Welcome to IainGlenFans.org. A website supporting the career of actor Iain Glen, most know for his roles as Jorah Mormont in HBO's Game of Thrones, Jack Taylor & Downton Abbey. This website will provide you with the most up to date news, projects, images and so much more on Iain's career and appearances. Many thanks for visiting and be sure to check back for updates.

I have added 2 amazing new episode stills from Episode 3 ‘The Queen’s Justice‘ of Game of Thrones series 7.

  

Click on the link to view the images: Game of Thrones Episode 3 Stills

I have added over 58 screencaps and some episode stills of Iain’s role as Jarrod Slade in Cleverman series 2 Episode 2 & 3 to the gallery.

    

Click on the link to view the images:

Cleverman S2 Episode 2 Screencaps | Cleverman S2 Episode 3 Screencaps

Many thanks to Mariane Agena for the caps.

July 19th, 2017 Cleverman admin 0 Comments

I have added 26 HQ photos of Iain attending the Game of Thrones premier in LA.

    

Click here for the rest of the images.

July 12th, 2017 fan stuff admin 0 Comments

I have added over 100 screencaps and some episode stills of Iain’s role as Jarrod Slade in Cleverman series 2 Episode 1 and 2 to the gallery.

 
  

Click on the link to view the images: Cleverman S2 Screencaps | Cleverman S2 Episode Stills

July 11th, 2017 Cleverman, Television admin 0 Comments

Our friends at Samclaflinfans.net were lucky enough to meet our Iain and Sam at the recent premier of ‘My Cousin Rachel’ and record a short interview with Iain.

 

Many thanks to SCF & Jemma. x

I have added small number of screencaps from the adverts to the gallery.

  
Click here for the rest of the images.

June 16th, 2017 Adverts admin 0 Comments

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June 16th, 2017 Adverts admin 0 Comments

The dark romantic drama My Cousin Rachel, written and directed by Roger Michell and adapted from the 1951 novel by Daphne du Maurier, tells the story of a young Englishman named Philip (Sam Claflin) who wants to meet his mysterious and beautiful cousin Rachel (Rachel Weisz) because he believes that she murdered his guardian. Even though he has plotted revenge against her, his feelings quickly become complicated as he finds himself not only falling in love with her, but becoming truly obsessed.

 

During this 1-on-1 phone interview with Collider, actor Iain Glen talked about why he was drawn to the story of My Cousin Rachel, the complicated character dynamics, and how easy it could be for any man to be drawn into Rachel’s spell. He also talked about being a part of the hugely successful TV series Game of Thrones (he plays “Jorah Mormont”), when and how he realized the show was becoming so popular, getting to team up with Lena Headey on the feature film The Flood, and his desire to always keep up a variety in his work.

Collider: This story is so interesting because it searches for the truth, but never really reveals what that truth is.

IAIN GLEN: It’s a very disconcerting sensation that the film creates. You think you have a hold of it, and then something happens and you get some new piece of information or there’s some new action that makes you go, “Oh, god, no! I couldn’t have gotten that right!” Your relationship to Rachel, played so brilliantly by Rachel Weisz, changes throughout. You become entranced and enticed by this exotic creature that comes in and turns things upside down, and you spend the rest of the film thinking, “I’ve got ahold of it. I know what’s going on. Wait, no, I don’t!” That’s the psychological thriller that’s at the heart of Daphne Du Maurier’s writing.

Did you get that from reading the script? Is that what made you want to be a part of this?

GLEN: It is, yeah, very much so. I could see what the writer was doing, and I enjoyed that. I knew that she was the great mistress of irresolution, where nothing would become concrete and you’d be suspended throughout. But in amongst that, you feel like you understand and that you’ve just been given a clue, which leads you to one conclusion. But then, before you know it, you’re being dragged back into another conclusion. Rachel does that very well because you feel for her, at times. You feel her hurt sometimes, and then you feel her vulnerability, but then you think she’s being manipulative. She plays it out very subtly, throughout, so that you’re kept guessing.

