Thor: The Dark World (2013)
Dir. Alan Taylor
MY THOUGHT: “In Production” means FILMING HAS ENDED - so, actors have finished their job - and all the filmed material is now being checked, processed by the visual and special effects departments, and prepared to get the final cut.
Also, the release date in 2021 is very likely to be respected, for the episodes will for sure be ready for that time.
Tom Hiddleston on his acting timeline
21st February, 2016
We live in an apparently transparent age. As Steven Spielberg said in an interview on the release of his film Bridge of Spies, which is set in the Cold War, “everyone is in everyone else’s bananas”. We live now in a time of near-total surveillance – almost everyone has a phone with a camera and an internet connection.
Social media capture the first spark of public opinion – something funny, more often something outrageous, occasionally something kind – whip it into a viral trend, and the flame grows with increasing intensity until it spreads around the world like wildfire.
This takes place in a matter of seconds. Like a murmuration of starlings, the swell of public voices can change shape seemingly of its own accord, with a newly reinforced power – at times to celebrate and unify, at others to humiliate and divide. It’s a miracle that there are any secrets left. Everything is everyone’s business. Which begs the question: in today’s world, how could one possibly get away with being a spy?
John le Carré has been as much the architect of our understanding of the world of spies – their milieu and their mystery – as he has been among the most sophisticated analysts of the British psyche and the creator of the most thrilling novels of the past half-century. For many, he is the primary interpreter of the reality of the Cold War.
The backdrop to his fiction was the state of political and military tension sustained between the US-led West and the Soviet-led East from the end of the Second World War until the fall of the Berlin Wall in 1989. Although both sides never engaged in full-scale combat, each was prepared for the possibility of all-out nuclear war, with the ever-present threat of mutually assured destruction.
This pervasive atmosphere of fear is woven into the fabric of le Carré’s great Cold War novels. His quiet heroes – Alec Leamas in The Spy Who Came In from the Cold, George Smiley in Tinker Tailor Soldier Spy, Magnus Pym in A Perfect Spy – were flawed, full of doubt, haunted by moral ambivalence, by their conscience, by the hypocrisy of having to do bad things for a greater good.
It’s a world now familiar to millions of readers: Savile Rows suits, code names, the “Circus” – le Carré’s name for MI6 – basement flats in Pimlico, safe-houses in Paddington, and back-stairs committee rooms in Whitehall. A world of paranoia and intrigue and secrets, far removed from the world where everyone knows everything about everyone else – the world we know today.
Or is it? To my mind, it feels as though there are still so many secrets, so many private conversations behind closed doors in the corridors of power. I don’t doubt that the business of government and the intelligence and security services remains undisclosed in the interests of national security and international relations. But their work remains opaque and mysterious.
Prime Minister David Cameron called a vote in Parliament on whether Britain should participate in air strikes against Islamic State in Syria, in the wake of the attacks in Paris, notably at the Bataclan concert hall. We were assured by our representatives on both sides of the House that air strikes would be reinforced on the ground by 70,000 moderate Sunni forces.
This intelligence, we were told, had come “from the highest level”, and was presented as conclusive evidence of the legitimacy and validity of the Government’s decision to send in British aircraft. This intelligence may never be disclosed to the British public.
About such things, we remain in the dark. We have been here before.
But the crucial reference in Parliament to the work of the security services, at such a critical hour, hints at the important and dangerous nature of intelligence gathering in today’s world. There is, behind the curtain, a complex network of interests and relationships, upon which depend our national security. This milieu is le Carré’s métier.
The action of The Night Manager takes place in the present. I play Jonathan Pine, a former British soldier with a service record in the Iraq War of 2003, who is discovered working as the night manager of a hotel in Zermatt, Switzerland, and is recruited by an intelligence operative named Angela Burr (Olivia Colman), working on the fringes of MI6.
Pine is sent in to infiltrate the inner circle of British expatriate Richard Roper (Hugh Laurie), who is selling British and US certified weapons to the highest bidder in the Middle East, and is (literally) getting away with murder. Richard Roper, in le Carré’s words, is the ‘worst man in the world’.
On the face of it, the political backdrop of The Night Manager bears little resemblance to Smiley’s world, but there are striking similarities. We no longer fear the outbreak of nuclear war between East and West, but we now have other forces of enmity and darkness, which give us even greater cause to be frightened.
