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BeitragVerfasst: 19.11.2013, 19:44 
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http://www.theonering.net/torwp/2013/11 ... ist-ticks/

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NOVEMBER 19, 2013 at 1:29 PM BY GREENDRAGON -
RA B&WLast week, TORn staffer greendragon caught up with Thorin himself, for a chat about topics including what he is planning post Middle-earth, the upcoming release of The Hobbit: The Desolation of Smaug, and whether to go dressed as Sally Bowles to the Berlin premiere of said movie. (Answer: it seems unlikely that either greendragon or Richard Armitage will be at the premiere in stockings and a bowler hat…)

Look for most of the interview in a post later this week. Meanwhile, we here at TheOneRing.net have been pondering the division in fandom which seems to be being created by the Hobbit movies; and this interview seemed like a great opportunity to get Armitage’s thoughts on the subject.


Peter Jackson famously remarked (to Empire magazine):

‘This will probably get me struck off The One Ring party list, but I am enjoying deviating from the book!’

In creating his three movies, Jackson and his co-writers have added to, adapted and extended the story of the book, even coming up with entirely new characters. These changes have sparked debate amongst fans, and have in some cases caused deep rifts. Entertainment Weekly, in its ‘Reinventing The Hobbit’ issue (November 15 2013), calls Jackson’s embellishments ‘bold detours’, and writes:

‘On the fansite TheOneRing.net, debate over the first Hobbit film has raged for so long that one recent post pleaded for a détente: “Those who love the movie are ‘delusional’ and those that hate it are ‘radical purists’. For heaven’s sake, I feel like I am observing 8-year-olds fighting on the playground!’ ‘

EW Tauriel Cover[Read the whole article here; where it is audaciously titled, 'The Epic: Building a better Hobbit'!]

So how does a cast member who is known for his devotion to the book feel about these divisions? Here’s what Armitage had to say, about deviating from Tolkien’s words, and about a possible need for female characters in Middle-earth:

greendragon: There’s a strong positive side of fandom; but there’s been quite a lot of talk recently about some of the more negative reactions from fans. There seems to have been a lot of very vehement reaction – some fans have really been split into the book purists versus the movie lovers. Of all the cast, you seem to be someone who’s a book devotee; I wondered how you feel about the deviations from the book which the movies are taking?

RA: Yeah, you know what, I am a bit of a purist! So I love it when Pete finds his way back to something which is absolutely, completely in the book, and the dialogue is from the book, the moment is from the book… I love it. But you know, I suppose the way I see it – it’s like a folktale, where you put it into the hands of another reader, and they’ll tell it in a different way. They’ll use different voices; they may go off on a tangent, talking about a particular character… I know that Tolkien wrote this down, but I think at one point he probably told it to his children verbally, and he may have… you know, it’s like riffing on a theme. I don’t know how he told that story to his kids; but this is just Peter picking up the book and telling the story, and then at times he puts the book down, and he expands an idea. That’s really all it is. You know, he loves Tolkien as much as anybody else; the writers, Philippa and Fran, they are just… Tolkien obsesses them! They will hunt down anything they can find, in the material that they are permitted to look at; any kind of jewels, little nuggets that they can use, because they want this story to be as big and epic as it can be. And working with Lord of the Rings, they had so much material; but with The Hobbit it’s such a simple, small tale; and I think that the chance to go back to Middle-earth, and explore all of these avenues with all of the great characters that come in, each of whom have their own Middle-earth history, that Tolkien went back and sort of retrofitted … I think that Pete’s looking at all of those ideas. And he is inventing some story as well, and some characters, but I think at the centre of it, the book is still very much there. It’s like a spine.

Bonhams 1793 _ TOLKIEN (J.R.R.) The Hobbit or There and Back Again... Illustrated by the Author, FIRST EDITION, second impression, dust-jacket, 1937GD: Well, to a certain degree Tolkien did that himself, as you’ve pointed out – having written The Hobbit, he revisited the tale when he was writing Lord of the Rings…

RA: Yeah I suppose it’s a bit like … I mean, Pete has a kind of childlike, crazy mind! And it’s a bit like that cathedral in Spain, that never really gets finished. [Gaudi’s La sagrada familia, Barcelona.] I think at some point an architect designed it, but it just keeps growing, and new ideas keep adding to it; and it doesn’t make it any less fascinating… Maybe if Tolkien was making the movie himself – I don’t know how he felt about them being expanded into movies – but I’m sure that he would want a development of an idea. I’m sure he would.

