Despite the fact that Helena Bonham Carter is currently in England filming Tim Burton's reimagining of the '60s TV series "Dark Shadows," she's sending her best to America. And she isn't alone. As the digital distributor Emerging Pictures did last fall for a selection of Australian hits that wouldn't have made it to U.S. theaters otherwise, the company is teaming up with the Film Society of Lincoln Center and the UK Film Council to bring a group of six acclaimed British films Stateside, kicking off with "Toast," a '60s set coming-of-age story based on food writer Nigel Slater's memoir with Freddie Highmore as his teen surrogate who must compete for the attention of his gruff father against a cleaning woman (Bonham Carter) whose heavenly lemon meringue pie masks the tartness she demonstrates upon becoming the boy's stepmother.
However, that's nearly the only thing about the...
However, that's nearly the only thing about the...
- 6/11/2011
- by Stephen Saito
- ifc.com
Nigel Slater goes on the set of Toast, the film of his bestselling memoir, which stars Helena Bonham Carter and will be screened at Christmas by the BBC
You've come at a difficult moment. She's looking very pale now, it's getting near the end." Faye Ward, the producer from Ruby Films warns me as we tiptoe up the back stairs of one of Birmingham's disused Victorian banks and across the empty banking hall. We negotiate the tangle of cables and lights and sit at the monitors. There must be a dozen people crowded around the screens examining everything as if through a microscope: the food, the room, the lighting, the makeup and every strand of hair. As I put my headphones on, a little boy's voice suddenly screams: "I hate you, I hate you, I hope you die." There is a struggle, then his visibly weak mother pulls him to the ground and holds him,...
You've come at a difficult moment. She's looking very pale now, it's getting near the end." Faye Ward, the producer from Ruby Films warns me as we tiptoe up the back stairs of one of Birmingham's disused Victorian banks and across the empty banking hall. We negotiate the tangle of cables and lights and sit at the monitors. There must be a dozen people crowded around the screens examining everything as if through a microscope: the food, the room, the lighting, the makeup and every strand of hair. As I put my headphones on, a little boy's voice suddenly screams: "I hate you, I hate you, I hope you die." There is a struggle, then his visibly weak mother pulls him to the ground and holds him,...
- 11/15/2010
- by Nigel Slater
- The Guardian - Film News
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