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Video Interview: Cora Carmack

RT Book Reviews Find it! By Author / By Title Search over 40,000 reviews Try our Advanced Book Search Help Advanced Book Search Search books by title, genre, publication month, publication year, and rating or search by any combination of these options (i.e. all Mysteries published in January 2001 with 4.5 rating). If you want to search for a name or phase, include quotation marks around your search term (example: "Deborah Smith") Visitor Login Visitor login is required to post a review and comment on the blog and other interactive features on the site. Use your same username and password to register for the RT Forums. / Community / RT Daily Blog / Video Interview: Cora Carmack Video Interview: Cora Carmack BY Elissa Petruzzi, SEPTEMBER 23, 2013 | PERMALINK Cora Carmack was one of the first New Adult success stories to hit the publishing world. Her Losing It , starring insecure theater major Bliss and her new, über-hot British professor Garrick, was an instant hit. Then came Faking It , starring Bliss's guy friend Cade and bad girl Max. RT loved them both! Which means we can't wait for next month's Finding It , where Bliss's wild child friend Kelsey gets her story. So of course, when we saw Cora at the RT Convention this year in Kansas City, we had to sit down to hear the scoop on how her life has changed, her thoughts on New Adult — and all things Garrick.   
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Interview With Inglath Cooper, Author Of 'good Guys Love Dogs'

seattlepi.com Interview with Inglath Cooper, Author of 'Good Guys Love Dogs' Tyler R. Tichelaa, Seattle Post-Intelligencer By Tyler R. Tichelaar, BLOGCRITICS.ORG Published 10:00 pm, Friday, October 4, 2013 Politics Page 1 of 1 Virginia author Inglath Cooper fell in love with reading as a little girl, devouring most of the books in her elementary school library. At some point, she decided she wanted to pursue a writing career, creating romance fiction that did for others what her favorite books have done for her. Inglath most often writes stories about love and life that are set in small Virginia towns like the one where she grew up. Inglath has been chosen as a RITA® Award winner for best long contemporary romance novel given out each year by Romance Writers of America. Her books have been described as a combination of Danielle Steel meets Luanne Rice. Welcome, Inglath. It's a pleasure to get to speak to you today. To begin, will you tell us a little about the book's title Good Guys Love Dogs and why you chose it? First, thank you so much, Tyler, for the opportunity to speak with you and your readers! Colby Williams , one of my main characters in this book, is a veterinarian with a deep love for animals. She's a small town girl who never imagined falling for a big city guy. But her first encounter with Ian McKinley takes place when he brings his son's dog to her clinic. Some people might judge a book by its cover, but Colby? She judges people by how they treat the pets in their lives. Ian gets off to a good start. The main character, Ian McKinley, moves from New York to a small Virginia town in the novel. What motivates this move and how does his teenage son feel about it? Ian's son Luke has gotten into some trouble in New York. After Luke gets arrested on a drug charge, Ian realizes that he's at a turning point with his son. And if he doesn't do something drastic, he's going to lose him. Ian sways the judge deciding Luke's fate with a commitment to moving his son out of the city and away from his current influences. Keeling Creek is where they end up. What is it about Ian and Colby that attracts them to one another? On the surface, Colby and Ian lead very different lives. She spends most of her working days either talking dogs into trusting her or convincing cows that she's the one to help them deliver their calf. Ian, on the other hand, has spent his days in a suit, behind a desk, assessing investments. Not a whole lot in common here. Except that they are both struggling to raise rebellious teenagers, and they discover they may have something to offer one another after all. And then there's that chemistry thing. Do Luke and Colby's daughter Lena find they also have something in common? Yes, they do! A few streaks of rebellion at first, but as time goes on, they help each other to see that their resentment of their parents is pretty much unfounded. Inglath, something always comes between lovers in a romance novel. Could you tell us a little about what conflict or issues the characters face in the story? Ian arrives in Keeling Creek engaged to a woman in New York who is Colby's opposite. Rachel is the kind of woman Ian imagines will fit in his life. Until he meets Colby. And suddenly the life he thought he wanted no longer makes sense. Colby is cynical when it comes to men. Lena's father had left her pretty much convinced that love almost always comes with hurt. The last thing Colby wants to do at this point in her life is go on another date. Her best friend has fixed her up countless times, each candidate more discouraging than the last. She's perfectly content with the life she has with her daughter. Until she meets Ian. And she begins to wonder if she has ever really known true love. On your website you talk about the importance of writing character-driven stories. Would you tell us what your secret is for creating such great characters so they become memorable and live in the readers' minds after the book is finished? I can't think of anything more gratifying as a writer than to hear that a reader would want to spend time with the characters again. I appreciate that so much. When I start a book, it's always with a character who has come into my imagination at some point. Most of the time, they grow from a name into a person before I actually start writing about them. I've kind of figured out where they live, what they do and what kind of person they try to be. I can't really write about them until they have dimension to me. As a reader, I like to meet characters who have qualities I can admire, do things I would like to do, see them in situations that end up defining who they are. I think in real life we grow as a person when we are forced out of our comfort zone. A lot of times that involves doing scary things, things we can't imagine we will ever be able to get through. Seeing characters go through this same process is what I believe allows us to form