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Форум Дэниэла Крэйга » Дэниэл Крэйг » Биография. Biography » Daniel Craig Interviews in English (интервью Дэниэла на английском языке)
Daniel Craig Interviews in English
nattaДата: Четверг, 15 Янв 2009, 23:03 | Сообщение # 26
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Five questions with Daniel Craig, Star of 'Defiance'
January 15, 2009


When Daniel Craig took over the role of James Bond, the selection turned heads. A ruggedly handsome, serious-minded 007 -- with light-colored hair? Two big hits later, no one's doubting the pick. Craig has won critical praise for "Casino Royale" and "Quantum of Solace." He also has taken on some choice roles outside the series, such as his character in "Defiance," which opens Friday. He plays Tuvia Bielski, one of three brothers (Liev Schreiber and Jaime Bell play the others) who led a Jewish pocket of resistance in the woods of Belarus during World War II and helped save 1,200 people. It's hinted that Craig's and Schreiber's characters are low-grade smugglers. Craig, a dry, friendly sort, spoke recently about his life as an actor and his work in "Defiance."

QUESTION: Did you know about this part of World War II history?

ANSWER: No, I didn't. I had vague memories of knowing about Jewish resistance, but only that it was wiped out mercilessly. You know, pockets of it. But I didn't know the scale of it. And just in this area alone, there were 20,000, I think, that were resisting. A lot of them were wiped out, but this story has been hidden away for all sorts of reasons. But it's extraordinary that they didn't just survive or scrape out a living. They almost seemed to thrive.

Q: Why hasn't this story been told before?

A: I think the truth of it is, the people involved didn't want to think about that. We don't shy away from that in the film. We suggest that these people, to survive and do what they did, the premise is they were criminals. It's just a label to give them, to say they were used to this kind of life. They were used to reacting to people. They were used to reacting aggressively to people because that's the kind of boys they were. That's probably one of the reasons they survived, but it's also probably one of the reasons that they didn't want to talk about it. ... God forbid that any of us should ever be in that situation, but hopefully that's a question people will ask themselves as they walk out: "What would I do in that situation?"

Q: For the resistance fighters to hide that effectively, the forests must have been incredibly dense.

A: We were filming 100 kilometers from where it actually happened, in the same chain of forests. You walk 20 yards into this place and you're lost. There's no reference whatsoever. ... The place we were filming is like a fairy tale. If you imagine Hansel and Gretel, it's exactly that. You walk into the woods and you expect wolves to come running out of the next clearing.

Q: How big an effect has playing James Bond had on your career?

A: Of course it's had a very positive effect on the way things are. I've got two successful movies on my back as it stands at the moment, very successful movies. It's made things a little easier in many respects, (but) ultimately there's only a finite number of good scripts out there. There's only a finite number of interesting subjects. You have to go looking for it. Something doesn't just stop coming to you. I get more offers but not necessarily offers of good stuff.

Q: A friend who heard about "Defiance" asked if you were a resistance fighter who takes off his shirt.

A: (Laughs.) It's a living.

BY BILL GOODYKOONTZ, GANNETT NEWS SERVICE
отсюда


 
XevДата: Четверг, 05 Фев 2009, 04:12 | Сообщение # 27
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Забавное интервью о съемках Вызова и не только.

Daniel Craig, not James Bond
By Genevieve Loh, TODAY | Posted: 04 February 2009 0829 hrs

LOS ANGELES: Daniel Craig was candidly recounting the nightmare of learning to speak Russian for his latest film Defiance, claiming to have been “the worst student in the world” having left school at 16, and admitting that he “can’t conjugate a verb in any language — even English”.

But this reporter wasn’t really listening.

All I saw in front of me was the bluest pair of eyes and the potential of my getting absolutely lost in them by the end of the interview. And no one can blame me. After all, I was at the Beverly Wilshire hotel taking to Mr James Bond.

Or maybe not.

In fact, as the interview went on, it became quite clear that Craig and Agent 007 were most definitely not one and the same. And that is exactly how the 40-year-old likes it.

The lauded theatre actor — who had a smorgasbord film career playing character roles (Layer Cake, Infamous, Sylvia) before becoming the debonair, martini-drinking, womanising spy — looked the classy part, decked out in a crisp black shirt underneath a fitted cardigan, which could scarcely hold back the muscles.

But the polished sophistication ended immediately when he opened his mouth — and peppered almost every sentence with a big ol’ swear word.

In fact, speaking to Daniel Craig is more like chit-chatting with your serious-but-self-deprecating drama-school-mate in a pub. Except that your mate just happens to be a huge movie star who exudes a sexual magnetism that’s even more palpable in the flesh than it is on screen.

It’s clear he’s had enough of Bond for now. In Defiance, Craig plays real-life Jewish hero Tuvia Bielski, who, along with his brothers played by Liev Schreiber and Jamie Bell, built a resistance movement in the freezing Belorussian forests during World War II to fight the Nazis, saving 1,200 Jews from the death camps in the process.

Based on Nechama Tec’s non-fiction book Defiance: The Bielski Partisans, the Edward Zwick-helmed film was, as Craig earnestly put it, “a very inspiring production and an amazing story that I knew I wanted to be part of it the minute I read it”.

As he talked to TODAY about the filming process, its relevant issues and his chemistry with his co-actors, Bond disappeared completely and left in his place a dedicated actor with the resolve to never abandon the interesting left-field choices that were his bread and butter before superstardom came along.

“I’m always reading a lot of scripts and responding to the material I have. The good stuff ... Only the good stuff,” he said, reminding us how he refuses to rely on his craggy good looks and those beguiling baby blues.

See? I was listening.

Do you find yourself drawn to playing men fighting for survival?

It’s all about the story. Good stories. What I found fascinating about Defiance was that this normal man, a farmer, was thrust into the role of leadership and somehow figured out these great moral questions. This film deals with obviously an incredibly important part of recent history that has affected us all. It talks about how humans survive a situation, and when they stop fighting.
.
Tuvia, at some point, says: ‘We’ve got to stop taking revenge and start living.’ It’s a fascinating point for me — when does that ‘tip’ actually happen? When do people say, ‘Stop this now. Stop killing each other and let’s live?’

You’re no stranger to physical roles, but how did you cope with Defiance’s arduous outdoor shoot?

Lots of alcohol! (Laughs)

The weird thing was that when I was filming this (production wrapped in early November), I knew I had to start trying to get into shape as we were starting Bond in January. But when it’s freezing cold outside you have to eat and you have to drink and so ... (smiles).

It was cold. It was miserable. It was wet. It was uncomfortable, but you always have in the back of your mind the idea that you have a bed to go back home to that night ... These people (the Jewish survivors) did three winters there and that’s just mind-blowing.

Did being out there in the freezing woods encourage male bonding?

Ah, like one of those things where we hit each other with twigs? You know we did that! (Laughs) It definitely had an effect. We were there 12 hours a day, six days a week, and it got f***ing cold. But there was something about that experience.

Nobody did this movie for money and that includes the crew. We had Lithuanian actors, we had British actors and American actors, and the crew, and we all just huddled around while the film was being made. So there was male and female bonding going on — but not in that way! Apparently.

Well, it’s pretty obvious on screen that you, Liev and Jamie had real brotherly chemistry.

You never know if it’s going to be there. You can only hope that you click on some level and you just try and make something happen. But, in fact, it was a lot easier than that. We had about a week, I think, of just sort of hanging around together. We were doing some rehearsals but there wasn’t much time. It was sort of costume fittings and stuff.

We got into each others’ faces... I mean, brothers sort of beat the s**t out of the each other most of the time. And we were sort of doing that metaphorically and physically.

That big fight scene between you and Liev seemed very honest and very real.

We rehearsed it! We did it for weeks before we started shooting. We went into the studio, put mats on the floor and sort of figured it out. What we wanted to do was try to make it as brotherly as possible, which is why there’s a punch in the bollocks and aspects that would make you go, ‘Those are brothers fighting’.

Liev told us that it was your idea to punch him in the crotch. Is that true?

Yes. (Laughs)
Источник

 
LoraneДата: Суббота, 07 Фев 2009, 01:03 | Сообщение # 28
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Ну конечно очень интересно - в каждом интервью выдается какой нибудь инсайд (водка, репетиция драк, погода и т.д.). И в начале, главным мессаджем шло - что Крейг - он не Бонд, а Крейг, просто сейчас он великолепно, как и всегда, сыграл Тувию... Ну, и, конечно, ода голубым глазам, как же без нее... ну так кто ж против-то... :*

 
Daniel_teamДата: Суббота, 07 Фев 2009, 03:09 | Сообщение # 29
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Quote (Xev)
Liev told us that it was your idea to punch him in the crotch. Is that true?
Yes. (Laughs

садюга :)
слушайте но я жду когда же он заговорит о себе.... пора брать языка :)
 
ElvenstarДата: Понедельник, 16 Фев 2009, 16:17 | Сообщение # 30
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Немецкое интервью, Перевод с ДТД

We want to talk with you about manly self – conception
Why me?

You play JB and he is something of an absolute man
Yes – and he looks like me

Being tough has nothing to so with sexuality – some of the toughest men I know are gay..

He says, he was brought up to help women into their coat, which is very old fashioned, but he cannot help it.

He talks about the body cult, that has gotten worse over the years for men and women and of which he has become part in his little trunks.

What makes a hero?
In the matter of Defiance for example it is, that a man makes a decision under pressure to help, while threatening his own life.

Who from the present is a hero for you?
Nelson Mandela and Desmond Tutu. Their decision at the end of the Apartheid NOT to punish the guilty but confront them with what they had done was heroic for me.

Are there actors you envy?
Those with comical talent – Ben Stiller…

How important is concurrence in your life.
Partly I became an actor, because I am a lousy businessman. For me, being a businessman is all about taking advantage of other people. Not my sort of thing…

Are you afraid of the crisis we have right now?
Of course, and we need strong people now, who make the right decisions – heroes..

When he was young, he wanted, like most, to be different to his parents and the same goes for today – with 40 a person should be different than with 18. So – all generations being the best friends doesn´t really work out.

He feels pressure thinking, that when working, the next day a bunch of people is waiting on set for him to do his job right.

http://sz-magazin.sueddeutsche.de/texte/anzeigen/28164/1/1#texttitel


 
ElvenstarДата: Вторник, 17 Мар 2009, 10:45 | Сообщение # 31
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Старое интервью 2003 года, как обычно довольно занимательное (времена Сильвии)

Rhymes of passion Sunday 27 April 2003

After a series of acclaimed TV roles, Daniel Craig made the leap to Hollywood in the Road to Perdition and now stars in the highly anticipated literary movie Ted and Sylvia. Here, he tells Gaby Wood about Gwyneth Paltrow's troubled performance and how he never liked Ted Hughes much anyway

I meet Daniel Craig outside the Serpentine Gallery in Hyde Park, which is closed for the time being while they hang their next show. I am standing calmly by the railings when Craig walks up to me, fast, shakes my hand and carries on, barely breaking stride. We've arranged to go for a walk, it's true, but there's no dallying with him, no dithering over direction or discussing of destination. We talk about the war - a subject about which Craig is very exercised. He has been reading every newspaper and is addicted to the rolling news. American imperialism, the fact that no one listens to dissenting voices despite the marches and demonstrations, the dubious role of Dick Cheney's company in the planned reconstruction of Iraq, the selective quotation of Hans Blix's report by Jack Straw - all of it falls within minutes into the span of Craig's hyperactive attention.