GD: Tolkien did say at one point, in a letter [to Milton Waldman, 1951], that in his desire to create a whole mythology, he wanted it to be something that would inspire others to create painting and music, inspired by the myth…

RA: And hasn’t it absolutely done that? I mean not just Peter Jackson making a movie, but everybody, from hobbyists that make costumes, to jewelry designers… There are just a million ideas that are springing out of this!

GD: One area of negativity is the backlash that there has already been from some areas about Tauriel. [RA interjects, emphatically, ‘Yeah.’] I saw in EW that you said your nephew had named his hamster Tauriel! Is that true?

TaurielRA: He did! [laughs] So already she’s a success! Yeah – he’s really into her!

GD: Is it possible this dislike, before we’ve even seen how the character plays out, could come from a slightly misogynistic base? You know, if this particular negativity against Tauriel is from a rather sexist attitude you sometimes find in geek culture; do you think there’s any of that going on?

RA: I don’t really know … I think people probably will change their minds once they’ve seen the film, because they’ll just engage with the character and enjoy that character for what she is; which is a kickass female elf; which has been long awaited, I guess! You know, my little nephew is a perfect example: he doesn’t care whether it’s in the book or not, he’s just going to sit there and enjoy the movie; and in a way, Pete’s making those choices for that younger audience. The older audience can grunt and snarl about it, but at the end of the day, she’s a great character and she’s female! There are so few female characters – aspirational female characters – in this, you know? I’m saddened that he hasn’t created a demonic female orc! I think that would be kind of interesting…

GD: Maybe there are female orcs – we just don’t know! Maybe it’s like the dwarves…

RA: You can’t tell! [laughs] That’s the other thing, as well – you see, in the flashbacks, a lot of those female dwarves, that Tolkien mentions in his appendices as being very few, and having beards… They [the designers] really went there! They designed them and they created visual imagery for it, and I think you see a little bit more of it in this movie.

More from Richard Armitage later in the week. Watch this space! Meanwhile, some more thoughts on the films’ ‘bold detours’, and the fans’ reactions to them:

Demosthenes’ addendum: I can’t resist adding a few thoughts. Purism has certainly become one of the dirty words of Tolkien fandom in the last decade or so. And sometimes (often?) its deployment seems little more than an ad hominem attack intended to suggest that nay-sayers are a bunch of old fossils and generally shut down debate. Here, Armitage suggests that purism can be big enough to embrace adaptation, change and, perhaps even outright invention. It’s an interesting thought. It’s no big deal to acknowledge that any adaptation must involve change as it necessarily involves interpretation. It must do, regardless of whether it’s going from print to film, from print to visual art, or even a “simple” translation from one language to another. Even the act of reading is an interpretation, else why the hell do we argue so much and so often over whether Balrogs have wings? Perhaps, somewhere out there, exists the perfect Form of the Balrog, of which all our individual conceptualisations (yes, even John Howe’s) are mere echoes. And perhaps this is what Armitage means: that by being able to perceive Middle-earth through the (necessarily) imperfect lens of someone else’s interpretation, we might glimpse just a little more of what the “real” Balrog might look like. What’s not to like about that?

greendragon adds: The issue of female characters is an interesting one. Tolkien’s works contain plenty of strong, female characters – the Valar are both male and female, Galadriel bears one of the three Elvish rings of power, and Goldberry is an astonishing equal partner to the one being who is able to resist the power of the Ring, Tom Bombadil; and that’s before we even mention Éowyn. Bilbo himself derives much of his strength of character from his mother’s side of the family. For all that Tolkien does not have women make part of the actual questing group (in either The Hobbit or The Lord of the Rings), it would be untrue to say that he, as a writer, is dismissive of the ‘fair sex’. Nonetheless, it is true that The Hobbit lacks any female character who plays a role of any real kind (stealing silver spoons doesn’t count); the movie makers have sought to address this by creating Tauriel. Why should this be an issue? There are many ‘unseen’ beings in Tolkien’s writings; we know that dwarf women exist, but they do not appear as part of the plot. Their presence is understood but not explicit – just as we can reasonably assume that Legolas would be in his father’s realm, even if he is not named in The Hobbit. Likewise, it stands to reason that there must be many female elves besides Galadriel, Arwen and the few others whose names we learn. As Tolkien has created a fully rounded world, we should surely accept that it is populated with beings, some of whom we do not meet in the limited lines of his texts. Isn’t adding a character a compliment to the comprehensiveness of Middle-earth, rather than an outrage against its original creator? And is it possible that some fans wouldn’t feel quite such outrage if the new character were male?

