Posted on April 18th, 2017 by admin

ACCLAIMED Liverpool actor, director and writer David Morrissey visited Edge Hill to give students an insight into his varied career.

 

An honorary graduate of the Ormskirk university, Morrissey, who played The Governor in acclaimed US TV series The Walking Dead, was in conversation with Edge Hill’s Professor Roger Shannon and also took questions from students in attendance.

He said he is proud to be from the North West of England, “a place where the creative arts are taken seriously.”

Morrissey, who is noted for meticulous preparation for and research into the roles he plays, spoke in detail about the techniques he uses to prepare for a new role and how he gets to know a character, saying he enjoys the challenge of different and testing roles.

He said: “I get bored very easily. I like the challenge of different characters, being frightened and nervous of the unknown. I find the idea that I could fall flat on my face exciting. For example, when I was in the Martin McDonagh play Hangmen in the West End earlier this year my knees were knocking every night as I was about to walk on stage. I thrive on that feeling.”

The 52-year-old star, whose other standout performances include TV dramas, Being Human and The Deal, plus the film, Captain Corelli’s Mandolin, advised students on ways to break into acting and the creative industries.

He also spoke about the current success of British actors in American television roles, and detailed the learning curve he encountered during his earliest professional roles and his time at Liverpool’s Everyman Youth Theatre.

The event was organised by The Institute for Creative Enterprise (ICE), Edge Hill’s practice-led and theoretically-grounded inter-disciplinary research forum which connects the university with the digital and creative economy and with cultural institutions.

Professor Roger Shannon, director of ICE, said: “Blending tales of teenage beginnings at Liverpool’s Everyman Youth Theatre with expert advice about screen roles, writing scripts, researching characters and the buzz of the film set, David Morrissey drew on a wealth of experience for stage and screen in his masterclass with EHU students.

“The event was both inspiring and all encompassing.”

Source: Champnews


Posted on April 16th, 2017 by admin

David Morrissey will head the cast of Tony Grisoni’s adaptation of “The City and the City” for BBC Two.

 
 

The international cast also features German actress Maria Schrader, recently seen in “Deutschland 83,” and U.S. actor Christian Camargo (“Dexter,” “Penny Dreadful”). Also starring are rising British actress Mandeep Dhillon (“Some Girls”) and veteran British actors Ron Cook and Danny Webb.

Described by the BBC as a “genre-busting thriller” based on the “mind-bending” 2009 novel by China Mieville, “The City and the City” follows the investigation of Inspector Tyador Borlu (Morrissey), a detective in the Extreme Crime Squad of the fictional rundown European city of Beszel, into the death of a foreign student. He soon discovers that the dead girl came from Beszel’s sister city, Ul Qoma, and was involved in the political and cultural strife that exists between the two. To do his job, Borlu must work alongside the Ul Qoman police.

“This is a story that explores the way we live together today, set in divided cities where communities live cheek by jowl, choosing what they see and ‘un-see,’” said the show’s executive producer Preethi Mavahalli.

Adapted by Tony Grisoni and directed by Tom Shankland, “The City and the City” is produced by Mammoth Screen for BBC Two and was initially commissioned back in August 2015. Grisoni and Morrissey previously worked together on Channel 4’s acclaimed “Red Riding” trilogy in 2009. Shankland directed the first season of the BBC and Starz’ “The Missing,” but did not cross over with Morrissey, who starred in the second season of the drama.

“‘The City and the City’ is a truly extraordinary story, and Tony Grisoni and Tom Shankland’s vision of it is as humane as it is skillful,” said Piers Wenger, controller of BBC Drama. “I’m delighted that we have such a brilliant cast led by David Morrissey and a production team that have come together to make this distinctive drama for BBC Two.”

The four-part drama will be shot on location in Manchester and Liverpool. Betsan Morris-Evans will act as producer with Robyn Slovo, Grisoni, Mammoth Screen’s Mavahalli and Damien Timmer, and the BBC’s Lucy Richer serving as executive producers.

Grisoni recently worked on Paolo Sorrentino’s “The Young Pope.” He co-wrote “The Man Who Killed Don Quixote” with regular collaborator Terry Gilliam, which is currently in production with Gilliam directing.

