Latest news with #Kinnear
Newsweek
02-07-2025
- Entertainment
- Newsweek
Greg Kinnear Was at a Career Crossroads—Then This Film Changed Everything
Actor Greg Kinnear. Actor Greg Kinnear. CJ Rivera/Apple TV+ "I usually have a terrible memory for so many things, but the experiences that I have making things is pretty visceral." Lately, Greg Kinnear is just trying to keep his head on straight due to his embarrassment of riches, from Smoke on Apple TV+ and the film Off the Grid. "You kind of have to shuffle around the bottom of your proverbial briefcase to pull up this old project. Smoke, we did it a year ago, Off the Grid, we did last year. So there's always a little bit of, 'Who the hell did I play?'" For the arson crime thriller Smoke, Kinnear teamed up with Taron Egerton and Dennis Lehane. "Very CGI light on this. It was real fire. When we were playing with it, we were playing with the real thing." And in Off the Grid, Kinnear is the bad guy chasing down Josh Duhamel through the woods. "You want to punch the bad guy in the face. And who better? When they look at my face, wanting to punch is pretty much a universal reaction." While that's not necessarily true, Kinnear is happy to be playing against type in both projects. "It's a great thing about what we do...[when] the people who create these ideas and come up when it's well done, and craft a world, and you're allowed into that world." SUBSCRIBE TO THE PARTING SHOT WITH H. ALAN SCOTT ON APPLE PODCASTS OR SPOTIFY AND WATCH ON YOUTUBE Editor's Note: This conversation has been edited and condensed for publication. You know, one of the things that I respect about your career is that you started off as a personality on TV. You really were on that talk show host track, and then it shifted to acting. It was crazy. I mean, it was unusual, particularly at that time. It was kind of weird to go from the TV to film, now I feel like people do it all the time. You don't think about it. You see people in commercials, and they do everything. But it was a very kind of weird environment in terms of separation of church and state back then, and how the hell Sydney Pollack [director of Sabrina] allowed me to climb over the wall and do Sabrina, I don't know, but credit to him. I mean, that's Sydney Pollack and Harrison Ford. That's a nosedive into the film world. Lot of people would say belly flop, yeah. But [you] got to do it whatever way you got to do. So for a show like Smoke, when you're looking at a project like this, there's your character but there's also the story. What do you respond to first? Well, in the case of this, I think I responded first and foremost to the fact that a couple years ago, I worked with Dennis Lehane and Taron on Blackbird, which we did in COVID and it was kind of a crazy time. But Dennis cast that show so well. It was a wonderful group of people and actors. The team that he had, the support team of directors and producers, were all excellent. And his writing, both as a novelist and as a showrunner, really, I think kind of blossomed. He had done some other stuff, but I think Blackbird, really, set the stage for Dennis. So listen, loved to be along for that ride. And when he was mumbling the idea of maybe another show, there wasn't a long conversation. I said yes way before he did and looked forward to the opportunity of working with [him]. And then, in this case, he got Taron, you have a lot of the same producing, directing team came over. The world of arson is not something I necessarily would [be] fascinated by, [arson] probably wouldn't have been the ticket I would have pulled. But that's true all the time. It's the great thing about being an actor. It's a great thing about what we do is, that the people who create these ideas go and dig and dive so heavily onto a subject matter and come up when it's well done, and craft a world, and you're allowed into that world. And in this case, it's a pretty exotic world. I mean, you think of crime, even serial killers, I feel they've been in front of us to a point where they kind of just wash off us. You see one serial killer, you've seen them all. Not the case with Blackbird, but I'm saying in general that subject matter is used a lot, and then you think of fire and arson, and how strange and what a distance I think there is from any typical viewer to what happens in that world, how it exists. But sure enough, you give it to a guy like Dennis and his great writing team, and they really, I think, unlocked it in a way where I was excited to be a part of it. It's kind of different sort of role for me. And again, working with just great