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No Time to Die will be the 25th film in the franchise and Daniel Craigs final role as 007

Former Smiths guitarist Johnny Marr will join composer Hans Zimmer to score the upcoming James Bond movie No Time to Die.

Zimmer, widely celebrated for his scores for films such as Gladiator, The Da Vinci Code and the Pirates of the Caribbean series, was drafted in as a last-minute replacement earlier this month.

No Time to Die, which is the 25th James Bond film in the franchise and Daniel Craigs final fling in the role, will be released in April 2020.

Marr told NME: Part of the legacy of the Bond films is iconic music, so Im very happy to be bringing my guitar to No Time To Die.

The pair had previously collaborated together to score a number of projects, including Inception and The Amazing Spider-Man.

Zimmer replaces Dan Romer, who reportedly departed due to creative differences. It was Zimmers close friendship with Bond producer Barbara Broccoli that led to his initial involvement with the film. I never thought I would do this. I honestly never thought about it other than that Barbara Broccoli is a really dear friend, I just love her as a human being, very much, he said.

Zimmer is one of Hollywoods most high-profile composers, winning an Oscar for his 1994 theme for The Lion King. He is best known for his collaborations with Christoper Nolan on Inception, Interstellar and the Dark Knight movies.

Earlier this week, Billie Eilish announced she would be writing and singing the theme song to No Time to Die. The 18-year-old musician is youngest artist to provide the soundtrack to a Bond film, which has over the years morphed into an highly anticipated music event.

Eilish said: It feels crazy to be a part of this in every way. To be able to score the theme song to a film that is part of such a legendary series is a huge honour. James Bond is the coolest film franchise ever to exist. Im still in shock.

She follows some of the industrys biggest names in creating a song for the franchise, including Shirley Bassey, Paul McCartney, Duran Duran, Madonna, Sam Smith and Adele. The UKs Official Charts, which described Bonds theme songs as an integral part of British music and film legacy, notes that Smiths theme song for 2015s Writings On The Wall is the only one in the franchise to reach number one, while Duran Durans A View To A Kill and Adeles Skyfall each peaked at number two in 1985 and 2012 respectively.

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In her most successful decade, the actor talks family, surrealist politics and the perils of marrying James Bond

Rachel Weisz stands in the doorway of a cafe in downtown New York, adjusting to the gloom from the brightness outside. We are in the East Village, a formerly bohemian part of town long since gentrified, although, as I note to her as she sits down, the park at the end of the street still seems to host a few local eccentrics. Yes, she smiles, fishing in her bag for her glasses. Its not all bankers. The 47-year-old lives around the corner and, in spite of her wealth, fame and marriage to Daniel Craig, gives the impression of living a life somewhat in line with the low-maintenance neighbourhood. This morning, Weisz dropped off Henry, her 10-yearold son, at school, went to yoga, caught up on emails, and tonight she is taking Henry to the theatre. She is trying to get people together on Sunday for a roast dinner.

I mention all this because Weisz is a serious person and an interesting actor who has almost no tolerance for the indignities of fame. Her own celebrity is bad enough, but my God, to be married to James Bond the mortifying excess of it! and her reserve in the face of what she considers lascivious interest has often presented, over the years, as diffidence. There is not much of that in evidence today; she is sunny and sociable, unrecognised by all but the staff at the cafe, and bearing little relation to the creepy terms in which British newspapers have, for 20 years, been describing her (a starlet, a siren and, of course, an English rose). In a floral print dress and sensible shoes, she looks like everyone else in the cafe, which is to say, someone who has only glanced in the mirror before leaving the house.

I realise I am being a killjoy with this, but there is a particularly trouser-rubbing tone to much of the coverage of Weisz that her near contemporaries Kate Winslet, Kate Beckinsale dont suffer to quite the same degree, and that has to do with an idea that her looks are unusual. The one startling thing about Weiszs appearance today is that, without much in the way of cosmetics, she looks easily 10 years younger than she is. At an age when a female movie stars options are expected to dwindle, Weisz is having the best decade of her career, starting in 2006 with her Oscar for best supporting actor in The Constant Gardener and leading up to Denial, in which she played Deborah Lipstadt, the Holocaust historian who was unsuccessfully sued for libel by David Irving. A few years ago, Weisz bought the rights to Naomi Aldermans novel Disobedience the story of a lapsed orthodox Jewish woman returning from her life in New York to her native north London which is about to go into post-production, and she is soon to appear in My Cousin Rachel, an adaptation of the Daphne du Maurier novel.