Your character, Nick Kendall, is in an interesting position because he’s Philip’s godfather and the legal guardian of Ambrose’s estate, but he’s also Louise’s father and has to watch how much Philip’s relationship with Rachel is hurting his daughter. What was it like to be in the middle of all of that, and to work with those actors on that dynamic?

GLEN: It was lovely! It was a very happy time, filming it. Doing a period piece in a beautiful part of England in the summer, it doesn’t really get much better than that. It’s great fun to do. Things become most worrying for my character when he begins to understand that Philip wants to give everything away to Rachel out of love. He goes from his initial position of, “She’s an evil witch and she killed my adored cousin, who was looking after me and who had looked after me since I was orphaned, as a child, and I want nothing but to punish her,” to somebody who’s willing to give everything away to her. You have to hold the audience with you on that, and that’s something that Sam manages very well. You have to believe the hatred, and then you have to believe the love, and you’re with Sam, every step of the way with it. It becomes very awkward for my character when he sees that Philip is willing to give away everything that he’s tried to look after, so that his well-being is assured for his life. He’s caught in that terrible position of not offering advice that’s just going to be rejected, and then, before you know it, you’ve lost that relationship. You have to try to play it cool and remain neutral.

Do you think Kendall can also see how easy it would be to get wrapped up in someone like Rachel?

GLEN: I think so. The world in which Rachel enters is one in which there are not too many fulfilled male-female relationships, particularly physically and sexually. Like so much of the story, we don’t really know my character’s background, where the mother (of Louise) is, or who the mother is. There’s a little exchange between my character and Philip, in one of the scenes where he’s willing to throw everything away, where I say, “Have you asked her to marry you?” And he bites back, “No. Have you?!” That implies that he’s noticed that Kendall has been drawn to her. Everyone who’s within her orbit gets very seduced by her because she’s so lovely, exotic, great fun, and from a different world. In a way, there’s a loss that fuels everyone’s emotions in the piece.

You’ve not only been a part of Downton Abbey, which is hugely successful and much beloved by its fans, but you’ve also been a part of Game of Thrones, which is even more hugely successful and much beloved by its fans. What’s it like to be a part of shows that are not only so popular, but that are also such quality material?

GLEN: I do feel I really lucked out with the things that I’ve ended up in. When you start at these things, even with Game of Thrones, no one really had a clue how it’s going to go. And then, before you know it, it’s built into this huge, massive, global hit. It’s not because you’re in it, in any shape or form. It’s because there’s some very, very clever people behind it, there’s the extraordinary source novels by George R.R. Martin, there’s the perfect fit with Dan [Weiss] and [David Benioff], who are the brilliant screenwriters, and they gathered a fantastic cast. I just feel very, very lucky for that, and you want to step up to the mark, every time it comes around because it’s such a big cast. It reduces, year by year, with a high death count. With all of us that are involved in it, none of us are required all the time, but when we are required, you just want to be on your game, for this story and for the fans, because at some point in the not too distant future, it will all disappear.

Is it ever sad that, when you do show up, you won’t know who’s actually going to be there with you?

GLEN: You hold your breath, every time a new script comes through, to see what’s unfolding. They give you know inkling of what’s going to happen either. That being said, I was there in the pilot. I’ve been there from the start. There’s probably between 10 and 14 characters who have been in it from the beginning, and who are featured in every season, so I feel I’ve lucked out. Whatever happens, I feel like I’ve had a pretty good ride.

Because you’ve been there from the beginning and you could see this cultural phenomenon rise up, when did you realize what you’d gotten yourself into?

GLEN: It doesn’t happen overnight, but the first season did pretty well, and then the second season grew. Half-way through the third season is when we all started to look at each other and go, “Jesus Christ, this is going well, isn’t it?!” There was the interest in it, all around where we were filming. And then, there was the secrecy that had to be imposed and the confidentiality clauses. It’s a gradual sensation, but certainly for the last two or three years, every time we gather back together, we all look at each other, and throw our hands in the air and say, “This is pretty amazing to be a part of!” Wherever we’re filming, there’s such extraordinary support for the series. It’s transformed economies. It feels like a big positive force. It’s really, truly been a joy, from the word go, but it becomes extra special when you feel you’re doing work that people are really enjoying and looking forward to.