Source: Variety.com


Posted on April 4th, 2017 by admin

 

With The Missing Season 2, Starz and the BBC delivered another jarring mystery the kept the series in the ranks of TV’s most emotionally affecting series, and tonight’s brutal finale wrapped the intense and twist-loaded season by finally connected all the sordid dots that led to the disappearance and, yes, the reappearance of the real Alice Webster. One of the most heartbreaking moments in the episode came when David Morrissey’s Sam succumbed to his fatal gunshot wounds moments after realizing his daughter wasn’t dead, and here’s what the former Walking Dead actor told CinemaBlend about the episode.

It was an odd thing because, you know, as the actor I knew that what the writers had done served the story brilliantly well. That Sam gets to that point and he sees his daughter. And that’s the end for him. I felt also that I wanted myself some catharsis for Sam. I wanted him to have longer with her. I wanted him to be with his daughter for longer. But it’s a great storytelling piece of work, and I think they’ve done the right thing.

As The Missing viewers are well aware, Sam Webster was a complex lead character for a drama such as this, in that most viewers assumedly sympathized with him as a father whose daughter disappeared, and who mentally spiraled out of control because of that tragic event. But we never got to see a whole lot of him as a family man before things got rough, when he might have been a real top-notch guy.

Instead, he’s shown in the aftermath to be a pretty terrible father to his son, Matthew, whom he blamed for Fake Alice’s fake death by fire (which also burned him up pretty badly). He was also a pretty terrible husband to his wife, Gemma, by cheating on her and never believing her when she speculated that Alice could still be alive. Combine that with him being a dick to the often selfless (outside of his marriage) Julien Baptiste, and it was hard to put Sam on solid character ground most of the time.

But in the end, when he’s bleeding on the forest floor after being shot by Adam Gettrick, the deviant bastard responsible for all of this and other horrifying tragedies, Sam gets one last moment of an anti-redemption when he sees Alice’s face and he realizes what the last few years meant. During our talk, David Morrissey went on about the scene and how it hit Sam.

I felt the tragedy of it was really, really awful. But I think the story needed that. You know, he’d been on that journey. His last words are, ‘I was wrong,’ and to be able to say that is huge, that he admits that at the end. What’s strange, I think, about the last three episodes: I think Sam really wants to be wrong. He just hates Baptiste so much — he just hates this man that’s come in and disrupted his life and turned his wife’s head around — that he does want Gemma to be right. He does want his daughter to be out there somewhere. He just isn’t man enough, or just isn’t able, to admit that fact.

So while it was definitely heartbreaking that Sam passed away in those moments, it was thankfully Gemma, whose faith in Alice’s survival so rarely wavered, who gets to be there with Alice during her years rehabilitating and converting back to the outside world. No doubt the media and more will be paying attention, and Gemma is strong enough to handle it all without breaking in some way like Sam did. Sorry, David Morrissey’s character.

Unfortunately, The Missing hasn’t yet been renewed for Season 3, which is understandable given its low viewership on Starz; the network’s choice to put the whole season up for early streaming probably plays into that, though. But it is extremely acclaimed and has solid ratings in the U.K., so we’re keeping our still-shaking fingers crossed that we’ll get more in the future. Until we get more news, head to our midseason premiere schedule and our summer TV guide to see what’s coming to the small screen in the near future.

Source: Cinemablend


Posted on March 27th, 2017 by admin

 
 British Actor David Morrissey announced as UNHCR Goodwill Ambassador following trip to Lebanon

UNHCR, the UN Refugee Agency, is delighted to announce the appointment of internationally acclaimed British actor David Morrissey as a Goodwill Ambassador. The announcement comes after more than three years of support from the actor for UNHCR.

Star of The Missing and The Walking Dead, David Morrissey has just returned from a trip with UNHCR to Lebanon, the country hosting the highest number of Syrian refugees per capita in the world. During his trip, he took part in drama workshops for young Syrians and Lebanese and met with refugee families due to be resettled to the UK.

Morrissey said: “The Syrians I’ve met want nothing more than to return home. But most don’t have anything to go back to. Their homes and entire villages have been destroyed.

Most of the refugees I’ve met are living in real hardship: in abandoned shopping malls, in derelict buildings or under canvas. I’ve met parents whose children are working during the night in whatever job they can find so the families can afford to buy food and medicine.

