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28 Years Later director Danny Boyle addresses Cillian Murphy's absence

28 Years Later director Danny Boyle addresses Cillian Murphy's absence

Wales Online2 days ago

28 Years Later director Danny Boyle addresses Cillian Murphy's absence
After starring in 2002's '28 Days Later' as protagonist Jim, the future of Murphy's character was left undecided alongside fellow survivor Selena – as portrayed by Naomie Harris
A still from the 28 Years Later trailer
(Image: Sony Pictures )
'28 Years Later' director Danny Boyle has teased "we don't know what's happened" to Cillian Murphy's Jim by the events of the movie.
After starring in 2002's '28 Days Later' as protagonist Jim, the future of Murphy's character was left undecided alongside fellow survivor Selena – as portrayed by Naomie Harris – and now Boyle, 68, has insisted the fate of Jim and Selena is still unknown by the events of the sequel '28 Years Later'.

Speaking at a fan event in New York City about '28 Years Later', the filmmaker said: "So, it's independent from the first film, but it's still the same apocalypse 28 years later as it was for Cillian Murphy in the first film and Naomie Harris."

Even so, the filmmaker insisted the two new protagonists in '28 Years Later', as played by Aaron Taylor-Johnson and Jodie Comer, were "more than worthy stand-ins" for Murphy's Jim and Harris' Selena.
He continued: "But this is 28 years later, and we don't know what's happened to them [Jim and Selena]. I'm not allowed to tell you, but these two are more than worthy stand-ins."
Following '28 Days Later', the story was continued in the 2007 sequel '28 Weeks Later', which didn't feature Murphy's Jim and was directed by Juan Carlos Fresnadillo instead of Boyle.
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'28 Years Later' follows Jamie (Taylor-Johnson) and Isla (Comer) as they leave their tight-knit island community after their 12-year-old son Spike (Alfie Williams) embarks on a coming-of-age journey beyond the safety of the island, forcing the family to come face-to-face with the Rage Virus.
'28 Years Later' producer Andrew Macdonald previously insisted Murphy's Jim wouldn't feature in the blockbuster, though the actor was still involved in the project as an executive producer.
Macdonald told Empire: "This, we wanted him to be involved and he wanted to be involved. He is not in the first film, but I'm hoping there will be some Jim somewhere along the line.

"He's involved at the moment as an executive producer, and I would hope we can work with him in some way in the future in the trilogy."
After '28 Years Later' – which hits screens on 20 June 2025 - Boyle and writer Alex Garland are set to return for the follow-up '28 Years Later Part II: The Bone Temple' in January 2026, and its sequel.
Garland explained it felt like the "natural form" of '28 Years Later' was a trilogy.

He said: "This is very narratively ambitious. Danny and I understood that. "We tried to condense it, but its natural form felt like a trilogy."
Boyle added the '28 Years Later' films would be a "wholly different approach" to what had already been seen before in the series with '28 Days Later' and '28 Weeks Later'.
The director said: "It was about what that 28 years gives you."

Ahead of '28 Years Later's theatrical release, Boyle urged fans to "support the apocalypse", as the completion of the horror trilogy hinged on the performance of the first two entries.
Speaking at CinemaCon in Las Vegas, he said: "We've finished the first film, we've shot the second, however, we don't have finance for the third yet.
"[Sony Pictures Chairman/CEO Tom Rothman] seems like a nice guy, but he hasn't given us the finance for the third, and that's where [exhibition] comes in.
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"So please, do us proud in your cinemas on June the 20th and support the continuing apocalypse."

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You be the judge: should my husband stop slapping food on my plate so artlessly?
You be the judge: should my husband stop slapping food on my plate so artlessly?

The Guardian

time4 hours ago

  • The Guardian

You be the judge: should my husband stop slapping food on my plate so artlessly?

