http://aboutactorcharlesdance.blogspot.fr/2018/03/february-2018-charles-dance-news.html
Wheatley could attend the event because he has already delivered a first cut of Colin You Anus, his mysterious new project which rapidly went into an under-the-radar production earlier this year.
Full details are still being kept under wraps, but the prolific director reveals that the edit has progressed swiftly and that the team have already hosted an early screening of the film.
“We’ve had a cast and friends screening, we’re going through the motions of that and seeing what the reactions are,” says Wheatley. “We’re just getting on with it really.”
The director denies that the project was a particularly remarkable turnaround, insisting that the schedule mirrored his debut feature Down Terrace and some of his TV work. “You don’t shoot much so there’s not much to cut, it’s only in film that it becomes an epic marathon of editing.”
Starring Neil Maskell, Joe Cole, Charles Dance, Hayley Squires, and Sam Riley, the production had an 11-day shoot on the Isle of Portland on the southwest coast of England in January this year. It was produced through Wheatley’s company Rook Films with his producing collaborator Andy Starke and went straight into the editing suit after wrap.
from move Euphoria
in the 80ties
from a review of That Good Night
The most immersive scenes are those between Hurt and Charles Dance, the latter playing a Bergmanesque doctor (referred to only as “The Visitor” in the end credits). Dance obviously owns the role, and the writing shines in their scenes together – unfolding like the dark dialogues between Death and Antonious in The Seventh Seal. There’s an alluring sense of mystery shrouding The Visitor and we’re never sure who he is, where he’s come from, or even whether he’s real or not. He’s just there to advise.
Some of the other performances aren’t especially inspiring..........
That Good Night has some charm sticking to the story and its characters, but floats through a lukewarm experience. It’s like watching a high-brow soap opera. It falls into the classic anti-cinematic traps laid by countless other theatre-to-film adaptations that have nothing new to state. Careless direction and clunky writing don’t help either.
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