Michael Fassbender
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I don't know why people think she had a boyfriend, she clearly wasn't trying that hard to hide the relationship but he was. He probably didn't want to make it official because he knew he was going to dump her after the promoting tour like he did with Zoe. He puts his career first so he would rather stay single than having to deal with messy long distance relationships.
I also think he got bored with these young women they don't seem to be smart or remotely interesting... Zoe is better off with Penn Badgley and Nicole shoud go beg for her BF's forgiveness. I heard he once dated Sam Neil's stepdaughter met on the Angel set and an ex Miss Germany, they were both Asian and Latina so I guess he's attracted by exotic women not just black chicks but he's not the first one admitting it upfront (Eastwood, De Niro also had a type).
I also think he got bored with these young women they don't seem to be smart or remotely interesting... Zoe is better off with Penn Badgley and Nicole shoud go beg for her BF's forgiveness. I heard he once dated Sam Neil's stepdaughter met on the Angel set and an ex Miss Germany, they were both Asian and Latina so I guess he's attracted by exotic women not just black chicks but he's not the first one admitting it upfront (Eastwood, De Niro also had a type).
I'm pretty sure half of tumblr isn't too concerned with his dating chicks and really just wants him to get with James McEvoy.
#needeyewash
#needeyewash
==> Q&A with Steve McQueen 
You've followed 2008's 'Hunger' with the searing drama 'Shame', which stars Michael Fassbender as a sex addict living in New York. Is being in film still exciting?
I've seen behind the curtain. It's a bit Wizard of Oz-like. I admit I was excited about Cannes when 'Hunger' launched there and then that was a success and I went to Hollywood for the first time and, my God, I was thrilled, you know, seeing the big letters: HOLLYWOOD. But after a few dinners with people and drinks parties, you realise it's all about rolling up your sleeves. I got on the Paramount lot for the first time and, yes, I saw gladiators walking by and elephants and then you see the scaffolding and the trucks and it is all just work.
The myth-making has disappeared for you?
Well, it's not what I make films for. So I wish I was still a punter, going to the cinema on a weekend. Dreams are nice, but now I'm a bit back down to earth with the whole world of film and dreams fade. I don't want to be down on it but, if I'm honest, it's very disappointing. Like when you realise there's no Father Christmas :santawave:
Does that realisation cramp your work, then?
Wow, you're getting existential on my a$$ so quickly
I don't know. It's all just false, isn't it? I recently met some people who I looked up to and admired and I found out they were just normal – there are no gods out there.
Surely the art world is the same, full of big names and egos?
Oh no, film is way different. When you're 20ft tall on a massive screen and you're seeing people's lives played out on it, it's different from a nice painting. Film is important, it can be more than reportage or a novel – it creates images people have never seen before, never imagined they'd see, maybe because they needed someone else to imagine them.
Was Hollywood courting you?
I could never make American movies – they like happy endings. I made 'Shame' in America, but it's not a Hollywood movie. I'm about challenging people. Like, properly challenging them and their assumptions. Audiences make their minds up about people they see on screen, just like they do in real life. That's what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?
Is that because you're not quite what people would expect, especially living with a name like Steve McQueen?
Ha. Maybe, maybe. I'm certainly not who people think I am. I always do whatever I want to do and my films are personal to me. 'Hunger' was about my youth, the loss of innocence when I realised what my country was doing, what was going on. Brandon in 'Shame' is my response to being lost – I've not been there in the sense of sexual addiction, but I've been lost.
Your films may look a bit like life, but they're very stylish, stylised even.
I worked with scriptwriter Abi Morgan on 'Shame' and she's brilliant, but she always knows where her stories and sentences are going. I don't want that; I like to start a sentence and let it take me, let it flow, so it can go anywhere. That's how I think things are in life, where we don't have a script. So I don't do storyboards. The characters and narrative dictate how I film a scene.
Why did you set 'Shame' in New York?
I studied at NYU and many of my family used to live there. They've retired to Florida or the West Indies now, but when I first went there it was 1977 and I remember Elvis dying and the blackout and we all got these T-shirts saying: "Where were you when the lights went out?" I was in Brooklyn, seven years old. Uncles, aunts, they all left London and we used to spend summers with them. Everyone there is from somewhere. It's all about immigrants, always a new wave of cab drivers – Haitian, then Pakistani, then Russian. It's a city that can always reinvent itself and that's what I wanted for my character, somewhere to hide.
Why make a film about sex addiction?
When you have everything, why would you want to blow it? That's the question here. It could be drugs, drink, but here it's sex and I chose sex because people don't talk about it. Sex has a stigma that drugs or alcohol no longer have.
You got a NC-17 rating in the States and that's said to be commercial suicide.
