列宁格勒牛仔摇滚乐队的几个成员装扮怪异，戴大墨镜，烫飞机头，夸张的火箭鞋就是他们的标志。可在他们的家乡看不见事业成功的希望，于是他们决定转战美国寻求机会，在即将出发的前夜，贝斯手却被冻死，尽管如此，队员们还是将他装入了放满冰块的木箱中带上了旅途。此时同村的一个怪异的哑巴 偷偷跟随乐队来到了纽约。纽约的机会并不如他们想象的丰富，困窘的生活仍在继续，在他们走投无路之时，得到了一个来自墨西哥的婚宴演出机会。于是他们用仅剩的钱从一个美国售货员（吉姆•贾木许 Jim Jarmusch 饰）手中买了一辆旧车后继续向墨西哥进发，那里有他们最后的梦想……
Filming is underway on series four of critically acclaimed ITV1 detective drama, Grace, starring John Simm as Detective Superintendent Roy Grace and based on the best selling novels from globally renowned author, Peter James.
Set in Brighton, Grace also sees returning cast members Richie Campbell (Top Boy, Stephen) as DS Glenn Branson, Zoë Tapper (Liar) as Cleo Morey, Craig Parkinson (Line of Duty) as DS Norman Potting, Laura Elphinstone (Chernobyl) as DS Bella Moy, Brad Morrison (Dinosaur) as DC Nick Nicholl and Sam Hoare (The Capture) as ACC Cassian Pewe.
This series will also feature renowned TV and theatre actor, Robert Glenister (Sherwood, Hustle).
Commented John Simm:
“I’m so pleased to be back on set, filming series four of Grace. Four of Peter James’ Roy Grace novels are being adapted for this series and Grace fans will be pleased to know the stories are as dark as ever with lots of twists and turns.”
Commissioned by ITV’s Head of Drama, Polly Hill, and Drama Commissioner, Huw Kennair Jones, the new series comprises four feature length films (4 x 120 mins) based on Peter James’s novels. Huw Kennair Jones will oversee production from ITV’s perspective.
Viewing figures for series three have so far averaged over 5.6m per episode, an increase on series two, with the first episode consolidating at 6.7m.
Commented Huw Kennair Jones:
“We're thrilled to be making another series of Grace. John and the team continue to bring Peter's brilliant characters and stories to life in such an exciting way. It's also great to be working with Tall Story and Vaudeville Productions again as we head back to Brighton for four brand new cases.”
Executive Producer Patrick Schweitzer said:
“I’m delighted we are getting to adapt another four of Peter’s wonderful books for ITV and it’s great to have the cast and crew back together filming in Brighton.”
Author Peter James said:
“As a writer, the chance to have such a phenomenal and collaborative cast and crew to bring my novels to life continues to be a dream come true. Audiences have so generously embraced the series with such enthusiasm and I cannot wait for Roy Grace fans, old and new, to see these four new episodes.”
Grace is a co-production between Tall Story Pictures, part of ITV Studios, and Vaudeville Productions. Executive producers are Patrick Schweitzer for Tall Story Pictures, and Andrew O'Connor and Paul Sandler for Vaudeville Productions, Kiaran Murray-Smith and Peter James. International distribution is handled by ITV Studios.
Writers for this series are Ed Whitmore for episode one, Ben Court and Caroline Ip for episode two, Tony Marchant for episode three and Jess Williams for episode four.
Brian Kelly will direct episode one, Billie Eltringham directs episode two and Kiaran Murray-Smith is also the series producer.
The first film in the new series is called Dead Man’s Time. A vicious robbery at a secluded Brighton home, draws Grace and Branson into a puzzling enquiry when thousands of pounds worth of beautiful antiques are stolen from the house. As Grace digs deeper into this mysterious crime, he unearths a web of ancient grudges - a web which leads him down a dark, murderous trail through the world of Brighton antiques, in a race against the clock, to untangle who is at the heart of this robbery, and bring Gavin Daly the answers he has been desperately chasing for many years.
In episode two, Want You Dead, Grace and Branson investigate a case where nothing is truly as it first appears. When an unidentified victim is found dead in curious circumstances, the post mortem reveals more questions than it does answers. As Grace works to identify the body, hoping this might provide some crucial clue as to the killer’s motive, he soon has another death on his hands when a second victim shows up in central Brighton, discovered in similarly bizarre circumstances.
You Are Dead is episode three in which Grace and Branson are thrown into what is possibly their most disturbing and high-profile case yet, when an unsettling discovery of skeletal remains is unearthed by workmen digging up a path in central Brighton. Meanwhile, across the city that same morning, a victim is snatched in broad daylight. With no witnesses and no sign of who took her, Grace starts to suspect whether the victim’s fiancé is lying to the police.