My Cousin Rachel is something of a Rorschach test, for viewers as for Weisz herself, who had to decide if her character was primarily a victim or a villain before playing the role. It is the story of a glamorous widow who returns from Italy to Cornwall and transfixes the young heir to her late husbands estate, whereupon her motives fall into question. The movie tries, successfully, to keep all interpretations open, as does Weisz. I cant tell you, she says as to whether she perceived the character to be a gold digger who conned a young man out of his fortune, or a woman unfairly maligned. I think it would ruin it. I completely decided, and Ive only met two people who have seen it other than you, and one of them was adamant and said, Oh, she definitely did it. And the other said not.

Rachel Weisz with Sam Claflin in her new film, My Cousin Rachel. Photograph: Nicola Dove

It is my hunch that Weisz plays the heroine as innocent; it is more morally interesting that way, turning the character from The Woman In Black into someone more sinned against than sinning, who flushes out the biases in all who would judge her. It also plays to a guilelessness in Weiszs style that seems vaguely rooted in her flair for absurdism. Weisz can do a better straight face than almost anyone, be that as Lipstadt, an American baffled by class subtext in the British legal system; or as the unnamed, short-sighted woman in The Lobster, Yorgos Lanthimoss brilliant surrealist film in which her highly stylised performance relied for its comedy on a kind of aggressive earnestness, and in which she managed to look simultaneously blank and vaguely alarming.

Making Disobedience and My Cousin Rachel has meant spending long periods in London, where Weisz grew up, and where she and Craig still have a home. Weiszs mother died several years ago and her father is 88, but for the time being, moving back to Britain full time is out of the question; Weisz and Darren Aronofsky, her former partner, are jointly raising their son in New York. (Craig has a grownup daughter from a previous marriage.) Weisz was aware, however, during those weeks back in London, that she enjoyed a level of social comfort there that she doesnt experience in New York. She emigrated 16 years ago, and agrees that it was harder to make friends in ones 30s than ones 20s. When I was in London [recently], I had Sunday lunches every weekend, lamb or chicken in the oven, people milling about. I havent found that here, so Im going to start it. The forthcoming Sunday is to be her inaugural lunch.

Weisz says it was strange to be in Britain when the Brexit vote came in, although in some ways she finds Donald Trump the more puzzling phenomenon. Its hard for me even to understand how it happened, she says. Its surrealist. But its finite. Trump is pretty catastrophic, and there are terrible things he can do to the Earth and womens rights, but I feel it will be reversible, somehow. But Brexit feels like a death. Its gone. It made me think about my parents and the reason the European Union was created in the first place, to make sure we never had a war like that ever again, to come together and get rid of our nationalism, and be one stable thing. Its very hard.

Both Weiszs parents, who divorced in the 1980s, came to Britain as child refugees just before the second world war (her mother from Austria, her father from Hungary) and on the evidence of previous interviews, Weisz is irritated by ongoing interest in them. Now, she says, Im English, but my parents were refugees and I feel like, really, is that still interesting?

I wonder if questions about them strike her as a backhanded way to exoticise her origins. On the other hand, Weisz has also been thinking of her parents experiences lately. Its depressing, I suggest, how the warm welcome she says they received in England is not reflected in the current political climate.

I know. I know. I have been thinking about that, in relation to all the Syrian refugees and the xenophobia now. The way they recounted things is that they were massively welcomed in different parts of England and by different communities, and really felt proud to be English, even though, she starts laughing, they were really not. My dad is so Hungarian.

He still has an accent?

Oh yes.

And yet, she says, they were completely accepted. And they said, look at [Oswald] Mosley, no one would go that way. Thats what I grew up being told: the English sense of moral right means it could never have happened here.