When I first heard mention of NC-17, I thought they were a rap band
I didn't give a toss about that because I like the idea of doing something no one is actually talking about. It was the same with 'Hunger'. Want, urge, need – these are the things that create drama.
When I first met you, you said the only things that interested you as movie subjects were set in 1981: the Brixton riots, Bobby Sands and Spurs winning the FA Cup.
Well, I'm doing a film about slavery next and that'll pi$$ off even more people in America
I'm a bit over Tottenham, for some reason. But I still hope to do something about the riots with the BBC. Sadly, I wasn't here for the riots over the summer, but they even came to my mother's street, in Ealing for God's sake. I partly live in Amsterdam now 
but I'm still a Londoner and something's wrong. The chief of police admits to sweeteners from News Corp and gets a slap on the wrist. A kid steals £40 trainers and gets 10 months; it's blatantly not fair. The rapper Smiley Culture stabbed himself? C'mon, please. There are too many unanswered questions... It's not gangs – it's individuals who are fed up and want to be in a better position, but they don't know how to say it or change it.
Can art address these questions?
Art can't fix anything. It can just observe and portray. What's important is that it becomes an object, a thing you can see and talk about and refer to. A film is an object around which you can have a debate, more so than the incident itself. It's someone's view of an incident, an advanced starting point.
him
You've followed 2008's 'Hunger' with the searing drama 'Shame', which stars Michael Fassbender as a sex addict living in New York. Is being in film still exciting?
I've seen behind the curtain. It's a bit Wizard of Oz-like. I admit I was excited about Cannes when 'Hunger' launched there and then that was a success and I went to Hollywood for the first time and, my God, I was thrilled, you know, seeing the big letters: HOLLYWOOD. But after a few dinners with people and drinks parties, you realise it's all about rolling up your sleeves. I got on the Paramount lot for the first time and, yes, I saw gladiators walking by and elephants and then you see the scaffolding and the trucks and it is all just work.
The myth-making has disappeared for you?
Well, it's not what I make films for. So I wish I was still a punter, going to the cinema on a weekend. Dreams are nice, but now I'm a bit back down to earth with the whole world of film and dreams fade. I don't want to be down on it but, if I'm honest, it's very disappointing. Like when you realise there's no Father Christmas :santawave:
Does that realisation cramp your work, then?
Wow, you're getting existential on my a$$ so quickly
I don't know. It's all just false, isn't it? I recently met some people who I looked up to and admired and I found out they were just normal – there are no gods out there.Surely the art world is the same, full of big names and egos?
Oh no, film is way different. When you're 20ft tall on a massive screen and you're seeing people's lives played out on it, it's different from a nice painting. Film is important, it can be more than reportage or a novel – it creates images people have never seen before, never imagined they'd see, maybe because they needed someone else to imagine them.
Was Hollywood courting you?
I could never make American movies – they like happy endings. I made 'Shame' in America, but it's not a Hollywood movie. I'm about challenging people. Like, properly challenging them and their assumptions. Audiences make their minds up about people they see on screen, just like they do in real life. That's what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?
Is that because you're not quite what people would expect, especially living with a name like Steve McQueen?
Ha. Maybe, maybe. I'm certainly not who people think I am. I always do whatever I want to do and my films are personal to me. 'Hunger' was about my youth, the loss of innocence when I realised what my country was doing, what was going on. Brandon in 'Shame' is my response to being lost – I've not been there in the sense of sexual addiction, but I've been lost.
Your films may look a bit like life, but they're very stylish, stylised even.
I worked with scriptwriter Abi Morgan on 'Shame' and she's brilliant, but she always knows where her stories and sentences are going. I don't want that; I like to start a sentence and let it take me, let it flow, so it can go anywhere. That's how I think things are in life, where we don't have a script. So I don't do storyboards. The characters and narrative dictate how I film a scene.
Why did you set 'Shame' in New York?
I studied at NYU and many of my family used to live there. They've retired to Florida or the West Indies now, but when I first went there it was 1977 and I remember Elvis dying and the blackout and we all got these T-shirts saying: "Where were you when the lights went out?" I was in Brooklyn, seven years old. Uncles, aunts, they all left London and we used to spend summers with them. Everyone there is from somewhere. It's all about immigrants, always a new wave of cab drivers – Haitian, then Pakistani, then Russian. It's a city that can always reinvent itself and that's what I wanted for my character, somewhere to hide.
Why make a film about sex addiction?
When you have everything, why would you want to blow it? That's the question here. It could be drugs, drink, but here it's sex and I chose sex because people don't talk about it. Sex has a stigma that drugs or alcohol no longer have.
You got a NC-17 rating in the States and that's said to be commercial suicide.
When I first heard mention of NC-17, I thought they were a rap band
I didn't give a toss about that because I like the idea of doing something no one is actually talking about. It was the same with 'Hunger'. Want, urge, need – these are the things that create drama.When I first met you, you said the only things that interested you as movie subjects were set in 1981: the Brixton riots, Bobby Sands and Spurs winning the FA Cup.
