The filmmakers Brian Cox referred to as “masters” of cinema
Even before Brian Cox had blown the world away with his portrayal of media mogul Logan Roy in Succession, the Dundee-born actor had already been considered one of the greatest of his generation. After beginning as a Shakespearean player, Cox eventually set out to dominate the cinematic medium, too, with a series of brilliant character portrayals.
In some of his most impressive roles, Cox played a paederast in L.I.E., a mutant-hating Sergeant in X2, trusty Uncle Argylle in Braveheart, and several other complex characters that have afforded him a reputation of genuine excellence, admired amongst cinema and television fans and his fellow actors alike.
Having watched so many decades of brilliant movies come onto the big screen, it would be fair to say that Cox has been well positioned to consider who the greatest directors of all time are, and in a feature with Variety, he once named three filmmakers who he considers to be “masters” of the cinematic medium.
“Lately, I’ve been watching foreign films late at night: Suddenly, we’re getting introduced to real masters, like Godard, Truffaut, Ozu,” Cox said, referring to two icons of French cinema and one from the realm of Japanese film. It’s clear from Cox’s words that he has a deep admiration for world cinema, which gives clues as to his wider inspirations as an actor.
Jean-Luc Godard came into the public’s consciousness as part of the French New Wave movement of cinema in the 1960s alongside the likes of Agnes Varda and Eric Rohmer. He fearlessly experimented with the form, delivered some stunning works in the shape of Breathless, Contempt and Bande a part, and early into his career, he also worked as a film critic for Cahiers du Cinema.
Francois Truffaut was another French director who was considered to be a crucial cog in the French New Wave, with him 1959 film The 400 Blows serving as something of a touchstone of the cinematic movement. Elsewhere, though, the Paris-born filmmaker detailed his prowess in the likes of Jules and Jim, Day for Night and Shoot the Piano Player.
Finally, Cox expressed his admiration for the legendary Japanese filmmaker Yasujiro Ozu, who is widely thought of as one of his nation’s all-time greats. With films that focus on the changes in Japanese society throughout the 20th century, including Tokyo Story, Late Spring and An Autumn Afternoon, Ozu is widely admired and championed by directors such as Wim Wenders.
Cox had been talking about the importance of the TV channel Turner Classic Movies and said that it has largely served as his “comfort” for much of his adult life. “It’s not only historical, but it’s about the whole of my craft. I work with a lot of young actors, and I say, ‘Look at your craft. Look at where you can see great work.’ I’m an addict; I’m an absolute addict for that.”
Going on to express his admiration for the work done at TCM, which was launched back in 1994, and shows classic feature movies, the actor added, “The films they show meet an extraordinarily high standard, in a world where art is forever getting debased. But TCM is always reinventing itself: It’s modern and it’s classical. TCM is always illuminating, it’s revealing, it’s invaluable as an actor. It’s like mother’s milk to me. I’ll defend it to the death.”