With Colin Farrell in Yorgos Lanthimoss The Lobster. Photograph: Canal+/Rex/Shutterstock

The most animated Weisz gets in the course of our conversation is when she is revisiting her experiences at Cambridge University. She graduated with a degree in English in the early 90s, and spent most of her 20s trying unsuccessfully to get back to the happiness of being a student performer. The idea of acting on mainstream TV, let alone in Hollywood movies, never held much appeal; as a teenager, Weisz famously turned down a role opposite Richard Gere in a movie called King David, and by university she was convinced her talents lay in more avant-garde work. I remember this thing I once saw from Poland at the Edinburgh festival, maybe it was 1990 it was communist-era and it was a family, speaking Polish, so none of us could understand what they were saying. And theyd begin in a home with all their stuff around them and then a siren would go off and this relates to my mum, I guess suddenly the whole family would pack up their entire life and put everything into seven suitcases. It felt like a circus, juggling things. And then theyd march around the stage with this trumpet music playing, and theyd settle somewhere else and unpack their bags and start a new life, talking in Polish, and then woo-woo-woo the siren would go off again. It was one of the most incredible pieces of theatre that I have ever seen.

Weiszs mother was about five when she left Austria, and her experiences echoed subtly through her daughters childhood. My mum would always give me food, wherever I was going, even if I was going somewhere very briefly. I think thats a refugee thing. A sandwich, an apple. I still tend to carry food with me, too. Its a habit. It came in useful when I had a kid they get low blood sugar. I would say travelling, for my mum, was not easy. I mean, she loved going to places, but the actual journey it was not a streamlined experience for her. Packing. Packing.

Why packing?

With her husband, James Bond actor Daniel Craig. Photograph: Rex/Shutterstock

Well, when she left Vienna, it was two weeks before the Germans arrived and they didnt want to let people out, so you had to pretend you were going on holiday. Her mum packed however many pairs of knickers one took on holiday in 1935, to look like a two-week holiday. Probably two at that time, and you washed them. And a toy. The shock of this move was not something her mother ever explicitly talked to her about, but the way I built it in my mind, she ended up in very different circumstances, very poor, in Hertfordshire.

By contrast, Weisz was raised in a prosperous household in Hampstead Garden Suburb, north London, her father an engineer and her mother by then a psychotherapist. It was strange, she says, being back in those parts to film Disobedience. I didnt grow up as an orthodox Jew, whereas the community in the book is very religious. Theyre Haredi, so all the women wear wigs. I grew up in a very liberal Jewish household and my mum was a convert from Catholicism. But we filmed in Golders Green high street and the director of photography had grown up on the next street from me. And it was the most extraordinary thing. It felt mythological ordinary and mythological at the same time. I remember being a child, and thats where the ice-cream shop was where I went after school, which was very potent. But it was also nothing to do with my life.

It is this tangential relationship to reality that Weisz likes best about her job, enabling her to self-expose under cover of drama. I like the idea that in stories, ever since Greek tragedy, the unspeakable, the undoable, the unsayable, the taboo, the fuck-you, whatever all those things can happen and no one gets hurt. I like fiction for that reason.

Does that limit the extent to which she reveals herself? I think youre completely revealed, but its you threaded through the coordinates of this fiction. Theres no biographical detail to get at, but I think youre ultimately revealed.

Autobiography is a less palatable business entirely. She has a policy of not speaking publicly about her life with Craig, whom she married in 2011, although she will concede that if one must be a famous actor who marries a more famous actor, one cant really blame people for ogling. Yes, my bad, she says drily. I ask if they have even a grain of competitive spirit between them and she says: I think that would be true if we were both women, or both men. I cant play his roles and vice versa.

After Cambridge, she was confident her life in avant-garde theatre was set to continue, until the acting partner with whom she had set up a theatrical company decided to go to Rada and the thing fell apart. We were going to apply for Arts Council funding, but suddenly it was like, Oh, thats not happening. And I had an agent, and things started happening in television. I was trying to do naturalistic acting. That was so weird. I remember, for one of my first jobs, I had to play a student and I thought, I dont know how to do that, even though all Id done in life was be a student.

