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Take That on their BAFTAs performance and Robbie Williams' Better Man GQ caught up with Gary Barlow, Howard Donald and Mark Owen a few hours before they took the stage at the Royal Festival Hall to discuss their perfect needle drop in Anora and their ex-bandmate's unconventional biopic By Iana Murray 16 February 2025 For virtually everyone in the UK, Anora, Sean Baker’s Oscar-nominated screwball comedy about a stripper’s quickie marriage gone wrong, was a surprisingly delightful experience. We first see Ani (Mikey Madison) on an average day at work, giving lap dances to boozed-up patrons at a Manhattan strip club and escorting men to VIP rooms and ATMs. But the film’s opening sequence is perhaps most noteworthy for its choice of soundtrack: a synth-heavy remix of Take That’s 2008 hit "Greatest Day". Almost two decades after the song hit number one, the track has taken on a new life, becoming more than just an uplifting mainstay on wedding playlists. In Anora, it’s a bittersweet anthem to the ephemeral joys of its character’s tumultuous life, playing not only in the film’s opening minutes but also at Ani’s Vegas wedding. For both Take That and Baker, the needle drop has been serendipitous. The filmmaker and his producer and wife Samantha Quan stumbled on the song while searching through Spotify for a song to accompany Ani’s greatest day. Finding themselves at the centre of a best picture favourite, Take That are more than happy to be along for the ride, with the band performing “Greatest Day” at the BAFTAs. Ahead of the ceremony, the band sat down with GQ to talk about the song’s journey, meeting Baker and Madison, and their thoughts on Better Man. GQ: Sean Baker said that when he and his team bought the rights to “Greatest Day”, he didn't actually have to provide any details about how the song would be used. When you were approached for this, how much did you know? Mark Owen: I think they initially approached us maybe two years ago, and we knew it was an independent film, and that was about it, pretty much. Gary Barlow: We knew it was [sean Baker], and he's a well-known director so we knew it was going to be treated properly. It’s a really pivotal song in the film as well because it’s not only at the beginning, it plays when Ani and Vanya get married. MO: Since we first wrote the original version, I've had lots of people say, “We played “Greatest Day” at our wedding. So when it was used in the wedding scene, I thought that's nice. It's come back round to being in a wedding scene in Vegas, which is an uplifting part of the movie. HD: Lyrically, it works as well, doesn’t it? Because it's about the greatest day of our lives, and they're not married for very long. MO: I think in all honesty, we were very grateful that they used the song, and very grateful to Sean and all the cast and crew. It's been very fortunate for us that Anora is such a wonderful movie. We got a call a month ago: “Do you want to perform at the BAFTAs?” As a band, we try and plan things, but then something like this happens which none of us had planned for. It’s nice to be associated with it even a tiny little bit. “Greatest Day” originally came out in 2008 and, I think it speaks to how much this song has resonated that we're in 2025 and people, especially in the UK, are so delighted to hear the song in the opening minutes of Anora. How does it feel seeing the song have this resurgence 17 years later? GB: It's brilliant, it really is. This is the wonderful world of music. I remember the day we wrote this song. We were sitting in a little studio in Notting Hill. Nobody knew we were in there, and we were playing about on the piano, and by the end of the day, we had this song. And then this incredible journey… I mean, I don't think there are many shows where we haven't started with that song. And here it is having another life. Here we are going to the BAFTAs. You’re the opening performance at the BAFTAs tonight. What have you prepared? MO: For us, we wanted to put our smart clothes on. GB: Our BAFTA clothes. MO: We wanted to feel the part. It’s a British tradition. We've tried to keep a bit of the energy of the movie in our performance and be respectful to that. We've used some of Sean's colours. It’s very simple, to be honest, and it's just a celebration. I think that's the main thing. GB: Give everyone a rest for two minutes. Think about it, you're not just sat in the audience, you're on telly at any minute, so you've got to be there ready for the camera. HD: Nice toilet break. You’ve prepared lasers and balloons as well, right? It sounds like you’re going all out. MO: I don't know if this is true, but apparently it's the first time the Royal Festival Hall has ever had lasers. We like to bring a little bit of our circus into the BAFTA arena. You have obviously performed “Greatest Day” so many times at this point. Does it feel any different to be performing it in this context? GB: You know what's funny, though? We've been in yesterday and did five camera rehearsals. We’ve done a dress rehearsal. [snaps fingers.] It’s over like that. It’s two minutes and 30 seconds. You're literally walking in, the next minute you're walking off the stage. Is that it? MO: It’ll be nice tonight to perform to real people, because we've been performing to pictures on chairs. HD: I mean, we’ll be really disappointed if Demi Moore starts yawning. MO: When I do my “hold on, hold on”, I’ve got Pamela Anderson here. Have you met Sean Baker and Mikey Madison? GB: I went and met Sean and Mikey. As my taxi pulled up, Sean met me out of the taxi, which I thought was sweet. He invited me for a drink. MO: You came out and went, [singing] “Today this could be!” GB: Anyway, we went in and we were just talking away. I mean, I was asking him things like, what were the lenses you used? It was so beautifully shot. I'm just interested. And the next minute, the door opened and she walked in. MO: [singing]" Today this could be!" GB: She's like a proper star, she is. What did she say? HD: “Is Howard not here?” GB: She was asking about how long we've been together. I said, “You're never gonna believe this, it’s been 35 years.” [Mikey said] “35 years!? How old are you?” Saying all the right things. Howard, you said only saw the film four days ago? HD: I saw it with my two daughters, who are 25 and 19. GB: He thought it was a PG. HD: Somebody had told us it’s a more raunchy version of Pretty Woman. I think it's more than that, obviously. I was watching it with them, and the music came and I was so proud. I really didn't know what to expect, and then all of a sudden, you get all these pole dancers and lap dances with the boobs out. “Dad, what are we watching?” It’s gonna get calm in a minute. They loved it so much. You’re making a documentary with Netflix. What are you hoping to explore that maybe hasn’t been covered before? HD: People know so much about us, you have to dig a lot deeper. I think it goes a little bit deeper into our personal lives and Take That. GB: The archive dig’s been really deep on that as well. There's a lot of stuff which I can't even remember. Some amazing footage which has definitely never been seen, especially from the 90s. But it's meant to be the ultimate story. Anora isn’t the only BAFTA-nominated film that you have a relationship with. There’s also Better Man. GB: We’re in the movie business now! MO: I really hope it wins. I can't imagine the time and effort. Amazing, amazing detail. Fingers crossed, we might be double winners! Robbie Williams said that he approached Gary with the script and you suggested some amendments. What did you think of the final film? GB: I thought it was great, I really did. I find it hard to believe that we all met in Manchester in 1990 in a little office. I can't believe there are documentaries and movies and BAFTAs. And so whether it's Rob, whether it's us, it's just all good for Take That. MO: I saw a message from the guys who played us — who did a brilliant job — and they said that they've become real friends over the filming process. And how did you feel about your portrayal in the film? GB: I felt good. HD: I’ve not seen it. I'm not ready for it, but I will watch it. A documentary was just released about Boyzone and the fallout of that band. Obviously, you’ve gone down a different path. How have you managed to retain your friendships where other boy bands have struggled? MO: I think probably having the gap and then coming back a few years later was probably a good thing. Coming back older. GB: It's hard to compare any band to another band, because it involves people. People are different. The one thing I think we're always aligned with is that we take what we do really seriously. The music has been the one thing that's just fundamentally kept everything fresh and exciting. When you share that bond of making music, it's as powerful as friendship. https://www.gq-magazine.co.uk/article/take-...tas-performance

