The Clint Eastwood-directed adaptation of John Carlin’s Invictus (originally titled Playing the Enemy) opened around the world this weekend. As might be expected, media coverage of the story of South Africa’s fabled 1995 Rugby World Cup win – and the crucial role that Nelson Mandela played behind the scenes – has been intense.
Morgan Freeman was in South Africa to attend the local premiere, and the Sunday Times snapped up an interview with him. Here’s his chat with Biénne Huisman; and a podcast in which he answers the question, “Were you intimidated, playing Nelson Mandela?”
“Oh my, isn’t it lovely,” he drawled, while brandishing pictures of the seven-seater jet. The SB30 is the flagship aircraft of Emivest Aerospace, and is marketed as “the world’s fastest, longest-range and highest-flying light jet”.
Freeman, who got his pilot’s licence in 2002, flew the aircraft to South Africa last week, and plans to touch down in Botswana and Kenya next.
He said he inherited a Madiba shirt from the Invictus film shoot and intends to wear it in his home town of Charleston, Mississippi.
Podcast: Morgan Freeman answers the SA press’ questions
At the same time, the film has returned many local rugby heroes to the limelight – including Joel Stransky, who kicked the winning drop goal against New Zealand in the world cup’s final match. Aspasia Karras caught up with him:
I am having a surreal moment. Francois Pienaar – or rather Matt Damon channelling Francois Pienaar – is staring directly into the cinema audience and telling Joel Stransky to go home. Sitting directly behind me is Joel Stransky; fortunately he does not obey.
We are watching Invictus – Clint Eastwood’s interpretation of John Carlin’s book about the 1995 Rugby World Cup – and things have taken a decidedly peculiar turn. Will the real Joel Stransky please stand up?
Given that he is one of my all-time favourite Bokke and having the distinction of touring with him (we went to Paris to witness our team’s second World Cup) I naturally want the lowdown from the man himself. How does it feel to be immortalised on celluloid?
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