What was it?

It was something from Scotland called The Advocate. She rolls her eyes. I didnt know how to do naturalism, whatever that means.

So she had to figure it out quickly?

Or, slowly. Yeah.

Weisz won an Oscar in 2006 for The Constant Gardener. Photograph: Jaap Buitendijk

Weiszs father, in particular, didnt disguise his lack of enthusiasm for her chosen career path. She has said in the past that he let it be known he didnt think she was a good enough actor, which she laughingly concedes was very much the case early on. I ask if it is conceivable she would ever express a negative opinion about her own childs skills the way her father did about hers.

Well, obviously my dad will read this article, so what can I say? Would I ever do that? Um. I think, if my dad was here, he would say, I think Rachel appreciates my honesty. I dont mollycoddle her and Im honest and she can trust what I say. And its a different generation, hes 88. Parenting that word its very different now in terms of directness, maybe.

Parenting didnt exist back then?

No. We just grew up. I think hed say that if he gives me a compliment, I know I can believe it. She starts laughing. He says this thing you know the expression, Well, to tell you the truth. And my dad always says, You were lying before?

Would she repeat that honest approach with her son? There is a long pause. I think one can think whatever one wants, she says, but one cant say whatever one wants.

After making The Mummy, a big hit in 1999, Weisz ricocheted between splashy but forgettable films (Enemy At The Gates, Runaway Jury) and smaller, more resonant ones. She was great in the adaptation of Nick Hornbys About A Boy, and appeared in The Fountain, a magical realist romantic drama, with Hugh Jackman, under the direction of her then partner, Aronofsky. She recently made another film with Lobster director Lanthimos, The Favourite, a period drama starring Olivia Colman as Queen Anne, who reigned until 1714 and was the last Stuart monarch. Weisz plays Sarah Churchill, one of the queens advisers. It is striking that if a project interests her, she will forgo the lead and take a smaller, ensemble part.

As Holocaust historian Deborah Lipstadt in Denial. Photograph: AP

This was not the case in Denial, which was very much Weiszs movie. During preproduction, she and Lipstadt bonded over the discovery that the Reverend James Parkes, the man who helped Weiszs mothers family come to England, was a theologian Lipstadt had studied in college. Her mother died of cancer, at the age of 83, before Denial was released, but her father thought it was an important film. A friend of my dads wife made a documentary about my dad going back to the flat where he used to live [in Hungary], and being let in and walking around. Theyre offices now, there were secretaries sitting there. And he said, This is my bedroom. They went to the playground where he used to play.

As she gets older, Weisz sees that securing the kinds of roles she wants necessitates her involvement at an earlier stage in the process. She is robustly feminist; when she thinks about history the second world war, womens enfranchisement it seems to her we all have very short memories. Thats how I feel about when women got the vote. Guys, weve only had a second. But she is also critical of the vapid form so much feminist commentary takes. I was thinking about that expression women in film, she says, as if were outliers. Giraffes in film! Or pandas in film! Meanwhile, she is especially proud of Disobedience, because, I produced that and made that happen. I bought the rights for the book three years ago. It didnt land at my door. I really loved that experience of working with the writer. Now Im watching edits and its using a different muscle from acting.

The play she is taking her son to see tonight is Sweeney Todd, which hes very excited about, she says, because apparently they give out real pies. Beyond that, she is hanging out in the neighbourhood, enjoying downtime between projects while awaiting the release of My Cousin Rachel. That it is a quiet film, slow-paced like a novel and part of what feels like a mini Du Maurier renaissance, isnt unusual for Weisz, but it does feel singular to the extent that the audience never gets closure on who the heroine is. People are going to bring their own interpretations, she says. Shes a bit of a mystery, right?

My Cousin Rachel is on general release.