people. Greg Kinnear in "Smoke," now streaming on Apple TV+. Greg Kinnear in "Smoke," now streaming on Apple TV+. Apple TV+. The fire itself is also kind of like a monster or the villain. Yeah, I think you're right. Fire, strangely, it should be something made easily to create as the monster, but I don't think it is. Again, there's some sort of tax on the imagination that really forces, I think, the storytellers, in the case of Smoke, to make it visceral, make it real. There's, for the most part, very CGI light on this. It was real fire. When we were playing with it, we were playing with the real thing. And I think the intimacy and the immediacy of that really bleeds through on the show. You have a palpable experience with it in the show, and you feel it, I think, in a really effective way. But yeah, we got a lot of scary monsters in this show, whether they're fire or not. Between Smoke and Off the Grid, how do you keep track of your projects when they're released so close to each other? Well, you kind of have to shuffle around the bottom of your proverbial briefcase to pull up this old project. In the case of Smoke, we did it a year ago, Off the Grid, we did last year. These projects, they take a while before they ever come to life. So there's always a little bit of a process of saying, "Now, who the hell did I play? What am I doing?" That's just kind of the name of the game. And I usually have a terrible memory for so many things, but the experiences that I have making things is pretty visceral. What about Off the Grid appealed to you? I had met Josh before briefly, but I don't really know him. And he's like a 6'5" football linebacker, and when I heard the concept, they're like, "We're making this movie called Off the Grid, and Josh is the guy." I was like, "Oh, I understand that." So sure enough, Josh is a guy who has gone off the grid with a piece of technology, and the bad guys are trying to get it back, and I am playing one of the key bad guys who must do everything to get it back and doesn't particularly like the bayou or the woods where he is residing. What I find interesting about you is that, if I saw you in the grocery store, I wouldn't be nervous to say hello, you seem nice. So when you play bad or evil, it's a bit of a plot twist. Well, I have played some bad guys. And I just did—Disney's doing kind of a reimagining of Holes and played the Sigourney Weaver role of the warden, who's just this devilishly fun character. Off the Grid was, case in point, they sent it to me, and I was like, "Oh my gosh, I never get to be the bad guy going after the guy." And I look at any of those movies that I've liked where you're the villain, and you're chasing the guy, and it just seemed like, "Okay, here we go. We're gonna put the bug repellent on and chase Josh, see where this goes." But it was fun to do. And in a weird way, it makes you want to see the bad guy get it more. Because if you wanna like him, and he gets to be as bad as he is, it just makes the justice so much more sweet. Yeah, you got it. You want to punch the bad guy in the face. And who better when they look at me, wanting to punch is pretty much a universal reaction. I don't know if that's true. Which I think is partly why it works, because we don't start off wanting to punch you, we want to like you. But then, yeah, you're bad. Yeah, I feel like, like I said, I don't get to do it very often, but when it's offered, it is fun to do. If I'm being honest, it does play against type a little bit. It's not necessarily a goal to want to kill or maim or hurt people, but you know, that's the great thing [about acting], that we get to do lots of stuff that we don't otherwise get to do. Where's the Great Western? I think Kevin Costner has that locked up. He's got the corner on that. Greg Kinnear (L), Jack Nicholson (C) and Helen Hunt (R) film As Good as it Gets. Greg Kinnear (L), Jack Nicholson (C) and Helen Hunt (R) film As Good as it Gets. Mitchell Gerber/Corbis/VCG via Getty Images Well, I can't spend time with you without bringing up As Good as It Gets. That film seems like it changed everything for you. From an Oscar nomination to just being able to work with that level of talent: James L. Brooks, Jack Nicholson, Helen Hunt. We're coming up on nearly 30 years since it was released. Did that film change everything for you? Yeah, it's interesting. I had done Talk Soup. And I was doing a late night show. I had taken over for Bob Costas. And while I was there, I kind of went in, hat in hand, to Don Ohlmeyer, who ran the channel, and who was a pretty imposing tough guy historically in our