attachments with them. Watching them navigate the waters of change and difficult situations gets our hearts involved, and hopefully, we start to care about what happens to them. Maybe even grow to admire them. I guess I would have to say I hope that I accomplish some small piece of that in the characters who come to life in my books. Would you consider writing a sequel so readers can spend more time with your characters in Good Guys Love Dogs or have you written sequels in the past to other books? I haven't written a sequel before, although I am currently writing a series of Nashville stories that I'm very much enjoying not being able yet to see an end to. I do have a bit of an idea for a sequel to Good Guys Love Dogs. I'll have to see how persistent it is in wanting to be written. Since your book is about single parents with teenage children, what age group do you think will most enjoy it? Inglath: The story would probably be most interesting to adults but Luke and Lena, the teenagers, also play a big part in the book. I mentioned in your introduction that your works are like a blend of Danielle Steele meets Luann Rice? What do you think your books have in common with those authors, and also, what makes your books uniquely different from theirs? That was a very kind comment from a reviewer, and I'm honored to be compared even minimally to either of those writers. If my books have something in common with theirs, I would say it's the strong relationship thread in the story. I read and loved Danielle Steel's early works because they were such compelling love stories. And one of my favorite books is still Luanne Rice's Cloud Nine. I think her work very much gets our emotions involved. Cloud Nine certainly did that! Inglath, when I introduced you, I mentioned that you wanted to write books that would do for others what your favorite books have done for you. How would you define what that means? What do you want a book to do for a reader - what kind of response to do you hope the reader will have when reading and after having finished the book? For me, books have always represented a chance to step into another world, get to know characters that I might actually wish I knew in real life. Stories are so much a part of my life. I have always carried a book with me wherever I went because I'm not very good at being bored, and with a book in your purse, you don't ever have to be! These days, I can read on my phone's Kindle app while standing in line at the grocery store. Mark of an addicted reader, I guess! As for my own books and a reader's response to them, I hope to provide a few hours of stepping into another place with characters the reader will want to root for, identify with, and maybe even miss when the last page is turned. You also like to set your books in small towns in Virginia. I set most of my books in Marquette, Michigan, the small city where I live, so I'm interested in hearing what about small towns appeal to you for a setting. What are the advantages and disadvantages of such a setting? Small town life is very much a part of who I am. I speak the language, know the terrain the way I know the roads I travel in every day life. I grew up knowing the people we would see in town on Saturday and at church on Sunday. I don't have to think about whether my setting will come across as authentic when I'm writing in this territory because it is as much a part of me as my southern accent. So, basically, you're saying to write what you know. Have you considered writing in other genres that are not based on your real life experiences? I'm most comfortable telling stories that involve two people finding each other at a critical point in their lives. I've learned to never say never where my imagination is concerned, but so far, it hasn't ventured too far from this type of story. Inglath, I understand you're involved with dogs in other ways besides just writing about them. Will you tell us a little about that involvement and how it influences your writing? I have always had a heart for dogs. I grew up with a Grandpa who would take me with him to our county pound to pick out a dog in need of a home. At the time, it was pretty much an awful place and when I became an adult I couldn't bring myself to go back there. But I never forgot about it, and when I learned that the euthanasia rate there was 95%, I could not stop thinking that I had to do something to help change that. At the time there were no rescue groups working to help our pound, and I was basically told it was an unfixable situation. Of course that made me more determined than ever. I started pulling dogs from the pound and boarding them at a local veterinarian's clinic while trying to get them adopted. Along with a couple of friends, I just kept trying different things, and for every one we found a home for, I couldn't wait to get the next one out. Looking back on it now, I'm not sure how I ever had the courage to get involved. I've learned things in rescue that I really wish I didn't know, but the positive is that I've been able to be a part of bringing a no-kill adoption center to our county. Over the years, many people became involved at the pound and today it is a very different place. I am grateful for that. In Good Guys Love Dogs, this is Colby's dream for the homeless pets in her town. To build a place where dogs in need can wait for a family of their own. A dream that Ian might just help her make reality. Do you have any advice for aspiring writers? Reading, of course, is the first and most important recommendation. I think with every book, we absorb some piece of why it worked or why it didn't. Our understanding of what makes a good story grows with each book we read. Read from different genres and types of books. The next thing I would recommend is to keep a journal. Young writers can really develop their voices by journaling. The relaxed way in which we jot down our thoughts and observations from the day can bring out our natural writing style and help hone our writer's fingerprint: our voice. Good advice. Thank you again, Inglath, for the opportunity to interview you today. Before we go, would you tell us about your website and what additional information we can find there? Again, thank you so much, Tyler! It was really fun to answer these questions. Excerpts from my books along with information about new releases can be found on my website. I can also be found at Facebook where I regularly post on books and dogs. I also do frequent giveaways!

