Alexander gay sex scene colin farrel. I have let Alexander down.



Alexander gay sex scene colin farrel

Alexander gay sex scene colin farrel

I was devastated, Colin Farrell was devastated. The audiences, they didn't know the story, and they were confused by it. I did that wrong. That was my fault. Right from the start, make the whole fing thing again. This time, Stone knows what I am going to ask. I just mean I would love to make it all again Because it was fun, you know. Hard fing graft, exhausting graft.

But so much fun. For, at 57, the acclaimed director is clearly in the throes of obsession. He may be the winner of three Oscars and a British Academy Award but today he huddles in his seat with the mien of a man who has witnessed the public disembowelment of a cherished child.

I am once again open-mouthed. Stone's films have often been attacked. Always controversial, he was pilloried for portraying President Nixon as a foul-mouthed drunk and for glorifying serial murders in Natural Born Killers. The third film in his Vietnam trilogy, Heaven and Earth, was described by critics as "gruelling to watch" and "unbelievably fatuous".

I am open-mouthed because Stone has always been gung-ho when it comes to defending his creations. Now, for what must be the first time, he is admitting that, in many respects, "It is my fault. His devastation is understandable: Alexander, the story of the warrior king who, by the age of 25, ruled an empire that stretched from the Balkans to the Himalayas, was to be the pinnacle of his illustrious career, the culmination of a year dream.

The portrayal of Alexander is vintage Stone; rather than the glorious, all-conquering hero, he comes across as a somewhat weak leader, riven by doubts and guilt.

Though he was never defeated in battle, Alexander died just before his 33rd birthday. Many claim he was poisoned by his own soldiers, conquered, it would seem, by his arrogant intent for yet more glory.

Alexander's downfall is a lesson not lost on Stone. All movie directors have one big epic in them. This was my big epic. While the Irish actor Colin Farrell was savaged for his overly sensitive portrayal of Alexander, even Sir Anthony Hopkins, the doyen of celluloid, was ridiculed for his portrayal of King Ptolemy more as a "deadbeat classics teacher than the narrator of an epic tale".

Stone's hope is that "the European market will salvage Alexander. I can't give up on it, not now. I have to stick with it. He is, however, not optimistic. But, hey, I'm American. We are suspicious of the Brits, we have no respect for Europe. As does the man. He is tall, with a haunted look, and his deep brown eyes blink constantly, giving him an anxious air. His voice is euphonious, not always in kilter with his words. He is the obligatory 20 minutes late for our interview but, when he arrives, it is as though a whirlwind has blasted through the eerie calm of his outer office.

He flings himself through the door all outstretched arms and swinging satchels — one over each shoulder. Come in, come in.

Where d'ya want to sit? We don't stay there long, though. At least Stone doesn't. By the time I leave, an hour-and-a-half later, he has changed seats three times; opened the blinds then closed them tight, leaving us in near-darkness; opened the French windows twice and closed them twice; turned the air-conditioning up, then down, then up again; called for coffee, opted instead for water, then switched to coffee again.

Stone does everything at maximum speed. And, when in full flow, whether in answer to a question or in stream-of-consciousness mode, he will brook no interruption. He had been brought up in a conservative, God-fearing household and, after dropping out of Yale, at a time when thousands of young Americans were dodging the draft, he volunteered to fight in Vietnam.

He won a Bronze Star and the Purple Heart, but he lost his tub-thumping jingoism en route. He became a drifter with a drug habit. He might have disappeared from view had he not enrolled at the New York University film school, where Martin Scorsese became his mentor.

Though Midnight Express won him his first accolade, it was his Vietnam films, Platoon and Born on the Fourth of July — both depicting the horror and futility of war — that earned him world acclaim. It was the speech I wrote for Charlie Sheen in Platoon. I wanted to get to the bottom of the barrel. I felt I couldn't be an honest human being until I knew what war and killing were. He was wounded twice — the second time was enough to have him shipped home.

I could have hit the deck and been safe but something was telling me to just try to get hit. And I did, in the ass and the legs. That hit meant I missed the Tet offensive, thank God. Yet always, he brought his own life to the screen. In Alexander, the young King is torn between his love and respect for King Phillip II, his warrior father, and Olympias, his adoring but manipulative mother.