business. And I kind of managed to ask, beg and plead to be able to do the first couple of movies that I was able to do. And I would come in and bank five shows, talk shows, in a day, and then go off and shoot a movie here or there. And As Good as It Gets came along, and Jim offered me the role. And I was really at a crossroads. I was like, "Well, it's going to be in L.A., it's a big role and a lot of time." And I was just suddenly faced with, wow, okay, so I've been on this trajectory of kind of a television host, interviewer, whatever. And the fork was there, to continue that, or I was going to really have to step over into acting. It really caused some soul searching. And I thank Jim so much because he handed me that role, which was an incredible, incredible role. And obviously the material is so amazing. It's got heart, and it's got laughs, and it's got something thoughtful to kind of meditate on and it's got Verdell the dog. So, I did have a lot of things there that allowed me to say, "Well, I'm going to give this a shot. Who knows where all of this goes." I ended up having to walk away from the talk show at NBC. That movie meant to me a great deal, because obviously it was successful, but you don't know that when you're making it. I mean, I knew I thought it was good, but I hadn't done enough movies at the time. Didn't know what we were doing was good. When I am [impersonating] Jack standing at a door going, "Don't bother me ever," and kind of just basically unloading a cannon into my face of Nicholson'isms, I was thinking, "All right, this is a life highlight." If this goes nowhere, but hopefully the audience will respond as well, and obviously they did. So it was a pivotal movie in a lot of ways, from that standpoint. Well, there's also another aspect to it that I found particularly interesting. It was part of an era of portrayals on film of gay characters who weren't tragic, who weren't dying. Simon was able to just be Simon. And that was a real shift in film from films of the '80s and '90s that, rightfully so, focused on portrayals of violence or HIV/AIDS. Did that stand out to you? It did. I read it and I thought, "Wow." I mean, first and foremost, the fact that Simon was gay was secondary to a racist, misogynist, really messed up guy [Jack Nicholson's Melvin] and his [Simon's] decency was right there in the page. And that's really, first and foremost, what I took note of and thought, "Wow, my gosh, this is so great." Because I know exactly what you mean. We had seen that role where we're going to get all sorts of yucks out of this guy. It's like a lever you can pull. The transition we're always going through in terms of big entertainment is so many things, they start as stereotypes, and then maybe they become just types, and then maybe they just become characters, and then they just become people. And I feel like, yes, that was happening at that time, but I felt, wow, what a leap forward with this script. What a lovely character that's been drawn up with Simon, and I just wanted him to find success and love and happiness like I do in every character. It really was just such a special film and performance and certainly meant a lot to me. Oh, I'm so happy to hear that. I'm so appreciative. And, gosh, I can't believe, it was Father's Day yesterday, and I showed my daughter, because it's like, the one day of the year I'm able to say, "Guys, I'm picking the movie." There's no conversation. It's not like we're gonna talk about it. I'm picking the movie. So I—and I don't know why, I guess because somebody was just telling me it's the 50-year anniversary, I didn't realize, but of [One Flew Over the] Cuckoo's Nest—and so we fired that up last night, and I hadn't seen it for years, and my kids had never seen it, and I was just like, "Oh my gosh, what a beautiful treasure of a film." I mean so much nuance and so many unspoken moments that are making people laugh in our little theater, which is our living room, but making my kids laugh that it wasn't even dialogue. Wasn't a joke. It was just so beautifully constructed. And funny enough, when I got As Good as It Gets, because my daughter asked me, "Oh, did you talk to Mr. Nicholson about that?" And I was like, "No, I refused to watch it because I was already so scared to meet this guy." The last thing I was going to do is go fawn over him, watch the movie and then show up and say, "Tell me about the scene where you and Chief were sinking baskets." I was way too over my head in that movie to begin with. But watching it now, I don't know, I'll have to hit him up with a couple new questions.
