Neighbours' UK talent hunt winner Gabriella Darlington has confirmed that she is hoping to land more acting roles following her success in the competition. Earlier this year, Darlington secured the four-week guest role of Poppy Rogers on the long-running programme after triumphing in the final stage of Channel 5's 'Be A Star on Neighbours' contest. Poppy was seen on UK screens for the first time in yesterday's episode of the Ramsay Street soap. Meanwhile, in real life, Darlington has now started university in Bristol, where she is studying geography. Speaking to Holy Soap about her acting ambitions, the student explained: "I hadn't (more)...
- 11/11/2010
- by By Daniel Kilkelly
- Digital Spy
Gabriella Darlington has been cast as new Neighbours character Poppy Rogers after triumphing in the soap's UK talent search. The 18-year-old has secured a four-week guest stint on the long-running programme and will begin filming her role on Monday. Darlington won the part after competing against fellow finalist Jennifer Hall in live auditions which took place in front of the show's producers in Australia. Speaking of her victory, Darlington commented: "I can't believe how lucky I am. I never expected to be shortlisted, let alone get to Australia and win. I have had an amazing week and am really excited to start on Monday." The programme's (more)...
- 7/16/2010
- by By Daniel Kilkelly
- Digital Spy
Neighbours star Alan Fletcher has revealed that he is eager to see his screen son Benjamin McNair back in Ramsay Street. McNair's character Malcolm Kennedy originally appeared on the soap between 1994 and 1997 before later making comebacks in 2002 and 2004. He was also involved in the show's 20th anniversary episode five years ago. In an interview with Holy Soap, Fletcher was asked whether the forthcoming arrival of Malcolm's friend Poppy Rogers could result in him making another return to Erinsborough. The actor - who plays Dr. Karl - replied: "I'd like to think so. I'm not sure yet. He ostensibly lives in London, and I'm not aware of any script notion (more)...
- 6/30/2010
- by By Daniel Kilkelly
- Digital Spy
Neighbours' executive producer Susan Bower has promised that new character Poppy Rogers will bring "fun" and "mischief" to Ramsay Street. Poppy - a friend of Karl and Susan Kennedy's son Malcolm - is to arrive in Erinsborough later this year for a one-month guest stint. Show bosses have described her as a "free-spirited young woman in her early 20s". Earlier this year, Neighbours launched a UK talent hunt in order to find a budding female actress who will play the role. More than 1,500 people applied for the opportunity and five finalists have now been chosen. Speaking to Holy Soap about what fans can expect from Poppy, Bower revealed: "Obviously [she's a visitor] from the UK. Because of the perceived meddling in a storyline, [her] part in that storyline is misunderstood by a couple of the teens. That's (more)...
- 6/21/2010
- by By Daniel Kilkelly
- Digital Spy
Neighbours star Alan Fletcher has promised that women who apply for the soap's new talent search will not be judged by their looks. Earlier this week, the show's bosses launched a hunt for a budding British star to play new character Poppy Rogers in a one-month guest stint. Speaking to Holy Soap, Fletcher claimed that producers will be hunting for the best actress rather than the most attractive applicant. Asked whether it matters what the winner looks like, the actor replied: "I don't think it does. I think that's probably one of the least considerations (more)...
- 4/23/2010
- by By Daniel Kilkelly
- Digital Spy
Neighbours actor Alan Fletcher has praised the soap's new UK talent search, describing the idea as "marvellous". Earlier this week, it was announced that the soap's bosses had launched a hunt for a budding star to play new British character Poppy Rogers in a one-month guest role. Fans will see Fletcher's character Karl Kennedy and wife Susan (Jackie Woodburne) welcome the new arrival into their Ramsay Street home later this year. Poppy is a friend of the couple's eldest son Malcolm. Speaking to Holy Soap about the contest, Fletcher commented: "I think it's a marvellous idea. We've (more)...
- 4/23/2010
- by By Daniel Kilkelly
- Digital Spy
Neighbours star Sam Clark has offered words of advice to hopefuls who plan to take part in the soap's UK talent search. Yesterday, it was announced that the show's bosses had launched a hunt for a budding female star to play new character Poppy Rogers in a one-month guest role. The contest is being organised by the serial's British broadcaster Five. Fans are being invited to download an audition script from the channel's website and upload their try-outs on YouTube. Speaking to Holy Soap about how applicants can make their mark, Clark explained: "The judges are going to be looking (more)...