His family was wealthy — his father was a stockbroker — and Stone attended boarding school. Then, one day, the young Oliver was called into the headmaster's office to be informed that his father was virtually bankrupt and that his parents were divorcing. You need to hear that from your parents. But I was a product of the era in which I was born. Then, if you were middle-class, your children were shipped off to boarding school and somehow it became a buffer.

All news, good or bad, was relayed through that third party. It made everything once removed. And damned hard for a kid to understand. Did he tell his children from his first and second marriages that he and their mothers were parting? Kids are much more understanding and accepting of divorce. And I did the dad thing; my relationship with all three is very open, very loving. He sees everything, it seems, in the context of the hero he failed.

Afterwards they said things like: I am not into men. I don't understand this feeling he has for another man. But it was only a hug. They did not empathise with Stone's depiction of a tortured soul. They might have dealt more easily with a graphic sex scene than with the smouldering desire and the longing looks that Stone staged between the two men.

Stone warms to the idea. They did not want to see a man with vulnerabilities. It is like the whole value system has gone awry. We want only clearly defined heroes and villains, no subtleties in between. And not for the first time. The man whose anti-war Born on the Fourth of July was released on the day America invaded Panama, now finds that, when he makes a film depicting a thoughtful, some would say too hesitant, leader, it is released when America most wants vindication for its war in Iraq.

And Angelina with the snakes Not an iota of fear. That girl has guts. So much so that his cup bobs up and down in his right hand, spilling black coffee on the beige carpet. He either does not notice or does not care. So wildly does he wave, that some splashes across one of his Oscars on the floor, then trickles down the stone head of Jim Morrison of the Doors, the subject of yet another Stone biopic.

When that happens, Stone gives the bust a wipe and says: But still he is thinking of Alexander. It's the person, you see, not necessarily the story, that makes something a movie for me.

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Alexander and Hephaistion Balcony Scene - Alexander 2004 - Full HD



Alexander gay sex scene colin farrel

I was devastated, Colin Farrell was devastated. The audiences, they didn't know the story, and they were confused by it. I did that wrong. That was my fault. Right from the start, make the whole fing thing again. This time, Stone knows what I am going to ask. I just mean I would love to make it all again Because it was fun, you know. Hard fing graft, exhausting graft. But so much fun. For, at 57, the acclaimed director is clearly in the throes of obsession.

He may be the winner of three Oscars and a British Academy Award but today he huddles in his seat with the mien of a man who has witnessed the public disembowelment of a cherished child.

I am once again open-mouthed. Stone's films have often been attacked. Always controversial, he was pilloried for portraying President Nixon as a foul-mouthed drunk and for glorifying serial murders in Natural Born Killers. The third film in his Vietnam trilogy, Heaven and Earth, was described by critics as "gruelling to watch" and "unbelievably fatuous". I am open-mouthed because Stone has always been gung-ho when it comes to defending his creations.

Now, for what must be the first time, he is admitting that, in many respects, "It is my fault. His devastation is understandable: Alexander, the story of the warrior king who, by the age of 25, ruled an empire that stretched from the Balkans to the Himalayas, was to be the pinnacle of his illustrious career, the culmination of a year dream. The portrayal of Alexander is vintage Stone; rather than the glorious, all-conquering hero, he comes across as a somewhat weak leader, riven by doubts and guilt.

Though he was never defeated in battle, Alexander died just before his 33rd birthday. Many claim he was poisoned by his own soldiers, conquered, it would seem, by his arrogant intent for yet more glory. Alexander's downfall is a lesson not lost on Stone. All movie directors have one big epic in them. This was my big epic. While the Irish actor Colin Farrell was savaged for his overly sensitive portrayal of Alexander, even Sir Anthony Hopkins, the doyen of celluloid, was ridiculed for his portrayal of King Ptolemy more as a "deadbeat classics teacher than the narrator of an epic tale".

Stone's hope is that "the European market will salvage Alexander. I can't give up on it, not now. I have to stick with it. He is, however, not optimistic.

