Latest news with #BridgetJones:TheEdgeofReason
Yahoo
3 days ago
- Entertainment
- Yahoo
Renée Zellweger Has Her 'Fingers Crossed' for More Bridget Jones Stories
When Bridget Jones: Mad About the Boy debuted in February (on Peacock in the U.S. and in theaters abroad), it had been nearly nine years since a film focused on the adventures of the beloved British singleton. Would audiences respond with the same affections for Ms. Jones in 2025 that they had when she was introduced to the world with Bridget Jones's Diary in 2001 or the follow-ups, Bridget Jones: The Edge of Reason in 2004 or Bridget Jones's Baby in 2016? Turns out the answer was a bloody yes, indeed! Credit the collaboration of two-time Oscar winner Renée Zellweger, who slipped back into Bridget's life (and accent) like no time had passed, author and screenwriter Helen Fielding, and the new man on the scene, filmmaker Michael Morris. But the truth is, time had passed. Mad About the Boy picks up four years after the crushing death of Bridget's true love, Mark Darcy, played by swoon-worthy Colin Firth, leaving Bridget navigating life as a single mother with their two young children. Enter two potential love interests played by Chiwetel Ejiofor, as a strict teacher, and The White Lotus breakout Leo Woodall as a garbage aficionado. More from The Hollywood Reporter 'Shrinking' Actress and Music Supervisor Christa Miller on Pulling the Strings Behind the Scenes 'The Boys' Showrunner and Stunt Coordinator on Crafting the "Ugly" (And Sometimes Nude) Supe Fights Ramy Youssef Talks Using Hand-Drawn Animation to Find Humor in Dark Reality of '#1 Happy Family USA' Zellweger and Morris collaborated once again for the conversation below to discuss how they cracked Jones' code, the most memorable moments on set and whether this is truly the end of the road for Bridget and company. Renée, you have that emotional scene with Colin Firth's Mark Darcy when you arrive at the house together, and we can feel the grief. But there are moments of joy and levity once you enter and greet your friends. What was that scene like for you to shoot? RENéE ZELLWEGER That was, 'I'm not supposed to cry in the scene,' and it's impossible not to cry in that scene. It was such a strange day seeing Colin there in his Mark Darcy finery. I had this moment of realization that the real-life journey of sharing the Bridget and Mark Darcy love story with my friend was coming to an end. It really felt like a profound moment thinking about the nearly 30 years we've shared in telling this story. Then I thought, 'Yeah, I don't want this to end. I love Mark and Bridget!' MICHAEL MORRIS What I love so much about your performance in that moment — it's critical actually for how we are setting up this particular story of this woman's journey on from her great love — is that while standing in the doorway, after experiencing all those feelings you just talked about, the character Jeremy [played by Neil Edmond] answers the door. He is obviously upset on this anniversary of his friend's death, and it's Bridget who consoles him. It's Bridget who hugs him and says, 'It's OK.' Then your voiceover comes in and we go into the scene as the audience is feeling this loss, and it's Bridget who is looking after us. She's saying that this is what happened and 'I'm OK.' That's so Bridget in the way that you've made her over the years. When she wallows, she wallows. But for the rest of her life, she doesn't. I found that a really wonderful way to begin. All of the sadness was there, all the nostalgia was there, all the yearning for the past. But you were really present: you Renée, you Bridget. Michael, you said Renée and Bridget as almost one in the same. I know a lot of people feel that way. Helen Fielding told , 'Bridget and Renée have merged into the same person for me. But when Renée and I met, it's quite funny and confusing because we both think the other is Bridget, but neither of us is.' Renée, what do you make of that? ZELLWEGER It's interesting what Helen says about that, as she exists in the middle of everybody. I feel like when we sit down with the friends or with Colin or Michael, who has been working on the script so closely for such a long time, or with Helen, who is in the midst of all of these conversations, she starts to show up. The rest of it is technical. I just have affinity for her. I love her. I love who she is and what she inspires, her optimism and her joy and her perspective. I love that she lifts other people up when she's feeling down and that she's self-effacing in a way that we all recognize. It's just a testament to this beautiful thing that Helen has tapped into in terms of our vulnerabilities and bits of our shared humanity that Bridget seems to embody in a way that makes us feel seen when we spend time with her. It is an interesting experience [to play Bridget] because she's different every time. That's an unusual exercise for an actor to have that opportunity, and I've loved it because each time each of us revisits this world, Bridget's world, we're all different as well. So much has changed and so much has changed us. How wonderful not to have to pretend that we're less than we are. Michael, after