HBO – Page 2 – Damian Lewis

Damian Lewis and Claire Danes in a scene from “Homeland.”On the new hit Showtime drama “Homeland,” actor Damian Lewis plays U.S. Marine Sergeant Nicholas Brody, a former POW suffering from a serious case of post-traumatic stress disorder following eight years of captivity in Afghanistan. Brody, who may or may not be working for al Qaeda, is being covertly followed by a paranoid CIA agent played by Claire Danes, as the series explores complicated issues such as the price of freedom, the psychological scars of war, and the post-9/11 limits on privacy.

Continue reading Inside the Mind Game of Homeland, WSJ Speakeasy, October 28, 2011

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Damian Lewis Interview, The Telegraph, April 18, 2011

On April 18, 2011October 9, 2017 By Site Administrator Comments Off

Damian Lewis interview

The ex-Etonian talks schooldays, silly movies and choosing his own career

Damian Lewis Photo: SPENCER MURPHY

By John Preston
8:50AM BST 18 Apr 2011

Continue reading Damian Lewis Interview, The Telegraph, April 18, 2011

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Damian Lewis Interview for The Misanthrope, The Telegraph, November 24, 2009

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Damian Lewis Interview for The Misanthrope

By Dominic Cavendish, The Telegraph, November 24, 2009

Damian Lewis talks about appearing with Keira Knightley as she makes her West End debut in an updated version of Moliere’s The Misanthrope.

Damian Lewis could well be the luckiest actor in London. Or the unluckiest. Luckiest in that he’s about to play the lead in The Misanthrope, which – with tickets flying out of the box-office at record-breaking speed – must be accounted one of the most eagerly awaited West End openings of the year. Unluckiest because the main reason for all the mounting hullabaloo is his co-star – Keira Knightley.

While there’s no disputing the combined allure of the assembled cast – Tara Fitzgerald and Dominic Rowan are also names to conjure with – when it comes to added spice, Knightley’s promised theatrical debut is eye-wateringly hot stuff. The prospect of a live encounter with the ravishing Pirates of the Caribbean star, recently ranked the second highest paid actress in Hollywood, has tipped the internet exchange price for tickets into triple figures. We’re potentially in the same realm of hysteria as that which enveloped Jude Law’s Hamlet, when fans queued through the night for a chance to bag a day-seat.

If the flame-haired Lewis, 38, feels any anxiety or concern about the fact that Knightley looks set to be the centre of much frenzied attention in the coming weeks, he’s not confessing to it when we meet. His last stage appearance, as the inwardly tortured businessman Karsten Bernick in Ibsen’s Pillars of the Community earned him rave reviews at the National in 2005. The part of the people-hating Alceste – the biliously witty anti-hero reconceived as a hip playwright in Martin Crimp’s smart update of Moliere’s 1666 classic comedy – should cement his reputation as one of theatre’s finest talents. But will he get his chance to capitalise on the opportunity?

Read the rest of the article here.

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Breakfast with Damian Lewis – Jan 14, 2008

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Kojak, Colombo, Starsky and Hutch, Rockford Files and Magnum

by Patricia Sheridan | Pittsburgh Post-Gazette | January 14, 2008

He plays Detective Charlie Crews, who was falsely imprisoned and is back solving crimes on NBC’s acclaimed series “Life,” but the British actor with the flawless American accent was first seen on HBO’s “Band of Brothers.” Damian Lewis talks about acquiring the accent, growing up in London and repressing his repressive side. The writers strike has shut down production of “Life,” but past episodes can be seen at nbc.com/life.

Continue reading Breakfast with Damian Lewis – Jan 14, 2008

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Let’s Dance – Fall 2005

On October 1, 2005August 2, 2020 By Damianista Comments Off

Damian Lewis at The Dorchester

by Natalie Theo | Factory Magazine | Fall Issue, 2005

Damian Lewis really wants to be Widow Twanky. Thankfully Factory has asked him to camp it up as an all-dancing James Bond hero for its shoot at the Dorchester Hotel’s London ballroom. “I went through a lot of pantomime when I was young – I mostly wanted to be Widow Twanky”. Well, as I say, thank God we are more 007 today. You see I am blushingly helping Damian Lewis into a pair of elegant black Ralph Lauren trousers, shirt and diamond studded De Beers cufflinks. We are tucked away in the dark refines of the Dorchester ballroom’s coat check cubicle.

The men’s loos are unavailable for trouser tucking. Better to be tucking him into a Ralph Lauren number rather than a figure moulding pair of panto tights. Lewis has gamely agreed to swirl six dashing young actresses dripping in De Beers diamonds and slinking about in Ralph Lauren eveningwear for the day with his very own barman, sent along on orders from Dublin courtesy of Jameson Irish Whiskey, to see him through. His lead role as Major Richard Winters in HBO’s Band of Brothers, produced and part directed by Steven Spielberg and Tom Hanks, precedes a slew of feature films due for September and early 2006 releases: Lasse Hallstrom’s An Unfinished Life; Brides produced by Martin Scorsese; Lodge Kerrigan’s Keane; Phillip Haas’ The Situation; and Martha Fiennes Chromophobia. So I can’t quite believe Widow Twanky is the be all and end all of the ultimate hero situation.

Continue reading Let’s Dance – Fall 2005

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The Art of War, Salon, September 8, 2001

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The Art of War

by Gary Kamiya, Salon.com, September 8, 2001

HBO’s massive and bloody miniseries, “Band of Brothers,” attempts the impossible and nearly succeeds.

The history of serious movies about war, from “Paths of Glory” to “Johnny Got His Gun” to “Apocalypse Now” to “Saving Private Ryan,” is a history of attempts to do the impossible: turn the unthinkable into art. The problem, always, is truth. If a work of art about war does not tell the truth, it is obscene — but how can one tell this truth? And what is it, anyway? Is it a former human being who has been turned into pieces of bloody meat by large fragments of metal? Or is it the soaring words of Abraham Lincoln: “That from these honored dead we take increased devotion to that cause for which they gave the last full measure of devotion — that we here highly resolve that these dead shall not have died in vain …”? Falstaff or Prince Hal? Hideous death or trumpets and brass? What form, what story line, what aesthetic approach can capture war’s nihilistic horror and still contain some larger meaning?

Continue reading The Art of War, Salon, September 8, 2001