When Jim makes curry, it's dolloped with the precision of a toddler doing finger painting My husband of 25 years, Jim, doesn't cook often, but when he does the presentation is shocking. It's a running joke in our household. When I cook – which is most of the time, because I enjoy it – I take time to present things properly. Everything looks orderly and is nicely arranged. But with Jim, it's a case of just throwing everything on the plate. My meal will look as if it's just lost a bar fight. It's a mess. I am usually out working late when Jim cooks, so I do really appreciate coming home to a cooked dinner. But presentation is not his forte. The peas will be in the gravy, and the sausages will be precariously placed on top of the mash and the vegetables. I like everything to be separate on the plate so you can see what you're eating and really enjoy it. I'm not fussy, and I don't really have issues with food touching; it's just that I don't like being handed a plate where you can't tell what's what. When Jim makes curry, it's dolloped with the precision of a toddler doing finger painting. Food sliding off one side of the plate isn't fun to eat. Neither is having to pick the vegetables out from under the meat. It hinders the dining experience because it feels as though your food is trying to make a break for it. Our daughter, Amanda, called Jim's attempt at presenting food 'abstract expressionism', which I thought was quite funny. I know Jim means well, but when he hands me a messy plate it feels as though it's been made with less care. When I cook, my thoughtfully arranged plate says, 'Darling, I made this for you.' When Jim cooks, his plate says: 'Here. Eat.' I'd love a little more tenderness. It takes 30 seconds to arrange things properly on the plate. Maybe – dare I dream? – he could wipe the edge of the plate with a tea towel and clear up any loose bits of food. I'm not asking for a Michelin star. I'm just asking him to treat the plate with a bit more tenderness. When it comes to spooning out the meal, it's like a big relief – I'm free from cooking Lynsey always complains about my food presentation style, but I don't think it's an issue. I'm not on a cooking show, I'm a man who wants to eat in a hurry. When I cook, I'm all about efficiency. I know how to make flavours work, but I don't like to dilly-dally in the kitchen. Just get it done, that's my motto. I cook for Lynsey when she comes back late from work. The kitchen is usually her forte, so I think she should be appreciative that I've managed to do it in her absence without burning it. I'm not a great cook. That's her remit. But when I do, it's just about getting it done and on the plate. Do I gently nestle the salmon on to a pillow of salad with tweezers? No, I just whack it on. She says I 'slap' the food, which isn't my intention, though I suppose I'm not checking where I place it. The meat can go on top of the veg, the sauce isn't contained in the middle of the plate. It's not deliberate – it's just because I'm rushing or hungry. I'm not trying to win a food presentation award, I'm just trying to make sure the risotto doesn't glue itself to the pan and I don't start a fire. When it comes to spooning out the meal, it's like a big relief. I'm free from cooking and just have to get the food over the finish line and on to the plate. That's probably why it looks as though I'm being careless, when really I'm just happy it's done. Lynsey still eats it and says it tastes good. I'm only cooking for her and our daughter. They don't need fancy presentation. Home cooking is supposed to be charming and rustic and real, which is what my style is. I could slow it down and be a little more delicate, but it wouldn't be authentic to who I am, and I'm sure Lynsey wouldn't want to change me. After 25 years of marriage, I don't think that's possible anyway. I just don't believe that a messy plate should be mistaken for a loveless dinner. That slapping of food on to the plate is the sound of me showing up for her. And that should be more important than what it looks like. Should Jim be more careful when serving up? Food is a feast for the eyes and the soul. If you've put time, effort and love into your cooking, slapping it on a plate doesn't exactly scream 'I care.' Just take 30 seconds and show the love!Yasmin, 53 When showing up for your partner, you shouldn't rush. You wouldn't hastily throw on your suit for a work dinner you're the plus-one at – you take time to look good, for their sake. If Jim can cook well, why mix up all the flavours at the final hurdle?Jack, 23 Jim is not guilty-ish! There's a whole lot of pettiness going on here. Lynsey is being unnecessarily fussy – the food tastes good, which is really all that matters. But come on, Jim! You're doing a kind thing for Lynsey, why spoil it just because you can?Rae, 73 Jim, you're clearly a good cook but you're falling at the last hurdle on several fronts. A touch of class and a moment of care will finesse how you show up for Lynsey, inspire your daughter and make the dish sing. Jon, 37 'If a job's worth doing, it's worth doing well' comes to mind here. How food is presented affects our appetite and pleasure, so all Jim needs to do is spend an extra 30 seconds to serve it properly – plus a good while longer working out why he feels the need to be so dismissive of Lynsey's 77 In our online poll, tell us: should Jim plate up with a bit more finesse? The poll closes on Wednesday 11 June at 10am BST We asked whether Amber should stop unplugging her boyfriend's phone charger because she worries about fire risk. 62% of you said yes – Amber is guilty 38% of you said no – Amber is not guilty

Architect proposes Princes Street Gardens for Edinburgh art gallery
Architect proposes Princes Street Gardens for Edinburgh art gallery