But, hey, I'm American. We are suspicious of the Brits, we have no respect for Europe. As does the man. He is tall, with a haunted look, and his deep brown eyes blink constantly, giving him an anxious air. His voice is euphonious, not always in kilter with his words. He is the obligatory 20 minutes late for our interview but, when he arrives, it is as though a whirlwind has blasted through the eerie calm of his outer office.

He flings himself through the door all outstretched arms and swinging satchels — one over each shoulder. Come in, come in. Where d'ya want to sit? We don't stay there long, though. At least Stone doesn't. By the time I leave, an hour-and-a-half later, he has changed seats three times; opened the blinds then closed them tight, leaving us in near-darkness; opened the French windows twice and closed them twice; turned the air-conditioning up, then down, then up again; called for coffee, opted instead for water, then switched to coffee again.

Stone does everything at maximum speed. And, when in full flow, whether in answer to a question or in stream-of-consciousness mode, he will brook no interruption. He had been brought up in a conservative, God-fearing household and, after dropping out of Yale, at a time when thousands of young Americans were dodging the draft, he volunteered to fight in Vietnam.

He won a Bronze Star and the Purple Heart, but he lost his tub-thumping jingoism en route. He became a drifter with a drug habit. He might have disappeared from view had he not enrolled at the New York University film school, where Martin Scorsese became his mentor.

Though Midnight Express won him his first accolade, it was his Vietnam films, Platoon and Born on the Fourth of July — both depicting the horror and futility of war — that earned him world acclaim.

It was the speech I wrote for Charlie Sheen in Platoon. I wanted to get to the bottom of the barrel. I felt I couldn't be an honest human being until I knew what war and killing were.

He was wounded twice — the second time was enough to have him shipped home. I could have hit the deck and been safe but something was telling me to just try to get hit. And I did, in the ass and the legs.

That hit meant I missed the Tet offensive, thank God. Yet always, he brought his own life to the screen. In Alexander, the young King is torn between his love and respect for King Phillip II, his warrior father, and Olympias, his adoring but manipulative mother.

His family was wealthy — his father was a stockbroker — and Stone attended boarding school. Then, one day, the young Oliver was called into the headmaster's office to be informed that his father was virtually bankrupt and that his parents were divorcing. You need to hear that from your parents. But I was a product of the era in which I was born. Then, if you were middle-class, your children were shipped off to boarding school and somehow it became a buffer. All news, good or bad, was relayed through that third party.

It made everything once removed. And damned hard for a kid to understand. Did he tell his children from his first and second marriages that he and their mothers were parting? Kids are much more understanding and accepting of divorce.

And I did the dad thing; my relationship with all three is very open, very loving. He sees everything, it seems, in the context of the hero he failed. Afterwards they said things like: I am not into men. I don't understand this feeling he has for another man.

But it was only a hug. They did not empathise with Stone's depiction of a tortured soul. They might have dealt more easily with a graphic sex scene than with the smouldering desire and the longing looks that Stone staged between the two men. Stone warms to the idea. They did not want to see a man with vulnerabilities. It is like the whole value system has gone awry.

We want only clearly defined heroes and villains, no subtleties in between. And not for the first time. The man whose anti-war Born on the Fourth of July was released on the day America invaded Panama, now finds that, when he makes a film depicting a thoughtful, some would say too hesitant, leader, it is released when America most wants vindication for its war in Iraq.

And Angelina with the snakes Not an iota of fear. That girl has guts. So much so that his cup bobs up and down in his right hand, spilling black coffee on the beige carpet. He either does not notice or does not care. So wildly does he wave, that some splashes across one of his Oscars on the floor, then trickles down the stone head of Jim Morrison of the Doors, the subject of yet another Stone biopic. When that happens, Stone gives the bust a wipe and says: But still he is thinking of Alexander.

It's the person, you see, not necessarily the story, that makes something a movie for me.

Alexander gay sex scene colin farrel

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2 Comments

  1. And, when in full flow, whether in answer to a question or in stream-of-consciousness mode, he will brook no interruption. And I did the dad thing; my relationship with all three is very open, very loving.

  2. Filmed from May to September in Toronto and directed by Len Wiseman , the film was a new sci-fi take about a sleeper agent. Scott thought that Farrell played his role with "a wink and a snarl and a feline purr".

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