A Goddess Descends To Art In 'seiobo There Below'

5929415945468885796.jpgby Laszlo Krasznahorkai Read an excerpt Hungary has been in the news these past few years for all the wrong reasons. Its government, led by the right-wing nationalist Viktor Orban, has been curtailing civil liberties and cracking down on cultural freedoms , much to the chagrin of other European leaders. It's ironic, then, that at this troubling moment for Hungary, a generation of talented writers has been winning more attention abroad. The Nobel Prize winner Imre Kertesz, author of the new memoir Dossier K, and the polymath Peter Nadas, whose giant novel Parallel Stories was a publishing event, are probably the most famous Hungarian writers working today. But increasingly, young American literary types are falling for an unlikely Hungarian icon: Laszlo Krasznahorkai, a novelist and screenwriter whom the late Susan Sontag once called "the contemporary master of the apocalypse." "Why is New York's literary crowd suddenly in thrall to Hungarian fiction?" The Guardian asked last year when the writer came to the United States. That may have been an overstatement, but it's true that Krasznahorkai writes unlike anyone else in fiction today, and something about his powerful, unsettling fiction drives fans to excess. His latest book to appear in English is Seiobo There Below, first published in Hungary in 2008. This newest novel — or maybe it's a book of interrelated short stories; the chapters connect only in tangential ways — is an excellent introduction to Krasznahorkai's difficult but deeply rewarding fiction. Brighter and more open than some of his earlier works, Seiobo is a book about art, about artists and spectators, the difficulty of artistic creation, and the glorious, sometimes overwhelming force works of art can have upon us. In each chapter (or story), set in locations as far afield as Venice and Kyoto and in periods from prehistory to today, we encounter artists struggling to create beauty amid the pressures of daily life, and ordinary people striving to concentrate on works of art against the roar of the world outside. In one section, a homeless Hungarian man wandering in contemporary Barcelona wanders into an apartment building designed by Gaudi and finds himself overcome by an exhibition of Russian icons, "terrifyingly shining and golden." In another, an old craftsman painstakingly carves masks for a Noh theater company; the labor is peaceful, but the result is demonic. Many of the artists and cultural figures Krasznahorkai follows are real, such as the Italian painter Perugino; others are fictional, and still others hover on the border between the two. The link among them — if there is one — is the goddess Seiobo, a figure of Japanese mythology who makes occasional appearances throughout the book. In a rare moment of first-person narration, Seiobo descends from the heavens to inspire a theatrical performer, and themes of the sacred and profane reoccur in other chapters; perhaps she is there too. Laszlo Krasznahorkai is a Hungarian novelist and screenwriter best known for his novels Satantango and The Melancholy of Resistance. Courtesy of New Directions Laszlo Krasznahorkai is a Hungarian novelist and screenwriter best known for his novels Satantango and The Melancholy of Resistance. Courtesy of New Directions The breadth of material these stories cover is breathtaking, but Krasznahorkai wears his erudition lightly. Seiobo There Below proceeds slowly and deliberately, building up from page to page until each chapter obtains an almost unbearable intensity. His characters are usually isolated, in studios or ateliers, and where other authors rely on dialogue, Krasznahorkai relies abundantly on third-person narration. He constructs portraits out of minutely observed details and places them into surprising, sometimes cosmic settings. I'd quote a sentence here to show you how he does it — but if I did that would take up the entire space allotted to this review and much more besides. This most single-minded of authors never uses a period when a comma will do, and his sinuous, at times vertiginous sentences can extend to eight pages or more. (Ottilie Mulzet, the very capable translator, must have had her hands full.) Here, for example, is the start of an extraordinary passage on Filippino Lippi, a painter of the Italian renaissance: "He already knew how to draw a Madonna even before he knew what a Madonna was, but it wasn't only in this that he displayed an extraordinary talent, but in nearly everything else too, for he was able to read and write, master the skills of carpentry, use the tools of the workshop, grind and mix the pigments to perfection..." And on it goes, for six more pages, spinning out the whole of Filippino's youth and training in an unstoppable performance of literary