Conducted By: Darryl Griffiths
So, Dylan Thomas the renowned poet. A fellow Welshman yourself Celyn, just how familiar were you with Dylan’s body of work beforehand?
He’s our Shakespeare so pretty hard to ignore. I’ve been familiar and a fan of Dylan since a teenager. It was the first poetry that really got me excited and that I first got something from and when I saw the image of the man looking like a rock star or punk comedian I was sold, gravitating towards his work, the stories (apocryphal or not) and the man. ‘Under Milk Wood’ was instantly accessible with its humour and pathos just made sense to my young mind. But with this film I discovered more and more riches and like Shakespeare it takes on whole deeper meaning once spoken out loud. I’ve been preparing for this role for a long time sometimes consciously and sometimes not.
Firmly established as a character actor across the entertainment spectrum, were there any unlikely influences as you immersed yourself into the role of Dylan Thomas?
Apart from all the necessary Dylan research there is also an imaginative process that I relish as an actor. There isn’t any moving image of DT in an archive or recordings of his conversational voice, just his performance voice. So an imaginative process twinned with anecdotal and photographic evidence was my entry point. We talked about the fun and wittiness of Dylan being like the Odd Couple or Marx Bros as clowning is very influential to my process and because Andy Goddard is a huge music fan & film fan we would often pool our influences and inspirations into a reference pot of popular culture ‘it’s like that scene in that….’ or ‘that lyric from…’ lots of conversations like that. So a lot of influences going in and out. And then it’s about giving yourself over to your fellow actors to see what they bring out of you and this film has a role call of great talent and of course the chemistry between Elijah and I is one of the strongest influences in completing the character, Elijah is great. Andy Goddard had a fantastic grasp on what I can do or could do and conveyed that so deftly, we all trusted each other.
Of course you co-wrote the script with Andy Goddard, the film marking his directorial debut. Working on the likes of Downton Abbey and taking into account the aesthetic of the film, do you believe he proved an ideal fit?
Andy and I committed to each other and the film we wanted to make and its a relationship I’m very proud of. Andy is a punk film fanatic and music enthusiast who just happens to have directed Downton Abbey. He burst onto the film world with his shorts and , like me, then spent the majority of his career in TV. Those elements were essential for us to complete this film because in TV you are up against with time and budget and you have to solve problems and move fast so that experience worked for us. Also the crew who came on board with similar experience made us a well oiled machine. The TV and Film divide isn’t helpful as there is room for both and both can benefit from each other, while still being remaining brilliantly different.
The stylistics and values of the film at first look are deceiving of its modest budget. How would you describe your approach in achieving your admittedly audacious aims, considering such financial constraints?
It’s all about the talent. This film was shot in 18 days, in Swansea (pretending to be New York) and for a very modest budget. The fact it looks like millions of pounds is absolutely down to the talent who gravitated to the project and made it happen. Chris Seager’ masterful cinema photography , Edward Thomas’ genius design, the Amazing cast and all the other departments that brought their talent and ingenuity to make this work and be special. And then there’s Gruff Rhys and his incredible music score. But this is the film we had in our heads and dreams, we wouldn’t change a thing with the film… just maybe pay people more. Our producers Andy Evans & A J Riach (Mad as Birds Films) were essential in protecting this project and in supporting it to what it could be against all odds. What is a audacious is that this film was all our debut’ director, writers and producers.
A Middle-Earth veteran. Yet an underrated indie chameleon in the likes of Maniac and Grand Piano. How did you get Elijah Wood on board?
Seriously we finished writing the script with Elijah in mind, his agent read it and liked it and he read it and felt the same. So he met Andy in LA and then we Skyped and that was that. Lucky lucky us and I’m well aware it doesn’t and shouldn’t work that way. Andy G just saw the two of us together in his mind and on the screen. Elijah is a great man and fab actor, available and knowledgable with a great sense of humour too. He has an excellent instinct on set and you can see that directing a film is not took far away for him. He’s an Indie-film guy.
Dylan Thomas coming across as a tortured soul whilst John M. Brinnin sees him as this inspirational figure. From personal experience, have you ever had underwhelming encounters with your own ‘heroes’?
