Buscar
 
 

Resultados por:
 


Rechercher Búsqueda avanzada

Últimos temas
visitas

Contador web

Entrevistas y cuestionarios de prensa a Martin Freeman

Ver el tema anterior Ver el tema siguiente Ir abajo

Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  lulyve el Mar Nov 13, 2012 5:41 am

Hola, todavía no había creado un tema para entrevistas a Martin y como el estreno de El Hobbit está a la vuelta de la esquina, seguro que en las próximas semanas hay más de una entrevista interesante.
Lo empiezo con una entrevista publicada en Stuff.co.nz que es un diario digital de Nueva Zelanda, espero la disfrutéis porque Martin es especial, es muy Martin


Interview with the Hobbit himself
Exclusive interview with star of The Hobbit
TOM CARDY
[Tienes que estar registrado y conectado para ver esa imagen]
When I meet British actor Martin Freeman, it's in a makeshift cafeteria next to a giant temporary sound stage Sir Peter Jackson is using in Upper Hutt that was once a car assembly plant.

Freeman has a rare day off from filming - as he speaks Jackson is right next door shooting a scene with the 13 dwarfs whom Bilbo joins on their quest. But rather than not think about The Hobbit he's more than happy to talk to talk to reporters for an hour, well beyond the time that was expected of him.

As the hobbit in The Hobbit, Freeman is the one that will carry the story along through three films over the next three years - like Elijah Wood as Frodo in The Lord of the Rings.

The last time I saw Freeman in the flesh he was when he joined the 13 dwarfs, sans costumes, makeup and prosthetics, before filming began. Only this time there's something now of a Bilbo aura about him that wasn't there before. Freeman likes fashion and has garnered the nickname ''the mobbit'' on the set for his love of British Mod culture. So even though he's in his own clothes, they seem cut in a way not unlike Bilbo, right down to a waist coat.

''It's good, it's always nice to have a day off. But I can't complain, because on this block [of filming], I've had quite a lot of days off. It's been quite nice, actually. Unexpected, but still relatively rare. Yeah, days off are always good. However much you're enjoying the job, and I am enjoying this job, it's always nice to be out and go and have some Japanese food.''

Fellow Brit Ian Holm played Bilbo in Jackson's The Lord of the Rings and briefly reprises the role in The Hobbit. Freeman says he didn't talk to Holm prior to getting the part.

''I've never met Ian, and I would dearly love to. But that was never set up, and I wasn't really gonna push for it, just because I understood that I had his blessing, and I had to follow my own way with it, really. Well, like everything he does, he's a brilliant actor, and obviously, he established Bilbo as a character on-screen, in these films, anyway. And I love what he does, so I'm mindful of it, without being slavish to it. As I've said before, I think the main connection between myself and Ian has been in the actual casting of it, as opposed to whatever I choose to do with it. 'Cause, frankly, I think I've been cast well. I think I'm a good match for him, and yeah, I think the work is done there, really. So I'm mindful of it, but I can't think of him every time I'm going into every situation, because that would be hampering for me. I hope he likes it, but more than that, I hope I like it.''

Prior to The Hobbit Freeman was best known for roles in comedy series The Office and in Sherlock Dr Watson in the modern day update of Sherlock Holmes. Freeman's characters in those shows have an air of uncertainty about them and it's pointed out that so does Bilbo. ''I like uncertainty in roles, and I like uncertainty in art, really,'' Freeman replies. ''And in theatrical terms, I'm not a massive fan of certainty. Without sounding overly pompous about it, I don't really trust certainty in anything, actually. Especially as I get older. Except love, I'm certain of love, I guess. But beliefs, characteristics, all that, I think everything is uncertain. And so I like playing people who reflect that, 'cause I think it's honest. I don't really believe it if it's certain, you know what I mean? I just don't buy it.''

Is that what Peter Jackson saw in you?
''I think he saw a funny-looking face. Quite a small, round face, and someone who would fit the ears. Honestly, I genuinely don't know. I'm not being cute with that answer, I don't know what he saw. Hopefully, I think he thinks I'm quite good, and so could do it, I hope.''

In fact, says Freeman, he hasn't discussed with Jackson precisely why the film-maker cast him. ''I think, sometimes you gotta be careful what you wish for. Of course we all want to be told we're brilliant for various ways, however we hope we're brilliant. And then, if someone thinks we're brilliant for a reason we find unflattering, then we'd rather not hear it. 'Cause of course there's a difference, like with any actor, between the parts that I play, and... For a start, no one's seen everything I've done, apart from me. And I've played a lot of parts over 17 years. There's a difference between the parts that I play, and who I am, and who people think I am. There's quite a big discrepancy sometimes, between those things.

''There's a feeling that I'm gonna be everyone's best mate, and you know, that's not true.''

Freeman has been able to have some input into Bilbo's character. ''I have a fair amount of input. I'm very clear about who is the boss: me.

''I'm very clear that Peter's in charge, and he knows this world better than I do, or better than anyone else does, who's likely to make it in to a film.[But] God, it would have been horrendous to take on a job of this magnitude for this long, to be this far away from my family, to just be told what to do. That'd be awful. So, yeah, I always make sure I cut out enough elbow room for me to get involved, but I completely respect him.

''Everything has to please him [Jackson], but it also has to please me. I guess he's in charge of that, but I'm a close second in terms of my own judgement, and my work, and my own choices for Bilbo. But yeah, there were early moments in the filming where we had to negotiate where I thought Bilbo was and where Peter thought he was. And where Peter thought he was was kind of a surprise to me. I was like, 'Okay. That wasn't quite where I was looking at.'''

While some of The Hobbit cast had read JRR Tolkien's novel and The Lord of the Rings before becoming involved in the project, Freeman is one of a small number who came to it with fresh eyes. ''It was as a result of getting this. I hadn't grown up with The Hobbit, I hadn't grown up with Lord of The Rings, anything like that. So yeah, first time I read Tolkien was when I was cast as Bilbo.''

Coming to Wellington also meant juggling his filming commitments for Sherlock. Fortunately his filming schedule for The Hobbit was arranged in a way that he could return to Britain to resume working on the series. Freeman says this was a relief because at first he had to turn down being in The Hobbit because it conflicted with his commitments to Sherlock. This was exacerbated by the on-again, off-again history of The Hobbit production.''I felt very upset. I felt sad and really frustrated because ships like this don't call for you very often in your life. And opportunities like this don't call for you very often, and I was ready for it. I was ready, frankly, to make the sacrifice of being away from home and family for this long, which is a sacrifice. But I was ready for it and I was up for it, and I didn't want to miss that boat. So when I had to turn it down, it was awful.

''So when it came back, it was unbelievable. I was rehearsing a play and then I got a call from my agent saying it's come back, and I was pleased to say the least.''

He still remembers when he was first in his Bilbo costume, complete with prosthetics that turned him into a pointy eared, curly-haired, big hairy-footed hobbit. ''Just the oddness of it, I think,'' he says. ''But I suppose by the first time I'd seen myself in the monitor, I was used to it. I'd had so many fittings, and I'd had so many pictures taken, and so many versions of the costume, and versions of the wig. But yeah, it felt kind of odd. I look fairly different as Bilbo, but what's weird now, is it just doesn't feel strange at all. And I genuinely forget - we all forget what we look like.

''When I first saw the dwarfs, I couldn't believe it. I didn't recognise anyone when they were in full prosthetic, until they had opened their mouths. I was like, ''God, that's [Wellington actor] Jed [Brophy]," or 'that's Jimmy Nesbitt', you know. But now we don't think about it at all.

''[We] were going from Stone Street [Studio's in Wellington's Miramar] up to the set at Mt Crawford, [to] the set of Dale, in a car. [I was] just kind of wondering why people were doing that to me. And I was like, 'Yeah, I'm dressed as Bilbo Baggins'.

''So we're driving around as dwarfs or Bilbo. And yeah, this would really be a weird thing to see in Miramar's high street, or whatever.

Kind of odd.

'''Why's that bloke dressed like that? Oh, it's Martin Freeman.'''

THE DETAILS

The Hobbit: An Unexpected Journey has its world premiere in Wellington on November 28 and opens on December 12.

More of Tom Cardy's interviews with cast and crew on the set of The Hobbit will appear in the coming weeks.

avatar
lulyve

Mensajes : 3790
Fecha de inscripción : 22/03/2012
Edad : 45
Localización : Madrid

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Katratzi el Mar Nov 13, 2012 11:17 am

Gracias por abrir este nuevo tema lulyve!

_________________
***
[Tienes que estar registrado y conectado para ver esa imagen]
avatar
Katratzi
Admin

Mensajes : 2174
Fecha de inscripción : 31/01/2012
Edad : 32
Localización : Barcelona

Ver perfil de usuario http://hottokatratzi.blogspot.com/

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Mertxines el Lun Nov 19, 2012 1:36 am

Entrevista a Martin en el Dominical del Sunday Times de hoy (18-11-12):


Hobbit Special - Sunday Times Magazine


Today’s Sunday Times is a Hobbit special featuring a lengthy interview with Martin Freeman.

Martin Freeman arrives at his local north London pub exactly as you’d imagine: droll, self-deprecating and modishly smart. He looks like a younger Paul Weller in his Black Watch tartan blazer, John Smedley top and chinos. “Thirty quid from Uniqlo, you can’t say fairer than that,” he nods, sipping from a bottle of beer, oblivious to the other patrons craning their necks to see if it really is that bloke off the telly. In the coming weeks, however, Freeman will be synonymous with a far more outré look. He is about to step into the oversized furry feet (not to mention curly red wig and pointy prosthetic ears) of Bilbo Baggins in The Hobbit: An Unexpected Journey. It’s the first of three films based on JRR Tolkien’s 1937 precursor to The Lord of the Rings.



“I will never make a bigger film,” admits the 41-year-old, eyes widening. “There may never be a bigger film, I don’t know. But for our time, now, 2012, there isn’t one. This is the king of kings in terms of size. There’s nowhere in the world where it won’t be shown. That’s a sobering thought.”

Fame — at least the British version of it — has been part of Freeman’s life since 2001, when he was cast as Tim, the long-suffering employee of Ricky Gervais’s buffoonish David Brent in The Office. Latterly, he’s found an even wider audience playing Watson, the morally centred sidekick to Benedict Cumberbatch’s eccentrically brilliant Holmes in the BBC’s Sherlock. He’s aware that his next film is about to jettison him into previously uncharted territory: global stardom. It’s not something he’s particularly comfortable about.

“You have to police yourself not to become an idiot about it. Because it’s not normal and it doesn’t happen to people with normal jobs,” he says, having clearly agonised over the subject before. “If you’re a doctor — and what’s more important than that? — they don’t stop you in the street and say ‘loved the way you took that pulse!’ So it’s skewed and it’s silly. I know that. But I think I’ve been pretty rigorous and self-flagellating about it.”

The Hobbit is the prequel that Middle-earth fans have been waiting for since Frodo dropped the One Ring into the raging fires of Mount Doom back at the finale of The Return of the King in 2003, bringing to an end a trilogy that led in 2010 to Jackson receiving a knighthood in New Zealand. Except, that wasn’t the end. Because now we have the beginning, the prequel trilogy, or the story of how Frodo came by the Ring in the first place, via Uncle Bilbo — who had a whole series of adventures featuring Gandalf, Gollum, dwarves, elves, orcs and Smaug the Dragon.

