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onsdag 15 september 2010
Michael Sheen on His Latest TIFF Premiere, the Art of Preparation and Breaking Dawn Limbo
Another year of TIFF almost always means another year featuring Michael Sheen, and 2010 is no different. Though the subject most definitely is: The Welsh stage and screen veteran arrives this week with the world premiere of Beautiful Boy, featuring Sheen opposite Maria Bello as a dissolving married couple who must relearn how to live with each other after their son goes on a mass murder-suicide gun rampage at his college. Writer-director Shawn Ku’s debut feature goes a few places you might expect and a lot more you probably wouldn’t; Sheen spoke about the film, his role, his diligence at character “fusion,” and intriguing news about his future (or possible lack thereof) with the Twilight franchise.How are you?
I’m good. [To departing publicist] You know, it’s strange that there is a newNikita so long after the original film and the American version of the film. AndAlias was sort of like Nikita, wasn’t it?
I’m good. [To departing publicist] You know, it’s strange that there is a newNikita so long after the original film and the American version of the film. AndAlias was sort of like Nikita, wasn’t it?
That’s true. Did I inter—
Such a great film, though, isn’t it? The French one, I mean.
Such a great film, though, isn’t it? The French one, I mean.
It was. So… Toronto! You’ve got kind of a history with this festival, right?
Yeah! And also just with the city. I shot a movie here about two months ago. I was here last year with The Damned United. Before that I was here with Bright Young Things. That was a long time ago.
Yeah! And also just with the city. I shot a movie here about two months ago. I was here last year with The Damned United. Before that I was here with Bright Young Things. That was a long time ago.
The Queen.
Oh, right. Yes. I’ve come to think of Toronto as like a second home. I’m here all the time.
Oh, right. Yes. I’ve come to think of Toronto as like a second home. I’m here all the time.
It’s very underplayed; it’s about what’s not said and what’s not done, really, more than anything else.
And now there’s Beautiful Boy. It’s kind of unusual role for you, I think. How did it come to you?
I just got sent the script, and I read it. I asked my agent, “What’s it about?” Just so I got a sense of it before it comes. And just the description of it, you’re like, “Oh, God. [Rolls eyes] Do I really have to read this?” And I started reading it, and almost from page one, I thought, “Oh, I didn’t expect that. That’s kind of interesting.” I just found the whole thing was so originally conceived and always surprising and never does what you think it’s going to do. Not that it’s a twisty-turny thriller. Emotionally and psychologically and tonally it’s very different from what I expected. I thought it was very refreshing in that way: that it took a risk. Taking a very dramatic subject and treating it in a very, very realistic way and not going for a neat, emotionally wrought piece. It’s very underplayed; it’s about what’s not said and what’s not done, really, more than anything else.
I just got sent the script, and I read it. I asked my agent, “What’s it about?” Just so I got a sense of it before it comes. And just the description of it, you’re like, “Oh, God. [Rolls eyes] Do I really have to read this?” And I started reading it, and almost from page one, I thought, “Oh, I didn’t expect that. That’s kind of interesting.” I just found the whole thing was so originally conceived and always surprising and never does what you think it’s going to do. Not that it’s a twisty-turny thriller. Emotionally and psychologically and tonally it’s very different from what I expected. I thought it was very refreshing in that way: that it took a risk. Taking a very dramatic subject and treating it in a very, very realistic way and not going for a neat, emotionally wrought piece. It’s very underplayed; it’s about what’s not said and what’s not done, really, more than anything else.
Of course, you have a first-time filmmaker as well, which is another layer of uncertainty. How did you decide you wanted to go all in with him on a piece like this?
You just read the piece, and if it resonates and connects — which it did — and it’s different and original and good, then you meet the director. Not in every case do you respond to the material and think that the director in the right person to do it. But meeting with Shawn and hearing how he wanted to approach it all chimed with how I felt.
You just read the piece, and if it resonates and connects — which it did — and it’s different and original and good, then you meet the director. Not in every case do you respond to the material and think that the director in the right person to do it. But meeting with Shawn and hearing how he wanted to approach it all chimed with how I felt.
Like what?
