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Best Time is on + Yeoh "hates" Cillian + Daily Record feature story + TOMB set visit
30 March 2007 at 02:10 AM | by Melty_Girl
There's much news to report, so we're going to have to tell you about our recent gallery and press updates later!
- The Best Time of Our Lives is a go
- Michelle Yeoh faux-hates on Cillian
- The Daily Record interviews Cillian on Sunshine, religion, and more
- Time Out London visits the Sunshine set to watch Capa battle God (sort of)
Cillian will play Keira Knightley's husband
It's no longer a rumour: Variety, The Hollywood Reporter, and other media outlets are reporting that Cillian's signed on the dotted line to join the cast of The Best Time of Our Lives, opposite Keira Knightley. As we first reported on 10 March, the movie will also star Lindsay Lohan and Matthew Rhys; check out our first blog entry and our Latest Work page for all the details about this project.
Michelle Yeoh's take on Cillian
Michelle Yeoh tells The Electric New Paper about Sunshine's pre-production group habitation for the cast: "There was a group of good-looking boys there." No kidding!
She calls Cillian an "amazing actor," adding,
"He is gorgeous. Rose [Byrne] and I have walked up to him and said, 'We hate you.'"
"Cillian is actually quite shy. Because his wife was pregnant, he was allowed to go home sometimes. So he couldn't join us so much in outings. Because he was such a good husband, we understood that. We forgave him for that."
Cillian on dorms, science, and God (or the lack thereof)
In Glasgow's Daily Record, Cillian says of the dormitory togetherness time,
"It wasn't like the ship—we could go out for meals and to the pub. Luckily everyone got on well. In the film, mine and Chris Evans' characters don't get on, but in real life we did and there was none of that animosity off screen."
So did he learn anything living in the dorm? Cillian chuckled: "That I'm a good people person and a reasonable cook. Would I do it again? No, once is enough."
About prepping to play Capa by meeting with top scientists, Cillian explains that he focused on grasping what makes these theorists tick:
"[Brian Cox and I] sat at the Holiday Inn bar talking about the meaning of life. He also took me round CERN where they are building this particle execrator which has a 24km circumference and is smashing particles together to recreate the conditions of the Big Bang. I didn't really understand any of it but what I was looking for more was the essence of what it is, what having all this knowledge or being a physicist can do. So I tried to steal mannerisms off these guys and get a sense of how they function as humans."
It's been widely reported in the past few days that making Sunshine caused Cillian to "lose his faith in God" (ContactMusic.com, et al). An agnostic doesn't really have faith in God to lose, so this seems to be a media exaggeration designed to generate controversy and attention. In the Record, he says of the Sunshine process and the big existential question,
"It got me thinking about life and religion, science vs. religion and all that. I was verging on being an agnostic and this film confirmed any of the atheistic beliefs I had."
Boyle: Capa versus God
The Time Out Movie Blog reports back from a visit to the set of Sunshine, and discusses the spiritual dimensions of the film with Danny Boyle:
Given, too, the script’s overtly spiritual underpinnings—"it’s about the effects on the crew of meeting their creator, which for some is God and for others is the star"—Boyle was determined to make the film as much of a psychological journey as possible, with the crew unravelling mentally, physically, existentially, and experiencing deep crises of faith. Indeed, Sunshine posits the kind of debate you’re unlikely to find in your standard blockbuster. "It’s a science versus God argument, as a guy who explodes his bomb—and literally stands inside it—defiantly argues that he can change the universe, whereas God argues, 'You can’t, this is my universe.'"
The TOMB article is filled with interesting new background info about the film; I found this particular anecdote from Boyle to be fascinating:
"...there are times when you have to make a difference, as space is basically the same in all films," says Boyle, who was keen to avoid the usual star field backgrounds (you can’t, apparently, see stars in space) but soon realised they were unavoidable. "I wanted space to be pitch black. We tried it and it doesn’t work. In some films, the star fields are there for prettiness, but in all films they’re there to give you a sense of movement. We had to compromise, but they’re very subtle."
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