- 4/20/2010
- by By Daniel Kilkelly
- Digital Spy
Neighbours is to give British fans a chance to win a one-month guest role on the soap, it has been announced. The show's producers are looking for a budding female star to play Poppy Rogers, a friend of Malcolm Kennedy who is to arrive on Ramsay Street in the not-too-distant future. Described as a "free-spirited young woman in her early 20s", Poppy grew up in a small country village in England and met Malcolm while backpacking around Europe. Neighbours' talent search is being organised by the serial's UK broadcaster Five as part of the programme's 25th anniversary celebrations. Applicants, who must be (more)...
- 4/19/2010
- by By Daniel Kilkelly
- Digital Spy
This review was written for the festival screening of "Breaking and Entering".TORONTO -- "Breaking and Entering", the first movie Anthony Minghella has directed from a screenplay of his own since his impressive 1991 debut, "Truly Madly Deeply", relates a commonplace story about a couple whose love has gone into eclipse so they must either repair or abandon the relationship.
What gives the movie its intrigue and vitality though is the neighborhood where the story takes place. Minghella's real interest seems to lie in exploring an area of his hometown of London that teems with immigrants from everywhere.
Because King's Cross -- what Americans might call an "iffy" neighborhood -- is undergoing extensive urban renewal, young professionals rub shoulders with people who have recently fled from war or privation in their native lands.
There is less animosity in Minghella's portrait of these collisions of class and ethnicity than may in fact be the case. He is determined that his characters will possess empathy, though, let's face it, some of that empathy stems from sexual attraction. All of which means "Breaking" is a tough movie to market.
The title makes it sound like a caper or crime film, and its themes can't easily be summed up in snappy ad copy. The film will need positive reviews and word-of-mouth to lead audiences to this often rewarding though occasionally pretentious story where a neighborhood is really the central character.
Will Francis (Jude Law) owns a landscape architecture company with his partner Sandy (Martin Freeman). The firm is a leading force in the revitalization of King's Cross. Indeed the men are so enthusiastic about seeing their heady ideas translated into reality that they decide to headquarter their state-of-the-art office in a renovated factory building in King's Cross.
People warn them that this is a bad place for an office. Sure enough, a gang of athletic youths led by Bosnian teen Miro (Rafi Gavron) breaks in and steals equipment and laptops. Suspicion falls on the African cleaning crew, which angers Sandy because he has a crush on one female worker. After a second burglary, Will stakes out the place at night in the hopes of catching the thieves.
Back at home, his absence is interpreted, justifiably, as an escape from domestic turmoil. He and his longtime live-in girlfriend, Liv Robin Wright Penn), a Swedish-American, are drifting apart as Liv is consumed with worry about her emotionally troubled daughter Bea (Poppy Rogers). While watching his office building, Will develops a peculiar relationship with a feisty Romanian prostitute, Oana (Vera Farmiga). They sit in his car and chat about life but this subplot is mostly serendipitous.
One night, though, he does spot Miro and gives chase. Will follows Miro to the flat he shares with his tailor mother, Amira (Juliette Binoche). To investigate the break-ins further, Will brings clothes for Amira to mend the next day. A friendship between these two blossoms, rather improbably, into a clandestine love affair. Only after they become lovers does Amira learn of Will's ulterior motive in coming to her in the first place. So to protect her son, she sets out to blackmail him.
While this is an original screenplay, you might think it stems from a novel the way characters ruminate about life and speculate philosophically in the middle of scenes. In this manner, theft becomes a major metaphor. Will and Liv must wonder which larceny is the graver crime: Miro's theft of Will's possessions or Will's theft of his mother's heart.
The saving grace to all this moralizing and musing is that Minghella does not go for easy answers. Characters are caught in confusion because of conflicted feelings. Often they do the wrong thing.
Minghella doesn't want to judge people. And his actors give him fine portraits in disorientation, of immigrants trying to get their bearings in a foreign land or professionals who feel perhaps guilty over invading the terrain of the new arrivals in the name of urban renewal. You sense that Minghella is unable to make up his mind about the issues he raises and the behavior of his characters.
"Breaking" not only has a sense of discovery of this cross-section of King's Cross but also a sense of disorder and randomness. Not every motive is pinned down not every act has a motive. Law makes a man who is at times a cad basically sympathetic. Binoche give the film's most touching performance as a woman who has not experienced physical love in a long while only to discover that it carries a steep price. Wright Penn makes Liv a woman who is ice but wants desperately to be heat. Gavron mirrors the dilemma of an immigrant youth torn between a Muslim and Christian heritage.