In a way it’s John’ fault for putting all that expectation onto Dylan. Yes people have disappointed me at times and I’m sure I’ve disappointed people but that’s just life. Saying that I do believe there is always a way with people and once you tune into each other there’s an understanding and with an understanding you can work together. I learnt that from my father who said ‘Treat other people the way you want to be treated and you won’t go far wrong’ , then working as a barman and then as a teacher it broadened my capacity to listen and engage with different personalities. And after all that and they’re still an arse….. give it to them straight and move on.
The business is a complex beast and follows no real structure or formality as it’s made up of too many parts that constantly change, a new universe with rogue atoms.
As an actor you put the world onto other people’ shoulders where your dreams and ambitions lie at the feet of strangers, that’s just crazy and no other professional would do that at the risk of their lifestyle and the lifestyle of their dependants. I’m not waiting for the phone anymore, if they call they call then that’s great and if they don’t…. well i’m dialling the numbers myself and saying ‘Want to make something together?’
Collaboration is everything.
Particularly in a beautifully played scene with ‘sharing’ of horror stories, the Thomas/Brinnin two-hander seems to thrive on pushing each other out of their ‘comfort zones’. Would you deem their relationship easy to define?
Thanks for saying that, Elijah and I worked really hard and Shirley Henderson and Kevin Eldon are just splendid actors. This sequence is the fire in the crucible of the film and it actually happened too. Andy and I discussed this sequence thoroughly and I have to credit Andy for the horror stories as they’re entirely him, beautifully performed by Elijah and Shirley. Re-relationships and their relationship I’d agree that yes it’s tricky to define as it is so new and they are so different, which makes compelling viewing and why we were drawn to tell the story. This film would not be a film had it been the smoothest of rides. As an actor I had the opportunity to throw everything into Dylan and at John and Elijah beautifully/skilfully dealt with the hurricane and hit it straight back to me.
Playing such an esteemed literary figure here. Is there anyone else of considerable stature you would relish portraying on-screen?
Maybe Hemingway in the literary world as he fascinates me and comedians intrigue me the way their minds work and hearts operate. I’m going to play a comedian at some point. You should find the monster in the man and the man in the monster. It’s the personalities i’m drawn to that excite me to play. Dylan is tragic and funny and brave and frustrating and vulnerable who is also a great artist, it was very personal to me and a gift to play.
I was chatting to a writer pal of mine today who’d seen the movie and was very moved and affected by it he said ‘Don’t forget what you did in this film and how you did that role because that’s the cream… when you put everything in and dare to fail’, he’s right. I’m so grateful that this is all happening now at this point in my life and not in my early 20’s, I’ve worked like a dog and been bitten enough to know I’m now ready. I’ve pulled back the green curtain and seen that it’s not a wizard at all, just a bloke like us who’s making it up as he goes along….. and i’m cool with that.
Thanks for supporting the film, c.
An Interview With… Kyle Cooper #Locarno71
In his speech on the Piazza Grande at Locarno Film Festival, Kyle Cooper said that he ‘had been giving credit to everyone else for 30 years and now it was time for him to enjoy it’.
Kyle Cooper was the recipient of the Vision Award Ticinimoda awarded to those whose creative work behind the scenes, as well as in their own right, has contributed to opening up new perspectives in film.
As one of the most respected title credit designers and directors, Kyle Cooper has worked on over 300 movies, including the likes of Goodfellas, Se7en, Spider-Man and TV Series such as The Walking Dead and American Horror Story.
It started again with Se7en and it’s like people had forgotten main titles could be something, and then you came up and broke that wall open. So are you in any way regretting what you did because suddenly you kind of opened the door and everybody came barging in.