The Herald Scotland

time6 hours ago

  • The Herald Scotland

Architect proposes Princes Street Gardens for Edinburgh art gallery

National Galleries of Scotland currently houses its modern art collection in two grand buildings in the West End and says it has 'no plans' to relocate the gallery. Read more: The speculative proposals show galleries along the length of the east gardens from Waverley Bridge, connecting to the existing concourse of the National Gallery and Royal Scottish Academy. A rooftop putting green - reviving a feature from the gardens some 30 years ago - is also pictured. According to Richard Murphy Architects, the wall length on the new gallery 'would exceed the combined equivalent of Modern One and Two'. Speaking to The Herald, Mr Murphy said: 'I'm trying to be helpful. I'm trying to put forward ideas that would benefit the National Gallery and benefit Edinburgh,' adding that the plan would 'correct a mistake' made when the modern art collection was moved from Inverleith House in the Royal Botanic Garden 40 years ago. 'What I used to love about it in the Botanical Garden is people just wandered into this building and found themselves looking at modern art,' he said. 'It wasn't just the cognoscenti who wanted to go and look at modern art; they were there because it happened to be in the gardens and it was another thing to do. 'Moving it to a very specific place like Belford Road, it really only attracts the people who want to go and see modern art. There's nothing wrong with that, but I thought it was accidentally inclusive in the Botanical Gardens. And I think we'd get that back if we put it into Princes Street Gardens, particularly from Waverley Bridge. People would just wander in; it's free.' Read more stories from our series investigating the Future of Edinburgh: Earlier this year he published a speculative vision for a revamp of Princes Street with wider pavements, fewer bus stops and Frederick Street junction to traffic, which was met with mixed reaction. Murphy also designed plans for a £60m 'temple of film' in Festival Square backed by the Centre for the Moving Image (CMI), which previously ran the city's Filmhouse and International Film Festival. However, heritage watchdog the Cockburn Association raised concerns the eye-shaped building would 'undermine the character and potential of an existing civic space' and the idea was then shelved after CMI went into administration in 2022. Discussing his latest designs, he said: 'The interesting thing is it connects at two ends; it connects into the existing foyer between the National Gallery and Royal Scottish Gallery which was done about 20 years ago. 'But the really important thing is it connects to Waverley Bridge. And that is a tourist and everybody else honeypot. That is a really busy part of Edinburgh. You'd be able to walk straight down the steps and straight into the Modern Art Gallery. Murphy's vision for a 'temple of film' in Festival Square was shelved (Image: Richard Murphy Architects) 'It doesn't need a clever person to say the numbers of people going to the Modern Art Gallery would increase by tenfold. 'I think the problem would be too many people, not too few. It would be so inviting and it's right there. That would be an amazing thing to recapture which is what it used to be like. I'm a great believer in trying to make things inclusive if you can.' Murphy added: 'We've got two buildings people don't go to that are very expensive to maintain and very expensive to curate. 'They just don't have the visitor numbers, it's just that little bit too far out of the centre of town to attract tourists. And of course, a lot of people who get counted as visitors to the gallery are not going to the gallery at all, they're going to the restaurant because that's a very popular restaurant.' The latest official figures show there were just under 300,000 visitors to the two modern art galleries in 2022-23, compared to an average of 527,000 in the five years preceding the pandemic. Murphy said the gallery's wall space 'would exceed the combined equivalent of Modern One and Two' (Image: Richard Murphy Architects) National Galleries of Scotland director Anne Lyden warned in January the organisation was at "crisis point" unless it managed to raise £40m over the next 10 years to address the condition of its buildings. She said 'very palatable options' including closing one of the galleries altogether would be considered without additional funding from the Scottish Government. 'There's a fact of life that they've got a problem,' Murphy said, adding that with the help of Savills estate agents, he worked out the development value of Modern One, in the former premises of the John Watson's Institution on Belford Road, and Modern Two, in the former Dean Orphan Hospital on the other side of the road, would 'just about pay for the whole thing'. The award-winning architect, who was behind the renovation of Edinburgh's Fruitmarket gallery in 1994 and designed the Dunfermline Carnegie Museum and Art Galleries, said: 'I've designed a few art galleries, I know the basics. 'It seems to me if they got the development value right out of Belford Road, they'd probably have to spend a bit of money - but not much - to make it happen. Obviously, you've got to get the City Council on board because it's their gardens, but I would have thought it's a huge improvement to the garden. Read more on the Future of Edinburgh: 'It seems to be a win-win situation, and there's still plenty of room for the Christmas Markets.' Responding, however, a spokesperson for the National Galleries of Scotland dismissed the proposal. They said: 'Richard Murphy Architects has created these speculative proposals without consulting the National Galleries of Scotland. Their concept does not align with our vision for the future and has not been created at our request. 'We have no plans to build in East Princes Street Gardens, to relocate the Modern galleries or to create a Photographic Gallery adjacent to the Portrait gallery. We do not plan to meet with Richard Murphy Architects.' They said the focus was currently on their plans for a new cultural centre and visitor attraction at Granton Waterfront, The Art Works, which it describes as an 'urgently needed, world-class and innovative art store and community space for North Edinburgh residents and people of all ages to discover'. National Galleries of Scotland's plans for The Art Works, Granton (Image: National Galleries of Scotland) Work was previously due to commence on site last year, however, now 20 months after securing planning permission, the National Galleries has admitted that it does not have the 'vital' finance in place to allow work to start on what it has described as a 'world-class home for more than 120,000 works of art," The Herald revealed this week. The current estimated costs of realising the vision for the project have not been disclosed by the National Galleries, which insists it is still pursuing the project on the same scale as the scheme which received planning permission in November 2023. The spokesperson added: 'We're doing everything we can to secure funding for The Art Works. Our aim is to make art work for everyone, and we want to give people more access to art by opening this amazing new space in Granton.'

