Kiefer Sutherland Opens Up About Working With His Father in Forsaken | guiadeayuntamientos.info
Love & relationships After playing Jack Bauer for a ninth season, he decided now was the right time Kiefer Sutherland and Donald Sutherland starring together in their new film, . My parents didn't give me advice. "Sound like Donald Sutherland don't I?" says the iconic actor's equally For the relationship that I wanted to develop between my father's. Kiefer Sutherland says he finally got the chance to do something he's she and Donald divorced in , admits his relationship with his father.
Your parents divorced when you were 5. You were raised by actress mother Shirley Douglas in Toronto while your father was a rebel with a Klute, carrying on in Hollywood. And you grew up to be a successful bon vivant — Christmas trees and curfews stood no chance against your public shenanigans. Any father-son relationship is nuanced, and yours wasn't likely to be the exception, no? As he helmed 24 for seven seasons, he's highly aware of Kiefer Sutherland's skill at being grim.
But as for the on-set dynamic between father and son, he was less concerned with genetics than he was with chemistry — "If you get it, it's lightning in a bottle" — and simple professionalism. The younger Sutherland is John Henry Clayton, who returns to town after an eight year absence disheartened to find a sweetheart a no-nonsense Demi Moore long married off, a mother no longer alive and a father who harbours bitterness toward his son.
Kiefer and Donald Sutherland did father-son bonding in Forsaken - The Globe and Mail
Story continues below advertisement Story continues below advertisement The film is character-driven, with a straightforward plot about a bullying land baron played by the cussing maestro Brian Cox whose gang of ruffians terrorize a windswept town.
Sutherland's brooding protagonist wants to put his days of gun-toting frontier justice behind him, but we know that isn't going to happen. That sure thing is a gunfight, predictable as a John Wayne punch to the nose. The film was the idea of Sutherland, who pitched it to his screenwriting pal Brad Mirman, who penned the script.
The elder Sutherland read the script and embraced idea of playing the father. The two Sutherlands had appeared together in two films previously — Max Dugan Returns and A Time to Kill — but never before had they shared a scene.
It does not matter that Sutherland, who married Toronto native and former model Kelly Winn at a guest affair last June, now leads a much more sedate private life on his Los Angeles-area ranch. No more pool halls, no more unrestrained carousing. The father of three his nine-year-old daughter with first wife Camelia Kath and Winn's two sons, 8 and 5 may still smoke Marlboros, but he carries a portable ashtray with a built-in electric fan.
In his early teens, Sutherland languished for one desultory year at Venta, a private school outside Ottawa, and when his grandparents were alive, he spent at least two weeks of six summers at the family cottage in nearby Wakefield, a place that Douglas could only part with last year after her mother, Irma, died.
When the House of Commons was sitting in the s, Kiefer and Rachel, now a Toronto-based television producer, would watch their impassioned grandfather from the public gallery.
And Sutherland recalls how Stanley Knowles, the former NDP Winnipeg MP and, as Douglas's unofficial godfather, still a close friend, "always used to bring me a hotdog, which was kind of against the rules.
Inhe was a year-old blossoming rebel, intent on a profession in hockey or, better still, as a guitar player in a rock 'n' roll band, when he slipped into the audience at the National Arts Centre to watch his mother transform herself into the blowsy, boozing persona of Martha in Edward Albee's Who's Afraid of Virginia Woolf? Normally, whenever his parents performed, Kiefer, with a practised critical eye, fretted about muffed lines, missed cues or bad lighting. Halfway through the first act on this May night, though, he forgot about the mechanics of acting.
It wasn't even his mother on stage. I just kept staring at that stage," he recalled. For the first time, he experienced the magic space between reality and illusion. And I wanted to learn about it.
Q&A: The Sutherlands bring relationship to the big screen
After a series of back-to-back films, burned out and restless, he had turned to directing with the cable-TV death-row drama Last Light in and, more recently, the romance Truth or Consequences, another TV movie. Between acting work as a Ku Klux Klan leader in A Time To Kill with Sandra Bullock and a role in the sci-fi thriller Dark City with William Hurt, he worked sporadically on his special project, a feature film about his grandfather and the birth of medicare.
But there was something missing. Sutherland says the first time she did it, he realized that "if someone else had done that to me, there would have been an initial uneasiness. Considering the Mississippi- born writer's vast and varied repertoire by the time of his death inhe may not have kept entirely true to his word. But arguably none of the more than 25 full-length plays that followed quite so eloquently exposed the fragility of a spirit caught between hopeless dreams and harsh truths.
Veteran Shaw Festival director Neil Munro's version of The Glass Menagerie, which opened in Ottawa last week and travels to Toronto on March 26, fails to properly convey that precarious balance between poetry and pathos. Despite the strong stage presence of mother-son duo Shirley Douglas, as Amanda Wingfield, and film star Kiefer Sutherland, as her son, Tom, there is little subtlety in the humor that Williams sprinkled as relief through this fable about a faded Southern belle, her frustrated son and her homely daughter, Laura Kathryn Greenwood.
It isn't that Sutherland, in his first stage appearance in more than a decade, fails to stamp his imprint on Tom, who is trapped between family loyalty and a desperate desire to be free.