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Tinker Tailor Soldier Spy Blu-ray Review

Jon Lyus — Wed, 01 Feb 2012 13:00:43 +0000

With rumours of another film from the series in the air and a well-deserved Oscar nod for Gary Oldman now is a good time to revisit Tomas Alfredson’s adaptation of John LeCarre’s Tinker Tailor Solider Spy.

The story is no stranger to the small screen with the Alec Guinness fronted BBC series being, until now, the definitive version. Alfredson’s film is a meticulously crafted and intriguing thriller, taut in execution and bold in its refusal to sex up its dossier.

This is a superficially complex story of deceit and betrayal, told with confidence and benefitting from an exceptional cast and in revisiting the film there is a real sense of the depth of emotion in this collection of lonely men who are fighting what seems like an endless war against an oncoming network of internal and external enemies. If you want a more in-depth look at the film you can check out my review from last year.

Oldman’s Smiley is a masterclass of the understated leading man and watching the film for the second time you become aware of the delicacy of his movements and the deep well of emotions which briefly break the surface (two clear examples are the Christmas party and the arrogance of a high ranking MP) and it is a powerful performance which rewards further viewings.

A key indicator of the well told nature of le Carre’s story is the enjoyment to be had even though you know from the beginning who the mole is. Partially this is because everyone, even Smiley, knows in their hearts who the man at the centre of the betrayal but also because the mystery is so well revealed that you hang on every slight development.

Maria Djurkovic’s evocative production design, itself something of an awards magnet, is a treat on the Blu-ray, with its plethora of detail every bit as important in immersing us in this world as Jacqueline Durran’s costume work or Hoyte Van Hoytema’s cinematography. The world is so dutifully created, with great skill, that it fades into the background as the story takes hold though without the explicit attention to period detail the film wouldn’t work nearly as well.

It’s rare that a cast is as uniformly this good, particularly with such a sizeable ensemble, with Benedict Cumberbatch and Tom Hardy impressing in particular, and each subsequent viewing is a rewarding experience. In taking us back in time once again Alfredson’s maturation as a director is evident in his ability to inspire his actors to surrender any sense of ego to the story. Despite the complex nature of the plot there’s a wealth of character here and it is their revelation, as much as that of the spy within, that is the film’s triumph.

****~ (4/5)

Extras:

It’s a well stocked affair with the usual back-slapping interviews giving a genuine sense of affection for the film and the people involved. There are a number of small featurettes focusing on a character or the institutions but the real meat is to be found in the sections devoted to le Carre and the interviews with the main cast. Each redoubles the enjoyment of the film and what comes across is partly where the film is at its best – that there is a great deal of unseen and necessary depth to the film.

***~~ (3/5)

Win Tinker Tailor Soldier Spy on Double-Play

Competitons — Fri, 27 Jan 2012 16:12:30 +0000

To mark the release of Tinker Tailor Soldier Spy on DVD and Blu-ray this Monday, 30th January, Studio Canal have given us five copies to give away on Blu-ray Double-Play.

DVD Extras: Commentary with Gary Oldman & director Tomas Alfredson / John Le Carré interview / deleted scenes

Blu-Ray extras: Commentary with Gary Oldman & director Tomas Alfredson / John Le Carré interview / deleted scenes / Smiley featurette / ‘Inside The Circus’ featurette / Shadow World featurette / Interview with Gary Oldman / Interview with Colin Firth / Interview with Tom Hardy / Interview with Director Tomas Alfredson & screenwriter Peter Straughan / UK premiere featurette / Sky Movies featurette / Photo gallery / Trailers

To be in with a chance of winning the prize, simply head to the next page to answer the question using the form.

Colin Firth Opts Out Of Spike Lee’s Oldboy

Dave Roper — Wed, 14 Dec 2011 20:00:28 +0000

Will Smith was once rumoured to be circling the role of protagonist in Spike Lee’s Oldboy remake, but that part seems to now be with Josh Brolin. Colin Firth had been much-mooted to take on the role of the villain of the piece (though it would be disheartening in the extreme to see the shades of grey of the imperious Korean original reduced by Hollywood to such conventional character delineations), however he is now quite literally out of the picture.

Although the quality of the end product is more important than any one casting decision, this is something of a shame. Setting Firth’s more refined characteristics against Brolin’s more rugged qualities would have been fascinating, but we are only left now with what might have been.

There is no news yet of who might replace Firth, though Spike will have to get his skates on if that rumoured early-2012 shooting window is to be maintained. It is far too early to describe this hiccup as in any way indicative of production troubles, since every production has its hurdles to overcome on its way to the screen. A new antagonist will need to be found and no doubt a suitable one can and will be. As soon as we hear who it is, we’ll let you know. In the meantime, feel free to let us know below who your hot favourite would be.

Source: Twitch.

Rachel Weisz Joins The Railway Man

Jamie Neish — Mon, 28 Nov 2011 09:00:53 +0000

Rachel Weisz (The Constant Gardener) has signed on to star in The Railway Man.

Weisz will appear opposite Colin Firth (A Single Man) and Jeremy Irvine (War Horse) in the epic wartime drama.