acrobatics. One chapter, in which a scholar of Baroque music gives a lecture to a shabby group of villagers, is a single sentence stretching across nearly two dozen pages. Near-infinite sentences in a nonlinear narrative shuttling across time and space, linked only by occasional appearances from a Japanese goddess? It sounds daunting, I realize. Yet the amazing thing about Seiobo There Below is that Krasznahorkai makes the whole thing feel utterly natural and utterly relevant. Krasznahorkai is one of contemporary literature's most daring and difficult figures, but although this book is ambitious, it isn't ever obscure. On the contrary: it places upon us readers the same demands of all great art, and allows us to grasp a vision of painstaking beauty if we can slow ourselves down to savor it.
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Cookbook Author Marcella Hazan Dies At 89

Explore real-time news, visually Cookbook author Marcella Hazan dies at 89 Chris O'Meara/AP - In this 2012 photo, chef Marcella Hazan poses in the kitchen of her Longboat Key, Fla. home. Hazan, the Italian-born cookbook author who taught generations of Americans how to create simple, fresh Italian food, died Sept. 29 at her home. She was 89. By Bonnie S. Benwick , E-mail the writer Marcella Hazan, the cooking instructor and best-selling author who propelled mid-20th-century America beyond canned beefaroni to a world of homemade pastas and what she called the “simple, true” cuisine of her native Italy, died Sept. 29 at her home in Longboat Key, Fla. She was 89. The cause was complications from emphysema and arterial blockage, said her husband, Victor Hazan, who has written extensively on Italian wine. He sent word to their son, Giuliano, an expert on Italian food, not to cancel his scheduled cooking class in Valpolicella, Italy, because that’s what his mother would have wanted. PHOTOS: Elmore Leonard’s Hollywood legacy Mrs. Hazan, a biologist with two doctoral degrees, said she had never cooked before her marriage in 1955; her family in Italy had always relied on hired help. Her first trips to American markets were demoralizing and she likened them to a culinary graveyard: “The food was dead, wrapped in plastic coffins.” Her husband, who was working for his family’s furrier business, encouraged her budding passion for re-creating the savory pleasures of her youth. She had “innate intuition” for cooking, he later said, because she “came out of a culture where food is a central part of life.” But her professional cooking career was an accident. She was taking a class on Chinese cuisine in 1969 when classmates asked her for Italian recipes. Word soon got to the influential food writer and critic Craig Claiborne of the New York Times, who cemented her reputation in a feature article the next year. Marcella Hazan was from then on a leading ambassador of Italian cuisine. Julia Child once called her “my mentor in all things Italian.” Her workshops in New York and Italy drew ordinary homemakers as well as the chef and food writer James Beard and entertainers such as Danny Kaye and Burt Lancaster. Her cultural status was affirmed by the New Yorker cartoonist David Sipress, who captured her allure in a drawing for Gastronomica magazine a decade ago. He depicted two women in a kitchen, one telling the other about the image in a shrine over the stove: “It’s not a saint, exactly. It’s Marcella Hazan.” For each of her six cookbooks, which sold millions of copies in all, Mrs. Hazan offered recipes that were clear, uncomplicated and dependable. This won the hearts of chefs, food critics, fellow cookbook authors and home cooks alike, and earned her first-name-only status on par with Julia. Mrs. Hazan demanded the use of extra-virgin olive oil years before it became a staple of the Mediterranean diet fad. She taught people to put a lemon in the cavity of a roast chicken; to savor spaghetti sauced with garlic, olive oil, crushed red pepper flakes and flat-leaf parsley as much as any tomato sauce; and to notice the difference salt makes by smelling, not just tasting. The genius of her four-ingredient tomato sauce — fresh or canned San Marzano tomatoes, butter, an onion and salt — freed home cooks from having to reconstruct the thick, overly sweet red blankets they’d pour from a jar. If Child, a friend, gently criticized her for being “too much of a perfectionist,” Mrs. Hazan felt she had much to be exasperated about in trying to correct American cooking habits and trends she found ludicrous. Continued

Imogen Poots: Filth, Drugs, Debauchery And Tea Shops