Many people fled to Lebanon thinking they would be here only a month or two, but Syria has now been at war for six years. They can’t carry on living like this.

 
 

That’s why it’s so important for the international community to show solidarity with Lebanon, and for countries like the UK to offer resettlement to the most vulnerable refugees.

I met two families with young children who are being resettled to London next week. They’re both really happy that they can restart their lives somewhere safe, where the children can go to school. They’re very keen to learn English, to work, to get to know their new neighbours and to integrate.

The families I met don’t have to risk their children’s lives crossing the Mediterranean, because they have a safe legal route to come through resettlement. And that’s thanks to the generosity and support of people and local authorities in the UK.

So people can make a difference to the lives of Syrian refugees, by telling their MPs and local councillors that they want to welcome refugees where they live.

Now is not the time to turn our backs on Syrian refugees. It’s not the time to put up barriers to those who need protection.”

The announcement of David Morrissey as a Goodwill Ambassador comes after more than three years of support from the actor for UNHCR. He has travelled with the organisation to meet refugees living in Jordan and in Greece. He has also supported a number of fundraising initiatives, and in September last year addressed the Refugees Welcome rally in Parliament Square.

 
 

“Goodwill Ambassadors play a vital role in creating better public understanding and support for refugees,” says UNHCR’s Representative to the UK Gonzalo Vargas Llosa. “David has been a strong advocate of UNHCR and the refugee cause over a number of years and we’re delighted that he’s joining us as a Goodwill Ambassador.

Lebanon is a country hosting more than a million refugees – that’s 20% of the population. Approximately 80% of the refugees registered with UNHCR are women and children and 59% are under the age of 18. Around 70% of refugee households currently live below the national poverty line of less than $3.84 per person per day, and more than half live in extreme poverty at less than $2.9 per person per day.

Over half of the Syrian refugees in Lebanon live in substandard shelters, such as unfinished buildings, garages, tents and animal sheds. UNHCR provides monthly cash assistance to families most in need, helps with medical costs, community support services for some of the most isolated including older people and the LGBTI community, provides winter payments to help refugees cover additional needs such as fuel and blankets during the colder months, legal advice and resettlement of the most vulnerable refugees. Only 9% of UNHCR’s budget requirements for the Syria crisis in Lebanon has been met so far for 2017.

Source: UNHCR


Posted on March 10th, 2017 by admin

He’s one of Britain’s most successful actors, who has also found cult success across the Atlantic.

 
 But David Morrissey had a much smaller, and select, audience when he appeared in Cheltenham last night.

The star of The Missing, Blackpool and The Walking Dead was speaking to students at the University of Gloucestershire’s Park Campus.

He was speaking about his life and his career with the head of Media School, Anne Dawson. Not surprisingly, his cult role as the mad Governor in The Waking Dead prompted a lot of interest as fans of the US zombie drama turned up en masse.

 
Other roles included Gordon Brown in the TV drama, The Deal, and ‘The Next Doctor’ in a Christmas special of Doctor Who, parts of which were filmed around Gloucester Cathedral.

David worked with Freya Billington, former Film Production course leader at the University of Gloucestershire, through his charity The Creative Arts Schools Trust, which he set up to take creative arts teaching to children around the world who wouldn’t normally have it provided for them in their education.

He has also visited the University of Gloucestershire to talk to Film Production students.

 
In 2015 he received an Honorary Doctorate from the University of Gloucestershire in recognition of his outstanding contribution to his field.

He is also a regular stand-in on the Mark Kermode and Simon Mayo’s Film Review show on Radio Five live.

Source: Gloucestershire live.co.uk


Posted on March 6th, 2017 by admin

We had the opportunity to meet and chat with actor David Morrissey, the first part of our interview discussing his new series The Missing. However most Australian and American audiences would be more familiar with Morrissey as The Governor in The Walking Dead or going back even earlier in the musical comedy Blackpool. We couldn’t resist asking him a few questions about his earlier work that has now brought him to where he’s at.