No, I think that it’s interesting, you see Saul Bass talk about these “studio trends” where people get tired of main titles and they say let’s just do Woody Allen main titles, we don’t need to spend the money and they can’t do anything for the film and then they forget that it’s the beginning of the movie. I mean sure we could put them all at the end- which is another trend- but it can become the perfect beginning to the film. It can dovetail whatever the live action is, whatever the director’s already intended to do, and the title designer, if they do a good job, for example, I was working on Goodfellas when I was a kid and I wasn’t solving Martin Scorsese’s problem and he said ‘I want something like Saul Bass, remember Saul Bass?’ and I said well, Saul Bass he’s still around, they’ve got an office around the corner! And then Saul Bass did Goodfellas and then the lesson I learned was, Martin Scorsese knew he wanted Ray Liotta to open the trunk and say “I always wanted a gangster” and he wanted the music to kick in, and that was all still there because Saul Bass saw what Scorsese had and looked at the beginning and thought well they’re in a car, so I’ll have this type come by like passing cars and I was thinking as a young person, I need to think of a metaphor for the gangsters of Italy, I don’t know, the Italian flag? And no, he looked at the beginning and figured out how to integrate these nasty credits into the beginning that Martin Scorsese had, and the beginning wouldn’t be the same without the typography integrated and I would maintain that the movie ‘Se7en’ wouldn’t be the same if it didn’t begin the way that it began and so, again about Saul Bass- when he did ‘The Man with the Golden Arm’ people had gotten kind of complacent about main titles and everybody sat up and said gosh, here’s an opportunity, here’s a bit of real estate, where we can do something creatively interesting, so you know, a lot of good work came out of that- it sounds a bit arrogant if I say that Se7en did that but since you said it… it kind of woke people up to the potentialities of what a main title sequence could to for a movie and the best thing that it can do is set the tone and become the first scene of the movie and the last people that were here just asked me what I thought about the Netflix ‘skip title’ button, and I think you have to make the distinction of a film title sequence and a broadcast title sequence and the reason I say that is, if it’s a full feature, many times the main title is setting up something expositional that’s crucial to that particular film. Whereas the Netflix button- the title sequence isn’t intrinsically linked to the first scene of the episode.
What would be the different functions and different uses of those titles – opening the movie, setting the tone are there other purposes in some way?
Yeah- for a film title, a lot of times the studio will stream the movie and realise people don’t understand a certain thing, or they’re missing a point and they say how do we fix this? What shall we do? Oh, let’s talk about the serial killer in the main titles. I shot this thing for a movie called Identity and people didn’t understand the pathology of the plot and so we tried to make sense of that in the main title. So the other things that it can do- it can set the tone – I mean the titles that influenced me and the titles sequences that made me want to be a main title designer when I got out of graduate school were Altered States, Alien and The Dead Zone, and I think that those perfectly set the tone for those movies. They are minimalist and simple, but the music is impeccable and wonderful and it just makes you feel the way you’re supposed to feel at the beginning of that movie. You want to set the emotional tone for that film, you want to elicit an emotional response from the audience.
How did you get into title design in the first place?
I was a graphic designer and where I was working at the time, this man brought in a reel of movie titles and I saw some of Richard Greenberg’s work – Altered States and The Dead Zone – and that’s when I realised main titles combined both my interest in film and in graphic design and that was in 1985.
Increasingly we are seeing almost little films at the beginning of the movie where the title sequence is- even animated when the film is live action or whatever – I wonder if the internet has been an influence on that where you can see on YouTube, particular segments of a film- whether that’s changed the status of the title sequence? Like trailers for example, they’ve become an art form and people review trailers and I’m wondering if title sequences, in a similar way, have they become a discreet theme?
I agree with you yes, and people talk about them and review them independently and I think it’s good but it shouldn’t be separate from the movie somehow I think they work better if they are the actual beginning rather than this disembodies music video – I could be wrong. Elvis Mitchell said in the New York Times, that the Dawn of the Dead title sequence was better than the movie and I felt bad, I felt because I’d never got to work with Zack Snyder, one of his associates said that was insensitive to him , but I would never set out to do that. The trailer is different because the trailer is made up of parts of the movie.
What is your take on the current main-on-end, because I know you’ve done a lot of them yourself, but the whole thing of the main title is to set the movie up, even if they come a little later than the beginning but the tendency now is to have a small sequence at the beginning and let everything role at the end of the movie to an emptying room, Is that demeaning to your work, is it another challenge you have to overcome? What is your take on that?
I don’t think it’s demeaning, to work on a main-on-end, I think a lot of times I have worked on them, they want the audience to leave with a spring in their step, they want the audience to dance out of the theatre –like in Iron Man or in both Sherlock Holmes movies – let’s remind them what they’ve seen, and have them leave with a good feeling, so in that sense there is a necessity to them. The first Sherlock Holmes movie felt like that, it was kind of a celebration of what you had just seen and it worked visually and it was okay. Marvel does it all the time, I don’t feel like it’s a lesser job but you’re not really setting a tone, if the movie ends on a dark tone, they usually decide to have white-type over black. You could have a dark movie and you could set a dark tone at the beginning, but you can’t do that as much with a main-on-end. Maybe your options of what you could do in a main-on-end would be limited.