Obviously, Alex McDowell's production design and Benoit Delhomme's cinematography make major contributions in turning the ominous streets, row flats and enormous construction sites into a living, breathing character. The score, a mix of the group Underground and Gabriel Yared, supplies a poetic musical backdrop.
What gives the movie its intrigue and vitality though is the neighborhood where the story takes place. Minghella's real interest seems to lie in exploring an area of his hometown of London that teems with immigrants from everywhere.
Because King's Cross -- what Americans might call an "iffy" neighborhood -- is undergoing extensive urban renewal, young professionals rub shoulders with people who have recently fled from war or privation in their native lands.
There is less animosity in Minghella's portrait of these collisions of class and ethnicity than may in fact be the case. He is determined that his characters will possess empathy, though, let's face it, some of that empathy stems from sexual attraction. All of which means "Breaking" is a tough movie to market.
The title makes it sound like a caper or crime film, and its themes can't easily be summed up in snappy ad copy. The film will need positive reviews and word-of-mouth to lead audiences to this often rewarding though occasionally pretentious story where a neighborhood is really the central character.
Will Francis (Jude Law) owns a landscape architecture company with his partner Sandy (Martin Freeman). The firm is a leading force in the revitalization of King's Cross. Indeed the men are so enthusiastic about seeing their heady ideas translated into reality that they decide to headquarter their state-of-the-art office in a renovated factory building in King's Cross.
People warn them that this is a bad place for an office. Sure enough, a gang of athletic youths led by Bosnian teen Miro (Rafi Gavron) breaks in and steals equipment and laptops. Suspicion falls on the African cleaning crew, which angers Sandy because he has a crush on one female worker. After a second burglary, Will stakes out the place at night in the hopes of catching the thieves.
Back at home, his absence is interpreted, justifiably, as an escape from domestic turmoil. He and his longtime live-in girlfriend, Liv Robin Wright Penn), a Swedish-American, are drifting apart as Liv is consumed with worry about her emotionally troubled daughter Bea (Poppy Rogers). While watching his office building, Will develops a peculiar relationship with a feisty Romanian prostitute, Oana (Vera Farmiga). They sit in his car and chat about life but this subplot is mostly serendipitous.
One night, though, he does spot Miro and gives chase. Will follows Miro to the flat he shares with his tailor mother, Amira (Juliette Binoche). To investigate the break-ins further, Will brings clothes for Amira to mend the next day. A friendship between these two blossoms, rather improbably, into a clandestine love affair. Only after they become lovers does Amira learn of Will's ulterior motive in coming to her in the first place. So to protect her son, she sets out to blackmail him.
While this is an original screenplay, you might think it stems from a novel the way characters ruminate about life and speculate philosophically in the middle of scenes. In this manner, theft becomes a major metaphor. Will and Liv must wonder which larceny is the graver crime: Miro's theft of Will's possessions or Will's theft of his mother's heart.
The saving grace to all this moralizing and musing is that Minghella does not go for easy answers. Characters are caught in confusion because of conflicted feelings. Often they do the wrong thing.
Minghella doesn't want to judge people. And his actors give him fine portraits in disorientation, of immigrants trying to get their bearings in a foreign land or professionals who feel perhaps guilty over invading the terrain of the new arrivals in the name of urban renewal. You sense that Minghella is unable to make up his mind about the issues he raises and the behavior of his characters.
"Breaking" not only has a sense of discovery of this cross-section of King's Cross but also a sense of disorder and randomness. Not every motive is pinned down not every act has a motive. Law makes a man who is at times a cad basically sympathetic. Binoche give the film's most touching performance as a woman who has not experienced physical love in a long while only to discover that it carries a steep price. Wright Penn makes Liv a woman who is ice but wants desperately to be heat. Gavron mirrors the dilemma of an immigrant youth torn between a Muslim and Christian heritage.
Obviously, Alex McDowell's production design and Benoit Delhomme's cinematography make major contributions in turning the ominous streets, row flats and enormous construction sites into a living, breathing character. The score, a mix of the group Underground and Gabriel Yared, supplies a poetic musical backdrop.
- 9/14/2006
- The Hollywood Reporter - Movie News
TORONTO -- Breaking and Entering, the first movie Anthony Minghella has directed from a screenplay of his own since his impressive 1991 debut, Truly Madly Deeply, relates a commonplace story about a couple whose love has gone into eclipse so they must either repair or abandon the relationship. What gives the movie its intrigue and vitality though is the neighborhood where the story takes place. Minghella's real interest seems to lie in exploring an area of his hometown of London that teems with immigrants from everywhere.