“As an actor I like playing different roles and the Governor was very different from me and asked different things of me. I was able to sort of both emotionally but technically as well, accents and stuff like that. That’s what you do as an actor, you’re getting involved in those things. The popularity of the show obviously helped me, it’s brought me to a different audience, a world audience. It’s certainly made my life easier as far as recognition is concerned and success is always great in that way, it’s helpful. It’s changed my life a lot really in the fact that I have a world audience.”

Back in 2012, in Season 3 of The Walking Dead, we were introduced to a character known only as The Governor. In amongst the chaos of the world overrun by walkers, a small town called Woodbury became a sanctuary. A place safe from the zombies courtesy of its high walls and vigilant security detail, all kept under the watchful eyes of The Governor. The appeal of this particular character lay in his dominant, confident and often charming nature. For us as viewers he could be very polarising, you loved to hate him but hated to love him.

“I think the complexity of him as a character I was very happy with. I think the way that, even in the two seasons, I really felt that there was a man there who, if you’re keeping your daughter who has been infected, if you’re keeping her in a cage and trying to have some sort of normal life with her, there’s a lot of love there. I always felt that he was quite a loving man before the zombie apocalypse had happened.”

Despite The Governor’s initial charisma, charm and seemingly well meaning exterior, under the surface lay a man with a brooding rage and fire. All of this comes to the forefront once his daughter is killed and he then becomes a loose cannon.

“Once Michonne kills his daughter and he loses his eye, all bets are off then. He becomes a different character, he becomes a much more nihilistic person. Then what the show does is it takes him to that edge of where he’s just completely mad. Kills his town practically, just lets loose on his populous.”

“But they (the writers) bring him back in the fourth season as this man who’s slightly just walking around on the road, he’s lost everything. Then he discovers this new family and he starts to sort discover his humanity again. It’s a dangerous place to love, their world of The Walking Dead. He doesn’t want to love, he just wants to die really. Then when he discovers this new family and starts to really care about them and love them, he knows he’s in danger and that’s what sends him over the edge again. He sort of gets to that point where he just thinks, “You can’t do this, you can’t love anybody.”

For those that are currently watching the show, one of the new big baddies to enter onto the scene is Negan, played by Jeffrey Dean Morgan. Negan is the leader of a group of survivors called The Saviors, they manipulate other survivor colonies by fear and intimidation. Negan’s entrance onto the show was brutally violent and he is by far the most vicious, cruel and calculating of the antagonists Rick Grimes (Andrew Lincoln) and his group have come up against. But how would The Governor fair if he was to go up against Negan?

“Oh, that’s not even a question. It’s a ridiculous question. There is no competition between the two of them. The Governor is very dangerous and also I think he’s a smart man, he’s a very intelligent man. He’s a villain of a much more sophisticated, calculating nature. I think, I’d love to see the writers bring us back together. Bring me and Negan back together and then we’d have a smackdown or a field day killing a lot of people. Or maybe it’s just a bromance, that we sort of go off on our motorbikes into the desert sun. I don’t know, that’s up to Scott Gimple.”

Stepping further back into David’s filmography you’ll discover his stint in the unique British musical black comedy Blackpool. The show’s lead character Ripley Holden played by Morrissey is yet another character audiences hated to love. The show also featured a young David Tennant and was a cult hit that brought many outside of the United Kingdom attention to Morrissey’s work. Morrissey has a deep fondness for the ridiculous character of Ripley Holden, and would be keen to reprise the role.

“Yeah. Yeah, I’d love to. I mean, I love Blackpool. It was a very weird sort of wonderful show. I really loved it. I mean, I don’t get to do a lot of comedy, although the mad thing about Ripley Holden was he’s probably one of the most horrible characters I’ve ever played. He is so awful, you know, he’s racist, he’s sexist, he’s misogynistic, he’s self obsessed, cheats, lies, but bursts into song every now and again. That’s his saving grace. I loved doing it, it was so wonderful. It gave me a chance to exercise a part of myself that I’ve never done before which was that song and dance man. I loved the routines in it, I loved the songs in it and we had real fun making it. I think he’s a great character. I think he’s a character that I have a lot of love for.”

Jumping forward to the present, Morrissey gives us a hint of the next project to come now that The Missing Series 2 is completed. Britannia is a British period drama set in 43AD where the Roman Imperial Army return to the Celtic stronghold of Britannia to crush the rebellion.

