– Photoshoots > Vogue UK (2016)
– Photoshoots > Vanity Fair USA (2016)
– Movies & Television > The Crown (TV Series, 2016) > Production Stills
– Magazine Scans > Scans from 2016 > Empire – September 2016
An exclusive behind-the-scenes peek at the new blockbuster drama about the life of Elizabeth II
Scottish Daily Mail
5 Aug 2016
THERE’S high drama everywhere I look. Over there, the Queen is boarding a BOAC flight. Here’s Winston Churchill presiding over a cabinet meeting. And look: the Duke of Edinburgh is wandering around in his pyjamas. In a muddy field, I see perfect replicas of the frontages of Buckingham Palace and No. 10 Downing Street — although on closer inspection, they do look a little frayed.
Then the Queen swings her handbag at a courtier, and lets out a belly laugh.
It’s as if I’ve been sent back in a time machine to view — first hand — the early years of Her Majesty’s reign. But, in reality, the scenes unfolding before my eyes are part of the filming of the first series of The Crown — the most ambitious television programme ever made about Elizabeth II, and this autumn’s must-see drama.
‘It’s the story of this extraordinary family under extraordinary pressure trying to survive,’ said Stephen Daldry, one of The Crown’s executive producers and directors.
All ten hour-long episodes will be streamed, in all Netflix territories, from November 4 this year.
Viewers will be able to observe actress Claire Foy’s portrait of Elizabeth from her wedding to dashing naval officer Philip Mountbatten (played by Matt Smith) in 1947, to the debacle that was Suez in 1956.
People forget that in the early years of her reign, the Queen looked like a movie star.
‘She was glamorous and she was beautiful — but she had this extraordinary sense of duty as well,’ Daldry added.
His ambition, and that of his collaborators — writer Peter Morgan (who worked on the play The Audience with Daldry and also wrote the film The Queen, both starring Helen Mirren), Philip Martin (who directs four episodes) and producers Andy Harries, Matthew Byam-Shaw, Andrew Eaton, Faye Ward and Robert Fox — is to shoot ten episodes for each decade of Her Majesty’s 63-year reign.
The second series, covering the Sixties, starts filming next month.
Each show deals with a crisis: whether it’s political (Suez) or domestic, such as Princess Margaret’s desire to marry Group Captain Peter Townsend, her father’s equerry.
ONE concerns the placement of the Duke and Duchess of Windsor at the funeral of King George VI. Another explores the different experiences Philip and Charles had at Gordonstoun school. ‘Why was it so powerful for Philip? And so horrid for Charles?’ Daldry wondered.
Another episode examines the explosive debate around the cabinet table — and in the Commons — over whether the Queen’s Coronation should be televised.
Philip Martin directed the Coronation episode. He said the argument about the perils of ‘letting daylight in on the magic’ (as 19thcentury essayist Walter Bagehot put it), and of ‘whether it was wrong for people to be able to sit at home and have a cup of tea and watch the Queen being crowned’ — in his words — was fierce.
A highlight is the sequence concerning the Act of Consecration.
In 1953, the anointing of the Queen was blacked out, so viewers never saw it. But Daldry was adamant The Crown should show Elizabeth being daubed on the palms of her hands, her breast and forehead with special consecrated oils — and the scene with Foy (who played Anne Boleyn, in Wolf Hall) is solemn but spectacular.
‘It explains so much about her, and how she sees her duties,’ Daldry said, as we walked to one of several sound-stages being used at Elstree, in Hertfordshire, for the show.
He stressed that The Crown is not a historical documentary (although he said an incredible amount of research had been done).
‘We’re not making up a lot. But obviously it’s not a docu-drama.
‘The Queen has maintained a mystique: the most visible, invisible woman in the world.
‘The dramas of her family affect our lives, as when Margaret wanted to marry “the staff” — and a divorced member of the staff, at that. A lot of what’s in The Crown is in the public domain, but it has never been put together like this before.
‘We’re checking ourselves to make sure we’re not stepping over the line.’
And what, exactly, would be ‘stepping over the line’?
‘Getting into areas that aren’t warranted, or in bad taste,’ Daldry said ‘I wouldn’t be interested in seeing them in intimate circumstances.’
I mentioned that when I was being shown around, a senior member of the crew explained one set was Prince Philip’s private rooms.
There was a corridor leading to another bedroom.
