth reflecting on.” Do you feel an obligation to do this sometimes?

Jeremy Irons: I do, and especially with this film. It has a great effect on people who see it. I find it a very interesting story, very emotionally told. I’m always saddened because of the economics of the business. I have just been publicizing Assassin’s Creed, which has a great budget to make it and a great budget to sell it. So it’s going to be seen by millions, if not billions. These smaller films, it’s very hard to make them now. I feel justified in giving up time and talking about it again.

Irons, left, on set with director Matthew Brown.

Courtesy of IFC Films.

Do you have a relationship with mathematics?

I started it with this film. I mean, we all had a relationship at school, but I was pathetic. I wanted to be a veterinarian, and if I had a scientific mind I would have been one.

I read G.H. Hardy’s Mathematician’s Apology, which is a slim volume. It’s some of his letters, but also some of his thoughts about pure mathematics. And when I read it I thought, “Aha!” What it is for him, it’s like what poetry is for me, like space exploration, like painting! He discusses how all these equations and theories are out there, waiting to be discovered!

An artist can comprehend this and get inside the head of this man that, one has to say, was probably fairly high on the Asperger’s list. His social skills were appalling. He found it very difficult to look into someone’s eyes, even his own. It is said that if he traveled, to do a lecture, he would hang towels over the mirrors of the hotel room. But he’d been a brilliant student since he was seven. Kids who are geniuses often have social inadequacies. Their minds work differently.

Perhaps that’s why he wasn’t hung up on race or class, and when he met Ramanujan, he just recognized him for his mathematical mind.

The heart of the story is how that admiration and wonder at Ramanujan’s intellect crept into his emotions. When the boy got ill, he was surprised how he felt about another human being, the grief he felt when he went back to India. Hardy writes, “It was the only romantic episode of my life.”

The film makes you think that maybe there are more geniuses out there, and we maybe aren’t developing their minds.

It’s one of the problems of tick-box education. There isn’t a lot of money in it. Geniuses come from all parts of society, some rich, some poor. I wish we had an education system that smelled out those people.

Did you ever have a great mentor?

I don’t think he would have realized it, but Harold Pinter. One time we were having a conversation at lunch, early on in my career. I’d been doing a couple of plays and a film he had written [Betrayal], and I said, “I think I’m going to choose really carefully the work I do in my career, and not chase the money. Just do interesting projects.”

And he gave me a look that said, “Join the club. Go for excellence.” And I’ve retained that look.

You’ve worked in some amazing locations. What’s been the most striking?

Landing in Cartagena [for The Mission] when I was 36 or so, knowing I was going to work with indigenous Indians and the great film star Robert De Niro, and taking my shoes off on the plane. I knew that the Indians weren’t going to be wearing shoes and since I was going to be playing their friend—a Jesuit priest—I took my shoes off and I didn’t put them back on again for five months.

I have a big bit of Boy Scout in me. There was a scene where my character climbed up the Iguazu Falls. [Director Roland Joffé wanted] to do it with stunts, insurance, and all of that. I said, “Where is our producer?,” knowing that David Puttnam had flown to London the day before. I said, “There we are, he won’t know.” So I climbed up the extraordinary waterfall, of course supported by climbers well out of sight. I was very proud of that.

Jesuits are hot in Hollywood right now! Have you seen Silence?

I have not seen Silence yet, but I’ve read a bit about it. But the Jesuits—the thorn in the side of the Pope, is how they are described. The Jesuits are extraordinary people.

My mentor on The Mission was the late Daniel Berrigan. He described his job as “inflating a leaky balloon with faith.” I was the leaky balloon. If I had a difficult scene coming up, I would fast the day before. It really clears the mind.

And I would have a direct communication with God. I would talk to him just like I’m talking with you. I remember before one scene I said to him, “You’ve got to help me, because if I fuck up it will reflect very badly on you!”

Clearly you do a lot of research, but that isn’t always available for some films.

