NI producer who worked on hit TV show Severance among Ulster University's honorary grads
The list of honourees includes director and producer of gripping AppleTV+ series Severance, Aoife McArdle, Netflix VFX Executive Laura Livingstone, Belfast-born kickboxing legend and businessman, Billy Murray, and director general of Europe's biggest conservation charity, The National Trust, Hilary McGrady.
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Time Out
28 minutes ago
- Time Out
Sadie Sink on the vulnerability of her star turn on Broadway
At the tender age of 23, Sadie Sink is already a Broadway veteran. She made her Main Stem debut as a standby ragamuffin in the 2012 revival of Annie and later assumed the title role. A few years later, in 2015, she was a young version of Elizabeth II in The Audience. (The older version? Helen Mirren.) Since then, she has achieved nationwide fame for playing troubled teens on Netflix's Stranger Things and the Brendan Fraser drama The Whale. But none of those teens was quite as tormented as the one she currently plays at the Booth Theatre in John Proctor Is the Villain. Kimberly Belflower's suspenseful drama, directed by Danya Taymor, centers on a group of high school girls in rural Georgia who draw connections between Arthur Miller's The Crucible and sexual situations in their own lives; Sink is Shelby, a classmate who returns after a lengthy and mysterious absence. 'Shelby is one of the most meaningful characters I've ever played,' Sink says. 'It's been the thrill of my career so far.' Her star turn has earned her a Tony nomination for Best Lead Actress in a Play. We spoke with her about the excitement of Tony season, the demands of her role and the songs that help her get into character every night. In advance of the Tony Awards on June 8, Time Out has conducted in-depth interviews with select nominees. We'll be rolling out those interviews every day this week; the full collection to date is here. Interviews have been edited for length and clarity. How have you been processing the madness of Tony season? It's the biggest thing that's ever happened to me! One thing that keeps me focused is that I still have to do my job; we're still doing the show eight times a week. That's been a challenge, but also something I've been super appreciative of. And the part is challenging enough already! What do you think are Shelby's strongest qualities? Shelby is incredibly smart—that's not so obvious to other people—in a way that's beyond her years. What drew me to her was her honesty, which I think is something a lot of people struggle with. Personally, I could never be as honest and blunt as Shelby is. I was really drawn to how she can maintain that quality throughout the trauma she's suffered, and the way she carries that trauma in such a complex, beautiful, messy way. Digging into that and peeling back her layers was such a long process—and one that I feel like I didn't actually have a full grasp on until right before opening, to be honest. How has the role evolved for you over time? In rehearsal, we got into some of her wackier and nerdier sides, where she's a little bit more energetic and awkward. In previews, we stripped that back and brought back some of my initial instincts; we grounded her a bit and found places for her to relax so that the audience could see the many dimensions of who she is. I learned so much from exploring and pushing the boundaries of a character and then reeling it back in. That's all thanks to Danya; I saw her do that with every actor in this ensemble piece. What do you remember about her directing you for your big scene with Amalia Yoo's character? I think it's the most beautiful scene in the play, but I'm biased. You get to see a vulnerable side of Shelby. This scene went through many phases. It felt awkward at first; there's a wall for her in letting her vulnerability peek through, because until that point she doesn't let you see that anything is wrong. Letting that go, in a really honest way, took some time to unlock— especially when you add an audience, because we're sitting on the edge of the stage for that scene. There might be people in the audience that are just seeing Max from Stranger Things, so there's automatically a wall that I, as Sadie, am putting up. But Danya made me feel I had permission to let that down. She told me something that shifted how I approached the scene: That any choice I make, anything I say, has nothing to do with me. It's only Shelby. And if I can just be a vessel for her, then the vulnerability can open up and it can feel honest. That was so important to hear from a director—for her to call out the anxieties that I have in that area, and allow me to feel safe and protected. The play gets intense at some points. How do you get into character? There are 30 minutes in the play before I go on stage. So while everybody else is warming up, I'm not; I wait until everyone else is on stage, and that's my warm-up time. I have the space to get into character, because it's so quiet backstage. I have a few songs that are triggers, or that help me associate with Shelby. If I listen to one of those songs, then I'm good. I've been listening to 'Limp,' by Fiona Apple. I think Shelby would love Fiona Apple. Also, 'Liability (Reprise)' from Melodrama by Lorde. That's a huge one. It's weird how much muscle memory comes into play. We've done the show so many times at this point; each show feels different, but your body knows what to do and knows what you need to access at different points. That's been a huge learning curve. It doesn't get worse or less true the more you do it. It becomes second nature, and you find different things in the performance that stick out. Is there a line in the script that particularly speaks to you? This week's line was in the gas station scene. It's when Shelby says, 'I think I'm going to be super messed up for a really long time, but I don't know if I'm fully equipped to start that journey right now.' That was always my favorite in rehearsals, but it really came back around this week; it's such a mature thing for her to say but also so heartbreaking. I was emotional thinking about what the rest of Shelby's life looks like, carrying what happened to her. How do you wind down after a performance? At the end of the show, I'm so winded from that last dance. I've given all the energy I have left. I have 45 minutes in the car where I can listen to music. When I get home, I pretty much go to bed. I would be remiss to not ask you about Charles Strouse, the composer who wrote Annie and passed away recently. What do you remember of him? It was really heartbreaking to hear and made me appreciate my time in that show. I met him at the opening night party for Annie. What he did for Annie —that kind of raised me in a way. That's the legacy he created and I'm so appreciative of him. What do you remember about going on in the role of Annie for the first time, after Lilla Crawford had left the production? I'm still friends with Lilla—she's a good friend of mine. Once she left, me and another girl shared the role. I remember the first time I went on for Duffy, the first orphan I played, but I can't remember the first time I went on as Annie. I do remember a put-in that we did: I thought it was so bizarre that the casting directors showed up, and maybe [director] James Lapine and [choreographer] Andy Blankenbuehler. I later realized that that was my audition to step in as Annie. It felt very adult and very serious. I cannot believe someone trusted me to go on stage and do that. Mia Farrow, who is also nominated in your category, recently came to see your performance. How did that go? It was amazing. She did The Roommate at the Booth, so she knew a lot of the crew that worked there. She really loved the show. And I love her so much. She is so kind. I got to meet her at the Tony nominees luncheon. She was like, 'Who do you want to meet?' I said, 'Jonathan Groff.' So she introduced me—which was huge. I will never forget that. What did you say to him? I just said I was such a big fan. I think that's all I said. I hope I can meet him again soon, because I'm obsessed with him. Have you been able to see him yet in Just in Time? No, because we're on the same schedule. The weird thing is, even if you aren't on the same schedule as another show—if you have a night or an afternoon off—it's hard to get yourself to midtown to sit through another show. But I did get to see Oh, Mary!, which was awesome. Maybe you'll get to see him again at the Tonys. Who are you bringing as your date? My brother!