Some might be bemused at how Jackson and his writing partners (his wife, Fran Walsh, and Philippa Boyens) have managed to spin out a children’s book — either just under or a little over 300 pages, depending on which edition you buy — into three blockbusters.

“I think they’re taking things from the appendix in Lord of the Rings but the truth is, I don’t know and this isn’t me stalling,” says Freeman. “I just know that their reasons for it are artistic. God knows, they don’t need more money, unless they want to buy the moon, but artistically they want room and space for it to breathe and to tell the story as well as they can.”

Freeman has had plenty of time to ponder what all this will mean to his life. He was first approached about the Hobbit project two years ago. Now, after countless false starts, labour disputes, a change of director and 18 months’ filming in New Zealand, it’s finally here. That Freeman finds himself in the role at all is something of a fairy story. It almost didn’t happen.

In 2008, the Mexican film-maker Guillermo del Toro was hired by the executive producer Peter Jackson to direct An Unexpected Journey. Jackson, who had previously directed all three Lord of the Rings movies, initially decided he would take more of a back seat for the filming of the prequel films. Freeman remembers the 2010 casting process with del Toro well.

“I did a tape audition, along with a lot of other actors. Most of Britain went in. It was like Harry Potter all over again… Actually, I was one of the only people who wasn’t in Harry Potter, and I’m still annoyed by that,” he deadpans.

Del Toro offered Freeman the part immediately, but when he left the project and Jackson took over as director, it was unclear whether he would still be the No 1 choice.

Freeman was understandably nervous when the new director summoned him to a meeting in London. As it turned out, he needn’t have fretted so much.

“Yes, he was always my first choice too,” laughs Jackson down a phoneline from New Zealand.

“Martin, he just seems to… well, he embodies so many of the qualities of Bilbo. Bilbo has a wonderfully mischievous sense of humour. He is also a comfort-loving hobbit, not that adventurous — he has all the stuffiness that a hobbit has to have. And Martin, I wouldn’t call him stuffy, but he understands Bilbo and was able to create this character who was very authentic to the books that Tolkien wrote.”

Which is ironic, given that Freeman hadn’t read them before he was cast in the role.

“Tolkien wasn’t in my universe when I was a kid,” he shrugs, taking another swig of beer. “When I did read the book, I was surprised by how much I liked it, and I found it funny. You think it’s going to be more pretentious because so much fantasy fiction and cinema, I realise now, came from it. Things like Conan the Barbarian, Game of Thrones, whatever, and it’s very easy to take the piss out of that whole Dungeons and Dragons world.”

In fact, he thinks being detached from Tolkien mania may have actually helped him to land the role. “It served me well, because it didn’t feel like being asked to audition for the Beatles. You can’t be too much of a fan because if you are, you won’t do the job.”

However, the change in director wasn’t the only hurdle Freeman had to overcome. Another, even bigger, crisis, loomed: the new production dates clashed directly with the second series of Sherlock. “I was under contract with Sherlock,” he recalls. “We tried to work it out and I remember I was outside of the National [Theatre] about to go and watch Benedict [in After the Dance] and I had a call from my agent and he said, ‘I’m sorry, we’re going to have to let [The Hobbit] go.’ ”

How did he feel?

“I was gutted. As an actor, you’re used to rejection, to things not working out the way you want them to. And I know it’s not life or death, but I knew that when the film came out I would have been looking at whoever was me going, ‘Ah, shit…’ But it was gone.”

Then Jackson proved how much he wanted Freeman. Despite the scale of the production (the cost of the first two films alone is conservatively estimated at $500m), the director took the extraordinary decision to halt filming while the crew waited for Freeman to finish working on the comparatively tiny British TV drama. It was unprecedented.

“Yes, it was a pretty radical thing to do,” says Jackson. “We stopped shooting for six weeks to let him go back to Britain. We didn’t have anyone else we wanted for Bilbo other than Martin. If you don’t get that casting right, the film is simply not going to work, no matter how much you spend. It was the most critical aspect of the film.”

So Freeman eventually packed up his iPod, photographs of his family and a stack of books, including The Lord of The Rings trilogy (which he still hadn’t read) and boarded a plane to dwarf boot camp in Wellington, New Zealand: “We were getting fit, horse-riding, training with swords. It was a real chance to bond.” There he met the rest of the largely British and Irish cast, including Sir Ian McKellen (Gandalf), Andy Serkis (Gollum) and Orlando Bloom (Legolas), plus dwarves James Nesbitt, Aidan Turner (who played John Mitchell in Being Human) and Billy Connolly.

Working with Connolly was a particular thrill. “Billy’s been a good part of the fabric of my life since I was tiny. I was a bit starstruck,” he admits. “When I came into the world he was already doing Parkinson, he’s part of the furniture, a good part, like a really good chair.”

He describes Peter Jackson as a “benign dictator”: “more Fidel than Pol Pot. He’s definitely the boss. He’s famous for ‘one more take for luck’, which meant six more for luck. But he’s open to being inspired, and I love that.”

Each day before the cameras rolled, Freeman would spend an hour and a quarter in the make-up chair being transformed into Bilbo, while the wig, ears and feet were applied to his body. “The feet are moulded and you pull them on like a pair of tights that come up to your mid-thigh. It took two people to help me get them on because the rubber is quite heavy.” But he’s not complaining. “The dwarves had it a lot worse than me: prosthetics, heavy costumes, big wigs, armour. I saw one and it was, ‘Who the f*** is that?’ And it was only when he opened his mouth that I realised it was Jimmy [Nesbitt].”

Once the vanities were over, Freeman as Bilbo Baggins was ready for work. How did he go about playing him?

“Bilbo has to be quite light on his feet, and I wanted him to be almost like a meerkat. He’s on this incredibly long journey and he’s terrified, so his radar is always up because he’s completely out of his comfort zone.”

In a neat piece of casting, Cumberbatch, his Sherlock co-star, will voice Smaug the Dragon in the trilogy. “I knew he was up for it because he was auditioning at the same time as me. Everybody goes up for the same things and I don’t know if he was up for Bilbo, but I knew he wanted to do the film because he’d had The Hobbit read to him as a child and he loved it,” says Freeman.

But even Cumberbatch’s familiar presence in Wellington wasn’t enough to stop Freeman getting homesick for his London life. The filming process saw the actor separated from his girlfriend — the actress Amanda Abbington — and their seven-year-old son and three-year-old daughter — for the best part of 18 months.

“Yes, I got lovesick,” he says, quietly fiddling with his beer bottle. “My family would come out for a few weeks, then go home again, but over an 18-month period I saw less of them than I’d want. If you’re a partner and a father, your wife and children have to be the most important thing in your life, so you have to lobotomise part of yourself. If you think about it too much, you’ll get on a plane and just leave.”

Still, his children weren’t complaining. “When they came over to visit, they had the experience of being babysat by Gandalf,” he laughs. “So they were read bedtime stories by Sir Ian McKellen, a man with one of the most beautiful voices in the English language. And that’s kind of cool.”

He first met Abbington, 38, on the set of the Channel 4 film Men Only, a hard-hitting drama about a misogynistic group of lads who play football and go drinking together. “We started talking about music,” says Freeman, himself a rock aficionado, “and I was sure she’d be into Robbie Williams. Instead she came out with Judy Driscoll, Public Enemy and Nick Drake. I thought, ‘I’ll have some of that!’ ”

Abbington is, by all accounts, vivacious, funny and as down to earth as Freeman. Her own career — mostly TV shows that include the new, much-hyped ITV period drama Mr Selfridge, about the American who founded the Oxford Street store, kind of Downton Abbey with cash registers — is going well, but nowhere near the scale of Freeman’s.

Freeman was born in Aldershot and raised in Teddington, southwest London, the youngest of five. He had a left-wing, somewhat bohemian upbringing. His father, Geoffrey, was an artist who worked in advertising, while his mother, Philomena, worked in catering. They separated when Freeman was still in primary school. In his teens, Freeman was a junior squash champion, but quit as soon as he discovered acting at school.

He won a place at the Central School of Speech and Drama but “left early in the last term to go and work at the National… Doing f*** all, mind you, I was a kind of warm prop. But still, it looks good on paper.”

Then came the small parts on television (The Bill, Casualty, This Life), followed by the films, playing one of the “posse” — all shell suit and cheap bling — in Ali G Indahouse, a vehicle for Sacha Baron Cohen’s early noughties, outlandish gangsta creation. In 2000, he joined the cast of a BBC sketch show, Bruiser. One of the writers was Ricky Gervais, who a year later cast him as Tim in his mockumentary The Office.

He hasn’t seen Gervais for a while. “Our paths haven’t crossed, but there’s no big thing,” he says, keen to avoid too much being read into their lack of communication. “I still think he’s funny and talented. We’ve just been getting on with our lives.”

After The Office, Freeman began landing roles in bigger films, playing the stand-in for a porn star in Love Actually, Arthur Dent in The Hitchhiker’s Guide to the Galaxy, a beleaguered primary school teacher in the mostly improvised comedy Nativity!, and a cameo in his mate Simon Pegg’s Shaun of the Dead.

While many of his former colleagues embrace their celebrity status, Freeman has kept a low profile. He’s not one for red carpets or A-list parties. Neither is he a tweeter.

“When it started, I thought, ‘You’d be mental to do that…’ But many lovely, intelligent people that I know do it,” he says. “And I’m not saying that they’re all needy, wanting to be liked, but I don’t know what they get out of it. I know what I get out of not doing it, which is me. I get to keep me. I don’t need to be liked that much.”

Back in his early twenties, Freeman’s passion for acting was combined with a burning sense of injustice. He’s still on the left, but these days he doesn’t feel the need to pick an argument with everyone whose opinion he disagrees with. “There was a point where it was, ‘Do I want my whole life to be a Question Time debate?’ The older you get, the more you realise that you don’t know anything anyway. And am I going to pretend I’ve never had a prejudice in my life? That’s bullshit, sometimes we all think wrong things. So really, best to give somebody a break because as soon as you start pointing fingers, you know a finger can point at you as well.”

He doesn’t beat himself up about the lifestyle he enjoys, either. “I live in a big house and I clearly have more money than anybody in the history of my family and that’s afforded me more choice. Do I use the private sector? Yes. I do because I can and I realise that the difference between the people who do and don’t is the wherewithal to do it.

“Do I support the NHS? Of course I f****** do. I still use it, but would I use private healthcare? Yes. I’ve got a map on my wall of Victorian London that cost 6½ grand, so why, if someone from my family needed something that was life or death, would I not spend my money on that?

Freeman’s father died from a heart attack, aged 51, when he was just 10 years old. It has, he says, given him a heightened awareness of his own mortality and informed how he lives his life and approaches his work.

“I’ve always been quite healthy, thank God, but we all go. I’ve read about people I admire — musicians, painters, actors — and what they’ve left behind, and for me it’s a very short walk to put yourself in that position and ask yourself, ‘What am I going to leave behind?’ It’s not like everything I’ve done has been The Godfather, but honest to God, I’ve always been very aware of my deathbed and going, ‘Was I a whore? Did I do that just for the money?’ And hopefully I’ll be able to come up with the right answer.