Demosthenes’ final word: I’ve been thinking about this issue a bit — there is a vast difference between the repellent viciousness perpetuated upon Anita Sarkeesian and the anti-Tauriel rhetoric (some of it well-considered, and some less so) that I’ve noted on TORn, and other Tolkien forums. One needs to acknowledge that. Still some of the commentary is discomfiting and disturbingly personal (examples: one individual describing EL as “ugly” (pretty reductive), and another that “Tauriel is going to ruin The Hobbit” (single-handedly? really?)). I’ve simply not seen that directed at Alfrid, the Master of Lake-town’s shifty “yes-man” and surely the Marty-stu to Tauriel’s Mary-sue.

Of course, the opinions expressed above are simply that - opinions, inspired by the debate seen currently in Tolkien fandom, and by the thoughts Richard Armitage shared with TORn last week. We’re sure our readers will have plenty of their own opinions on these passionately felt topics!

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Verfasst: 19.11.2013, 19:44 


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BeitragVerfasst: 19.11.2013, 19:45 
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Little Miss Gisborne
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Ich hoffe ich habe das hier richtig gepostet? Ich hab noch nie einen Thread für ein Interview aufgemacht. :oops:

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 Betreff des Beitrags: Re: TORnet Interview (November 2013)
BeitragVerfasst: 19.11.2013, 19:47 
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Ich hab das Ganze ungefähr zeitgleich im Interview-Bereich gepostet. Ist es hier besser aufgehoben? :scratch:

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BeitragVerfasst: 19.11.2013, 19:55 
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Da es ein reines RA-Interview ist, würde ich alles in den Interviewbereich packen. Ich hab mal beide Threads zusammengelegt. Danke euch beiden! :winke:

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BeitragVerfasst: 19.11.2013, 20:00 
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Ich hab meinen Beitrag jetzt raus, wir müssen ja nicht doppelt moppeln :lol: .


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BeitragVerfasst: 19.11.2013, 20:03 
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Danke, euch beiden! :blum:

Kann noch jemand das Datum im Thread-Titel ändern? Ich hab' das heutige angegeben, aber da es ja noch ein paar Teile geben wird...

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BeitragVerfasst: 19.11.2013, 20:57 
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Ich finde ja die Hamster-Geschichte voll süß! :heartthrow: :knutsch:

Danke für das Ändern des Datums im Titel. :blum:

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BeitragVerfasst: 19.11.2013, 21:27 
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Das hat zur Folge, dass auch das Thema " Hamster" in Zukunft emotional besetzt ist :shy: ...
Zitat:
...topics including what he is planning post Middle-earth,...

Heißt das, dass wir im nächsten Interviewteil ev. was über die rollentechnische Zukunftsplanung erfahren werden?
Hoffentlich ist damit nicht nur " Into the sky" gemeint?!


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BeitragVerfasst: 19.11.2013, 21:36 
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Nimue hat geschrieben:
Das hat zur Folge, dass auch das Thema " Hamster" in Zukunft emotional besetzt ist :shy: ...
Zitat:
...topics including what he is planning post Middle-earth,...

Heißt das, dass wir im nächsten Interviewteil ev. was über die rollentechnische Zukunftsplanung erfahren werden?
Hoffentlich ist damit nicht nur " Into the sky" gemeint?!


:giggle: Wurde "Into the storm" wieder umgetauft? Dieser eine kleine Teilsatz lässt mich auch sehr gespannt auf die Fortsetzung des Interviews warten!!! :excited: Danke für's Posten, Mädels :blum: :blum: !

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BeitragVerfasst: 19.11.2013, 21:39 
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:oops: :pfeif:
Sie könnten ihn auch " Into the black, stormy sky" oder " On cloud nine" nennen :mrgreen: .


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BeitragVerfasst: 19.11.2013, 23:23 
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:pc:

Greendragon ist clever und weiß, womit sie uns ködern kann. :lol: Da sie gute Interviews führt und die Chemie mit Richard stimmt, halte ich allerdings durchaus eine gewisse Klimax für möglich. Abfallen wird der nächste Teil hinter den ersten sicher nicht.