Was it fun to get to team up with Lena Headey for The Flood and get to work with her, outside of Game of Thrones?

GLEN: It was! That came about quite last minute for both of us. It’s polar opposite, in the sense that it’s a very micro-budget feature, which is about a very important topic, currently for the world in which we’re all living in. It focuses in on refugees and the British Immigration Services and how they’re trying to deal with these strict controls that the government is imposing because world views on what we should try to do with these vast waves of people who are displaced from their own homelands. It’s a very, very, very good script. It’s an extraordinary piece with some lovely performances in it, from what I saw. That was lovely. I’m very fond of Lena, and I’ve only gotten to know her a little bit more recently. It was lovely working with her. You never know, but it feels like an important film and a film that I hope will make some waves. Fingers crossed.

At this point in your career, what do you look for in a project?

GLEN: It’s always just variety. I had imagined a world of theater because that’s what I was trained in, and I was lucky to work at the National, work at the Royal Shakespeare Company, and do The Blue Room on Broadway with Nicole Kidman. That’s what I was headed towards, and then film happened very quickly for me. That bread a desire to seek variety. You’re only as good as any piece of writing you have, no matter how hard you work. So, I’m looking for different projects and quality of writing, but that’s not always the case. I don’t want to be too self-aggrandizing. Sometimes you do it because it’s a shit load of money and that means you can be close to your mum in Edinburgh. There are various reasons why you might choose to do a job, but I’ve really enjoyed the variety of work and the variety of places. Film takes you to places you wouldn’t normally go, and it leaves you there for longer periods of time than a holiday. You have time off, as an actor, and that’s lovely because it gives you time to get to know different cultures.

Do you know what you’re going to be doing next?

GLEN: There are a couple of things up in the air. I hope to do a Second World War drama with a producer that I worked with on Resident Evil: The Final Chapter. This is a very different beast of a film. And then, I will be doing Cleverman, an aboriginal series that’s in its second season. Its first season went well, and that shows on SundanceTV. And I play Jack Taylor, an Irish private eye, and a series which is very dear to me. I have Delicious, a comedy for Sky, as well. I have a fairly busy time, up ahead. Sometimes you play the lead in things and sometimes you play support in things, but I always seek variety and good writing.

Source: Collider

June 14th, 2017 My Cousin Rachel admin 0 Comments

Hey everyone. Capone in Chicago here.

The Scottish-born actor Iain Glen has made a career out of playing intense men on stage as well as the big and small screen. After finishing at the Royal Academy of Dramatic Art in London, he went on to appear in a succession of highly touted stage Shakespeare productions, as well as the musical version of “Martin Guerre” and “The Blue Room,” opposite Nicole Kidman. Although I’m sure I spotted him in early film works like GORILLAS IN THE MIST and MOUNTAINS OF THE MOON, the role that first stood out for me was as Hamlet in Tom Stoppard’s 1990 film version of ROSENCRANTZ & GUILDENSTERN ARE DEAD, the ultimate statement on the plight of a story’s minor players, with Tim Roth and Gary Oldman in the title roles.

 

I think it’s fair to say that Glen is the living definition of a working actor—always busy, moving effortlessly from television to stage to film. On the big screen, we had memorable roles in SILENT SCREAM; BEAUTIFUL CREATURES (opposite his MY COUSIN RACHEL co-star Rachel Weisz); LARA CROFT: TOMB RAIDER; many of the RESIDENT EVIL films; HARRY BROWN; KINGDOM OF HEAVEN; THE IRON LADY; KICK-ASS 2; EYE IN THE SKY; and the aforementioned MY COUSIN RACHEL, directed by Roger Michell, in which he plays the godfather and estate executor of Sam Claflin’s Philip, who falls in love with his cousin (by marriage) after believing she may have killed the cousin who raised him.

