Вот так Джэйми будет выглядеть в "Джен Эйр". Жаль, роль у него там небольшая...

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Спасибо sharonalee и ее сайту Costume Drama за скрины и ролик 

Кадры из "Орла девятого легиона" 

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И постер! 

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Тааккк, а о Джэме-то полно новостей!

Вот ЗДЕСЬ можно посмотреть небольшое видео "за кадром" к "Орлу девятого легиона" 
А вот страничка фильма на Facebook, там тоже есть кое-какие видюхи.
А еще есть ИНТЕРВЬЮ с Джэйми относительно "Орла".
ТУТ еще четыре клипа из "Орла".
И еще одно ИНТЕРВЬЮ Джэма для сайта Collider об "Орле", "Тинтине" и "Джен Эйр".

И печатная интервьюха))

The Eagle’s Jamie Bell on Tintin, Scary Horses, and Almost Landing Spider-Man
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Jamie Bell hasn't been seen in a movie since 2008, but he's about to make up for that with a vengeance. This Friday, he stars in Kevin Macdonald's The Eagle, where he plays a second century slave accompanying his Roman master (Channing Tatum) on an adventure into the Scottish highlands, and he'll then appear in Jane Eyre, the thriller Retreat, and Steven Spielberg's highly anticipated The Adventures of Tintin: The Secret of the Unicorn, where he plays the beloved comic-strip character via motion capture. All this, and he just wrapped the Sam Worthington drama Man on a Ledge, too. "I know, it's too much," he laughed during a sit-down with Vulture, where he discussed the hardship of making The Eagle, Spielberg's foray into new technology, and the recent British superhero boom.

It's very intriguing that the Romans have American accents in the film, and their slaves are British. How do you think it will play in the U.K. to see the actors with British accents under the thumb of these Americans?
I don't know! I've been so aware of that conscious decision that to me, when I watch the film, it doesn't stick out. Obviously, it's an allegory of modern times and that puts some politics into it that it might not necessarily have had. But I think it's good to shake it up once in a while. The English are always portrayed as bad guys — if you see someone in a film with an English accent, it's like, "Oooh, he's a villain! He's bad!" So to mix it up a little might not be a bad thing.

Have you been offered those British villain parts yet, or are you still too young?
Well, it's a certain kind of English, too. I'm kind of a working-class English kid, so it's not really the same as being Alan Rickman.

What was the experience like of shooting The Eagle in these remote places? There's so much beautiful nature onscreen, and the movie is set in 140 A.D., yet is everyone trying to get reception for their iPhone in between takes?
All the time. No one had bars! [Laughs.] We were pretty cut off, we were pretty remote. I think the physical landscape will always inform your performance, and that's what Kevin Macdonald does well: two guys and a landscape. Whether it's the Sierra Grande mountains of Peru in Touching the Void or the tumultuous and harsh landscape of the highlands of Scotland, he does the story of two guys struggling with those landscapes really well.

Were you struggling with it too?
It felt good to get in your bed and be warm. After a day of shooting on the side of the hill where the rain is coming in sideways and there's four different seasons in one day and you're like, "Is this ever gonna end?" it's good to go back to your little hotel room in Scotland. But when you're making a film, you just have to get on with it, you know? I will say that every day, getting out of bed and knowing that you have to trudge up a hill and stand around freezing all day, after a while it really does start to get at you. But Channing's got great energy and Kevin's kind of a funny guy, so we pulled it together. It was difficult for everyone, though.

What was the toughest stunt to learn?
For me, there was quite a lot of stuff. I wouldn't say Channing was well-seasoned on a horse, but he was comfortable on one, and I'd never ridden a horse before.

Intentionally?
I think I was afraid, for sure.

Understandable. They're huge beasts!
But I think everyone has this misconception that they are this thing that's unpredictable that will snap if they get too close to them. I went and had three lessons a week for six weeks and just learned how to do it, banked some saddle time. Eventually I left the school and rode around and around in circles and went into the fields and just let go.