Danke an alle Beteiligten für Zitat, Thread u. s. w. :kuss:

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BeitragVerfasst: 25.11.2013, 18:09 
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Teil 2 ist da :hurra: !
http://www.theonering.net/torwp/2013/11 ... ering-net/

Zitat:
Shakespeare, performance capture and getting back on stage – Richard Armitage talks to TheOneRing.net

November 25th, 2013 by greendragon 0 Comments

As readers will know from this post last week, Richard Armitage recently took the time to chat with TORn staffer greendragon. As ever, Armitage was gracious and erudite. His respect for his fans is evident, and he seems always ready to acknowledge their support, and share some time with them if possible.

The interview covered the topic of getting ready for the upcoming release of The Hobbit: The Desolation of Smaug, and whether there might be even MORE pick ups next year in New Zealand. Also discussed at length was Armitage’s theatre training, and his approaches to the craft of acting. His first love, it seems, is classical theatre; and fans can expect to see him back treading the boards sometime in the not too distant future. Here are the highlights of what he had to say.

GD: How does it feel to be gearing up for Middle-earth Madness again?

RA: It feels like a millisecond passed since we were doing it the last time! It’s great; I mean, it’s like a whole new adventure because, you know, seeing little snippets of the movie and then at the World Wide Fan Event actually sitting through twenty minutes of the work that Pete’s been doing down in New Zealand since we finished pickups … it’s really exciting! So many new characters to explore; and feeling that fan response again was amazing.

People were so excited at the Fan Event – and that 20 minutes of footage was incredible!

It’s great isn’t it? Yeah – I was really pleased that he was able to treat the fans to that. He’s really good at that kind of thing – you know, giving them a little gift.

When you were doing the pickups earlier this year, what was it like finding your way back to the character? Was it hard, or did you just pick up where you’d left off?

Do you know what? It was harder than I thought it was going to be. You always underestimate … putting on the wig and the costume, you think, ‘Oh I’m just going to be able to snap back into it.’ But actually, it took about 48 hours; that sounds like nothing, but the very first day of filming I had a really long scene, which took two days to shoot, with Ian. And I couldn’t find his voice again! I was going into my trailer and doing voice work to try and pitch the voice right. Luckily I wasn’t moving around, I was sitting down, so … I mean, all the ideas stay with you, and obviously I’d made quite a lot of notes, so I’d sort of swotted up beforehand, to try and remember where we were. The good thing about it was, a year on, having seen the movie and understanding the character a little bit more, I feel like there was a bit of germination that had happened. So there was another layer that I could add to the character. That went through all of the pick ups; whenever we were going back into scenes, there was a little bit more understanding of where the character had been, and where he was going to, which I felt was really useful, to giving it another dimension.

Do you think you are likely to find that there are more pickups next year? Once Sir Peter has edited this all together and he’s looking at the third film, do you think he’s likely to say, ‘Actually I need you to come back?’

We have nothing official at the moment; but knowing Pete, knowing what that third movie needs to be like, you know, his taste and what he’s aiming for, I have no doubt in my mind that we’ll be going back to do more stuff. Probably on a voluntary basis!! [laughs] On the last day of the shoot, he [PJ] put his arms around me, and he gave me a big hug and said, ‘See you next year.’ And I was like, ‘What, do you mean for the Premiere?” and he went, ‘No, no; we’ll be back here again…’ And I would go again and again for him; you know, it’s such a rewarding experience working with him. He really pushes you to the limit, and it feels so good to have gone further than you think you can. It’s a little bit like running through the finishing line, and then having to keep running. It’s a good feeling.

It’s interesting; your castmates I’ve spoken to have said the same thing: ‘Oh yeah, we’re sure we’ll have to go back, but we wouldn’t want it any other way!’

Yeah - it’s true. It’s been a long journey … and I think it’s going to get longer! [laughs]

You have an interesting theatrical training, in that you had both the experience of learning ‘on the job’ and learning in the college situation [at the London Academy of Music and Dramatic Art]. Could you say a bit about what you see as the pros and cons of both those ways of learning the craft of acting?