Glen has been playing the Irish private investigator Jack Taylor in a series of made-for-television films for all of the 2010s, but he has also had significant roles in such television productions as “The Diary of Anne Frank,” “MI-5,” “Downton Abbey,” “Cleverman,” and most notably as Jorah Mormont on “Game of Thrones,” which begins its seventh season in about a month. Although I would love to do an interview with Glen that covers even a fraction of his dozens of roles, I think we do alright beginning with MY COUSIN RACHEL and moving on to a few other choice parts. We even dig a little into his life since beginning “Game of Thrones.” He was a tremendous interview subject and seems game to talk at length about pretty much everything. With that, please enjoy my talk with the great Iain Glen…

Iain Glen: Hi, Steve.

Capone: Hello, sir. How are you?

IG: I’m very well. How are you?

Capone: Good, good. It’s funny, I just, last weekend, saw the filmed version of the Old Vic’s recent production of “Rosencrantz and Guildenstern are Dead,” and it reminded me that, I think, that you were Hamlet in the original film version. That might have been one of the first times I ever saw you on screen.

IG: Yeah, you’re right. That was Tom Stoppard’s only sort of foray into [film] directing, I think. With young Gary [Oldman] and Tim [Roth].

Capone: Exactly.

IG: Which was a ball. We filmed in Zagreb, Yugoslavia.

Capone: At that point, in that early part of your film career, you had already worked with Tom Stoppard, Michael Apted, David Hare, and Bob Rafelson—you must have thought you were doing pretty well back in your late 20s.

IG: [laughs] Yeah, I did. I’d cross over, sometimes, between theater and film when I started, when I left Royal Academy of Dramatic Art, all those years ago. I did a fair amount of work in the theater and film, and I’d done a play with Tom Stoppard—it was “Hapgood” with Nigel Hawthorne, Felicity Kendal, and Roger Rees, and we got on very well then. He always said, “I’d love to work with you again,” and then [the role of] Hamlet [in ROSENCRANTZ & GUILDENSTERN ARE DEAD] came around, and I’d just played Hamlet at the Bristol Old Vic, playing the full Shakespearean role, so it seemed obvious I was up to speed on whatever lines were required of me in ROSENCRANTZ & GUILDENSTERN so it was fun coming into it.

Capone: So in this film, most of your scenes are with Sam, and each time the two of you meet, he’s in a different frame of mind when it comes to Rachel. I feel like that would have been much easier to do if you had been able to shoot those scenes chronologically. I’m guessing that wasn’t the case.

IG: [laughs] Well, that’s the art of film, and you get used to it. They never, eever film chronologically, except in very, very, rare occasions, so that’s really part of the structure and the work you do as an actor before filming is to know where you are in any given part of the story. That was enhanced by the fact that Roger called a rehearsal before filming for all of us. We were all together for a week and went through it piece-by-piece, so we knew where we were on the journey. Roger is very consummate when it comes to working with actors. He’s quite a rare breed. Sam Mendes is another, Stephen Daldry, who’ve had a great history in theater and done a lot of work with actors in theater, and has a very strong film career as well. But, he always zones in on stories that always offer great performances for actors. It’s very reassuring having someone behind the lens whose taste you entirely trust.

He does so much of the work for you, in a way. He’s very clear about where he wants the story scenes to play out, where actors might be in any given scene. It never feels like a constriction. It’s always a liberation, and he’s up for change, as well. Other directors can be very confident with the camera and what the camera should do and leave you to your own devices in terms of performance. But, Roger is very nurturing throughout the filming of it. So you’re right, I was predominantly with Sam, and I suppose the role, in its simplest sense, he’s almost like a Greek chorus. In some ways, I follow the audience’s point of view. I’m a benign, rational presence who has Sam’s best interests in mind and can see him oscillating wildly as he gets caught by the passion of seeing this very exotic, beautiful creature from another planet who arrives in this sleepy, parochial setting. So, we’re all very disconcerted by what Rachel brings to the story, so I’m the voice of reason trying to keep the character that I care a great deal for sane.