“Obviously, there’s family and there’s love — that’s the most important thing. But artistically, too, I’d like to leave something that I’m proud of. I’ve always been aware of that.”

_________________
[Tienes que estar registrado y conectado para ver esa imagen]
avatar
Mertxines

Mensajes : 2586
Fecha de inscripción : 15/02/2012

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Pandora10 el Lun Mar 04, 2013 7:54 am

No sabía donde dejar esto, porque entrevista no es...aunque bien podría considerarse cuestionario... Enjoy it! Very Happy

Some of the answers that Martin gave yesterday to fans:

@19freckles94: #AskBilbo Were you a fan of the Lord of the Rings films before you were cast as Bilbo?
M: I wasn't, but I am now.

@ClartyShoe: Will we get to hear you singing with the dwarves at any point? #AskBilbo
M: Unfortunately, I think not.

@Lisamkossmann: Do you see any of Dr. Watson in Bilbo Baggins? #AskBilbo
M: No, not a whole lot. Same actor plays him.

@ginaBLANKD: If you lived in Middle Earth, would you be a hobbit, a dwarf or an elf? Greeting from Mexico! #AskBilbo
M: I kind of like the way elves conduct themselves. They swan around quite stylishly. They kick ass, but they're peaceful.

@shakespond: #AskBilbo if you had the decision, would you go on an adventure despite the risks?M: Yes. Yes, I would. I did.

@SuperDarkRose: #AskBilbo What was the most challenging scene that you performed in?
M: Well, I enjoy a challenge, so enjoyable scenes were riddles in the dark and anything with @IanMcKellen.

@Rebel4_12: #AskBilbo What do you like the most about Bilbo as a character?
M: His integrity, I think. And his ability to surprise himself.

@cumberlord: #AskBilbo If you were confronted with a tall man who thought he was a wizard, at your door in real life, what would YOU do?
M: I would shut the door and lock it. Well... if he were friendly, I'd hear him out. If I knew it was @IanMcKellen, I'd invite him in. If not, then no.

@afuriousgirl: #askbilbo what is the one line from Bilbo that sticks out to you?
M: I like what he says to Thorin about helping them find his home. I think it's a nice line.

@rooniilwazlib: If you could visit any location in Middle-earth and you didn't have to worry about goblins or orcs, where would you go?
M: Rivendell. The same reason that Bilbo wants to stay there. I think it's pretty and civilized. And you feel like there's less of a chance of getting your head cut off.

@Eugene_Brooks: #AskBilbo Did you like Bilbo's wig?
M: I liked it more as it went on. I think it got better as we went on. We found a good fit. It looked a bit like a bad German rock star at one point.

(Martin, espero que no te encuentres con ninguna bad German rock star.... jajajajajajaja)


[Tienes que estar registrado y conectado para ver esa imagen]
avatar
Pandora10

Mensajes : 1272
Fecha de inscripción : 24/02/2012

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Mertxines el Miér Dic 11, 2013 7:37 pm

Entrevista con Martin en Den of Geek (10-12-13)

[Tienes que estar registrado y conectado para ver este vínculo]

Martin Freeman on Sherlock series 3, John and Sherlock's reunion, the fall, & keeping secrets

The last but not least of our Sherlock series 3 round-table interviews from back in April, with John Watson himself, Martin Freeman...

Happily, Martin Freeman will be unavoidable for the next few weeks. First, he's headlining The Hobbit: The Desolation of Smaug, out in the UK and around the world on Friday the 13th of December. Just over a fortnight after that, we'll see him return to the role of John Watson, a man about to have his graveside wish - that Sherlock perform one last miracle and not be dead - granted.

The Holmes/Watson reunion, we're told, will be less about the resolution to the two-year-old question of how Sherlock survived his rooftop fall, and more about John's reaction. No small amount of pressure rests on Freeman's shoulders then, not that it was in evidence as we spoke to him in a round-table interview in April, just as filming on The Empty Hearse was wrapping up...

How far have you got filming this series?

We’re still on the first. This is the last week of our first episode, so we always come to London to do exteriors. That’s what we start later today in North Gower Street, that’s our outside of 221B.

No Parliament or…

I don’t think so. No. To be honest, I never really look. I like life to surprise me.

Can you tell us anything about episode one, The Empty Hearse?

Probably not without Mark [Gatiss, co-creator] and Sue [Vertue, Executive Producer] telling me off [laughter]. There are new cast people and the old cast people, the old regular favourites. It’s a Mark Gatiss script, it’s got a very clever title and obviously it deals with the conundrum of how the last series ended.

But you can’t say anything about that?

I wouldn’t want to, really. I wouldn’t want to spoil anyone’s fun. But obviously, it has to deal with that because there is another series of Sherlock. It’s not just going to be me. It’s not called 'John' yet, I’m aiming by series five [laughter].

Is there a time jump between when the last series ended and where we kick off.

It’s pretty much what it is [in the books] actually. It’s pretty much a couple of years, that’s what we’re playing it as.

So have you changed much in those years?

Me or John?

John

Yeah, I mean John’s circumstances have changed in a way that you’ll see. He has had to try and move on and he’s had to try to face the fact that, as he sees it, his friend has gone. So I think after a period of mourning, he’s trying to move his life on, to have a normal life and a reasonably steady and stable life.

There’s no sense in which he’s still got a hangover from Sherlock in that he looks at crime or uses any of his methods or tries to think like Sherlock.

I suppose, as in the Conan Doyle story, you get the sense that Watson has assimilated a lot of what he learnt with Sherlock, and half-heartedly tries to apply it but knowing that he can’t do it as well as Sherlock. We don’t spend loads of time on that really, you don’t really find that out too much about John.

I think, as you saw snippets of when Sherlock and I are together, you saw very very small snippets of when Sherlock would occasionally say, 'Well go on then, let’s see what you’ve learnt.' I think John, by his own admission… probably compared to another normal person in a room might look quite impressive because of his time with Sherlock and just because of his forensic skill, but knowing how small his knowledge is compared to Sherlock’s, I think he would feel quite insecure about that.

When John and Sherlock finally come face to face again, it’s obviously a big moment. Is that going to be a tear-jerker, a string of invective from you?

It will be a big moment. That, I think would be unfair to say, because I think that would be a moment that people are looking forward to, because it is such a big moment. After two years away of thinking someone’s dead and seeing they’re not. It’s a very big moment in Conan Doyle. It might not be exactly the same as Conan Doyle, but it’s definitely marked.

Will it rival your graveside speech in The Reichenbach Fall?

No. My acting’s not that good [laughter]. I don’t know, I hope so. We’ve done it. I think it’s good.

You’ve already filmed it?

Yeah.

How did [Freeman's partner in real life] Amanda Abbington's casting come about?

Mark and Sue had worked with Amanda before, so they contacted her.

As easy as that!

Kind of, yeah. They both knew she was good so yeah, that was a nice little coincidence.

Were you very pleased when it was announced?

No, I’m gutted [laughter]. I am pleased, yeah. Because I know Amanda’s really good and I know she’s a good team player so it’s great.

Is Amanda in just the first episode or…

Mind your own business [laughter]. She might be... That might be one of the ones Steven [Moffat] and Mark [Gatiss] tell me off about.

Do you have a lot of scenes with her?

We do have some scenes together, yes, and she will be involved in some scenes that I am in.

What’s your approach to secret-keeping on Sherlock? Do you try to convince yourself you actually don’t know things that you know?

Yeah, sometimes. Sometimes I really don’t know. When the last series ended and people a lot of the time asked all of us how it really happened and I could honestly say, like a prisoner of war, ‘I don’t know’ because I wasn’t given those facts. I’m sort of more in possession of those facts now of how it all happened, and I have a feeling that the amount of theories that were knocking around anyway about how Sherlock did it, there will be people going ‘That’s sort of what I thought’, because there were so many hundreds of theories, some of them definitely with crossovers to what Mark and Steven had decided it is, but I really didn’t know, I genuinely didn’t. So I wasn’t being cute when I had to say to people, 'I don’t know' and that’s quite nice, not knowing, because sometimes you forget which lie did you tell [laughter].

Other than that, apart from the fact that we’ve all got potentially big mouths and you can say too much and then feel like an idiot, you actually don’t want to ruin people’s surprises, because however much people say ‘Oh go on, tell us’, they wouldn’t thank you for it once the show goes out, they’d think ‘oh, I didn’t really want to know that’. As a punter, I love not knowing stuff, I always get annoyed if I’m watching a film or something with somebody else who’s going ‘He’s going to’ or, you know. I’d rather feel stupid and find out than know an hour in advance.

What would be your price then? What could have someone tempted you with to convince you to give up Sherlock’s secret? Money, or a role?

Did Rebecca Wade send you? [laughter].

For this? Nothing. I don’t know, if you said five million pounds, I’d probably tell you everything you wanted to know. I’d rather not. If it’s something that you really care about, and God knows I really care about this show, it’s just more fun. It’s not life and death, but it does ruin fun if you… I remember someone got hold of an episode of The Office when we were making it and a script was sent to a wrong address and this person - I can’t remember if it was a man or a woman - was trying to blackmail the BBC for loads of money – I think it was the Christmas special or something, it was something that people wanted to know the result of – I can’t remember how that was resolved. I think we probably killed them [laughter]. I don’t think it ended up getting out.

That’s why they’ve sold off Television Centre, because of the bodies under the patio...

We know where they’re buried. It’s more fun to keep stuff secret.

How do you feel about photos going on Twitter as you’re filming things?

I’m not a huge fan of it. I don’t think technological advances like that are exactly progress really. To be honest, it’s unavoidable because it’s apparently a free country so if you want to take pictures in the street you can. If people ask to take pictures of me as me in the street, as they often do, then I say ‘Look, don’t put it on Twitter, please’ or I say ‘No thanks’ or ‘Not when I’m with my family’ or whatever I say. I like the idea of not everything happening between two human beings to be everyone’s property. Do you know what I mean? Because now, ‘Can I have a picture?’ is the same as in my day, ‘Hello’. So ‘Hello, nice to meet you’ is now ‘Can I have a picture?’ and then they get out the camera and people start to line up.

People do look at you askance if you say 'No, not today’, it’s like you’ve just taken food away from their children or something. But I fully reserve the right to say no, because it’s my mug, and sometimes I don’t want my mug plastered all over the internet thank you very much. Today, it will be totally unavoidable, completely unavoidable, and we’ll appeal to our fans and I think the fans have responded quite well in a lot of ways.

Sue Vertue Tweeted asking people not to spoil things.

I think the fans are very respectful of the show. It's kind of like, there is no deferred anything any more. No deferred gratification at all, for anything which I think is a shame, I have to say.

Is part of you nostalgic then, for 2010 when you were filming it and no-one really noticed?

It was quite nice actually. It was nice. Yeah. I think it was probably easier, just logistically easier. I’ll find out what it’s going to be like today. But today, this will be our first time outside 221B, but I think it will be interesting today.

The fans do love it, and it’s made a tremendous impact. What is it about it that’s made it different and more popular than previous incarnations of Sherlock?