Winner Best Special Visual Effects: Dune Part Two https://www.huffingtonpost.co.uk/entry/baft...d1020398028?cid BAFTA 2025 NIMINATIONS Special visual effects Better Man Dune: Part Two Gladiator II Kingdom of the Planet of the Apes Wicked

Welcome to the Williams club :P @1890859438455582747

I wonder does he know that candles blacken your ceilings so I wouldn't be staring for too long :lol:

( Howard is a big car fan, he will love this ) :) Take That to headline F1 75 Live event at London's O2 Arena Take That will be performing some of their greatest hits at the F1 75 Live event in celebration of the sport's 75th anniversary at London's O2 Arena next week. Take That are set to headline the F1 75 Live event. The 'Shine' hitmakers have been lined up to perform at the sport's 2025 season launch at London's O2 Arena next Tuesday (18.02.25), where all ten racing teams will be unveiling their new drivers and car liveries in front of a packed crowd in a special event to celebrate the championship's 75th anniversary year. A source told The Sun newspaper's Bizarre column: "Formula 1 fans are in for a massive treat at the 02. "Not only will they be seeing the cars and drivers up close, but Take That will be playing." The insider added: "There are some other big-name stars booked, too. "It is the first time in Formula 1 history that they've put on an event like this and it's all to celebrate 75 years of the sport. "The organisers think Take That will really lift the event." It promises to be a busy few days for the 'Rule the World' group - consisting of Gary Barlow, Howard Donald and Mark Owen - as they are also set to perform at the BAFTA Film Awards on Sunday (16.02.25). https://bangpremier.com/story/2/3246010/tak...ndon-s-o2-arena

Ooooh ! that's interesting, Thanks for that Alex ... The FOFA Club WC starts June 15th

