
James McAvoy film shot in Glasgow to premiere at festival
It is set to take place from September 4 to 14 this year but the exact date of California Schemin's premiere has not been revealed. The full schedule will be released on August 12.
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James McAvoy pictured on the set of California Schemin' (Image: Gordon Terris) Announcing the news on Instgram, McAvoy wrote: "A huge thank you to our phenomenal cast, tireless crew, producers, and every single person who poured their talent into this."
He spent weeks in Glasgow filming the movie last year.
Based on a true story, California Schemin' centres around Gavin Bain and Billy Boyd who are fed up of London record producers not taking Scottish rap seriously and dismissing them as "rapping Proclaimers".
Better known as Silibil N' Brains, the duo soon embark on a remarkable journey rapping alongside Eminem, partying backstage with Madonna and being tipped as among the next generation of rising stars.
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James McAvoy filming at The Barras on November 12, 2024 (Image: Gordon Terris)Filming for the movie took place in Glasgow in November last year at locations including the Barras Market, Queen Street train station, Glasgow Green, Park Circus and Maryhill with McAvoy pictured at various locations around the city.
A free noughties-themed gig also took at the Barrowlands Ballroom as part of filming.
(Image: Gordon Terris, Newsquest)
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Daily Mirror
an hour ago
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'I mean, yes, I love TV – well, I loved playing Sonny – but, to me, theatre describes acting because you're there from start to finish. And no matter what happens you have to deal with that and go through it, and, you know, there's a sort of 'take me by the hand' suggestion to an audience which you don't get to do through a camera – it's more like modelling, you're just presenting an attitude, a line, an image, whereas it's all linked from beginning to end in a theatre and the audience see it all, the magic – and the mistakes!" Jimmy Chisholm with fellow Hingin' Oan Fir Googsie cast members Alan Ireby, left, Amy Fraser and writer John McColl, right (Picture: Liam Rudden Media) Chisholm has worked with some of the most prestigious companies in the UK, including the Royal Shakespeare Company, and in London's West End West, as well as making many appearances in the Lyceum Theatre in Edinburgh, to name but a few. 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There's no reason for why someone chooses your show on the day, but the point is that out of the one or two million people who are randomly walking about looking for something to see in the Festival they pick yours and they tell someone in the pub that night, 'don't go to that show, it's rubbish', or 'go to that, it's brilliant'. And that is how most shows operate in the Festival, apart from the big conglomerates that have taken over the Festival now.' Advertisement Hide Ad Advertisement Hide Ad All that said, Chisholm is, of course, hoping they choose his show... 'They'd be very foolish if they didn't," he said with a smile. 'Hingin' Oan Fir Googsie is a play, shall we say, inspired by another play called Waiting For Godot. It discusses similar themes but, at the same time, it is very different. It is theatre of the absurd. It's not saying anything is fact, it's not saying anything is a lie, but it is asking you to think and I think any audience will be constantly reminded that this is a story about the human condition rather than anything else, and you'll recognise that in yourself without it being laid on with a trowel. 'It's a very poignant play, but also very funny and that is where the absurd comes in. You might laugh at something and then, ten seconds later, you're going 'God, that could be me'. Yet what you're watching doesn't bear any relation to you or your life. But it's what they're saying, what they feel... It's theatre, it's storytelling. I think it is beautifully written and, to me, it's engaging from start to finish, and I hope it will be to the audience.' But despite Chisholm's love affair with theatre, there is no doubt that featuring in Braveheart with Mel Gibson was a big highlight in his career and he tells a story of his first meeting with Gibson that reveals not only the young Inverness lad's rising fame, but also his burgeoning confidence in the acting business. Advertisement Hide Ad Advertisement Hide Ad 'Getting a chance to be on set with Mel Gibson in a film that was so well received was brilliant. It's probably the most famous thing I've done,' he said. Gibson by that time, of course, was an international film star, but he quickly found out that the Chisholm was also a household name in Scotland. 'When I walked into the hotel room for my interview for the job, there was Mel Gibson sitting on the couch and he got up and shook my hand and I was totally tongue-tied. I'd never met anyone as famous in my life. He sort of went, 'Hi, I'm Mel Gibson,' and I said, 'Yes, I know'! Then I said, 'I'm Jimmy Chisholm' and he said, 'Yes, I know'! Then I realised I was still holding his hand! 'I let it go and he said 'please have a seat, there's not much to this interview, I hear you could do this job falling off a log, so if you want it, it's yours.' And I said, 'lovely, thanks'. And he said, 'right I'll get you down in the lift, I've got to go out and check some locations for the film'. Advertisement Hide Ad Advertisement Hide Ad 'When we got out of the lift, there were these two women with a huge metal trolley for cleaning, and one of them looked at me, then turned to the other and whispered and it was obvious they recognised me from Take the High Road – this was the Eighties – and so they came running over shouting 'Jimmy Blair, Jimmy Blair!' They hadn't spotted who was coming out of the door with me at this point, so Mel Gibson said, 'Oh it's nice to have a celebrity on the show!' And I said to him, 'Don't worry, Mel, this'll happen to you one day!'' There is no doubt that Chisholm will secure TV appearances in the future. He has been so much in demand that he holds the record for guest appearances in Taggart. As Chisholm puts it: 'I've been killed more times in Taggart than anyone else!' But for now, the theatre's the thing once again as he looks forward to playing in John McColl's Hingin' Oan Fir Googsie. Chisholm regards it as a real treat to be back in a small Fringe venue. We suspect audiences will feel the same.


Scotsman
2 hours ago
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PA Sign up to our Scotsman Money newsletter, covering all you need to know to help manage your money. Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... On the top floor of an unmarked building on the Royal Mile, staff at the Edinburgh International Festival (EIF) are busy fielding calls and discussing logistics as the weeks tick down to the opening night. The year-round work done here to create the Scottish capital's globally renowned celebration of the performing arts, which kicks off tonight, remains out of sight most of the time. Advertisement Hide Ad Advertisement Hide Ad Instead, much of what the public understands about Edinburgh's festivals – of which the EIF is the jewel in the crown – tends to be informed by the state of public funding for the arts or the evaporation of corporate sponsorship in the wake of Baillie Gifford's withdrawal from book festivals across the UK. Yet every year the expectation among Edinburgh's ticketed classes is that the EIF keeps carrying on - somehow. On the surface, it does. Among highlights in this year's festival is the return to the Scottish stage for the first time in a decade of Dundee-born actor Brian Cox as the 18 th century economist Adam Smith in a play about former RBS boss Fred 'The Shred' Goodwin. But - to borrow the play's title - what does it actually take to make it happen? To say that the EIF flies by the seat of its financial and artistic pants would be an understatement. 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A delay last year in the announcement of the latest funding round from Creative Scotland – the result of foot-dragging by the Scottish government - meant that even with a one-off grant of £1.6 million from the UK government to help plug the gap, the EIF had to cut its cloth accordingly. Some stability will come in the wake of a new 'multi-year funding' settlement between the Scottish government and Creative Scotland, which Culture Secretary Angus Robertson said in January 'moves us beyond simply sustaining the [arts] sector to return our focus to where it should be – its long-term development'. He pledged to increase culture budgets by £100m annually by 2028-29. The EIF has been allocated a total £11.75m over three years from Creative Scotland, starting with £3.25m this year. 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