The Railway Man tells of Eric Lomax’s struggle to come to terms with the trauma he experienced during World War II.

Jonathan Teplitzky (Burning Man) is attached to direct from a screenplay written by Frank Cottrell Boyce and Andy Paterson.

Filming is due to take place early next year in Australia, Thailand and the U.K.

Source: Variety

Tinker Tailor Soldier Spy Interview: Colin Firth

Jon Lyus — Thu, 15 Sep 2011 15:00:18 +0000

Choosing to follow an Oscar nominated and then an Oscar winning turn with a relatively small role as part of an ensemble cast featuring some of the most illustrious British actors is testament to the pull of the big screen adaptation of John Le Carre’s Tinker Tailor Soldier Spy and Colin Firth plays his part perfectly in Tomas Alfredson’s film.

We had the chance to speak with the actor as part of a roundtable, and you never quite know how things will go in these types of interviews but Colin Firth could not have been more generous and considered. The actor talks about the attraction of the film, his role in particular and the essential loneliness of the men from the Circus.

After a brief introductory chat involving Wimpy Bars, Sherbet Fountains and Curly Wurlys we got in the film.

We’ll start with the obvious question – what attracted you to the film and how did you get involved?

I think it’s pretty easy. What attracted me was a no brainer – certainly if you look what else was around at the time, certainly for me last year. And the fact that I wasn’t carrying it, added to it greatly. To work with some of my favourite actors, a fantastic director, this all sounds great. It sounds platitudinous as well ‘I’ve always wanted to work with…’ but it’s true. The idea of doing it seemed very cool to me. It wouldn’t have done ten years after a fantastic TV series, it would have seemed suicidal and also would have been too close to that time for it to be retro and far enough on to feel a little out of date possibly. But I think now, 30 or so years on from the series, it seemed like a really interesting time to do it. When I heard it was Tomas Alfredson and John Hurt and Gary, it was absolutely irresistible.

You came board late if Gary was attached?

Gary wasn’t, I think. …Gary wasn’t, there was still talk about who was going to play Smiley. The script and Tomas were enough.

What did you know of book and TV series before?

Hadn’t read it, I don’t think I had. Obviously now I have. I had seen the series but not sure if I watched it at the time in sequence. It’s rather hard to remember because there are things that go so thoroughly into the popular thinking that you almost can’t remember if you’ve seen it. People talk about Felliniesque without ever having seen a Fellini film and everyone knows exactly what they mean. And I think that’s a sign something’s made an impact. I do remember scenes between Alec Guinness and Patrick Stewart, without knowing whether I actually sat down and watched it. I remember it being in the air. I remember my father talking about it. It was endlessly present. So I had a familiarity with it but don’t know if I saw it at the time but I’ve seen it now.

Was there ever a question about which role you would play?

No, I think this was the one they always had me in mind for.

He’s got a little glint in his eye though, hasn’t he?

I think he has, he enjoys life. He’s also vain, he cultivates certain eccentricities, that’s part of his vanity. He’s not just a spy, he’s a bohemian, the artist, the one who has a slightly flamboyant twist to the way he dresses and rides his bicycle into the office. And he’s sexually active, let’s say. Very active. So yeah, there’s somebody who makes use of irony which is probably very useful if you’re a spy. It’s based on not saying it exactly as you mean it.

Do you think he’s lonely?

They’re all profoundly lonely. I think that’s what the film is very much about. To me it’s a very moving and rather tender portrait of lonely men, disappointed idealists. I think Smiley is a study of loneliness. His romanticism and his view of marriage. I think he really does believe in the patriotic values of what he does and to see treachery in that area is heartbreaking. All the men in this story make considerable sacrifices in their personal lives to do what they do and I think that puts more emphasis on the fraternity they have at work. With such high stakes the sense of camaraderie is heightened and also heightened by the fact that it’s dependent on secrecy. All those things ratchet it up and to realise one of them is betraying everybody and might have been betraying them for years is not just a threat it’s also heartbreaking. And you have a world where because you don’t know who it is, it might be any of them so all their relationships are compromised. For Smiley to go to Control’s flat and see his face on the chess piece adds to his heartbreak because he realises that he too is not above suspicion. I think that’s what it’s about, it’s about the personal relationships between these men whether it’s Prideaux in his caravan, and the little boy visiting him, rather lonely little boy. Or Smiley and his marriage. Smiley at work. Or Guillam’s rather surprising scene with his partner when he realises that is no longer tenable. Ricki Tarr’s attempt at love. The girls attempt to escape. Connie’s been cut loose from the establishment. Esterhaus dancing by himself. I do think it’s a very beautiful melancholic story and I think the thrust of it is much more emotional than intellectual.

What kind of spy would you be?
I’ve seen John Hurt on the subject and I would have to echo him – I’d be completely crap. I think it’s all very well to draw parallels with actors in terms of duplicity and inhabiting other roles and interpreting other people’s’ motives but that doesn’t mean we’d be any good if someone pointed a gun at us or we had to go through any personal physical discomfort.

