#mottram

[epellucid]

via

[hikinguk]

Hyde - Mottram

[undergroundrockpress]

Chrissie Hynde and Martin Chambers, Bristol, England.

Photo by Tony Mottram, 1984.

[dbstaches]

Soft Cell inside Cardiff Castle, August 1981, photo by Tony Mottram.

[strathshepard]

Sade photographed by Tony Mottram

[westeroswisdom]

James Mottram of NME spoke with Ewan Mitchell (Aemond Targaryen). Here's a bit of the interview.

James Mottram: In the finale, the war that’s been brewing didn’t happen – what do you think about the fact that fans will have to wait another two years for the conflict? Ewan Mitchell: The wait will be worth it! James Mottram: Some fans have complained it was a slow season – what did you think? Ewan Mitchell: I think there’s moments for everyone. What I love about Aemond… it's like he can’t sit still. He has to be moving. And he possesses such a kind of catalytic energy that whenever he’s on screen, you know something’s gonna happen. So it's nice. And the Council Table, there’s so much conflict between these relationships that we all share around this table that I loved to dive into. James Mottram: So what are you anticipating for him in season three? Ewan Mitchell: They've always said that Targaryens are closer to Gods than men… but after episode seven with The Red Sowing, that kind of put that belief into question. The divide between the common folk and Dragonlords isn't as big as what it was thought to be. And so it kind of puts all Targaryens… we’re just like common folk. And I think Aemond, he retaliates in such a way (that you see in episode eight) that’s quite desperate. He literally begs his sister, Helaena, to join him on dragonback to take out Daemon. Going into season three, there's certainly a blockade that needs to be broken.

The rest of the article can be read here.

[k-i-l-l-e-r-b-e-e-6-9]

The Adicts

 📷 Tony Mottram

[flowersofnaivete]

[alliwanttodoiscollectpoetry]

Recurring Nightmare by Darla Mottram (RECURRENT)

[chalamet-chalamet]

Timothée talks playing a cannibal in Bones & All (James Mottram, SFX Magazine-11/1/22)

SFX: How did you interpret your character Lee and Russell's Maren’s need to feed?

For me, it felt like the cannibalism was a metaphor for what your ancestors leave you with – your immediate parents, but also the trauma that you’ve lived with from generations past. You wrestle with that. Sometimes it’s something you can actually overcome and break the cycle. And sometimes a curse remains a curse and a blemish remains a blemish.

Was there anything else you felt while making it?

During, it felt like this quickly became a metaphor about addiction for me – especially young people who are addicted, are figuring out the most rudimentary things about themselves, what it means to be in love, what it means when you’re in a relationship, what it means to try to support someone in a relationship. You are wrestling with something so intense, so dangerous, as to affect other people’s mortality or your own... Without giving anything away, love can be something that rescues you out of it and lifts you up. But I also like the other interpretation – again, without giving too much away – that love can lift you, ultimately to sort of crush you too, because sometimes those demons remain.

Do you think the film has a feel of Badlands or Bonnie And Clyde? 

Those are two huge inspirations for the movie. When I think about Bonnie And Clyde and Badlands, it was just a style of acting in those movies that was more direct. It felt old-fashioned that way and felt inspiring. Badlands is a movie I hadn’t seen before I read the script. And then you watch it and you’re deeply invested in these characters.

[peterbuckmichaelstiperem4ever]

📸 by Tony Mottram

[rainingmusic]

Archive - Kings Of Speed

[jamesnorthcotefanblog]

James Northcote as Tom in 'A Clever Woman' (2023)

[mikeshouts]

The Art Of The Creator: Designs Of Futures Past Limited Edition Comes With A Statue Of A Robot Monk

Lovely!

Follow us for more Tech Culture and Lifestyle Stuff.

[dbstaches]

Dave Ball standing by a mural in the Some Bizzare offices circa 1983, photo by Tony Mottram

[knchr]

ジェイムズ・モトラム / メイキング・オブ・テネット クリストファー・ノーランの制作現場