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  • countries including the Democratic Republic of Congo Kosovo and Iran He was once asked by Kevin Costner whether he was anxious to die Caesar has won a number of awards for his journalism Most recently he was named Journalist of the Year for 2014 by the Foreign Press Association of London Amongst other subjects Caesar has written about secretive Russian oligarchs African civil wars marathon tennis matches British murder trials wingsuit flying and Tom Wolfe s beautiful apartment Many of his long articles are archived on this website Caesar has also written Two Hours a book about the world s greatest distance runners and the quest to run previously unthinkable times for the marathon It s out now in Britain from Viking Press and will be published in the United States in October by Simon Schuster He is represented by Karolina Sutton at the Curtis Brown agency in London and by Sloan Harris at ICM in New York In the United Kingdom you buy Two Hours at Foyles Waterstones and Amazon In America pre order at Barnes Noble Indiebound and Amazon Email Ed at or follow him on Twitter edcaesar Recent Articles article title publication published House of Secrets The

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  • Step Away The Guardian 7 Apr 15 Mark Rylance GQ 8 Jan 15 The Singular Life of Roger Federer Town Country 8 Sep 14 What Lies Beneath Stonehenge The Smithsonian Magazine 31 Aug 14 Hell Is Other People GQ 2 Apr 14 What Is The Value Of Stolen Art The New York Times Magazine 13 Nov 13 The Life and Death of Hervé le Gallou The New York Times Magazine

    Original URL path: http://www.edcaesar.co.uk/article-archive.php (2016-02-16)
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  • Year at the British Press Awards 2010 Press Award at the One World Media Awards 2010 Amnesty International Media Award 2011 Amnesty International Media Award 2011 Sports Story of the Year at the Foreign Press Association Awards 2013 Writer of the Year at the PPA Awards 2014 Selected for the Prix Bayeux for war correspondents 2014 Amnesty International Media Award 2014 Feature Story of the Year at the Foreign Press

    Original URL path: http://www.edcaesar.co.uk/awards.php (2016-02-16)
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  • and the topic is one of the most profound there is the absolute limits of human performance Reading a book that combines those two things is one of the great pleasures in life Sebastian Junger There seem to be so few grand pursuits left in sports Ed Caesar chases one of the last the two hour marathon As he writes it is sport s Everest an utterly impossible thing that like the four minute mile the moon landing and the flying car people obsessively chase Ed Caesar is a wonderful writer and he takes us on the brilliant chase and gets us thinking about what impossible even means Joe Posnanski author of Paterno and The Secret of Golf A fabulously entertaining and thought provoking ode to perseverance Ed Caesar s Two Hours will make you fall in love with elite marathoning even if you can barely jog a mile It is a tale filled with richly drawn characters whose grit and talent are wonders to behold as well as keen observations about the twists and turns of the human mind Read it and you ll yearn to attend as many marathons as possible so you can marvel at the athletic geniuses who ve sacrificed so much to run so beautifully Brendan I Koerner author of The Skies Belong to Us For a human being for one of us to run 26 2 miles in 120 minutes will require a belief in everything but our limits Only a reporter of Ed Caesar s diligence and a writer of his ease could make such an improbable achievement feel more than likely He makes Two Hours feel like destiny Chris Jones author of Out of Orbit Combining real drama and pinpoint reportage Ed Caesar has delivered an absolutely fascinating book about the mother

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  • Articles Awards Two Hours House of Secrets Ed Caesar The New Yorker 1st June 2015 www newyorker com magazine 2015 06 01 house of secrets return to list of articles

    Original URL path: http://www.edcaesar.co.uk/article.php?article_id=83 (2016-02-16)
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  • page content Home Selected Articles Awards Two Hours Can Phil Taylor Step Away Ed Caesar The Guardian 7th April 2015 www theguardian com sport 2015 apr 07 phil taylor darts sport profile return to list of articles website by www