A similar motive to wanting to be an actor?
Definitely. Even at best we are driven by something that’s not entirely self-serving. I do think this desire to impart your own inspiration to share stories and to communicate and have somebody on the other end, that can at its best be an important part of storytelling. But I think we are also driven by ambition and use it to suit ourselves. I’m sure that’s true of politicians, campaigners, writers, journalists, I’m quite comfortable with the idea of mixed motives.

Does the film strike a chord because of betrayal by modern politics?
I think the sense of disappointment and betrayal has been around for quite a long time. I think there’s always been disenchantment and suspicion otherwise there wouldn’t have been dissenting political movements through the centuries. So I think it’s ongoing, always feels current. So I don’t think it’s just to do with disenchantment with our current establishment. I’m sure if you talked to Americans at the time of Watergate they’d have talked about a sense of disenchantment. … I do think the sense of the currency of this material is with us. I don’t think it’s particular to now. It does feel very current. If you take the Soviets versus the West out of this all the other elements are pretty pertinent. We’ve got hacking, whether it’s Wikileaks or journalists. We know that this industrial espionage goes on and on. We’re still are paranoid and freaked out and jumping at shadows as we ever were. If it’s not reds under the beds then we’re worried about who’s the terrorist and is our intelligence any good?. I think all those things are very much alive when it comes to issues of trust and paranoia and general state of neurosis.

Were you on set when you heard about the Oscar nominations..
This came well before. We did this sometime back in October and nominations are the end of January.

Where were you went the nominations came out?
I was at the Hackney Empire doing an interview for an American television programme. I really didn’t want to have a camera rolling when the news came out but there was a television camera that had come down to set up a live link with American TV, either to see my not get it or get it.

You’re part of quite an ensemble, is that part of the film’s main draw?

I have a total of about five minute screen time in this film and it’s going to be sold on a lot more than that. But the thrill of being part of an ensemble absolutely. It is a thrill to be surrounded by brilliant people and not just because you get to watch them and it lifts your own game as well. Something I learnt at drama school. You go on a stage with someone better and that will make you better. There’s an initial moment when you walk out on set but when the scene gets going it sounds so real.

Did you enjoy the Oscars?
Some of it. I think sometimes you have to make a note to self to enjoy it. The word that comes to mind is turbulent which isn’t bad it just means things are operating at quite a pitch. It’s exciting but also can make you feel a bit neurotic because people around you feel neurotic as well. But it was very exciting. The main problem is actually taking stock and realising it’s to be enjoyed because it’s very active. You’re travelling a great deal and you’re talking about yourself a lot in artificial circumstances with microphones pointed at you and you’re probably babbling and not saying anything that represents what you really think. It’s talking. Then it suddenly happens and it’s over. It’s very odd, a slightly numbing effect I would say. I think when major things happen to us whether they’re good or bad there’s a slight shock.

Can you remember walking up to receive it?
No.

Have you watched yourself receive it?
No. Don’t remember. That’s extraordinary. I remember thinking at the time I’ll probably wake up in July and get very excited about it. And that did happen. A month or two ago I got very excited by the fact that it had happened.

Did they cut anything out of the film that you were particularly sad to lose?
It’s funny once they’ve done it and done the final cut you tend to forget the things they’ve cut out. But yes they did cut some things out. And I suppose I was slightly sorry to lose it but I can see why. Everyone lost a scene or two I think. There was a scene, and it was a nice scene but I can see why it had to be cut, there was a scene where my character catches Guillam when he’s on the top floor trying to find the documents that Smiley has asked him for, sort of “What the hell are you doing here?” and it was a good scene but not the heart of the piece.

Tinker Tailor Soldier Spy is out in cinemas on Friday the 16th of September.

Tinker Tailor Soldier Spy Review

Jon Lyus — Thu, 15 Sep 2011 12:30:29 +0000

Tomas Alfredson’s adaptation of John Le Carre’s celebrated novel Tinker Tailor Soldier Spy is a captivating piece of restrained direction and impeccable work from its ensemble cast – rarely has a film made good on its promise in quite this way.

It is primarily the story of the hunt for a mole within the Secret Service of the 1970s but there is far more at play here. Alfredson keeps the drive of the main plot in the forefront while slowly building up the complex crosshatch of personal and professional agendas which is fertile ground for the select group of actors the Swedish director has assembled.

Alfredson’s evocation of this vanished world of ‘Wet Tweed’ espionage is particularly satisfying now that we are post-Bourne and used to having our spy thrillers cluttered with technology and delivered with rapid fire editing and awash with steadicam use.

The film is old-fashioned in the best possible way, and through the steady pacing Alfredson allows the details of Peter Straughan and Bridget O’Connor’s screenplay to build to a satisfying climax. As the curtain is slowly and deliberately pulled back by Alfredson far more emerges than the reveal of a traitor: the abject loneliness of the work, the archaic manner in which the soldiers of the Cold War operate against the seemingly overwhelming opposition, the loss of identity and control (and Control) are all factors which have played heavily into the film thus far and provide a far greater pay off than a simple unmasking.