Jodie Comer exudes elegance in grey midi dress as she joins stylish co-star Aaron Taylor-Johnson for 28 Years Later premiere in Paris
Jodie Comer exudes elegance in grey midi dress as she joins stylish co-star Aaron Taylor-Johnson for 28 Years Later premiere in Paris

Daily Mail​

time11 hours ago

  • Daily Mail​

Jodie Comer exudes elegance in grey midi dress as she joins stylish co-star Aaron Taylor-Johnson for 28 Years Later premiere in Paris

Jodie Comer showcased her impeccable sense of style as she was joined by her co-star Aaron Taylor-Johnson at the Paris premiere of their latest film 28 Years Later on Wednesday. The actress, 32, who stars as Isla in the upcoming zombie thriller, cut a chic figure in a grey midi dress as she arrived at the event, held at Cinema MK2. Her stylish number featured an asymmetric neckline, a draped silhouette, and a tie-up detail at the waist that highlighted her trim figure. Jodie added height to her frame with a pair of silver open-toe heels and accessorised with dazzling diamond earrings as security escorted her into the venue. Meanwhile, her co-star Aaron, 34, looked typically handsome in a fitted black shirt as he greeted fans outside. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the Daily Mail's new showbiz newsletter to stay in the loop. He paired the smart ensemble with black tailored trousers before further accessorising with a black belt, featuring gold-toned hardware. He finished off the look with sleek leather shoes and a pair of oversized orange-tinted shades as he posed for the cameras. The much-anticipated release of 28 Years Later is just weeks away, with fans left waiting two decades to discover the next instalment in the film series. And with the nation devastated by the Rage virus nearly three decades ago, this new movie - released on June 19 - will offer insight into the vastly different ways humanity has adapted to survive. For one such community, this means complete isolation from the outside world, and in a new clip ahead of the movie's premiere, Aaron shared insight into this new addition to the 28 Days Later universe for the first time. In this new land, known as The Holy Island, humans are entirely self-sufficient, and only leave the community to hunt on the mainland when the tide is low. Aaron plays Jamie, a scavenger who is tasked with training his Spike to survive in the wilderness before they embark on a deadly mission to the mainland. In an exclusive featurette, the actor offered a glimpse at this new Holy Island, explaining: 'My character is part of this community that survived 20-odd years because they live on the Holy Island, disconnected from the mainland. 'They don't have doctors or medicine, can only eat what they can grow, they can go hunt, but they have to go hunt on the mainland. 'And we have rules, if you leave the island and you don't return, there's no one going out to look for you, they're going to assume you've been infected and you're dead.' Aaron then explained that for his character's son, it's a 'rite of passage' to learn his father's hunting skills, in the hope that they can survive when they leave the island. Meanwhile, Jodie plays Jamie's wife Isla, while Ralph Fiennes also stars in the film as Dr. Kelson, a survivor of the outbreak. The film is set on the real-life island of Lindisfarne, which is only accessible through a causeway during low tide. The original film 28 Days Later stars Cillian Murphy as a bicycle courier who wakes up from a coma to discover the accidental release of a highly contagious, aggression-inducing virus that has caused the breakdown of society. But despite frenzied speculation that he would be reprising his role in this sequel, when the trailer came out in December, one character appeared to resemble a zombified form of Cillian's character Jim from the first film. However, this theory was quickly shut down when a London art dealer and model revealed he was the one playing the zombie character. Director Danny Boyle has since teased that viewers may get to see Cillian return after all, in one of the later films in the trilogy. Speaking during Sony's presentation at 2025 CinemaCon, the filmmaker hinted: 'Like all good things in life, you may have to wait a little while for [Cillian] to make his appearance'. 28 Years Later was filmed back-to-back with the second film, 28 Years Later: The Bone Temple, by director Nia DaCosta, which is being released in January 2026. Producer Andrew Macdonald previously confirmed that Cillian would not be appearing in 28 Years Later, but also suggested he could return for a future film. He told Empire: '[On] this, we wanted him to be involved and he wanted to be involved. He is not in the first film, but I'm hoping there will be some Jim somewhere along the line.' He added: 'He's involved at the moment as an executive producer, and I would hope we can work with him in some way in the future in the trilogy.' With a budget of $75million, 28 Years Later is the biggest film to be created with an iPhone and follows in the footsteps of a new Apple TV show. 28 Years Later hits UK cinemas on June 19, 2025.

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