having worked on the script and being British and knowing the world of Bridget Jones for so long, what was it like when you called 'action' and saw Renée slip into becoming Bridget? MORRIS Funnily enough, I experienced Renée as Bridget almost instantly when Renée came to London because she brings that energy, much of the character and her outlook, to the entire process, whether it's a meeting, conversation or rehearsal. One of my favorite moments, before even calling action, came on our very, very first day, which we had set aside as a rehearsal. We had some really great days rehearsing with the two children, who were fantastic. Casper Knopf is a wonderful young actor who had been onstage with David Tennant doing Macbeth but had never done anything like this before, and Mila [Jankovic] had never done anything and was just a ball of energy and spirit. On day one, we set aside some time for us all to get to know each other and be in a room and talk about the scenes loosely. Literally, within 15 minutes of everyone getting there, they went from 'Hello, my name is Mila' and 'Hello, my name is Casper' to the kids crawling all over Renée. Mila was on her lap putting slime all over her. It was just all warmth. I knew in that moment they were a family with family history. How did that happen? That's a bit of a magic trick, and I don't ever deny the skill of the magician in that one. Renée has a real ability with everybody on the film —technicians, guest cast, background artists, everyone — of inviting them into the world that she has created over these 25 years so that everyone feels connected and part of this character. There's no sense of me and you, us and them, mine and yours. Everything is ours. When you're making a film, that's everything. It allows everyone to do their best work and relax into the project and feel safe to try things and be supported. Thank God that's the environment Renée creates wherever she goes. That was so lovely. Renée, are you blushing? ZELLWEGER Hot pink. You said that this is the last book, but forgive me in advance for asking the same question that's on everyone's mind: Have there been any conversations with Helen about another book or continuing Bridget Jones' journey in some way? ZELLWEGER My understanding was that this was kind of it, but I keep my fingers crossed that she might want to share some more of her own experiences through the world of Bridget. MORRIS Me too. And look who we've got: Chiwetel Ejiofor in the world now, and we've got Leo Woodall in the world now. We've got all these fantastic people and Helen's got her life, her kids are going to college. Let's hope for more chapters. Renée, knowing this could be the last, how did you honor that? Did you take any special mementos from set or do you have anything that marks what could be the end? ZELLWEGER Twenty-five years' worth. This story first appeared in a June stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe. Best of The Hollywood Reporter 13 of Tom Cruise's Most Jaw-Dropping Stunts Hollywood Stars Who Are One Award Away From an EGOT 'The Goonies' Cast, Then and Now
Perth Now
12-06-2025
- Entertainment
- Perth Now
Renée Zellweger would return to her iconic role as Bridget Jones if given the chance
Renée Zellweger would return to her iconic role as Bridget Jones if given the chance. The 56-year-old actress first brought Bridget Jones to life in 2001's Bridget Jones's Diary, reprising the role in Bridget Jones: The Edge of Reason in 2004 and Bridget Jones's Baby in 2016. She has now told The Hollywood Reporter: 'I keep my fingers crossed that (author and Bridget Jones creator Helen Fielding) might want to share some more of her own experiences through the world of Bridget.' Bridget originally appeared in newspaper columns for London's Independent before blossoming into a bestselling novel series and then a film franchise. Renée added about where the movie series is at: 'My understanding was that this was kind of it, but I keep my fingers crossed that she might want to share some more of her own experiences through the world of Bridget.' Mad About the Boy expanded the Bridget Jones universe by introducing new characters, including Chiwetel Ejiofor's Scott Walliker, a teacher at Bridget's children's school, and Leo Woodall's Roxster McDuff, Bridget's younger love interest. At the February New York City premiere for Mad About the Boy, Renée reflected on the supposed end of the franchise, telling People: 'We've been forging this friendship for over 25 years together through this journey, shared journey, Bridget Jones' journey. 'It was both wonderful and really sad.' On whether the film marked Bridget's final appearance, she added: 'That's what I understand. That's what Colin (Firth) said.' Helen, now a parent to teenage girls herself, explained the ongoing appeal of Bridget Jones to younger generations: 'There is a new audience for Bridget in amongst 15- to 25-year-olds, and it doesn't require neuroscience to connect that with the effect of social media. 'As a parent with a houseful of teenage girls, I know how reassuring it is to share the feelings around these things and to laugh together about the issues.'