5930719409710948816.jpgFilm Imogen Poots: Filth, drugs, debauchery and tea shops In the film adaptation of Irvine Welsh's Filth, Imogen Poots plays it straight alongside James McAvoy's hideously corrupt policeman, the latest in a series of eyecatching supporting roles. So does she yearn to be the lead one day? • Filth is on release in the UK now Jump to comments (…) Imogen Poots: 'There's a lot of big things piled on my face.' Photograph: Larry Busacca Imogen Poots arranges to meet in a tea shop. The music is gentle and the air smells of pine. The decor sparkles white and the drinks sound like fairytales – Enchanted Forest, Gentle Giant, Russian Caravan. A scene from her new film, Filth , pops into my head. Detective sergeant Bruce Robertson ( James McAvoy ) is having rough sex with a colleague's wife; she tightens a belt around his neck as he screams at her to "cut off the gas". The cafe feels wrong. It would be tough work talking self-annihilation over a cup of Caramel Sweetheart. So we head to a pub, squish into seats next to the bog and order a real drink. If you've never heard of Poots , Filth won't help. The film adaptation of Irvine Welsh 's scabrous novel follows McAvoy's grieving policeman as he buries his beak into a cocktail of addictions: booze, drugs and joyless sex. Poots is Amanda Drummond, the lone female officer in a force on the slide. Around her roves a carnival of nice actors doing nasty things: McAvoy snorts and screams; Eddie Marsan dopes up and heads for the disco; Jamie Bell tunnels into a cocaine Mont Blanc. Poots stands in the midst of the madness, watching the boys go wild. A lesser actor could get lost in the melee, but the 24-year-old has developed a knack for making a second-fiddle part sing. Last year A Late Quartet had her shuttling between Philip Seymour Hoffman and Catherine Keener as the renegade offspring of world-famous musicians whose relationship had hit a bum note; in 2011, Michael Fassbender's Mr Rochester nearly married her in Cary Fukunaga's Jane Eyre. And an early role in A Solitary Man saw Michael Douglas's ageing reprobate led up the garden path by Poots's saucy teen. Each time she was there as a catalyst, prepping the audience for the bigger, broader star turn. Filth, a brash 90s homage with a hole in its head and a pill in its belly, offers her a role of a kind. "She's a foundation for the rest of the stereotypes," says Poots. "Bruce is revealed as being this hideous human being, but it's also the people around him – no one's really speaking up and that's a huge flaw in itself. That's why it's terrific. Irvine Welsh has this knack of creating something that's socially important, but also it's just a really, really good fucking story." Link to video: Filth star James McAvoy: 'There's a freeing of intelligence that can come with mental illness' Poots is fun company. She likes to swear and have a drink. She says directors cast her because she looks strange: "There's a lot of big things piled on my face." Among them: giant blue eyes, a huge grin and blond hair that flops out in fronds from a big loose bun. Drummond might be a small part, but it's crucial in reeling Robertson (and the film) back from fantasy. Filth pivots on a scene in which Poots's character takes McAvoy to task and tries to slow his descent. It's the one moment of clarity: a sharp pull-up in a drama that often tries to toe the line and snort it too. Still, there's something thrilling in the early scenes of mindless debauchery. Robertson, who plots to win promotion by besmirching his colleagues' reputations, is pretty good at petty office politics, even when he's really messed up. Does Poots think excess can breed success? "Debauchery has to be inspiring whether you're taking part in it or whether you just observe it," she says, over a (single) vodka and soda. "Think about [LA artist] Paul McCarthy and his exhibits. Everybody's flocking to see them, because we're all repressed and he's somebody who's speaking out. His dirty, dirty thoughts are on show for everyone to indulge in. It's healthy. "If you think about the best philosophers and some of the greatest writers, they're all kind of horrendous alcoholics – that's why they're so terrific. And actors and singers. It's a choice that you make. It works for some people, and for other people it's the only way they can function – it's chosen for them." Such was the case with Debbie Raymond, Poots's standout role in Michael Winterbottom's The Look of Love. The daughter of adult entertainment impresario Paul "The King of Soho" Raymond (played in the film by Steve Coogan), Debbie was whipped up in the whirlwind of her dad's party-hard social set. She died of a heroin overdose in 1992. "In terms of her debauchery and what she was doing, I don't really think it was for her, it was for other people," says Poots. "There's a real difference there. I think it started off as giving something a go. I'm sure if she was home alone, maybe she'd have had a few drinks or something, but in terms of cocaine she was upholding some sort of facade to please everybody else." The Look of Love