Our enemies in the past decade have presented themselves in the form of extremist jihadist groups – the criminal anarchy of al-Qaeda or the barbaric evil of Isis, and the ground seems continually to shift beneath our feet. In the attempts of the allied powers of the West to confront these new threats, they take on the character of a terrifying, many-headed Hydra: chop off one head and two more will grow back in its place. The world is as dangerous as ever.
John le Carré’s anger is righteous in this respect. One can sense the writer’s rage that a man such as Richard Roper, recipient of a British education and inheritor of all the freedoms of British democracy, uses his privileges and the benefits of his inheritance to do the worst things imaginable.
He finances a life of luxury – yachts, jets, villas in Majorca – from the criminal sale of the most dangerous chemical weapons on the market, without a care for those who may become the victims of those weapons. Richard Roper trades in death, profits from it, and laughs.
There is no doubt he is charming: the devil plays all the best tunes. But he is a cynic and a nihilist and a psychotic, who has completely divorced himself from the consequences of the violence from which he profits, and lives according to his own law.
And the spies? The nature of information sharing may have changed in the digital age. The riots in Cairo during the Arab Spring uprisings of 2011, which brought about the resignation of former Egyptian leader Hosni Mubarak (the opening scenes of The Night Manager), were mobilised through Facebook, but the innate courage and the skillset of the spy remain the same.
A spy must possess an almost unnatural ability to dissimulate, to hide in plain sight, and a capacity for self-effacement and self-invention, which in itself is dangerous. We construct our identity and self-esteem by telling the story of ourselves to ourselves, and we reinforce that narrative with the reflections we receive back from the outside world, from our family and our friends.
A good spy suppresses that self (almost to self-denial) and extinguishes that narrative, accepting and embracing the mutability of identity and the malleability of public personae. But when all is said and done – after so much self-erosion – is there anyone left on the inside? All of le Carré’s protagonists, from George Smiley to Magnus Pym to Jonathan Pine, can be identified by their vulnerability, their loneliness and their doubt, but also by their defiance and perseverance – to continue to work in the service of a cause, in spite of immense risks to their health and security.
Jonathan Pine is described in le Carré’s novel as a “sometime army wolfchild, perpetual escapee from emotional entanglements, volunteer, collector of other people’s languages, self-exiled creature of the night and sailor without a destination”.
Richard Roper’s misanthropic misdeeds light a flame within Pine that provides him with a destination: a certainty, a moral integrity, which later gives him inner conviction and self-definition behind the exterior performance of his many personae. He’s an immaculate performer – but he’s on fire on the inside.
John le Carré’s heroes – while riven by doubt and isolated by their secrecy – become heroic by virtue of their self-sacrifice for the greater good. In The Night Manager, le Carré supports Burr and Pine’s pursuit of Richard Roper and the means by which they pursue him, because he sees and admires the essential courage in their call to action. As Martin Luther King said: “He who passively accepts evil is as much involved in it as he who helps to perpetrate it. He who accepts evil without protesting against it is really cooperating with it.”
Angela Burr and Jonathan Pine choose to protest against the evil of Richard Roper in the bravest, most dangerous way imaginable. Pine must live, under cover, within the jaws of the beast, knowing that they could snap shut at any time. And if ever that cover is blown, he’s a dead man.
Tom Hiddleston demonstrating just how formidable John Le Carré was in his interpretation of a disgruntled diner, during filming of ‘The Night Manager’
Have a beautiful day ❤️
“She could not help thinking of the age-old question every woman asks herself at some time or other: do I have to swallow it?”
~ Patrick Melrose, Never Mind
By Jada Yuan September 18th, 2015
The screaming fans usually pressed up against barricades along the red carpets of the Toronto Film Festival have had a Benedict Cumberbatch–size hole to fill this year. Lucky for them, another dashing Brit, Tom Hiddleston, who happens to be Cumberbatch’s BFF, had two movies premiering here. (And he was announced as the star of King Kong: Skull Island the day after this interview.)
Up first was the Hank Williams biopic I Saw the Light, in which Hiddleston tries on an Alabama accent and yodels and strums his way through the honky-tonk singer’s greatest hits in such convincing fashion that the audience at my screening would often burst into applause at the end of songs. Then came the premiere of High-Rise, a gonzo adaptation of J.G. Ballard’s 1975 dystopian sci-fi novel from director Ben Wheatley (Kill List, Sightseers), in which the residents of an ultramodern, luxury high-rise start ignoring societal rules and descend into orgiastic chaos. I am happy to report that both movies involve Hiddleston getting very naked and having very sexy sex (with Elizabeth Olsen in Light and Sienna Miller in High-Rise). We caught up with him amid the festival madness to talk orgies, whether he misses Marvel villainhood, and why it was important to show his butt in Guillermo del Toro’s Crimson Peak.