Vancouver Sun
19-06-2025
- Sport
- Vancouver Sun
Abbotsford Canucks Live: Game 4 goes tonight, Charlotte coach praising Abby crowd
Abbotsford Canucks fans are stepping up and doing their part in these playoffs, according to Charlotte Checkers coach Geordie Kinnear. Kinnear talked about how the Abbotsford Centre was an 'unbelievable atmosphere' on Tuesday night, and how it played a role in the Abbotsford Canucks recording a 6-1 win to take a 2-1 lead in the best-of-seven AHL Calder Cup championship. Announced attendance was 7,052. Abbotsford's regular season announced attendance average was 4,152. Start your day with a roundup of B.C.-focused news and opinion. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sunrise will soon be in your inbox. Please try again Interested in more newsletters? Browse here. Game 4 is at the Abbotsford Centre tonight (7 p.m.) and Ticketmaster was listing the game as a sellout this morning. Game 5, which goes Saturday (6 p.m.) at the Abbotsford Centre, is also sold out according to Ticketmaster. There were tickets on available on secondary sites like StubHub. The game is also available on FloHockey but there's a subscription fee . 'It's a tough environment. We talked about certain things before the game, but we didn't really as a group settle into the game,' Kinnear told reporters Tuesday. 'We knew the environment it was going to be. But as a coach you can talk about that all daylong, but especially with a younger group, you've got to feel something like that to learn from it. So they felt it today and we will refocus. I don't like the word regroup, but we will be better next game.' ABOUT. LAST. NIGHT. Game 3 of @TheAHL Calder Cup Finals was electric ⚡️ Relive the biggest moments while we wait for Game 4 tomorrow 📺 @abbycanucks | @Canucks | @CanucksArmy #AHL #CalderCup #ProudlyAbbotsford #Canucks The Abbotsford Centre lists its seating capacity for hockey as 7,000. That doesn't include standing room spots, and the Canucks were selling those earlier this week. The venue can have up to 8,500 people for concerts. According to Abbotsford Times reporter Ben Lypka, the team record for announced attendance is 7,081, set Jan. 21, 2023 during a 5-3 loss to the Calgary Wranglers. That would certainly seem to be in jeopardy tonight. Abbotsford coach Manny Malhotra said Tuesday: 'I can't say enough about our crowd. They continue to amaze us. I can't talk enough about how much energy the guys feed off of this building. It's electrifying. It's a great atmosphere for hockey. We're privileged to play in front of fans like this.' Game 6, if necessary, would be Monday (4 p.m.) in Charlotte, N.C., and a Game 7, if required, would go next Wednesday (4 p.m.) there. Abbotsford (24-11-0-1) had the AHL's fifth-best home record during the regular season. Charlotte (23-9-1-3) came in third in road record. Abbotsford is 9-2 at home in these playoffs. The Checkers (44-22-3-3) came in fourth in the league in the regular season, two points before the fifth-place Canucks (44-24-2-2). This is the fourth year that Vancouver has had its AHL team in Abbotsford. They are five rounds into these playoffs. They went a combined five rounds in the previous three years combined. The last Vancouver AHL affiliate to get this deep into the playoffs was the 2015 Utica Comets team that made it to the league finale. We'll be live-blogging the game. Check back later for updates.
Straits Times
12-05-2025
- Business
- Straits Times
Everton appoint new CEO Kinnear as club embark on new era
FILE PHOTO: Soccer Football - FA Cup - Fourth Round - Everton v Luton Town - Goodison Park, Liverpool, Britain - January 27, 2024 General view of an Everton flag on a house outside the stadium before the match REUTERS/Carl Recine/File Photo Everton appoint new CEO Kinnear as club embark on new era Everton have named Angus Kinnear as their new chief executive, with the appointment bringing over 20 years of leadership experience in football to the job. Kinnear had been CEO of Leeds United since 2017 and held senior positions at Arsenal and West Ham United prior to his tenure at Elland Road. "We are delighted to welcome Angus to the club," Everton Executive Chairman Marc Watts said in a statement on Monday. "His track record of leadership and strategic delivery across multiple Premier League clubs speaks for itself. "Angus joins us at a pivotal time, and we know his energy, expertise, and experience make him the perfect man to lead Everton as we move into an exciting new era." Everton are moving from Goodison Park, the club's home since 1892, to a new 52,888-capacity stadium at Bramley-Moore Dock. Goodison will host an emotional final Premier League game on Sunday against already-relegated Southampton. Everton's interim CEO Colin Chong will revert to the role of chief real estate & regeneration officer, and will oversee the development of Everton's new stadium, the regeneration of the surrounding area and the future of Goodison Park. The Texas-based Friedkin Group announced in September that they had reached an agreement to buy Everton, with the 98.8% takeover completed with Farhad Moshiri's Blue Heaven Holdings selling its majority stake in December. The Friedkin Group also owns Serie A club AS Roma. REUTERS Join ST's Telegram channel and get the latest breaking news delivered to you.