‘That’s the tunnel of love,’ the person said, adding that it lead to the Queen’s private chambers.
Daldry confirmed ‘the tunnel of love’, but insisted: ‘We’re not portraying anything that hasn’t been said in biographies.
‘You do see Philip in pyjamas, and there is a bare royal bottom. They were a very passionate couple. One doesn’t want to be lurid or indiscreet in any way, but you also want to get a sense of how much in love with each other they were.’
Matt smith was even more circumspect, and said he wasn’t sure if the royal bottom would survive editing.
‘I think what will come through is that they are real soul mates,’ said smith, who will also portray the Duke of edinburgh in season two.
But, smith told me, his Philip is not the prince of gaffes, as we sometimes see him today.
‘There’s more to him than that,’ he said. ‘I think he’s quite a complex man really. His mother was estranged, his sister died in a plane crash and his father was busy in Monaco. Then his career in the Navy was taken away when elizabeth’s father died and she became Queen.
‘It’s very odd when you start walking two steps behind your wife.’
Smith said he would not describe himself as a royalist (‘I like how bizarre and interesting they are’) but admitted that since working on The Crown he has found himself feeling ‘more affectionate towards them’.
Several members of the cast and creative team had similar stories of discovering new levels of admiration for the Queen and Philip since embarking on the dramas, which were shot here and in south Africa.
Executive producer Andrew eaton said he found himself crying when watching Foy in the Coronation scenes. ‘I thought: “What do I find that’s so emotional?” And I think it’s mostly about this country, and what’s great about it.’
He remembered watching the Queen the week after the July 7 bombings in London. ‘she stood under the archway in Horse guards with her handbag, and I got this sense from her of: “This is our country. Don’t f*** with me.”
‘That’s our Queen. she’s always had our back.’
– Magazine Scans > Scans from 2016 > Vanity Fair (USA) – September 2016
– Magazine Scans > Scans from 2016 > ELLE (France) – April 29, 2016
Styled by Vogue fashion editor Verity Parker for the issue, the cast of The Crown gather in exquisite creations evoking the era. Elie Saab Haute Couture, Zuhair Murad Couture, Ralph & Russo, and Chanel Haute Couture all feature in the beautiful 10-page shoot.
– Magazine Scans > Scans from 2016 > Vogue (UK) – August 2016
By Rebecca English for MailOnline
Having starred in Wolf Hall, actress Claire Foy is more than used to time travelling for her roles.
The actress’ latest incarnation is likely to be her most challenging role yet – taking on the part of a youthful Queen Elizabeth during the early decades of her marriage to Prince Philip.
Dr Who actor Matt Smith plays the Duke of Edinburgh in Peter Morgan’s much anticipated new series The Crown, which documents the couple’s relationship from November 1947 to the Suez Crisis of 1956.
Writer Morgan, of course, earned plaudits for The Queen, starring Helen Mirren, and this time teams up with The Audience’s Stephen Daldry for what has been described as a ‘meticulously researched’ and sumptuous series.
Vogue magazine has printed a series of exclusive pictures with the cast, snapped by photographer du jour Jason Bell, who also photographed Prince George’s christening.
The ten-part drama doesn’t shy away from the grim realities of life, however: including showing a scene in which the Queen’s late father, King George VI, coughs up blood into his toilet bowl.
He died from lung cancer in 1952, propelling his eldest daughter, Princess Elizabeth, onto the throne in her twenties.
The series also shows one of his daughter’s (it is not yet clear which) seeing his body embalmed, which might cause some upset among viewers.
Scenes were filmed both at Elstree Studios and at some of the magnificent stately homes in the country: Hatfield House, Lancaster House, Loseley Park, Wrotham Park and Englefield.
The beautiful period costumes are the handiwork of Michele Clapton, who also designs the costumes for Game of Thrones.
The Queen is sensitively portrayed by Wolf Hall star Claire Foy, who is said to have captured the transition from carefree young princess, to mother and, then Queen, beautifully. Continue reading Netlfix series The Crown gives Claire Foy new respect for The Queen
– Public Events > Events in 2016 > House Of Fraser British Academy Television Awards 2016
By Sebastian Shakespeare for the Daily Mail
Tracing the life of the Queen from her wedding in 1947 to the present day was always going to be a daunting challenge for the makers of TV drama The Crown, but its leading lady had another complication.
Claire Foy – who plays Her Majesty – had to fit her filming commitments around her own baby’s feeding schedule.