Is that like taking your car on the freeway for the first time when you're learning to drive?
Slightly! It is a little bit like, "Holy shit." But by the end, or even after two weeks of training, I was vaulting on and off, going backwards on the horse and parallel parking ...

That's hard enough to do in a car, Jamie.
It is, absolutely. But when you see yourself riding onscreen, it's quite liberating! I was really afraid, really scared, so when you overcome that, it feels good.

Let's talk about Tintin. Obviously, Spielberg is a director who's in total command of his form, but here, he was working with technology he's never used before. Could you see him figuring it out on set?
Oh, absolutely. He'd be like, "What does this do? Oh wow, it does that? I wish I could do that in the real world, I wish I could take out a lamppost and move it to the side of the street!" The simplistic things about motion capture that you can do with just the flick of a button are kind of amazing, but also, the use of light and color ... for a filmmaker who's incredibly visionary, I think it's exciting because it gives him so many more options. The palette is endless, it's infinite, and I think he definitely got a kick out of that. I think he said it made him more like a painter than he'd ever been before.

The look of the film is very painterly, just from the stills that have been released. Have you seen it in motion?
I've seen bits and pieces, yeah. It looks great. We call them "Tintin-ologists," and as one of those people who's really into it, it's incredibly exciting. To see these characters come to life is something you've been waiting for your whole life, and when it's you doing it ... It's actually got the vibe of a Hitchcockian film, a kind of noir film in a young person's action-adventure film. It's really great.

I'm assuming your friend Andy Serkis gave you advice on motion capture.
On everything. He's the guru of that technology.

What's the key thing you need to know if you're doing it?
Just to overarticulate. He calls it "breaking through the technology," and I like that idea because it means that you break through it and claim it for yourself. You don't let it do the work for you, you attack it aggressively and control it. Look, if there's anyone to listen to when it comes to motion capture, it's that guy, so to have him next to me throughout felt great.

How do you know if you're doing a good job?
You don't. You trust your director, and I obviously have a great trust with Steven Spielberg. You're in really good hands. There are some very specific beats with an action-adventure film, and you have to hit those moments of "I found a clue!" where you're about to go into another adventure in the story. So the acting is still kind of the same, you're still hitting these beats and those emotional peaks and lows. And you have to trust your animators, because that's where the real work is done.

What's your Tintin voice like?
Tintin is a native of Belgium, and we obviously couldn't do it in French, although I would have loved to. So we kind of found an English sound that won't distract people so much. You know, it's very easy to upset people quickly when you're taking on such a beloved character, so we want to remain as neutral as possible and not go too, too strongly in another direction. If Tintin had an American accent, I'm sure the rest of the world would be very upset!

It was rumored for a while that you were in contention for the title role in Marc Webb's Spider-Man. How far did that go?
Really far. I screen-tested and everything.

Did you get to wear the suit?
No, they didn't do that in the screen test. We did a bunch of scenes with Marc, and I was one of many people who did it. It was a great experience, a great opportunity.

There were several Brits up for that role, and it went to the British actor Andrew Garfield, as did Superman just recently, to Henry Cavill. What is it about young British men that makes them suddenly a perfect fit for these American superheroes?
You know, I'm not too sure, actually. The truth is, if you're [Sony chief] Amy Pascal, I think you just go, "God, Andrew's a great actor." That was a no-brainer, and I think it was a really great piece of casting, to be honest. Marc was a great director in the small time I got to work with him, so I think it'll be fantastic. I don't know much about ... is it Henry?

Henry Cavill, yeah.
No, I don't know much about him, but I don't know. They're obviously good actors.

Even the short list for the female lead in Superman is mostly Brits.
Is that right? We're gonna start upsetting people soon. [Laughs.] The Screen Actors Guild is gonna be like, "No Brits! Stop them!"

New York Magazine

Новые кадры из "Джен Эйр" и "Орла" под катом

Ого-го... с Джэмом снова обвал новостей... 