You talk to people. When I played Claus von Bulow [in 1990’s Reversal of Fortune], I talked to experts, read round it, tried to get to the truth of it. I mean, I don’t think I’m particularly Aspergic, but I think all men are, actually, all men have a level of that over women. My wife is always complaining. She says, “When you go to work the rest of the world could disappear as far as you are concerned.” She’s referring to the fact that I don’t call home every day.

You think men are more into that level of research as actors than women are?

No I don’t think as actors, I think men as a breed, as a sex, tend to have the ability to focus in on their work. I mean, after all, traditionally, we’d leave the house at 7 in the morning and get back at 5 or 6 doing something completely different from the family. Whereas women, you know, if they go to work they are forever on the phone to their children, they’re forever on the phone to work out what they are going to eat. They are able to multitask in a way that men can’t. So I think we may be very low on the level, but we’re there.

So you are an actor who prepares, but some don’t do anything. They show up, say their lines, and leave. Does this annoy you?

Not at all. I judge people by results. If they get there, that’s great. The only actors who get up my nose are the ones who don’t realize how high the bar is, how good it would be possible to make a particular scene. And there are many who don’t, and I just want to kick them up the bum and say, “Go off and do something else.”

So how do these people end up sharing a scene with you?

Oh, maybe they look right, maybe the person that casting wanted wasn’t available. Maybe they have a notoriety which is helpful to the film. It doesn’t often happen, but sometimes it’s someone with a great name but not a lot of experience.

There was a stretch in the 1990s where if a movie featured frank depictions of unorthodox sexuality, the role would go to you. Did you ever ask yourself why?

I don’t know. I don’t know. Damage? [Playwright] Josephine [Hart] wanted me to do it. Lolita? [Director] Adrian [Lyne] said he wouldn’t make it without me. David Cronenberg? I guess he thought I could do the twins [1991’s Dead Ringers], and then we got on so well we went on to do the Chinese film [1993’s M. Butterfly] with John Lone.

I think the portrayal of the sexual life was as important as any other life. Our sexual lives are surely 70 percent of what makes us what we are. I remember [making Damage], Louis Malle saying, “How are we going to do this?,” and I said, “We have to do it as accurately as we can as Josephine wrote it.” So . . . I’ll do anything.

I just finished a comedy called An Actor Prepares, where I have to walk out of a shower stark naked and play a scene with my son (Jack Huston) waving my family jewels around. They said, “How will we do that?,” and I said, “We’re gonna do it, that’s the scene!” It’s about a man who doesn’t give a monkey about anything. “For Christ’s sake, I’ll just be naked.”

I’m going to name someone you’ve worked with, and you are going to tell me the first thing that pops in your head that I don’t know about them. First, since we mentioned him already: David Cronenberg [director of Dead Ringers and M. Butterfly].

He looks forward to the end of the day when he drives home from the studio in a very tasty sports car, a Morgan or a Ferrari, often with me, and we have a hell of a drive back home, and we love that.

Toby Jones [co-star in The Man Who Knew Infinity].

Ahhhh, Toby. Toby is like me—he’s a wonderful actor, but spends the last half hour before the shoot panicking that he doesn’t know what he’s supposed to be saying. I’m glad to work with another actor like that because I’m always in a froth. Then the camera turns on and, of course, it’s magical.

Bernardo Bertolucci [director of Stealing Beauty].

Bernardo, the master of the developing shot. We would rehearse them for half a day and then perform them with the cameraman, like a ballet. I was just talking to his wife the other night. I’m not sure he’ll make another film.

Meryl Streep [co-star in The French Lieutenant’s Woman and The House of the Spirits]

She explained to me that the people driving you to work and being kind to you and making sure you have a nice hotel . . . that’s all designed so when the camera turns, you will be A-plus. And you should not be sidelined into thinking it has anything to do with your importance as a person.