Yahoo
22-04-2025
- Entertainment
- Yahoo
Holes: Greg Kinnear & 9 More Cast in Disney+ Reboot TV Show
Greg Kinnear and nine more actors have joined the cast of Disney+'s series. Holes is a young adult novel that was written by Louis Sachar and published in 1998. It was previously turned into a movie directed by Andrew Davis that was released by Walt Disney Pictures in April 2003. It starred Shia LaBeouf, Sigourney Weaver, Jon Voight, Patricia Arquette, and Tim Blake Nelson. Disney is now rebooting Holes into a television show that comes from showrunner Liz Phang and writer Alina Mankin. In addition to Kinnear (Little Miss Sunshine) as the Warden, the cast of Holes includes Aidy Bryant (Shill, Saturday Night Live) as Sissy, Shay Rudolph (Lethal Weapon) as Hayley, Flor Delis Alicea as Queenie, Anire Kim Amoda (The Penguin) as Thumbelina, Noah Cottrell (The Spiderwick Chronicles) as Kitch, Iesha Daniels as Mars, Sophie Dieterlen as Sticky, Alexandra Doke (City on Fire) as Eyeball, and Maeve Press (Theresa Is a Mother) as Shrimp. 'Holes follows Hayley (Rudolph), a teenage girl sent to a detention camp where the ruthless Warden (Kinnear) forces the campers to dig holes for a mysterious purpose,' the synopsis for the series reads, via Deadline. This slightly differs from Sachar's book, as that story featured a male protagonist, Stanley Yelnats, who was sent to a juvenile detention camp for boys in Texas that was run by a female warden. Phang and Mankin both serve as executive producers on the show alongside Drew Goddard and Sarah Esberg of Goddard Textiles and Jac Schaeffer. Schaeffer will direct the pilot episode, while Andrea Massaro serves as co-executive producer. Walden Media, which produced the 2003 Holes movie, will also executive produce the pilot, as will Mike Medavoy. A Disney+ premiere date for the Holes television show has not yet been announced. The post Holes: Greg Kinnear & 9 More Cast in Disney+ Reboot TV Show appeared first on - Movie Trailers, TV & Streaming News, and More.
Telegraph
22-04-2025
- Entertainment
- Telegraph
Rory Kinnear: ‘I'm self-aware enough to know I would never play Bond'
Fortunately, Rory Kinnear seems amused when I read him the less than flattering description of his character Leo in the National Theatre's staging of Here We Are, Stephen Sondheim's final musical. It begins: '60s'. Kinnear is 47. 'Thank you!' laughs the son of the late actor Roy Kinnear, who shares his father's cheerful, oval face and thinning pate. 'I'm not too precious about these things. I've been playing dads for a while. I looked quite old when I was quite young. My dad played the same age, which was late 40s-early 50s, from his late 30s and I'm following in his footsteps in some ways, physically. But I think quite often bald men look the same for a long time. So I'm hoping that will be the case for me.' Leo's description continues: 'Charming billionaire. Ruthless, insatiable, a little crude.' 'Yes!' says Kinnear, before mentioning the next script note, 'some non-strenuous singing'... I'm glad to say there is some competence there!' Kinnear beams. 'Grade 5 music theory. I can count out 6/8 time as well as anybody.' Most of us are more familiar with Kinnear as a powerhouse actor than a musical triple threat (in the production he dances, too). His packed CV includes directing The Winter's Tale at the London Coliseum and appearing in the National's 2016 production of Brecht's The Threepenny Opera. Yet such feats are overshadowed by dozens of other performances, not least at the National, where he's played – among others – Hamlet, (and Olivier Award -winning) Iago and Macbeth. On television he's been Tom Bombadil in Amazon's Lord of the Rings franchise Rings of Power, the British prime minister in Netflix's The Diplomat, and the lawyer in Toxic Town, Jack Thorne's four-parter for Netflix about the 2009 toxic waste scandal in Corby. On the big screen, he's immortalised in the four latest James Bond films as MI6's wry chief of staff Bill Tanner. Backstage at the National, on a break from rehearsals, the hyper-eloquent Kinnear exudes calm affability and a fierce intelligence. A true polymath (he plays the piano and reached Grade 7 trumpet), other strings to his bow include writing a play, The Herd, performed at the Bush Theatre in London, based on his family's experiences bringing up his severely disabled older sister Katrina, who died of Covid-19 aged 48, isolated from her family in her care home. Now he campaigns for charities helping families of disabled people. 