I think it’s brilliantly written. The ITV ones in the eighties and the nineties with Jeremy Brett were fantastic, they were really really fantastic and I occasionally watch them now when they’re on and am amazed still by how well they hold up, they’re really good pieces of work. But this is contemporary, that’s not been done for ages.

Benedict’s a very good Sherlock. He looks like Sherlock Holmes, he sounds like Sherlock Holmes, he’s really good. I suppose they’ve highlighted the relationship between Sherlock and John more than many others. I think John is less of a passenger in this than he has been in other incarnations. That in itself wouldn’t necessarily make it more popular, but I think people like to see two people having to rub up against each other and find their way around life. I like the friendly conflict between them.

Some people like to see John and Sherlock literally rubbing up against each other…

Yes I know. As that came out of my mouth I thought 'Oh no'. That’s the internet for you.

But it’s beautifully written, it’s beautifully shot. The visual aspect as well, can never be underestimated, just how influential that has been. Text on screen now is a regular part of television, it wasn’t three years ago, you always had a cutaway to a computer screen or a telephone, and you don’t any more and Paul McGuigan changed that. It looks beautiful, is written beautifully, and it’s acted well.

Director Paul McGuigan’s not back for series three is he? Is he going to be a loss?

Obviously the answer is, I hope not. It’s one of those things that I love Paul, we all love Paul and we all love his work, but the work we’re doing at the moment still also feels really good. Yeah, we miss him, but at the same time, we’re getting on with it.

He set a template that can now be followed?

He did, absolutely yeah, he was instrumental in that, and that should never be forgotten. But it was a team thing as well. In the same way that when we started, no-one would have said ‘This has to be Paul McGuigan directing this’, it also doesn’t have to be now. I think Toby Haynes, who directed The Reichenbach Fall, did an incredible job for instance, and Paul wasn’t missed there, so hopefully I think with the general aesthetic taste still carrying it on...

It's run by two, well, with Steve Thompson as well, it’s written by three people who are Doyle fanatics and who deeply care about the source material and what we do. I think you can be too reverential to the source material and it wouldn’t make our programme any good if it was written by a Conan Doyle fanatic who couldn’t write, that would be no good, but I think they really know how to transpose his world into our world better than anybody else.

You’ve seen all three scripts for the third series?

Nope. I’ve only just seen the second one, literally. So we’re working on the first one, I’ve just read the second one yesterday, it’s the Steven Thompson script. I think I’m allowed to say that. [This interview took place in April 2013].

You've said that you were initially worried about the transposition to the modern era and the potential for gizmos to take over. How do you think you’ve overcome that problem, because actually, people love that, don’t they?

They do. It wasn’t necessarily the gizmos that worried me, it was just the tone of it. I feared the tone might be too cool and too knowingly cool. I can live without endless television programmes and films just centred around computers. I can sort of live without that. But, if they help serve the story, then I have no problem with it.

I think really, anyone will say who works in my game that without good writing, you don’t really have a chance at making something brilliant. You have a chance at making something quite good, but unless the writing is brilliant, you’re never going to make something brilliant. You’ll make something okay. And it’s really well written, and it’s really well – saving my presence – it’s really well cast, and I mean Ben particularly. That helps.

I think it helps that – now it’s the difficult third series - but when we started it was, like with anything, you feel as if you’re making it up as you go along. And the world is your oyster and you think I can make that choice if you want, and there’s something very exciting about that. We’re trying to retain that excitement, but with the knowledge that actually we have now created a thing... It’s a thing now, and a thing where people expect certain stuff, and people want certain things and it’s right to not deny them those things, but also this is still relatively early on in their relationship. We’re three years in, we’ll be nine episodes in at the end of this, that’s not very many. I think the danger would be if we said, 'This is all now set in stone and there’s nothing else to discover', but I think what I know we’re finding in this series is that there is other stuff to discover, which is great.

Have you seen Elementary?

I haven’t I’m afraid, not out of any boycotting of it, I just haven’t seen it. I hear it’s pretty good, I think they’re both very good and they do great telly over there, but I haven’t, I’m afraid.

Moriarty, presumably, we’ve seen the last of in Sherlock. In the books, he had his cohort, are they going to be any of those?

The truth is, we’re doing the first one, I’ve just read the second one, I think more will come to light in that regard, for the third. Obviously with Sherlock, Sherlock has to have some enemy, a nemesis and unless Moriarty did something incredibly Derren Brown-like, then we have to assume – me included, because I don’t know for absolute sure – I assume there is no more Moriarty. But yeah, there will be a nemesis of some sort, and the hints that we get about that in this first episode will be very intriguing.

Martin Freeman, thank you very much!



_________________
[Tienes que estar registrado y conectado para ver esa imagen]
avatar
Mertxines

Mensajes : 2586
Fecha de inscripción : 15/02/2012

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  shiramcollins el Vie Dic 13, 2013 9:52 pm

ENTREVISTA MARTIN FREEMAN - FOTOGRAMAS ESPAÑA

Un ídolo inesperado
Martin Freeman aparca los días de los roles secundarios o protagonistas poco vistos con ‘El Hobbit: La desolación de Smaug’ y ‘Bienvenidos al fin del mundo’. Y tiene otro as en la manga: la tercera temporada de la serie ‘Sherlock’. De todo esto, y de por qué no se parece en nada a Bilbo, habló con FOTOGRAMAS en una charla con mucho jugo.
Martin Freeman está resfriado. Mucho. Este inglés de 42 años (Aldershot, Hampshire, 1971) lleva encima un catarro talla blockbuster. Pero eso no es excusa para escapar de la promoción de la saga 'El Hobbit', por cuya segunda entrega, 'La desolación de Smaug', lleva encerrado todo un sábado en un hotel en Londres. Su congestión, de anuncio de jarabe para la tos, y su atuendo (impagable el blazer de rayas a juego con el sofá de la suite en la que atiende a FOTOGRAMAS), dan un aire singular a las respuestas del último Bilbo Bolsón.

Actor convencido ("más me vale, es lo único que sé hacer y tengo muchas facturas"), católico a su manera ("sí, pero vivo con mi pareja, y tengo dos hijos fuera del matrimonio"), y obsesivo por lo que quiere ("discos, libros, ropa... esos serían mis tesoros, mi anillo único"), Freeman es uno de los hombres de año. Por 'El Hobbit', claro, pero también por 'Bienvenidos al fin del mundo' (Edgar Wright, 2013), su primer film tras el viaje a Tierra Media, y el regreso de 'Sherlock', la tercera temporada de la serie que le lanzó al estrellato y, por un pelo, casi le aparta de él. Pero lo primero es lo primero, y eso nos lleva a empezar con Bilbo.

UN INICIO INESPERADO

(Y UN FINAL ESPERADÍSIMO)

"Yo no soy como Bilbo. No soy tan megaeducado, tan enfermizamente cauteloso. Yo soy más directo. Peter (Jackson, el director), sí es un hobbit. Le gusta tan poco salir de casa que ha conseguido que Hollywood se mude a su calle. Tiene el plató a cinco minutos. Yo soy un tipo más aventurero."

¿Recuerda cuando empezó esta aventura? ¿Cuándo recibió la llamada de Peter Jackson?

Sí, por supuesto. Antes lo hablé con Guillermo del Toro (el mexicano renunció a dirigir el proyecto en mayo de 2010). Me dejó claro que yo era su Bilbo. Fue un gran gesto. Tras el cambio de sillas, con Peter ya como director, Guillermo me aseguró que seguían contando conmigo. Pero había otras cosas a considerar. Aceptar significaba pasar 18 meses fuera de casa. Eso sacude cualquier familia. Más, si tenemos en cuenta que mi mujer (Amanda Abbington) también es actriz. No podía pedirle que pusiera en pausa su carrera y se viniera conmigo al otro extremo del mundo. Mis hijos están en el colegio, tienen su vida aquí. No era justo pedirles que renunciaran a todo por 'El Hobbit'. Si estuviésemos en 1850, podría habérselo ordenado. Pero soy un tío moderno (risas). Si tu familia no es lo más importante de tu vida es que algo raro te pasa. La incertidumbre terminó cuando la BBC decidió que 'Sherlock' tendría segunda temporada. Se iba a rodar sí o sí. Así que adiós a 'El Hobbit'.

Hasta que...

Un día, en un ensayo, me llamó mi agente: "Peter va a reorganizarlo todo para que puedas hacerlo." Pensar que el papel era mío, que después lo perdí y recuperarlo al final, es algo alucinante.

Eso era 2010. La tercera parte no se estrenará hasta finales de 2014, ¿no le apetece pasar página, que le pregunten sobre otros proyectos?

¡Mucho! Y que no se entienda esto como una falta de respeto hacia 'El Hobbit'. Ha sido un honor trabajar en esta saga. Creo que si no llego a participar en ella, mi vida habría sido un enorme y jodido remordimiento. Una decepción monumental. "¿Ver a otro actor como Bilbo sabiendo que tendría que haber sido yo?" Horroroso. Pero necesito dejarlo atrás. Todos nos sentimos así. Peter, más que nadie. Se ha pasado años con la cabeza en Tierra Media. Es normal que quiera hacer otras cosas. Eso no quita que estemos orgullosos. Yo lo estoy. Dicho lo cual, aún no he visto nada de la segunda parte. Puede que sea horrorosa (risas).

GRANDES SECUELAS, GRAN ESCUELA

Ya estamos con la mala fama de las secuelas. ¿Es mala 'El Padrino Parte II' (F. F. Coppola, 1974)? 'La desolación de Smaug' será más oscura. Con más acción, más miedo... Las arañas acojonan. Y el dragón no es un malo de cuento de niños. Las secuencias de acción son extraordinarias. Lo eran en el libro, y espero que lo sean en el corte final. De Bilbo vemos su lado oscuro. Y, puestos a declarar, 'Las Dos Torres' (P. Jackson, 2002) es mi favorita de 'El Señor de los Anillos', e 'Indiana Jones y el Templo Maldito' (S. Spielberg, 1984) es cojonuda.

El temor puede que venga por roles como Tauriel, la elfa que encarna Evangeline Lilly, que no aparece en el libro.

Es un personaje genial, y Evangeline lo borda. Es una licencia artística, como las hay en toda adaptación. No se puede llevar un texto de forma literal a la pantalla. Tolkien no escribió pensando que sus historias iban a verse en el cine.

La primera fue un éxito, pero tuvo su ración de críticas: la duración, el 3D, la proyección a 48K... ¿Cómo reaccionarán los fans más puristas ante cambios como el de Tauriel?

Esperaba las críticas a la primera. La gente la esperaba desde hacía años, y Peter no les dio otro 'El Señor de los Anillos'. ¿Ahora? Ni idea.

¿Le importa lo que piensen?

(Silencio. Piensa la respuesta) Terreno peligroso. Sinceramente, no me importa lo que los fans piensen. Me interesa, y quiero que vean la película y se lo pasen bien, pero llega un punto en el que sólo puedes cruzar los dedos y esperar que al público le guste. Tienen derecho a discrepar. Ojalá guste. Y a los puristas les diría que es sólo un libro. De ficción. Escrito hace 80 años.

Con orcos, elfos, duendes y dragones que hablan.

¡Exacto! Se me escapa esa militancia. Pero, claro, no leí nada de Tolkien hasta que me metí en esto. De niño, me apasionaba George Orwell: 'Rebelión en la granja', '1984'... La política y la Historia. Era un chaval raro.

