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Ewan McGregor Takes Stage At NYCC & Talks Actors’ Strike: “It’s A Shame That It’s Taking The Studios This Length Of Time…”

Ewan McGregor Takes Stage At NYCC & Talks Actors’ Strike: “It’s A Shame That It’s Taking The Studios This Length Of Time…”

Via Deadline

In a move not attempted by actors at San Diego Comic-Con, Trainspotting and Obi-Wan Kenobi actor Ewan McGregor took the stage at the Javits Centers today at New York Comic-Con to discuss himself, not struck work during what is the 92ned day of the SAG-AFTRA strike.

“This is the first thing like this I’ve done and it’s been a big decision to do it, but I really wanted to take part,” said McGregor who also didn’t represent or speak of any studio during the onstage convo.

“This is the first thing like this I’ve done and it’s been a big decision to do it, but I really wanted to take part,” the actor continued.

“It’s difficult for us to be up here and not be allowed to talk about our actual films,” he added, “I’m sure you would want to hear about (them) and so I apologize for that. But that’s just the way we have to do it, I suppose.”

McGregor’s appearance onstage came the following day after AMPTP and SAG-AFTRA contract talks broke down with the Fran Drescher-led guild accusing studios of using “bully tactics” and “the same failed strategy they tried to inflict on the WGA” to cripple the deliberations; the two sides uable to find a way to mutually cut the Gordian knot of SAG-AFTRA’s revenue-sharing proposal as well as the issue of AI.

The Scottish born thespian took time to reflect on his fellow actors’ pain: “This strike is very important. It’s very important that we are taking this action. There are so many things that have to be addressed that
have been left unaddressed for too long. It’s a shame that it’s taking the studios this length of time to come to some sort of resolution with us. But as a result, I’m 100%, behind the strike and involved
with my union.”

McGregor was largely hamstrung in the discussion, with the Halston Primetime Emmy winning actor limited to small chitchat, i.e. the type of oils he uses in his beard, how he takes no sugar or honey in his tea, and how it’s harder to dance than sing on set.

When it came to detailing some of his art, McGregor shared a story about playing Iago on stage opposite Chiwetel Ejiofor as Othello at the Donmar Warehouse in London.

“Our production was very dark at the beginning of the play and it lights up. So by the time it’s the scene before the intermission the whole place is totally bright sunlight and you can see every person in the room,” said McGregor.

He added, “There’s a sort of unwritten rule when you go and watch an actor when you go and watch
somebody’s show. You either don’t tell them that you’re coming, just so that you don’t put people on edge or anything. So every night, I remember being in the middle of a soliloquy looking up and going, oh, that’s Jude Law . The worst one was I looked up and I saw Sir Peter Hall, who was like a legendary Shakespeare director…I was like am I breathing? I totally fell apart. My confidence was gone.”

Ewan McGregor’s trip to northern Iraq’s displacement camps

A interesting article written by Ewan himself, about his trip to Iraq, for the Financial Times.

Alone. Scared. Vulnerable. At the hands of traffickers. This is how we talk about child refugees. It wasn’t until my visit to Iraq this summer that I truly understood the real — and devastating — truth of these words.

My visit helped me to put a face to the global displacement crisis the world is facing. A crisis where the numbers are so enormous that it sometimes feels like the challenge is too much to overcome. Globally, about 50 million children have been uprooted. That’s almost the same as the entire population of England. And it’s a conservative estimate. More than half of these girls and boys fled violence and insecurity, in tremendous numbers, from Syria, Afghanistan and Iraq.

There is no way to prepare for the stories you hear during a visit to the field — and I discovered that this was more true than ever in northern Iraq. I’d just finished filming T2: Trainspotting in Scotland and suddenly I found myself 30km away from the front line. I have travelled many times with Unicef, and seen some really life-changing things — both good and bad — but the accounts I heard there completely winded me.

One story etched in my memory is Muhammad’s. Like thousands of children, Muhammad escaped Mosul when Isis seized control in 2014. Iraq’s second-biggest city and its surrounding areas were thrown into turmoil as Isis sent half a million people fleeing, restricting access to food and basic services. Now living in Erbil, the capital of the Kurdistan region of Iraq, Muhammad, 10, and his 12-year-old brother are the main breadwinners of the family. Their father has been missing for years, and is presumed dead. The boys make money selling nylon bags at the local market and bring home about $4 a day for the family to buy food. To survive.