Sir Laurence Olivier [co-star in Brideshead Revisited].

He never gave me any advice. Blokes are funny like that. But I remember sitting by the bed when we’re waiting for him to die, and for him to cross himself to show that he’s still a Catholic, which was a very important scene. I remember him lying there, and looking at me to see what I was going to be doing. And I saw the look in his eyes. And I thought, “Yep! It NEVER leaves you! You may be a knight. You may have run the National Theater. You may be our greatest living actor. But inside . . .you are still a lion! And you are looking to make sure this young buck is not going to do anything that will steal the scene from you!!”

Speaking of young bucks: Alden Ehrenreich, whom you worked with in Beautiful Creatures, is on the up right now.

I know, he’s in the Howard Hughes movie!

He’s also going to be young Han Solo.

Well, well, well. I think that’s fantastic. I was really very impressed with Alden. I wasn’t very impressed with the movie, but impressed with Alden. An easy talent. He is primed to have an interesting career. God bless him.

Tom Hiddleston [co-star in High-Rise and The Hollow Crown].

I think he has a fine career ahead of him. A tremendously nice guy with a lot physically going for him. The longer he lives life, the deeper he’ll become as an actor. He’s had quite an easy life ’til now, and as life hits him with its stones and arrows, he’ll deepen as an actor.

Why do you say he’s had an easy life?

Well . . . he went to a great school, and success hit him quite young.

How do you do a scene with him? Don’t you just fall into his eyes?

The thing about working with good actors that the camera likes is that it’s very easy. Working with bad actors is difficult, to stay in the belief system of the scene, when you see someone making wrong decisions. With Tom, it’s a joy.

Lastly, Glenn Close [co-star in Reversal of Fortune, House of the Spirits and the Tony Award–winning play The Real Thing].

Ohhhhhhh. Glenn is a pioneer, a real descendant of those brave people who got into boats and wagons and traveled across the country. A real American woman of the best sort. I love her. I love her toughness, but also her softness. My son just finished two films with her, actually, here in England, so I’ve seen a lot of her lately. And she gets no worse.

When I mentioned Beautiful Creatures, you said you weren’t too impressed with that movie. Actors never say that!

To my detriment, I am too honest about the movies I make. People have a lot of money invested, and you want to be helpful. And my opinions may not be valid. What doesn’t work for me may work for others. I don’t really seek out reviews, but I read them if I come across them. But more than reviews I feel the atmosphere. Assassin’s Creed, which I saw the other day, I think is a fantastic film.

I remember going on about Damage, how it wasn’t the film that I would have made. I love honesty. I am surrounded by people who say, “That was great,” but it wasn’t always great. It was all right.

Times Higher Education: Interview with Jeremy Irons

Interview with Jeremy Irons by Hilary Lamb

We talk to the new chancellor of Bath Spa University about censorship, Brideshead Revisited and why campuses should be a place for outrage

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December 22, 2016

Jeremy Irons trained at Bristol Old Vic Theatre School and has appeared in a wide variety of films from The French Lieutenant’s Woman to The Lion King. In 1991, he won an Oscar for his role in Reversal of Fortune. He is a goodwill ambassador for the United Nations Food and Agriculture Organisation, a patron of the Chiltern Shakespeare Company, and he holds an honorary degree from Southampton Solent University. He was recently inaugurated as the first chancellor of Bath Spa University.

Where and when were you born?
Cowes, Isle of Wight, in 1948.

How has this shaped you?
I went to boarding school when I was seven and it taught me the importance of family because we were together for only a third of the year.

What motivated you to take on the role at Bath Spa, considering that you have not been involved in higher education before?
It was an unexpected door opening. When I was invited [to take on the role], I felt unqualified but was convinced by Christina Slade, the vice-chancellor, and her board. I thought, well, I can give what I can give and it will be a very steep learning curve. I like that; I will always enjoy what life throws at me.