Hablaba antes de Smaug, el dragón que habla, al que presta su voz y movimientos Benedict Cumberbatch. ¿Qué tal está?

¡Fatal! (risas) La clave está en la voz. Y la de Ben es extraordinaria

Cumberbatch, usted mismo, Luke Evans, Orlando Bloom, Ian McKellen... O Keira Knightley, Carey Mulligan y Michael Fassbender. Lo británico arrasa en Hollywood. ¿Por qué?

Por un lado, creo que se debe a que la mayoría hemos empezado en el teatro. Eso nos da unos recursos complementarios. Otra hipótesis, que espero que tras esta saga yo contribuya a desmontar, es que somos más baratos. Y también creo que somos más directos. "¿Esto es lo que quieres que haga? Pues allá voy." Sin dramas ni rodeos.

¿Quizás son más accesibles? ¿Más normales?

Quizás, aunque he conocido actores ingleses que eran unos capullos, y bellísimas personas que eran actores estadounidenses. Sea por la razón que sea, parece que gustamos mucho..

DE NUEVA ZELANDA AL FIN DEL MUNDO

En noviembre de 2012, justo antes de que se estrenara la primera entrega, 'Un viaje inesperado', Jackson confirmó que 'El Hobbit' no sería un díptico, sino una trilogía. El equipo tendría que reunirse para rodar material para una tercera entrega. En Nueva Zelanda. Para Freeman, "el sitio más alejado de Londres de todo el planeta".

¿Cómo recuerda ese regreso?

Un déjà vu jodidamente raro. Meses, años después de rodar una escena, te veías de nuevo en esa situación y te preguntabas "¿Cuándo rodamos esto?" Y, literalmente, la filmamos dos años atrás. ¡Dos putos años! Una misma escena, el mismo plano...

Pasó de rodar en el otro lado del planeta a volver a Inglaterra para rodar 'Bienvenido al fin del mundo'. ¿Qué tal fue el cambio?

Muy notable. Mi primera escena fue en un barrizal inundado en Buckinghamshire, o por ahí. Un tiempo de perros, lluvia, nubarrones grises, frío... Por otro lado, sentí que tenía que demostrar que valía, que podía estar en la película con ellos. Como actor, siempre te sientes bajo juicio.

¿Así que, ahora que se le identifica con Bilbo, siente como el público o sus mismos colegas le exigen más?

Aún no siento que se me exija más. Después de 'El Hobbit', sólo he rodado 'Bienvenidos...' y la tercera temporada de 'Sherlock'. No veo nada malo en que se me vincule con Bilbo. Es un personaje con muchos colores. Deseas que se respete tu trabajo, pero es más importante que lo respete yo.

UN HOMBRE LIBRE... Y DESEADO

A estas alturas, Freeman ya tiene toda la saga de 'El Hobbit' finiquitada y la tercera temporada de 'Sherlock' en el saco. "¿Que si habrá una cuarta? ¡Ya veremos!" Esta entrega podría coincidir con el proyecto cinematográfico en el que Ian McKellen encarnaría su propia versión de Sherlock. ¿Lo han hablado? ¿Le pidió consejo? "¿Dar un consejo a Ian? ¡Sería lo último que se me pasaría por la cabeza!" Lo único cierto, entonces, es que Freeman encabezará 'Fargo', la adaptación a la TV USA del film de los hermanos Coen.

Y, después, ¿qué podemos esperar de su carrera?

Primero, quiero leer todos los guiones que no he tenido tiempo de leer. No tengo una lista de personajes que me gustaría interpretar, espero que no suene a cliché. Es decir, hay algunos Shakespeare que me encantaría hacer, pero busco proyectos que me sorprendan, cosas nuevas... Es una maldición que arrastramos los actores ingleses. "Eres un gran Hamlet", te dicen, "pero no tan bueno como fulano". Si haces algo nuevo, nadie puede decirte eso.

John Watson tampoco es un rol nuevo. Por cierto, ¿quién despierta más pasiones? ¿Bilbo o Watson?

John Watson. Sí, tío, Watson gana por goleada. A Watson le envían cartas muy sexuales. A Bilbo, no. Supongo que los fans no lo quieren de esa manera (risas). A Bilbo se le quiere de una forma más inocente, nada sexual. Hacérselo con un hobbit incluso debe tener nombre científico... ¿hobbitofilia? Pero, con Watson... ¡alucinarías con las cartas y propuestas que recibe!
avatar
shiramcollins

Mensajes : 171
Fecha de inscripción : 22/03/2012

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  nai_ara el Sáb Dic 14, 2013 11:22 am

Adoro las entrevistas con Martin Freeman, siempre termino descojonandome. Me ha encantado lo de "hobbitofilia"  lol! lol! lol! 
avatar
nai_ara

Mensajes : 145
Fecha de inscripción : 05/11/2013
Edad : 31
Localización : Irun

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Mertxines el Vie Jul 04, 2014 7:56 am

Entrevista en The Telegraph de hoy 3-7-14:

[Tienes que estar registrado y conectado para ver este vínculo]

Martin Freeman, interview: 'Shakespeare invented Gollum'

Martin Freeman, star of Sherlock, Fargo and now Richard III, points out the similarities between Shakespeare's villain and the twisted creature of The Hobbit


The man sitting in front of me in a south London rehearsal space doesn’t look much like a bottled spider or a foul bunch-back’d toad. He’s upright in his chair, trim, almost prim, in dress trousers and top-buttoned Lacoste shirt. Only the rough, grey-flecked beard hints at some incipient transformation.

This is Martin Freeman, three weeks shy of the opening of Richard III. The actor is playing the deformed Machiavellian regent at Trafalgar Studios in central London. It’s his first play in four years, since a production of the Pulitzer Prize-winning Clybourne Park at the Royal Court.

But for all the variety of his screen work – The Office to The Hobbit, Sherlock to Fargo – the actor has described the production as his “first professional Shakespeare”. Does that mean Freeman has turned in some sloppy, unprofessional ones that we didn’t know about?

“There have been amateurish-in-drama-school ones,” he replies with a smile. At London’s Central School of Speech and Drama, the 42-year-old from Aldershot tried his hand at As You Like It, Much Ado About Nothing and Romeo and Juliet. “But yeah, I can’t believe it – I’ve been out of drama school 19 years, and this is the first time I’ve done it professionally. I’m surprised,” he says, the unsurprise writ large on his seemingly mild-mannered face.

So Freeman is glad to be treading the boards again. Still, “it’s been long enough to find it slightly bewildering being back in the rehearsal room. But it’s a reminder that it’s absolutely where I want to be,” he says firmly. “It’s where I learnt how to act. It’s a zone that I feel extremely comfortable in.”

At the helm of the staging is Jamie Lloyd. Last year at the same venue he directed James McAvoy in a dystopian, very physical, very gruelling (for actor and audience), in-the-round reimagining of Macbeth. Now, he and Freeman’s Richard III has been billed as “provocative”. How so?

“I don’t know what I can give away…” he says. “Ours isn’t a futuristic dystopia; it’s an imaginary dystopia from a few decades ago. Twentieth century. When I first met Jamie he asked if I’d seen this documentary about this political event in our British history.”

Freeman – Mod fashion plate, Sixties music aficionado, history-savvy, a reader, celebrity-phobic – is very much a doc-watching kinda guy. “And I had seen it, and I knew all about it. And he said, ‘That’s good, ’cause that’s what I think is going to be the setting of this.’”

Was that event The Profumo Affair?

“It might be,” he says lightly. “I’m not even trying to be coquettish… But it is set in a real political time – a parallel universe setting, but a very recognisable one if you’re over 40.”

Hmm. The deposing of Margaret Thatcher? Freeman isn’t telling. He wants to honour the sanctity of the rehearsal room, and preserve the surprise. As much as anyone, he knows that his onrushing small- and big-screen fame – a blockbuster Hollywood trilogy here, a glorious BBC detective drama there, a cult American drama series over there – will be pulling many a Bilbo Baggins/Dr Watson/Lester Nygaard fan into the Trafalgar’s atmospheric cave.

Freeman says Lloyd’s retelling of Richard III is “totally alive. Jamie and I have a shared interest in people not being bored in the theatre. Or not being bewildered in an unhelpful way – and covering that bewilderment with keeping quiet ’cause no one wants to admit that they’re bewildered sometimes when they’re watching Shakespeare.”

Not helping matters is the fact that Richard III is a long play – the second heftiest in the Shakespeare canon. “Not any more it’s not! Jamie’s cut it judiciously.”

What about the hunchback?

“Well, you’ve got to have a hunchback. So, yeah, I’ll have physical deformities – a dodgy arm, a hump and a limp. I think people would want their money back if you just gave him a twitch. But also it feeds into how Richard sees himself. If the world has told him that he’s ugly, or he doesn’t fit, or he doesn’t work properly, that has had a severe effect on how he sees his place in the world. So it starts basically with Richard telling the audience that he’s going to be a real s---, and he’s put lots of plots and devices into action,” says Freeman brightly.

“So if you start with that, you have to somehow make sense of why he’s doing that. Otherwise he’s just a boo-hiss villain. And in 2014 we want a bit more than that.”

All that said, this “funny, vaguely camp” Richard III, who is also (to quote the text) “rudely stamp’d… deformed, unfinished…” – well, he does sound vaguely familiar. He could be, in fact, Gollum.

Freeman nods briskly. “Well, yes. I’ve just been rehearsing a scene where Richard is having a little diatribe to himself, where his schizophrenic personality comes out. And it’s absolutely Gollum, it’s totally Gollum. It’s like Shakespeare invented Gollum 400 years ago.”

This Christmas Freeman’s own history-making, there-and-back-again Hobbit journey finally comes to a close. He’s been front and centre with Peter Jackson’s second Tolkien trilogy for over three years now. What, then, does he make of the recent comments made to the Telegraph by Viggo Mortensen – a star of the Lord of the Rings trilogy – that Jackson’s Middle-earth epics were increasingly sacrificing subtlety for CGI fireworks?

“I’ve never liked him,” he replies, deadpan. “No, I do like him. All I can say is: I hope that’s not the case. I know Peter and the team who make those films, they’d be horrified to think they’d jettisoned all subtlety. Yeah, there’s a lot of CGI, an awful lot of that business going on. But they are still very, very interested in story. They want the human side of it to be absolutely pivotal.

“Beyond that?” he muses. “Of course it’s a question of taste and I respect Viggo’s opinion.”

And what news from the Sherlock camp? Interviewed earlier this year, Freeman said that filming on series four was looking unlikely to happen this autumn as originally scheduled. He confirms that today – Cumberbatch seems to be making multiple movies simultaneously, while Richard III runs until the end of September. But he adds that an early 2015 shoot “looks pretty likely”, before Cumberbatch follows Freeman into Shakespeare with Hamlet on stage at the Barbican. Does that mean transmission would be pushed to the notionally graveyard slot of summertime, which is when the original series premiered?

“Ah, no,” he begins, squirming slightly. “If that’s gonna be a special – I’m speaking off-message here; if this was New Labour I’d get fired – I think that might be for next Christmas. A Christmas special. That’s what I understand.” (This was later confirmed by the BBC.)