'You know those West End shows that are obviously awful, and they edit the reviews to make them sound good? Like "A phenomenal... evening... out" when what they've really said is "phenomenally bad... worst evening of my life... not worth going out for..." Well, that was what Jack Straw was like reading out Hans Blix!' Craig surges purposefully forward through the park, his hands gesticulating in spasms of urgency, his talk littered with expletives, until we've reached the other side and he stops dead in a crowded street. 'Where are we going?' he asks, suddenly bewildered. 'Harvey Nichols?'

Harvey Nichols - which, since we are nowhere near it, I assume he means metaphorically - was not the plan, so we march back into the park again until we find a place to have tea and scones.

This feverish personality is, according to his friend William Boyd, who directed him in The Trench, 'One of our best actors.' On screen, he exerts a supreme amount of control, releasing emotions in the most subtle of ways. His face is slightly rugged without being steely - in some lights it looks handsomely sculpted, in others that of a life-worn boxer. His eyes are a lethal blue - when you see them on celluloid they seem too pale and too strange not to carry some meaning. Now, as he talks, they are animated or watery or screwed up into a grimace. Craig is a commanding, powerful actor. Seen back to back, his film roles show off an extraordinary range, and an exceptional grasp of rawness and complication.

Many will know him best as the hapless Geordie Peacock, living hand-to-mouth in the TV series Our Friends in the North. Others will have seen him more recently, playing Paul Newman's cold, murderous son in Sam Mendes's Hollywood gangster movie, Road to Perdition. In between, he has portrayed a schizophrenic (Some Voices), a physicist (Werner Heisenberg in the TV adaptation of Copenhagen), an army sergeant during the Battle of the Somme (The Trench), and Francis Bacon's sado-masochistic lover (Love is the Devil). Last year he appeared on stage opposite Michael Gambon at the Royal Court, where Stephen Daldry directed him in Caryl Churchill's new play A Number - Craig played three different cloned brothers and each was recognisable as soon as he appeared on stage. Later this year he will be seen in a Roger Michell/Hanif Kureishi film, The Mother, in which his character has an affair with a 65-year-old woman, and, early next year, in the role that is set to indisputably reveal his talent to the world, he plays Ted Hughes in the biopic Ted and Sylvia, opposite Gwyneth Paltrow as Sylvia Plath.

They have just finished shooting the film when we meet. So far, Craig has only seen a brief trailer made for the cast from the rushes. 'It looks like it's going to be a sad movie,' he says, 'but what can you do about that?' The shoot itself didn't take place at the happiest of times: Paltrow's father had died not long before. 'That brings a reality into it,' Craig says. 'It was very upsetting. I don't think the filming process itself was upsetting - it was just too big a deal. I don't know how she coped really. She did brilliantly. And her mum was there, Blythe Danner. She plays Plath's mum in the movie.'

Craig's is a role he is understandably a little nervous about. 'There's quite a bit of pressure riding on it,' he says. 'And also just the whole shit that goes with it - you know, the hatred directed at Ted Hughes. People are still scrawling "pig" on his grave.' Craig clearly has a good deal of sympathy for Hughes - he has firm beliefs about the reasons behind his behaviour towards Plath, though he's not sure how much of this will come through in the film, as it is told through Plath's eyes. I ask him if he always has to sympathise with the characters he plays, and he says not at all, it's just that he feels no one can judge the relationship between Hughes and Plath because 'ultimately, within a relationship there's an unknown, which is just about those two people. You know, when you have friends who split up, the worst thing you can do is get involved.'

It's an indication of Craig's intelligent brand of acting that he has humanised the famous couple, turned them into intimates, while standing back and allowing them some privacy. 'I spoke to this wonderful lady, Elizabeth Sigmund, who was a friend of Plath's - The Bell Jar is dedicated to her - and I said, "Come on, you've got to tell me. What were they like when they were together?" She said, "You couldn't put a cigarette paper between them. They were inseparable." And that meant so much to me. I genuinely believe that even if he did have affairs, it was part of a relationship - he wasn't a serial polygamist. He was in love with Sylvia, and he was always in love with Sylvia.'

As a young boy, Craig heard Hughes give a reading at the girl's grammar school down the road from him in Liverpool. But far from being in awe of the man, Craig found the performance hilariously boring. 'I mean, bless him, he didn't read poetry particularly well. It was just this monotone crap.' Craig puts on a Northern accent so low and gloomy you can barely hear words between the mumbles: 'This is called Crow. Crow sits in... duh duh duh... Blood and otters... Birth and death... thank you very much.' He bursts out laughing.

In truth, though, Craig has examined Hughes's accent a little more closely than that, and found in the voice itself a minor tragedy. 'If you listen to it,' he says, 'his accent does not exist. Nowhere on earth does that accent exist - it's absolutely peculiar to Ted Hughes. He came down from Yorkshire and went to Cambridge and, of course, he got rid of it. What he did was he flattened it out. It's his interpretation of what a posh accent should sound like, but not too posh because he's from the north. It's bizarre - and heartbreaking. Feeling that you have to mask it and not mask it.'

I ask Craig what's happened to his own accent - there's certainly no trace of Liverpool left. 'Exactly!' he cries. 'Exachtly! What has happened to it? It's gone!' He says he arrived in London when the 'classless' accent was still a fairly posh one. 'Believe me, I know. I even grew my fringe long.' Looking at his feathery blond crew cut this seems quite unlikely, and he explains: 'Well, you know, when I left drama school it was Merchant Ivory or nothing!' But did he get those sorts of roles? 'Nah. I think they figured out that I was common as muck.'

Craig was born in Chester in 1968, and brought up in Liverpool. His mother went to Liverpool Art College and his stepfather, who appeared in his life after his parents divorced when Craig was 'four, five, six' (he is vague on this), is a painter called Max Blond. He's clearly close to Blond, and sees a lot of his father, too. 'We're off to Dublin next weekend to watch the last game of the Six Nations,' he says. Craig is a secret rugby fan. 'It's not the coolest thing in the world to like, but I've been watching it since I was a kid.' He used to wonder what his dad's weekends in Dublin were all about, and now he knows: 'Your feet don't touch the ground.'

His mother's social life revolved around the Liverpool Everyman, where she knew set designers and other people, at a time when Julie Walters and Bernard Hill were performing there regularly. Craig used to go along with his older sister and became fascinated by the theatre.

'Then, by the time I was 15 and I was failing miserably at school, my mum obviously thought, "Why won't this smelly eating machine leave my house?"' She saw an advertisement for the National Youth Theatre and, before long, Craig was in London being given choice acting roles at 17 and doing odd jobs while he applied to drama school.

Craig married a Scottish actress and singer when he was 23 and has a 10-year-old daughter. He is divorced and has been living in northwest London for the past seven years with Heike Makatsch, a German actress he met on the set of a European film called Obsession. Makatsch is something of a star in Germany, and has made a few films here. What promises to be her British breakthrough is due out later this year - Richard Curtis's directorial debut, Love Actually.

In many ways, however, 'breakthrough' roles are just a cliché. Craig, for example, has done some work in Hollywood and there was 'Oscar buzz', which came to little, around Road to Perdition. But he knows his best work might not necessarily be generated in the city of angels. Though he's wary of being too rude about Tomb Raider, he makes no bones about the fact that he couldn't find anything challenging in his role as Angelina Jolie's boyfriend. He likes it when 'The whole thing comes together - reading the script, meeting the director, and thinking: this is interesting because it's a bit weird. The thing is, you start getting, let's say a bit more famous, and suddenly you get more scripts offered to you. So it all gets a bit more confusing and I'm not very clever, you see.'

The key here is that Craig chooses parts because they're 'a bit weird', and it's clear from his performances that he thrives on that edge. In Love is the Devil, his character is said to have 'a combination of amorality and innocence'. In one scene, he and Derek Jacobi (who plays Francis Bacon) get undressed, slowly, ritually. Jacobi bends over the bed, Craig winds a belt around his fist. The camera closes in on them as he picks up his cigarette and stubs it out on Jacobi's flesh. Craig exudes a touchpaper combination of tenderness and violence. In The Trench, there is a key scene in which the buttoned-up sergeant Craig plays offers one of his men some of his wife's homemade jam. The soldier refuses and Craig tries to persuade him, thrusting the jar into his face. As he sits back down, dejected and furiously spooning the jam into his mouth, the camera lingers on him, his face expressing all the lost warmth of home. The film's director William Boyd is particularly proud of this scene, and says Craig has 'an amazing ability to express emotion of the most poignant kind as well as the most vehement kind. Not all leading men have that - they can do the tough stuff, but they can't always do both.'

Craig says that taking risks remains more important to him than making money. 'I'd like to be able to just earn money and stay comfortable. I mean, you could price yourself out of the market. And you can do too much, and you can be on the screen too much, and can I have the rest of your clotted cream?'

It's incredible Craig is so controlled on screen, because you get the feeling he must find it hard to sit still. His fingernails are short, he fidgets, his hands working overtime to cover up his face as he cringes over something he's said. He's constantly undercutting himself with a little alter-ego voice that takes the piss and everything is expressed at a mile-a-minute. He says if you become bitter and twisted as an actor you've lost the point, and when I ask what the point is, he begins an interrupted disquisition. 'Well, I do it because I find it fulfilling and because I believe it has a place in the artistic...' then he splutters, crumbs falling out of his mouth along with the inevitable expletives. 'I do it because I like showing off!' He explodes into laughter.

Whenever he feels he is in danger of saying something too actorly, Craig says it's 'all bullshit really', or some such, but in between these apologies, he regularly makes observations that range from the sensitive to the subversive. For instance, when I ask him about playing Ray, the schizophrenic in Some Voices, he says that a psychotherapist offered to show him around the Maudsley hospital as part of his research, but Craig felt he couldn't justify the intrusion for the sake of method acting. Instead, he spoke to the psychotherapist, and found ways to understand what schizophrenia feels like, things schizophrenics and so-called sane people might have in common. Later, we end up talking about music - he has been trying to get his daughter to listen to the Rolling Stones, but she's stuck on the Beatles - and he says he hopes there will be a new political voice in music. Not only that, but he hopes he'll have no connection to it whatsoever, because only that way will it really represent a younger generation.

He says he never used to have a diary, and now he thinks it's a sign of getting old that he feels this new responsibility to have an affinity with dates. Still, a little chaos reigns. When he shows me what he calls his diary, I see it's just a blank book in which he's scrawled some days and numbers. I suppose you never know what might happen next. Craig is only 35 and yet he's waiting to be kicked up the ass and called 'oldie', because he's so keen for life (and culture and politics) to renew itself. He welcomes rebellion, courts it even.