Yahoo
05-06-2025
- Entertainment
- Yahoo
Sir Elton John: Labour treating musicians ‘like s---'
Sir Elton John has accused Labour of treating musicians 'like s---' in an impassioned attack on the Government over its approach to artificial intelligence (AI). The 78-year-old singer said ministers had ignored the pleas of artists after the Government suffered an unprecedented fifth defeat in the House of Lords over plans to allow tech companies to train their AI models on copyrighted materials. Speaking at a Billboard event in London, Sir Elton said: 'The entertainment business in this country brings in £125bn a year and they are treating us like s---. They're treating us like idiots.' The Rocket Man singer accused ministers of having their 'heads in the sand', adding: 'In fact, the Labour Party at the moment should be called the Ostrich Party.' The Government has been locked in a protracted standoff with the House of Lords over the Data Bill, which would grant tech companies access to any copyrighted materials unless the rights owner explicitly opts out. Supporters of the bill, who include former Meta executive and deputy prime minister Sir Nick Clegg, say the legislation is needed to support Britain's emerging AI industry. But the plans have sparked a furious response from the creative industries, including high-profile figures from the arts such as Dua Lipa, Kate Bush and Sir Ian McKellen. They have warned that the new laws would amount to 'giving away' work to tech firms and put the UK's creative sector at risk. Baroness Kidron, a former filmmaker who directed Bridget Jones: The Edge of Reason, has led opposition against the Bill in the Lords. Her amendment would force tech companies to be transparent about what material they use to train AI models. Peers voted by 221 votes to 116 in favour of the proposal last night. This embedded content is not available in your region. Credit: Sunday with Laura Kuenssberg – BBC One The standoff raises the risk that the entire bill could be shelved unless ministers accept the amendment or put forward their own proposals as a compromise. Sir Elton branded the political stalemate an 'existential issue' and a 'f---ing mess'. He thanked members of the House of Lords for backing the amendment, saying: 'Thank you so much, you guys. You rock.' He added: 'Copyright must be transparent and it must have an artist's full permission. These two principles are the bedrock of the industry and they must be included in the Data Bill as a backstop.' While Sir Elton attacked the Government over its approach to copyright and AI, he said: 'We're not against Labour and we want a solution that brings all parties together in a way that is transparent and fair and allows artists to maintain control of their work.' He added that the creative industries were 'not anti-AI [and] not anti-big tech either'. The Department for Science, Innovation and Technology has been contacted for comment. Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Yahoo
02-06-2025
- Entertainment
- Yahoo
The AI copyright standoff continues - with no solution in sight
The fierce battle over artificial intelligence (AI) and copyright - which pits the government against some of the biggest names in the creative industry - returns to the House of Lords on Monday with little sign of a solution in sight. A huge row has kicked off between ministers and peers who back the artists, and shows no sign of abating. It might be about AI but at its heart are very human issues: jobs and creativity. It's highly unusual that neither side has backed down by now or shown any sign of compromise; in fact if anything support for those opposing the government is growing rather than tailing off. This is "unchartered territory", one source in the peers' camp told me. The argument is over how best to balance the demands of two huge industries: the tech and creative sectors. More specifically, it's about the fairest way to allow AI developers access to creative content in order to make better AI tools - without undermining the livelihoods of the people who make that content in the first place. What's sparked it is the uninspiringly-titled Data (Use and Access) Bill. This proposed legislation was broadly expected to finish its long journey through parliament this week and sail off into the law books. Instead, it is currently stuck in limbo, ping-ponging between the House of Lords and the House of Commons. The bill states that AI developers should have access to all content unless its individual owners choose to opt out. Nearly 300 members of the House of Lords disagree. They think AI firms should be forced to disclose which copyrighted material they use to train their tools, with a view to licensing it. Sir Nick Clegg, former president of global affairs at Meta, is among those broadly supportive of the bill, arguing that asking permission from all copyright holders would "kill the AI industry in this country". Those against include Baroness Beeban Kidron, a crossbench peer and former film director, best known for making films such as Bridget Jones: The Edge of Reason. She says ministers would be "knowingly throwing UK designers, artists, authors, musicians, media and nascent AI companies under the bus" if they don't move to protect their output from what she describes as "state sanctioned theft" from a UK industry worth £124bn. She's asking for an amendment to the bill which includes Technology Secretary Peter Kyle giving a report to the House of Commons about the impact of the new law on the creative industries, three months after it comes into force, if it doesn't change. Mr Kyle also appears to have changed his views about UK copyright law. He said copyright law was once "very certain", but is now "not fit for purpose". Perhaps to an extent both those things are true. The Department for Science, Innovation and Technology say that they're