With hollow eyes, Muhammad’s mother told me the family’s story. Their previous tent, in one of the crowded displacement camps I visited, had caught fire and killed her youngest son, Muhammad’s baby brother. She pointed out the burns on Muhammad’s hands. Since Muhammad fled Mosul, he has suffered from severe behavioural problems, exacerbated by the breakdown of his family. He is a quiet boy and wasn’t able to talk about the past, but he did tell me: “I like to draw and play with trains.” Thankfully, he is receiving psychosocial care and is able to do these things in a “child-friendly space”, set up as an area for children to play and learn.

The challenge facing organisations providing support for children like Muhammad is to make sure that the deterioration of the social systems does not lead to increased exploitation, violence and abuse against children. How do you help their wounds heal, protect them from further harm and get them back into a routine, school and normality?

Nobody truly knows what will happen when Mosul is liberated from Isis control. But one thing is for sure: tens of thousands more children will face displacement and homelessness. It is estimated that between 1.2 million and 1.5 million people still live in the city. Remember the scenes of thousands of people coming out of the liberated Fallujah? Multiply that 15 times. What was apparent to me in Iraq was that the challenge facing aid agencies, when the impending offensive happens, is truly unprecedented.


I travelled to Debaga displacement camp, which is close to Mosul, where hundreds of people were arriving every day to escape conflict and violence. Camp construction couldn’t keep up with the new arrivals. Bulldozers were busily flattening the land, toilets were being constructed and tents erected. Aid workers were frantically giving out packs of life-saving supplies — water, hygiene kits and food.

Debaga was built for 5,000 but is now home to more than 35,000. Each person arrives with his or her own horror story. A further 15,000 are expected in the coming months. The night before we got there, 200 people escaped by river to reach the camp. It was heartening to see men shaving their beards and enjoying a small slice of freedom for the first time in two years. Although, of course, this camp does not provide freedom. Far from it.

As I walked through the vast crowds, countless people came up to me. Not because they recognised me but because they had to tell someone about their dire situation. One father, Ali, told me that when Isis came, they started putting pressure on him to give up his sons to fight. He feared they would be abducted and, when Isis blew up his home as a scare tactic, he knew he had to get his boys out. The disruption caused by the advancing government forces gave him a window of opportunity to flee.

Ali and his family now live in the shadow of an abandoned football stadium, in a tent provided by UNHCR, the UN Refugee Agency. Some of his children do not have shoes, and he told me he felt a sense of hopelessness as a father. How can you possibly provide for children in this dreadful situation?


As we walked back to the car, I was caught totally by surprise at the sight of the biggest bouncy castle I have ever seen. A local NGO had brought it in to give a moment of escape. There were a hundred joyful children throwing themselves into the air, screaming, unable to contain their excitement. Such a stark contrast to the barren desert filled with dusty tents that surrounded it. It was so obvious to me at that moment how vital it is these children continue to get the chance to play; the opportunity to be children.

Internally displaced and refugee children in Iraq and other conflict zones are among the most vulnerable people on earth and the situation is getting worse. Consider one shocking statistic: the number of child refugees globally has more than doubled in just 10 years. And when these children do have the opportunity to flee to another country, the threats they face do not disappear. Families can often struggle to gain a foothold; they disproportionately face poverty and exclusion and are in desperate need of essential services and protection. If you or I feel let down by or angry at the asylum system for refugees in Europe, how must they feel?

Supporting refugee and migrant children at home and around the world is a shared responsibility. Right now, it’s clear that we are struggling to cope with the numbers of people on the move. As an ambassador for Unicef, my role is to help carry the voices of Muhammad and Ali as far and wide as I can. At the end of this week, I will be heading to New York to tell their stories to politicians, delegates and journalists who are gathering for two summits on refugees and migrants. Together these summits offer a defining moment for our generation, and I hope that our politicians rise to this complex challenge in a way that makes a real difference to the children I met.


Back in Iraq, Mirna, an 11-going-on-21 film-star-in-the-making, asked me to take her message to world leaders: that children in Iraq or, indeed, anywhere, deserve equal rights and a chance to be children. “War or peace, we are all the same. We are all children,” she said. As she walked me round the disused, half-finished shopping mall where she has lived for over a year with more than a thousand other families, she told me how the local community donated food, clothes and supplies and came together to welcome those displaced by the conflict. I’m desperate for us to do the same in the UK, in Europe and beyond.

The day I left, Mirna recorded a video message for me on someone’s iPhone — I saw it when I got back. She told me she was happy to have been able to show me — and the world — the shopping centre her family lived in. As I watched, it really hit home how far away I was from her, how far all of us are away from helping children like Mirna, who don’t always have a voice or someone to tell their story.

On my final day in Erbil, a pickup truck drove past us in the camp. Loaded on to the back was the body of a young man. In the distance, I could hear cries of grief and soul-destroying desperation.