Scotsman
42 minutes ago
- Scotsman
Every Guillermo del Toro film: All of the Frankenstein director's films ranked, from best to worst
With his love of monsters, it is no surprise that Guillermo del Toro has directed more than his fair share of creature features. From his debut film Cronos, a horror film about an otherworldly Scarab to his Oscar-winning Gothic romance The Shape of Water, the Mexican director is no stranger to the unusual. And regardless of genre, all of del Toro's filmmaking is imbued with a distinct visual flair, making his upcoming adaptation of Mary Shelley's Frankenstein feel all the more appealing - especially since we know that many scenes for the film were shot around Scotland. So if you witnessed the crew of del Toro's 'Prodigal Father' filming in Edinburgh last year and are wondering what else he has to offer, we've taken a look back at his previous work. Based on Rotten Tomatoes reviews, here are all of Guillermo del Toro's films ranked from best to worst. 1 . Guillermo del Toro's Pinocchio (2022) With 96% on Rotten Tomatoes, Guillermo del Toro's Pinocchio is a 2022 stop-motion film which is based loosely on the 1883 Italian novel. Released on Netflix, critics praised the film – which stars Scottish actor Ewan McGregor – for its dark take on the tale of Pinocchio. | Netflix Photo Sales 2 . Pan's Labyrinth (2006) Falling slightly behind his most recent film is Pan's Labyrinth. Released in 2006, the dark fantasy received a 22 minute-long standing ovation during its Cannes premiere. It is widely considered one of the best fantasy films ever made and won a number of awards – including three Oscars. | Getty Images Photo Sales 3 . The Devil's Backbone (2001) Released in 2001, The Devil's Backbone is a Gothic horror film about a 10-year-old orphan who is sent to Santa Lucia School, where he uncovers its secrets including the ghost which wanders the grounds. Set during the Spanish Civil War, the film has a Rotten Tomatoes score of 93%. | Getty Images Photo Sales 4 . The Shape of Water (2017) Widely praised by critics upon its release, The Shape of Water saw del Toro win Best Picture and Best Director, as well as two others, during the 90th Academy Awards. The fantasy-romance film stars Sally Hawkins, Michael Shannon, Richard Jenkins, Doug Jones, Michael Stuhlbarg, and Octavia Spencer. | AFP via Getty Images Photo Sales Related topics: FilmEdinburghScotland
Daily Mirror
an hour ago
- Daily Mirror
Verstappen slaps away Netflix microphone during Norris chat at Spanish GP
Max Verstappen spotted a Netflix microphone listening in to a conversation with Lando Norris as he batted it away having previously aired his frustration with the docu series Max Verstappen was seen slapping away a Netflix microphone whilst he chatted with Lando Norris at the Spanish Grand Prix. The Red Bull driver has previously been a critic of the docu series. Verstappen remains the biggest draw on the Formula 1 grid and there is even more attention on him given the struggles he's experiencing this season. It is Norris' McLaren that is the fastest package on the grid, putting him and Oscar Piastri ahead of the Dutchman. Verstappen was chatting with Norris during the race weekend and a microphone was dangled over the pair, only for the Red Bull driver to slap it away. The four-time world champion will need a huge turnaround to win a fifth on the bounce. He endured a difficult weekend in Barcelona and Netflix has attempted to get the most out of the season's biggest storylines. However Verstappen has aired his frustration with how the series can be pieced together, showing an unfair narrative. After Norris won the Miami Grand Prix last year Netflix showed Verstappen's reaction following the Dutch Grand Prix, which took place three months later. The Red Bull driver has previously refused to feature in seasons three and four of the Netflix series - claiming that storylines had been created and engineered in seasons, some of which he didn't agree with. He changed his tune after talks with Netflix executives. Back In 2021, he said: 'I understand that it needs to be done to boost the popularity in America. But from my side as a driver, I don't like being part of it. They faked a few rivalries which don't really exist. So I decided to not be a part of it and did not give any more interviews after that, because then there is nothing you can show. I am not really a dramatic show kind of person, I just want facts and real things to happen.' Norris has been equally critical and said: 'They need to show the truth about people more. I'm not a fan of fake stuff. I want facts, I don't want made-up scripts and fabricated nonsense, which there is. The portrayal of Max and how we were against each other so much. They don't need to create. 'There's drama, they can just show the facts of the drama. They don't need to do anything more than that. They need to come back to reality a bit more, it's drifted too far away.' Netflix's docu series has been a massive reason for the sport's rise in popularity. Key metrics have continued to show that people have embraced the sport, largely because of Drive To Survive, with attendances up and new audiences being captured.