When we've finished our scones, he gives me a lift to the tube in his clapped-out-and-proud Saab. There's a paperback copy of some Ted Hughes poems on the floor. I accuse him of planting the book, but I know it's the kind of thing he'd never do. It's so verging on pretension that if anything, he'd be embarrassed it was there. Craig laughs and chucks the book over his shoulder, where it lands, somewhere in the back, with a clunk.

http://www.guardian.co.uk/film....eatures

Добавлено (17.03.2009, 10:45)
---------------------------------------------
Интервью к Defiance

http://www.ushmm.org/museum/exhibit/focus/antisemitism/voices/
Слушать или скачать (дублирую в Даунлоуд)


 
LiluДата: Суббота, 21 Мар 2009, 23:53 | Сообщение # 32
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интервью ДК о "Кванте", поехали:

The name's Craig, Daniel Craig

Daniel Craig may have bought a new level of suave to the Bond franchise but he too, like so many other little boys, grew up watching (and dreaming of being) Bond.

What is Quantum of Solace about?
Quantum of Solace is a heart-stopping, action packed thriller, says Craig. “It’s fast as hell. It’s like a whack in the face and I think that’s what we needed. It takes the story on, it deals with all the unfinished business from Casino Royale plus we’ve booted it up – the stunts look amazing, the locations look fantastic and there’s not a lot of time to breathe. Next time we’ll do something more lyrical,” he laughs.

Quantum of Solace takes place immediately after Casino Royale finished and Bond is hell bent on revenge and is determined to discover who murdered the woman who captured his heart, Vesper Lynd (Eva Green).

As M – Dame Judi Dench – tries to reign him in, he discovers that a mysterious organisation called “Quantum”, run by the charismatic Dominic Greene (Matieu Amalric), is a corporate front for a group of eco terrorists, had been blackmailing Lynd.

“He’s a loose canon,” says Craig. “In fact, it could be called Closure because that’s what he’s looking for.”

The title has been the subject of much debate. It’s actually taken from an Ian Fleming short story although the film itself, number 22 in the first sequel in the Bond franchise.

“I can’t remember who first suggested it but I was intrigued by it. What do you call a Bond movie? You can’t call it Die 'Yet Another Day' or 'This Is The Dying We Do' or whatever because they don’t hold the attention. It certainly wasn’t a cynical attempt to go ‘you won’t forget this...”

“I read the short story and there’s a paragraph or two in it where Fleming talks about the moment a relationship is over, it’s just finished, and there’s nowhere to go and there’s no more quantum of solace. And that’s what this is about.”

Craig says it’s important that the new films honour the tradition. Back when he was a youngster and first watched Bond movies like From Russia With Love and Goldfinger, he loved the glamour and danger of 007 and being transported to exotic locations around the world.

“I think our films have to have what Bond films always had – a strong central character, to state the obvious, and they have to take you somewhere else. What defined those early movies was that they went on location as much as they did and they went to incredible places – Tokyo, the carnival at Rio. And that tradition carries on in our films. On 'Quantum' we were in Panama and Chile, and lots of other places and that’s important.”

“I remember being a kid and looking at the films and going ‘that’s why I want to be James Bond’ – plus the girls and the cars, of course.”

Craig has put his body on the line for the role and he has the scars to prove it – post filming he needed surgery on a labral tear in his right arm – a rip in the tissues around the shoulder joint.

The injury, he believes, was an old one exacerbated by the physical demands of working on two Bond movies – his debut in Casino Royale and now Quantum of Solace – in just under three years.

He first noticed the pain in his shoulder back on Casino Royale and put it down to over exertion. By the time he was working on 'Quantum', it was impossible to ignore.

“I couldn’t pinpoint when I actually did it and it could go back to playing cricket or rugby when I was a kid. Obviously making two Bond movies hasn’t helped and it was badly torn. It was serious - I don’t do anything by halves. But it’s fine now, thanks.”

You picked up a few injuries making Quantum of Solace. Does that sort put you off?
"No, not even slightly (laughs). Actually that sounds a bit macho but it doesn’t put me off. And the weird thing with these things – like the stitches I had in my face – were done mostly during fight sequences and fight sequences are the things we rehearse the most. We rehearse it thoroughly because we have to get the angles right.

But it’s always the silly things, like a stray bootstrap or something, that cause an injury and really, there’s no way you can plan for that. If you are doing a big stunt – like hanging from the top of a building or jumping from a rooftop – we are meticulous in planning it. You know, I’ve got a wire on, there are mats there and everybody is a bit nervous about it but, touch wood, it’s covered. So it’s the silly little things that catch you and suddenly you have a boot in your face because you stopped concentrating for a second."

What, in your view, makes a modern Bond? What do the films have to have these days?
"I think they have to have what they’ve always had – and that is a very strong central figure. That’s an obvious thing to say and I also think that they have to take you somewhere else, to transport the audience. I maintain that.

I was thinking about this earlier and what defined those early movies was the fact that they went on location as much as they did. They maybe faked a few places – as we still do and we have to – but those early ones they went to some incredible places. I can’t remember which one it is, but on one of those early ones they went to Tokyo. Imagine getting a film crew to Tokyo!

I mean, it’s hard enough now but doing it back then and the locations were so important – you looked at the film and you thought ‘he’s there, that’s Tokyo, that’s the Rio carnival..’ those were the things that really defined Bond. "

Do you remember that from watching the Bond films when you were young?
"Oh yes. Those were the things that I remember looking at as a kid, amongst other things, looking at it and going ‘that’s why I want to be James Bond’ you know - plus the girls and the cars.

They are taken as read now but really it was the way that Cubby Broccoli and Harry Saltzman (the original Bond producers) decided to make them. They decided to spend the money getting the cast and crew out to those places and you saw that up there on the screen – and that tradition is still going on.

This time we were in Chile, we were in Panama and that was at Marc’s (director Marc Forster) instigation as much as anything – he insisted on it and he was right. We all talked about what we remembered from the earlier Bond films and that’s what stayed with us – the fact that you were transported to somewhere you wouldn’t normally see.

And the world is so well travelled now, it’s harder to do but I think we succeeded because we went to some extraordinary places."

How would you describe the style of Quantum of Solace?
"Well, I’d say it’s fast. It’s as fast as hell. It’s fast and it’s like a whack in the face and I think that’s what we needed because actually, where do you go from Casino Royale?

'Quantum' takes the story on and it deals with the unfinished business from Casino Royale. Plus we booted it up – the stunts look amazing, the locations looking fantastic and there’s not a lot of time to breathe. Next time we’ll do something a bit more lyrical."

How has Bond as a character developed for these times?
"I think the language of film has changed and I think the audience perception has changed. Have you seen that terrific series "Mad Men"? It’s great and I look at that guy (Jon Hamm) and he’s got such a great look.

If you doing the film of Sebastian Faulks’ Bond book (Devil May Care) that look would be perfect. If you were doing a one off film I would say that’s the way you would go. But that’s not where we are. The intention was always to make more than one of these so we have to move it forward because in two years time when hopefully we’ll do another one, we’ll still be pushing it forward. "

In other words, it can’t be retro?
"Exactly. If we’ve gone for some cute idea of what it was in the past, some kind of retro thing, it just wouldn’t move it on. I think style is important and I hope that when people see what we’ve done with 'Quantum' – by getting in a new director, a new costume designer, we’ve added something that was of the old movies, paid homage to that, but at the same time we’ve moved it along.

There are big sets, big wide camera angles, big shots, and it’s kind of that more old fashioned way of doing it. But it’s not looking back, it’s the modern way of doing it but at the same time, knowing itself. But if it becomes too self-knowing it becomes a piss take of itself. And we have to be careful about never doing that. "

How has playing Bond changed you?
"Me personally? I’ve got so many good things in my life because of doing this and it’s obviously helped but it doesn’t change life itself. Life itself is still the most important thing and the most important thing about life is family and friends – they are the ones who keep you grounded and make sure you remember who you are.

And I have to look after that because that is the most important thing. But I get to do some pretty great things. I mean, whether it’s the travel that I do or whether it’s the bonuses that happen when I can jump the queue to a few things occasionally. I mean, like private viewings of the Sistine chapel, stuff like that, is obviously fantastic and a great privilege, which I really appreciate. And you have to do it, if you don’t do it you have missed out.

One of the things I’ve got to do this year is go and see Liverpool play at Anfield and go to one of the (rugby union) internationals at Twickenham - they have invited me to go and I have to accept the offer because it’s a great thing to do. And you know, they might not invite me again so I’d better make the most of it."

Are there things you would have found difficult about playing Bond in an earlier less politically correct era? Like his attitude to women?

"No, because I would have been living in that time. Obviously I get asked the question about whether I think he is less misogynistic and the answer is no, I think he’s as misogynistic as he always was.

But the difference is there is Judy (Dench) and we try and cast girls who play the women in his life who if he misbehaves would turn around and tell him to **** off. I think it’s interesting that instead of it being nothing but a giggling girl in a bikini – and there nothing wrong with a girl in a bikini, sometimes it’s quite nice (laughs) – there are women who challenge him. And you know in some of the earlier movies, Honor Blackman and Diana Rigg played women who had more about them, they were really great characters and I just think that we have to maintain that. Gemma Arterton who is in Quantum is just gorgeous and lovely and plays a really sweet role and she just nails it. "

What do you like about Bond the character?
"He’s this apolitical civil servant who knows exactly what he is doing and is very good at his job. Within our political system we potentially have this organisation, the civil service, where you hope that there are good people making decisions for us, the people.

Even though Fleming was an aspiring upper class person, he invented this man for everybody – and I think Sean (Connery) playing him on screen added to that. Somewhere inside Bond he believes he is doing the right thing even though he kills people all the time! But I love that element about him – that somewhere inside him he knows what is morally right. "

I know that you first watched Bond movies as a kid growing up…
"Yeah, on TV mostly."

What do you remember about those films?
"Well, that would have been with Sean (Connery). Live and Let Die (with Roger Moore) was the first one I went to see in the cinema. But From Russia With Love is great. Goldfinger I think is the most stylish because they married everything together – the clothes, the Ken Adams sets I think became something else but Sean Connery and Robert Shaw in From Russia With Love, I mean it’s not a bad pairing is it? And it stands up still and it was seriously cool. "

What about the humour in the films? Do you think there is a place for it?
"It has to come naturally. I’m very nervous of when a gag is on the page because we are not making broad comedy so you shouldn’t shoe horn them in. But I hope that there are a few moments of light relief.

But 'Quantum' is so quick, so rapid, that there’s not a lot of time - but you should be laughing because something spectacular has happened and then there’s an escape. But I’m not known for broad comedy."

There are plenty of spectacular action sequences. Let me ask you about one of them – the one in Siena where you are on the rooftops and hanging from a balcony …
"That was very high! The balconies were false so they had to be reinforced so they were stuck on the side of the building, it was about 30 feet up even more, I don’t know. I don’t know what to tell you except that there is a lot of me there and I’m wired up for safety obviously but I’m still doing the leaps and the jumps and it was interesting to say the least.