What do you hope to achieve as chancellor?
One of the things that Bath Spa focuses on is the link between culture and creativity and enterprise and the humanities. I think of myself as having rounded interests with some interest in politics, horses, sport, sailing, theatre, film-making, painting and architecture. I hope that my disparate interests can encourage the spirit that is already at Bath; that of cross-culturalisation between disciplines.

The Spiked rankings of free speech on campus have rated Bath Spa as a ‘hostile’ environment for free speech. Where do you stand on the issue of campus censorship?
I am entirely against that attitude. I hope that when I finish my chancellorship, Bath Spa will be seen as a place where individual expression of thought is admired. I think that university is a place for debate, outrage, and for putting forward and debating contentious ideas. It should be a place where you experiment with where you stand in life. If you don’t do that at university, where in God’s name are you going to do it? Of course, we should be kind to each other and understand each other’s perspectives but we must [also] be robust and challenge each other. I hate the idea that people could be attacked for saying what they think.

In Europe and the US, the populist Right has been using emotional appeals to win support. What could progressive politicians do to combat this?
I think that the vote for Donald Trump was very similar to the vote for Brexit. There seems to be a disconnect between what the people want and what they perceive government doing. There seems something deeply wrong with politics in that our leaders seem influenced far too much by the global economy, by large transnational corporations who have no interest in creating a fairer, more acceptable society. And our government should be doing that as well as worrying more about balancing the books. We need more idealism in government. I’m concerned that students are not entering into that debate. Well, they stirred a little bit after Brexit but, in my day, universities were a ferment of political idealism, thought and discussion. It’s all part of [the debate over] political correctness and not upsetting people. This is not a way to educate our children. We must all be rebellious. We must revolt against unfairness and the status quo, and if students are not going to join in that debate, who will?

You were involved in one of the most famous dramas set at a university. Has Brideshead Revisited had an impact on how higher education is perceived?
When it aired, I think it did change things a little bit; not necessarily for the better. One of the great things that can happen at university is that you have fun and you mix with a variety of people from different backgrounds, as Charles Ryder did.

If you were higher education minister for a day, what policy would you introduce?
I’d encourage firms to [offer] paid sabbaticals to their employees, [so they could] go and teach in universities, [to achieve] a real cross-fertilisation between business, industry and the professions, and teaching.

Do you have a personal rule that you never break?
I always try to treat people with respect and kindness, although I have a wicked sense of humour. Of course from time to time I fail, but that’s a rule that I try to follow. If you [stick to] it, it will keep you on the right path, even if you strongly disagree with people.

Will that wicked sense of humour put you in conflict with some students?
I suspect that it might, and I look forward to that.

Which of your characters would you most like to have as a roommate?
Father Gabriel from The Mission, he was a great guy.

What would you like to be remembered for?
As a stirrer-up of the shit: in other words, [bringing up] those things which need to be talked about that people aren’t talking about. I think that’s one of the functions of the arts, to make us see more clearly through the murky depths.

hilary.lamb@tesglobal.com

 

Assassin’s Creed – NY Press Tour

Jeremy Irons and the cast and director of Assassin’s Creed are in New York City to promote the film which hits U.S. cinemas on 21 December 2016.

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Assassin’s Creed: Jeremy Irons on Playing the Villain Alan Rikkin in the Ubisoft Video Game Movie Adaptation – IGN

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Click here for a facebook gallery of photos of Jeremy on Good Morning America – 14 December 2016

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Assassin’s Creed – Official Trailer #3

The third official trailer for Assassin’s Creed has been released.  It features a lot more of Jeremy as Alan Rikkin.

See the film in U.S. cinemas on 21 December 2016 and in UK cinemas on 1 January 2017.

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Jeremy Irons – AOL BUILD for Assassin’s Creed

Jeremy Irons and the director and cast of Assassin’s Creed will participate in an AOL Build Series discussion on December 12, 2016 at 2:45pm EST.

Book tickets HERE.

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