Two pairs of free tickets to see Bronson
Published 5th Mar 2009 by Jon

This is fantastic opportunity to not only see one of the best reviewed films of 2009 but also gives you a chance to watch it with some of the stars followed by a Q&A with the director.  To be in with a chance of winning all you need to do is email your name to competition@brightonlife.com by Thursday 12th March.   The film will be shown at the Duke of Yorks Cinema on Friday 13th March.

About Charles Bronson

Born Michael Peterson in 1952, his name was changed by his fight promoter in 1987.
Bronson was born in Aberystwyth in West Wales, before moving to Merseyside, and later Luton, which is often referred to as his home town
He is now 56 years of age
He was originally sentenced to 7 years in 1974 (aged 19) for a bungled armed robbery - a robbery in which no one was hurt.
He has spent 34 years in prison, 30 of those years have been spent in solitary confinement.
He was released on 30 October 1988 and spent 68 days as a free man.
Released again on 9 November 1992 and spent 53 days as a free man.
He has not been allowed to mix with other prisoners since 1999 (HMP Hull CSC unit with 5 others).
In 2000 he was sentenced to life with a three-year tariff for holding a teacher hostage for 44 hours - a teacher who was not physically harmed
He has been subject to both physical and psychological brutality throughout his incarceration.
He has shown no sign of violence for the past seven years.
He has been certified as clinically sane.
Bronson has developed an extreme fitness regime and regularly performs 2,500 press-ups a day.
In 2002, he published a book Solitary Fitness detailing an individual training process with minimal resources and space.
His art has occupied him for the past ten years and is now his life.
His artwork is unique and is sent to all corners of the world.
He has won a record 11 Koestler Awards for his poetry and art.
He has published eleven books.
Bronson remains a "Category A" prisoner where he is still in solitary confinement in Wakefield high-security Prison

DIRECTORS STATEMENT
NICOLAS WINDING REFN
“I became involved with the movie Bronson through my relationship with Rupert Preston (Producer), who has released all my previous movies in the UK. Rupert gave me the script thinking I might be interested in directing, but to be honest I was hesitant because I had already made quite a few films about violent people especially men. After reading the script and talking it through with Rupert, Allan (Niblo – exec producer) we all got into the idea of taking this film to another level. Through these discussions the film began to excite me more and fortunately we were able to work it into my schedule, as I was working on another film at the time [Valhalla Rising].

As I am not British and have not lived here, I had never really heard of Charles Bronson before so my initial reaction was, ‘what intrigues me about this guy? I began by reading his books and for me it was trying to figure out the flip side of this ‘Charles Bronson’ personality, which I thought was quite intriguing. That is where I began to re-write the script, this sense that there was more to this man that meets the eye.
I decided to make the film about the concept of ‘Charles Bronson’ rather than Michael Peterson, his real name. I personally can’t judge him as I didn’t have any preconceptions or a knowledge of his tabloid exploits to even comment on that. From this the movie became more about the concept of somebody becoming another person…an alter ego becoming Charles Bronson, which I thought was very intriguing.

Furthermore setting the film in prison, which usually is about escaping, let me explore this strange alternate world that makes people in a way stay or at least in some way want to continue to fight the system through a very authoritarian set-up.
In the early stages there was talk about trying to meet Charles Bronson, but because I am not English the home office would not let that happen. However I received a letter from him [Bronson], which was very kind and later I was able to speak to him on the phone for about 20 minutes. I asked if he could possibly come up with some voice over dialogue that we could incorporate into the script, which he later sent me and it was very good. Overall it was really good to work with him.

Tom Hardy is a very nice guy and a very good actor and we had a very good relationship throughout the shoot. Whatever discussions we had were always for the best of the project. I shoot my films in chronological order, which is a process that some actors find tougher to do but Tom was very collaborative and the movie is better for this.
A key crew member for me was Larry Smith* with whom I actually goes back for quite some years. He worked with me on FEAR X, while not being commercial was an artistic achievement in film-making. After that Larry and I worked on MISS MARPLE, which I guest directed.

When BRONSON came about I knew I needed someone that was going to make this film look unique and great for the small budget that we had. As Larry and I had a good working history I called him up and said ‘You gotta do me a favour, this is the budget and I know it’s not even close to your rate but I need you to do this.’ Larry, being the great man that he is told me ‘you meet me there and I’ll do it.’ Larry contributed a lot to the movie, in a way Larry, like Tom Hardy, was a huge collaborator. The three of us were the core of this film making process.
I have a principle of never really commenting on my own movies because I don’t really know what to say about them, and I think it’s more important to hear what other people have to say. With BRONSON what intrigued me was being aware of two things. First this youth obsessive fame culture that we have and once you achieve it where you go from there?

Then secondly, there was something really intriguing about looking at Charles Bronson as an artist who is searching for his canvas.

I think that the latter was maybe the core of the film. Finding that core didn’t happen until halfway through the shoot, when this concept of an artist in search of a canvass dawned on me. I was re-writing the ending of the film and trying to discover what really intrigued about this character. Charles is a metaphor for an artist searching for a canvas, an artist tries many things, you’re erratic, violent, crazy and you want to destroy until you find that place. This became really apparent to me when we shot the end scene and I thought ‘well why does he do what he does?’ and I was unable to come up with an answer. So I came up with the idea that he wants something, he wants music, he has emotions to create and needs a canvas to do that on.”

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