'Social care is under collapse and the burden is now so overweightedly towards loved ones – there was a story the other day about a father who collapsed and died in care of his son, the son was unable to call for help so died himself. It's the burden of love. The expectation of people's capacity is unfathomably wide, and people's love is elastic, but it has a breaking point.' He read English at Oxford, where he first became enamoured of Sondheim, after appearing in a student production of Company. Now he's thrilled to be involved in Here We Are, alongside Jane Krakowski (Ally McBeal and 30 Rock) and Jesse Tyler Ferguson (Modern Family). Based on two surrealist films of Luis Buñuel, the show about six New Yorkers 'who try to go out to brunch and fail', was unfinished when Sondheim died in 2021. Its off-Broadway world premiere in 2023, directed by Joe Mantello (also in charge of the London production), was greeted with reviews that were generally more respectful than effusive, with the New York Times describing it as an 'inventive, beguiling and not quite fully solved puzzle of a show'. Kinnear says: 'Sondheim was always experimental with everything he did and there's a history that people don't necessarily get his stuff the first time it's done. Sometimes it takes a while to reveal itself. It's deeply odd, elliptical, portentous, very funny, joyous at times and, in moments, quite sombre. It's a wild ride.' Kinnear has been a regular at the National since 1985, when his father appeared in a season of plays led by Ian McKellen and Edward Petherbridge, that included Stoppard's The Real Inspector Hound. He was studying drama at Lamda when he saw a 2001 production of All My Sons directed by Howard Davis with Julie Walters. 'At the time I was questioning what [acting] meant, if it had significant value for me to be able to devote my life to. Seeing that made me absolutely redouble my commitment. I thought if something can move me like this, and make me question life as it did, then I want to be a part of that.' Many others might have questioned if acting was a sustainable career. Actors have always existed precariously, with Equity figures showing that the average thespian in the UK earns just £27,000 a year. Kinnear, whose mother Carmel Cryan (Brenda Boyle in EastEnders) is also an actor, as is his partner of 19 years Pandora Colin (they have two children aged 14 and 11 and live a short walk from the National), is one of the lucky few alternating lucrative jobs for the big streamers with poorly paid theatre parts. Yet he says he was never deterred by prospects of penury. 'People often ask what I got from having parents in the industry, and that was seeing acting as a viable career. Often a big block to people acting is thinking – and potentially familial pressure – that you're throwing your life into the unknown and it's a pipe dream. Whereas I saw it as a job that can be done.' He was inspired by Kinnear Sr, one of the hardest-working character actors of his generation, known for roles such as Veruca Salt's father in the original Willy Wonka film, as well as regular appearances on panel shows such as the taboo-busting That Was The Week That Was. Roy died in 1988, aged 54, falling from a horse on a film set in Spain, when his son was 10. 'Dad's dad [a Scottish rugby international] had also died when he was eight, and after that they had to be very careful. So he lived a pragmatic life. I don't think he was ever a day out of work – if it wasn't a play, it was a TV series, a voiceover, radio, a cartoon.' Today Kinnear has arguably superseded his father's legacy. 'Fame is quite different these days than in Dad's time,' he shrugs, embarrassed. 'The multiplicity of ways in which you can watch stuff means not everyone is watching things the way everyone watched [Kinnear Sr staples] Blankety Blank or The Dick Emery Show.' Nonetheless, streaming has made Kinnear Jr's face familiar to an international audience his father could never have imagined. In the US, many recognise him for his role in the first Black Mirror episode, where he played a prime minister forced to have sex with a pig, not to mention Bank of Dave, the Netflix biopic of Burnley businessman Dave Fishwick who established his own bank to help his community. Reviews were so-so but enthusiastic word-of-mouth prompted a 2025 sequel. 'Its appeal was a counter to what people perceive as institutions turning their back on people. It was nice to be part of something that gave people a good feeling.' For now he's just wrapped a film, Learning to Breathe Underwater; an Amazon miniseries based on Peter Shaffer's Amadeus; and season three of The Diplomat. Another season of Rings of Power is almost certainly on the cards. Yet his Bond role transcends all others in the fame stakes, even if Tanner's future is now unclear since the franchise was recently sold by Barbara Broccoli and Michael G Wilson to Amazon. 'As ever with Bond, I imagine I won't know until everything is settled and they've written the script and cast a James Bond. It will be interesting to see what they do with it. I had a wonderful time working with Barbara and Michael. There'll obviously be a change in some ways, but I'm sure not too much, because it's very successful as it is.' Who is Kinnear's tip for the next Bond? 'If they're not asking me, I'm not interested,' he smiles. Was it ever his dream? He laughs self-deprecatingly. 'I've always had enough self-awareness to know I wasn't necessarily going to be Bond.' Never mind, there's plenty more to keep him occupied.