I’ll never know what happened to this poor soul but I’ll think about him for a long time. For him, the war is over but for his family, for Mosul, for millions of Iraqis and for the 65 million refugees and displaced people worldwide, the desperate and relentless struggle goes on.

Ewan McGregor wants to make his own Trainspotting-style movie in Scotland

Ewan McGregor wants to make his own ‘Trainspotting’ in Scotland.

The 45-year-old star revealed he is seeking funding for a ‘gritty uban’ movie with a teenage cast of unknowns.

The actor’s first movie as a director American Pastoral had its premiere at the Tornoto International Film Festival.

The film, shot in the US, and starring himself, Jennifer Connelly and Dakota Fanning has attracted mixed reviews.

But McGregor who has waited over 20 years to step behind the cameras, said he is looking for a smaller scale project to shoot at home.

He told a Masterclass at the TIFF: “I have a feeling of what I would want to do next, and that feelings is that I should make my ‘first’ movie “I maybe missed my $3m [£2.2m] movie – five weeks shooting with no resources, running around, painting stuff and then just filming.

“I would like to do it in Scotland – with young people, and not be in it.

To go and do something small and gritty.

“Something contemporary and urban – those are my rough feelings at the moment.”

He added: “I am looking for funding.“

And Ewan, said it would not be two decades in the making: “I would like to do it again, but sooner than that.

“I might have to make it happen, be more active this time.”

In American Pastoral the actor plays Seymour “Swede” Levov, a former high school star athlete, whose child becomes an urban terrorist in the 1960s.

Trainspotting was shot in 1995 over seven weeks on a budget of £1.5 million with the cast and crew working out of an abandoned cigarette factory in Glasgow .

Because of tight finances many of the scenes were shot only ones, and improvised, including McGregor’s famous scene – as Renton – running down Princes’ Street, in Edinburgh .


Ewan McGregor Tapped For Humanitarian Honor At BAFTA LA’s Britannia Awards

Ewan McGregor has been set as the recipient of the Humanitarian Award at this year’s British Academy Britannia Awards which are organized by BAFTA Los Angeles. McGregor, whose feature directing debut American Pastoral just premiered at the Toronto Film Festival, is being given the Humanitarian Award in recognition of his work with UNICEF.

The actor-director recently traveled to northern Iraq to see how the conflicts sweeping across the area are affecting children’s lives. He “is using his platform to bring awareness” to the horrors facing the children, says BAFTA LA. The org noted he has worked with UNICEF to help provide life-saving food and water, protection services, and healthcare to families in need.

“Ewan McGregor is not only a multi-talented individual, but has led by example in showing that even one person can make a huge difference in the life of a child,” said Kieran Breen, Chairman of BAFTA LA. “Given his most recent work in Iraq, and ongoing commitment to the fight against the horrific conditions in which children there are living, he is most deserving of this honor. We are thrilled to be able to recognize his work and shed light on the initiatives about which he is most passionate.”

McGregor broke out in Danny Boyle’s 1996 cult hit Trainspotting and recently reprised his role as Renton in Boyle’s Trainspotting 2 alongside Jonny Lee Miller, Ewen Bremner and Robert Carlyle. Sony releases February 3 next year. The following month, Disney releases the live-action Beauty And The Beast in which McGregor plays Lumière. Among his long list of feature credits are The Pillow Book, Velvet Goldmine, Young Adam, Big Fish, I Love You Philip Morris, Salmon Fishing In The Yemen and Moulin Rouge (scoring Golden Globe nominations for the latter two films). He also donned Jedi robes to play the young Obi-Wan Kenobi in the Star Wars prequel trilogy.

He’s currently in political thriller Our Kind Of Traitor and soon begins production on FX’s Fargo. He’ll play brothers Emmit and Ray Stussy in the Season 3 anthology which is set to air in 2017.

McGregor’s American Pastoral is based on Philip Roth’s Pulitzer Prize-winning novel. He stars opposite Jennifer Connelly and Dakota Fanning with Lionsgate releasing October 21.

Idris Elba, Richard Curtis, Don Cheadle, Colin Firth, Mark Ruffalo and Orlando Bloom are previous Humanitarian Award recipients. Other 2016 Britannia Awards honorees in various categories include Ang Lee, Samuel L Jackson and Ricky Gervais.

The awards evening is BAFTA’s big night out in Hollywood which honors individuals who have dedicated their careers to advancing the art forms of the moving image in the U.S., UK and beyond. Proceeds from the gala ceremony support BAFTA Los Angeles’ ongoing education, scholarship, community outreach and archival projects. This year’s ceremony takes place October 28 at the Beverly Hilton and will be hosted by Jack Whitehall.