paints Raymond several shades of cad. Winterbottom asks us to relate to a selfish, feather-bobbed dandy who garnered a £650m fortune from porn and changed girlfriends with the weather. Poots's performance is crucial in helping us understand him. She brings pathos to the playboy. Coogan recalls working with her and realising she had the innate talent of a great supporting actor – the ability to wobble the lead, to make the star turn work for the limelight. Poots with James McAvoy in Filth. Photograph: Neil Davidson "She was fun and jokey and witty and eccentric, but when the camera rolled she had total focus and was completely truthful," he says. "It made me pull my socks up when it came to my own performance. I remember thinking: 'Oh shit. She's really good, I'd better concentrate!'" Coogan compliments Poots's "magnetic" quality. A dingy boozer can't help but dampen the attraction, but she's still got charisma in buckets. She leans across the table as if we're old mates and talks loads, but drinks only a little. I stop the Dictaphone for a bit to give her a chance to get into the spirit. Ten minutes later, her drink is still level. There's a professionalism at play that can weather more than a tea shop/pub switch. Poots has been acting since she was 14 and the odd question about her posh roots (she was raised in Chiswick, went to prep school) is not going to throw her. The posh thing – like the "rising star" thing, a tag that has been with her for the best part of a decade – is "just another label". She's more interested in talking about her industry and the David and Goliath split that has hit film-making over the past decade. "You've got these big studio films and these tiny independent films now," she says. "It's very much either/or. With the independent films it's always a beautiful risk – it might never be seen. With the studio films you're conforming to the formula of what's always been in place." After Filth comes one of the beautiful risks. Her next film, All Is By My Side , is a biopic that follows the early London years of Jimi Hendrix. It is written and directed by 12 Years A Slave screenwriter John Ridley and stars Outkast rapper André "3000" Benjamin. It's a tiny, intimate drama that has none of Hendrix's music and is a little iffy on the facts (Hendrix's former girlfriend, Kathy Etchingham, has questioned its validity ) but is powered by a giant squeal of the mercurial guitar hero's spirit. Poots plays Linda Keith, the woman who discovered Hendrix playing with Curtis Knight in New York's Cheetah club and convinced him to relocate to the UK. Keith, a former model and girlfriend of Keith Richards, is presented as manager and mother, a saviour to struggling Hendrix and a conduit for a genius who would eventually up and leave her when the going got good. "It must have been frustrating for her to put in all that work and then watch him go off and forget a little bit," says Poots. "There's got to be a class to her. She respected and admired an artist and understood the type of human being he was. She saw potential. She didn't want in any way to deconstruct him." Her next film is Need for Speed, a car-chase thriller based on the popular video game series. Poots stars alongside Breaking Bad's Aaron Paul. They race across America in a souped-up Ford in pursuit of a revenge story that is, says Poots, as silly as it sounds. "I definitely wouldn't say I did Need for Speed because I have a hard-on for Mustangs," she says. "I thought a Mustang was a horse the first time I read the script. I can't take Need for Speed seriously. I'm going a million miles an hour in a race car. I've got crazy hair on my head that was attached to make me look more womanly. The whole thing's ludicrous. But you've got to have fun otherwise there's no point in doing it. If you're going into that and have these intellectual, analytical points of view about cars, then you're on the wrong movie set." Both films pitch Poots back into a supporting role, another round of giving her all in the service of the ensemble. McAvoy describes her as "a god" and Filth director Jon S Baird tells me that she's "one of our future mega-stars". But that's another label and Poots doesn't seem that bothered with headline status. She wants to be part of a good story and doesn't see the point in taking a part just because it's there. That means waiting for the scripts, working hard and avoiding time wasted in the pub. She leaves after an hour to record additional dialogue for a romantic comedy she filmed alongside Zac Efron ("canny guy, great dancer"). The vodka and soda stays on the table, two-thirds full. Filth is on release in the UK Sign up for the Guardian Today Our editors' picks for the day's top news and commentary delivered to your inbox each morning.
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