So in regards to your creative influence at the start, does a director give you a strict brief, as you said, Martin Scorsese guided you to the idea of what he wanted for Goodfellas, so how much freedom do you have in creating these titles?
I’m so interested in getting information, and finding out about what the movie is and what everybody’s intention is, and if the director gives me something to go on, I don’t mind having the box I have to work within be smaller because specific perimeters have been provided because I feel like an idea is only as good as its execution, for example, I shot money burning for the Hughes’ brothers for ‘Dead Presidents’ a long time ago and they had that idea. I don’t mind if the idea comes from the director and I’m just executing it, but I still try to execute it in a way that I think is visually sophisticated myself. I’ve been in situations where it’s completely my idea, and I’ve presented boards and they’ve been approved and I get the director telling me, or giving in notes on what I created. The director always has to approve what I do, I am a graphic designer so I have a client but they have to like what I’m doing.
Is there a director you look forward to working with again? I know you’ve done a lot of work with Terence Malick, there have been directors who have come to you more than once- but is there anyone that you really feel- wow, I’m really looking forward to working with them again!
People ask me if I have to make choices on what to work on, and if I’d choose to work on a movie that wasn’t a good movie or work on higher profile things- the truth is my choices right now are more about the people that come back and I like to work. Is there someone I’m hoping comes back again? I had a nice experience working with Scott Cooper on Black Mass and on Hostiles. Ben Stiller is my friend, he wanted me to some work for him, the last thing I worked on with him was Zoolander 2 and that had a bit of trouble so I don’t know if I’ll work with him again- I’d like to. I liked working a bit with Ridley Scott on Exodus and Prometheus and I think not really. I like Gareth Edwards, the first Godzilla director and I usually have a pretty good relationship with who the director is and if the come back, I try to help them. There isn’t anybody that I’m desperate to have give me a job that I can think of. But rather than pitch on new business and compete against other companies to get new business, I’d prefer to work with someone who knows who I am and knows what I bring to the table.
What is your favourite Saul Bass title sequence?
My favourite Saul Bass titles are- The Man with the Golden Arm, Take a Walk on the Wild Side when the two cats fight and I kind of like Casino – like the idea behind it.
Some people have started to remake old movie posters- is there a title you would like to remake a title sequence to? A classic movie maybe?
The Thing by John Carpenter I would like to remake. That does have a nice title sequence but that is just the first thing that came into mind.
An Interview With… Ethan Hawke #Locarno71
Ethan Hawke, despite being only 47, has been acting for well over 30 years. After his breakout role in 1989’s Dead Poet’s Society he has had iconic roles in Reality Bites, Gattaca, Training Day and Boyhood.
His work with Director Richard Linklater has resulted in one of the most beloved film series of recent times in the ‘Before’ trilogy and this year looks set to be one of his best yet.
We spoke him at the 2018 Locarno Film Festival where he is receiving this years Excellence Award, given to those who through their work and talent, have enriched the cinema with their unique contribution. It’s past winners include Isabella Huppert, Christopher Lee and Susan Sarandon.
How does it feel at this stage of your career to be given a lifetime achievement award?
On one level, I feel completely undeserving but on another level I feel well… Richard Linklater told me ‘don’t get too high on yourself, these are what you call “mid-career check ins” and it means you’ve made it to this one stage and in the next round everybody will hate you again and then you have to survive long enough to get to the next round and then you can be the head of the Jury’- so I’m in the front tier of the second row.
At the beginning of ‘Seymour’ (showing at Locarno), you said you were struggling for a long time with why you do what you do, has that changed since you made the documentary and since you had the encounter with Seymour Bernstein?
I think so. Part of why I think I made that movie was to spend more time with him. Some people have a mid-life crisis and buy a Porsche – I had a mid-life crisis and made a documentary about an Oxygenarian piano player. One of the messages he has to offer people is ‘you are enough’. I think my take-away from this was just to accept myself, and it’s not something that’s just done. It’s something you have to keep doing.
You were saying about “mid-career check-ins”, but looking back on your career, you seem to have had a charmed career and you’ve never really had the troubles everyone else has had. You’re always visible, people always know what you are doing – and it’s always something only you would be doing and nobody else.