So, High-Rise: Whoa. Had you seen it before watching at the premiere?
I’d seen it once finished, about three weeks ago. I mean, I knew it was going to deliver that kind of experience. I knew when I read the script, and again when we were shooting it, that it was going to have a playful, provocative element to it. What did you think?
It was batshit. I’m still trying to process. I loved how in the Q&A, director Ben Wheatley said whether you find the movie brilliant or appalling “depends on where you stand on orgies.”
What’s my stance on orgies? Listen, if it floats your boat, who am I to stand in judgment? I’ve never been in any real-life context like some of those. I think [author J.G.] Ballard was always, particularly with High-Rise, fascinated by extremity, and what happens to human beings in the most physically and psychologically extreme situations — that actually the mask of civilization is a thin veneer. We’re only one sort of neighborly argument away from all-out chaos and murder, and descent of sort of going back to the jungle. I really think he was just quite rigorous about always taking it to its end point. He never stopped at the boundaries of good taste.
I mean, the opening line of Ballard’s novel is, “Later, as he sat on his balcony eating the dog, Dr. Robert Laing reflected on the usual events that had taken place within this huge apartment building during the previous three months.” So you’ve got him eating a dog and immediately kind of pushing the sympathies of his readership, saying, “This is what you signed up for.”
What was that shoot like? Did it devolve into chaos, too?
Weirdly, it felt quite contained, but in the best way. It had to be. The way the film was structured, we all shot from 8 a.m. to 6 p.m. every day, and it was quite rigorously controlled. We never went over because Ben needed to save the money for the visual-effects shots of the exterior of the building. So it was, for an actor, a strangely regular day job. We would turn up and go mad, and then pack up and go home.
And be covered and dirt and blood.
Yeah, to shoot it was enormous fun because there were so many parties where it was about lack of inhibition and dancing and being mischievous. It felt like a very mischievous set. And so any things we came up with on the hoof, you know? We knew Laing and Royal had to play squash. We didn’t quite know how we were going to shoot it until we spent a day in a squash court, and I love that scene. You never see that. You sort of never see that stage.
Did you party after the 6 p.m. end of day?
No. [Laughs.] We had very sedate dinners. We shot it in a town called Bangor in northern Ireland, which is by the sea, this very beautiful northern Irish seaside town where they do fish and chips and Scotch eggs, so we would wash off the blood and the paint and the soot and the dust, and go and have a quiet piece of fish and a glass of wine, and get to bed and get ready for the next round the next day.
Between High-Rise, I Saw the Light, and the Crimson Peak trailer, I’ve seen your butt three times in the last couple of days.
Wow. I apologize unreservedly.
Do you have any qualms about doing nudity?
I don’t, particularly. If it’s justified in the storytelling, I absolutely have no problem with it. That’s sort of my condition, if I can see where it fits into the story. In fact, in Crimson Peak, I really pitched for that scene because it’s about the twin energies of sexuality and violence, these polar opposites. Gothic romance is actually all about sex and death, and there’s always an undertone, whether it’s Northanger Abbey or Jane Eyre or The Castle of Otranto. The proximity of death and our fear of it, but also the fact that we’re impelled by our sexuality towards things and towards choices and people is actually what gothic romance is about. Guillermo and Mia and myself all agreed that that sex scene had to be quite powerfully realized.
The trailer is very steamy.
The movie is absolutely beautiful. It’s certainly the most beautiful film I’ve ever been in. It’s a gothic fairy-tale, so it has an extraordinary integrity in its design. It looks like a painting, and every single frame you disappear into in a way that perhaps only Guillermo del Toro can imagine. And it has an extraordinary sincerity, which is unique for our time, because there’s a lot of quite glib storytelling, and some of it’s very assured and successful, and some of it, you wish as though there was a little bit more heart and soul. I love that Guillermo has told this story very sincerely about a young woman who falls in love with somebody, a man, who has a mystery, and behind the veil of that mystery, actually a whole load of dark secrets, and she ends up having to save herself, and it’s kind of a fable, really, about survival and independence, and finding out who you really are.