“The show I’ve just done is Britannia which is, it’s an adult show, it’s a grown up show. It has serious aspects to it but I had fun doing it, there’s some great sort of heightened moments in there. That’s a period drama, a historical drama, set in Britain in the second invasion by the Romans. Yeah, I play a Roman soldier so that’s good, yeah.”

Source: The Iris


Posted on February 12th, 2017 by admin

The return of the girl means that everything is starting, not that anything is finished.

 

Starz’s “The Missing” returned for Season 2 with another story about kidnapping — except that in the first few minutes, Alice Webster (Abigail Hardingham), lost for 11 years, stumbles back into the small German town she disappeared from. That is the beginning of a time-shifting story about how resolution does not mitigate loss — and how long-buried traumas can unearth in surprising and terrifying ways.

In quite a genre shift from his role as the Governor in “The Walking Dead,” David Morrissey plays Sam Webster, a captain in the British army whose turn of duty at a German base becomes an exile of bereavement when his daughter Alice goes missing. In the intervening years, Sam and his wife Gemma (Keeley Hawes) have made the town their home, building new lives around their loss. When Alice returns, the bereaved couple have to start over again. Sam in particular is altered — there are burn scars all over one side of his body, and early on, it’s revealed that he is cheating on his wife with another soldier at the base (Laura Fraser).

Variety spoke to the versatile actor about playing a role that is a nightmare scenario for any parent — and how Sam’s military background is so central to his identity and to the overall arc of the season.
How did you come to this project?

Well, although it’s a standalone series, there was another incarnation. The first season. And I watched that, and I loved it. I thought it was great. What I loved about it was the fact that it was a multi-time scale, multi-character drama, so your constantly piecing it together. And that’s what we’ve taken into this season, too.

And the only common denominator between the two is a French detective, played by Tchéky Karyo, who is a specialist in child abduction. He’s the person who links the two shows. But what I love about this is the sense that you’re … Obviously there’s this horrific incident at the start of the show which is that our daughter is taken from us and she’s abducted — we don’t know where she’s gone.

But then the show jumps forward 11 years, when this girl walks back into their life, and it’s about that sense of how a family copes with having their dream answered, you know? The thing they’ve always longed for is to have their daughter back, and she comes back — and it’s sort of destroys the family, in a way, that she’s back.

And then we jump forward to present day, and my character not only is emotionally scarred but is physically scarred. He suddenly has all these burns all over him. We suddenly see our French detective is in Iraq, but his head’s shaved. He sort of looks … He doesn’t look well. He looks very ill. We’re constantly asked, as an audience, “What? What has happened to these people?” The return of the girl means that everything is starting, not that anything is finished.

I think that, like a really great novel in some way, is challenging us as an audience. When it came out in the U.K., I’d walk around London and people would just stop and give me their theories. I loved that investment in story.

So much of the emotional heavy lifting in the season happens from your character and Keeley Hawes’ character. Can you tell me a little bit about how you prepared for that?

What I like to do when I research a part is go find people, if it’s possible, who had that experience. And it just didn’t feel right with this project. It just didn’t feel right to go and talk to people, because I couldn’t find anybody whose child had come back. I could only find people whose children were still out there. And I didn’t want to trade on that, really, or bring any of that up.

I just read a lot of testimonies. I read of lot of books, a lot of reports and testimonies from people that this had happened to. It was harrowing. It’s horrible, and any parent would have that fear. Thankfully though, it must be said, it’s a very rare occurrence.

And also, while she’s not around, their imagination is terrible. Their imagination, and their fears, and the pictures they paint for themselves. But once she returns and she actually fills in the gaps so it becomes real about what’s happened to her — it’s awful. There’s one scene where, once she returns, the investigation starts again because they want to know where she is. There’s a scene when she’s in hospital telling the police what has happened to her and Sam, her father, just can’t handle it. He can’t handle being in the room with her. It takes it in such a way that he ends up in this little toilet, smashing the hell out of the wall, because he can’t. Particularly as a soldier — there’s something about him being a soldier, being a good soldier, that he can’t handle the fact that he’s powerless over this situation.

