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Brian Cox Arms Up For Directorial Debut “Lady,” Raises Sword For “Ironclad”

Brian Cox Arms Up For Directorial Debut “Lady,” Raises Sword For “Ironclad”  (photo)

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In order to understand what Brian Cox went through on “Ironclad,” one must spoil a climactic plot point in the film, so if you’d prefer to remain unsullied, please dive right into the Q & A. But if not, you should place yourself in Wales in November, where as director Jonathan English recalls, “It was freezing cold, raining, windy as hell and Brian spent most of that day on his knees in the mud with a very thin cotton shirt on” as Paul Giamatti‘s King John berated him for helping lead a revolt against the throne before punishing him. (You can see an exclusive clip from the film here.)

“I was worried in the cold and the wet and having his hands chopped off and him catapulted against castle walls, what’s it going to be like?” English casually remembers now. “And Brian was amazing. He never complained once.” Although the bits about the behanding and the catapult are merely part of the movie magic involved in the gory medieval tale of a group of soldiers who rise up against the king after he’s defied his own signing of the Magna Carta, it’s a refreshing to know that the image of the unshakable Cox that has been cemented into the minds of moviegoers through his roles as diverse as the original Hannibal Lecter in “Manhunter” to the surly headmaster in “Rushmore” and yet again this summer in “Rise of the Planet of the Apes,” is the one he radiates offscreen as well.

BrianCoxIronclad3_06072011.jpgSoon, Cox will actually require that temperament behind the camera as he embarks on his first feature as a director, “Our Lady of Jackson Heights,” which he discussed along with finally working with his one-time student Giamatti on “Ironclad,” his desire to do more onscreen fighting, and the need for more independent British productions in an all-too-brief chat recently.

Do these kind of roles where you’re swinging a sword around hold a special appeal for you?

They’re part of my heritage, really. I used to do a lot of fencing in the theater and a lot of horse riding in the early days, so I’m used to it in a way. Ifyou’re classically trained like I am, it’s a little bit like mother’s milk to me. I enjoy it. And I don’t get the opportunity to do it all that often, so that was one of the fun things about doing it. I wanted to do a lot more fighting than they let me do because of insurance reasons because I’m not a kid anymore. But I had a great time doing it, particularly the riding. Anything to get on a horse.

What’s the challenge for you on a movie like this?

With a relatively independent movie like this, the challenge is to see if we can get it done, given the time that we’ve got to make it in. I think Jonathan did a great job. He’s a great delegator. He had a wonderful director of photography and a wonderful camera operator and a great cast. And a great fight director.

BrianCoxIronclad2_06072011.jpgYou’ve said it was a point of pride for you that this was produced in England.

Also, the fact it was done in Wales. We don’t make the movies that we should make. We’ve never really had an industry back home. And it saddens me in one way because I think the potential that is there is enormous and we’ve missed out on it a little bit to our detriment. I want to see us do more of that kind of movie. But we do need the tax breaks. We do need the studios. We do need the support of the government. We see a lot of what’s happening in Europe like films being made in Prague, Bulgaria, Serbia, films being made everywhere.

In the early days when I started, we had a lot of great people around and we could do amazing stuff with very little budgets and I’d like to see that happen again. That was what was so good about working in Wales – the problem is always the weather, but especially [for] a film like this, it was actually the best kind of weather to be working in because in fact, it’s very real. These guys did fight these battles and wear these kinds of costumes and they were soaking wet. Not only were you wielding your sword and dealing with somebody who was wearing 150 pounds of armor, the terrain was pretty primitive. So in a sense when you get those elements together, it’s quite exciting.

It also must’ve been exciting to work with Paul Giamatti, who you once taught in a Shakespeare class many years earlier.

I did. Well, Paul is astonishing. He really is astonishing. The big speech that he has, he did it in one take. He didn’t even have any rehearsal, he just came in and hit the ground running.

Did you remember him as a good student?

Oh yeah. He was always very quiet. He’s very self-effacing. His focus is the work and always has been.

Is it true you’re thinking of making your directorial debut soon with “Our Lady of Jackson Heights”?

Yes. Well, I’d been trying to direct for a long time and this is written by an old friend of mine, Mickey Abbate. It’s a slight reworking of “Oliver Twist,” except it’s set in New York and it’s about these kids dealing this drug called “Numb” — instead of pickpockets, they’re runners of this drug and it’s about the kind of subculture.

Does it feel like the right time to get behind the camera?

I’ve tried to make a film for many years and it didn’t happen. I’ve always wanted to make a film. Charles Laughton, who’s a great hero of mine only ever made one film and it happens to be one of the great films ever, which is “The Night of the Hunter.” It’s full of his kind of imagination and creation and how you do things and just in the way he used the studio, I just thought it was a fantastical way of using the studio.

I’ve directed a couple of times in the theater, but I wouldn’t make a habit of it because it’s too consuming. I admire these young directors who kind of work for 10, 12 years on a movie. I worked with Rupert Wyatt and it took ages for him to get a movie made [with “The Escapist”] and then we finally got his movie made. I worked on that for three years [both as an actor and producer]. Again, [“Our Lady of Jackson Heights”] is a dark subject. It has Dickensian tones to it, but I think it’s a really, really interesting film, so hopefully we’re going to try to get it made this winter.

“Ironclad” is now available on VOD and will open in theaters on July 8th.

Will you want to see Brian Cox make his directorial debut? Let us know in the comments below or on Twitter or Facebook.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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