Интервью NBCU Direct со звездами "Орла Девятого Легиона"
[youtube]http://www.youtube.com/watch?v=2Pf9Qtb6Z_c[/youtube]

Джэйми Белл на BBC Breakfast - разумеется, говорит об "Орле"

Джэм и Татум на This Morning - тема разговора все та же))

Еще одно интервью об "Орле"
(тут забавно Джэм хвалит Татума а потом говорит, что у них во время съемок был велик дух соперничества - кто дольше пробудет в воде, чья лошадь быстрее и т.п. Татум подтвердил это и сказал, что Джэм очень быстрый, даже fu**ing быстрый)))

Видео за кадром фильма "Орел Девятого Легиона" на сайте Telegraph. (тут маловато толкового материала, в основном анализируются отношения между главными героями, но интересно было узнать, что они плавали в холодной воде в октябре и под их костюмами был еще один - гидрокостюм телесного цвета))

Дальше... фильм, конечно, паршивый, но кадры красивые 

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Очень интересная фотка Джэма)) Ее сделала Миа Васиковска на съемках "Джен Эйр", и отправила ее на конкурс в Австралийскую национальную портретную галерею  На фото также режиссер фильма, Гэри Фукунага.

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Несколько фото с премьеры "Орла Девятого Легиона" в Париже

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Фотосессия в Мадриде по случаю премьеры "Орла"

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Продолжение следует...
ЗЫ - фоток намного больше, все есть на jamie-bell.com

да, да))) наша рыбка седня ыменинник!  решила сначала все новости вывалить, а потом уж с днюхой поздравить))))
спасибо, что почтила нас своим визитом)))))

вот еще серия фот - премьера "Орла" в Лондоне:
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ну и событие, где поменьше официоза - Джэм и Чаннинг подписывают эту ебпическую книгу, по которой был снят "Орел":

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и в конце концов, Джэмик! с 25-летием тебя!!!         Чтоб в твоей карьере всегда были только белые полосы и успешные, хорошие проекты, которые принесут тебе много-много заслуженных наград, ты ведь талантище, ты можешь!)) И пусть всегда по жизни тебе сопутствует удача!

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А теперь слайды 
И какие... Джэм все взрослеет и мужает...
А от фоток дыхание перехватывает, особенно от второго сэта         

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Итак, еще новости... 

The 2011 Fantasia Film Festival recently announced their film line-ups with Retreat to have its world premiere at the Canadian film festival this late-July! - общем, в конце июля была премьера фильма на канадском кинофестивале. Нам от этого, чесгря, ни холодно, ни жарко...

***

А тут Джэйми рассказывает о сценической версии "Билли Эллиота". Говорит, что история сама по себе настолько хороша, что не важно, какими средствами ее передавать. И мюзикл получился, соответственно, тоже хороший. "Вы берете парня, против которого, казалось бы, все. Но он собирается победить. Это основной принцип. Это шикарное шоу. Я удивлен, очень удивлен". Ну... И еще он говорит о политике, о музыке... Вот, в общем:

Jamie Bell, the star of the film "Billy Elliot," offers his thoughts on the stage musical

Q: What's your general reaction to the stage version?

A: I think it's difficult when you try to take a film and turn it into something else; I don't think it's an easy thing. And they've done it very successfully. It works. The story is a great story. It's so universal, it's so accessible on a universal level that it doesn't actually matter what (medium) you tell it in; it will work. It's fantastic literature. You take a guy with everything against him, and he's going to win. That's the basic principle. So it's a great show. It really works; I was surprised, really surprised.

Q: What about the politics, how do those make the transition?