In this year’s third series, his real-life wife, Amanda Abbington (Mr Selfridge, Case Histories) joined the cast to become his on-screen missus. Has she become a permanent cast member?

“Certainly yes for the foreseeable future. While we play fast and loose with the original stories, we generally follow the trajectory of what Conan Doyle did. So he gets married, and then Mary dies – so at some point presumably she’ll die! But she’s certainly in… at least the next one,” he says, carefully, alert to any amateur Sherlocking on my part.

When I interviewed Abbington last year, I asked her about her partner and she observed with pride: “Martin plays a good villain. He did a thing called Jump Mr Malinoff Jump, where he played this quiet psychopath. Yeah, he’s terrifying. Everyone does think he’s really Mr Nice Guy. And he’s not, he’s a fiend. You’ve got a scoop,” she said with a laugh. “‘Partner is evil.’”

That might be stretching it. But Freeman’s relish for getting his teeth stuck into Richard III seems of a piece with his enthusiasm for playing Lester Nygaard. The play is unveiled just as his much-praised performance as Fargo’s leading man comes to an end on Channel 4.

In the violent-yet-offbeat series based on Joel and Ethan Coen’s cult 1996 film, his mild-mannered, chewy-accented insurance salesman has found his life spiralling out of control through a combination of circumstance (hideous wife, hideous hitman). And in simple terms, Lester and Richard are both villains. You can tell from his performance in Fargo – and I can tell from the intense way he discusses Richard III – that Freeman is enjoying these roles with turbulent emotional depths.

Unlike Richard, though, Lester doesn’t start out as a baddy. He’s a baddy the way that Breaking Bad’s hero is a baddy.

“Yeah,” says Martin with a nod of recognition. “When I read the script I thought, ooh, that’s quite Walter White-ish. But where Lester Nygaard starts off with you sympathising with him, and everything he does is understandable, Richard just starts off going: I am a c---, and here’s why I’m a c---…” (Freeman, it must here be said, likes a good swear.) “He’s revelling in it. Whereas Lester would never consider himself a tosser. Like most people don’t.”

Lester, a small man in a small town, was bullied at school. The ongoing torment of his childhood is one of the reasons for the implosion of his respectable, middle-aged, suburban life. Freeman wasn’t bullied, but he was mummied by girls who thought his stature cute. Perhaps that evoked feelings not unlike bullying?

“Yeah, probably, I’m sure…” begins this youngest of five. “I can be reasonably embarrassed sometimes, but as a person I’m more confident than Lester, obviously. But I can easily tap into that feeling of mortification. There’s a scene where the woman I eventually do the dirty on is kind of flirting with me and doing this little dance. And Lester doesn’t know where to look,” he says with feeling, “or where to put himself. Yeah, that stuff was easy to tap into. You just remember what you were like as a 12-year-old,” he laughs. “Do you know what I mean?”

Of course Freeman missed his family while filming Fargo – he and Abbington, his partner of 14 years, have two children, Joe, eight, and Grace, six, and live in Hertfordshire, just outside London. But the five months filming in snowy Calgary, standing in for snowy Minnesota, were, he acknowledges, worth it. “It definitely helped being in a cold, white-on-the-ground environment. I don’t know how would create that world in, say, southern Spain. There was something about the uptightness of that culture that we’re playing that is served by being really cold.”

Still, the shooting experience was even more isolating than his long stints in New Zealand filming the three Hobbit movies. But how did he get the job in the first place? Even in an American TV landscape studded with well-regarded Brits (Andrew Lincoln in The Walking Dead and Jonny Lee Miller in their version of Sherlock, Elementary, to name but two), Freeman’s casting was interesting for a couple of reasons. Firstly, he’s never seemed much of a careerist – the actor previously refused to audition for any American show, loath to be locked into their standard seven-year contract. Secondly – and we shall return to this, as interviews with Freeman inevitably do – he is perceived (and I stress the word) to have a straight, uncomplicated, and you might say very British appeal. And thirdly, it seems as if he’s never been one to play the actor game.

Earlier this year Freeman was interviewed for Radio Times by Sherlock co-creator (and co-star) Mark Gatiss. The actor/writer recounted how Freeman’s first audition for the part of Dr Watson was underwhelming. Partly, it seemed, because Freeman had had his wallet stolen en route.

“You know what?” says Freeman when I mention this. “I completely have no recollection that I had my wallet nicked. I might have said that at the time…”

To excuse his shambolic interview?


“Yeah, I might have done, because I know I was in a bad mood. And I’m sometimes not very good at hiding that. So I wasn’t really doing the dance. And that was probably being reflected back at me in the audition.”

A week later his agent rang. The Sherlock team of Gatiss and Steven Moffat thought the actor wasn’t interested in the part of Watson. Freeman insisted that he was and asked for another chance.

“I met them again and did the dance – and, well, read with Benedict. And that’s what clinched it – ’cause then it wasn’t theoretical. It was very, very clearly happening between us.”

Cut to the final days on filming on the most recent, third season of Sherlock. Freeman, by now a global face (if not a name) courtesy of The Hobbit, hears about Fargo. How did the audition for the American drama compare with his stop-start Sherlock tryout?

“I didn’t audition for Fargo,” he shrugs. “It was a straight offer. They didn’t even ask to hear the accent.”

Really?

“I know! It could have all gone very, very badly. Yeah, I was surprised that they didn’t want to hear that. ’Cause I could have had a cloth ear. And fortunately I’m not bad with accents, although I’ve never done that [Minnesotan] one before… He might have had to be English. Lester Nichols,” he chuckles.

They must have really loved his work, I suggest.

“Yeah, I know,“ he smiles. “I was pleasantly surprised just to have the straight offer. That was nice. I mean, I’m not being funny – I think they were right! ’Cause I thought I could do it, but there’s other people who could also do it who are already American, or already have a hit TV show there.

“And I’m glad that they saw what you’ve said: that underlying something else. [Show creator] Noah Hawley had seen something else I’d done and spotted that I wasn’t all sweetness and light. That there was a bit of fire in the belly.”

The widespread assumption that Freeman is – to use an adjective he hates with a passion – an “everyman” really gets his goat. To his mind, it’s pejorative – a lazy way of typecasting and diminishing him as nicey-nice, inoffensive Tim From The Office in every part he plays.

But in the end, will the audience find his Richard III likeable?

“I hope not. I know people will. I know people will,” he repeats. “Which I think is a critic’s way out when they don’t know how to deal with the fact that, oh, I’m playing it!

“No, he won’t be too likeable,” he insists. “But he’s kinda funny, and he’s kinda witty. And if you didn’t play that you’d be missing something. But I know that because I’m playing it, it’ll be: ‘Oh, he’s a bit like Tim from The Office!’”

Equally inevitable, he thinks, is the review that says, “he brings a certain everyman quality to Richard III”. A slightly weary shrug. “I can’t control what people think they’re seeing.”

He’s smiling still, but his voice is rising, and he’s repeating the point, and he’s going ever-so-slightly ranty.

“Characters’ actions have to justifiable – because Pol Pot’s were, and Kim Jong-il’s were, and Stalin’s were… they were all justifiable to themselves. They didn’t get up in the morning and eat a baby. They were charismatic, they were likeable, people wanted to be led by them and they wanted to be f---ed by them.”

That does indeed sound like a provocative Richard III.




_________________
[Tienes que estar registrado y conectado para ver esa imagen]
avatar
Mertxines

Mensajes : 2586
Fecha de inscripción : 15/02/2012

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Crispi el Dom Jul 06, 2014 7:44 am

Aquí dejo enlace a una entrevista de hoy a Martin en la BBC Radio 2 sobre Richard III. Es solo audio y lo de transcribir no se me da muy allá... I'm sorry

[Tienes que estar registrado y conectado para ver este vínculo]
avatar
Crispi

Mensajes : 62
Fecha de inscripción : 19/05/2014
Edad : 23
Localización : Kittens and Jam World's (also see Martin Freeman)

Ver perfil de usuario http://crispi93.tumblr.com/

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Crispi el Vie Jul 11, 2014 12:22 am

Perdón, otra vez, por el doble post. Martin Freeman habla acerca de Richard III y Sherlock

[Tienes que estar registrado y conectado para ver este vínculo]

Al principio habla sobre lo que es trabajar con Jamie Lloyd. La siguiente pregunta que le hacen va por el hecho de que Benedict también ha hablado sobre la importancia del teatro y qué opina sobre los móviles (grabando). Le vuelven a preguntar sobre lo de los aplausos y tal. Y al final de la entrevista es cuando le dicen que si puede dejar un mensaje a los fans sobre las maravillosas noticias de la vuelta otra vez de Ben, Amanda y el juntos en Sherlock y es cuando el contesta que vuelven a rodar en Enero/Febrero, que aún no tienen los scripts pero que Moffat y Gatiss seguro que han escrito algo brillante y que no pueden esperar a hacerlo y enseñarlo. Y dice lo del Christmas Special, pero yo creo que lo dice en el contexto de cuando se va a estrenar en la TV.

[Tienes que estar registrado y conectado para ver esa imagen]
avatar
Crispi

Mensajes : 62
Fecha de inscripción : 19/05/2014
Edad : 23
Localización : Kittens and Jam World's (also see Martin Freeman)

Ver perfil de usuario http://crispi93.tumblr.com/

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Mertxines el Mar Ene 13, 2015 10:46 am

También de parte de Crispi (¡muchas gracias! Smile ) entrevista a Martin en The Guardian de ayer 11-1-15:

[Tienes que estar registrado y conectado para ver este vínculo]

Martin Freeman: exposing Adolf Eichmann

The televised trial of Adolf Eichmann in 1961 was a landmark in Holocaust history. To mark the 70th anniversary of the liberation of Auschwitz, the drama is coming to our screens again. Euan Ferguson meets Martin Freeman on set to hear why it has lost none of its power

It’s dawn and it’s sub-zero and it’s a potholed car park in Vilnius, eastern Lithuania, and a hobbit is preparing to tell the world about the Holocaust. A dark-suited Martin Freeman, breath steaming, pauses to greet us on his hurried way from trailer to set, and already he’s in character, with a soft New York accent which he will insist on retaining even off set. Nothing is as it seems. Far less so than is normal even in the kooky looking-glass world of film. Vilnius is playing Jerusalem in the broiling summer. The year is 1961.

A television programme is being made about the making of a television programme. It was a big television programme. In May 1960 Adolf Eichmann was captured by Mossad and Shin Bet agents on the streets of Buenos Aires, where he had been living under the name of Ricardo Klement since 1952. He was smuggled back to Israel and put on trial for genocide, for his leading part as architect of the Final Solution. The decision was made to film the trial for a worldwide TV audience.

Hence, today, Viesoji Istaiga Vilniaus Kulturos Pramogu Ir Sporto Rumai, or the Vilnius Cultural, Entertainment and Sports Palace, a Stalin-era delight of neo-brutalist fearful symmetry, and thus in a way appropriate, encapsulating the last century’s other wave of optimistic totalitarianism. It is rather beautiful, in its ugliness, but it is primarily useful today for the existence of 1961-era microphones and cameras, an auditorium wholly available for conversion to a courtroom, several severely talented Vilnius craftsmen and a handful of local mensches doubling as Israeli guards and possibly wishing it was actually 1961 and, maybe, Jerusalem and actually warm.

