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Timothy Spall thought he ‘might not make it' after leukaemia diagnosis

Timothy Spall thought he ‘might not make it' after leukaemia diagnosis

BreakingNews.ie21-04-2025
Actor Timothy Spall thought he 'might not make it' after being diagnosed with leukaemia.
The award-winning star, 68, who is known for playing Peter Pettigrew in the Harry Potter film series and starring in 2014 film Mr Turner, said the thought of leaving his family behind was 'unbearable'.
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Speaking to Saga Magazine, the actor spoke about his leukaemia diagnosis, which he received in 1996, and the 'horror' of what dying would do to his family.
He said: 'I was 39 and we had three kids, and out of the blue I was diagnosed with a life-threatening disease called acute myeloid leukaemia. When I was told I had it, I got down on my knees and asked God to spare me for my family.
Timothy Spall won the Leading Actor award for The Sixth Commandment at the Bafta TV Awards 2024 (Ian West/PA)
'There was a time when they thought I might not make it. The only really unbearable thing was what my family would do if I went? I wouldn't be there to look after them, and that was my job as a husband and father.
'The pain and the horror of what me dying would do to the people I loved was the only unbearable side of it. The rest I could take.
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'One day, between treatments, the doctors had done tests and they thought I'd relapsed. A massive mushroom-type thing had grown in my lung. I was about to go and have full body radiation and a bone marrow transplant knowing there were things in my body that'd potentially kill me. That morning, I woke up and thought, sod this, I'm not going to die.'
Spall is married to writer Shane Spall and has three children named Rafe, Pascale, and Mercedes.
He added: 'We've been married for 44 years and are inseparable. Joined at the hip. We got married four months after we met. I think there is a lot to be said for marrying someone you don't know. I was just in love with her. She is also my best mate.'
Timothy Spall said he was 'genuinely surprised' to win the Leading Actor Bafta last year (Ian West/PA)
The English actor won the Bafta for Leading Actor in 2024 for his role of Peter Farquhar in the true crime series, The Sixth Commandment, beating Succession star Brian Cox.
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He also portrayed the Duke of Norfolk in the hit BBC Two series Wolf Hall, following the life of Thomas Cromwell, the principal adviser to Henry VIII.
Spall said: 'I thought it was a shoo-in for Brian Cox because Succession was such a popular show, and he was brilliant.
'It was my sixth Bafta nomination, and I got used to doing the 'smile', so I thought it was going to be another one of those.
'When I won it, I was genuinely surprised.'
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Kathryn Joseph and Lomond Campbell bring their musical collaboration to the Edinburgh festivals
Kathryn Joseph and Lomond Campbell bring their musical collaboration to the Edinburgh festivals

Scotsman

time22 minutes ago

  • Scotsman

Kathryn Joseph and Lomond Campbell bring their musical collaboration to the Edinburgh festivals