    Original URL path: http://www.edcaesar.co.uk/article.php?article_id=84 (2016-02-16)
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  • chameleon He s able to transform himself into almost anything Everything he does he takes into a space you don t expect It s a sort of genius He has enormous capacity and intense commitment an animal vitality you can t take your eyes off A vapid or stupid person could not act as Rylance does But he does seem to have a tolerance for unusual ideas and his character seems less fixed than you might expect of a man his age How to pin him down The crank and the great soul The heretic and the genius To begin to answer those questions you need to understand where he comes from And where he comes from improbably is Milwaukee David Mark Rylance Waters was born in Ashford in Kent in 1960 to two English teachers Anne and David Waters The family moved to Connecticut in 1962 and then Wisconsin in 1969 where Rylance s parents worked at the University School of Milwaukee Mark who was the eldest of Anne and David s three children was a slow developer He couldn t speak in a way that anybody except his younger brother could understand until he was five years old He had plenty of vowels but no consonants As a result during his first years at preschool he hardly said a word Rylance remembers that he conquered his impediment through playing imaginary games with his friends acting in other words There were terrific shows on TV like Star Trek and Voyage To The Bottom Of The Sea and Wild Wild West he says All us kids would watch them We would act them out in the basement I think I found that I could speak a bit more clearly when I was playing with other people When the family moved to Milwaukee this fondness for imaginary games turned into a full blown affair At high school Rylance would not only act in every play but build the sets fix the lights and write the programmes He was not always a knockout He remembers performing in a musical when he was 13 or 14 On the ride home his parents talked about every other child in the play except for him and he was too nervous to ask his parents what they thought of his performance Years later his father told him Sorry we thought you were appalling We didn t know what to say Rylance laughs himself half to death at the memory of it He improved In the summer holidays his parents would return to England to teach at summer schools with Rylance in tow It was an opportunity to see plays at the Royal Shakespeare Company in Stratford and he was enraptured In 1976 when Rylance was 16 he was cast as Hamlet and he carried around a paperback copy of the play all summer to learn his lines Marshall Sella who was Rylance s best friend at school and is now a magazine writer remembers that his performance impressed the teachers so much that they suggested the production should tour the east coast of America It was absolutely unheard of that they would let students just leave for three weeks or so remembers Sella But there was this recognition that there was something very extraordinary going on with him and that play High school productions of Hamlet are mostly a slow death But he said the words and people understood them It was moving and interesting The ideas were coming right into your brain In December 1977 shortly before his 18th birthday Rylance travelled to New York to audition for a visiting panel from The Royal Academy Of Dramatic Arts Rada the London acting school because it was cheaper than most American acting colleges and less weird All those courses in the US were a couple of years of breaking you down psychologically he remembers Not much acting It was to make you emotionally available to get all your problems out Now I had a lot of problems and the way I dealt with them was through acting Not going in front of people and them all criticising me until I cried I was very nervous about that For his Rada audition Rylance performed a monologue from Hamlet The school took him this Midwestern kid with the strangely convincing English accent and he studied with a small class that included Sir Kenneth Branagh His progress from then onwards was vertiginous a year at the Glasgow Citizens Theatre with among others Gary Oldman Then via some detours he arrived at The Royal Shakespeare Company where he took lead role after lead role The Guardian s Lyn Gardner wrote that in 1984 during the RSC s production of Peter Pan at the Barbican in which Rylance played the title character she saw the whole audience in tears The zenith of Rylance s work at the RSC came in 1989 when he played Hamlet as a mental patient in dirty pyjamas Rylance remembers one performance in particular was unforgettable a one off at Broadmoor Hospital There was one patient who told him You really were mad I should know I m a loony And then as Rylance was changing after the show a cigar smoking figure he recognised approached him It was Jimmy Savile who told Rylance Good stuff good stuff Rylance s Savile impression is spot on and then gave him a Jim ll Fix It medal which he still owns And now says Rylance I want to know why Savile was there It was during this period that Rylance began to understand what he could achieve as an actor The crossroads moment came in 1986 when Steven Spielberg offered him a role in Empire Of The Sun Rylance initially turned him down Spielberg called back offering a bigger part Rylance said yes The money was around 15 000 he remembers enough to get a mortgage or something and Rylance was skint But then the stage director Mike Alfreds called the same day saying he was about to direct a season at the National Theatre and that Rylance could have pretty much any part he wanted Rylance was stumped He loved working with Alfreds Spielberg was Spielberg He let the I Ching divining dice decide an odd solution given that there are 64 possible outcomes every time you roll You have to ask the dice a question says Rylance The best question is Where now So I asked Where now if I do the Spielberg one and I threw And I asked Where now if I do the National Theatre He can t remember what he rolled for the Spielberg film but he remembers that the dice s answer for the National Theatre question was the hexagram meaning community You don t get a community on film sets he says The crew has a community but the actors don t That solved it for me I chose the theatre The National Theatre season was a triumph On that job he also met his future wife the composer Claire van Kampen who had two young daughters Juliet and Nataasha both of whom would eventually call Rylance Dad The experience of making the choice between movies and the stage when the stakes appeared so high had also helped Rylance understand what kind of a career he wanted I realised that the reason I was in it the reason I enjoyed it was play acting he says Nothing else mattered The money didn t matter OK it s nice to have enough to get by but I wasn t in it for that I wasn t in it to be notorious or famous The question is why couldn t films make him happy before And why if not to become notorious or famous does he think they can make him happy now On a balmy day last June at Broughton Castle in Oxfordshire Rylance began to answer that question for me He was midway through shooting Wolf Hall for the BBC playing Henry VIII s scheming minister Thomas Cromwell On the lawn outside the castle crew members sat drinking coffee on collapsible chairs Beside them was a props table laden with glass grapes for the banqueting scenes An extra in full Tudor costume refilled her water bottle at the cooler Inside the house Rylance was shooting a 20 second scene by candlelight in which Cromwell and Henry VIII played by Damian Lewis examine Anne Boleyn s bed which had been set on fire It was an unremarkable section of the narrative one of 100 tiny modulations in a complex story But something interesting happened when Rylance played it Over dozens of takes he gave the director Peter Kosminsky a slightly different performance every time Once between