‘We should Work with Our Hearts'
What was it like collaborating with Neeraj Ghyawan? Martin Scorsese has also joined the project as the executive producer.
I'm very, very proud of Homebound. Ghaywan is a director whom I've wanted to work with for 10 years. I loved Masaan and all the work he has done since. Homebound is a truly unique film. I think it's probably my most challenging role yet. With Mr Scorsese coming on board, it's just a dream; it's even rare to dream about such things because I wouldn't be able to put it together. It is a matter of pride to have an Indian film competing at Cannes.
Your portrayal of Maharaj Aviraj Singh in The Royals is winning you praise, and it wouldn't be wrong to say you are the new national crush. What was it about the character that made you want to be part of the series?
I thought the character was very interesting. The world was fresh and had a very eccentric take on modern royals. I thought the satirical angle, the juxtaposition between the haves and the have-nots, as well as the fact that they're kind of living on a name and heritage that has been taken away from them, was interesting. Also, it was about time I did romance. I had been looking for something like this for a long time. I think it's that time in my life when I am wanting to explore. Also, the most charming thing about the role was that, as you go along, there is potential to kind of unravel the layers and understand that the child in him needs healing. I was drawn to the inner world of Aviraj; there was more to him than meets the eye.
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Terence Stamp: The eternal outsider who made brooding sexy
With the passing of Terence Stamp at the age of 87, cinema has lost one of its most enigmatic presences—an actor whose silences spoke louder than dialogue, and whose career charted a restless odyssey between Hollywood, Europe, and the spiritual realms of the Orient. To simply call him a star would be a disservice; Stamp was a phenomenon, an emblem of cool detachment and dangerous beauty, who reshaped what it meant to be a leading man in the 1960s and later reinvented himself as one of the most magnetic villains and character actors of his generation. STORY CONTINUES BELOW THIS AD Born in the working-class quarters of East London in 1938, Stamp's early life was steeped in hardship. The escape came through cinema. Watching James Dean on screen provided him with an almost spiritual jolt. That flicker of possibility propelled him to the Webber Douglas Academy, where his chiselled features and unsettling intensity caught the attention of casting directors almost immediately. His debut, Billy Budd (1962), was nothing short of explosive. Directed by Peter Ustinov, it earned Stamp an Academy Award nomination for Best Supporting Actor—the kind of career launch that most actors can only dream of. From there, he plunged into the heart of the 1960s film renaissance, becoming a regular collaborator of directors who were reshaping the grammar of world cinema. If many British actors of his era found themselves stuck in genteel period dramas, Stamp pursued a different path. He gravitated towards directors who wanted to push the boundaries of film as an art form. William Wyler's The Collector (1965) offered him the chance to embody chilling menace cloaked in boyish charm—a performance that won him the Best Actor prize at Cannes. Joseph Losey, the expatriate American working in Britain, cast him in Modesty Blaise (1966), where Stamp's sly elegance undercut the formula of spy capers. But it was in Italy that Stamp carved out his most radical work. Federico Fellini and Pier Paolo Pasolini both found in him a paradox they could sculpt into allegory. In Teorema (1968), Pasolini used Stamp as a blank, angelic cipher who destabilises a bourgeois family through erotic and spiritual seduction. The role demanded that he be both divine and carnal, a presence without backstory, and Stamp carried it with an inscrutability that critics still dissect. Fellini adored him for precisely that quality—an actor whose mere appearance seemed to question the certainties of narrative. STORY CONTINUES BELOW THIS AD This European sojourn aligned him with the avant-garde at the very moment when Swinging London was exploding with fashion, photography, and music. Stamp was photographed by David Bailey, romanced Jean Shrimpton and Julie Christie, and became a face of the cultural revolution. In Far from the Madding Crowd (1967), based on Thomas Hardy's novel, his stormy chemistry with Christie etched itself into the iconography of the era: the beautiful but troubled sergeant, doomed by desire and pride. The late 1960s also brought him close to the most coveted role in British cinema: James Bond. When Sean Connery temporarily retired after You Only Live Twice (1967), producer Harry Saltzman sounded Stamp out. He certainly looked the part—tall, impeccably English, and devastatingly handsome. But Stamp, never content to recycle archetypes, envisioned Bond differently. The Broccolis, conservative about their golden franchise, balked. The role slipped through his fingers and went instead to George Lazenby. In retrospect, Stamp might have been too complex, too volatile to play Bond. What the producers could not see was that he was perhaps destined to embody the opposite pole of that universe: the villain. When he finally donned the mantle of General Zod in Richard Donner's Superman (1978), it was as if destiny had found its true script. With his chilling command—'Kneel before Zod!'