Age: 65
male
Hugh John Mungo Grant (born 9 September 1960) is an English actor and film producer. He has received a Golden Globe Award, a BAFTA, and an Honorary César. His movies have also earned more than $2.4 billion from 25 theatrical releases worldwide. Grant achieved international stardom after appearing in Richard Curtis's sleeper hit Four Weddings and a Funeral (1994). He used this breakthrough role as a frequent cinematic persona during the 1990s to deliver comic performances in mainstream films like Mickey Blue Eyes (1999) and Notting Hill (1999). By the turn of the century, he had established himself as a leading man skilled with a satirical comic talent. Since the 2000s, Grant has expanded his oeuvre with critically acclaimed turns as a cad in Bridget Jones's Diary (2001), About A Boy (2002), Love Actually (2003), and American Dreamz (2006). Within the film industry, Grant is cited as an anti-movie star who approaches his roles like a character actor, with the ability to make acting look effortless. Hallmarks of his comic skills include a nonchalant touch of irony/sarcasm and studied physical mannerisms as well as his precisely-timed dialogue delivery and facial expressions. The entertainment media's coverage of Grant's life off the big screen has often overshadowed his work as a thespian. He has been vocal about his disrespect for the profession of acting, his disdain towards the culture of celebrity, and hostility towards the media. In a career spanning 20 years, Grant has repeatedly claimed that acting is not a true calling but just a job he fell into.
Hugh Grant
Anthony Horowitz
for Anthony Horowitz in The Twist of a Knife
Suggested by goldh00pz
“I’m sorry but the answer’s no.” Reluctant author, Anthony Horowitz, has had enough. He tells ex-detective Daniel Hawthorne that after three books he’s splitting and their deal is over. The truth is that Anthony has other things on his mind. His new play, a thriller called Mindgame, is about to open at the Vaudeville Theater in London’s West End. Not surprisingly, Hawthorne declines a ticket to the opening night. The play is panned by the critics. In particular, Sunday Times critic Margaret Throsby gives it a savage review, focusing particularly on the writing. The next day, Throsby is stabbed in the heart with an ornamental dagger which turns out to belong to Anthony, and has his fingerprints all over it. Anthony is arrested by an old enemy . . . Detective Inspector Cara Grunshaw. She still carries a grudge from her failure to solve the case described in the second Hawthorne adventure, The Sentence is Death, and blames Anthony. Now she’s out for revenge. Thrown into prison and fearing for both his personal future and his writing career, Anthony is the prime suspect in Throsby’s murder and when a second theatre critic is found to have died in mysterious circumstances, the net closes in. Ever more desperate, he realizes that only one man can help him. But will Hawthorne take the call?