Off stage they're like bickering siblings but on stage Kathryn Joseph and Lomond Campbell are a magical combination. Interview by Andrew Eaton-Lewis Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... What does a witch and a wizard making music together sound like? I give you Kathryn Joseph and Ziggy (aka Lomond) Campbell. She sings haunting, sometimes harrowing songs that cast a dark spell, including an album devoted to stories of abuse survivors. He invents ingeniously eccentric machines, from Cybraphon, a BAFTA-winning musical robot whose mood was shaped by comments on social media, to his latest, MŮO, which conjures sound from cosmic rays generated by nuclear events in deep space. Lomond Campbell and Kathryn Joseph | Gulabi Independent Film Lab Joseph and Campbell have two joint appearances this August. On 9 August the wizard joins the witch for Up Late with Kathryn Joseph at the EIF. In return, the witch will join the wizard on 3 August as one of his special guests for MŮO Live, part of the Fringe's Made in Scotland showcase. Advertisement Hide Ad Advertisement Hide Ad What will this involve? 'I'm going to dance, I've decided. Interpretive dance, naked,' says the witch with a cackle, playing up to the image. She turns to the wizard. 'Am I playing and singing as well?' 'Yes you f***ing are,' responds Campbell. 'What am I paying you for?' 'Yeah,' confirms Joseph. 'I'll dance naked, and sing, and play, ok?' Off stage, the witch and the wizard are more like bickering siblings; Joseph calls Campbell 'my creepy brother who is really horrible to me but is also really funny so he gets away with it'. It begins even as we arrange the interview. 'As long as Kathryn doesn't go on and on about winning the SAY Award I'm sure we can be done in an hour,' Campbell emails to me, copying in Joseph. 'Haaaaaaaa it's all I have,' she responds. 'How dare you try and stop me.' The pair first worked together on Joseph's 2022 album, For You Who Are The Wronged, but there were several brief encounters long before then. They first met in Aberdeeen in their twenties when Campbell was Joseph's sound engineer at an early gig in Dr Drake's. Advertisement Hide Ad Advertisement Hide Ad 'I said to Kathryn something like, 'I'm not a real sound man.' And she went, 'but you look real to me', or something weird like that. And then she was just as she is now; very gracious and thankful and everybody was quite captivated by it all.' Their paths crossed again at a festival in Iona when, as Joseph describes it, 'I didn't go to your gig and you were really pissed off. I didn't realise. I didn't feel like I knew him that well for it to be a problem. And then I weirdly took a picture of him, through the porthole of the boat, that I found on my phone ten years later.' Campbell: 'She didn't want to come and see me live but she was happy to creepily take photos of me, unbeknownst to me.' Joseph: 'I put it on a little shrine with incense to manifest him working with me, yeah. I had to do poisonous magic to make it make sense.' Kathryn Joseph The first manifestation was recorded, at Joseph's request, at Campbell's studio in the Highlands. For You Who Are The Wronged kickstarted a productive creative relationship, its sparse, minimal atmospherics evolving, via a 2024 remix EP, into the fierce, claustrophobic electronica of Joseph's 2025 album We Were Made Prey. The duo are performing these songs together for much of this year, including a European tour with Mogwai in the autumn. Advertisement Hide Ad Advertisement Hide Ad We Were Made Prey was, remarkably, recorded more or less from scratch in one week, at Black Bay Studio in the Isle of Lewis. 'I recorded this record in one day,' clarifies Joseph, modestly, 'and then Ziggy did everything else.' This isn't quite true. While the wizard is prone to poking fun at the witch's inexpert attempts at percussion, Joseph is also credited as a co-producer. 'Her ideas for production are amazing,' he acknowledges. 'Oh, thanks,' Joseph responds. 'You've never been nice to me before. Please write that.' 'I'm just doing it in front of Andrew, okay,' shoots back Campbell. 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'Oh come on now, it's flattering,' grins the wizard, as the witch looks like she wants to put a hex on him. Advertisement Hide Ad Advertisement Hide Ad

I'm writing a novel without using AI – and I can prove it
I'm writing a novel without using AI – and I can prove it

Spectator

time7 hours ago

  • Spectator

I'm writing a novel without using AI – and I can prove it

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With some human selection what emerged were extracts such as: ''If you two can't clump happily, I'm going to get aggressive,' confessed the reasonable Hermione.' 'To Harry, Ron was a loud, slow, and soft bird.' Things have come on since then. Now, if you ask ChatGPT or any of the other engines to write about the moon landings in the style of Finnegans Wake, which I have done, it will produce something pretty plausible, possibly not better than you could have done yourself given an hour or two, but rather compensated for by the fact that it took two seconds. As a result, novelists are already writing novels with AI. Are they as good as human novels? No, not yet. It's a process, probably, of gradual supplantation. First the writer uses AI to brainstorm ideas, then gets the AI to write a scene based on the most promising idea, then gets AI to supply a whole chapter, then the whole of the book. Gradually human oversight is reduced and then eliminated. In 2024 the winner of Japan's most prestigious literary award, the Akutagawa prize, admitted that she had written her novel with the help of artificial intelligence, though this confession was made after she received the prize money. She was praised for her honesty. Perhaps the majority of serious current novelists are experimenting with it, because it is just too tempting. I would guess that in future most novels will be written with AI help, because authors have deadlines, they are weak, and they fear the blank screen. There are people out there saying: never fear, AI writing is just autocomplete on steroids, it will never have emotions, it will never write creatively, it will never be original and it will never truly engage a human reader. I used to say things like that. Now I don't. AI probably can't think and probably isn't conscious – although Geoffrey Hinton, who helped make it, argues that it can and is – but that doesn't matter. All it needs to do is convincingly mimic thought and consciousness, as well as mimicking creativity and originality. After all, who's more likely to be original, a human or a machine that has access to every book every written? Is there anything new under the sun? If there is, won't an infinitely resourced machine be able to shine its own light on it? That's when human novelists will be completely, irrevocably superseded. The terrifying thing is it doesn't matter if AI machine novelists are not very good, or even if they never get as good as a human writer, since for a majority of people they will be good enough. They will out-compete, and out-autocomplete, human writers, just as AI bands are mimicking human bands with enough success to suck revenue away from human musicians on Spotify. Writers' livelihoods are at stake because consumers won't care enough. Except… what if there is a market for novels if they are demonstrably written by humans? What if there is, in ten years' time, a market for an artisan novel, quaintly written on the premise that no machine had a hand or a robotic arm in its creation? How, though, could this be proven? It's possible at the moment to detect AI text, but only if the writer has been careless, and the tools to do so are clunky and sometimes inaccurate. After generating the text, the writer can 'humanise' it, either by hand, or by employing a humanising program. So I'm proposing something. I want to write one of the world's first provably, demonstrably non-AI-assisted novels. And this is how I'm going to do it. In fact, this is how I have already started doing it. During every writing session I livestream my desktop and have an additional camera on my workspace and keyboard. I have a main novel file, some character files, a plot file and a scrap file. I may also have other files. All these files are in one folder and accessible to pull out. 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I want to protect the notion of a verifiably human author, of the dignity of that author. In future, the writer will have only a little dignity. Let's not make it none.