The illustrious cast is the film’s main draw, no doubt, however the quality of the source material and, crucially, the adaptation renders each character fully, with hints of true and hidden motives distilled perfectly to a glance, or with only a single exchange necessary to convey, if not the main narrative, then the murky context we find ourselves in. It’s a dizzying display and evidence that although the direction and adaptation may be overlooked when you consider the talent on-screen, who are all deserving of the praise they are getting. This film succeeds because it refuses to show off, to wave its fantasy cast in the face of the audience, and importantly it never relies on the expectation such a cast, and such a project, brings with it. Alfredson’s confidence in the material and his ability provides a solid foundation for this film.

Of the cast Gary Oldman stands out as the ghost-like Smiley, whose weary retired agent picks through the bones of the investigation with a heavy heart and a pin-sharp mind. His relationships at home and at work crumble to dust before his eyes, and though there is a sense that in uncovering the mole he will be doing his bit to repair the cracks of the broken Secret Service, Oldman brilliantly conveys the futility of it all. Despite the victory no-one is better off, or wiser, at journey’s end.

Alfredson’s previous film was the acclaimed Let the Right One In and there are obvious similarities at play with his latest work. Both adaptations, both period pieces, both turning the current conventions of the genre (in film at least) on its head. Let the Right One In eschewed the demonic rush and sexual bloodlust of the Vampire mythology in favour of what was, at its heart, a family drama and likewise here there are no wise cracking henchmen or car chases through exotic locations with gun battles conducted at a hundred miles an hour. Instead we have a brilliantly revealed puzzle, and only in the end, when the final moves are made, are we able to step back and see the full picture.

I was not expecting the emotional punch it gave me as it was, at times, a thoroughly bloodless experience. It is only the sad plight of Tom Hardy’s fledgling agent Ricki Tarr and moments of Smiley’s domestic issues fractionally breaking the surface of his stoic manner which give us any human connection to the events which play out early on. When the reveal of the mole comes it comes slowly and without fanfare, as if the slow rot of the whole affair has worn down the players and the unspoken desire for there to have been no mole is spent.

Highlights for me include seeing the great Kathy Burke back on screen, Stephen Graham in his small, but crucial, role more than held his own and Benedict Cumberbatch joins Tom Hardy as the film’s biggest surprises, both showing a depth of character and ability that we’ve not seen from either actor before. The production design was flawlessly evocative without ever coming close to parody and it is in the details where you’ll find the treasure – the use of a jaunty George Formby song making its way through the official channels of communication at a crucial moment is one such detail; Delicatessen this, most definitely, is not.

Intelligently filmed and beautifully paced, this is a triumph for Alfredson and his cast with Oldman succeeding in making the character of George Smiley his own. It deserves to be seen by as many people as possible, for it is not often that you see a film which gets it so right.

****~ (4/5)

Tinker Tailor Soldier Spy UK Premiere Report & Interviews

Adam Farina — Wed, 14 Sep 2011 16:42:57 +0000

Last night saw the ‘Hotly-Tipped-For-Oscar-Glory’ film version of the John le Carre’s book ‘Tinker, Tailor, Soldier, Spy’ premiere at the BFI Southbank.

We were there on twitter @HeyUGuysLive to keep yawl’ updated in real time as the action happened.

Gary Oldman, Colin Firth, Tom Hardy, Benedict Cumberbatch and John Hurt, who all star in the film were in attendance. The actors made extra special efforts to sign for fans who had braved the brisk winds coming off the Thames, with John Hurt even responding to a ‘behind-the-scenes-suit’ – “No, I’m stating here to do more autographs” when he was ‘invited’ to go inside. Whadaguy!

Less could be said for the print and online pen that was neatly tucked in the back and suffered the greatest of all blows when the stars and production crew didn’t make it to the pen before organisers called ‘time’ and brought everyone inside.

However, our bosom buddies over at Upbeat did manage to catch ‘The Greatest Actor to Never Win an Academy Award’ before everyone was ushered off to start the show.

Tinker Tailor Soldier Spy Interview: Director Tomas Alfredson and Writer Peter Straughan

Jon Lyus — Wed, 14 Sep 2011 15:00:05 +0000

The long awaited big screen adaptation of John Le Carre’s seminal spy novel Tinker Tailor Soldier Spy is released in UK cinemas this Friday, the 16th of September.

What is initially apparent, and something which features heavily in the film’s marketing, is the film’s impressive cast but film is first and foremost a collaborative process and the two men who sit alongside Le Carre in terms of importance to the success of the film are the writer Peter Straughan and the film’s director Tomas Alfredson.

Both men brought with them a love of Le Carre’s work to the film and in this roundtable interview they talk about the process of adaptation, the gathering of the cast and the British flavour inherent in the film.

Before the men entered the room the collected journalists were talking of a very brief scene in a landmark of 70s life – The Wimpy Bar…

We were just extolling the virtues of the Wimpy Bar in the film – how much did you immerse yourself in British culture?

Tomas Alfredson
I’ve been here quite a lot since I was a kid, I think the first time was ’72 and I’ve spent a lot of time here since then so I was well acquainted. And we are breast-fed British TV in Sweden…you remember those [Here Alfredson trumpets out the theme tune to the old Thames television ident], Thames – yes. And Anglia and London Weekend Television – all those things we’ve seen. So we’re quite learned.

Did you see the Alec Guinness adaptation out in Sweden?