The decision to film Eichmann’s trial was taken in 1960 by David Ben-Gurion, first prime minister of Israel, partly because he had been befriended by a young US producer by the name of Milton Fruchtman. Martin Freeman, who plays him, explains in Fruchtman’s accent (he’s wary of dropping out of dialect even for a lunchtime chat): “I’ve read up on Milton – he’d been filming some neo-Nazis in the 50s, in some bierkeller – and at the end they stood and chanted ‘Heil Hitler’, 15 years after the fucking war, and that led him indirectly to Ben-Gurion, whom he essentially schmoozed. Milton was charming, and fluent in both Hebrew and German, and he persuaded the Israeli authorities to allow him to film proceedings.”

The whole production was ridiculously fraught. Fruchtman had to cope, in a country which didn’t even have a television service in 1961, with massive technical challenges, not least the trial judges’ refusal to countenance hot and loud cameras in the trial space. This was Israel’s day in court. It was also that new nation’s barmitzvah, 13 years into manhood, and also effectively its Nuremberg, its day in the dark, and it didn’t want any besmirching hints of bias. Fruchtman got round this by half-unbricking the walls of the court and hiding the cameras inside, then employing an ingenious trompe-l’oeil system involving reflective white paint and chicken wire.

Then there was the director. Leo Hurwitz, a once-acclaimed filmmaker, had been blacklisted under McCarthy and had barely worked for a decade: he was the best, but it was a brave decision. Then there were the ratings. Although it was to be shown on TV in 37 countries, it would compete that summer in America, by far the planet’s most TV-friendly country, with the invasion of Cuba and the orbit of Yuri Gagarin.

And it is nominally this tale that is being told, by BBC Two, in an ambitious 90 minutes: the tale of a couple of pioneering TV troubadours battling daft odds to bring about what would become the world’s first-ever global TV event. But after about an hour, emphases all darken.

It becomes, no longer, a battle of characters and wills and ratings. The BBC producers Laurence Bowen and Ken Marshall have secured much archive footage from the Eichmann trial, and from the camps. It leaves us hangjawed and bereft, as it did Leo and Milton 53 years ago. As it does Martin Freeman and Anthony LaPaglia today. Watching the real Eichmann, in that glass box. The real black-and-white Eichmann coming face to face in court with real witnesses. The enforced grave digger Michael Podchlebnik, and Rivka Yosselevska, her family shot in some godforsaken quarry, and Yehiel Katzetnik, who faints in court, and legions of fellow travellers – 14-year-old witnesses to Auschwitz or to the grim cleansing of Paris – and then comes the grand guignol, the footage from the camps. Throughout, Eichmann refuses to allow us to partake in an iota of his reaction. He looks bored, twisting his lip as such unconscionable footage rolls.

This became Fruchtman and Hurwitz’s great legacy. Those 37 countries stood transfixed by, as Martin Freeman now says: “Hearing such first-hand accounts, yes, but in such detail, and such volume. I guess this is where the Holocaust really became the Holocaust.”

Familiar as we now may be with concentration-camp footage, it might seem hard to realise that there was a good 15-year period after the war where the Holocaust was essentially disbelieved. Camp survivors first spoke, loudly and often, of their experiences, but found listeners too often unreceptive, unable to process that enormity, and dismissing it as improbable exaggeration at best. The survivors shut up again. There was also the fraught question of whether the Jews owned accidental complicity in their own fate, by too seldom standing up to the jackboot: bizarrely, with an exuberant lack of usefulness, some of these debates continue today.

So that was the grand import of the producer’s vision, realised on an unprecedented scale and to eventual rightful acclaim: despite Gagarin and the rest, Americans in particular (and then Australia, and Britain) became transfixed by all the unfolding tales and testimonies. And they still exert extraordinary fascination.

I have just climbed the stairs for my interview with Freeman, from the chill auditorium where this is being magicked, as a set designer artfully knocks bricks from just-built walls. I have just stood, on set, in the glass box where Eichmann’s actor was that day to stand. This is in Lithuania, on a film set. And yet.

There are milling extras in Israeli guards’ outfits. Young off-duty local waiters for the most part, sallow and saturnine or handsomely jowly, smoking furiously between sets in the high cold frozen sun before they diligently remount the high cold frozen metal stairs past a flutter of busy-bee BBC continuity wizards: loop-fed multilingual script editors with one eye and one ear on the monitor, one ear clamped to a headphone, chill mittened fingers rewinding pages, an impossible third ear half-tuned to shouted stage directions. They, the Lithuanians, would smile courteously, understandably keen to swerve the unfathomable. And return to the merely surreal: hanging out silently behind the cardboard flats of a film set featuring a warm, red, smoky cocktail bar (in fact a grimly cold and unsmoky one: batteried fans were used to dispel the smoke between unending takes, to assuage minor co-stars with coughs. It was, at least, red; and looks warm and invitingly drunken in the rough cut).

And yet, and yet: when I stood in that glass box, a frisson of echoed history, and one which Freeman tacitly acknowledges. “It’s always the case whenever you’re doing someone real, how much you want to do an impression or a characterisation. If I was doing Churchill, or Gandhi – people know exactly how they talked, walked. But I realised early on that in this if I started thinking: ‘I’m not being very Milton-like’ – basing it on half an hour of footage – it’s actually going to hamstring me by trying to be this guy and not just telling the story. The story is way above my characterisation, actually. The footage of the camps and the trial is way above my characterisation. That footage is actually way above this telly play, and I’m sure [writer] Simon Block would agree. This is all going to be subject – everything we’re doing, dramatically, is all going to be subject – to when we see black-and-white footage of Eichmann, and when we see the footage in court of the camps – it’s way more important and horrifying than anything we can do, and we are, cast and crew, all just kind of an addendum to that.”

Actor Anthony LaPaglia plays director Leo, the more complex character. And he grew “immensely conscious of the fact that Leo had several ethical dilemmas. The way in which Eichmann was repatriated from Argentina… having suffered under in essence another fascist regime, McCarthyism, perhaps Leo had a more evolved idea about how it doesn’t take much to turn ordinary people into people who commit acts which are unjust and unreasonable.

“Part of his hope was that, in the prosecution of Eichmann, there would be some sign of remorse for or acceptance of what he did. Leo felt that if he could catch that moment, it would explain that everyone’s capable under the right circumstances of behaving in ways they never thought they would. Unfortunately, Eichmann remained unrepentant, firmly believing that what he did was ethically correct for him.”

What did he, Anthony, believe, regarding capacity for evil? “Well…” his soft cadences falter. “I live in a generation which has never been tested. My grandparents were tested. My uncles were both captured and sent to Belsen, and I just don’t think it’s possible, unless you’ve been through that kind of thing, to say what you would or would not really be capable of. Some people rise to the occasion. In others it brings out the worst. Until you’re tested with the consequences of going against the grain – if you’re cold and hungry and scared, or even rich and well-fed and scared – I don’t know if any of us can say what we’d be capable of.”

Martin Freeman again chooses his words carefully as he ponders “evil”: “I’m very much with Leo’s mindset: there are no monsters – there are people who do bad things.

“Eichmann was highly intelligent – Jesus, all of the top Nazis were smart guys – and his argument was: if you want to know your enemy, know why you’re hating them, and so, for instance, he learned Hebrew.”

Eichmann was, I mention, an avowed Zionist: his solution of choice would have been an entirely new land, outside Europe, for all Jews: it was only after 1942, and Wannsee, and after he’d relinquished his deluded fantasy of transporting all Jews to Madagascar, that he was given responsibility for otherwise expediting matters.

“Exactly!” says Freeman. “It had got to the point where: hmm, that’s not working, they’re not leaving quickly enough, ha, let’s think of something else. But to my mind there are not enough things that show the Nazis as human, as smart people, charismatic people, who are not inhuman naturally. But who are able to be fantastically inhuman when they choose to be.”

It is clear that all the major players here in Vilnius – even the Lithuanian extras, for Lithuania has more than too many memories of how its Jews were treated by both Hitler and Stalin – have thought deeply, read deeply, buried themselves in the issues. LaPaglia is particularly astute on Jew-blaming.

“Yes, questions were asked in the 50s as to why they hadn’t fought back,” says Freeman. “I’d answer that by saying that I have a friend who lived through the purges in Serbia and Bosnia, and one of my questions to him was: ‘Why didn’t you fight back?’ And he simply looked at me and said: ‘We didn’t have any guns.’

“So what the trial did, and this filming of the trial, was awaken the public to the fact that these stories were not mythologies. It was crucial. And I’d like to think that this current programme, this telling of the story of the story, is, too, important.”

British actor Nicholas Woodeson, who plays a vulnerable Jewish cameraman, says: “I’m old enough, I’m afraid, to remember the programme. The scratchy images on the telly, that twisted lip. My family was in Haifa, and I still remember at school, back in England, the kind of casual unmalicious antisemitism, my being so puzzled by it. I had loved Israel, and I later found England deeply depressing.

“My character is the cameraman Yaakov, and what emerges is that he’s also been in a labour camp, and during the proceedings in a psychosomatic way, like shell shock, the recollections get to him. So I identified with him, and this programme, hugely. But the Israel I remember – it was a different country. It was essentially eclipsed when Rabin was assassinated. For me that was Israel’s’s Abraham Lincoln moment.”

The director, Paul Andrew Williams, best known for the acclaimed London to Brighton, is a refreshingly unpretentious and unflappable director, despite having had to conduct an orchestra of several languages and locations. He also, as have so many, admits a fascination with how National Socialism came to power, “and how they took antisemitism to the extreme, and normal people jumped on board this bandwagon of persecution.

“Even though the trial was possibly only ever going to end in one way” – Eichmann was hanged on 1 June 1962 and his ashes scattered at sea – “the awareness raised was astonishing and important. I come from a generation where it’s been very well known, from school onwards, but that’s indeed thanks partly to this thing. It’s been an experience here in Vilnius. If you watch the footage of witnesses, their massive dignity – even just seeing them, the actors, in that seat, in the correct clothes – it truly affects. But I did get to work with Martin and Anthony. Actors thrive on different notes, different ways of being directed, and that’s great.

“Martin and I share the same sort of humour, but his craft – which is a wanker’s way of saying it – but it really is spot on; he really does his homework. Martin has read up, thumbed through, a huge amount on Eichmann, even though the character didn’t necessarily need it. He might seem the kind of guy you’d love to spend an afternoon in the pub with putting the world to rights, but there’s a reason why he is where he is. Hard work.”

I tell him that The Eichmann Show, on my brief trip out here, deserves if only for veracity of detail to make a huge impact. A hardboard sign, for example, for “directions to press and for diplomats” is rendered typographically perfect for 1961 Jerusalem. He smiles. “Just so long as it’s not shit.”

It’s not. In capitals.