The other thing about the drama, which I loved, was that the incident happens to this family, but it affects the community. The community is all affected by loss — the rumor and gossip and fear that people suddenly live in because of this abduction. And how people sometimes feed on it and sort of indulge the idea a family can have sympathy for something like this but only for so long. For some people it simply runs out, and it’s like, Oh come on, it’s been two years now. Or even suspicion starts to go onto them, and the idea of their parenting: How could you let that happen? It’s a very murky, complex thing.

Tell me a little about the military component. That started out seeming like unimportant detail. But then you begin to see how much the experience that veterans have had in Iraq is affecting what’s happening in this town all the way back in Germany.

The main thing for Sam, being a soldier, is that the Army has always done everything for him. The Army is his mother, his father, it’s his bank. The fact that there’s a code of honor amongst these men that they really sort of live by, because they’re in … They have to be there for each other in combat zones and Sam has been in combat zones. He’s lost colleagues. He’s lost friends. The fact that he can’t protect his daughter is compounding, I think.

And also, they’re in a foreign country. They’re a community who speak English in a German community. They’re never gonna blend — none of them are gonna learn the local language. They don’t have to. They live in this bubble. It’s almost like a gated community that they’re in, but they’ve got tanks and guns. That’s where they are.

And this girl being taken is an affront on all of them, not just him. That’s what I thought very important for this man, that he had a code of practice. What also happens whenever I’ve worked … I’ve played soldiers in the past. I’ve played policemen. I’ve got policemen who are friends of mine. Of course in all of our Armed services, there is trauma counseling available to men and women inside the service. But the idea of taking that opportunity to have that counseling is not always taken by the men and women in the roles themselves. Policemen, soldiers are very, very suspicious of things going on their record — or being seen to be weak or being seen to need some sort of care. They don’t run towards that.

I think Sam, in those 11 years when his daughter was abducted … There would have been lots of care available to him from the Army, and I don’t think he took any of it. I think he just carried it.

You see that with the other characters who are soldiers as well — some very nasty secrets that have been really bottled up.

And it’s things that you’ve done in the past, which people have witnessed or been part of themselves. Suddenly it can be used against you.

With Sam, what I thought was really great about the writing is when we see him in the present day, he’s having an affair with another officer, someone who’s involved in the story. But there’s nothing in that affair that is like champagne glasses and candlelight. It’s something that both of them are doing as a punishment to themselves. It seems that it’s an affair that’s grown out of hatred — there’s nothing loving about it. There’s nothing really sexy about it. It’s just about two people who are desperate, finding each other and adding more misery to their lives because they don’t know what to do with their shame they don’t know what to do with their guilt. They’re in awful situations. I thought that was a really human quality that the writers had gotten.

I know that you probably have to get makeup done for the scarring. Did you guys film the timeline chronologically?

Yes, we did, which was brilliant. So I started off … There’s a little scene which never made the final cut, which is Sam and Gemma being told that their daughter’s been taken. That was 11 years before. We started with that little bit, where the parents are told that their daughter’s gone. And then we went straight into 2014, so we tell all of 2014 in one hit, which is great. You never usually get that as an actor.

It makes it very immediate, that it’s happening to you right there, right then. One of the things which was very helpful for me was working with Keeley Hawes, who I’ve known for a long time and she is a wonderful actress. We were able to meet up before we did the film and we went through our [characters’] lives, how we ended up in Germany, we did all that. And then we went through the 11 years without Alice, what that must have been like. Because they could have left Germany. In all sense, no soldier would stay that long in Germany. They’d do their assignment and then they’d come back or they’d go somewhere else, but this family decides to stay because that’s where she’s been taken from, so they want to be close to that place.

Real, real sacrifice on their part, and certainly from his point of view with regards to things like promotion, or stuff like that. He decided not to climb that military ladder in order to be close to his daughter.

It was a real chronological way of telling that story. And then we broke for about two weeks and then we came back and we did all of the second part of the present day stuff — with the scarring, and Tchéky had his hair shaved, and Gemma had her hair cut, and all sorts of different things. They packed my house differently.

And the scarring was an interesting process, because it was about an hour and a half every morning. We started to get that down so in the end, the makeup team could get it done in about an hour. But it always took an hour and a half to get it off. And every night I had to peel my own shirt off from the glue that was — it was horrible. I went through about 50 shirts because it was just awful.

