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The Sun
4 days ago
- Entertainment
- The Sun
Watch the moment James Norton opens up about shock split with celeb ex as he accuses her of dumping HIM
JAMES Norton bravely opened up to Glastonbury festival goers about his heartbreaking split with his celebrity ex. The Happy Valley star, 39, also revealed how this actress actually dumped HIM. 4 4 4 James made the big revelation during a Glastonbury talk at the weekend. Speaking on the stage as revellers watched on, the actor talked about his break-up with actress Imogen Poots. "This is going to sound ridiculous but I got broken up with and it was massive," James shared. "We should rename this talk Heartbreak and it was on Heartbreak Therapy." Continuing, he said: "I was a year and a half ago and I'm feeling great. "But out of that massive change... I'm so sad. It's very f**king sad." Revealing how he was broken up with by Imogen, James said: "But it happened in a very abrupt way and it happened to me and my life just permanently shifted, completely changed direction. "And I thought I lost the person but I also lost the life that I was about to lead and the kids that we named and all that kind of stuff. "And actually in the last year and a half I have gone through the most monumental change as a result. "And I feel like I've grown up. I feel like I've become a man. It's mad. "It's like I'm 38 years old and I suddenly feel like I've grown up." Talking about how he got over the split, he told festival goers: "I found some friends, relationships, the outpouring of love from my family, the people around me was amazing. "I ended up going to a Buddhist retreat in the south of France called Plum Village. "It's the best place in the world. And I went because I was in this pit of pain and now I have this community. "It's a Zen Buddhist community. It's amazing. And if you haven't gone, really look it up because it really does change your life. But so much has been born from that massive radical change. "So I know you wanted positive. Well that is positive." The Sun revealed the former couple's split in February last year after six years together A source said: 'James and Imogen have extremely busy work lives and it has made it difficult for them to see each other. 'They grew apart and split up last year. "It hasn't been easy for either of them but they are keeping their heads down and getting on with things.' The couple got together after James's two-year romance with Irish actress and singer Jessie Buckley ended in 2017. James previously spoke about juggling his hectic work life with his relationship, and said: 'It comes at a cost because you don't see each other a lot. 'But we are willing to pay that for the benefit of having someone in your life close to you who gets it, who is forgiving, who will give up their Sunday to do an annoying self-tape (audition).' MOVING ON It comes after The Sun revealed earlier this month how James had been caught snogging Lily Allen at Lido festival in London. One onlooker told us: 'James and Lily looked very into each other and they were snogging backstage. 'We were all quite surprised to see them there together, let alone kissing. 'I don't think they've even known each other that long, but it was a fun hang-out backstage and they got taken away by the vibe.' 4
Daily Mail
27-06-2025
- Entertainment
- Daily Mail
James Norton says she's 'crazily grateful' for the pain of his split from 28 Weeks Later star Imogen Poots as he moves on with Lily Allen
James Norton has said he is 'crazily grateful for the pain' of his split from Imogen Poots. The actor, now 39, got engaged to the 28 Weeks Later actress, 36, in 2022 after four years together, but they split in 2023. The Little Women star now views Imogen's decision to end their relationship as a 'gift'. Speaking at this year's Glastonbury Festival, which is currently in full swing, James told The Sun: 'It was a gift in a weird, roundabout way. 'She called it. She realised it wasn't working - I'm crazily grateful for the pain she caused me.' James - who is now believed to be dating Lily Allen, 40, after they were pictured at the Lido festival on June 14, admitted the split was a 'massive' moment in his life because he thought he and Imogen were going to raise a family together. He said: 'I got broken up with and it was massive. I thought I was going to have kids. The life I thought I was going to have disappeared at 38.' The Happy Valley actor previously insisted he hasn't given up hope of having a family, despite the end of his engagement. He told The Sunday Times: 'Getting older is a struggle if you are freaking out about the choices you've made, but I don't carry regret. 'And, you know, some of the choices recently weren't mine, yet I don't feel begrudging. Maybe next year I'll have a family and a relationship ... 'You have a certain amount of control over your life and choices you make, and at other times you don't. 'But if you made those choices or not, it's a shame to spend time agonising over either.' Meanwhile James is said to have split from model girlfriend Charlotte Rose Smith (pictured) last month and was also spotted back on the exclusive dating site. And despite his desire to have children, James doesn't think it would have been 'fair' for him to start a family in recent years. He said: 'I don't sit on set where I'm playing a dad and feel sad and broody. 'I love hanging out with kids - most of my friends have kids so I'm not quite in step with my peers - but the past few years have been the busiest I've been, so it would not have been fair to bring a child into that. 'Also, the inherently unfair benefit of being a man is there is less rush. I am lucky I can have kids later, so now I'm happy, actually, with my life. I feel really excited by the choices I've made.' News of James's reported new relationship comes after Lily's own painful breakup from Stranger Things star David Harbour, 50. The couple, who tied the knot in 2022, are reported to have split in February after alleged infidelity from David.