Olly Alexander says It's A Sin helped him confront his 'fear of HIV and sex'... as Tatler cover star reveals what he really thinks of his Eurovision nightmare
Olly Alexander says It's A Sin helped him confront his 'fear of HIV and sex'... as Tatler cover star reveals what he really thinks of his Eurovision nightmare

Daily Mail​

time19 hours ago

  • Daily Mail​

Olly Alexander says It's A Sin helped him confront his 'fear of HIV and sex'... as Tatler cover star reveals what he really thinks of his Eurovision nightmare

To date, it is arguably his most successful acting role - and with good reason. Set against the backdrop of 1980s London, the Russell T. Davies scripted It's A Sin won multiple awards for its heart wrenching portrayal of a gay community torn apart by the ravages of AIDS. But it was Olly Alexander who commanded the screen as Richie Tozer - a fun-loving young actor who would ultimately fall victim to the disease. Already established as lead singer of pop group Years & Years, Alexander, 35, consequently received multiple award nominations, while the show earned a BAFTA TV win for its harrowing portrayal of a society left blindsided by the AIDS crisis. Reflecting on his involvement in the Channel 4 mini-series with the September issue of Tatler, the British star admitted accepting the role helped him face an uncomfortable truth. He said: 'I didn't realise it until I went towards it, but I had inherited this fear around HIV and sex, which is connected to the shame I had about being gay. 'It helped me unpack all of that. I never understood actors who say they brought their characters home with them until I did.' In It's A Sin, Tozer is an openly gay man among friends, but remains closeted to his parents until they are forced to confront his sexuality head on after discovering he has AIDS. While Alexander has always been open about his own sexuality off-screen, he admits a media advisor warned him not to 'come out' to the public when he first entered the music industry in his twenties. 'You'd never give that advice now, and it was terrible advice then,' he said. 'I knew it was never really going to be an option for me, but it did feel like a fork-in-the-road moment.' But North Yorkshire born Alexander admits his own journey as a young gay man confronted by the bright lights of London mirrors that of Tozer. 'I feel like a lot of my identity has been fostered in London,' he said. 'I was a very young gay boy, too scared to go out until I was 20. 'Then I would just go to every club: Madame Jojo's, East Bloc, Dalston Superstore, The Joiners Arms and The George and Dragon. 'I was there every weekend, trying to find my people. It was just joyful chaos.' Away from the small screen, Alexander released solo album Polari - his first without Years & Years - in February, just nine months after representing the United Kingdom at the Eurovision Song Contest. With his pop star pedigree, there were high hopes for the singer after he announced his involvement in the annual competition and unveiled his chosen song, the upbeat electro-pop single Dizzy. But it would end in bitter disappointment for Alexander after a sexually charged performance at Sweden's Malmö Arena failed to impress viewers across mainland Europe, with the United Kingdom winning 46 points and finishing in a miserable 18th place. 'Now that I've had a bit of time away, I'm so proud I got to do it,' he told Tatler. 'But it was also very stressful, it can be very vulnerable and isolating.' After years of failure at the competition, Alexander admits he'd predicted the outcome long before he took to the stage. 'Everyone said, 'You're going to bring it home, Olly'', he recalled. 'I knew I wouldn't.'

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