You’re going to be back in the Marvel world as Loki with Thor 3, yes?
I don’t know that I am. I haven’t spoken to anybody at Marvel for two years. So I literally — there’s no side to it. I just don’t know.
Did you have villain envy watching Avengers: Age of Ultron?
Ha-ha. No. No. I was good.
You don’t miss it?
I enjoyed the film enormously. Of course I did, and it made me feel proud of all those guys. They’re all old friends now. But, no, I had really fulfilling, interesting year last year. I did Crimson Peak, High-Rise, and I Saw the Light in one straight year while they were shooting Age of Ultron, so I was happy. I was busy.
You sang beautifully in I Saw the Light. There were some moments when you were doing Hank Williams’s songs that, afterwards, the audience burst into applause.
I’m so glad to hear you say that. That was the most challenging, the most difficult, and the most joyful aspect of the film for me.
There’s been some blowback about you not being southern, or even American. How do you reconcile that?
Well, it’s in my makeup somehow that when people tell me I can’t do something, I want to prove them wrong. It always has been. But of course I kind of expected that before I signed on. The only way I can explain it is from my own perspective, which is, as an actor, I’ve always been most compelled by unknown territory. I like to think of myself as a correspondent sort of going off into foreign territory and scratching around and bringing back my findings. I hoped that the fact that I was not American and not from the South and there were so many things that I wasn’t born with actually made me more committed to honor Hank Williams, his family, his legacy, even more. It gave me kind of a deeper, more profound desire to get it right.
Have you met the family?
I’ve met Jett, Bobbie Jett’s daughter, and I’ve been in touch with Holly, his granddaughter, who’s a musician in her own right. She saw the film, and she wrote me one of those letters that you keep forever, which is really actually all I need. I mean, people know Hank Williams, but they only know some of his songs; they don’t know the circumstances of his life. But I can tell you — and I mean this really sincerely — it was such a pleasure to make that music. The thing that caught fire about Hank was his honesty and his authenticity, and the reason he became a star is because he wrote from his heart, and he sang from his heart, and he was singing about being in the doghouse or being so lonesome he could cry. Men and women in the wake of the Second World War, across the South, across America, were like, “That guy is the real deal. He has this brazen full voice, and he’s singing about me. That’s what my life is like.” That was just a really powerful inspiration as an artist. For someone to be so truthful and say, “This is who I am. I’m going to put this out there, and I hope you can relate to it.”
Are you still singing?
Yeah! I still have my Gibson J-45. Sometimes I even travel with it. I mean, it’s addictive.
For the record I hate the sensationalism of this headline. But there are some really great soundbites from Tom and he does a magnificent job of ignoring the reporters thirst, so it’s still worth a read.
‘[The Loki hairstyle is] very Seventies. If we ever did a Loki origins story he should be running a Seventies nightclub, I think. Opening scene, you’d see him burst through the double doors, wearing a really lean floral suit, ‘Sympathy For The Devil’ on the soundtrack, say hello to a few girls, get on the decks to spin a few tracks, his hair looking sleek and menacing.’
Tom Hiddleston, GQ Magazine 2013
A/N: the first story written from my new set of requests. Requested by @xxloki81xx Should your request still be open I would love a dad!Tom (Hiddleston) x reader if possible?? Maybe something along the lines of Tom not know just how you do it without getting overwhelmed with him being away filming so much and dealing with full time work of your own and having young kids etc.
Pairing: Tom Hiddleston x Reader (more of gen fic)
Summary: Tom is left to parent his twin sons, Henry and James while the reader takes a much needed vacation. It is not as easy as he thought.
Warnings: None, pure fluff.
