An exaggerated wink and a heartwarming smile for a grateful little boy, followed by an eye roll for pessimistic Mr. Grimwig in this delightful scene from Oliver Twist. Love how Michael Kitchen approximates his signature knee dip while seated.
Posted on QE is a marvelous behind the scenes interview with Michael Kitchen excerpted from “Oliver Twist: The Official Companion to the ITV Drama Series”. What an absolute treat to read his thoughts on costume drama, wigs, the filming process, and his character, Mr. Brownlow.
The officer in charge of finding a replacement DCS has yet to learn that flattery will get him nowhere with Foyle, as Michael Kitchen so eloquently indicates with a roll of his eyes followed by an exasperated sigh.
Michael Kitchen does wonders with the “particularly challenging” dialogue in Alibi.
For all of Foyle’s heralded qualities, it’s Greg Brentwood – sweet, vulnerable, naïve, and prone to panic attacks – whom I adore most.
Just from the beginning.
Michael Kitchen works his expressive eyes.
Michael Kitchen cracks me up in this scene from Alibi in which Greg tries not to have a breakdown while witnessing a potentially disastrous conversation between Marcey and Linda that’s moving faster than his drugged-out brain can keep up. I love how Marcey always seems to be several steps ahead of Greg.
From an interview with Sophie Okonedo about Alibi in The Scotsman:
Okonedo says: “It was really good to work on and I particularly enjoyed working with Michael Kitchen – I’ve always thought he was brilliant. It was a very rewarding and creative experience and I feel very proud of it. So much of what’s on TV is formulaic and about people like doctors and nurses or lawyers and that can get a bit boring, but Alibi isn’t like that at all.”
The King of Hollywood also crops up in this vignette from Foyle’s War: Invasion in which Sam muses about the arrival of American troops in Hastings.
Having resigned his position on the police force, Foyle occupies himself by working on his book, The History of the Hastings Constabulary in the Wartime Years. Sam, who has been enlisted to take dictation, doesn’t think much of the title, or subject, for that matter, while Foyle doesn’t think much of her secretarial skills.
When his wayward goddaughter shows up out of the blue on his doorstep after disappearing ten years earlier, Foyle finds himself in the unenviable position of looking after a suicidal mother and her traumatized son. Foyle may sympathize with little Jimmy, but the child’s ordeal is no excuse for poor manners, and Foyle is not above using scare tactics to teach the child some respect.
pdx144 said: Wonder how many times MK’s sons have seen “that look”.
Along with the buildup – knee dip, then pivot.
When Andrew turns the subject to romance in his dad’s life, Foyle ends their cozy chat.