HUNTING FOR YOU { Acoustic} VmdXuces09s?si=5hkAxt44j8YC7haX Beautiful version of the song :heart: :heart: :heart:

@1890527444601323685

It's no longer available but maybe we can find similar elsewhere. Will have a look Alex ;)

That's a great video :)

It is a well written article & makes a lot of sense :)

Aw ! Good for Teddy :wub: Some great actors in the movie so she is in great company .. Derek Jacobi, Mawaan Rizwan, Maria Friedman, Meera Syal, Danny Dyer, Ray Fearon, Alice Eve, Lucien Laviscount & James Lance board Sky Original film Tinsel Town. Comedians Jason Manford, Asim Chaudhry & Katherine Ryan will also star, they join the previously announced Kiefer Sutherland & Rebel Wilson Sky has today announced further cast names for its upcoming Sky Original Christmas film Tinsel Town, currently shooting in the UK, and starring the previously announced Kiefer Sutherland and Rebel Wilson. Sutherland plays Bradley Mack, a failed Hollywood action star who ends up in a small, snow-dusted village to star in the town’s eccentric production of Cinderella. Here, he encounters a colourful cast of oddball locals who slowly come to hold a special place in his heart, including no-nonsense choreographer Jill (Wilson). Comedian Katherine Ryan (The Duchess) will take on the role of Mack’s long suffering agent with the local villagers played by the legendary British actor Derek Jacobi (Gladiator II), Mawaan Rizwan (Juice), Maria Friedman (Unforgotten), Jason Manford (Waterloo Road), Asim Chaudhry (People Just do Nothing) Danny Dyer (Rivals), Ray Fearon (Barbie), Alice Eve (Star Trek In To Darkness), Lucien Laviscount (Emily in Paris) and James Lance (Ted Lasso) with Meera Syal (The Wheel of Time), taking on the role of the productions’ director. Breakout star Savannah Lee Smith (Cruel Intentions) has also been added to the line-up. The script has been penned by Frazer Flintham, Adam Brown and Piers Ashworth with additional material by Jake Brunger, and will be directed by Chris Foggin (Bank of Dave). Matt Williams and Pascal Degove at FAE will produce. Executive Producers are Julia Stuart, Laura Grange, Piers Tempest and Martin Owen. Mister Smith Entertainment have launched worldwide sales at the European Film Market. Julia Stuart, Director of Original Film at Sky said: “We couldn’t be more pleased to welcome such a phenomenal array of talent to Tinsel Town. With screen legends like Sir Derek Jacobi and Meera Syal, as well as the incredible talent of Mawaan Rizwan, Alice Eve, James Lance, Lucien Laviscount alongside the comedic energy of Katherine Ryan, Danny Dyer Jason Manford, and Asim Chaudhry, this cast is truly something special. Their chemistry and unique performances will bring an extra layer of magic, mischief, and heart to what promises to be a festive treat for Sky audiences. We can't wait to share it with the world later this year.” David Garrett of Mister Smith Entertainment said: “This is a delightfully funny and heartwarming movie with the kind of broad commercial appeal which has immediately resonated with the international buyers and ticks all the right boxes. It is going to be a fun ride.” Matt Williams of Future Artists Entertainment said: “I couldn't be more thrilled with the incredible ensemble we've put together for this film - every actor brings such heart and magic to the story, and together, they’ve created something truly special.” Tinsel Town was commissioned and developed by Sky in association with Future Artists Entertainment. Mister Smith Entertainment will launch worldwide sales at the upcoming European Film Market. Tinsel Town will be coming to Sky Cinema at Christmas 2025. https://www.skygroup.sky/en-gb/article/furt...ilm-tinsel-town

:heart: :wub: :heart:

1fWi4RZwBdg?si=w3SYG2x92vdy1rYh Video thanks to The Project

https://hmv.com/search?searchtext=better+ma...2CBlu-ray%2CDVD

By All Means Necessary C97ijEJxw5o?si=XZWqmMkPhR6boyO8 Video thanks to mariellehelico