News.com.au
23-06-2025
- Entertainment
- News.com.au
Kristen Stewart impressed by wife Dylan Meyer's ‘elegance' as director
The Twilight actress recently finished filming screenwriter Meyer's directorial debut, The Wrong Girls, in which her character gains telepathic abilities after ingesting an experimental drug. Stewart acted in the drama shortly after making her own feature directorial debut The Chronology of Water, which stars Imogen Poots. Comparing the projects in an interview with The New York Times, the star admitted their directing experiences were very different. "Both of our movies reflect us. She had such a different experience. I was so impressed by the elegance in which the movie fell out of Dylan.'
Yahoo
17-06-2025
- Entertainment
- Yahoo
Lily Allen dating James Norton
Lily Allen was spotted enjoying an outing with British actor James Norton at a music festival over the weekend. Onlookers reported that the pop singer appeared smitten with newly single Norton, who split from his model girlfriend last month. The pair, who are both known to use the celebrity dating app Raya, were spotted together at the Lido Festival in East London. They shunned the privacy of the VIP area to watch artists perform together, including Charli XCX. The outing marks Allen's first public 'date' following her split from her husband, Stranger Things actor David Harbour, last year. The mum of two recently announced that she had reactivated her Raya account after the break-up, joking in her profile that she was "looking for someone to start couples therapy with". Last month, Norton's profile also appeared on Raya. Happy Valley star Norton briefly dated model Charlotte Rose Smith until recently, but they quietly ended their romance earlier this year. He was once engaged to 28 Weeks Later actor Imogen Poots, but the pair split in 2023. Lily has thrown herself into work since her marital split, including a starring role in a new adaptation of Hedda Gabler at the Theatre Royal in Bath.
Yahoo
25-05-2025
- Entertainment
- Yahoo
Kristen Stewart's First Feature ‘The Chronology of Water' Felt So Good, She Says, She'll Direct Again
Kristen Stewart has been 'wanting to make movies since I was nine or 10 years old,' she told me on her fourth trip to Cannes in 2017, for the short 'Come Swim.' She's been a fixture at the festival ever since her maiden voyage in 2012 with Walter Salles' 'On the Road,' followed by Woody Allen's 'Cafe Society,' Olivier Assayas' 'Clouds of Sils Maria' and 'Personal Shopper,' and David Cronenberg's 'Crimes of the Future.' She also served on Cate Blanchett's Competition jury in 2018. Stewart's audacious debut, the Un Certain Regard entry 'The Chronology of Water,' was well-received. After eight years of development, Scott Free financed the mood poem about swimming and writing for survival amid personal trauma. Stewart is ebullient after having talked about making her first feature for so long. Back in 2022, she announced that she was adapting (with Andy Mingo) Lidia Yuknavitch's frank 2011 memoir. Stewart resonated with her hardscrabble story about a woman (Imogen Poots) coping with her teenage sexual abuse by her father via sex, anger, competitive swimming, addiction, and creative writing. More from IndieWire Darren Aronofsky Partners with Google DeepMind on Generative AI Short Film Initiative Google Unveils Gen-AI Video Tool with Camera Controls, Consistent Character Design, and Even Sound Stewart and I talked on a balcony at the Majestic Hotel. The interview has been edited for clarity and brevity. Anne Thompson: What made you so clear that you should turn this material into your first feature? You went for it. Kristen Stewart: It's not a movie about the things that actually happened to Lidia. It's about the things that happened to all of us, and then how to take those things into your body. [They] might not be equivalent or exactly like the experience and abuse specifically that she had. Her plight might not be everyone's, but it's similar. There's thievery and violence in the fucking female experience right now, with the imagery that's thrust at us and the conversations that are had outside of our bodies and what they do to our inner voices, when we go: 'I don't think you should do that. Don't say it, keep it a secret. Don't tell anyone you're in pain. Don't tell anyone that that wasn't OK with you. Keep it to yourself. Oh, don't vouch for yourself. Don't fight for that. Oh, don't speak too loud; they won't hear you.' Measure, measure, measure. Shame, shame, shame. And so it was not possible to pull back, because the whole movie is about getting that feeling out. I've never felt like a provocateur. I never was trying to push buttons. It doesn't feel like that. It feels like you're expressing yourself in every fiber of your being. It is the truth. There was never a point where I ever questioned it, because there was no way that I was alone in this. The book is such a lifeboat. It's like a flotation device. It's such a good place to start. It's very meta to make a movie about how hard it is to say something that's exactly what I was experiencing. Over your career, you've taken control of your choices. You've often taken the indie route. Absolutely. This was not without help. I needed to have a couple of public temper tantrums in order to get the right people to listen. I have this stunning collaborator in Charles Gillibert, who [produced] 'On the Road,' 'Personal Shopper,' and 'Clouds of Sils Maria.' He understands that [women] need help and we need a fucking leg up. It took a long time to get this made. Yeah. It took forever. What hurdles did you face? The book is not about the things that happened to her, but about how she processes those things, and about how art can save you. And there was no way to sell the movie as an idea. It was impossible to say to people that I wanted to make a DMT trip experience, a life flashing before your eyes, in the way that your memory feels neurological and physical to you. It's different from the book. It's a faithful adaptation, but it is not the same experience. There was no way for me to tell people that I needed to go make so many puzzle