—Stamp created one of cinema's sexiest, most iconic villains. that alone secured his place in pop culture, referenced for decades across comics, parodies, and fan conventions. STORY CONTINUES BELOW THIS AD Yet, like so many of his screen characters, Stamp's career refused a straight trajectory. After a period of high visibility, personal turmoil—particularly the end of his relationship with Shrimpton—sent him spiraling into semi-exile. He retreated to India, lived in ashrams, studied spirituality, and contemplated a different life altogether. For a time, the boy from the docks who had seduced the world seemed to vanish. But the 1990s brought an astonishing rebirth. In Stephan Elliott's The Adventures of Priscilla, Queen of the Desert (1994), Stamp portrayed Bernadette, a transgender woman whose wit and grace anchored the flamboyant road movie. It was a role that could have courted caricature, but Stamp infused Bernadette with dignity and aching humanity. Critics hailed it as one of his finest performances, and it introduced him to a new generation of cinephiles. Then came Steven Soderbergh's The Limey (1999), which transformed Stamp into a cult hero. Playing Wilson, an aging Cockney ex-con out for revenge in Los Angeles, he gave a performance of simmering menace and heartbreaking vulnerability. The film, with its fractured editing and retro-stylish cool, felt tailor-made for him. His monologue—delivered in a clipped, gravelly rasp—about what he would do to those who wronged his daughter remains a masterclass in understated ferocity, cementing his reputation as an elder statesman of cinematic cool. STORY CONTINUES BELOW THIS AD Stamp's greatness never lay in sheer volume of output. It lay in presence. Directors from Wyler to Losey to Fellini to Pasolini to Soderbergh cast him not because he could disappear into roles, but because he transformed roles into extensions of his aura. Few actors have ever understood the power of stillness the way Stamp did. His gaze could unsettle, seduce, or devastate without a single word. It is easy to imagine an alternate timeline in which he played James Bond. Yet, perhaps his truest legacy is that he was always too dangerous, too singular to fit into the tuxedo. What he offered instead was richer: a gallery of outsiders, villains, seekers, and lovers that redefined masculinity on screen. Off screen, Stamp remained just as enigmatic. He published candid memoirs, including Stamp Album and Rare Stamps, which revealed a man of restless curiosity. He also wrote a novel and even a cookbook, reflecting his health-conscious lifestyle long before it was fashionable. Always a seeker, he balanced Hollywood notoriety with spiritual quests, speaking as comfortably about Krishnamurti as about Richard Donner. STORY CONTINUES BELOW THIS AD Terence Stamp's career is best seen as a series of disappearances and reappearances, each time reshaping the cultural imagination. He was a child of postwar London who embodied Swinging London chic; a matinee idol who became a muse for Fellini and Pasolini; a man considered for James Bond but destined instead to be cinema's sexiest villain; a figure of exile who returned as an arthouse legend. In the end, Stamp was always the outsider—never fully assimilated into Hollywood, never completely tethered to Britain, never entirely seduced by fame. That is precisely why his image endures. He made brooding look seductive, made silence cinematic, and made villainy unforgettable. To watch Terence Stamp on screen was to sense an actor who could never be entirely possessed by the camera. Cinema will remember him not only for the lines he spoke but for the spaces between them—for that still, watchful presence that made audiences lean forward, searching for clues in the depths of his eyes. Few actors have inspired such fascination, and fewer still will continue to inspire generations as he will. STORY CONTINUES BELOW THIS AD The author is an Indian critic and journalist who has been covering cinema, art and culture for the last decade and a half. He has served on the jury of various film festivals as well as the prestigious National Film Awards. Views expressed in the above piece are personal and solely those of the writer. They do not necessarily reflect Firstpost's views.