The Whole Enchilada: @winterisakiller @nonsensicalobsessions @yespolkadotkitty @hopelessromanticspoonie @pinkzz123 @jessiejunebug @cherrygeek86 @littleredstarfish @rjohnson1280 @the-minus-four @wiczer @lotus-eyedindiangoddess @catsladen @coppercorn-and-cauldron @gerli49 @lovesmesomehiddles @devilbat @he-is-chaotic-she-is-psychotic @tinchentitri @theheartofpenelope @noplacelikehome77 @otakumultimuse-hiddlewhore @snoopy3000 @voila-tout @wolfsmom1 @queenoftheunderdark @xxloki81xx @thewaithfuckingannoyme @kcd15 @amirra88 @malkaviangirl @evanlys19 @thejemersoninferno @sadwaywardkid @is-it-madness @sweetkingdomstarlight-blog @peterman-spideyparker @caffiend-queen @sleepylunarwolf @anagrom @bradfordbantams @ms-cellanies @what-just-happened-bro @stubby-toe-589331 @alexakeyloveloki @loki-smut-library @imnotrevealingmyname @trippedmetaldetector @tea4sykes @noambition-blog @sherala007 @vodka-and-some-sass @cursethedarkness @jewels2876 @fixatedfandomhunter @myraiswack @lokikenway97 @groovylokifanficpersona @ciaodarknessmyheart @bitchcraft-at-its-finest @hanyasnape @lokislastlove @stuckysdaughter @theunwantedomega @dryyoursaltyoceantears @petitefirecracker10 @thummbelina @andreasworlsboring101 @krazycags01 @howaboutash @thehumanistsdiary @daddylouislittle @flakyfreak @sigyn-nightshade @green-valkyrie @usedtobegoodfriend96 @salempoe @traumschiffe @letsdisneythings @arch-venus25 @thefuckthesaurus @karushinekomiya @black-ninja-blade @worshipping-skarsgard @songbirdonamission @freakishlyadorable @xxxeatyourh3artoutxxx @rorybutnotgilmore @give-him-a-banana @idontevenknowwbro @nikkalia @lokilvrr @slutforhiddlebum @make-it-rien @nildespirandum @kimanne723 @build-a-bucky @ladyacrasia @dangertoozmanykids101 @mandywholock1980 @vengrl @delightfulheartdream @creator-appreciator @loki-yoursaviourishere
Hiddles: @hiddlesbitch1 @drakesfiance @obtain-this-grain @unfortunatelyymuggle @theoneanna @too-cold-for-youhere @ladyblablabla @lokixme @mishaandthebrits @blackcherry26-blog @jade10077 @loki-yoursaviourisherethings @bluefrenchfries604 @rosierossette @donotwakemeupinside @lots-of-loki @dr-kayleigh-dh @sxlvertonguex @justmylife0 @villainousshakespeare @heylals @cateyes315 @galagcica @my-mind-was-lostintranslation @weirdfangirl2416 @antihero4967 @theatrelove3000 @myblissfulparadise @fallonavengers @songbirdonamission @chezagnes @doctorppwhouffle @fantasydevil2002 @deangirlsworld @last-saturday-night @mfdisco @brightsun-and-darkmidnight @sinfully-lustful-darling @bobdewasbeer @tosia @introvertedrambling @marvelfamily3000 @cynic-spirit @luke-windsors-diary
Tagists are open! Please let me know if you wish to be added!
One Month Earlier
“Honestly, dear, it can be all that bad. You used to run entire movie productions before this.” Tom scoffed at his phone screen.
You narrowed his eyes at him. “Which pales compared to raising your children. James and Henry are one hundred times worse than any prima donna movie star. They get that from their father.”
Tom resisted rolling his eyes. “You’re a real comedian. You missed your calling.”
“Well now, the only calls I answer are the boys screaming ‘Mum!’ or ‘No!’. That is my life now. I was done with people bossing me around when I stopped being a production assistant.”
Tom smirked. “You wanted kids.”
“One at a time. Not twin boys who are hell bent on taking this house apart brick by brick.” Someone knocked on Tom’s trailer door. You sighed. “Go.”
Tom smiled. “I’ll be home in a month.”
You smiled back even as James snuck behind you and whacked your leg with something hard and plastic. “I miss you and I love you.”
“I love you too, darling. One month.” He blew a kiss at the phone before switching off the phone.
You placed the phone on the kitchen counter and spun around to find both of your sons behind you. They hid their weapons of choice behind their backs. Their faces sticky with some dark unknown substance you were afraid to guess as to its origin.
“No hitting Mummy while she is talking to Daddy.” you scolded.
“DADDY!” they screamed in unison.
“Not for another month. Time for a bath and then bedtime.”
“NOOO!!” The three-year-olds took off through the house, blond curls bouncing.
“James Thomas and Henry William Hiddleston, if you make me chase you…” Your voice trailed off. You didn’t even have the energy to finish your empty threat. Instead, you picked up the now discarded play sword and what was once a toy tennis racquet and ambled towards the boys’ favorite hiding places.
Throwback Tom Tweets: 17th September 2015
Tom welcomes GDT to Twitter (and it’s pretty adorable)