I was out in the business quite young; well, not by today’s standards in terms of acting, but at the time, I was working at about 16, 17, in musical theatre, and going to open auditions, queuing around the block to get seen in groups of six; and finding a singing teacher, getting a dance class – that kind of thing, just to get working … and really learning about theatre skills, like you say, on the job. And I realised that kind of – what’s called ‘tits and teeth’ performance – just really wasn’t stimulating me; and I began to be fascinated with text and Shakespeare and more classical works. I was going to private lessons with an acting coach, looking at those kind of ideas, and that’s when I decided that I was perhaps on the wrong path. So I went back to retrain at LAMDA, and I did a classical theatre course for three years, because I really wanted to immerse myself in that voice and text-based training. I came out and went to the Royal Shakespeare Company; that was really my goal, and I achieved it.

I seems to me that one can’t be at the Royal Shakespeare Company and not learn a lot.

It’s incredible what you do learn; and what you don’t realise you’ve learnt, as well. You know, I use a lot of Shakespeare, particularly with The Hobbit for example; knowing that text, being able to bring some Shakespearean ideas to something, to make it feel epic – but truthful, as well. So it’s amazing the things that I learned that I didn’t realise had gone into my long-term memory, if you know what I mean.

We talked about that a bit last December; about the Shakespearean roles that had given you thoughts about where Thorin comes from, and what drives him and motivates him.

Yes; but also you know, that earlier training, the physical stuff, has become really, really useful in terms of coordinating the fights, and the stamina needed to train; and also creating a physical life for the character which is beyond the brain, you know? It’s a different manifestation; and I’d like to take that further, and even go into performance capture, and really change the body. One of the movies that I just love so much is the new Planet of the Apes movie; and Andy Serkis’ work, that kind of thing, I just think is fascinating, because you get absolutely to use all of those physical skills that you’ve picked up along the way.

Thinking about Thorin and his physicality and his mentality… obviously you’ve got a lot of the backstory there for you in the book, and in the appendices. Did you feel that there were gaps that you had to fill in; did you create extra back story for yourself?

Yeah. I went in search of stuff and then I’d find ideas. I was really trying to work on the relationship between Fili, Kili and Thorin, so I wrote a biography a little bit about what happened on the battlefield at the Moria gates when he was fighting alongside his brother [Frerin, who was slain at that battle], and also the conversation that he had with his sister [Dís], who is obviously the mother of the nephews [Fili and Kili], when she was saying to him, ‘Don’t take them to war!’ (I’ve got a feeling Tolkien wrote something about that; I’m not sure whether Tolkien wrote it or whether I wrote it – it’s all morphed into one now!)

[GD note: pretty sure this conversation between Dís and Thorin is entirely RA’s creation; we know very little of Dís from Tolkien. I for one would be fascinated to read RA’s composition!]


Creating those kind of conversations which would have happened – I felt that was important. The relationships with my father and my grandfather, which are prominent in Thorin – I had to fill in a few of those gaps. Also, the dragon sickness or the gold lust which Tolkien talks about – actually playing a sickness like that required a little bit more development in terms of what it was going to be. Would it be a mental illness, was it going to be a physical illness; making choices about that… So yeah, there were a few bits and pieces that I had to expand upon.

I love the scene in the Extended Edition of The Hobbit: An Unexpected Journey where Thorin overhears the reservations which Gandalf and Elrond are discussing about the dragon sickness; that Thror and Thrain both succumbed, and how do we know that Thorin’s not going to succumb. It was so true to life; I thought it was just like if one had parents and grandparents who’ve had Alzheimer’s, and you’re facing that fear … it just seemed very real, very true.


Yeah. Actually, that was at the end of a much longer scene, which I played with Bilbo on those steps, where I talked about where I was born, and seeing fireflies on the roof; being born in darkness, underground; and then it cuts to that overheard conversation. And you realise that his childhood has been quite claustrophobic and insular, in terms of his upbringing and being raised as a prince, very much under the control of his father and his grandfather. I really worked hard on a very close relationship with Thror, because what I felt was that when we do get into those moments with the dragon sickness, later into movie three, I wanted Thorin to have been very, very close to Thror when he was going through that. Like he was almost nursing him through it, so he’s seen evidence of what it was like; so when it starts to manifest itself in him, he knows exactly what’s happening to him, and it’s terrifying.

When you’re creating a role like this, I’m curious about how much of yourself you bring to the role. We’re talking about real experiences in real life, which one references. Do you ever feel that you’re bringing too much of yourself, and that you need to step back and distance yourself a little?