The weird thing was there were moments when I was standing up there ready to jump and obviously there was no going back, I mean apart from anything else, we were ready to shoot and had five cameras going and a crane, an aerial camera set up - and then there was a ****** audience.

We were in Siena and it’s full of tourists and lots seemed to have gathered right there, going ‘oh look, what’s he about to do?’ So I was standing up there going ‘I can’t come down now? I’ve got to do this...’ But you know, I always say this, the stunt team we have are just extraordinary, I work incredibly closely with them, we get drunk together and hopefully we look after each other and without them nothing happens. I do as much as humanly possible and they had me doing a lot up there. "

ресурс http://www.news.com.au/heralds....00.html

 
nattaДата: Понедельник, 23 Мар 2009, 14:07 | Сообщение # 33
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Дэниел рассказывает о "Кванте МИлосердия" в рамках промоушинга выходящего DVD

The name's Craig, Daniel Craig
Article from: Sunday Herald Sun

March 21, 2009 12:00am

Daniel Craig may have bought a new level of suave to the Bond franchise but he too, like so many other little boys, grew up watching (and dreaming of being) Bond.

What is Quantum of Solace about?
Quantum of Solace is a heart-stopping, action packed thriller, says Craig. “It’s fast as hell. It’s like a whack in the face and I think that’s what we needed. It takes the story on, it deals with all the unfinished business from Casino Royale plus we’ve booted it up – the stunts look amazing, the locations look fantastic and there’s not a lot of time to breathe. Next time we’ll do something more lyrical,” he laughs.

Quantum of Solace takes place immediately after Casino Royale finished and Bond is hell bent on revenge and is determined to discover who murdered the woman who captured his heart, Vesper Lynd (Eva Green).

As M – Dame Judi Dench – tries to reign him in, he discovers that a mysterious organisation called “Quantum”, run by the charismatic Dominic Greene (Matieu Amalric), is a corporate front for a group of eco terrorists, had been blackmailing Lynd.

“He’s a loose canon,” says Craig. “In fact, it could be called Closure because that’s what he’s looking for.”

The title has been the subject of much debate. It’s actually taken from an Ian Fleming short story although the film itself, number 22 in the first sequel in the Bond franchise.

“I can’t remember who first suggested it but I was intrigued by it. What do you call a Bond movie? You can’t call it Die 'Yet Another Day' or 'This Is The Dying We Do' or whatever because they don’t hold the attention. It certainly wasn’t a cynical attempt to go ‘you won’t forget this...”

“I read the short story and there’s a paragraph or two in it where Fleming talks about the moment a relationship is over, it’s just finished, and there’s nowhere to go and there’s no more quantum of solace. And that’s what this is about.”

Craig says it’s important that the new films honour the tradition. Back when he was a youngster and first watched Bond movies like From Russia With Love and Goldfinger, he loved the glamour and danger of 007 and being transported to exotic locations around the world.

“I think our films have to have what Bond films always had – a strong central character, to state the obvious, and they have to take you somewhere else. What defined those early movies was that they went on location as much as they did and they went to incredible places – Tokyo, the carnival at Rio. And that tradition carries on in our films. On 'Quantum' we were in Panama and Chile, and lots of other places and that’s important.”

“I remember being a kid and looking at the films and going ‘that’s why I want to be James Bond’ – plus the girls and the cars, of course.”

Craig has put his body on the line for the role and he has the scars to prove it – post filming he needed surgery on a labral tear in his right arm – a rip in the tissues around the shoulder joint.

The injury, he believes, was an old one exacerbated by the physical demands of working on two Bond movies – his debut in Casino Royale and now Quantum of Solace – in just under three years.

He first noticed the pain in his shoulder back on Casino Royale and put it down to over exertion. By the time he was working on 'Quantum', it was impossible to ignore.

“I couldn’t pinpoint when I actually did it and it could go back to playing cricket or rugby when I was a kid. Obviously making two Bond movies hasn’t helped and it was badly torn. It was serious - I don’t do anything by halves. But it’s fine now, thanks.”

You picked up a few injuries making Quantum of Solace. Does that sort put you off?
"No, not even slightly (laughs). Actually that sounds a bit macho but it doesn’t put me off. And the weird thing with these things – like the stitches I had in my face – were done mostly during fight sequences and fight sequences are the things we rehearse the most. We rehearse it thoroughly because we have to get the angles right.

But it’s always the silly things, like a stray bootstrap or something, that cause an injury and really, there’s no way you can plan for that. If you are doing a big stunt – like hanging from the top of a building or jumping from a rooftop – we are meticulous in planning it. You know, I’ve got a wire on, there are mats there and everybody is a bit nervous about it but, touch wood, it’s covered. So it’s the silly little things that catch you and suddenly you have a boot in your face because you stopped concentrating for a second."

What, in your view, makes a modern Bond? What do the films have to have these days?
"I think they have to have what they’ve always had – and that is a very strong central figure. That’s an obvious thing to say and I also think that they have to take you somewhere else, to transport the audience. I maintain that.

I was thinking about this earlier and what defined those early movies was the fact that they went on location as much as they did. They maybe faked a few places – as we still do and we have to – but those early ones they went to some incredible places. I can’t remember which one it is, but on one of those early ones they went to Tokyo. Imagine getting a film crew to Tokyo!

I mean, it’s hard enough now but doing it back then and the locations were so important – you looked at the film and you thought ‘he’s there, that’s Tokyo, that’s the Rio carnival..’ those were the things that really defined Bond. "

Do you remember that from watching the Bond films when you were young?
"Oh yes. Those were the things that I remember looking at as a kid, amongst other things, looking at it and going ‘that’s why I want to be James Bond’ you know - plus the girls and the cars.

They are taken as read now but really it was the way that Cubby Broccoli and Harry Saltzman (the original Bond producers) decided to make them. They decided to spend the money getting the cast and crew out to those places and you saw that up there on the screen – and that tradition is still going on.

This time we were in Chile, we were in Panama and that was at Marc’s (director Marc Forster) instigation as much as anything – he insisted on it and he was right. We all talked about what we remembered from the earlier Bond films and that’s what stayed with us – the fact that you were transported to somewhere you wouldn’t normally see.

And the world is so well travelled now, it’s harder to do but I think we succeeded because we went to some extraordinary places."

How would you describe the style of Quantum of Solace?
"Well, I’d say it’s fast. It’s as fast as hell. It’s fast and it’s like a whack in the face and I think that’s what we needed because actually, where do you go from Casino Royale?

'Quantum' takes the story on and it deals with the unfinished business from Casino Royale. Plus we booted it up – the stunts look amazing, the locations looking fantastic and there’s not a lot of time to breathe. Next time we’ll do something a bit more lyrical."

How has Bond as a character developed for these times?
"I think the language of film has changed and I think the audience perception has changed. Have you seen that terrific series "Mad Men"? It’s great and I look at that guy (Jon Hamm) and he’s got such a great look.

If you doing the film of Sebastian Faulks’ Bond book (Devil May Care) that look would be perfect. If you were doing a one off film I would say that’s the way you would go. But that’s not where we are. The intention was always to make more than one of these so we have to move it forward because in two years time when hopefully we’ll do another one, we’ll still be pushing it forward. "

In other words, it can’t be retro?
"Exactly. If we’ve gone for some cute idea of what it was in the past, some kind of retro thing, it just wouldn’t move it on. I think style is important and I hope that when people see what we’ve done with 'Quantum' – by getting in a new director, a new costume designer, we’ve added something that was of the old movies, paid homage to that, but at the same time we’ve moved it along.

There are big sets, big wide camera angles, big shots, and it’s kind of that more old fashioned way of doing it. But it’s not looking back, it’s the modern way of doing it but at the same time, knowing itself. But if it becomes too self-knowing it becomes a piss take of itself. And we have to be careful about never doing that. "

How has playing Bond changed you?
"Me personally? I’ve got so many good things in my life because of doing this and it’s obviously helped but it doesn’t change life itself. Life itself is still the most important thing and the most important thing about life is family and friends – they are the ones who keep you grounded and make sure you remember who you are.

And I have to look after that because that is the most important thing. But I get to do some pretty great things. I mean, whether it’s the travel that I do or whether it’s the bonuses that happen when I can jump the queue to a few things occasionally. I mean, like private viewings of the Sistine chapel, stuff like that, is obviously fantastic and a great privilege, which I really appreciate. And you have to do it, if you don’t do it you have missed out.

One of the things I’ve got to do this year is go and see Liverpool play at Anfield and go to one of the (rugby union) internationals at Twickenham - they have invited me to go and I have to accept the offer because it’s a great thing to do. And you know, they might not invite me again so I’d better make the most of it."

Are there things you would have found difficult about playing Bond in an earlier less politically correct era? Like his attitude to women?

"No, because I would have been living in that time. Obviously I get asked the question about whether I think he is less misogynistic and the answer is no, I think he’s as misogynistic as he always was.

But the difference is there is Judy (Dench) and we try and cast girls who play the women in his life who if he misbehaves would turn around and tell him to **** off. I think it’s interesting that instead of it being nothing but a giggling girl in a bikini – and there nothing wrong with a girl in a bikini, sometimes it’s quite nice (laughs) – there are women who challenge him. And you know in some of the earlier movies, Honor Blackman and Diana Rigg played women who had more about them, they were really great characters and I just think that we have to maintain that. Gemma Arterton who is in Quantum is just gorgeous and lovely and plays a really sweet role and she just nails it. "

What do you like about Bond the character?
"He’s this apolitical civil servant who knows exactly what he is doing and is very good at his job. Within our political system we potentially have this organisation, the civil service, where you hope that there are good people making decisions for us, the people.

Even though Fleming was an aspiring upper class person, he invented this man for everybody – and I think Sean (Connery) playing him on screen added to that. Somewhere inside Bond he believes he is doing the right thing even though he kills people all the time! But I love that element about him – that somewhere inside him he knows what is morally right. "

I know that you first watched Bond movies as a kid growing up…
"Yeah, on TV mostly."

What do you remember about those films?
"Well, that would have been with Sean (Connery). Live and Let Die (with Roger Moore) was the first one I went to see in the cinema. But From Russia With Love is great. Goldfinger I think is the most stylish because they married everything together – the clothes, the Ken Adams sets I think became something else but Sean Connery and Robert Shaw in From Russia With Love, I mean it’s not a bad pairing is it? And it stands up still and it was seriously cool. "

What about the humour in the films? Do you think there is a place for it?
"It has to come naturally. I’m very nervous of when a gag is on the page because we are not making broad comedy so you shouldn’t shoe horn them in. But I hope that there are a few moments of light relief.

But 'Quantum' is so quick, so rapid, that there’s not a lot of time - but you should be laughing because something spectacular has happened and then there’s an escape. But I’m not known for broad comedy."

There are plenty of spectacular action sequences. Let me ask you about one of them – the one in Siena where you are on the rooftops and hanging from a balcony
"That was very high! The balconies were false so they had to be reinforced so they were stuck on the side of the building, it was about 30 feet up even more, I don’t know. I don’t know what to tell you except that there is a lot of me there and I’m wired up for safety obviously but I’m still doing the leaps and the jumps and it was interesting to say the least.