The final episode in the series is Love You Dead. When a known Brighton burglar is found dead in his car, in gruesome circumstances, his wife claims that he had turned over a new leaf, but all the evidence points to the fact the victim may still have been up to his old tricks and was breaking and entering on the night he was killed. As Grace and the team work to hone in on the circumstances leading to the victim’s death, Roy receives a call from a US police contact about a crime abroad which bears the hallmarks of a mafia hit. The police are keen to trace a woman they believe to be from Brighton, who could be in danger. As Roy scours the city to help find her, it becomes apparent he isn’t the only one looking for this mysterious woman.
这是一部关于一位早逝的电影天才的散文式纪录片，《格列佛最后的旅行》用日记 影像的形式再现了1964-1972年捷克导演帕维尔·祖拉塞克的私人生活，他的情感困扰和动荡的时代背景，帕维尔生前只留下了两部电影和33篇日记，1964年29岁的他刚刚独立拍完一部短片并写了几本出色的电影剧本，一个有天赋的年轻编剧即将要成为导演，然而与妻子的矛盾也逐渐显现在艺术家过于自我的生活里，那时新浪潮刚刚萌芽不久，卡罗维发利影展吸引了众多世界的目光，一批刚毕业的青年导演也初露锋芒，包括帕维尔在内的许多人都看到了实现个人梦想的机遇。。。68年前后的改革让布拉格迎来了春天，青年人的生活色彩开始丰富，新潮和时尚充满在这座东欧小城里，可帕维尔的生活却逐渐脱离轨道，妻子离她而去，带走了可爱的女儿，而他正困扰于新剧本的创作，他开始怀疑自己的一些想法，甚至觉得自己也许并不适合做这一行。。。 当苏联坦克悍然侵入布拉格时，帕维尔选择了沉默，并没有像其他人那样走上街头抗议，而是以电影为控诉极权暴力的途径，尽管在《为年轻刽子手的辩护》中这样的主题显得并不是很直白露骨，但事实上隐藏的含意是不言而喻的，而这也决定了帕维尔和他的电影的命运，影片只在一座小剧院里放映了两周就被禁，帕维尔连同埃德尔瓦·朔尔姆、杨·南曼奇、乔拉·赫兹等人一起上了捷克秘密警察的黑名单，他的工作室被迫关闭，胶片拷贝被没收，那段时期他彻底放下了电影，重新组建了新的家庭，并有了儿子，可谁又知道一个受到禁锢而无法展示自己才华的艺术家心中真正的苦闷呢，十七年后当丝绒革命即将爆发之前，54岁的帕维尔却没能等到重获自由的那一天。 影片由帕维尔的儿子马瑞克扮演父亲，片中贯穿头尾的画外音朗读日记也是由他亲自叙述的，导演马丁·苏黎克用家庭电影的实验性拍摄手法将一个艺术家短暂而悲剧的一生展现在观众眼前，时代是如何影响个人的命运，黑白与彩色交织的画面暗示着帕维尔分离的情感世界，一种是与女儿在一起时的温馨，另一种是陷入孤独和迷惘时的无助，在他的眼中我看到了忧伤，即使与家人相处时他的安静的目光背后依然有着深深的痛苦感，对前妻的愧疚，对女儿的思念依然折磨着他的心灵。摄影机始终跟随着主人公，一点一滴地记录下生活的全部，略带苛砾感的影像构建起一个很私人的空间，但生活毕竟是可以被再现的，而特殊的时代却是很难去复制的，所以影片里还插入了不少真实的纪录影像，将真实的场景与演员的再现两者结合为一体，剪接处丝毫没有唐突感。 在我看来尽管帕维尔·祖拉塞克的遭遇能代表捷克新浪潮一代从最初的充满理想到被无情扼杀再到逐渐归于沉寂的悲剧结局，但他更多还是作为一个普通人而存在，他的生活里也有着普通人的爱恨得失，有着那个年代东欧人生活中共同的压抑和痛苦，人们应该记住他和他的电影，记住那段悲伤的往事，但历史并不能倒转，传奇也不可能再去重复。 《格列佛最后的旅行》（The Key for Determining Dwarfs or The Last Travel of Lemuel Gulliver），2002年，58分钟，黑白 彩色，捷克共和国。03年捷克评论家协会最佳纪录片奖；03年德国威斯巴登东欧电影节最佳影片金百合花奖。
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