Tomas Alfredson
Yes, it was the kind of show where all the fathers would say “Shut up! I want to see this. You get out or you shut up.” and we did. I don’t think I understood it at all, because I was eight or nine. I watched it later on and it’s a great series.

What that part of the appeal of the project?

Tomas Alfredson
I watched it at the time and then it was quite useful for research for this film of course. It’s complicated to remember the faces and the structure of it all, so it was helpful for that reason.

What is the story about in your minds? You have to find a way into it, to put your spin on it.

Peter Straughan
I’d read it years ago and I enjoyed it when I read it again and I had forgotten that it starts in the book with Jim Prideaux arriving at this school as a broken man and he strikes up a friendship with a lonely boy there. It struck me as an unusual opening of a spy novel.

Tomas Alfredson
It starts with the boy, I think. Through his eyes.

Peter Straughan
I just remember Prideaux arrived in the caravan and that was the key to it. That it was not going to be about the kind of power politics, but about the human relationships and the victims of that war, the human cost. We used that as the guiding light and tried to not get lost in the complexity of the plot but always relate things back to what does this mean to individual humans. That’s why we had the idea that in the opening scene we’d have the mother and the baby, she turns out to be an agent of course, but to have her shot – it’s a powerful image to have her killed with the baby suckling. It sets that up straight away as what the film is about.

Tomas – is there anything about this story which struck you in particular?

Tomas Alfredson
Well I think one thing that interested me very early on was the question ‘Who were the soldiers of the Cold War compared to the soldiers in a Hot War?’ It’s different and in many ways a quite female world. If you compare the Alpha Male soldiers of the Hot War. It was relating to the imagination. A spy has to work with the imagination – is it her? Is it him? Is he the Russian guy? I have to relate to my imagination about that and at the same time I can’t let the imagination take over because then I would be totally paranoid or do the wrong things. So, those elements and of course as Peter mentioned, the human cost and the personal relations between those people. This is not a documentary, even though it is very accurate.

Can I you about your process of adaptation, how long the first draft was, how long the first cut was? How was it in terms of deciding what to take out and still keep it together?

Peter Straughan
Script-wise the first draft was longer, and it was closer to the book structurally. It was maybe a hundred and forty pages, but it was never just getting the page count down but we just found by restructuring, trying different configurations we could get over as much of the story as possible. The TV series had the ability to build the story step by step and we obviously couldn’t do that so we have to do a lot with allusion or just a look – compressing moments down.

Tomas Alfredson
The biggest structural difference is the Ricky Tarr story which is on top in the book and in the TV series. We felt it was like clumsy to start the film with a twenty minute flashback…

Peter Straughan
Because you’d only just met Smiley and got to know him and then you’d be off with another set of characters so we knew we had to move that and that took a while to work out how to do that.

It seems to have restarted the debate that audiences wouldn’t be able to follow a complicated story – do you agree with that, and were you conscious of that at all?

Peter Straughan
No, I just loved the book and it is complicated but I don’t personally feel you need to worry that much about being able to follow every twist and turn. It’s a facile comparison but if you think of The West Wing where the plot can be zipping along quite quickly but it doesn’t matter as long as you follow the characters. The spy story is complicated but the human story is quite straightforward.

Could you talk a little about the casting process? Did you audition or was it a case of asking the actors?

Tomas Alfredson
It was easy and it was hard. I said to myself that we wouldn’t do any casting until we had George Smiley and that took quite a while. It was the producer Tim Bevan who came up with the idea of asking Gary and it was the perfect choice. A totally different soul and face than Alec Guinness and I could clearly see him doing the part. So we met and we fell in love and we though that this will be fantastic to work together. And then it was quite easy to get the other characters in place. The source material and the project itself
attracted the actors. I think 99% are our first choices.

Was John LeCarre on board for the film?

Peter Straughan
One of the things that calmed us down was that after we knew Tomas was on board we then knew that LeCarre was on board too and had given us his blessing. We met him and he was very kind and generous and we thought that if he’s happy for us to give it a try that’s ok then.

Tomas Alfredson
And we used him a lot as well. He said that if we ever wanted to use him just to call him anytime and we used that possibility a lot. He’s been updated al through the process and I think he likes it.

He’s in one of the scenes isn’t he?

Tomas Alfredson
He is… just briefly.

What sort of notes did he give you?

Peter Straughan
He never gave script notes, it was more if we went to him and said ‘We’re thinking about doing this, does that feel right?’ and he would comment and was very supportive.

Tomas Alfredson
He was great on details, something like ‘There would never be a red carpet in that kind of corridor.’ Very specific notes on details, he would be very useful for that. Like, ‘You would never write your name on a paper, or this or that.’

Can you tell us about the Production Design?

Tomas Alfredson
When you start doing a film it’s as if you’re expecting a baby, you see babies everywhere or if you’re about to buy a car you see cars everywhere. So, ok – I’m doing the film about Britain in the early 70s and your eyes start to pick up colours, a car on the street, TV shows and you start collecting it in your head and then we have the fantastic Maria Djurkovic, the designer. I had a few very interesting meetings with Paul Smith, the fashion designer, who is a fantastic designer and a generous person and we were spitballing about those years and he had his ideas and his input. And we had the fantastic cinematographer (Hoyte Van Hoytema) who was with me on Let the Right One In and we know each other very well. I don’t think we had any mantra other than ‘Wet Tweed’.