The weird thing was there were moments when I was standing up there ready to jump and obviously there was no going back, I mean apart from anything else, we were ready to shoot and had five cameras going and a crane, an aerial camera set up - and then there was a ****** audience.

We were in Siena and it’s full of tourists and lots seemed to have gathered right there, going ‘oh look, what’s he about to do?’ So I was standing up there going ‘I can’t come down now? I’ve got to do this...’ But you know, I always say this, the stunt team we have are just extraordinary, I work incredibly closely with them, we get drunk together and hopefully we look after each other and without them nothing happens. I do as much as humanly possible and they had me doing a lot up there.

[url=http://www.news.com.au/heraldsun/story/0,21985,25221048-5006023,00.html]источник[/url]


 
ElvenstarДата: Четверг, 26 Мар 2009, 12:32 | Сообщение # 34
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DRIVEN Magazine DVDs: Daniel Craig talks Bond;

This week, Daniel Craig talks to Earl Dittman about Quantum of Solace and when James Bond will finally bed more women, have more fun and maybe hit the slopes.
Also: Special edition DVDs of The Odd Couple and To Catch a Thief, plus a family of high-flying swindlers, all after the jump.

DANIEL CRAIG: JAMES BOND SLIDES DOWN A HILL ON A PLATE
Were you surprised that Quantum Of Solace was going to be the first direct sequel to a James Bond movie?
“It just seemed to me when it came down to it, and we all agreed, that to my mind at the end of Casino Royale, it was the beginning of the story as opposed to the end of one. He had fallen in love, had his heart broken, and this organization they discovered they have started peeling back the onion skin. To do another movie and just go ‘Oh, there was this chick once,’ seemed to be the wrong thing to do. It just fit, and that’s it. I don’t know when the idea came up really.”
Was it a great acting challenge to portray Bond as a much more emotionally shut-off guy instead of the gregarious, witty and suave Sean Connery type 007?

“I would never do that, because I would never copy somebody else. I would never do an impression of anybody else or try to improve on what they did. That would be a pointless exercise. I had to find out how I was going to do this. These two movies have tied that in for me. I’m not in a situation where I think we’ve wrapped up all the loose ends. We solidified the relationship with M, we solidified the relationship with Felix Leiter, and we can do anything now. I think he’s going to be probably a little more relaxed in the next movie. He had a deal to do—a business to do.”
How much fun are you having as James Bond?
“These movies are—this is a world that needed doing anyway—fantastic. These movies are an amazing experience to shoot. They are an amazing experience to work with the people I work with. The whole collaborative effort of making a movie like this, it’s a big deal. It’s a really, really big deal. There are a thousand people that work on this movie. At any one time, I would be working with two to three hundred people. We shot this for six months. It was a huge journey. But, I think you can see it in the movie. I think it’s all there.”
So, could the next Bond film travel more into the world of fantasy?
“We could, I know that’s going to be printed now that we are.”
And, Bond could sleep with more women?
“I could, yes.”
Would you like to try doing a skiing action sequence?
“I’m not a very good skier, Jesus. I think my Bond, actually, slides down the hill on a plate. I don’t think there is a lot of that going on.”
You allegedly made a couple of jokes in the press that Quantum of Solace would be funnier than Casino Royale, more like one of the Roger Moore 007 movies.

“I’m sorry, I probably say stupid things in interviews sometimes. I am not nailing anything down. People kind of want to know what exactly is going to happen in the next movie, and I don’t know. Is there more comedy? Yes, there is room for more comedy.”

Do you find that people just don’t get your British sense of humor?
“I think that is the same for everybody. The thing is I’m not that complicated, I don’t think. I’m a pretty open book. I make gags, and if people don’t get them I can’t blame them.”
Would you like to continue on in the Bond franchise for another 20 years?

“I haven’t got that in me, Jesus Christ. There will be someone else to do it by then. I will do them as long as I can. I can’t see beyond another movie. If they ask me back to do another movie then I would be thrilled.”

Quantum of Solace is now available on Blu-ray and 2-Disc DVD: Both versions include seven featurettes, theatrical and teaser trailers and the “Another Way To Die” music video featuring Jack White and Alicia Keys. And, just released on Blu-ray: Goldfinger, Moonraker and The World Is Not Enough.

http://www.drivenmag.com/feature....nd-more


 
sensesДата: Четверг, 26 Мар 2009, 13:08 | Сообщение # 35
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Quote (Elvenstar)
“I’m not a very good skier, Jesus. I think my Bond, actually, slides down the hill on a plate.

я прям представила картину?)))))

Quote (Elvenstar)
You allegedly made a couple of jokes in the press that Quantum of Solace would be funnier than Casino Royale, more like one of the Roger Moore 007 movies.
“I’m sorry, I probably say stupid things in interviews sometimes.

))))
 
ElvenstarДата: Четверг, 26 Мар 2009, 13:34 | Сообщение # 36
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Quote (Elvenstar)
Would you like to continue on in the Bond franchise for another 20 years?
“I haven’t got that in me, Jesus Christ.

Чую он теперь решил вместо нецензурщины Бога поминать при любом случае :D


 
nattaДата: Вторник, 21 Апр 2009, 12:22 | Сообщение # 37
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Daniel Craig's naked butt revealed
24 Sep, 2008 05:40 am ISTlINDIATIMES MOVIES

'I'm not that unusual'...says hottie Daniel Craig who goes nude for his first ever production venture - Flashbacks of a Fool.

How did you get involved with the project?
Baillie Walsh is a friend of mine. He wrote this script five or six years ago, with me in mind. It's a kind of biography for him, but he wanted to include me in the film. We've been discussing it ever since! Fortunately things came together in 18 months.

Why did you want to work with Baillie?
I've always wanted to see Baillie make movies. I've always had a great deal of confidence in him. It's just one of those things of saying: Let's try and see what happens if we can put together a movie! One of the hardest things about putting a movie together is raising the money, and luckily enough, since I had a bit of success last year with some other movie, people decided to start spending some money on us.

Tell us about your character Joe Scott...
Joe is a washed out movie-star. He's comfortably well off and lives in a very nice place, but his stars are starting to fade... He takes to drugs and doesn't have his feet on the ground. He has lost contact with himself. The one person that really cares for him is Ophilia, and probably she's the love of his life. But she's sitting in front of him, and he doesn't even notice. So their relationship is almost sibling like... He was a very hard person for me to play... (не устаю поражаться актерскому мастерству: по тем отрывкам, что я видела. Крейг смотрится очень органично )

Can you relate to your character?
I had a very happy upbringing; I was very protected and looked after. But you feel the guilt about leaving home, and moving on. For parents it's an awful thing. On one hand you want to see your children succeed and go on, on the other hand you want to protect them. Children succeed because they have confidence, and that confidence is your own doing as a parent. You don't get to understand that until later on in life. And when you're young things matter much less, because all you are trying to do is get on and survive. Yes, I can relate to this character by empathising that maybe he wasn't as lucky as I have been so far.

How was is working with Eve Jeffers?
We were really fortunate to get Eve on board. We were really struggling, because you are asking someone to come all the way to South Africa, it's a long journey to make and also on paper, the part doesn't appear to be huge. But she understood immediately that the relationship between Joe and Ophilia, the character she is playing, is the most important part of the movie. They are all they've got for each other and that's why they are together. Eve's incredibly beautiful, she's a really good actress and we have to be grateful that she agreed to play the part.

Why would you recreate England in South Africa?
We shot on a beach in South Africa that was about 20 km long, it was sand dunes all the way. In Devon, there might be a beautiful beach like that, but it'd be only five miles long... This one went that extra yard. For Baillie it was important to get that epic proportion on screen, and that wouldn't be delivered by any of our beautiful English beaches.

What appealed to you about the film?
I connected very deeply with it, and for that very reason I think other people will too, because I'm not that unusual. And I wouldn't do the film unless I thought it had a universal theme within it. Beyond that, I think it looks stunning.


 
ElvenstarДата: Вторник, 21 Апр 2009, 18:55 | Сообщение # 38
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Интервью газеты *Welt am Sonntag* о Defiance today. Кр пересказ на англ с ДТД

Real heros are heros against their will
His favourite film of the moment is "The Bader-Meinhof Komplex" (about a german terror group)

Really?
Yes, I liked it very much, because I love history and we have waited a long time for this to be made. Only now the political scenery has changed enough to be able to make this film. Constantin wanted to make it 10/15 years ago, but nobody wanted it. Also I like “Milk” “Man on Wire” a fantastic documentary and “W”

Seems you like political films?
It would be nice to believe that the film industry has regained her political voice. It was about time. It was very quiet and it need that voice. Many of the best films are political. But that doesn´t mean, I cannot enjoy popcorn films – I am a huge fan.

Questions about Defiance, that we already know….bla bla

But serious – why would anybody aside from Tel Aviv and New York want to see a film about fighting Jews?
That´s a legitimate question.
I hope they will go see it because Ed Zwick is an old fashioned director, a classic Hollywood director, who loves intimate stories. That´s his weakness – I mean that in a good sense. He makes big films, but he loves small stories. When I read the script, I realized, that Ed is the right one, because he beds the story of the three brothers into the epic story.

Could you show this film in a muslemic country?
Questionable. And its not my duty to enforce such a situation. It is not my duty to politisize this film. My duty is to bring to life, what I understood about the character. I am an actor not a politician – others will judge. I don´t judge the characters I play, because that would influence my work and the result of my work. I play characters, because they interest me. I tell a story like I want to tell it – if people don´t like the film its legitimate. It´s never my first intention to do a film to be liked.

In Eastern Europe the Jews were – like its said in the film, only good in dying. But here they fight and gain some identity through the fighting. Here I see a parallel to the establishment of the state of Israel.
True, but the people in this film couldn´t possibly imagine an independent jewish state. For them it was only about living or dying and that is important for me to tell that story. I don´t deny Israel the right to defend their borders – we all need to do that, but when does the fighting end? And what are you fighting for? And when you fight for freedom and that is the only thing worth fighting for – How do you live that freedom? That is what is the next step for manhood and that´s much more important than a comparison of this film with Israel or the idea, that the Jews didn´t fight in the second world war. Thea did fight. That´s why this story is worth telling. To draw modern paralls is for others to do. That has nothing to do with me.

Questions about Tuvia and the morality of the brothers..
That was the interesting part for me. Its a terrible story and the instruments they used to keep the group together were questionable and I hope, the film asks these questions. But in the end 1200 people were saved. But I couldn´t have done the film, hadn´t we ask these questions and at least tried to examine them a bit. We do all this to entertain, but I hope, people will question the characters and themselves.
What would I do in such a situation? I don´t know. I can talk about it here or on the set, but in the end, I have no idea and would probably make huge mistakes.

What is more challenging – a complex character like Tuvia or a rather one dimensional like Bond?
I don´t tend to separate this too much. It’s the same thing. You cannot think too much about what others will think about. You shouldn´t let this get to you but its there, of course. Bond has to make money, because he costs so much and otherwise it will be the last with me. Defiance is different. I hope it will make money, because that would mean, many people have seen it. I made it for love. Bond also but on another level. That´s a complicated question and I try not to think about it too much. I do my work and that is acting. Do make that good I have to distance me from the business - from all the pressure.