Well, I'm doing a film about slavery next and that'll pi$$ off even more people in America
I'm a bit over Tottenham, for some reason. But I still hope to do something about the riots with the BBC. Sadly, I wasn't here for the riots over the summer, but they even came to my mother's street, in Ealing for God's sake. I partly live in Amsterdam now but I'm still a Londoner and something's wrong. The chief of police admits to sweeteners from News Corp and gets a slap on the wrist. A kid steals £40 trainers and gets 10 months; it's blatantly not fair. The rapper Smiley Culture stabbed himself? C'mon, please. There are too many unanswered questions... It's not gangs – it's individuals who are fed up and want to be in a better position, but they don't know how to say it or change it.Can art address these questions?
Art can't fix anything. It can just observe and portray. What's important is that it becomes an object, a thing you can see and talk about and refer to. A film is an object around which you can have a debate, more so than the incident itself. It's someone's view of an incident, an advanced starting point.
him
I agree. He's such an interesting and talented guy. Very intelligent, but not always very articulate. I've seen him at 2 Q&A sessions and I have to say that he can be quite abrasive. I don't think he's intentionally trying to be rude, but he has a short fuse.
I love the way he speaks the truth that most people don't want to hear. I think he's bold, brilliant and inventive. At the last THR director's roundtable, he was asked about the lack of black actors/actresses cast in leading roles in major films productions and McQueen turned to Alexander Payne, Jason Reitman and the others and just said "You should ask them."
It was f#cking brilliant... and there were uncomfortable faces all around :shame:
He doesn't give a f#ck about fitting among the Hollywood crowd and he's always completely straight up in interviews.
"Twelve Years A Slave" might be also hard to watch for some people
Welcome to the thread Mustard and all other Newbies! Glad you've decided to join us for the Fassbender Fest.
Oh boy, he looks 10 years older
Maybe too much time sleeping with random strangers and doing press junkets... or just a huge hangover that day
Don't know who the photog is who took those pics, but these shouldn't have been released. They are crap!! It's pretty obvs that Fassy is dead tired, so the photog should have used a different lens and different lighting. Michael looks dreadful.
"The only thing that seems to have suffered is his love life. Aside from briefly being connected to his X-Men co-star Zoë Kravitz, the 22 year-old daughter of singer Lenny, Fassbender has remained resolutely single, and marriage seems a long way off. "I always admire people that are married and can work a marriage in a business like this, because it is such a gypsy lifestyle. You get up, you go somewhere else, you're in another country, another hotel room. And you don't really see the person. So it's very difficult, I think." For now, he's all about the job what he calls his "number one passion". And there's no shame in that." Herald Scotland
Read full interview here
I love the way he speaks the truth that most people don't want to hear. I think he's bold, brilliant and inventive. At the last THR director's roundtable, he was asked about the lack of black actors/actresses cast in leading roles in major films productions and McQueen turned to Alexander Payne, Jason Reitman and the others and just said "You should ask them."
It was f#cking brilliant... and there were uncomfortable faces all around :shame:
He doesn't give a f#ck about fitting among the Hollywood crowd and he's always completely straight up in interviews.
"Twelve Years A Slave" might be also hard to watch for some people
Here is the interview: http://www.hollywoodreporter.com/gallery/thrs-awards-season-roundtable-series-265450
I got some serious second-hand embarrassment from watching this interview. The pathetic reaction of the other directors was infuriating. 'I don't know', was the only thing they could say. BS!!
" The way he talks, Shame clearly cost him something emotionally. Coming at the end of his cycle of back-to-back films, with much of it shot at night, he was barely sleeping and Brandon began to get under his skin. He recalls the scene where he discovers his sister Sissy (Carey Mulligan) has invited herself into his flat to stay. "I remember that was a particularly bad day. Just that I felt- I don't know- a bit vulnerable." Did he cry? "It's not even that simple. Close to it, if not. Just a sense of being a little bit lost in something. I don't really want to get into it." It's one of the rare times the candid Fassbender closes off. "I always think it's really boring when actors talk about that." "
Aw, he must feel very lonely these days wandering around the world from one hotel to the next with only his PR by his side [and piling movies like one night stands]
I never understood what he ever saw in Zoë or ROC anyway, he won't find love by dating boring famewhore chicks living in fake and shallow Hollywoodland with daddy's or ex-boyfriend's money :wondering
I still think he has some serious booze problem though he should definitely slow down a bit and find another way of dealing with life's issues: "He prefers the old-fashioned route: thrashing out his problems over a pint."
He doesn't want to end up like Johnny Depp, Mel Gibson or Jonathan Rhys Meyers, huh? 
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