I wanted to ask a question about one particular scene – the reveal of the mole. It’s done in a very unfussy, unsensational way in one simple camera move. Can you talk about the pacing of the film and that scene in particular?

Tomas Alfredson
The complication of the ending of the film is quite subtle because there are two false finales and one real finale. The first one is the revealing of the mole, and the second is the confrontation between Smiley and the mole and the third one is when the eyes of the mole meets those of another. To have the proper escalation there we couldn’t put too much energy into the revelation of the mole because if that would be too thrillerish or too fantastic it would devalue the next part. So we pushed the emotions later and later.

Peter Straughan
It’s also true of the scene in the book because Peter Guillam in the book, who has been waiting outside hyped up with adrenaline and energy in case there’s going to be violence and he goes in and sees who it is and it all drains away, and I think the line is that ‘he was left feeling ashamed’ and that the anti-climatic nature is sort of that they knew who it was all along. I think they all wanted it to be this Russian bogeyman in the corner.

What was behind the decision not to cast or show Smiley’s wife and Karla?

Peter Straughan
It’s prompted by the book. Ann [Smiley's wife] is a very important character who doesn’t take up many pages and we thought that if we had one or two scenes with her that might actually be weaker than keeping her hidden from the audience, altogether which makes her more mysterious. And the same with Karla. We liked the fact that the two most important people in Smiley’s life are Karla and Ann and if we hide them from the audience then they would have a sort of magnetic power.

Can you ever enjoy your work with an audience?

Tomas Alfredson
No.

Peter Straughan
No. I think we’re still in work mode almost.

Tomas Alfredson
That’s true. The period in the old days there was a longer period of time between final cut and the opening, which is now four weeks or something. It’s so recent. It takes a while for it to sink in.

Peter Straughan
I’ll watch it on DVD…

Have you spoken to John LeCarre about adapting the subsequent books?

Tomas Alfredson
No, we haven’t really but I’ve read them and they’re great.

Peter Straughan
They are, but I guess we’ll see how this one goes.

Have you got a favourite scene from the film?

Tomas Alfredson
I’m a big fan of the break in with Peter Guillam and the George Formby tune travelling. And when Smiley describes his meeting with Karla.

Peter Straughan
Mine is the last scene with Smiley and the mole.

So why George Formby song, that’s not exactly 1970s.

Tomas Alfredson
One big mistake filmmakers do when they are doing a period piece, let’s say we do a film that is set in 1985 – everything is 1985 in the film, which is not true. In the film its 1985 and everything that came before it, backwards in history. So you need things to reflect the year everything is set. I was looking for stuff that made you remember World War 2 or the resistance – that time. Just like a taste from that time. And also something that would reflect Smiley’s younger self or Control’s younger age.

Do you have your next project lined up? What kind of scripts are coming your way?

Tomas Alfredson
I haven’t decided yet. I’m doing some theatre in Sweden but that’s not the film work.

You say you were immersed in British culture already – does that mean that all of the actors were known to you? Kathy Burke…

Tomas Alfredson
Yes, I had. We had a fantastic casting director who came up with suggestions including sometimes when you had actors you don’t know quite as well. A few actors I hadn’t seen before and they might be chosen because I didn’t have any references or knowledge of.

Benedict Cumberbatch has a bigger role than I expected, how was it working it him as this is pretty much a star making turn for him?

Tomas Alfredson
It was great, he’s fantastic to work with. He’s very exact and he knows his lines better than anyone and he is like a Swiss watch. In the film he’s a very useful tool to reflect what Smiley says and doesn’t say, so he’s like Smiley’s mirror.

Tinker Tailor Soldier Spy is out in UK cinemas this Friday.

Win The English Patient on Blu-ray

Competitons — Fri, 09 Sep 2011 13:55:07 +0000

To mark the release of The English Patient on Blu-ray 19th September, Miramax have given us two copies of the movie to give away.

The film also stars Kristin Scott Thomas, Juliette Binoche, William Dafoe and Colin Firth.

Extras: Commentary with Director / Commentary with Director, producer, author / About Michael Ondaatje / From Novel to Screenplay / The Formidable Saul Zaentz / A Historical Look at the real count almasy / A conversation with Anthony Minghella / A conversation with Saul Zaentz / A conversation with Michael Ondaatje / A conversation with Walter Murch.

To be in with a chance of winning the movie, simply answer the following question using the form below:

Who directed the movie The English Patient?

COMPETITION NOW CLOSED

The small print:

Open to UK residents only
Only one entry per household will be counted
The competition will close 26th September at 23.59 GMT
The winner will be picked at random from entries received
No cash alternative is available

The usual T&Cs can be found here. Good Luck!

Exclusive First Look at a Fantastic Dave Williams Poster for Tinker Tailor Soldier Spy

Jon Lyus — Fri, 09 Sep 2011 12:57:40 +0000

We’ve featured artist Dave Williams’ poster work on the site before but I think he’s outdone himself this time.