Well thank you for saying that! I hope that that’s true. There was a magazine article back home that was talking about the success of ‘First Reformed’ and the reception of ‘Blaze’ that I was poised to have the best year of my life and I may be having my “Matthew McConaughey Moment”. My friend Richard Linklater phoned me up and said – ‘for you to have a “Matthew McConaughey Moment” you would have had to of been washed up! What they can’t write is you’ve done the same thing consistently through your entire life’- and I’ve been lucky that way and the reasons why luck has given me that charm is because really early on, I’ve tried to solve all of my problems with working and that’s when my first marriage fell apart but I just worked harder than ever, and that’s why I went back to the theatre-which is a great healer for actors because it’s incredibly hard and I think that when you really apply yourself, humility naturally rises, you meet your own walls. It’s also strange to be 47 and have been making movies for almost 30 years; it’s a little rare actually.
You recently published a wonderful little book called ‘Rules for a Knight’, which is all about decency. What is the biggest misconception of you, now you have the chance to correct it?
Being proud of being good, doesn’t really make any sense, because if you’re good, pride would be an obstacle. There’s so many ways I’m not good and the truth is, you don’t want to be perceived as good because you feel that you won’t have an edge or be cool, the way young actors want to be. I was very lucky as a young person to have parents with very strong spiritual beliefs and the only thing that was really important to them was their spiritual life. As soon as you depart from spiritual success, that determines your worth- they really wouldn’t love me any better or less if I won Best Actor at Venice or didn’t. That’s not how they grade. They love me for how I’m doing in my own inner-journey- and as a young person you think that’s corny, but as you get older you think that’s actually not corny at all, that’s actually reality. As you start to live long enough to see people’s ego’s really hurt themselves, we end up hurting ourselves with our own self-importance. Finding a balance between believing in yourself and trying to have an inner life that matches something you can be proud of, or that you would want the people that love you to be proud of. I’m aware of what a wonderful seat this is to be in, and an instant gratitude takes place. It’s your work inside that makes you prepared to handle all the different vicissitudes that are going to come.
You were saying before about the spiritual background that you have and that sense of what it means to be good, how much did those thoughts feed into ‘First Reformed’?
When I started the script for First Reformed, on one of the first pages, it talks about all of the books that are on Reverend Toller’s desk and they were almost all books my mother had given me. There was a list of them, Thomas Merton being one of them. I felt like at been prepared for this role. One of the things Merton himself writes about, he was already starting to see an obsession with “celebrity” happen and having a “public self”. I think it helped me deal with celebrities- what I mean is, one of the last times I spoke to River Phoenix, he was talking a lot about how people perceived him and how hard it was to constantly trying to figure out who you are and tell people what you’re not, like when people label you. I wasn’t having that problem because I knew that all of that was fake. And River had just been to the Oscars and he couldn’t believe how fake the Oscar’s were. He said ‘ the statues aren’t gold, they’re like paper! It’s so fake you wouldn’t believe it!’ and I remember thinking, ‘if you’re trying to make me feel bad for you going to the Oscar’s then fuck you!’. I realise now, understanding and accepting the phoniness of the world, you’ve just got to take it as a truth and not be hurt by it every time, it happens.
Were you disappointed when Boyhood didn’t win anything?
That’s my point- not at all, because I never saw that as -you want the work to be worthy, but if you get caught up in seeing other people’s definitions of what is the authentic way for you to live your life- it wouldn’t make the movie better or worse and it wouldn’t affect the final cut of that film one bit. I always tell people it’s a little better if you don’t. I hate it when life always moves the goal line, we made a movie with our closest friends for nothing, over 12 years- about the subtle movements of growing up- and it found it’s way in the commercial markets. That’s a miracle. You don’t give up with your heart so easily. I wasn’t disappointed, I was so proud. I’ve spent my life making little indie movies that no-one even hears of and so to turn that victory into a defeat, would be a waste of time.
What’s the challenge in doing movies like ‘The Purge’ and ‘Predestination’?