Well, we talked about the idea of all those things I said, I guess. Sometimes you see things in a script, and it doesn’t necessarily mean the director sees the same things. And if you think you’re going to be making a different film, then that’s not gonna work. He very much felt the same way I felt about it and liked the same things that I liked, and therefore the way that we would approach it in terms of the performance was very similar. I like how personally invested he was, and how prepared to draw on his own life he was in order to talk about it. He was trusting in me in terms of what he was telling me, so that makes you think, “Oh, I can take the risk to trust him and go on this journey myself.”
Well, we talked about the idea of all those things I said, I guess. Sometimes you see things in a script, and it doesn’t necessarily mean the director sees the same things. And if you think you’re going to be making a different film, then that’s not gonna work. He very much felt the same way I felt about it and liked the same things that I liked, and therefore the way that we would approach it in terms of the performance was very similar. I like how personally invested he was, and how prepared to draw on his own life he was in order to talk about it. He was trusting in me in terms of what he was telling me, so that makes you think, “Oh, I can take the risk to trust him and go on this journey myself.”
Another big part of it was Maria. I’ve been a big admirer of her work, so meeting with her and talking about it just felt right. It just felt like a good chemical mix.
Crews shoot scene from Coppola movie in Amite (On The Road)
Northeast Central Avenue in downtown Amite was closed to traffic and pedestrians early Tuesday, as the area transformed into a film set for producer Francis Ford Coppola’s adaptation of “On the Road” by novelist Jack Kerouac.
Roseland resident Jimmy Rhodus watched from the sidelines near the railroad tracks as crews quickly loaded equipment for the next scene.
“I’ve watched a lot of movies, but I’ve never seen one filmed before until today,” said Rhodus. “They’re quick!”
Amite Police Chief Jerry Trabona said the crews didn’t stay for very long.
“But everything went smoothly. We had a beautiful day working with them,” he said.
Filming took place just outside the train station, while several Amite officers were also on hand to secure the area and steady the flow of traffic during the morning rush.
Amite is one of several stops for the multimillion dollar motion picture, which began filming in Montreal, Canada, in early August and continued on location to Argentina and New Orleans.
It is set to star English actor Sam Riley, who starred in the film “Control,” as well as Kristen Stewart of the “Twilight” saga and Kirsten Dunst of the “Spider-Man” series.
Viggo Mortensen of the “The Lord of the Rings” films is also set to appear in “On the Road.”
Director of sales Emily McKneely of the Tangipahoa Parish Convention and Visitors Bureau said that this is a busy time of year for movies in the parish, which has become a popular locale for period-piece films.
The production teams have several local scouts on hand, said McKneely, who photographs areas across Tangipahoa then submit them to producers for review and later for film locations.
“We are the starting point,” said McKneely. “We guide them through their permits and applications required for filming on location in the parish.”
She said each movie is different, so when production companies come to the office, they often negotiate what they’re looking for.
READ MORE AT THE SOURCE: Hammondstar
Via diariotwilight
HP Stars Nominated For Glamour’s Best Dressed Brits (ROB TOO)
Daniel Radcliffe (Harry Potter), Rupert Grint (Ron Weasley), and Robert Pattinson, who portrayed “Cedric Diggory” in the Harry Potter films and now is known as “Edward Cullen” in The Twilight Saga films, have been nominated for Glamour’s Best Dressed British Man 2010 whileEmma Watson (Hermione Granger) has been nominated for Glamour’s Best Dressed British Woman 2010.
Daniel Radcliffe: His Style: Daniel Radcliffe is one to divide the fashion critics: some applaud his efforts to inject the male red carpet with something a little bit different; others find his choices more crazy than creative. Tell us which side of the fence you’re on and vote now!Rupert Grint: His Style: When it comes to clothes, it’s all about textures for this Harry Potter star. Rupert’s not averse to flashing a bit of denim, leather and even velvet – but does he get your vote…?Emma Watson: Her Style: From Hermione in Hogwarts robes to the face of Burberry Prorsum, Emma Watson’s rise and rise to style fame has been an interesting one. Granted that the star commits a fair few faux pas in the style department, she is the golden girl in the front row at LFW and has re-ignited our love of the classic trench.
Robert Pattinson: His Style: Tartan lumberjack shirts and jeans when out and about, drool-inducing tailored suits and skinny ties, when on the red carpet make R-Patz one of the hottest contenders for the style crown.
Click here to vote for them.
Source: RupertGrint.net via harrypotterspage
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