Because King's Cross -- what Americans might call an "iffy" neighborhood -- is undergoing extensive urban renewal, young professionals rub shoulders with people who have recently fled from war or privation in their native lands. There is less animosity in Minghella's portrait of these collisions of class and ethnicity than may in fact be the case. He is determined that his characters will possess empathy, though, let's face it, some of that empathy stems from sexual attraction.
All of which means Breaking is a tough movie to market. The title makes it sound like a caper or crime film, and its themes can't easily be summed up in snappy ad copy. The film will need positive reviews and word-of-mouth to lead audiences to this often rewarding though occasionally pretentious story where a neighborhood is really the central character.
Will Francis (Jude Law) owns a landscape architecture company with his partner Sandy (Martin Freeman). The firm is a leading force in the revitalization of King's Cross. Indeed the men are so enthusiastic about seeing their heady ideas translated into reality that they decide to headquarter their state-of-the-art office in a renovated factory building in King's Cross.
People warn them that this is a bad place for an office. Sure enough, a gang of athletic youths led by Bosnian teen Miro (Rafi Gavron) breaks in and steals equipment and laptops. Suspicion falls on the African cleaning crew, which angers Sandy because he has a crush on one female worker.
After a second burglary, Will stakes out the place at night in the hopes of catching the thieves. Back at home, his absence is interpreted, justifiably, as an escape from domestic turmoil. He and his longtime live-in girlfriend, Liv Robin Wright Penn), a Swedish-American, are drifting apart as Liv is consumed with worry about her emotionally troubled daughter Bea (Poppy Rogers).
While watching his office building, Will develops a peculiar relationship with a feisty Romanian prostitute, Oana (Vera Farmiga). They sit in his car and chat about life but this subplot is mostly serendipitous. One night, though, he does spot Miro and gives chase. Will follows Miro to the flat he shares with his tailor mother, Amira (Juliette Binoche).
To investigate the break-ins further, Will brings clothes for Amira to mend the next day. A friendship between these two blossoms, rather improbably, into a clandestine love affair. Only after they become lovers does Amira learn of Will's ulterior motive in coming to her in the first place. So to protect her son, she sets out to blackmail him.
While this is an original screenplay, you might think it stems from a novel the way characters ruminate about life and speculate philosophically in the middle of scenes. In this manner, theft becomes a major metaphor. Will and Liv must wonder which larceny is the graver crime: Miro's theft of Will's possessions or Will's theft of his mother's heart.
The saving grace to all this moralizing and musing is that Minghella does not go for easy answers. Characters are caught in confusion because of conflicted feelings. Often they do the wrong thing. Minghella doesn't want to judge people. And his actors give him fine portraits in disorientation, of immigrants trying to get their bearings in a foreign land or professionals who feel perhaps guilty over invading the terrain of the new arrivals in the name of urban renewal.
You sense that Minghella is unable to make up his mind about the issues he raises and the behavior of his characters. Breaking not only has a sense of discovery of this cross-section of King's Cross but also a sense of disorder and randomness. Not every motive is pinned down; not every act has a motive.
Law makes a man who is at times a cad basically sympathetic. Binoche give the film's most touching performance as a woman who has not experienced physical love in a long while only to discover that it carries a steep price. Wright Penn makes Liv a woman who is ice but wants desperately to be heat. Gavron mirrors the dilemma of an immigrant youth torn between a Muslim and Christian heritage.
Obviously, Alex McDowell's production design and Benoit Delhomme's cinematography make major contributions in turning the ominous streets, row flats and enormous construction sites into a living, breathing character. The score, a mix of the group Underground and Gabriel Yared, supplies a poetic musical backdrop.
BREAKING AND ENTERING
The Weinstein Co./Miramax Films/MGM
A Mirage Enterprises production
Credits:
Screenwriter-director: Anthony Minghella
Producers: Sydney Pollack, Anthony Minghella, Timothy Bricknell
Executive producers: Bob Weinstein, Harvey Weinstein, Colin Vaines
Director of photography: Benoit Delhomme
Production designer: Alex McDowell
Costume designer: Natalie Ward
Music: Gabriel Yared, Underworld
Editor: Lisa Gunning
Cast:
Will Francis: Jude Law
Amira: Juliette Binoche
Liv: Robin Wright Penn
Miro: Rafi Gavron
Bea: Poppy Rogers
Sandy: Martin Freeman
Oana: Vera Farmiga
Bruno: Ray Winstone
MPAA rating R
Running time -- 119 minutes...