Huge thorny questions still remain: about Eichmann’s personality, and about transference of guilt. Hanna Arendt, who covered the trial for the New Yorker, may have coined, for Eichmann, the phrase “the banality of evil”, but in truth he was a deeply complex man, and very calculating in his denial, and it’s notable that he only shows a brief twitch of emotion when caught out by the prosecution rather than when watching camp footage. Far better to my mind than Arendt’s book Eichmann in Jerusalem is Martha Gellhorn’s coverage of the trial for the Atlantic, which manages to ask some still-pertinent questions on German guilt, and the slow dehumanisation of a people, and the existence of “evil”: questions which still need answers. Questions which, effectively, began with concealed cameras, in a Jerusalem courthouse, in 1961.

The Eichmann Show will air on BBC Two on 20 January at 9pm as part of the BBC’s plans to mark the 70th anniversary of the liberation of Auschwitz-Birkenau



_________________
[Tienes que estar registrado y conectado para ver esa imagen]
avatar
Mertxines

Mensajes : 2586
Fecha de inscripción : 15/02/2012

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  lulyve el Mar Ene 13, 2015 10:00 pm

Esta serie tiene muy buena pinta Very Happy
avatar
lulyve

Mensajes : 3790
Fecha de inscripción : 22/03/2012
Edad : 45
Localización : Madrid

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Mertxines el Dom Ene 18, 2015 1:29 pm

Entrevista a Martin en The Independent, 18-1-15:

[Tienes que estar registrado y conectado para ver este vínculo]

Martin Freeman interview: The actor on hobbits, Cumbermania and his Nazi-hounding role in The Eichmann Show

When not being driven to distraction by Sherlock's fans, Martin Freeman is turning into the finest character actor of his generation. Here, he talks about finally finishing 'The Hobbit', escaping the cold of 'Fargo', and putting Adolf Eichmann on trial

These are strange, head-spinning days for doughty Martin Freeman.

We've met in a private room off the deserted restaurant of a boutique Bristol hotel to discuss the Holocaust. In The Eichmann Show, the 43-year-old Brit plays Milton Fruchtman, the American TV producer who persuaded the Israeli authorities to let cameras film the 1961 trial in Jerusalem of Adolf Eichmann, the high-ranking Nazi who was instrumental in implementing the so-called Final Solution that killed six million European Jews. Night after night the trial was a global media event, and beamed the horrors of the Holocaust into living rooms in 37 countries. True to context, and rightly, this new BBC drama does not stint on the use of newsreel footage from the concentration camps.

So Freeman and I sip tea from decorous china in a decorous hotel and find ourselves discussing the pulse-stopping pragmatism of the Nazis' industrial-scale death bureaucracy. I've seen the finished 90-minute drama; he hasn't. I relay to him the most chilling fact that I learnt from The Eichmann Show's broadcast of original court testimonies from survivors: that the Nazis spread the ashes of murdered Jews on the ground of the camps, so people wouldn't slip.

"Yeah, that rings a bell," he winces. "I went to see a camp when I was very young, called Sachsenhausen, which is not far outside Berlin, and I think there was a similar thing there that just completely rocked me. It was something to do with a running track… Just the banal inhumanity. All that stuff," he says briskly, rapping his knuckles on the table, "that's the really frightening stuff. When it's so easy to do, and so efficient."

A history and politics buff, as well as an assiduous watcher of quality drama, especially that featuring his peers and near-peers, Freeman cites a 2001 HBO/BBC film about the Wannsee Conference, the 1942 board meeting at which the Nazis planned the extermination of the Jews. "It's what Conspiracy does extremely well," he says of the drama that starred Kenneth Branagh as Reinhard Heydrich and Stanley Tucci as Eichmann, "because they're all quite attractive people; well, they're not all att-," he says without breath, backtracking hastily, cutting himself short. It's something Freeman does often, as his quick mind races against his quick tongue.

"But Branagh's character is an attractive, intelligent, smart person," he continues of the actor's Emmy-winning portrayal of senior SS officer Heydrich. "And if it wasn't for the context of what he was saying, you'd go, 'Yeah, I want to get behind this guy, he's pretty cool, he wants to get shit done,'" Freeman recounts briskly, clapping his hands. "And it's no one looking evil and it's no one looking dastardly. It's just, ah, admin. It's really, really frightening."

Certainly, while watching The Eichmann Show, Hannah Arendt's phrase about the "banality of evil" – coined by the writer while documenting the trial for The New Yorker to describe Eichmann's bland, implacable demeanour in the dock – feels as chillingly appropriate as ever.

Freeman is friendly, for sure, but also sharp, opinionated, and not afraid to bristle at lazy reductionism of his acting talents. It makes for an actor who's an engaging conversationalist and who is shot through with a shaft of steel – which also belies an oddly (and for him, aggravating) cuddly image. No, he's not an "everyman" actor; yes, he can do considerably more than Tim from The Office. A fact to which his current roster of roles forcefully attests.

Right now, he is armpit-deep in Dr Watson. Today is the end of day number three on the filming of the next instalment of Sherlock, the hit BBC drama attended – engulfed – by an unprecedented fan mania. Which, it transpires, actually bedevils the making of the show. (The leaking, already, of images of the suit worn by Dr Watson in this Christmas 2015 special – three-piece, brown, tweedy – is the least of the cast's worries.)
In cinemas, meanwhile, another iteration of Freeman's diverse CV is very much abroad. The last film in Peter Jackson's blockbuster Hobbit trilogy is still packing them in. At time of writing, The Battle of the Five Armies has taken almost £40m at the British box office; both of its predecessors ultimately grossed $1bn worldwide. At least, and at last, the climactic, battle-heavy epic, filmed on the rocky plains of New Zealand, has ended the over-stretched three-part adaptation of JRR Tolkien's slim yarn. And ended it with a bang, not to mention many a clang of dwarf weaponry on orc skull.

So, four years after embarking on a filming schedule that repeatedly sent him to the ends of the Earth (which, for a Brit with a young family, is even farther than Middle-earth), Freeman's stewardship of Bilbo Baggins' outsize feet and shaggy mop are over. A cause for tears? Or for a celebratory tiffin in Freeman's own version of Bag End, the home he shares in Hertfordshire, north of London, with actress partner Amanda Abbington (Mr Selfridge, and Sherlock too) and their children Joe, eight, and Grace, six? Neither, it seems.

"At the end of a job I don't really carry anybody on," insists Freeman of his characters, whether it's Richard III or Fargo's Lester Nygaard; last year he played the former on stage at London's Trafalgar Studios, and the latter on American telly (Fargo winning two Emmys and, last week, a Golden Globe for Best Miniseries).

"I don't miss anybody," he avers. On his recent global press tour promoting The Battle of the Five Armies, "That's the question I was asked 40 times a day: 'Do you miss Bilbo?' 'No, I don't, because I'm not mentally ill.' Well, I am, in many ways!" he laughs. "But I'm not deluded – I don't think he's real, and I don't think I am him," Freeman states with get-a-grip finality.

So, yep, he's glad to have slain his last orc – if for nothing else than that he "always likes finishing jobs, even when I enjoy them". Seriously focused on the job at hand, this perennially sharp-dressed man hates the feeling of "having those little loose ends to tie up".

It's why he was more than happy to have had the lead in only the first series of Fargo, despite its critical and ratings success. And why, presumably, he'll be forever grateful to Ricky Gervais and Stephen Merchant for ending The Office with neat, timely aplomb.

Sherlock, though, is OK. Yes, it's a recurring series. But it recurs intermittently. Mainly, it seems, whenever both his and Benedict Cumberbatch's increasingly insane working schedules can be synced. Even then it's "pretty finite" when they're making it: three 90-minute episodes or, in the current case, a one-off.

"By American standards it's nothing!" he exclaims of a role for which he's won a Bafta and an Emmy. "Even by Downton [Abbey] standards it's pretty short! It's not eight months of our year, and it's not every year. It's so intermittent. That's what for me makes it do-able. I don't know about Ben but certainly for me it would soon lose a lot of its appeal if we were schlepping that around for eight months of the year, every year. A bit of the sheen would have gone off it."

When you hear Freeman discuss the filming of Sherlock, you can understand why. On location in London, the set is regularly surrounded by hordes of fans. Does it happen in Bristol too? "It started the other day," he nods. "Not hundreds, but scores, of young women mainly."

This would be a challenge for any actor. But perhaps doubly so for a "celebrity" who hates everything to do with the term and avoids social media. Not surprisingly, then, he admits the fannish rubberneckers cause problems for him and the equally Facebook-phobic Cumberbatch. "When we're [filming at] our stand-in for Baker Street, it is hard to do your job. And I don't love it," he says heavily. "I don't love it."

Are people shouting out at the actors? "No, they're not. But you know… phew," he exhales, "it's like trying to act at a premiere," he says, meaning the experience of the red-carpet crush. "It really is. I've never…," he smiles thinly, pausing for a reality-checking aside, "I wasn't in The Beatles. But I've never seen anything like it. There's such a heightened sense of excitement, so every time we come out there's applauding – and it's like, 'No, can you n–' Or, if we do anything – 'Cut!' – applause… It's like, 'No, this isn't a gig…'"

And all the while they're trying to maintain a Sherlock/Watson headspace. "Yes, we are," he retorts quickly. "While at the same time there are hundreds of people taking pictures of you and holding up placards." He pauses. "Of course you want to be gracious with it. And I obviously very much appreciate, as do we all, the fact that people love it. But also, yeah, it doesn't make you doing your job any easier."

Still, rigorously thoughtful Martin Freeman would be the first to admonish himself with a "get real". First-world problems and all that. Or, more frou-frou still, A-Lister problems. Which is the league in which this one-time sitcom star now finds himself. Sherlock, The Hobbit, Fargo – all told, it makes for a patch as purple as the winter gloom-defying jumper he is sporting today.

Immediately after completing the five-week shoot on Sherlock, he's off to New Mexico, standing in for Afghanistan, to film The Taliban Shuffle. It's an adaptation of a lightly comedic memoir by an American war correspondent, and also stars Tina Fey.

But right now, even though he's enveloped – engulfed – in Sherlock, and has barely caught his breath after the final Hobbit hoo-ha, he's keen to give time to talking up The Eichmann Show. Forget actors' egos – this is an important piece not because of what it is or who's in it, but because of what it's about. And Freeman knows that no matter what he and his castmates do on screen, they can't compete with the horrific drama on show via archive footage.

Of course, he acknowledges, there have been other holocausts. Stalin killed more, Tutsis and Hutus more recently. But the attempted extermination of Europe's Jews was done in his parents' time, an hour or so's flight away. "By a really exceptionally civilised country. Half of us are partly German! Half our language and culture, generally, in Anglo-Saxon terms, is German. Our royal family is German!" he says, agitated, his blood up. "This is something that's pretty close to us. And a very clear indicator, if it's ever needed, that you don't look for demons and you don't look for baddies. Cos they're there; they're us.

"And that's partly why it's so important to remember. And also," Freeman concludes, "why it's so important to respect those people who were murdered."

_________________
[Tienes que estar registrado y conectado para ver esa imagen]
avatar
Mertxines

Mensajes : 2586
Fecha de inscripción : 15/02/2012

Ver perfil de usuario

Volver arriba Ir abajo

Re: Entrevistas y cuestionarios de prensa a Martin Freeman

Mensaje  Contenido patrocinado


Contenido patrocinado


Volver arriba Ir abajo

Ver el tema anterior Ver el tema siguiente Volver arriba

- Temas similares

 
Permisos de este foro:
No puedes responder a temas en este foro.