takes he played the whole thing as Lieutenant Columbo to the amusement of his colleagues He couldn t bear for even this tiny moment to get boring for him or the other actors Kosminsky looking into a monitor purred at the end of each take sometimes mumbling a quick wonderful or interesting Often he d ask Rylance to try something different but none of his instructions were delivered as fiats He knew he was in good hands When the shoot wrapped Kosminsky suggested that part of Rylance s greatness lay in the restlessness I had witnessed at Broughton Castle It is something I ve thought about a lot said Kosminsky Why is he different from other actors He s quite uniquely vulnerable He s very open to the vibrations and emotions around him He s very quick to laugh He s quick to take offence There s very little in the way of mask or suit of armour around him It s as if he s on receive the whole time rather than send A lot of actors you can t get them to shut up Instead of listening and watching they re always telling you something Mark s the opposite Kosminsky is one of the few screen directors with whom Rylance has worked more than once In 2004 they made The Government Inspector for Channel 4 together about the death of the British weapons inspector David Kelly Rylance likes Kosminsky a soft spoken persuader His experiences on other film sets have not been so happy In 1987 he played a minor role in Hearts Of Fire a dire Bob Dylan vehicle Rylance now says he only took the part because he adored Dylan and wanted to befriend him He still has dreams in which he is at his grandparents house in Sissinghurst in Kent and a Blonde On Blonde era Dylan is playing him his new songs and asking whether he likes them Sometimes Dylan also asks Rylance to cut his hair But the film and the friendship did not get far It was at the time that Gorbachev and Reagan were meeting in Iceland and the Cold War appeared to be thawing Rylance thought he d engage the singer in some political chitchat I asked him What do you think s happening in Reykjavik Rylance remembers laughing so hard he can hardly tell the story And he looked at me so askance and said I don t know nothing about nothing As I said the words I saw them flying towards him and I was thinking No Bob gave up politics in the Sixties What are you doing What are you doing His experience on Intimacy a relationship drama directed by Patrice Chéreau in which the actors were told to play the sex scenes for real was more seriously distressing I was very unhappy says Rylance Patrice s style was very demanding of me I lost confidence His methodology was very critical I don t like to be told what to do After each of these bombs Rylance would ask himself why he subjected himself to the torture of making films He didn t enjoy the process He felt cut off from the audience But he kept going back because of the pressure all actors feel to do television and film It pays more It makes you more famous And with that fame and money you can perhaps do more interesting projects on the stage I d kind of worried about it my whole life to be honest a little bit says Rylance I d seen so many of my generation Gary Oldman Dan Day Lewis and Ken Branagh do really well in film and be brilliant at it There were also movie directors he wanted to work with not least the Coen brothers In 2008 he auditioned for a part in the Coens film A Serious Man but didn t get it He was upset although he now admits There was no way I look Jewish enough for the role Michael Stuhlbarg eventually played Soon after he was in another terrible film called Blitz Filming one scene in which he endured take after take of another character being sick in his face pea soup everywhere he decided he was finished with movies He sacked his agent But since he stopped trying to sell himself to Hollywood and particularly since his daughter died the film business has approached him in quite surprising ways He believes these facts are interrelated Nataasha was a film director She always wanted him to do more movies A lot of the good fortune I m experiencing now it feels like I m getting help says Rylance And in fact you know to have Spielberg call me at home in Herne Hill to talk about his film I can t tell you how many times I have joked when the phone has rung and actors have been Oh it s Spielberg for you That s been a running gag in my life Or for Sean Penn to call me up and say I want you to do this film Eight days A ridiculous amount of money You know we ll work around you These are jokes These are Nataasha in the universe laughing her head off at me Spielberg might make Rylance more famous than he is now but it won t be the work for which he is principally remembered Whatever choices Rylance makes the greater part of his legacy will be in the theatre It s shocking to learn that this man who seems so at ease on stage has endured several moments in his career when he has found it almost impossible to leave his dressing room the actor s equivalent of the yips One of those debilitating periods came during the second London run of his greatest triumph when he was playing Rooster Byron in Jerusalem at the Apollo He couldn t look his fellow actors in the face A voice in his head told him to apologise to the audience for being such a terrible actor He stopped taking curtain calls It was a kind of mental illness he says But the show I say had been such a success What was he worried about I thought they d all been lying Why are they laughing I m going to kill every laugh in this thing They re laughing because they ve been told it s good None of them are really laughing That s what I thought Mackenzie Crook who shared a dressing room with Rylance for more than 400 performances of that run remembers the period well Something was happening remembers Crook Some crisis of confidence And the way it manifested itself was that he withdrew into himself and he was very silent I never felt it was directed at me or anyone else At times though the darkness threatened to overwhelm Rylance There was one particular performance which was a bit harrowing says Crook That was the worst point of this crisis The anger bubbled out He exploded and threw something and smashed the window on the caravan He lost his temper And that was kind of scary because he was on the brink of not being in control But it was amazing theatre Even in happier times Rylance s talent can cause problems He is magnetic and not every actor wants to spend his evening in another performer s orbit Rylance tells a story about a touring production of Measure For Measure in which he as Duke Vincentio had played with the audience by bumbling his lines for comic effect At the closing night party Liam Brennan who had played Angelo opposite Rylance s mumbling Duke drank himself into a morose mood When Rylance found him in the early hours of the morning he was complaining Mark why do you do it You used to be my hero Why do you do it Mike Alfreds says that Olivier had the same effect Even when he was playing small parts He could not but be interesting and this created difficulties for the other actors Mark sincerely does believe in the company and he s got a great ethic in that sense says Alfreds When he s in rehearsal with you he s so generous he loses any sense of status But his energy He s like a wonderful football player He s just so much more talented than everyone else He demands that you play up to him At The Globe where Rylance was the first artistic director and where he was a paternal figure as well as a colleague he needed to give of himself in unusual ways If there was an illness or an actor was away Rylance would go on stage and play the part with a book in his hand He remembers one occasion where he had performed as Cleopatra in the afternoon and then had to play two of the twins in The Comedy Of Errors in the evening Those nights were chaotic improvisational and at times inspired Indeed Rylance s daughter Juliet maintains that Rylance s book read performances are some of his best It s