This is an interesting article on Better Man & it's prospects .. Why Paramount Risked (and Lost) So Much Money on Better Man By Chris Lee In light of the abject and crushing box-office failure of Paramount’s Robbie Williams biographical jukebox musical, Better Man, last weekend, the question around Hollywood was not so much: Why didn’t audiences turn out to see a deliriously artful, $110 million, R-rated pop biopic plotted around a singing, dancing, cocaine-snorting CGI chimpanzee? Industry observers were left scratching their heads, instead asking: Who in their right mind would even think they could make any money whatsoever releasing a deliriously artful, $110 million, R-rated pop biopic plotted around a singing, dancing, cocaine-snorting CGI chimpanzee? (Let alone one that portrays a British superstar practically no one in America has ever heard of.) Over its opening three days in 1,291 North American theaters, Better Man pulled in a dismal $1.2 million. To put that figure in perspective, the movie failed to crack the top ten and was bested by the gossamer-thin, Pamela Anderson–starring art-house indie The Last Showgirl (production budget: $2 million), which debuted in a mere 870 locations yet still managed to pull in $1.5 million. While tracing the career arc, mental-health challenges, and descent into substance abuse of Williams — the former lead singer of the British boy band Take That, a 1990s–’00s tabloid mainstay, and European superstar who was something like the Harry Styles of his day — Better Man transcends mere pop hagiography thanks to the batshit filmmaking audacity of director Michael Gracey (of The Greatest Showman fame). And therein lies Better Man’s second bitterest irony. While flopping commercially, the movie arrives as a critical triumph, currently standing at 89 percent “fresh” on the Tomatometer — way higher than the 2019 Elton John biographical musical Rocketman, the Oscar-winning Bohemian Rhapsody, and the recent Bob Marley biopic One Love — with an even higher audience approval rating (91 percent on the Popcornmeter) in no small part due to its partial fictionalization of Williams’s life story through presenting him as an alcoholic, egomaniac, anthropomorphic chimp. Even more stinging, the film has commercially fizzled across the singer’s native U.K. and Europe, where he remains a top touring act (drawing in $10.5 million internationally, to date). Which leads us to Better Man’s bitterest irony: All anecdotal evidence suggests the movie flopped precisely because the Williams-as-mo-cap-chimp conceit was just too highbrow to put butts in seats. “When I saw the trailer, I thought it was a Planet of the Apes musical,” one industry observer tells me. “People just couldn’t get past the monkey,” adds another studio executive. “It’s too weird. It’s like, What the f***?” In an IP-dominated cinematic era when sequels, spinoffs, and reboots rule the multiplex, Better Man was more than just an original-concept outlier with a nine-figure price tag. “It was so high-concept that people couldn’t grasp it, which made it exponentially tougher to market,” says Comscore senior media analyst Paul Dergarabedian. “People say studios are heartless machines that only care about the bottom line. If that were true, you wouldn’t get a movie like Better Man.” In February 2024 — just months removed from the resolution of debilitating twin Hollywood strikes and with the studio-movie supply chain still in shambles — Paramount paid $25 million for North American distribution rights to Better Man, which was independently financed and partially funded by an Australian government incentive program (testament to Williams’s abiding popularity Down Under). Implicit in that move: Studios were facing a decimated release calendar due to production shutdowns and delays at the beginning of last year. And despite the absence of clear-cut “comps” (as previously released films used to estimate a new film’s projected profitability are known), some C-suite honchos, like Paramount CEO Brian Robbins, clearly felt a big swing like Better Man was the best worst option at the time. Its price tag, however, was too high. “The film was independently produced with an est. budget of $110 million,” veteran box-office analyst David A. Gross notes in his industry newsletter, FranchiseRe. “That’s an enormous amount of money for a vision like this. The risk-taking is excellent, but $110m is not realistic for the genre or the musical artist. $25 to $30 million would have made more sense.” Compounding matters, Los Angeles audiences were expected to be among Better Man’s main domestic box-office drivers. But the satirical-anthropo-musical reached screens last weekend just as devastating wildfires were engulfing the city. And while the conflagrations did not result in widespread theater closures, Angelenos stayed away from the movies en masse. But with Paramount yet to open the film in Japan in France, and to use the topically gratuitous metaphor, Better Man’s monkey could still swing (on streaming services if not theatrically). Gracey’s most notable credit, the 2018 P.T. Barnum musical biopic The Greatest Showman, was dead on box-office arrival but slowly and gradually built up steam to become a sleeper hit. “This is my blanket statement for any movie that has great reviews and solid audience scores: Don’t count it out yet,” Dergarabedian says. “We need to give this movie a chance. The Greatest Showman is an example of a film that was somewhat marginalized and disregarded and had legs.” “Here’s the other thing: Movies that play like this that get more attention than box office in theaters wind up doing extraordinarily well on streaming,” he continues. “Because people have heard about them but didn’t necessarily want to go out to see them. I heard about that monkey movie and I want to check it out.” https://www.vulture.com/article/better-man-...much-money.html

@1890107548990337214

KNUTSFORD CITY LIMITS Gosh !, this is a while ago :) 62bcK70KNF8?si=4DyHAlqPCPrSPZpPp Meaning of Knutsford City Limits by Robbie Williams https://www.songtell.com/robbie-williams/kn...ord-city-limits

:lol:

He gave in too soon :lol: @1889963983152812193