Capone: It’s funny you say that, because, you’re right, in the beginning, we are looking at these events through your eyes to a great degree. But once we meet her and are charmed by her, we switch into seeing her through Sam’s eyes and are bewitched the same way that he is.

IG: Yeah, well I think that’s right. And it’s a testament to Rachel’s performance, because I do think whatever preconceptions this story might lead you to believe before you meet her, she’s utterly entrancing and charming when she arrives on screen. So, whatever preconceptions we have get slightly thrown out the window. We forget them, and then they reemerge later in the story when other details and facts come through about the history. But that was Du Maurier’s milieu, and Roger did a remarkable screenplay. It’s so much easier said than done to turn what is a fairly thin novel—very, very concentrated—into dialogue. You have to turn it into a screenplay where everything is told through the words or between the words. Roger did a great job of that.

It’s a psychological thriller. It’s all about questions being thrown into the air. Audiences are trying to decipher exactly what’s going on, and it’s very conscious of Du Maurier to not give you a clean landing. Then you say, “Oh, now I… that’s what was happening. Yes, she’s definitely sinister” or “Yes, she was entirely innocent.” By the end of the story, my character, and I think the audience, deep down don’t really know.

Capone: The one scene that really stuck with me is the one that you and Sam have in which he’s basically signing over his life and fortune to her. For your part, it’s an amazing exercise in barely restrained panic.

IG: Well, I’m glad you thought so. It was good to play. As an actor, it’s always lovely when the story is supporting you so well up to the point where the scene happens. There’s so much there that’s been stated or understated, and my character’s caught in a predicament of desperately wanting to look after his financial legacy, but not wanting to ruin their relationship. We’ve all been in those situations where we feel a loved one is making the wrong choices, and how do you offer advice without distancing yourself from them?

In a way, people have to make their own mistakes, but it’s just that the stakes are so high, because Phillip, the character, is willing to give everything over to Rachel. He just wants to express his love and his conviction by giving her everything, and my character just wants to say, “You can feel what you feel, but you don’t need to do this. This is not a step that you need to take.” Yeah, I think that was one of the most enjoyable scenes to play.

Capone: It’s also the the moment, at least for me, where I remember that you’re his godfather, so that means that you’ve known him since the day he was born, and it make it that much more heartbreaking.

IG: I think that’s right, yeah. I’ve been his legal guardian and, again, just to contextualize, what makes sense in the psychology and certainly makes sense of what happens to the character Phillip throughout is that he’s been bereft of a father and mother. He was orphaned and brought up by his cousin, who is also this absent figure who’s now abroad and dies earlier in the film. So, he’s not grounded in the way that other young men might be. The world of femininity is totally alien to him, so that explains why he oscillates so madly between his feelings of either hatred or love for the woman, because she’s so exotic and unknown to him. I think that the world that the Kendall household is such a strong contrast to Phillip’s household, which has never known a feminine hand.

Capone: You also have a lot of scenes with Holliday Grainger, who plays your daughter and is very quickly becoming one of my favorite young actors.

IG: She’s gorgeous, isn’t she? She’s lovely.

Capone: Tell me about the interactions between those two characters, because they are co-conspirators for good, we assume.

IG: Well, I think in my character’s ideal world, in some ways, Phillip and Louise would have been a perfect match, and I don’t know, but I felt it when I watched the film, you almost want to scream out to Sam’s character, “Please, stop looking that way, look this way because you have this beautiful creature here. She’s good, she definitely would be a gorgeous wife and a beautiful mother to your children, and she’s willing and uncomplicated.” So I think, in my ideal world, that would be the match.

But almost beyond that, I feel enormously protective toward Sam’s character having been his legal guardian. And it’s very painful watching your daughter because you know how much she adores him and wants him to look her way, but you can’t impose that upon him, so you get that odd, tentative suggestion, “Would you like to say ‘Hello’ to my daughter just while you happen to be here, giving your entire life away?” So, yeah, it’s a tricky one.