Well, by the time I was 20 years old, I’d had two great mentors – Joe Dante and Peter Weir. Dante and I sat down and watched ‘The Howling’ and he said – drive-in movies, if done with art and love can be amazing. It’s like the Trojan horse of Troy- if I said let’s watch werewolf movie and instead secretly, it’s a PTSD movie about the Vietnam War. Get Out is a great example. Another example of these “Trojan horse” movies. If I told you I was making an important film about race relations in America, you wouldn’t want to come, you’d feel like you’re being preached to. If I tell you it’s a scary movie, he comes into the house…. etc… and ‘The Purge’ is the same way- set in ‘the future’ when rich people don’t care about poor people- and I love that because there’s something punk rock about it, it’s not what it seems. Movies are different ways of people trying to express themselves.
Austin, Texas is a huge part of your career, ‘Blaze’ is also a tale about Austin, do you think that there are other stories to tell about Austin- a town that is probably so unique- that the world should know more about it?
The short answer is yes, but the long answer is- the whole world is like that and all these stories need to be told and one of the great things is that we are at this weird in-between place in time right now where it’s very possible for anybody in the world to make a good movie, you can shoot it on your phone and edit it. If you have something to say, it’s like a novel. If you’ve been taught to read and write and you have some paper and a pen, you can write a great novel. You can do it from jail, you can do it on a boat, and now the same is true with a movie. And it’s changed the game. That’s why film-festivals have become so important because you guys are curators. You address what the world should be paying attention to, what should be seen and if we didn’t have these festivals, big business would crush all of the smaller ones.
You’ve just made two movies about obscure musicians, how does that all tie in with those themes and what drew you to those characters?
I think just a natural love of music. A celebration of the people I’ve spent my life with. You’re teachers will all tell you, write what you know and I know people like Blaze- I didn’t know him, but I knew people like him and I felt qualified to write that story, because I’ve had to swim in that water. I’m just trying to follow my gut and I feel that you need to find what you enjoy, and let the love grow.
Sam Claflin and Baltasar Kormákur on the challenges of making ‘Adrift’
Real-life stories sell. We’re intrigued by the impossible, the gritty survival story. Unconsciously drawn to the fear of nature taking over (and winning.)
Adrift is the adaptation of one such real-life tale of horror. Based on the book written by survivor Tami Oldham (played by Shailene Woodley who also as a producer credit on the film), it follows her sailing trip with partner Richard Sharp (Sam Claflin) as they veer directly into one of the most catastrophic hurricanes in recorded history. In the aftermath of the storm, Tami awakens to find Richard badly injured and their boat in ruins, drifting across the vast expanse of the Pacific ocean.
With no hope of rescue, 24 year-old Tami has to look deep inside herself to conjure the strength and determination needed to save herself and the only man she has ever loved.
The film was screened on Monday to an audience who held their breath at every twist and turn of the film. The cinematography is gorgeous, the ocean at once breathtaking and horrifying.The joy that came with the freedom of sailing out into the open was swiftly replaced with the terror of being stranded out of sight.
In places, a weak script was held up by two powerful central performances. Woodley is mesmerising as a woman who is forced to grow significantly over a short period of time as the will for survival kicks in. Claflin is enigmatic and devastating, bringing gravitas to his scenes. Once the pace of the film takes hold, Woodley runs with it and carves out a naturalistic approach to what is a very physically demanding and emotionally charged role.
Attending the screening for a conversation on the film was Claflin along with the director, Baltasar Kormákur (Everest). Although having hired several VFX outlets to help work on some key sequences including the storm, Kormákur assembled a skeleton crew and shot most of the film on the open water. ‘I’d never sailed before’ admits Claflin, who talked about the intense sea-sickness that plagued him for the first few weeks of the shoot. ‘I definitely didn’t have my sea legs.’
The crew had to pitch in to get the shots they needed in a short timeframe, ‘we had to consider where the sun was, where the wind was blowing, how blue the water was in the shot. It was a real learning curve to work with nature. Mother nature was the third main character in the film, definitely’ explained Kormákur. ‘It was a group effort to get the shots,’ added Claflin, ‘everyone would help the others out, whether the DOP, catering or wardrobe. There was no trailer to escape to, you’d be passing equipment over your head to get it to where it needed to be.’
The real Tami was on set for two weeks of the shoot, having consulted on the script during preproduction. ‘I was very nervous’ admitted Kormákur, ‘you’re always a bit worried that they’ll come to set and want to meddle. But Tami understood what we were trying to do with the story and she appreciated the film we were making.’
Adrift is in cinemas now.
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