@jasperrees

jasperrees has been a member of Linktree for 3 years and joined in June 2023. The social media accounts linked to from jasperrees are: • Facebook • Instagram • X Besides social media accounts, jasperrees has populated their site with: • Let’s Do It: The Authorised Biography of Victoria Wood by Jasper Rees | Orion - Bringing You News From Our World To Yours • Michael Gambon: The Authorised Biography, published October 2026 • Archie’s odyssey: the boy who was lost at sea but found his way home • Archive on 4 - Victoria Wood - Loose Chippings - BBC Sounds • 'She was complicated.' BBC Radio 4 - Great Lives, Victoria Wood • Victoria Wood's lovely letters - Jasper Rees - The Oldie • Dinnerladies at 25: why the sitcom is Victoria Wood's greatest achievement • 'Can I thrust by? I’m a diabetic.' Victoria Wood’s greatest sketch • Victoria Wood: The Songwriter - Live Q&A - Happy Festival • The unseen Victoria Wood • The strange story of Victoria Wood’s ‘lost’ play — and how it launched her comedy career • Victoria Wood: 'I wasn't quite normal... so I exaggerated my oddness' • Victoria Wood: ‘She made audiences laugh till it hurt and choked them up with sorrow’ • My discovery of 80 unseen scripts that shine a light on Victoria Wood's genius • Our Friend Victoria – Victoria Wood’s genius is irreplaceable • Victoria Wood, 1953-2016: 'Please could you repeat the question?' • Jim Parker obituary • Anne Reid on her Daniel Craig sex scene: ‘I was very scared’ • The inside story of Angela Rippon’s Morecambe & Wise Christmas Special • ‘It reflected a time when we all behaved very well’: the making of Dad’s Army, the greatest British sitcom • 'I want to look like Bill Nighy': my encounters with Michael Gambon • The McCartney Legacy - what Paul really got up to in the Wings years • John Standing on the day Peter O’ Toole dragged him off to a nunnery • How my great uncle Julian saved thousands of Jews from the gas chambers – and met Adolf Eichmann • ‘Sexual passion frightens me’: the tragic, romantic life of Stefan Zweig • Knife – Salman Rushdie's harrowing new book • Is Sussex England’s most mysterious county? • Mr Bates vs the Post Office, review: you will be left seething by the sense of injustice • Le Carré's dirty linen • The 10 best episodes of The Crown – ranked • The epic European trek that is being transformed by climate change • His lyrics for Elton were good, so why is Bernie Taupin’s book laughably bad? • Isabelle Huppert: ‘I think it’s easy to work with me’ • Jeremy Lemmon, charismatic Harrow schoolmaster and influential Shakespearean – obituary • ‘A drip of unkindness, undermining everything’: what was life like for Jan Morris's children? • 'The first thing I do when I wake up is write.' Hilary Mantel, 1952-2022 • The DIY Scottish walking trip that has everything – except other people • 'How many actors does it take to screw in a light bulb?' William Hurt, great Hollywood contrarian • Antony Sher: 'I discovered I could be other people' • Remembering David Storey, giant of postwar English culture • Helen McCrory: 'If there's one interesting thing about acting it's trying to lose your ego' • John Prine, one of the great American singer-songwriters • Franco Zeffirelli: 'I had this feeling that I was special' • Tim Minchin, Eventim Apollo - fabulous triumph of rhyme and reason • Al Alvarez: 'If I drop dead this minute, I’ve had a ter­rific time' • The making of Local Hero • An encounter with John Richardson, Picasso's biographer • Bruno Ganz: 'I could put my passport between Hitler and me' • David Bowie: Finding Fame - a fascinating insight into the young singer's quest for fame • Bohemian Rhapsody is a drag • The Bell of Treason by P.E.Caquet - the sacrifice of Czechoslovakia • Brian Friel, the private playwright of Ballybeg • Ingrid Bergman: In Her Own Words - emotional nomad with a fragile gift for joy • Bombshell: The Hedy Lamarr Story - Hollywood's brainiest beauty • theartsdesk in Minsk: feasting with Belarus Free Theatre • Hold the Sunset, BBC One - this is an ex-sitcom • The disastrous opening of Pinter's now universally hailed early play • Jeremy Irons: 'I was never very beautiful' • Terence Stamp: ‘My date with Christine Keeler went well’ • Queen: Rock the World, BBC Four - we won't rock you • The beautiful game, the horrible kits • Lucy Worsley's Nights at the Opera, BBC Two - there's anti-elitism, and there's infantilism • I Know Who You Are, BBC Four - gripping, but no one to root for • When Sam Shepard was a Londoner • 'I were crap at school': Jodie Whittaker, the new Doctor Who • Lenny Henry: ‘If we can’t see it, we can’t be it’ • Jez Butterworth: 'There’s a character in Jerusalem who works in an abattoir. He would have thought I was a cunt' • Balancing Acts by Nicholas Hytner - wonderfully insightful about everything but himself • A King Kong for our time • Letter to an unknown woman: Stefan Zweig (and his