‘Claire was breastfeeding, her chaperones were constantly rushing off to bring bottles to supplement her, and the whole schedule was shot around her timing for the breast feeding,’ says animal trainer Luke Cornell, who worked on scenes in South Africa. ‘It was crazy.’
In the drama, which begins on Netflix this autumn, South Africa doubles as Kenya, where the young Princess Elizabeth was staying with Prince Philip when she learnt that her father had died.
Cornell adds: ‘I used two of my cheetahs with Claire, about 25 metres from her, and she was really terrified, but I constantly assured her it’s not dangerous.’
– Public Events > Events in 2016 > House Of Fraser British Academy Television Awards 2016
“We’re a nation of storytellers. Long may that live” Wonderful words frm Mark Rylance on his 2nd BAFTA win this year.
Oscar winner Mark Rylance won another award at the House of Fraser British Academy Television Awards on Sunday, where he was named the best actor in a dramatic television series for “Wolf Hall.”
“Wolf Hall” was also named the best drama series, “Peter Kay’s Car Share” won for scripted comedy series and “This Is England ’90” won for best miniseries.
Acting awards went to Rylance, Suranne Jones for “Doctor Foster,” Tom Courtenay for “Unforgotten,” Chanel Cresswell for “This is England ’90,” Peter Kay for “Peter Kay’s Car Share,” Michaela Coel for “Chewing Gum”and Leigh Francis for “Celebrity Juice.”
“Wolf Hall” went into the show as the most-nominated show; it, “This Is England ’90” and “Peter Kay’s Car Share” were the only programs to win more than one award.
Wolf Hall director Peter Kosminsky uses his acceptance speech to defend the independence of the BBC BAFTA TV Awards. Kosminsky triggers ovation protest at Government threats to BBC and Channel4: don’t cut it BBC!
By Sarah Doran
Sunday 8 May 2016 at 7:50PM
Wolf Hall director Peter Kosminksy launched a passionate defence of the BBC when he took to the Bafta TV Awards stage to accept the award for Best British Drama this evening.
“In a week John Whittigdale described the disappearance of the BBC as ‘a tempting prospect’, I’d like to say a few words in defence of that organisation,” Kosminsky said on stage in London.
The director of the Bafta-winning BBC2 drama said that it was time for viewers to “stand up and fight” for the public broadcaster against what he saw as the government’s “dangerous nonsense.”
The government’s White Paper on the future of the BBC is due to be published this month, examining the next BBC charter and the scope of the BBC’s remit.
“I think most people would agree that the BBC’s main job is to speak truth to power, to report to the British public without fear or favour,” Kosminsky said. “It’s a public broadcaster independent of government, not a state broadcaster. All of this is under threat right now.”
“The Secretary of State has talked about putting six government nominees on to the editorial board of the BBC,” he continued. “And as a sign of things to come, the Secretary of State has been telling the BBC when to schedule its main news bulletin, what programmes it should make, and what programmes it shouldn’t make. It’s not something I thought I’d see in my lifetime in this country.”
Kosminsky went on to compare the situation to that of North Korea or Russia, and argued that Channel 4 was also under threat, telling the audience that government suggestions of privatisation would “eviscerate” the broadcaster.
“This is really scary stuff folks, and do you know what? It’s not their BBC, it’s your BBC. In many ways our broadcasting – the BBC and Channel 4 – is the envy of the world and we should stand up and fight for it, not let it go by default, and if we don’t, blink and it’ll be gone. No more Wolf Halls, no more Dispatches,” he said.
“It’s time for us to stand up and say no to this dangerous nonsense,” he ended.
The audience responded with a standing ovation for the Wolf Hall director.
After leaving the stage, the director said in the Bafta press conference that “without the BBC Wold Hall would not have been made.” Wolf Hall’s leading actor Mark Rylance backed up his director’s speech, saying, “I agree with them completely. I’ve made wonderful work with the BBC.”
Last week the Department for Culture, Media and Sport agreed to take into consideration the views of 9,000 Radio Times readers which it had previously ignored during the consultation stage.
Radio Times editor Ben Preston said at the time, “Soon we’ll discover whether the Culture Secretary has actually listened to your overwhelming support for an independent public service broadcaster supported by the licence fee. Watch this space.”