And I think that’s partly why people love period pieces so much. It’s because there’s a delicacy of manners and emotion there, a subtlety of behavior where everything isn’t exposed. Everything isn’t stated so quickly. And, yeah, hopping back to the past, I think people feel, somehow we were subtler humans back then somehow. What we required from each other was just a little more complicated and delicate and human.

Capone: I was gonna ask you about that. There’s something glorious about a costume drama where someone is becoming unhinged, and they break through that placid façade that you’re supposed to have in those movies.

IG: That’s right. I do love period films for that. It’s worth remembering that Roger — I don’t know if you know this, but Roger Michell did this quite radical interpretation of PERSUASION quite early on for BBC, early on in his career, where he started to use hand-held cameras, which had never been done in period films before, and just messed it up. I think often, we have strong preconceptions about period, about what could or could not be done, which we don’t really know, but we just put that on period films. Roger’s very good at bringing spontaneity to scenes and losing an archness in the dialogue so there’s a freshness to it, and I think MY COUSIN RACHEL has a lot of that. It feels very modern in a lot of ways, even though the world is very period.

Capone: You’ve had a regular gig for the last few years that you have to keep coming back to, and I don’t know how that impacts your schedule exactly. But knowing that’s always coming around, how much time do you have between seasons of “Game of Thrones” to do other projects, and what sorts of things are you looking to do in those periods where you’re not making “Game of Thrones”?

IG: Well, it’s a funny one. when you sign up for something like “Thrones.” I think when we all initially singed up, it was between three and five years and none of us knew, really, whether it was going to run or whether we were going to survive or how it would be received. You hum and haw about something that does feel a little bit like a sentence when you start up on it, and you have no idea how it’s unfolding. But, the more “Thrones” has gone on, just a bigger and bigger treat it’s been to be involved, and it’s become such a global hit and it’s opened up different possibilities. As an actor, if you don’t celebrate the stuff when it’s a massive hit, then you might as well just give up and do something else. I’ve loved doing it.

HBO has always been very good. As long as you turn up looking roughy as you looked the last time they saw you, and you’re there a day before you’re required to film—they’ve gotten a little tighter, I have to say, over the last couple of years. It’s gotten so massive, and they want to protect the audiences. Maybe they feel it’s easier to suspend disbelief when they don’t see you in competing series elsewhere. But generally, they’ve been very good about allowing the actors, a lot of the supporting cast and principals from “Game of Thrones,” to do other work.

So, more than anything, I will feel a great void and loss when it’s gone because it’s been a part of my life for pretty much a decade and it’s been nothing but good fun. Dan [D.B. Weiss] and David [Benioff] are just the best show runners you could ever hope to work with. It’s a lovely, very tight cast, and the storylines are such now that we’re all starting to overlap with each other and starting to enter the same scenes. Everything’s accelerating towards the end game, so it’s an exciting time, but it’s nearly gone.

Capone: So, are you done shooting? Am I allowed to ask that?

IG: [laughs] That’s actually something, yeah … I can’t say, yeah.

Capone: The new season starts in a little over a month. Is it a relief to a certain degree when a new season starts airing that you don’t have to keep as many secrets?

IG: Yes, it is. It really is. [laughs] It’s funny, because whenever anyone asks you, you know deep down, they don’t want to know. It’s a no-brainer. But, for a part of them, it’s a bit like a drug or something, “Oh, brilliant. I know! And then now I feel hugely disappointed and now I have a headache because I wish I hadn’t done that because now I know.” So you just deny people that possibility. Deep down, people really, really don’t want to know.

Capone: As serious as some of your roles have been over the years, you always seem to find time for genre work. You were in LARA CROFT. You were in several of the RESIDENT EVIL movies, and obviously “Game of Thrones.” What do you enjoy about going the adventure route?