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From Daniel Craig playing Iago to a 24-hour history of America as told through pop songs, there are a plethora of great shows to see on Broadway and beyond

October Sky

A coalminers son reaches for the stars in this musical adaptation of the 1999 Jake Gyllenhaal film. The autobiographical story of Homer H Hickam Jr, a working-class kid who became a Nasa engineer, it has a book by Brian Hill and Aaron Thielen and rocket-fueled songs by Michael Mahler.

From 10 September to 23 October, Old Globe Theatre, San Diego, California, (619-234-5623)

A 24-Decade History of Popular Music

If the road of excess leads to the palace of wisdom, then the performer, composer and playwright Taylor Mac, whose works are overstuffed with music, dance, ingenuity, verve and glitter eye shadow, should be counted a contemporary sage. Judge for yourself when Mac presents his history of revolution in America as told through its popular song. Hell perform eight acts, totaling three decades each, then put them all together in a nonstop 24-hour marathon performance.

From 15 September to 8 October, St Anns Warehouse, New York, (866-811-4111)

The Cherry Orchard

Diane Lane rehearsing for The Cherry Orchard. Photograph: Jenny Anderson

Real estate tumult is a staple of New York life, which means that Chekhovs comedy drama of an unwieldy estate flowers eternally. This new version is adapted by Stephen Karam, who demonstrated his Chekhovian bona fides in The Humans. Diane Lane, John Glover and Tavi Gevinson play the faltering aristos with Harold Perrineau as an upstart entrepreneur and Joel Grey as a loyal servant.

From 15 September, American Airlines Theatre, New York, (212-719-1300)

Visiting Edna

David Rabes shrewd, fervid plays (Hurlyburly, Streamers) show people grasping for the vestiges of a normal life as tragedy, passion and blind chance threaten to wrest it away. In this new drama a cancer-stricken mother (Debra Monk) and her adult son (Ian Barford) attempt to uphold their relationship. Anna D Shapiro directs and ensemble members K Todd Freeman and Sally Murphy costar.

From 15 September to 6 November, Steppenwolf Theatre Chicago, Illinois, (312-335-1650)

The Front Page

One of the lead stories of this Broadway season is the star-crammed revival of Ben Hecht and Charles MacArthurs comedy drama, the source for His Girl Friday. The headline cast includes Nathan Lane, John Goodman, John Slattery, Holland Taylor and Sherie Rene Scott in a tale of tabloid journalists who crack wise and write hard. Jack OBrien directs.

From 20 September, Broadhurst Theatre, New York, (212-239-6200)


Mary-Louise Parker and Denis Arndt in Heisenberg. Photograph: Joan Marcus

Theres little uncertainty surrounding the Broadway transfer of Simon Stephenss play, which debuted at Manhattan Theatre Club last season. Mary Louise Parker and Denis Arndt play unlikely lovers thrust together like so many particles. Mark Brokaw directs.

From 20 September to 4 December, Samuel J Friedman Theatre, New York, (212-239-6200).

Meteor Shower

Steve Martin performs at the Tony awards this year. Photograph: Lucas Jackson/Reuters

Steve Martins last show, Bright Star, shone with a somewhat modest light, but perhaps his comic sense will blaze more brightly in this new work. Here, two married couples congregate for an evening of astronomical delight and nuptial tension. Gordon Edelstein directs and Craig Bierko of Unreal is among its shooting stars.

From 28 September to 23 October at Long Wharf Theatre, New Haven, Connecticut, (203-787-4282)


The Broadway revival of William Finn and James Lapines musical centers on a cluster of neurotic New Yorkers navigating family, sexuality, love and death. Christian Borle, Stephanie J Block, Andrew Rannells and Brandon Uranowitz star in the Lincoln Center production, directed by Lapine, which returns audiences to a Manhattan before the days of marriage equality and retrovirals.

From 29 September, Walter Kerr Theatre, New York,

Scenes from Court or The Whipping Boy and His Prince

Sarah Ruhls poetic, inventive plays (Eurydice, The Clean House) flout the rules of time, space and dramatic structure to thrilling effect. In her new play, an exploration of political dynasty directed by Mark Wing-Davey, the Stuart kings Charles I and Charles II somehow share the stage with more recent politicians, namely Jeb and George W Bush.