second wife) in England • Barry Jenkins, director of Moonlight: 'We should now be expanding what an American life is, and which voices are worth hearing' • John Hurt: 'If I’ve been anything I’ve been adventurous' • It’s time Six Wives with Lucy Worsley was taken to the Tower – review • Katori Hall: 'I wanted to create the behind-the-doors Martin Luther King' • Who's afraid of Edward Albee? • Fleabag, BBC Three, series finale - a gloriously rude, and far funnier, update of Bridget Jones • Fleabag, BBC Three - brilliant dark comedy about loneliness and grief • The Age of Bowie: by Paul Morley - paean to the starman • David Bowie Prom, Royal Albert Hall - this ain’t rock’n’roll, this is contemporary classical • Marni Nixon: 'It ended up being totally my voice' • Pierre-Laurent Aimard: 'Populist means something very different in French' • John Cale: 'Lou Reed's death felt like a very public suicide' • Grayson Perry: 'Men should think less about sex' • David Bowie: The Last Five Years, BBC Two - from Reality to finality • Garrison Keillor: 'I would like to die in the company of Lutherans' • Who was St Clair Bayfield? • Florence Foster Jenkins: The real diva • Arnold Wesker: His Life and Career in 10 Scenes • Don Cheadle: ‘Do black movies really not sell?’ • Stephanie Beacham reveals she was raped as a young actress - and keeping silent ruined her life • George Martin: 'Paul said he would like orchestral instruments. John couldn’t be bothered' • When Bowie and Boyd hoaxed the art world • Warren Mitchell: ‘If you could be Welsh and Jewish you really couldn’t miss’ • Maggie Smith: 'If there’s an old bat to play, it’ll be me' • Ray Davies: 'The Beatles were complaining they had to pay tax. The Kinks were complaining because we had no money at all' • All the world’s a stage: with the Globe's global tour of Hamlet • There will be blood: the Palio di Siena • In Welsh Patagonia • Does anyone know the way to blockbuster? • Siân Phillips: 'Saying yes to work is just a way of life' • Ivo van Hove, the hottest Belgian in town • Shirley Williams: Saving my mother from the scriptwriters • Visual CV: Maggie Smith • Sofie Gråbøl: 'What the fuck are you doing with my jumper?' • Bob Hoskins: 'There’s not too many bald-headed cubic people' • Land of my fathers? My fathers can keep it • theartsdesk in Florence: Pontormo and Rosso Fiorentino • Claire Tomalin on Charles Dickens: 'Most of us have behaved like a madman or madwoman' • Philip Seymour Hoffman, Best Character Actor • The Resurrection of Conor McPherson • Cinema Paradiso • The Wagner Interviews • Doris Lessing: 'Books have been my life' • Live from the National Theatre: 50 Years on Stage, BBC Two • Shere Hite: 'The clitoris hadn’t been talked about for maybe 100 years • Bald on blondes: what makes Terry Johnson tick? • JJ Cale: 'There’s a few people everywhere want to hear the guy that wrote the songs' • The Woody Allen story: 'Why do I feel like I got screwed?' • theartsdesk in Florence: The Springtime of the Renaissance • Rowan Atkinson: 'I’m someone who likes to be in control' • Michael Frayn 'It’s better to be known for two things than one thing' • The 2012 London Olympic Games, BBC • Olympics closing ceremony: A long goodbye to the Games • Kiss the Day Goodbye: Marvin Hamlisch, 1944-2012 • The Hitchcock Players: Ingrid Bergman, Notorious • The Opening Ceremony, London 2012, BBC One • Shakespeare: Staging the World, British Museum • Thinking of Something Funny: Eric Sykes, 1923-2012 • theartsdesk in Raploch: Sistema Scotland Makes Big Noise • Globe to Globe: Hamlet, Shakespeare's Globe • The Underbelly Project: Paris • Václav Havel: 'I dream of old age as a time of rest, when nothing more will be expected of me' • Christopher Hitchens: 'One wants also to try and pass on a bit of what one has soaked up' • theartsdesk in Florence: The British Are Going • The Underbelly Project: New York • Tom Hollander: 'The danger with playing a part that defines you is that it swallows up everything else' • Tim Minchin: 'I’m telling you what you should think' • István Szabó: 'Hungarian filmmakers found a flower language' • Harry Potter and the Deathly Hallows, Part 2 (3D) • My quest to be more Welsh • The Passion of Port Talbot, NTW/WildWorks • Opinion: Please will you stop talking? • theartsdesk in Florence: Was This the Greatest Renaissance Show Ever Held? • Eileen Atkins: 'I had to get out of my childhood' • Derek Jacobi: 'You don't play the king, you play the man' • Nicola Benedetti goes Romantic • Michael Gambon: 'I'm quite a serious-minded actor. I am! I am!' • Michael Sheen: 'I like the feeling of fear when I think there is no way I can do this' • Martin Amis on 'The Whole Book-To-Film Department' • Corin Redgrave, 1939-2010 • Clash of the Titans • Tim Minchin, Hammersmith Apollo • David Hare: 'When you write plays you get more and more isolated' • Is this the most powerful man in classical music?