Clive Owen is seen arriving the red carpet of 9th Rome Film Festival on October 18, 2014 in Rome, Italy today. During the event, Clive is awarded with The Wella ‘Creative Versatility Award’. Congrats! Unfortunately, we aren’t able to post the images from the award ceremony, but here are the high quality photos of Clive arriving the red carpet. Better than nothing at all!
Our dear Mr Clive Owen attends ‘The Knick’ Photocall and Red Carpet during The 9th Rome Film Festival at Auditorium Parco Della Musica on October 17, 2014 in Rome, Italy. Clive as usual is wearing his favorite Giorgio Armani coat to the event!I love Clive’s role in ‘The Knick’. Superb job, Mr Owen. You deserved an Emmy.
Clive Owen has recently grace the cover of GQ Magazine, October issue! Below are some new photoshoots and interview from the mag! Clive is looking hot as he age!
Who influences you? David Bowie. I came across him at 14 and at one point wound up owning everything he’d ever done, including bootlegs, and just was totally blown away by him. And I’ve said before, and I mean it, that he probably had more to do with me becoming an actor than any actor.
Because he’s such a shape-shifter? Yeah, and because there was just… You know, it’s very difficult later on. I took my girls to the V&A [Victoria and Albert Museum] exhibition, you know, and they got it then; they did get it a bit. They saw all the different phases he went through. It’s very hard, because so many people composed him. It was so derivative of what he was doing, the whole of radically going this way and this way—there was something about that, that I just found so exciting. The potential to do anything. And I sort of found that in his music. I loved the way he went everywhere. I thought there was nothing like him, and I found that inspiring.
How do you imagine yourself at 70? Hopefully alive. [laughs]
It’s all uphill from there. Slower. [laughs]
Still working? Hopefully.
You’re not a guy who thinks, “I’ll retire”? No. Whatever age you are, there’s a role that’s about who you are and where you are. There’s parts for that age that you’ll be rich, that you can bring things to. So unless I was incapable, I imagine myself still working, yeah.
When did you first feel grown-up? Part of me still doesn’t. You know, if you’re the same age as me, 50…I never think of myself as that age, ever. I’ve got an age that I do think of myself. It certainly isn’t 50. [laughs] It’s an attitude, really. I’ve got friends who are older than me—a good ten, fifteen years—and I always look at them like, “I hope to God I don’t look like that.” I’ve done that the past ten, fifteen years, going, “God, I hope when I’m that age…” ‘Cause their spirit, their wit, their energy, is no different from… I don’t feel like I’m a kid, I just feel like, when it comes to things like work, I get set alight the same way as I did when I started, when that passion hit and I thought, “I want to do it.” I read a great script, or a really great project comes my way, I still get hit the same way. I’ve done a lot of different things now, and there’s been ups and downs all the way through, and I’ve been very lucky and had a really great time. But I still get that. What I always loved about acting—what some people don’t love about it—is the unknown. The fact that tomorrow I get the Hemingway script, and I’ve never read a Hemingway book in my life. Or a call from Phil Kaufman—I adore The Right Stuff, I adore The Unbearable Lightness of Being—and I think, “Oh, he’s such a special director.” He sends me this great script, and a year later I’ve read everything Hemingway’s done. Just set alight. That just comes, one phone call, one day. [snaps his fingers] I consume so much about Hemingway, I do everything everywhere he lived in Paris, I go to Cuba and go and look at his house there. It’s the beauty of the unexpected—even if it’s just a great script—that could come tomorrow.
I’ve added new high quality candids photos of Clive Owen is seen arriving in Venice for the 71st International Art Cinema Exhibition in Venice, Italy, 1 September 2014. Is he going to promote ‘The Knick’ in Venice Film Festival or?
Zap2it has recently sat down with Clive Owen to discuss about his newest TV series, ‘The Knick’. Though the interview is short, but it’s worth the read.
Zap2it: What was the rationale for having an actual play-by-play board, like that used in football, as you filmed the first season of “The Knick”?
Clive Owen: I play someone who’s struggling with various kinds of addictions, so it behooves me to plot where I’m at at any particular point. If we go to a location and I’m shooting scenes for five different episodes, I need to know where I am [as the character]. Am I flying? Am I really struggling? To have a visual graphic worked fine for me.
Zap2it: The writing seems to work fine for you, too. Did you want assurances of that before you signed up for the series?
Clive Owen: That’s obviously a concern for me. I was being asked to commit on the basis of reading only one script, but once I spoke to Steven [Soderbergh], he knew how smart the writers were … and I have to say they’ve sustained the journey of the character, and the stories down the line were even better than that original one, which I was pretty blown away by.
Zap2it: How is it to have Oscar and Emmy winner Steven Soderbergh directing all the episodes while he also serves as an executive producer?
Clive Owen: The reality is that [being the star of the series] was a huge thing to carry, but when you’re working with someone of his quality, the real joy is that you’re left to worry about just the things you’re supposed to — which is your acting. You know that everything else has been taken care of.
One of the things that makes The Knick feel so alive — and remarkably different from previous period pieces — is its very modern score. (You can get a sense of it in the first few minutes of the first episode, which is free to stream here).
Cliff Martinez has worked with The Knick’s showrunner, Steven Soderbergh, on eight films, including sex, lies, videotape and Contagion. He was also a drummer for The Red Hot Chili Peppers, created the distinctive score for Drive, and collaborated with Skrillex for the indelible sound of Spring Breakers. He is, in short, incredibly talented — which is why I was so excited to talk with him about his work on The Knick, and the creation of a soundtrack to which I can’t stop listening. That’s what I mean when I say it’s “hypnotic”: There’s a pulse to this music that I can’t wrest myself away from. It has that effect on its own — perhaps more so — but it also has the effect on the show itself: It inscribes its rhythms on the narrative, to the point that I can’t think of the plot without also thinking of the way that the score shapes it.
According to Martinez, he received the packet of all 10 scripts — the equivalent of a 10-hour movie — shortly after Soderbergh received the greenlight from Cinemax to film The Knick. “It was like ‘here’s the Rocky Mountains, kid,’” said Martinez, “‘whattya think?’” Martinez read through a few of the scripts, and Soderbergh began to send him rough cuts for the first few episodes — each of them scored with swatches of Martinez’s own (very modern) scores for Only God Forgives, Spring Breakers, Drive, and Contagion. Read the rest of this entry »
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