On Collaboration: Rufus Norris x Rory Kinnear

The Director and Actor Continue Our Series in Association with EDITION Hotels

The rehearsal rooms of the National Theatre serve as the backdrop to the second film in our series, On Collaboration, created in conjunction with EDITION Hotels. Titled “Innovation,” the episode sees the much-lauded director Rufus Norris and actor-of-the-moment Rory Kinnear come together for an exclusive, improvised performance, offering a unique view on the close, intimate relationship they develop over the course of a production. The pair have worked together several times, including in the 2004 Almeida Theatre production of Festen and later in 2012’s Broken, Norris’s first foray into feature film, which won a brace of plaudits at the British Independent Film Awards. “Actors don’t know nearly as much about acting as directors do,” muses the James Bond star, Kinnear, who has also worked extensively with the Royal Shakespeare Company. “And directors never know as much about directing as actors do. Because directors are rarely in rooms with other directors.” Norris trained as an actor before turning his hand to directing, rising to prominence in 2001 with the Evening Standard Award for Most Promising Newcomer; this year he has already directed the critically acclaimed Feast at the Young Vic and The Amen Corner at the National Theatre. With a work philosophy that encourages an atmosphere of trust and collaboration, he stresses the lack of hierarchy on set. “The most wonderful thing is when you can create an atmosphere where inhibition and the fear of exposing yourself, metaphorically and emotionally, disappears,” explains Norris.

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Conversations (1)

  • krb
    Wonderful director, brilliant actor. Great to hear these two in conversation! Kelly Reilly
    • Posted By krb
    • July 31, 2013 at 8:22AM
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    On Collaboration: Franca Sozzani x Miles Aldridge

    The Vogue Italia Editor-in-Chief and Photographer Launch a New Series with EDITION Hotels

    Since they met in 1995, Vogue Italia Editor-in-Chief Franca Sozzani and British photographer Miles Aldridge have been creating vivid, surreal set-pieces for the most experimental and provocative of the magazine’s editions. The ongoing alliance between these two fashion creatives is explored in “Vision,” the first episode of a new series exploring the concept of collaboration. It’s directed by NOWNESS regular Johnnie Shand Kydd in association with EDITION Hotels. Since rising to the helm of the lauded magazine in 1988, Sozzani was instrumental in heralding the era of the supermodel in the early 1990s, while championing the careers of pioneering fashion photographers Steven Meisel, Bruce Weber and Paolo Roversi. Aldridge’s work is in the permanent collections of the National Portrait Gallery and the Victoria & Albert Museum in London. Today he sees the launch of a major home town retrospective at Somerset House, entitled I Only Want You to Love Me, coinciding with a tome of the same name published by Rizzoli. Another London showing of photography, Short Breaths, will be unveiled on July 12 at the Brancolini Grimaldi gallery. “I remember seeing her at one of the runway shows and thinking she looked like a beautiful character from a Fellini or a Visconti film,” recalls Aldridge of Sozzani. “Then a few months later I was having tea with her. I think she wanted me to move into a new world and Vogue Italia have that trust in me, even if I’m playing with slightly disturbing, disquieting, uncertain things.”

    Each film in the On Collaboration series has been produced in partnership with EDITION Hotels, a new project between Ian Schrager and Marriott Hotels. The London EDITION opens in Autumn 2013.

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    Sturtevant: Leaps Jumps and Bumps

    Capturing Four Decades of Groundbreaking and Provocative Work from the Artists’ Artist

    An unsettling line of inflatable dolls sits at the window of the Serpentine Gallery in London’s Hyde Park this summer. It comes as part of the Ohio-born, Paris-based artist Sturtevant’s first exhibition at a public institution in the UK, almost half a century after she began “repeating” the works of such New York art-world giants as Andy Warhol and Roy Lichtenstein. For Sturtevant, the repetition for which she became so notorious is a way of shedding light on art’s inner workings: “It seems so simplistic,” she says, “but it’s oftentimes true that when something is simple, it’s powerful.” Ever rigorous, Sturtevant made a point of learning the techniques used to create the work of art she was repeating, normally choosing iconic pieces––like Warhols, which “work better” because they are recognizable––and executing them again, looking to find out what made them tick. In one famous anecdote, when Andy Warhol was asked about his screen-printing technique he is said to have replied: “Ask Elaine Sturtevant.” Having repeated Joseph Beuys, Paul McCarthy and other significant figures in 20th-century art, Sturtevant has now taken on the 21st century by making work that deals with the culture of repetition in the digital age, some of which can be seen in the video installation in today’s film. “Don’t call it a retrospective,” she says of the exhibition. “When you’re in a certain space, you try to create tension—via tonality, or rhythm—in order to trigger thinking. This shows a certain dynamic, and that’s very good.”

    Sturtevant: Leaps Jumps and Bumps will be on view until August 26 at the Serpentine Gallery, London. 

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