If you’ve not seen his work before then pop on over to his website www.davewilliamsdesigns.blogspot.com; the recent line of Marvel inspired poster artwork is particularly good but fans of all things Back to the Future should also check out his tribute posters there too. Maybe one day we’ll convince him to do a Bill & Ted one, eh?

The campaign for Tinker Tailor Soldier Spy has benefited from some excellent poster work but I think the subtlety and stark design on Dave’s take on it is my favourite piece of work so far. Dave does sell his posters on his website and if there’s demand for it then he says he’ll put this one up for sale as well. If you want one then let him know! UPDATE – Dave has listed it for sale on his site – check out the link above to head over and treat yourself.

You can follow the man on Facebook at www.facebook.com/DaveWillPosters and on Twitter @davewi11 and it’s always worth keeping an eye out on what’s next.

Here’s the poster – click to enlargify.

New Clips, Featurette and Poster for Tinker Tailor Soldier Spy

Jon Lyus — Fri, 09 Sep 2011 10:00:02 +0000

What better way to start your day than by meeting a barrage of new promotional material from Tinker Tailor Soldier Spy?

Exactly, there is no better way, so get feasting on the new poster, clips, featurette etc and get busy – the film is out next week in the UK and boasts the sort of fantasy cast most directors would give their left monocle to work with.

I had the chance to see the film this week and was very impressed, my review will be up on the site shortly but its qualities lie in giving you exactly what you expect in a way you would not. Everyone excels, but it was nice to see the younger actors given so much to do and Tom Hardy and Benedict Cumberbatch have rarely been better.

First up – a US poster.

Collider also found the following featurette, which has the actors talking up the film with Gary Oldman and his co-stars talking of Smiley as the ‘Anti-Bond’ and how his unassuming nature makes him the perfect spy. It’s a great look at the film, and if your appetite remains unwhet then there are two clips from the film below too.

The bottom line is that this film is good. Seriously good and should be seen as soon as possible. In a week’s time you’ll have the chance.

IFRAME Embed for Youtube

From The Sun.

From Empire,

Gary Oldman Will Return To Director’s Chair With His Eye On Colin Firth To Star

Kenji Lloyd — Tue, 06 Sep 2011 16:00:08 +0000

The legendary actor Gary Oldman has made a name for himself over the years with roles in massively popular films like Batman Begins and The Dark Knight, Leon, The Fifth Element, and Harry Potter, along with the electric buzz surrounding the upcoming Tinker, Tailor, Soldier, Spy, due out here on 16th September.

What Oldman is less well-known for, but equally well-received, is his abilities as a writer and director.

He made his feature debut in 1997 with Nil By Mouth, which won the BAFTA for Best British Film and a nomination for the Cannes Palme d’Or. Esquire, via the Daily Mail, have recently interviewed Oldman who now says that he’ll be returning to the director’s role for his second feature film, which is to be an as yet undisclosed remake.

And not only that, but he wants his Oscar-winning Tinker, Tailor, Soldier, Spy co-star, Colin Firth, for the planned project:

That sounds like a pretty damn awesome collaboration to me. Even the sense of intrigue about it, not knowing what it’s going to be a remake of, adds to the awesomeness of the project. Oldman is an incredibly talented man, and Firth has shown on many occasions that the same can be said for him, and so anything that the pair make together is sure to be brilliant. I’m already really looking forward to finding out more about this film, so you can be sure we’ll keep an ear to the ground waiting for more updates.

Exclusive New UK Poster for Tinker Tailor Soldier Spy

Jon Lyus — Fri, 26 Aug 2011 13:13:05 +0000

We’re very happy to be able to bring you this new and exclusive look at the latest UK poster for Tomas Alfredson’s Tinker Tailor Soldier Spy and it’s nothing if not consistent with the excellent marketing for the film so far.

Of its many assets the greatest the film has is surely its stellar cast with Gary Oldman leading John Hurt, Colin Firth, Ciaran Hinds, Mark Strong, Toby Jones and Tom Hardy in John LeCarre’s celebrated tale of George Smiley and the duplicitous world of the Secret Service.

Everything we’ve seen of the film thus far has only stoked the flames of anticipatory glee and if you’ve come late to the party do check out the trailer we posted yesterday as part of the coverage - the 1970s have been captured perfectly on screen by Alfredson and Oscar buzz is sure to follow along after the release, which is the 16th of September here in the UK.

Curious, espionagey types can decipher more about the film via the miracle of Facebook here or through the Twitter grapevine here.

Here’s your poster, click it to embiggen.

Everyone is a Suspect in the new Tinker, Tailor, Soldier, Spy Trailer

Jon Lyus — Thu, 25 Aug 2011 08:00:23 +0000

There are only a few weeks until we get to see Gary Oldman lead an epic cast in Tomas Alfredson’s Tinker, Tailor, Soldier, Spy and there’s a new trailer out today to make sure you all turn up on the 16th of September.

Kathy Burke, Colin Firth, Tom Hardy, Ciarán Hinds, John Hurt, Toby Jones and Mark Strong star alongside Oldman and there’s Moffat’s Sherlock Benedict Cumberbatch looking dapper as you like underneath his blond wig. We’ve seen quite a bit of footage already but this trailer gives a fairly swift overview of what we have to look forward to.