carrying out a wider consultation on these issues and will not consider changes to the Bill unless they're completely satisfied that they work for creators. If the "ping pong" between the two Houses continues, there's a small chance the entire bill could be shelved; I'm told it's unlikely but not impossible. If it does, some other important elements would go along with it, simply because they are part of the same bill. It also includes proposed rules on the rights of bereaved parents to access their children's data if they die, changes to allow NHS trusts to share patient data more easily, and even a 3D underground map of the UK's pipes and cables, aimed at improving the efficiency of roadworks (I told you it was a big bill). There is no easy answer. Here's how it all started. Initially, before AI exploded into our lives, AI developers scraped enormous quantities of content from the internet, arguing that it was in the public domain already and therefore freely available. We are talking about big, mainly US, tech firms here doing the scraping, and not paying for anything they hoovered up. Then, they used that data to train the same AI tools now used by millions to write copy, create pictures and videos in seconds. These tools can also mimic popular musicians, writers, artists. For example, a recent viral trend saw people merrily sharing AI images generated in the style of the Japanese animation firm Studio Ghibli. The founder of that studio meanwhile, had once described the use of AI in animation as "an insult to life itself". Needless to say, he was not a fan. There has been a massive backlash from many content creators and owners including household names like Sir Elton John, Sir Paul McCartney and Dua Lipa. They have argued that taking their work in this way, without consent, credit or payment, amounted to theft. And that artists are now losing work because AI tools can churn out similar content freely and quickly instead. Sir Elton John didn't hold back in a recent interview with the BBC's Laura Kuenssberg. He argued that the government was on course to "rob young people of their legacy and their income", and described the current administration as "absolute losers". Others though point out that material made by the likes of Sir Elton is available worldwide. And if you make it too hard for AI companies to access it in the UK they'll simply do it elsewhere instead, taking much needed investment and job opportunities with them. Two opposing positions, no obvious compromise. Sign up for our Tech Decoded newsletter to follow the world's top tech stories and trends. Outside the UK? Sign up here. Elton John and Dua Lipa seek protection from AI Artists release silent album in protest against AI using their work
Yahoo
03-05-2025
- Entertainment
- Yahoo
Looking to explore? 5 of the most picturesque villages in Hertfordshire
There are endless places to discover across Hertfordshire, whether you want a picnic spot with one of the best views in the country or historic streets brimming with quaint shops. If you are looking to explore some new treasures across the region, then look no further, as we have rounded up some of the prettiest villages to visit. Keep this list somewhere safe in case you want to wander around any of the picturesque locations in the area anytime soon. Set between Hitchin and Stevenage in the Chiltern Hills, St Ippolyts has the perfect charm of a small village while being near towns. Properties in the village date back to the 17th century with gables houses and timber-framed houses back to the 16th century. St Ippolyts has a handful of popular pubs, including The Rusty Gun, The Bird In Hand and the Hermit of Redcoats. Near Tring, Aldbury is also located in the Chiltern Hills and people describe it as offering the "ultimate chocolate box charm." Medieval stocks still stand in the village along with several historic homes, all offering impressive views of the surrounding countryside. The Greyhound Inn is the local pub and has a 4.4 Google Rating, with one guest sharing: "Fantastic food and service. Really happy with our overnight accommodation. The view from our bedroom window is a, "feel good" feeling." Aldbury has also been used in several film and TV productions, including Midsomer Murders, Inspector Morse and Bridget Jones: The Edge of Reason. The village of Redbourn was previously named Hertfordshire Village of the Year, home to a busy high street and many independent shops. With a handful of local pubs and a Common that welcomes joggers, dog walkers and cricketers, Redbourn is a popular spot. It also benefits from being near Harpenden and the M1 along with the annual Hertfordshire Show taking place just outside the village. Much Hadham was once named among the best places to live in the UK by the Sunday Times, earning praise for a strong community and being a picturesque village. The village is between Ware and Bishop's Stortford with a historic high street home to characterful buildings, including the local pub, The Bull. Recommended Reading Quintessential market town Faversham perfect for a getaway Abingdon the beautiful market town an hour from Watford Discover the seaside town an hour from Watford for a getaway The Bull has a 4.4/5 rating from over 290 reviews with one guest sharing: "Simply a great pub. The menu is lovely, not too big but has something for all. The staff are just attentive and friendly. There is a good bar for both drinkers and those who wish to eat." Ayot St Lawrence is filled with cottages and a picturesque view from the village best known for its links to playwright George Bernard Shaw. Shaw's former home is now a National Trust property, Shaw's Corner, that attracts many visitors every year. Between Stevenage, Welwyn Garden City and Harpenden, Ayot St Lawrence comes at a hefty price as Zoopla once named it the most expensive village in the region.