Source: Variety.com


Posted on February 11th, 2017 by admin

 
 Look, we could likely sit around all day and discuss which villain on The Walking Dead is the worst. It’s likely going to come to Negan and The Governor in the end, but past that it’s nothing but fan service. The Governor is dead and gone in both the comics and television series, leaving quite the mark but meeting his doom in the end. He can never face off with Negan, team up with Rick to beat the new foe, and certainly isn’t going to return as some sort of zombie. He’s kicked the bucket and there’s no going back.

Luckily, we have the next best thing. Thanks to interviews with the men behind the two biggest bads on The Walking Dead, we now know where each stands on the other short of giving them a knife and forcing them to figure it out for real. David Morrissey is on the latest season of The Missing and chatted with CinemaBlend for a little promotion. Now there’s regrettably no questions about Blackpool, but they do ask him for some thoughts about pitting The Governor against Negan:

I don’t think there’s a world where Negan and The Governor can exist together. I think they would have to take each other on, and you know, it’s obvious that there would be one winner in that, and that would be The Governor. I don’t think there’s any sane person that would argue against that. The Governor is the ultimate villain in the show and there’s been people that have come in and have sort of pretended to be like him, but no one’s ever going to take that crown. And I think Negan certainly isn’t going to take it. He’s bad, but no one was like The Governor.

Meanwhile, over at Entertainment Weekly back in August, Jeffrey Dean Morgan already made his case for Negan taking the crown:

“It’s not even close,” says Morgan, flashing that devilish grin. “I mean, I love David Morrissey, but he wouldn’t stand a chance. Wouldn’t stand a chance. I’d put Negan up against anybody. He’s super smart and there’s no filter, no fear. The Governor was a little bit wack. Negan’s got it together. It wouldn’t even be close. And I’m sorry, ‘cause I really love David. He’s awesome. I worked with him for a year and there’s just not a better guy. But Negan versus the Governor wouldn’t be close.”

Both men are pretty damn sure that their character is the top bad guy in The Walking Dead universe. It doesn’t solve much, but there it’s better than sitting around the living room drinking RC cola and debating it with your friends. I think the folly here is overlooking the true big bad hiding and waiting for those two to take each other out.

Source: Uproxx


Posted on February 8th, 2017 by admin

 
 

As the gut-wrenching Starz mystery thriller returns, Morrissey – “The Walking Dead’s” Governor – plays another parent traumatized by a heartbreaking event.

David Morrissey is a veteran UK actor that you’ve probably seen in countless projects. But it was his turn as the Governor on “The Walking Dead” that exposed him to a massive global audience. Now he’s back on TV, as the new star of Starz’s mystery thriller “The Missing,” back for a second season.

“The Missing” was one of the most heart-wrenching TV shows of 2014, as it chronicled the journey of parents struggling to come to grips with the mysterious disappearance of their young boy. The show’s back with a whole new tale, again written by Harry and Jack Williams, and this time with Ben Chanan as the director of every episode.

 

Morrissey plays a British soldier, stationed in Germany, whose daughter disappeared in 2003. She shows up 11 years later – but her return brings up new questions, including the whereabouts of another girl abducted around the same time.

 

Morrissey recently dropped by IndieWire’s offices to discuss the new role, and to also recount how playing the villainous Governor on “The Walking Dead” changed his career. He also broached those rumors that he might be a “Doctor Who” candidate, and shared his viewpoint on how the world should respond to the global refugee crisis.

Source:  Indiewire


Posted on March 6th, 2016 by admin

Liverpool’s finest on childhood ambition, the perils of being a father, playing the bad guy, and his love for his hometown.

 
 

When you decided to leave school at 16 and become an actor, did you have any idea what it would actually involve?
I had no idea. When I told my parents – we were living on a housing estate in Liverpool – I wanted to be an actor, it was as if I’d said I hoped to become an astronaut. They didn’t know anyone in the profession. They couldn’t phone my Uncle Tony to ask if he’d take me on. All I knew was the emotional impact acting can have on a person. I’d acted at junior school but there was no drama at my secondary modern. I was unhappy there for many reasons. I wasn’t academic. I remember asking myself: when was I last happy? The answer was: when I was acting. So I decided to pursue that happiness. I told every new adult I met: “My name is David and I want to be an actor.” I did what you’re not supposed to do and put all my eggs in one basket, but I looked after that basket.