A: I think the big concern was that Americans wouldn't get it - it's very specific politics. It's about the hardships of a certain kind of people. Maybe it's similar to the Northeast of the United States, with those industries - whether it be coal mining, chemical manufacturing, whatever it is, you know? These are people who are incredibly proud. This is what they do; it's what they live for. When that's taken away from you, it's a fight. I know this because I'm very close friends with (director) Stephen Daldry, and I know all the kinds of ins and outs and the politics of them bringing it to Broadway, which was a big deal. They weren't sure if it was going to work. I feel like people responded to the film because of that very linear story I was telling you about, which is "Kid has everything against him; kid wins in the end." Everyone can understand that; that's not very difficult to comprehend. But the idea of a country in complete rebellion, which it was at that time, with trade unions and trade organizations and that stuff - that's a little more complicated to understand, especially at that time, with Thatcherism, the Falklands War, the mining- industry collapse, community collapse, all of that stuff, which is specific.

But I think the politics are very relevant and it clearly describes that place at that time. And also, of course, for somebody who lived there, who used to come from there, and knows people who are directly affected by this, it's still relevant - it still has an impact today. The politics of the story, for me, as I've gotten older, because you know when I made the film, I didn't have a clue what they were talking about. It was literally like, "Take this stick - hit it on all these police shields." Remember that shot? I so did not even know what they were talking about. And now, obviously, it's very relevant to me; I hold that close, I'm very passionate about that story and that specific time.

But I feel like it's told in a way that's understandable; it's told in a way that's accessible. It doesn't go too much into the politics or the union leaders or Arthur Scargill, who was this guy who ran the unions, who did become a bit of a martyr, and everyone looked up to him - it was like this guy against this woman. So the politics are very relevant and it's told in a way that's very understandable and it's the landscape of this kid's story.

Q: What do you think about the music?

A: It's hard because it's hard to replace that great music from the film, which I think has a lot to do with the movie. It definitely puts you in a time, especially in England, which is very affected musically in that period - it was very kind of aggressive music, '70s, after the glam-rock thing, Marc Bolan, David Bowie and T. Rex - it's hard to replace that. So for me, I think Elton (John) had a really hard task - but it turned out to be a great collaboration. Incredibly moving. The songs about the miners, for me, are some of the best songs in the musical. They strike a chord with me. They got everything about that sense of pride and honor and valor of these men who will stand on these lines and fight for their bread on the table. Fight for fire in their stoves. They really got that essence of that fight, which is a testament, first of all, to Elton's musical genius and Lee (Hall)'s literary genius. That stuff, is for me, the most effective.

Q: Do you wish you could have been in it?

A: I couldn't do it. No way. A) I can't sing. B) I can't do it in front of a live audience. And C) I can't do all the crazy gymnastics, the jumping up and down and off of things and on the walls - I don't know where the hell they find these kids.    They're very well trained. And another thing about it is that they've all got to do accents - they've all got to sound like they're from a very specific geographical area. And they all do the accent flawlessly. They're taking kids from New York City and making them sound like they're from (there), that place. It's unbelievable. The amount of stuff these kids have to go through , physically and emotionally - which is huge; if you don't do that, it's not effective, it doesn't work - every day and every night ... It makes me feel like a 78-year-old guy when I see these kids do it. There's no way I could go through that every night. But they're having fun.

Q: Do you, by chance, have any advice for anyone taking on the role?

A: No. The kids are carrying the show; the pressure's huge. And also it's a live audience, so the feedback's instant. Which is great. It's also terrifying. But it's unbelievable - I'm glad so many young people now, because there's always three or four of them, rotating - it's giving so many of them a chance to get out there and show themselves and express themselves and have that moment, which is a great way to start a career, a great way to start your future, if you realize that's what you want to do. That's what the story's about.

Q: How did your experience with "Billy Elliot" change your life?

A: Well, it's everything. Without that, there is nothing. No need to elaborate on that. It's everything.

Итак, "Тинтин"!

Международный дублированный трейлер 

И еще два новых кадра из "Тинтина"

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Пресс-конференция по случаю премьеры "Тинтина" (с Энди Серкисом)

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И мировая премьера "Тинтина". Хорошая у мальчика компания я щитаю   

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