Last question: If you could only make one more film – what would it be?
Bond in the last Bond film.

I hoped you would say Hamlet.
I am too old for that. Too late – over.

http://www.welt.de/wams_pr....en.html




Сообщение отредактировал Elvenstar - Вторник, 21 Апр 2009, 18:57
 
XevДата: Вторник, 21 Апр 2009, 23:28 | Сообщение # 39
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Quote (natta)
Daniel Craig's naked butt revealed

натик, это интервью уже висит где-то выше.
 
ElvenstarДата: Четверг, 30 Апр 2009, 14:01 | Сообщение # 40
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Оч интересное интервью/ статья. Правда на фр.
Перевод с гугл translate

http://i421.photobucket.com/albums....ew1.jpg

http://i421.photobucket.com/albums....ew2.jpg

http://i421.photobucket.com/albums....ew3.jpg

Оригинал
http://www.neo-planete.com/2009/04/29/interview-de-daniel-craig-007/





Сообщение отредактировал Elvenstar - Четверг, 30 Апр 2009, 14:03
 
nattaДата: Четверг, 30 Апр 2009, 15:30 | Сообщение # 41
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Quote (Xev)
натик, это интервью уже висит где-то выше.

где именно? я не нашла ^_^


 
LiluДата: Суббота, 02 Май 2009, 22:14 | Сообщение # 42
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With his rugged good looks and brooding charisma, Daniel Craig is licensed to thrill. But there's more to this actor's career than playing James Bond

Interview by James Mottram

Saturday, 2 May 2009

Knightsbridge seems as good a place as any to meet Daniel Craig. The home of Harrods and Harvey Nichols, it's the sort of neighbourhood James Bond might visit – in his Aston Martin, naturally – to stock up on Beluga and Bollinger. Not that Craig is Bond, of course, just as we're not here just to talk 007. Ensconced on the fourth floor of the Mandarin Oriental hotel, currently overflowing with more PRs than Westminster has leaks, Craig is really in town to discuss Defiance, the stirring Second World War drama from director Ed Zwick, which is released on DVD this month. This is his annual chance to remind us that he's an actor whose range extends further than ordering vodka martinis.

When I enter the hotel room, Craig breaks off from conferring with his publicist to shake my hand vigorously. He's dressed in sombre casuals – a navy cardigan, blue shirt and black trousers, all perfectly co-ordinated to accentuate those startling blue eyes and that sandy blond hair. He looks like you'd expect – rugged and raw – though his physique is not as ripped as when he emerged from the ocean in his first Bond outing, 2006's Casino Royale, with just a pair of tiny trunks to protect his modesty. Back then, he pumped iron "to get as big and as beefy as possible", all part of rebuilding the Bond character for the modern age.

That he did was a triumph for Craig, who suffered horrendously at the hands of the press while making Casino Royale. Dubbing him "James Blond", the tabloids had a field day at his expense. All sorts of nonsense was claimed – that he couldn't drive a manual car, that he was afraid of guns and even water. It didn't help that when Craig arrived, via speedboat, for his first press conference, he wore a life-jacket. Forced to take this beating in silence, his revenge may not have been as swift as anything Bond might administer, but it was just as effective. Bolstered by enthusiastic reviews, Casino Royale took almost $600m around the world. His second outing, last year's Quantum of Solace, though less well received, raked in almost as much.

Now Craig has been left with an interesting quandary: how does a respected actor – who has worked with directors of the calibre of Steven Spielberg and Sam Mendes – avoid being pigeonholed as 007? After Casino Royale, he delivered a three-pronged answer, delving into fantasy (The Golden Compass), sci-fi (The Invasion) and melodrama (Flashbacks of a Fool). Were it not for the fact that the first disappointed, the second was a dud and the third sank without trace, this might have been a good move. But Craig claims he's no career strategist. "I'm not looking for stuff that's the antithesis of a Bond movie just because I think that's what I should do," he says.

The problem for Craig is that because the Bond iconography is so strong – and because he has already made such a mark in the role – it's sometimes hard to accept him as anything else. Take Defiance, in which he plays the real-life Jewish partisan Tuvia Bielski, one of three brothers who escape from the Nazis into the forests of Belarus. Once there, they build a makeshift camp, sheltering an increasing number of people from the sub-zero temperatures and the possibility of discovery. "I was fascinated by the story," Craig says, his Wirral accent briefly surfacing. "It's just remarkable, the more you read about it, the crazier it is."

This is certainly true. Full of grit, spit and courage, it's the sort of film that leaves you open-mouthed at the resilience of human beings and their will to survive. Starring alongside Jamie Bell and Liev Schreiber, Craig gives an admirable performance – his best since he began Bond. But try as I might, as soon as he picked up a gun in the opening scenes, I couldn't help but think of Bond brandishing a semi-automatic. "Well, the thing is you're talking about movie language," says Craig, looking a little disgruntled at my rather simplistic observation. "There aren't that many fresh ideas out there. Hopefully, people will forget about that. I mean, I'm picking up a gun. I've done that a lot recently."

Playing Tuvia – who is hell-bent on vengeance after his family are murdered – left the actor on familiar ground. In both of his Bond films, Craig's 007 was driven by feelings of revenge – though in some ways, Tuvia shares more similarities with the role he played in Steven Spielberg's 2005 film Munich, which dealt with the aftermath of the murder of 11 Israeli athletes at the 1972 Olympic Games. Craig was cast as one of several Israelis recruited to avenge the terror attack. "Again, this might sound naïve, but it didn't bother me. Of course, I looked at it and said, 'Well, people are going to compare it to Munich.' But again, if I went through life trying to construct my career, it would lose all the inspiration."

The last time I met Craig was in February 2005, when he was promoting The Jacket, a psychological thriller that reunited him with John Maybury, who directed him as Francis Bacon's luckless lover George Dyer in 1997's Love is the Devil. The day before, he'd just received a Best Actor prize from London's Critics Circle for his role in Enduring Love, as a university teacher who becomes the object of a dangerous obsession. Bursting with intensity, he seemed like a different actor then, taking risks in small-scale British fare. He'd been a psychiatric outpatient in Some Voices, which won him Best Actor at the British Independent Film Awards, while in The Mother, he shocked as a handyman who begins an affair with a woman (played by Anne Reid) twice his age.

Feeling like a natural successor to the likes of Gary Oldman and Tim Roth, the Chester-born Craig came across as a man in touch with his working-class roots. His father was a publican, lest we forget – though in truth, it was his mother, an art teacher, who seemed to inspire him the most. After divorcing Craig's father, she spent much of her free time at Liverpool's Everyman Theatre, meeting actors, artists and designers. Her young son drank it all in. "I fell in love with the actors," he says. "I was a sucker for it all, the idea of being taken somewhere, being entertained." He claims to have known he wanted to become an actor as young as four.

Craig came down to London when he was 16 to join the National Youth Theatre, living with friends of his father and waiting tables to earn a living. The only other career option he considered was the navy, but this thought was swiftly banished. When he was 20, he joined the Guildhall School of Music and Drama – "a good move for a Northern boy," as he puts it. He was surrounded by talent – Ewan McGregor was in the year below him, Ben Chaplin in the one above – and it proved infectious. "I wanted to be there even more than in the pub or in a nightclub," he says. Still, he admits he was "massively arrogant" at the time. "I thought nothing could touch me."

He was brought down to earth when he won his first major job straight out of drama school. The film was The Power of One with Stephen Dorff and Morgan Freeman, a low-quality apartheid-era drama in which he played a thuggish Afrikaner policeman. "Thankfully, it wasn't a success, or I'd be playing South African policeman to this day," he winks. The next four years were spent scratching around in television bit parts, popping up in everything from Boon to Heartbeat. Money was tight, though he never considered quitting. "Just as that letter from the bank came through, something has always come along." Part of the problem, he says, lay in self-belief. "It took a long time to relax into the idea that I was going to earn a living out of this. To have the confidence to get on with it."

By 1996, Craig scored his breakthrough role – as wide-boy Geordie Peacock in the seminal BBC serial Our Friends in the North. Yet as the next five years saw him establishing himself as one of Britain's most exciting acting talents, he inevitably trundled on to the Hollywood radar. His first foray into the big-budget arena was 2001's Lara Croft: Tomb Raider, in which he played Angelina Jolie's love interest (leading her to proclaim he was one of the best kissers she'd worked with). The film was lousy, but took almost $275m around the globe. "I don't consider it a mistake," he says. "I don't regret it for one second ... I love 'popcorn movies'. I can't be hypocritical."

He followed this with a couple of edgy, intense villains – Paul Newman's browbeaten son in Sam Mendes' gangster drama Road to Perdition and a coke-dealer planning an early retirement in Layer Cake – though in some ways it seemed as if Craig was grooming himself for Bond. When we last met, just as the producers were beginning to look for a replacement for Pierce Brosnan, I asked him if he was interested in playing 007. "It's one of those roles that would be difficult to ignore because it is iconic but I don't know whether or not it's where I want to take my career," he said. "If something like that was to happen, if an actor accepted that, then that's it."

Well, of course, that's the position he now finds himself in. Though bullish enough to believe it's all been for the better, he maintains that things haven't changed dramatically. "I do get more offers. Or at least I get to see more scripts. But they're just as crap as they were before. There are only so many good scripts out there, genuinely. Somebody doesn't suddenly give you a golden key that opens this door and all these scripts are sitting there, that nobody else has seen. You might get a better look in, but there's still the work to do. I'm not the only actor out there and a director still needs convincing that they'd want me to be in their film." He stops to give this some thought. "I wish there was a golden key to some cupboard with 10 good scripts in it."

Interestingly, unlike many actors of his stature, Craig does not possess a production company primed to pump out vanity projects. "If I was going to produce a film, then I'd form one," he says. "But it sounds like I'd need an office. I didn't get into acting to have an office!" Surely, though, his name now gets films made? "Well, you'd think that but this was a real fucking struggle," he says, referring to Defiance. "This isn't a romantic comedy. If I'd picked a nice romantic comedy, I think it would've been easier to raise the money for it." Then again, for all his much-vaunted "phwoarr" factor, Craig is never going to be the sort of lightweight player who pops up alongside Jennifer Aniston in a love-fest. It just wouldn't feel right.

The odd scowl aside, Craig is nowhere near as surly in person as he's often painted out to be – though there's little point asking him about his own romantic entanglements. Rather like Bond, Craig has been married once, in the dim and distant past. Back in 1992, he married the Scottish actress Fiona Loudon. They had a daughter, Ella, but the marriage ended in divorce within two years. A year after Our Friends in the North, he made Obsession, a little-seen romantic thriller memorable only because he met the German actress Heike Makatsch, who later went on to feature in Love Actually. The couple stayed together for seven years, at just the time when Craig was beginning to face intrusive press questions about his love life.

