Emily
Woof Filmography
(Please email me with more info if you can)
Middlemarch 1994 - Small one line role in the BBC tv adaptation of the classic book.
Casualty 1995 - Role in one episode of the UK hospital drama, apparently as a policewoman.
The Full Monty 1997 - Played Mandy a single mother pressuring the lead character for maintenance money for their son.
Photographing Fairies 1997 - Starred as Linda, a nanny who fell for and was subsequently rejected by the lead character played by Toby Stephens.
The Woodlanders 1997 - As Grace Melbury, joint lead with Rufus Sewell who played Giles. Emily is basically a lower middle class girl made good by finishing school, who marries an upper class type rather than her childhood sweetheart, and ends up with neither of them.
Killer Net 1998 - UK tv drama with Emily as Susie, a student nurse living with her boyfriend and his friend who get involved in dodgy computer stuff and murder.
Velvet Goldmine 1998 - Emily stars as Shannon, PA to one of the lead characters and is seduced by character played by Eddie Izard despite being in unfulfilled love with her boss. .
Fast Food 1998 - As Letitia/Claudia a phone sex operator who meets up with former love, is blind and needs rescuing. Released in Finland but nowhere else apparently!
This Year's Love 1998 - plays Alice, very brief Lesbian partner of Hannah (Catherine McCormack).
Passion 1999 - plays Karen Holten, lover of Percy Grainger and into S & M with him, though apparently not graphically so.
Some Emily Woof Quotes
This may be a bit dull I'm afraid so you might want to skip it!
From The Daily Telegraph 30/98 (Re: The Woodlanders)
Woof tolerated Sewell's breezy irreverence ('Rufus is a lot of fun,' she notes), but seemed more comfortable around MacAninch. 'He's serious, there was no joking around on set with him - which I really appreciated.'
Woof was worried by cuts to the film after the first edit. 'I was quite disappointed, then I saw it a second time and liked it more. It's been streamlined into a story between Grace and Giles, basically, but it's still a beautiful film. You really enter a different world.'
From The Daily Telegraph 17/1/98 (Re: The Full Monty)
'The Full Monty was so low-key and unpretentious,' she recalls. 'It was far less precious than 'The Woodlanders'. No one was going to hold your hand or indulge you. You just had to muck in and get the job done.'
From Hot Tickets, Evening Standard 4/2/98
emily woof on... The Woodlanders
"I've always been a huge fan of the classics - and of course, appeared in the BBC's adapation of Middlemarch. So I leapt at the chance of starring in The Woodlanders. It's classic Hardy though it is unusual in that it's the tale of a group, rather than the solitary protagonist of most of his stories.
The director, Phil Agland, and screenwriter, David Rudkin, have stripped the novel of many of its melodramatic Victorian coincidences and concentrated on the intertwining relationships in traditional Hardy country, which are at the heart of the story - successfully updating it for today's cinema audience.
I play timber merchant's daughter Grace Melbury who returns a changed woman from finishing school to the isolated, close-knit community. She still has feelings for her childhood sweetheart, woodsman Giles Winterbourne (Rufus Sewell) but at the same time is attracted to the newly arrived doctor, Fitzpiers (Cal MacAninch), whom her socially ambitious father encourages her to marry. This being Hardy, though, the course of true love runs anything but smooth.
The Woodlanders is very different from the films I've made during the past two years - such as The Full Monty and the forthcoming Velvet Goldmine - but I'm proud of it. It boasts a strong cast, including Polly Walker and Tony Haygarth, and great care has been taken to ensure that the film, shot on the edge of the New Forest, has an authentic period look.
The story is as relevant and emotionally engaging today as it was when written. That's one of Hardy's great strengths, and I hope the film will make a new generation appreciate this great English writer."
From Hot Tickets, Evening Standard 8/1/98
emily woof on...The London International Mime Festival
"'Get off! You are vegetarian! Non! Vous etes worse than that! You are a mime!' To be called a mime artist was the worst insult in the vivid lexicon of Philippe Gaulier, the French theatre guru I trained with in Paris. It meant you had no right to be on stage because you were being 'seven four seven!' (747 = Boeing = boring = duller than an existentialist or vegetarian = very tedious idiot = mime artist.)
And recently Martin Scorcese wrote that there's only one thing more hellish than a performance artist and that's a m*** artist. The stupid white face, horrid white gloves and stripy top; the fey inanity of all that finicky padding about with your hands in the air. Imaginary juggling balls. Juggling is bad enough - imagine a juggling mime...
But then I remember Slava, the Russian clown, creating whole worlds by simple gesture. And I remember when the actors in Tim Supple's Grimms Tales hurled imaginary food into the audience at the Young Vic and people went mental, delirious. Out of airy nothings the feast was set - pure theatrical excitement. It's just the word that's a turn-off.
In fact, the London International Mime Festival includes nothing boring or inane. Jos Houben and Andy Dawson, telling the history of the world in Quatre Mains, will be exact and beautiful. That fine and sensitive team Told By An Idiot present their biggest show to date. Scarlet Theatre I greatly admire. Peepolykus will be charming as ever. I've never seen La Ribot, Pep Bou or Les Acrostiches - but I will. I have seen Derevo from St Petersburg, who put anarchy and viscera on stage - literally. A welcome blast of un-British rage.
I suppose when it started, the LIMF had to shift its emphasis from wordy British theatrical tradition; now it's a tradition itself, an annual grouping that makes marketing sense. Perhaps the best thing is to ignore these Boeing categories and just go and see the shows."
Email Me [email protected]
21/07/99