I’ve just been watching The Ones Below, a new thriller directed by David Farr, in which you play Jon, a weird, childless, possibly psychotic man determined to have a family, living in the flat beneath another, apparently more normal, couple expecting a baby. The plot plays on the vulnerability of being a parent, doesn’t it?
I went to a screening with my almost 18-year-old daughter and asked if the film put her off the idea of having a baby? She said it put her off the idea of having neighbours! It is 21 years since our first child was born. I remember the anxiety as a man: how would I provide for a family? And I remember driving away from the hospital thinking: why are they letting us go? Do they know who we are? Fortunately, I was blessed with a wife [novelist Esther Freud] who had been gearing up to becoming a mother for most of her life. She had that desire. I was quite freaked out at the time.

Do you feel relief that that period of life is over?
I look back with relief and nostalgia. Sometimes it seems like yesterday, sometimes years ago. I have a terrible memory. My wife can remember everything.

I kept noticing the creepy details of your performance as Jon. His head movements are unnaturally slow… does this sort of physical detail develop unconsciously?
I consciously decide on someone’s rhythms as a character: who they are professionally, how they interact. We see this man on screen before we know we’ve met him. He walks in to get a takeaway and you should glimpse a stiffening of his body because he has overheard his neighbours being rude about his garden. He is an angry man, suspicious of the world.

He seems to be someone who makes a public performance out of his private life. Have you met anyone like that?
I’ve met people who say things about themselves, who almost overshare. This is who I am, this is who I work for, they let you know the image they want to present. And then they usually turn out to be quite different from what they are determined to project.

You have played many fearsome roles – the most extreme being the Governor in the US zombie drama The Walking Dead; would you like to play nicer characters? Or do devils always get the best lines?
Nice roles tend not to be interesting. I like complexity. Yet many of the supposedly bad characters I’ve played (exempting the Governor) are good people. Stephen Collins in State of Play [the BBC series] makes a terrible decision but you have empathy with him. I try not to make moral judgments about characters from the outside. Everyone is the hero of his or her own story.

 
 You’re just finishing in Hangmen in the West End, Martin McDonagh’s latest hit play. How do you stay fresh in a long run?
I love this play – you stay fresh because the writing is so good. And you never forget the audience hasn’t seen the play yet. Each new audience takes ownership of the show. And a line can change everything; you will find you are minting it afresh. There have been times when I’ve hit a wall, but this show is such an energy-giver. I’ll miss it when it is gone.

How insecure are you on a scale of 1-10?
It depends on the day. I can get right up to a 9. On good days I’m a 3-4. Every actor, no matter how successful, gets insecure. Insecurity feeds creativity. I’ve never looked for job security – I’d get bored. I like to have a suitcase packed because you never know when someone might phone and say: “We’re making a film in Australia.”

If one of your children wanted to be an actor, would you encourage him or her?
I’d be worried. But it’s a parent’s job to be worried. If I felt they were inspired by it, I’d be glad because acting leads to literature and art and empathy. That’s why it is so important to keep doing drama in schools. It gets children to ask: what it’s like wearing someone else’s shoes?

believe you got married on Southwold pier – do you still spend holidays in Suffolk? What do you think is special about the county?
The people are so engaging, I love the locals and the landscape is so magical: a shifting place with nothing twee about it. And I love the books that describe it, especially Esther’s last novel, Mr Mac and Me.

Or does your heart actually belong to Liverpool, to your roots?
Yes, my heart does belong to Liverpool. I’m proud of growing up there. It’s a place that takes the arts seriously and fights for it. The Everyman is a place I’ve always adored and still do – it’s such a vibrant theatre.

Can you name three things you enjoy that have nothing to do with acting?
Reading, music and Liverpool FC. It sounds trite but it’s important. You can get into a conversation through football, it’s not just about watching overpaid men kicking a ball around. It can also be a gateway to talking about other things.

The Ones Below opens on 11 March

Source: The Guardian


Network
David’s Official Twitter page