When they split, if the gossip-hounds are to be believed, he did his chances of becoming the next Bond no harm by reputedly having flings with both Kate Moss and Sienna Miller. By 2005, however, he'd met the Japanese-American producer Satsuki Mitchell, who worked on The Jacket. Since then, Craig and Mitchell, who is 11 years his junior, have frequently been snapped at red-carpet events. Rumours that the couple will marry refuse to go away, particularly since Craig professed his love for her at the Quantum of Solace London premiere.

Craig is adamant when it comes to not talking about his private life. "All I know is that I've tried to protect my privacy as long as possible and I will continue to do so because it's got fuck-all to do with anybody," he says. "This [interview] is part of what I do for a living. But the rest of it is nobody's business. The same as nobody's private life is anyone's business, even if you are in the public eye. There should be a clearly defined line and I don't think it takes brain surgery to try and figure that out. It's fairly simple. There's privacy and then there's public life. If you choose to be in the public eye, then maybe you open yourself up to all sorts of rubbish. But if you don't then I think that should be respected."

Even before he was picked to play Bond, Craig had been under threat from the tabloids. "I've had various members of the press knocking on my family's door at various hours of the morning. I hate to say but my father has lots of guns..." He shoots me a sly grin, just to let me know he's joking (I hope). Perhaps because he recently bought a multi-million-pound pad near Regent's Park, he prefers to stay there with his partner than be bothered by the London celebrity scene. Not a frivolous soul, unlike those of his peers who feel a desperate need to be snapped, he simply avoids the venues that draw hordes of paparazzi. "If I get caught," he says, "it's unusual."

Still, anyone who thinks Craig doesn't have a sense of humour about himself or his work must take into account his next choice of movie role. Reuniting with his Defiance co-star Jamie Bell, as well as director Steven Spielberg, he's recently signed on for the biggest film project since Lord of the Rings. Based on Hergé's beloved comic books, Craig will feature prominently in The Adventures of Tintin: Secret of the Unicorn, the first of three planned films (with Rings director Peter Jackson set to helm the second) to be shot in 3D. Cast as Tintin's adversary, the notorious pirate Red Rackham, it's a villainous role far removed from Bond.

Outside of this, Craig's only plan for the foreseeable is to spend time with his family. "I don't see them for months, so I have to go back and reconnect with my normal life and make sure they still like me." As for Bond, he won't be drawn on the subject of how many he's prepared to make. "If people still want to see these movies I'll keep doing them for as long as it takes, or until my knees go, whichever happens quicker!"
But do creaking joints mean his days in action roles are numbered? "Well, I'm not going to look at playing a trapeze artist," he grins. Don't bet that he couldn't, though. Right now, Daniel Craig's confidence is sky-high.

'Defiance' is available on DVD from 18 May

источник: http://www.independent.co.uk/arts-en....11.html

 
XevДата: Вторник, 05 Май 2009, 01:48 | Сообщение # 43
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Quote (natta)
Quote (Xev)
натик, это интервью уже висит где-то выше.

где именно? я не нашла


оно было, судя по всему, в теме фильма, вот тут, но потом куда-то делось, это ты его сюда что ль перенесла? :)
 
nattaДата: Вторник, 05 Май 2009, 10:47 | Сообщение # 44
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Quote (Xev)
в теме фильма, вот тут, но потом куда-то делось, это ты его сюда что ль перенесла?

ага :)


 
ElvenstarДата: Среда, 12 Авг 2009, 14:05 | Сообщение # 45
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Daniel Craig blasts scripts

Daniel Craig has blasted the quality of the scripts he ges offered but insists he has no plans to set up his own production company to ensure he gets the roles he wants.

Daniel Craig gets offered "c**p" movies.

The actor insists that although portraying iconic British spy James Bond in 'Quantum of Solace' and 'Casino Royale' has brought him more offers of work, they are not always as good a standard as he would hope.

He explained: "I do get more offers. Or at least I get to see more scripts. But they're just as c**p as they were before. There are only so many good scripts out there, genuinely.

"Somebody doesn't suddenly give you a golden key that opens this door and all these scripts are sitting there, that nobody else has seen. You might get a better look in, but there's still the work to do. I wish there was a golden key to some cupboard with 10 good scripts in it."

The 'Defiance' star insists he has no plans to follow in the footsteps of many of his contemporaries in setting up a production company - because he doesn't want to have an office.

He added: "If I was going to produce a film, then I'd form one. But it sounds like I'd need an office. I didn't get into acting to have an office."

http://entertainment.stv.tv/home/94261-daniel-craig-blasts-scripts

Добавлено (12.08.2009, 14:05)
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Cover: Bond Reinvented

An exclusive look inside the making of Quantum of Solace, and Daniel Craig's next turn at playing superspy James Bond

Posted: Monday, March 30, 2009
By David Giammarco

--------------------------------------------------------------------------------


London's famed Pinewood Studios is abuzz. Not only is the colossal 007 soundstage—the largest in the world—engulfed in flames and pyrotechnic explosions for the harrowing climax of the 22nd James Bond film, Quantum of Solace, but it's the last day of principal photography for what has been one of the most ambitious and tumultuous Bond films in the legendary franchise's 46-year screen history.

Two years ago, producers Barbara Broccoli and her stepbrother, Michael G. Wilson, took an enormous gamble on Casino Royale—amid much media and fan uproar—by completely rebooting the 007 series. Their back-to-basics decision meant jettisoning both the trademark fantasy formula for grittier storytelling, and the ultra-suave and sophisticated Pierce Brosnan for the more rough and rugged Daniel Craig. But the payoff proved to be an unexpected windfall, garnering not only glowing critical raves around the globe, but a record-breaking box office jackpot of nearly $600 million worldwide.

Now, in an effort to raise the bar even higher, more changes are in store for Quantum of Solace. Having proven himself worthy of the iconic tuxedo, Walther PPK and "00" license to kill, Daniel Craig considers that success double-edged. "Now people may look back and say, 'Oh, Quantum of Solace isn't as good as Casino Royale,'" muses the 40-year-old Craig. In other words, the fear is that Casino Royale's success was due in part to "the curiosity factor about the new guy," he says with a smile.

"So now if this one goes wrong, it really is all my fault," quips Craig with a huge burst of laughter.

But make no mistake: Bond is serious business. Especially for Craig. He repeatedly stresses the need to push the series even further with Quantum of Solace. "We can't just repeat what we did last time," states Craig. "Otherwise, we really will fail. What we've deliberately done, and I've really put all my energy into doing, is once again creating a very different movie. We have to. Because I feel we owe it to the people who loved Casino Royale to give them something different, and something even better."

The heat is on. Quite literally. The special effects team reignites the inferno for another take of Craig and Ukrainian-born actress Olga Kurylenko—playing the feisty femme fatale Camille—fighting their way out of a collapsing hotel, the exteriors of which have already been filmed on location in the desolate desert landscape of Chile (doubling for Bolivia) three months earlier. A team of makeup artists carefully applies one last coating of flame-retardant gel to the faces and extremities of Craig and Kurylenko.

The two get into position just outside a doorway jamb. Craig gives a confident nod to Kurylenko as they both pause to exhale a deep breath. "Action!" suddenly echoes loudly throughout the set. Right on cue, plumes of smoke billow out of the charred remains, ear-piercing detonations begin discharging and flames soar around the pair as they race through the collapsing building, dodging explosions and falling debris.

As the temperature inside the 007 soundstage quickly rises to stifling levels, the only person not breaking a sweat is the director, Marc Forster. With three cameras rolling simultaneously on the dangerous action sequence, Forster is calmly watching the pivotal stunt on multiple video monitors, intensely studying the pair's escape route through the crumbling smoke-filled set.

"Cut!" he yells over the controlled chaos. Breathless, Craig and Kurylenko return to Forster's side to watch their choreographed maneuvers on the playback monitors. If Forster strikes you as an odd choice to be helming a $200 million James Bond thriller, you're not alone. The soft-spoken, German-born filmmaker was just as perplexed when producers Broccoli and Wilson approached him with the unusual offer. Acclaimed for his low-budget, Oscar-nominated, intimate character-dramas like Monster's Ball, Finding Neverland and The Kite Runner, Forster admits he initially thought it was a practical joke when he received the phone call. "My first words were, 'I think you've got the wrong director,'" recalls the 39-year-old Forster with a laugh. "Then, 'Why me?'

"But Barbara said that because they started taking Casino Royale in a different direction with Daniel, they wanted to take it even further with a real storyteller. And they offered me total creative freedom . . . so I felt I could explore the fascinating psychology of the beginnings of James Bond. Plus, Daniel is such an interesting actor, and I had never done an action movie, let alone a movie with a budget over $20 million. So I figured I could learn a lot from this . . . "I mean, if you're going to make a commercial film, then why not do the crown jewel of them all," chuckles Forster. "And that's James Bond!"

How Craig ended up as James Bond, 007, one of the most enviable and recognizable roles in cinema history, is a study in contradictions. As a kid growing up in Chester and then neighboring Liverpool, Craig never remembers "posing in front of a mirror pretending to hold a gun" and saying those immortal three words: "Bond . . . James Bond." He's probably the only guy in the U.K.—heck, the entire Western world—who didn't do that at some point in his adolescence. "I guess I just really didn't make that kind of connection with the character," he figures.

Craig does remember 1973's Live and Let Die as his first experience in a cinema. He was enthralled with all kinds of films, he says, from old Westerns, gangster flicks, comedies and Star Trek (he admits to harboring a secret ambition to appear in one of the Trek films or TV shows). Craig's parents—an art teacher mother and a father in the Merchant Navy who went on to manage local pubs in the neighborhood—divorced when he was four years old. Craig, along with his older sister, moved with their mom to central Liverpool.

The three frequently made trips to watch plays at Liverpool's famed Everyman Theatre, which Craig remembers as having a profound influence on his life. "I was at a very impressionable age, and that became such an amazing experience for me . . . it was all very exciting." It's why he left school at 16 to join the National Youth Theatre in London, struggling to support himself with odd jobs in restaurant kitchens and as a waiter.

These were hard times for Craig, but he was admittedly bitten by the acting bug and was determined to further himself by studying at London's prestigious Guildhall School of Music and Drama. From 1988 to 1991, Craig received one of the country's finest—and harshest—acting educations. Some of his contemporaries at the time included Rhys Ifans and Ewan McGregor, and later Damian Lewis and Joseph Fiennes. Fresh out of school, Craig would get his first break playing a pro-apartheid cadet in director John Avildsen's 1992 film The Power of One, and was then cast as a sinister German soldier in an episode of the TV series "The Young Indiana Jones Chronicles." All the while, Craig continued indulging in countless theatrical productions in London, honing his craft while taking parts in various British TV shows, the most notable being the popular BBC miniseries "Our Friends in the North" in 1996.

Though he was often in demand, it was not a meteoric rise to fame for Craig. Rather, he slowly simmered as one of the industry's best-kept secrets, which partly stemmed from Craig's aversion to interviews and steering clear of the "whole media-circus fame game." Instead, Craig chose to focus on an eclectic array of intense, offbeat and complicated characters, in a series of independent films and in such productions as Elizabeth (1998), opposite Cate Blanchett, where he had a small but impressive role as a monk involved in a murderous plot against the queen.