Because King's Cross -- what Americans might call an "iffy" neighborhood -- is undergoing extensive urban renewal, young professionals rub shoulders with people who have recently fled from war or privation in their native lands. There is less animosity in Minghella's portrait of these collisions of class and ethnicity than may in fact be the case. He is determined that his characters will possess empathy, though, let's face it, some of that empathy stems from sexual attraction.
All of which means Breaking is a tough movie to market. The title makes it sound like a caper or crime film, and its themes can't easily be summed up in snappy ad copy. The film will need positive reviews and word-of-mouth to lead audiences to this often rewarding though occasionally pretentious story where a neighborhood is really the central character.
Will Francis (Jude Law) owns a landscape architecture company with his partner Sandy (Martin Freeman). The firm is a leading force in the revitalization of King's Cross. Indeed the men are so enthusiastic about seeing their heady ideas translated into reality that they decide to headquarter their state-of-the-art office in a renovated factory building in King's Cross.
People warn them that this is a bad place for an office. Sure enough, a gang of athletic youths led by Bosnian teen Miro (Rafi Gavron) breaks in and steals equipment and laptops. Suspicion falls on the African cleaning crew, which angers Sandy because he has a crush on one female worker.
After a second burglary, Will stakes out the place at night in the hopes of catching the thieves. Back at home, his absence is interpreted, justifiably, as an escape from domestic turmoil. He and his longtime live-in girlfriend, Liv Robin Wright Penn), a Swedish-American, are drifting apart as Liv is consumed with worry about her emotionally troubled daughter Bea (Poppy Rogers).
While watching his office building, Will develops a peculiar relationship with a feisty Romanian prostitute, Oana (Vera Farmiga). They sit in his car and chat about life but this subplot is mostly serendipitous. One night, though, he does spot Miro and gives chase. Will follows Miro to the flat he shares with his tailor mother, Amira (Juliette Binoche).
To investigate the break-ins further, Will brings clothes for Amira to mend the next day. A friendship between these two blossoms, rather improbably, into a clandestine love affair. Only after they become lovers does Amira learn of Will's ulterior motive in coming to her in the first place. So to protect her son, she sets out to blackmail him.
While this is an original screenplay, you might think it stems from a novel the way characters ruminate about life and speculate philosophically in the middle of scenes. In this manner, theft becomes a major metaphor. Will and Liv must wonder which larceny is the graver crime: Miro's theft of Will's possessions or Will's theft of his mother's heart.
The saving grace to all this moralizing and musing is that Minghella does not go for easy answers. Characters are caught in confusion because of conflicted feelings. Often they do the wrong thing. Minghella doesn't want to judge people. And his actors give him fine portraits in disorientation, of immigrants trying to get their bearings in a foreign land or professionals who feel perhaps guilty over invading the terrain of the new arrivals in the name of urban renewal.
You sense that Minghella is unable to make up his mind about the issues he raises and the behavior of his characters. Breaking not only has a sense of discovery of this cross-section of King's Cross but also a sense of disorder and randomness. Not every motive is pinned down; not every act has a motive.
Law makes a man who is at times a cad basically sympathetic. Binoche give the film's most touching performance as a woman who has not experienced physical love in a long while only to discover that it carries a steep price. Wright Penn makes Liv a woman who is ice but wants desperately to be heat. Gavron mirrors the dilemma of an immigrant youth torn between a Muslim and Christian heritage.
Obviously, Alex McDowell's production design and Benoit Delhomme's cinematography make major contributions in turning the ominous streets, row flats and enormous construction sites into a living, breathing character. The score, a mix of the group Underground and Gabriel Yared, supplies a poetic musical backdrop.
BREAKING AND ENTERING
The Weinstein Co./Miramax Films/MGM
A Mirage Enterprises production
Credits:
Screenwriter-director: Anthony Minghella
Producers: Sydney Pollack, Anthony Minghella, Timothy Bricknell
Executive producers: Bob Weinstein, Harvey Weinstein, Colin Vaines
Director of photography: Benoit Delhomme
Production designer: Alex McDowell
Costume designer: Natalie Ward
Music: Gabriel Yared, Underworld
Editor: Lisa Gunning
Cast:
Will Francis: Jude Law
Amira: Juliette Binoche
Liv: Robin Wright Penn
Miro: Rafi Gavron
Bea: Poppy Rogers
Sandy: Martin Freeman
Oana: Vera Farmiga
Bruno: Ray Winstone
MPAA rating R
Running time -- 119 minutes...
- 9/14/2006
- The Hollywood Reporter - Movie News
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