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Sean Bean in My Kingdom for a Horse, before he hit the big screen. Fred's claim to fame - he taught him pike drill.
Sean Bean leaves Weston Park by car in January 1995 after being flown there by helicopter from London to continue filming football drama When Saturday Comes in the city
Must be around 2004. Got a load of film-star signatures on a Manx police helmet + raised a few grand at auction. Sean Bean, Malcovich, Madonna and many more.
When Sean Bean deems you too pretty...you DIE. That’s me on the ground there, dead! Photo sent to me by a #Sharpe fan this morning. Thank you. Filmed in Antalya Turkey 1995, Episode #Siege
Chaps who made my Sharpe experience unforgettable!
Sean Bean and Melanie Griffith - Newcastle-upon-Tyne, 1987. I travelled up from London on the train with Jim Fallon from Fairchild (it felt a bit Get Carter!) for a shoot and interview with the stars of a new British/American gangster film, ‘Stormy Monday’ (which also starred Sting and Tommy Lee Jones) being filmed up there.You never know with actors especially if they’re going to be temperamental and say ‘You’ve got 5 minutes’ or be totally accommodating, and this wasn’t the easiest of shoots. They were filming in a café on the high street - Melanie was playing a waitress - and I dragged them down to the riverside so I could get those super bridges in the background. On their lunch break. I really wanted the background with the bridges and sky to go dark and moody, like a Bill Brandt photo, but it was a fairly bright day with open sky by the river. An ordinary small flash wasn’t powerful enough to allow me to stop down enough for the bridges to be underexposed, but overall I was happy with the results.
Melanie Griffith and Sean Bean - Newcastle-upon-Tyne, 1987. On location filming the gangster film, 'Stormy Monday'. (Client: Fairchild Publications/Women's Wear Daily)
After completing the BBC Directors’ course came the long wait, trudging between producers with your showreel, hoping for a TV job. However there was still theatre work for me: in 1990, I directed ‘Killing the Cat’ by David Spencer (writer of Releevo) at the Royal Court Studio. I sent the play to Sean Bean's agent but could get little information or help from him. Sean had played Angelo for me in Measure for Measure at RADA, so we already knew and respected each other. One evening the phone rang and it was Sean - as ever, he went straight to the point: "It’s a good play, in't it?” - or words to that effect - and in a matter of minutes he'd committed himself to being in the production, never to waver.From that starting point, I built my cast: Val Lilley, Henry Stamper, Sally Rogers, Kate McLoughlin and, as the young Danny, Dominic Kinnaird. Shimon, the designer, transformed the studio space of the Theatre Upstairs into a site-specific exploration of Danny's state of mind and memory. We had a tough and tempestuous rehearsal period, but we created something that packed an emotional punch. As a result, the reviews divided between love and hate.Here's a lovely review from Georgina Brown: “David Spencer's ‘Killing the Cat’ explores the repercussions for a working-class family when the son writes a novel exposing his father's sexual abuse of his daughter. It is Spencer's second winner of the Verity Bargate Award…an exceptional piece - dense, demanding and boldly conceived, and here given a searing production by Sue Dunderdale and a superb cast."
Danny (Sean Bean at his most transfixing)
Sean Bean holds the centre well as Angry Young Danny, veering convincinglyfrom volcanic rage and biting cynicism, to weepy sensitivity and all-outkindness.
Two more of my signed Sharpe photos from my collection.
Flashback to 2007 when, in a former journalist life, I met and interviewed actor Sean Bean in London. And yes I was starstruck and had a big crush on him!I moved to Australia a few months later.