For the cast and creators of HBO miniseries “Landscapers,” crime is more complicated than it seems. Based on the true story of a British couple accused of murder, the miniseries stars…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
For the cast and creators of HBO miniseries “Landscapers,” crime is more complicated than it seems.
Based on the true story of a British couple accused of murder, the miniseries stars Olivia Colman and David Thewlis in a fraught love story. The stars, as well as writer Ed Sinclair and director Will Sharpe, joined Variety chief television critic Daniel D’Addario for a panel conversation about the show and its depiction of truth in a Variety Streaming Room presented by HBO. For Colman, the show’s strength lies in the depiction of its central characters, who are not as viciously murderous as one may imagine.
“One of the many things I loved about this is, we hear the word murderer and we’ve all got an image of what that is,” Colman said. “And then to be able to say, there are so many different kinds. These people would never hurt anybody else. There’s different reasons for taking someone else’s life. It’s never okay, but it’s not black and white. For example, situations of domestic violence, if someone’s been tortured every day for years, I’m not sure many people could say they wouldn’t lose their shit at some point.”
According to Colman’s co-star Thewlis, the real heart of the miniseries was not heinous murder and crime, but romance.
“The other thing that was driving everything, I think for Olivia and I, we’re playing a love story,” he explained. “Whether there is a crime involved in this whole tale at all is just extra. Because essentially we’re playing two people very deeply in love, who forgive each other for most everything. It’s not a perfect love. It’s very volatile and very on the edge of violence and confrontation the whole time. But I think it’s sincere, and that’s one of the things we really hung onto, and one of the things that made it real for me, no matter in which world we were at any one time.”
Watch the full conversation in the video above.