You know, at drama school I had one teacher who used to say to me, ‘Don’t bring the role to you, take yourself to the role.’ Which is a bit of a paradox – because what he meant by that is don’t make a character into yourself, but go to the character. But in going to the character, you have to bring bits of yourself; you know, my voice will be in the character, the way that I move, the way that my mind connects with thoughts and movements, will all be in the character. So you can’t really leave yourself out of it completely. In terms of personal experience, this [Thorin] is quite easy to just use my imagination, because obviously you’ve got the book; and I’m not a dwarf, I don’t live in Middle-earth! Other characters which are much more similar to me and my life, and are contemporary settings – you have to work harder to separate yourself from them.

But there are things where you absolutely have to draw on your own experience; and sometimes that’s not even a literal experience. It can just be a sensation or a feeling, or your relationship to an event; my view on nobility for example, and what it really is… And those are the moments where I think, ‘No, I absolutely am going to bring my ideas to the table on this one.’ What I consider to be greed, for example – I thought a lot about that when I was preparing the role, because it’s where Thorin and I differ in our opinion about reneging on the deal with the men of the Lake; that fact that he promises them something and then reneges on that deal. I disagree with Thorin about that; but I have to play him, so … it’s kind of good to have that paradox.

So in some ways, from what you’re saying, if the role is closer to you – it’s a human role and it’s contemporary – you have to be careful that it isn’t just you, that you distance yourself. Do you think in some ways that in fantasy, where it’s a completely created world, it is easier to find a truth, than in something which is much more mundane, and closer to your daily life?

Are you saying my daily life is mundane?! [laughs] No, you’re absolutely right. Weirdly enough though, it’s funny because sometimes if it feels like too much ‘acting’, it can really pull you out of character. That was the thing about Thorin; there were times when I really felt like I was acting; and I’d go to Pete and say, ‘Can we go again?’, because it just felt like I was ‘doing’ the character. The moments which are the most real and the most moving were the moments where I just wasn’t acting; I was just inhabiting what was literally another being, a whole body of clothing and a whole new face. All of that thing – you sometimes felt like you were inside of it. But there were times when I absolutely didn’t feel like that, and I was just all him. It’s hard to describe.

It’s the Stanislavski point, isn’t it – that the more you’re aware of what you’re doing, the less effective it is.

Yes, absolutely. And the thing about film making as well, is that you do get the chance to disappear for a second. In a way, that’s why a lot of the time I would walk away from the group of people and stand and face the wall; because I didn’t want to break in to something which I’d found, whether it was the concentration, or just an understanding or the belief in the scene. So I think I got a bit of a reputation for being anti-social, because I’d be standing in the corner facing the wall like a weirdo, trying to stay in the scene! But it was just my way of feeling like I wasn’t acting when the cameras were rolling.

Thinking about going forward and what’s coming next, do you think you will return to the theatre, or maybe go back to music theatre? What are you envisaging for yourself?

You know what? I’m not ruling anything out; and I’m actually reading so much stuff at the moment. It probably won’t be music theatre, but – and I say this every time, and I think it really winds up the fans – but I have a very strong desire to get back on stage. I’ve been hunting for the right play; because it’s been a long time. I’m going to find something which I really want to do, and I’d love doing. And it will probably be something classical I think. I’m looking at quite a lot of smaller, independent movies with less special effects, as well. But yeah, I’m not ruling anything out.




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BeitragVerfasst: 25.11.2013, 18:10 
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Yes! Danke Nimue! :kuss:

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Danke, liebe Boardengel, für Eure privaten Schnappschüsse. :kuss:


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BeitragVerfasst: 25.11.2013, 18:25 
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:aww: Habs gerade gelesen und bin hin u weg...
Das ist ja ein bisschen wie die ersehnte Botschaft! Alles wird gut - independent films u classical theatre ... Das wollen wir doch hören? Oder? Allerdings immer schön vage. .. Aber ein tolles Interview! Danke fürs Posten :kuss: !

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BeitragVerfasst: 25.11.2013, 18:29 
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Ein wirklich tolles und informatives Interview- da könnten sich die meisten Profi- Interviewer eine Scheibe abschneiden!
Ein noch tieferer Einblick in seine Arbeitsweise- sehr interessant!
Und hab ich mich nicht erst gestern über seine häufigen Theaterbesuche in NY und seine ev. Absichten ausgelassen :pfeif: :lol: ?
Es bleibt spannend!


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