LONDON — “The Amazing Spider-Man” star Andrew Garfield and Claire Foy, who plays “Queen Elizabeth II” in Netflix series “The Crown,” have joined director Andy Serkis’ true love story “Breathe.” The screenplay is written by William Nicholson, who was Oscar nominated for “Gladiator” and “Shadowlands.”
The film is produced by Jonathan Cavendish (“Bridget Jones’s Diary”) and The Imaginarium Studios. Embankment is handling worldwide sales. CAA and Embankment represent the producer for the U.S. sale. The film will be co-financed by BBC Films.
Garfield plays Robin, who is “handsome, brilliant and adventurous.” He is a man with his whole life ahead of him before he is “cruelly paralysed by polio.” Foy will star as Robin’s wife Diana, whose devotion and determination “transcend his disability.” “Together they refuse to be imprisoned by his suffering, travelling the world and transforming the lives of others with their humor, courage and lust for life. A heart-warming and hilarious celebration of bravery and human possibility; a love story about living every breath as though it’s your last.”
Cavendish commented: “Andy is the perfect choice to direct ‘Breathe.’ He is a visionary director with a superb take on this unusual and uplifting material. And above all, he is a superb director of actors.”
Serkis added: “I’m very excited by the prospect of working with Andrew. He is a remarkably gifted actor, capable of finding and expressing the deep emotions experienced by Robin, in spite of his disability. Claire is blessed with a diverse and exceptional range of work and is one of the U.K.’s most respected young actresses — she’s the perfect emotional foil to Andrew’s Robin and brings great strength of character to the pivotal role of Diana.”
“The Crown,” which is written by Peter Morgan and is directed by Stephen Daldry, premieres on Netflix in November.
This is the first time that Claire attended a public event in over a year!
– Public Events > Events in 2016 > Royal Television Society Awards
– Movies & Television > Wolf Hall (TV, 2015) > DVD Featurette > The People, The Politics
Wolf Hall is up for best photography and lighting at the Bafta television craft awards, despite a row over gloomy scenes
By Hannah Furness, Arts Correspondent
The makers of Wolf Hall have had the last laugh in the debate over their use of authentic candles in filming, as they are nominated for best lighting at the Bafta Television Craft Awards.
Gavin Finney was nominated for best photography and lighting for the BBC period drama, going up against The Frankenstein Chronicles, Fortitude and London Spy.
The nomination will be a moment of jubilation for the team, after the drama, broadcast last year, was initially blighted by audience complaints about its lighting. Continue reading Last laugh for Wolf Hall as it wins best lighting Bafta nomination
The nominations for the Royal Television Society Awards 2016 have been announced and there’s no room for Mark Rylance’s Emmy and Golden Globe-winning portrayal of Thomas Cromwell in the BBC’s Wolf Hall.
Claire Foy, who played the part of Anne Boleyn in the adaptation of Hilary Mantel’s historical novels, has however been nominated for Best Actress alongside Suranne Jones, for Doctor Foster, and Claire Rushbrook, for Home Fires. Somewhat surprisingly Nicola Walker, whose performances in both ITV’s Unforgotten and the BBC’s River gathered her rave reviews last autumn, has not been nominated.
As for Rylance, he will have to make do with the Oscar he recently scooped for Bridge of Spies, as Adam Long, Anthony Hopkins and Tom Courtenay fill the nominations for Best Actor. This is England ’90 and The Lost Honour of Christopher Jefferies, both of which have also got nominations for Best Drama Writer, will vie with Wolf Hall for Best Drama Serial. Humans, No Offence and The Last Kingdom are all up for Best Drama Series.
Catastrophe, Peter Kay’s Car Share and Chewing Gum dominate the comedy nominations, with each sitcom picking up three nominations. It’s a particularly good year for Michaela Coel who has Best Comedy Performance and Best Comedy Writing nominations to along with her recognition in the Breakthrough category.
The winners will be announced at a ceremony on Tuesday 22 March.
By Michael Carr
FILMING of a £100m TV series continues in Winchester today – and a Hollywood star has been spotted enjoying a roast dinner in a local pub.
Winchester has been awash with activity as cameras rolled into the city and streets were transformed to look like wartime Britain.
And Hollywood star John Lithgow has been seen on set and having a meal in the Wykeham Arms.
The American veteran plays Winston Churchill in The Crown, a Netflix series costing more than any other in British history. Continue reading John Lithgow in Winchester for shooting of £100m series The Crown