    Original URL path: http://www.edcaesar.co.uk/article.php?article_id=82 (2016-02-16)
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  • feeling That approach may sound simple but clearly not everybody in tennis has drunk Federer s elixir Take Andre Agassi s extraordinary book Open in which the former champion talks of the long periods in which he hated tennis comparing the sport to solitary confinement Federer says he couldn t believe that what Agassi wrote was true In Federer s eyes it was just not possible for someone as gifted and competitive as Agassi to have hated his job so thoroughly For me it s the only right thing to do to be happy feel happy and also share that with the people he says It s very important to me Happiness is a theme to which Federer returns repeatedly In 2003 for instance the same year he won the first of his 17 Grand Slam tournaments his girlfriend and future wife fellow Swiss tennis player Mirka Vavrinec had recently retired from the professional circuit following a string of injuries Professional tennis players are nomads on the road as much as 42 weeks a year The young couple decided to travel together with Vavrinec helping Federer organize his press commitments It was a job she soon quit when she realized she would be saying no 95 percent of the time Eleven years after they booked their first plane tickets together and five years into their marriage they have two sets of twins five year old Myla Rose and Charlene Riva and Lenny and Leo born three weeks before our interview Federer who is still wearing the dazed grin of a man at the head of a family that now runs to six people remembers that the decision to travel with his girlfriend seemed like the only sensible one to make She was missing me on the road and I was missing her when she was home It was an interesting time Breakfast lunch and dinner together 365 days of the year And yeah we loved every moment of it and still do The logistics he admits have become more complicated lately When he Mirka the children and the assortment of coaches assistants and other helpers they need to keep their professional and family lives in order move from one city to another it is he says like a circus He used to enjoy trying out a different hotel every time he hit a new city Now he prefers to return to the same ones so the Federer brood can stay in familiar rooms He thinks his kids are having an unbelievably cool experience but he is beginning to tire of the packing and unpacking He says he sometimes packs suitcases for three months at a time Many professional athletes would balk at this level of complication in their lives One truism about sports is that you need utter focus and few distractions to survive at the highest levels But Federer thinks otherwise For long periods of his life tennis was the first priority Now despite his continuing ambitions there is

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