pieces that I could come home and find authentic, emotional connective tissue, because you cannot plan for things like this. You can't plan for the ephemeral. You have to go catch it. You have to go create an environment in which things can sprawl and people can explore and learn things. And so therefore, the movie had to have a life in order for it to have its own memory. It couldn't be exacting, controlled. My hands and my fingerprints are all over it, but I'm not strangling the movie, because the movie had such volition, it had such its own life, that it was telling me what it wanted every day. Was the movie finished when you brought it to Cannes? Would you go back to the editing room? The picture is pretty final, it's color-corrected. I'm not going to cut it, OK? It deserves space. It's not like the normal success story that has a three-act structure in the terms that we're used to. Audience are trained, everybody is, because you could not be, to have a certain capacity and a certain expectation for a rhythm and a time code: 'I'm supposed to get this now. I want it. Where is it?' Quite often in the movie, there's so many false wins and starts and hard crashes. And there's an undulation that resembles a female orgasm that steps away from this 1-2-3, punch of the climax and a sigh of relief in the last five minutes, and the movie's over. You think you're there, you think you're there, you're not sure. Then you kill it, then you pull back, and then you're: 'Why am I still here?' And it's frustrating at times, probably. Three-quarters of the way through, you might think to yourself, 'Where are we going?' It is intentional. Imogen Poots anchors it. She's the reason why you can get away with all the rest of it, because you never want to stop hanging out with her. Unless we had somebody who really kept you on a line, we were dead in the water. How did you know she was the right one? She's a walking motif. Look at her eyes. Visually, I was taken aback when her face filled my Zoom screen in which we did a pseudo audition, aah, I started getting this feeling: 'Oh, my God, the movie might exist.' Because without Lidia — her body is our movie. You do not shy away from all the orifices and aspects of a woman's body, and you show a lot of blood. The second shot of the film is intentional. Fifty percent of the population is not going to wonder where that blood came from. It didn't come from a wound. It's textured and chunky, and it's being sucked down a drain. She also comes into her hand so hard that it's dripping from her fingers, and she smells it before getting her mind blown by the sheer capability of her own body. And then the hymen breaking, all of the times that she was aching and itching and bleeding. How often have you ached or itched or bled in public and just been: 'No, you never, that's an alone experience, no matter what.' It's isolating. I hate walking around not telling people what's going on with me. It happens to everyone. Women will respond to this. It's all about the physical. Yes — the movie takes place on the surface of this woman's skin. We would arrange rocks on the sand in the same configuration as my favorite pattern of moles on her stomach, just to make sure that we related her to organic material, to imply that she grew here. She did not choose the things that happened to her. We are gouged out. Our desires are given to us. We experience things that we don't choose, and then they define us for the rest of our lives. [It's] a book about revering words, and the life-saving significance and importance of words. I also wanted to stay outside of any word, inside the unnamed wet, because we don't have to take credit for all the shit that comes out of us, but we can turn it into something that is pleasure and pain at once and have that be something that you can decide whether or not it hurts or it feels good. It must have felt good for you. You're a director now. Oh man, it felt so good. I'm dying. You're going to do it again. I can't wait. Have you got things in the hopper? Now they'll give it to you easily. Yeah, several. It's going to be a lot easier this time. I've always said that as long as I can make another movie after my first one, that I don't need to be precious or clever about it at all. It just needs to feel pure. I've earned the right to try one more time. I never want to make the same movie twice. So whatever comes out next is going to not be anything like this. I can't fucking wait. Jim Belushi is brilliant as Lidia's writing mentor, Ken Kesey. He brought pages to our pages. He's a movie star: He did so much research. He was the person that we needed to come pat us on the back and remind us that it's okay to want approval from a male figurehead, it's not weird, and it's not anti-feminist. You're not a bad feminist if you want someone like Jim Belushi to pat you on the back and tell you that you're a good did you shoot in 16 millimeter? Because I didn't want to record this. I wanted to take pictures so I could slice them up, and I wanted it to feel like a dream, and I needed it to flash before your eyes. And there's just too much information in a digital image. You can't put yourself into it, and it also doesn't speak to time in the way that the movie needs to. The movie needs to fracture. You can't fracture a recorded image. There's no break. You get all the information. [The movie] is a completely and utterly inundating experience. But for us, we only have 24 pictures every second, and sometimes less because we've pulled them out. And so we really fuck with the experience of literal time, and we put it back into the body, and we can span four decades fluidly, because we shot on film. And also, it does something to people on set. You realize your camera has a heartbeat, you can hear it when the camera starts running — whir — everyone stands at attention. It infuses an immediacy and a sort of honor. 'The Chronology of Water' premiered at the 2025 Cannes Film Festival. It is currently seeking U.S. distribution. Best of IndieWire Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal' Martin Scorsese's Favorite Movies: 86 Films the Director Wants You to See
