“He mentioned to me a while ago, actually, but I didn’t know that it was so present in his mind until he said, ‘This is what I want to do next.’ And then it was just a no brainer for me.”
“We’re in contact all the time and we always talk about ideas, and ‘What do you want to write?'” said Shindler. “Nolly” marks the latest collaboration in a long-standing relationship between Davies and Shindler, who teamed up on “It’s a Sin,” “Years and Years,” “Cucumber,” “Banana” and “Queer as Folk.” Debut project for Shindler’s Quay Street Productions
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The series is produced in association with, and distributed by, ITV Studios. The show is directed by Peter Hoar (“It’s A Sin”) while Karen Lewis (“Happy Valley”) is producing. Russell’s screenplay is a work of brilliance and I hope I’ll do him and Nolly justice. “I’m so thrilled to help tell Nolly’s long overdue and largely forgotten story. “Noele Gordon was a fascinating, complex, brilliant and gutsy woman - none of which I knew before I read Russell T Davies’ script,” said Bonham Carter. And it needed to be someone who has a sense of humour, which clearly has.”īonham Carter admitted she hadn’t previously heard of Gordon prior to receiving Davies’ script, but was drawn to her public struggle as a woman battling sexism in the industry. “It needed to be someone who was iconic in her own right, because Noele Gordon was so iconic at the time. “She’s someone who can inhabit a really extraordinary, interesting, strong, eccentric kind of dynamic woman,” said Shindler of the actor. adaptation of “Call My Agent” on Amazon Prime Video. “At last, the truth can be told!”īonham Carter’s turn as Gordon marks something of a return to British broadcasting for the Oscar-nominated actor, who last appeared in a recurring role on terrestrial television in 2016 with the BBC’s “Love, Nina.” More recently, she starred as Princess Margaret in Netflix’s “The Crown.” She also has a guest role in the forthcoming U.K.
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It may not be the most cohesive of the Queer as Folk soundtracks, but Queer as Folk: The Fourth Season is the most diverse of the bunch, and a good indicator of the show's increasing complexity and maturity.“One of my very first jobs in TV was a trial script for ‘Crossroads,’ and I’ve wanted to write the story of behind the scenes on that show for 40 years,” said Davies. And while it's not as decadently romantic as Suede's heyday, "Attitude" is certainly witty and stylish enough to earn a place here likewise, the gender-bending cabaret of Andrea Menard's "If I Were a Man" adds a playful wink to the proceedings. The bittersweet pop of the Eels' "Love of the Loveless" and the Reindeer Section's brighter-sounding but just as earnest "You Are My Joy" are the best examples of this trend, but it's also reflected in the post-post-punk of the Uncut's "Understanding the New Violence" and the nu-new wave of Ima Robot's "Scream." Goldfrapp's slinky, driving "Train" and TV on the Radio's cryptically kinetic "Satellite" are two of Queer as Folk: The Fourth Season's best tracks, and two of the album's best reconciliations between electronic and rock leanings. True, Burnside Project's "Cue the Pulse to Begin," Jason Nevins' "I'm the Main Man," Kodo's "Strobe's Nanafushi," and Origene's "Sanctuary" all have a dance edge in greater or lesser degrees, but most of the soundtrack seems more oriented toward headphones or living rooms than a night on the tiles. Queer as Folk: The Fourth Season continues the move toward rock and pop and away from the dance music that dominated the soundtracks from the show's previous seasons.
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