alan__rickman__

alan__rickman__

alan__rickman__

“Alan Rickman has invariably played the role of the aloof outsider, a kind of latter-day Jaques. A misanthropic attitude to the world; a sulky, sardonic manner, a facility with words and a sexy disposition characterise this stage physiognomy which first took shape as the disaffected Trotskyist in Dusty Hughes’s award-winning ‘Commitments’ at the Bush Theatre in 1980. Rickman later played an equally laid-back leading role in Snoo Wilson’s ‘The Grass Widow’ at the Royal Court but it was after playing Obadiah Slope in the BBC ‘Barchester Chronicles’, that he found himself, somewhat to his surprise, ‘silently mobbed’ in places as tame as Tunbridge Wells. Rickman refused to capitalise on this success, believing that had he done so, he would have created an artistic strait-jacket for himself. He turned down the RSC’s supplications ‘to play several equally oily roles’, and only this year agreed to join the company to play what superficially appear to be three decadents: Achilles in ‘Troilus and Cressida’, Valmont and the melancholy Jaques.” (‘UK Tatler’, 1985) The photographer Alastair Thain #alanrickman #ar__1985 #ar__photoshoot #ar__interview

01.11 00:15

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The school trip, Latymer, 1950s #alanrickman #ar__1950s #ar__young
The school trip, Latymer, 1950s #alanrickman #ar__1950s #ar__young
The photographer Hazel Thompson: “Alan has been one of my favourite actors to photograph, such a strong presence on camera & a total gentleman.” Alan Rickman in the Tricycle theater in London, 1 April 2010 #alanrickman #ar__2010 #ar__photoshoot
The Senior year at Latymer Upper School, 1964 Photo One – 1963-1964 Class Photo Two – Prefects “Prefects were appointed for the first time at Latymer Upper School in 1915. This was to assist with running the school during the First World War as the staff felt the strain of increasing numbers being called up for service. Being a school Prefect is an important role and the present day ones are relied on heavily to serve as ambassadors for the school at Open Days and events.” Source of these photos (and the photos from the two previous posts) – Latymer Archive #alanrickman #ar__1964 #ar__1960s #ar__young
‘The Knight of the Burning Pestle’, Latymer Upper School, 27-30 March 1963 “ ‘The Knight of the Burning Pestle’ seems at first blush choice an obvious for group to just this mount and press large castathy acting weight evenly distributed, short scenes, and plenty of horse-play. When, however, you come to grips with the actual production, there are subtle difficulties of level in the comedy which would daunt many professional companies. On the whole, these levels were coped with admirably at Latymer. Really, everybody on the programme should be mentioned, as should the cager, raucous boys who shouted across to each other from the window-sills in the aisles and recreated for us the groundling gossips of the Elizabethan theatre. Just a little extra credit, in the midst of all this energetic teamwork, for Hodlin’s panache as Merrythought, for Rickman’s just too arch Humphrey, for the near-pathos of Hilton as Pomponia. From Mrs. Joy Tafler: How I enjoyed the play tonight! What fun was it… Michael Newby, excellent, Stephen Wyatt, delicious, Alan Rickman, delightful.” (‘The Latymerian’, 1963) #alanrickman #ar__1963 #ar__1960s #ar__young
“When We Dead Awaken”, 1976 “Crucible Theatre, Sheffield. Opening on Thursday, the play “When We Dead Awaken” stars Alan Rickman, much-praised for his portrayal of Nijinsky at the theatre, as the artist Rubek, with Kristin Milward as his wife. The production runs until May 8.” (‘Evening Telegraph’, 17 April 1976) “Ian Giles’s direction is careful to echo, not disturb, the first charged impression. Alan Rickman’s Rubeck oppresses with a sense of weary disdain, of arrogance backed by ruthless perception, and of strange potency.” (‘The Guardian’, 23 April 1976) Sheffield, January–May 1976: Alan Rickman: “What do I say about this time? A crucial time. Three big parts which have elicited from me some welcome heights and some fairly appalling depths. (*The parts were in The Carnation Gang by Stephen Poliakoff, Nijinsky by Rex Doyle, and Henrik Ibsen’s When We Dead Awaken.) There must be a basic something which is right because while keeping my mind as open as I can, things are confirmed or developed – never changed (from disillusionment or that creeping disease ‘it’s a job’).” “Madly, Deeply: The Alan Rickman diaries” #alanrickman #ar__1976 #ar__young #ar__diaries #ar__1970s
“First day rehearsals Antony & Cleopatra. Rehearsal Room 1 and a time warp image of a circle of cushions on a collage of Turkish carpets. But it’s not a bad thing to be thinking of Peter Brook and 1978 especially because whatever else Helen and I will never fall into the alarmingly cold space that Alan Howard and Glenda Jackson inhabited. Anyway, a few familiar faces . . . are there and lots of strangers with great faces. Trevor Nunn greets us with a big hug and a hello speech surrounded by the NT staff and then Patsy R. gets us breathing before Sean starts. The rest of the day is picking the text up in forefinger and thumb for examination. Tim Hatley shows us the set, David Belugou his costumes. First alarm bells. I hope unnecessary – but how will we make this personal and not epic given that golden wall, those clothes?” (17 August 1998) “Madly, Deeply: The Alan Rickman diaries” #alanrickman #ar__1998 #ar__antonyandcleopatra #ar__diaries
The photographer Greg Gorman, 1991 #alanrickman #ar__1991 #ar__photoshoot
The filming of Die Hard: original version and other takes, 1988 “Hans, my Die Hard character, is a really good part; bad guys are fun to play, although I don’t want to make a habit of it.” The greatest challenge he’s faced has been to scale down his technique for the intimacy of the lens. “That’s something I was worried about, and John [the director] has to remind me, ‘You’re in close-up, Alan, don’t move your head around so much.’ Yet I’m always aware of the camera and it feels like that’s the audience. When I’ve had scenes with Bruce, it’s quite clear that I’m working with somebody who has a great deal of experience with the camera; it’s a great censoring device at work. It’s a question of watch and learn – fast.” Unlike many actors, Rickman has found that he doesn’t mind the waiting around on set, “because it gives me a chance to keep hold of what I’m doing. I’ve always enjoyed rehearsals more than performances, because you don’t have that huge moment of pressure when you’ve got to commit yourself. Rehearsing is playing; performing is being a grown-up.” (‘Elle’, 1988) #alanrickman #ar__video #ar__diehard #ar__1988 #ar__interview #diehard
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