From 30 September to 22 October, Yale Repertory Theatre, New Haven, Connecticut, (203-432-1234).


Rachel Weisz: shes got Plenty. Photograph: SBN/Star Max/GC Images

The Public Theater revives David Hares abundantly personal and political play, which it last hosted in 1982. An intricate character study and a searing indictment of postwar lassitude, the production stars Rachel Weisz (The Constant Gardener) as a former resistance fighter reduced to professional drudgery, with Corey Stoll and Byron Jennings. David Leveaux directs the special operations.

From 4 October to 6 November, Public Theatre, New York, (212-967-7555).

Les Liaisons Dangereuses

Gimme danger: Janet McTeer as Marquise de Merteuil and Liev Schreiber as Vicomte de Valmont. Photograph: Jason Bell

When sex and power collide, all bets (and many a petticoat) are off. Josie Rourke brings her admired Donmar Warehouse revival of Christopher Hamptons adaptation of Choderlos de Lacloss epistolary novel to the relatively decadent environs of Broadway. Janet McTeer and Liev Schreiber star as former lovers stirred by passion and revenge, with Birgitte Hjort Srensen.

From 8 October, Booth Theatre, New York, (212-239-6200).

Natasha, Pierre and the Great Comet of 1812

An excerpt of Tolstoys War and Peace reimagined with a pop, electronic, indie score, Dave Malloys audacious musical streaks its way to the Broadway stage, where the director will work to maintain the plays immersive, vodka-swilling vibe for an uptown crowd. A work both cynical and unabashedly romantic, it now stars Josh Groban and Dene Benton as unlikely lovers.

From 18 October, Imperial Theatre, New York, (212-239-6200).


Lynn Nottage: both inspiration and perspiration. Photograph: Linda Nylind for the Guardian

If genius is a mix of inspiration and perspiration, the playwright Lynn Nottage (Ruined, Intimate Apparel) doesnt lack for either. Her new play, which earned rapturous reviews at the Oregon Shakespeare Festival, embeds itself in a working-class Pennsylvania town where the shuttering of factories threatens the economic and emotional lives of its residents. Kate Whoriskey directs.

From 18 October to 27 November, Public Theatre, New York, (212-967-7555).

Sweet Charity

A dance hall hostess with a 24-karat heart and an almost total lack of sense, Charity Hope Valentine, the cynosure of this Cy Coleman, Dorothy Fields and Neil Simon musical, returns to the stage. In this New Group revival shell be played by Sutton Foster of Younger, an actress as toothy as she is virtuosic, under the poised direction of Leigh Silverman.

From 2 November to 23 December, Pershing Square Signature Center, New York,

Kings of War

Kings of War: a deconstruction of Shakespeares history plays. Photograph: Jan Versweyveld

Several of Shakespeares monarchs bestride the Brooklyn Academy of Music stage, when Ivo van Hove brings his fusion of Henry V, Henry VI and Richard III to the Next Wave festival. Fourteen actors play 35 roles in a work exploring leadership and governance all too relevant in an election season.

From 3 November to 6 November, BAM Howard Gilman Opera House, New York, (718-636-4100).

Dear Evan Hansen

This confident musical about a terminally awkward adolescent makes its poignant arrival on Broadway after an acclaimed run at Second Stage. Justin Paul and Benj Paseks tale of a dweebish teen, thrust into sudden popularity by a tragic misunderstanding, is directed by Michael Greif (Rent, Next to Normal) and stars Ben Platt in a performance that feels both utterly raw and expertly calibrated.

From 14 November, Belasco Theatre, New York, (212-239-6200).


David Oyelowo and Daniel Craig: hoping for Moor this fall. Photograph: David Levene and PA

Daniel Craig came to fame playing an action hero, but hell play the villain, Iago, in New York Theatre Workshops production of Shakespeares tragedy, directed by Sam Gold. David Oyelowo is the Moor of Venice, with Rachel Brosnahan as his doomed Desdemona.

From 22 November to 18 January, New York Theatre Workshop, New York, (212-460-5475).

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