Tinker, Tailor, Soldier, Spy hits UK cinemas September 16th.

Hey Yahoo, you give good trailer.

Tinker, Tailor, Soldier, Spy, Poster, Benedict, Cumberbatch

Jon Lyus — Fri, 19 Aug 2011 14:00:31 +0000

Another day, another poster for the forthcoming Tinker, Tailor, Soldier, Spy big screen adaptation and it’s Benedict Cumberbatch’s turn to get the digital makeover.

The film is directed by Let the Right One In’s Tomas Alfredson and Gary Oldman, Kathy Burke, Colin Firth, Tom Hardy, Ciarán Hinds, John Hurt, Toby Jones alongside Cumberbatch and Mark Strong.

Great marketing for a film which is looking pretty great – we’ve not seen it yet but our spies are positive about it. Our tinkers, tailors and soliders have yet to comment.

Oi! Sky Movies? Thanks.

New Poster For Tinker Tailor Solider Spy Shows Marks Strong in Numbers

David Sztypuljak — Wed, 17 Aug 2011 14:00:01 +0000

Following on from the two posters that we saw yesterday, Optimum have released another new poster for their new movie, Tinker Tailor Soldier Spy. Today we get the fabulous look at Mark Strong who plays Jim Prideaux in the movie which is due for release 16th September.

The film is directed by Tomas Alfredson (Let the Right One In) and has a top notch British cast which, as well as Oldman includes Kathy Burke, Colin Firth, Tom Hardy, Ciarán Hinds, John Hurt, Toby Jones, Benedict Cumberbatch, and Mark Strong.

We’ve been loving all these posters. Just Benedict Cumberbatch, to go I think!

Source: Sky Movies

Two Awesome New Posters for Tinker Tailor Soldier Spy Show Colin Firth & Tom Hardy

David Sztypuljak — Tue, 16 Aug 2011 17:02:12 +0000

Much like the poster showing Gary Oldman a few weeks ago, Optimum Releasing have released these two new poster for their new movie, Tinker Tailor Soldier Spy and use numbers to create them.

We got to see two new clips from the movie over the weekend at Big Screen and to follow up nicely, we have these new assets. If you missed our live blogging from the event, you can see it here. The film is directed by Tomas Alfredson (Let the Right One In) and has a top notch British cast which, as well as Oldman includes Kathy Burke, Colin Firth, Tom Hardy, Ciarán Hinds, John Hurt, Toby Jones and Mark Strong.

Tinker Tailor Soldier Spy is out on 16 September 2011 and we can’t wait!

Source: Sky Movies

A Fantastic Second Trailer #2 Lands for Tinker, Tailor, Soldier, Spy

David Sztypuljak — Thu, 04 Aug 2011 13:21:59 +0000

Optimum have just released the second trailer (first here) for their new movie Tinker, Tailor, Soldier, Spy. If you’ve seen Captain America: The First Avenger, you probably saw this trailer in front of it . The film is directed by Tomas Alfredson (Let the Right One In) and has a top notch British cast which, as well as Oldman includes Kathy Burke, Colin Firth, Tom Hardy, Ciarán Hinds, John Hurt, Toby Jones and Mark Strong.

Tinker, Tailor, Soldier, Spy hits UK cinemas September 16th.

Video: Tinker, Tailor Soldier, Spy: Exclusive Movie Trailer

Source: MSN

New UK Poster & Mark Strong Image from Tinker, Tailor, Soldier, Spy

David Sztypuljak — Fri, 29 Jul 2011 11:45:25 +0000

Optimum have released this brand new poster for their new movie, Tinker, Tailor, Soldier, Spy which shows Gary Oldman looking rather menacing in this silhouette of him surrounded by various pieces of code. The film is directed by Tomas Alfredson (Let the Right One In) and has a top notch British cast which, as well as Oldman includes Kathy Burke, Colin Firth, Tom Hardy, Ciarán Hinds, John Hurt, Toby Jones and Mark Strong.

As well as the poster, we also have this new image from the movie which shows a rather receding Mark Strong. Tinker, Tailor, Soldier, Spy hits UK cinemas September 16th.

Source: LoveFiLM and Empire

First Trailer & Poster Released for Colin Firth & Orlando Bloom’s Main Street

David Sztypuljak — Fri, 22 Jul 2011 22:56:47 +0000

Magnolia Pictures have released the first trailer for their new movie, Main Street which I’d not heard of until right now. Seems odd as the cast is rather spectacular (mainly since it contains Colin Firth!). The Full cast list includes Colin Firth, Ellen Burstyn, Patricia Clarkson, Amber Tamblyn, Orlando Bloom and is helmed by director, John Doyle.

After watching the trailer, I’m afraid Main Street doesn’t interest me at all but maybe I need to give it more of a chance although the accents from Firth and Bloom are pretty interesting after the first listen! It’s released in the US 9th September and should be with us here in the UK some time after that (can’t find a date as yet).

Let me know what you think in the comments section below.

IFRAME Embed for Youtube

Source: Apple