IG: I just really dig the variety. I really dig the change. It’s a very, very different working environment if you’re in a massive-budget, action-led film. But it’s one thing that’s always been a benefit of being a British actor. There used to be quite a strong divide between film and TV, particularly in the states—if you were doing TV, it was probably because the film career wasn’t quite working out as you hoped it would be. That’s never really been the case in the UK. I’m as likely to bump into Judi Dench in a radio studio as I am on a TV series or a film or a piece of theater. We are much more mixed-medium over here. So, I just really enjoy change.

I just did a small film with Lena Headey from “Game of Thrones” that was about the refugee crisis called THE FLOOD. It was all hand-held. It was all swiftly shot in three or four weeks. It’s a great little story and it’s the total polar-opposite to “Game of Thrones,” and honestly, I enjoyed the difference, and that’s the trick.

Capone: Before “Game of Thrones,” what did people on the street most recognize you from?

IG: Honestly, it varies. It’s quite ephemeral, so it depends what you’re in. I’ve done a series for a while playing an Irish detective, Jack Taylor. If you reappear in something, then that roots people in your mind. In the early days, I did a TV thing, something called “The Fear,” where I was playing a London gangster. It’s always a lovely, delightful surprise when some people says, “Aw man, I saw you in ‘Henry V’ at The Royal Shakespeare Company” or “I saw you doing ‘The Crucible’ at the Royal Shakespeare Company,” and when I did “The Blue Room” with Nicole Kidman here in New York. But it’s mainly TV because it has massive audiences, global audiences, so they tend to be the things that people know you for. I’ve been lucky enough to land a few visible things over the years, but it changes. But, “Game of Thrones” definitely washed everything to the side.

Capone: Other than THE FLOOD, is there any other work coming?

IG: I hope to be doing something…I better not say the name, but a Second World War drama, which we’re inches away from committing to. And that will probably be in August or September; that’s a feature. I’m doing a second season of “Cleverman,” an aboriginal drama that I shot in Australia, and more “Jack Taylor,” the Irish detective, so there’s quite a bit coming up.

Capone: Iain, thank you so much. It was a really great to talk to you and reminisce about your days with Tom Stoppard.

IG: My pleasure. Yeah, thank you. He’s about to have a birthday party. I’ll get his age wrong [Stoppard turns 80 on July 3], but he’s an incredibly lovely, adored man in the theater and he holds these fantastic parties in the Chelsea Physic Garden, and he invited me and my family so that’s next week or the week after. I’ll be seeing him soon.

Capone: Thank you again and best of luck with this.

IG: Yeah. Take care, mate.

Steve Prokopy
“Capone”

Source: Aintitcool

Iainglenfans.org Exclusive Q&A
Iain’s fanbook recorded – LFCC 2015
Recent Projects

GAME OF THRONES
Character: Jorah Mormont
Status: S7 broadcast now on Sky Atlantic /br> 


CLEVERMAN
Character: Jared Slade
Status: Series 2 broadcast July/Aug 2017
 


RESIDENT EVIL FINALE
Character: Dr Isaacs
Status: DVD released 12 June '17 (UK), 16 May (USA)
 


MY COUSING RACHEL
Character: Unknown
Status: Released 9 June 2017 UK/14 July (USA)
 


DELICIOUS
Character: Leo Vincent
Status: Available on DVD from 30 Jan 2017 (UK)
 


JACK TAYLOR
Character: Jack Taylor
Status: Available on DVD now Regions1&2
 


THE FLOOD
Character: Philip
Status: Currently filming (May)
 


LIVES AND SECRETS
Character: Unknown
Status: To be filmed in summer 2017
 


EYE IN THE SKY
Character: Foreign Secretary James Willett
Status: Available on DVD now Regions1-4
 


BEAUTIFUL DEVILS
Character: Unknown
Status: Currenly being shown at selected UK cinemas
 

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© IainGlenfans.org 2010-2017. IainGlenfans.org is an unofficial website dedicated to Iain Glen. The website is known to Iain, has his approval and I have regular contact with Iain. This is a non profit website that is ran by fans for fans. All media content used belongs to their respective owners unless stated otherwise. If you see anything on the site that has been used and you want taken down, please contact me first. 

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