The first involved a faithful adaptation of the novel that producer Jim Wilson sent Glazer while the pair worked on Sexy Beast. The world wondered what was next.įor a decade, he vanished behind a door marked Under the Skin, where events fell into three acts. It was also booed at the Venice film festival. With Under the Skin shelved, he swept on instead to his 2004 film Birth, an uneasily gorgeous tale of a young boy who might be the reincarnated husband of a New York widow (Nicole Kidman). Sexy Beast, with Ray Winstone playing a saveloy-tanned safecracker retired to the Costa Brava, was hailed as a surreal-ish modern classic. To recap: at the dawn of the noughties, he was cinema's coming man, adored for his witty, ingenious ads for Nike, Guinness and more. "I don't think I'm the right man to adapt a book," he says. Fair enough." We talk about literary adaptations. The boos don't matter: "Some people love it, some are repulsed. You think, what do I love? I love this." He puffs on an electronic cigarette. He has the fractionally dazed air of a rescued castaway. Interview phobia aside, Glazer is affable and open.
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