His jump to bigger-budget Hollywood fare was slow and steady, first as an old flame and fellow tomb raider opposite Angelina Jolie in Lara Croft: Tomb Raider (2001) and then as the angry son of Paul Newman's Irish mobster patriarch in Sam Mendes's acclaimed Road to Perdition (2002). He followed that as poet Ted Hughes, the husband of feminist icon Sylvia Plath (played by Gwyneth Paltrow) in the biopic Sylvia (2003) and then received stellar reviews as an average bloke caught in the middle of a deadly obsession, opposite his old Guildhall peer Rhys Ifans, in the 2004 adaptation of Ian McEwan's novel Enduring Love.

But it was in his next film that Craig found his most memorable role to date, playing a coke dealer seeking early retirement in the 2004 British gangster flick Layer Cake. It was that acclaimed performance that immediately put Craig at the top of Broccoli's list of possible Bond contenders. But she wasn't the only one who wanted to swoop up Craig's services. Steven Spielberg, who was equally impressed with him in Layer Cake, cast Craig as a Mossad agent pursuing the Palestinian terrorists behind the massacre at the 1972 Olympics in 2005's Munich. That same year, after more than two dozen films and countless stage and television roles, the offer of a lifetime finally landed in the lap of the 37-year-old Craig. The only problem was he had no interest in playing James Bond.

"When Barbara and Michael asked me to do this, I turned around and laughed at them because I just thought it was the most ridiculous thing I'd ever heard," Craig admits, shaking his head. "I guess because I'd just never thought about it, and the way they made their movies—while I thought they were great fantasy films, I never pictured myself doing [them]. Don't get me wrong. I was extremely flattered, and I hoped to be involved with them in some form, but I just never thought about playing James Bond. But after I got to talking with them, I realized that they wanted to do something completely different and go back to basics, and that they were open to suggestions . . . "I mean, I've made enough movies now—God knows how many, and not all that good either," he laughs, "but all that experience . . ." Craig's voice trails off, and he suddenly turns serious. His steely blue eyes narrow. "I said to them, 'Look, if you give me scope to have a say and some involvement in the story—or at least humor me in the best possible way—I can walk onto that set and be James Bond.' "Because that's what it really boils down to," he continues. "I mean, you walk onto a set and we've got maybe 300 crew members here who've seen it all before. This crew that we work with have made films with every single movie star that you've ever known, and that's very intimidating. So I've got to be able to have the gravitas to walk on that set and say, 'It's OK . . . I've got this covered.' If I can say that to them, then that's where it starts for me." Craig admits that the script, penned by Crash writer-director Paul Haggis and the writing duo Robert Wade and Neal Purvis, was what finally persuaded him. "It was just too much of a challenge, really too much of a challenge, for me to turn down," he says. "I never expected it to be that good."

Quantum of Solace is the first of the 22 James Bond films considered to be a true sequel. The title comes from an original Ian Fleming short story penned as part of his 1960 Bond anthology, For Your Eyes Only. However, the similarity between the film and story is in name only. The key to Quantum of Solace is Bond's grief over the betrayal and death of Vesper Lynd, the love interest played by Eva Green in Casino Royale. And in fact, this film picks up exactly 20 minutes from where Casino Royale left off, where the sinister Mr. White (Jesper Christensen) is shot and captured by Bond at Lake Como, Italy. Quantum's spectacular opening sequence, which took eight weeks to shoot, involves a precarious 125-mph chase of Bond's Aston Martin DBS by an Alfa Romeo 159 along the hairpin twists and turns of the mountainous cliffs and tunnels. The sequence culminates in a pulse-pounding foot pursuit through the crowded cobbled streets and across the sprawling rooftops of Siena, then down below the city into the cavernous medieval aqueducts while Il Palio, the famed horse race, thunders above in the Piazza del Campe. "It will absolutely blow people away," assures Craig.

But perhaps just as powerful is the pivotal interrogation by Bond and M (Judi Dench) of the dying Mr. White, who impudently sputters forth details of his shadowy organization—which blackmailed Vesper—called Quantum (shades of SPECTRE), which is far more complex than they could possibly imagine: Quantum's tentacles spread across the globe, and its double agents are inserted deep within the British government, MI6 and the CIA.

Forensic intelligence links one of those MI6 traitors to a bank account in Haiti, with Bond immediately in hot pursuit. There, he encounters the rogue agent Camille (Kurylenko), who has a deadly score to settle with the apparently benign eco-friendly billionaire Dominic Greene (played by acclaimed French actor Mathieu Almaric), the chairman of Greene Planet who is in fact fronting for Quantum in orchestrating a Bolivian coup in exchange for a seemingly barren piece of desert land. In reality, that parched property will secretly allow Quantum to seize control of South America's water supply. But Bond's thirst to avenge Vesper's death puts MI6 in jeopardy after his reckless disregard of M's orders forces her to cut him loose from Her Majesty's Secret Service.

"There's a real internal struggle going on within him," explains Craig of Bond's self-destructive plight, "because he soon finds that everything he understood about the world has been turned upside down. What we set in motion in the last film escalates much further." It's why Broccoli and Wilson insisted on the film's ambiguous title, which some felt would leave filmgoers stumped and hinder the film's marketability. "It's an original Fleming title and it's very appropriate in telling the journey Bond is on in this film," explains Broccoli over afternoon tea in her Pinewood Studios office. "There was such a big brouhaha about using 'Quantum of Solace,'" she admits, rolling her eyes, "but everybody seems to have calmed down and accepted it. People are remembering the title because it is so unusual . . . and when audiences see the film, they'll completely get it."

Craig enthusiastically agrees with Broccoli. "Yeah, of course we could've gone with a snappier title, but we made such a huge effort on Casino Royale to take the series to a new place, and we wanted that to continue," he asserts. "I mean, this title is meant to confuse a little . . . it's meant to make you wonder, and that's exactly what we want as people come into the film. Ian Fleming always has a very emotional line through his books, and Quantum of Solace is quite a moving story for him—it debates relationships and how they hurt.

"And actually, I think it comes from the way Fleming was feeling in his personal life at the time," Craig elaborates. "What he suggests is that if you don't have that 'quantum of solace' in your relationship, you should give up. It's that level of comfort . . . and at the end of the last movie, Bond doesn't have that because the love of his life was taken away from him."

Craig praises Forster's skill at probing those darker recesses of Bond's psyche, but also is quick to point out that Quantum of Solace is not going to be some deeply disturbing psychological drama either.

"After all, we are making a James Bond movie," chuckles Craig. "But hopefully we've created something that is more a look back at the earlier Bond movies about style and locations and romantic ideas of how the world is." That retro feel extends to Craig himself, who many now consider the heir apparent to Sean Connery's brutal and brash interpretation of the iconic superspy. While Roger Moore and Pierce Brosnan each brought a charming playboy panache to the role, Craig's Bond is dark, dangerous and menacing. Ironically, those singing Craig's praises the loudest are some of the same Bond purists who initially unleashed such vicious and vitriolic attacks on Craig when he was first announced as the new 007. Yet Craig remains modest about those comparisons to Connery. "It's hard to comment on something like that, but yeah, I can't help but be very proud . . . it's very nice of people to say that," he says, smiling. "Although not everybody thinks that . . . believe me, I know," he quickly adds. "Some people still don't think I'm any good!"

Flash back to March 2006, and Craig wasn't nearly as sure-footed when I interviewed him on the set of Casino Royale along the sun-drenched shores of the Bahamas. Though 007 had tangled with the world's worst villains and megalomaniacal madmen over four decades, Bond's greatest nemesis during the production of Casino Royale proved to be the media. SMERSH, SPECTRE, Auric Goldfinger and Blofeld were mere paper tigers compared to the Fleet Street tabloids, which locked Craig firmly in their crosshairs, taking potshots at the classically trained stage actor on an almost daily basis. Deposed dictators usually received a much warmer welcome from the populace. Hounded by the brutal and highly personal critiques of his seeming lack of necessary Bondian attributes, Craig tried his best to take it all in stride.

"Quite honestly, I didn't really expect this at all," Craig told me at the time, when his most recognizable films in North America were Munich and the little-seen Layer Cake and The Jacket. "I mean, I've been acting a while now, and I've been in some big movies before, but certainly nothing near this level. And I guess I'm learning that you can't believe the good stuff and you can't believe the bad stuff. You kind of still take it in, but I'm really trying to ignore it. I have to. I'm getting on with this."

Craig did admit, however, that the furor back home—where James Bond is a matter of national pride, considered as much a British institution as afternoon tea, the queen and the Beatles—helped him up the ante on his performance. "I've been giving 110 percent from the very beginning, and maybe now after all this criticism, I'm trying to give 115 percent . . . but I mean, I'm giving everything I possibly can," he insists. "We're making a fabulous movie here, and therefore, I think we're going to make a fabulous Bond movie. "So once it's all done and dusted, and the movie is out, then people can say whatever they want," he shrugged. "They can bloody criticize it then. But it's so silly for anyone to attack what we're doing because nobody has seen it yet."

Of course, the tide quickly turned once critics and audiences glimpsed Craig in action when Casino Royale premiered in November 2006. He recalls finally breathing a sigh of relief as the opening weekend box office figures started rolling in while he, Broccoli and Wilson were at a hotel bar in Switzerland on a promotional stop. "Suddenly, the studio starts texting all these numbers to us, and they kept coming and coming and going up and up and up . . . and that's when I really felt it. That's when the surprise really happened for me. I mean, we always knew we had a great movie, but people reacted way beyond how we thought they would." But he humbly admits there was no gloating on his part. "There was never a point where I punched the air," Craig says with a genuine sense of humility. "There was no kind of, 'See, I told you so!' I just always kept saying, 'We're making the best movie we possibly can . . . just wait.' And thankfully, that worked."

Despite the initial media backlash, Broccoli says they never doubted their choice to succeed Pierce Brosnan. "Those people who came out against Daniel weren't as familiar with his work as we were," she says. "Because we live here in the U.K., we're very familiar with the actors here. I remember I saw Daniel in 'Our Friends in the North.' I saw him in Elizabeth. I thought, 'My God, he has such an extraordinary presence.' When you look at his body of work, he can be both a character actor but also the leading man. And a star. That's a rare quality to have all those three. We had absolutely no doubts. "Plus," she adds, "Daniel is very much of this century. He's not afraid to peel back the layers on the screen. He's not afraid of Bond's emotions. And as you know, in Fleming's books you found out a lot more about Bond's internal state of mind and emotions, and it's very hard to translate that into film without the character sounding too verbose. So a lot of that has to be conveyed from the inside out. And Daniel is able to do that because he's such a phenomenal actor. He's taken it to a whole other level, and I think that's what people really responded to. They like the fact that you don't know what Bond is going to do. He's not predictable. There's a real internal struggle going on, and he lets you get glimpses of that. But he can also be as powerful and dangerous as he needs to be, and yet also accessible emotionally. That's a very potent cocktail."

But shaking and stirring the Bond franchise by hitting the reset button for Casino Royale was tricky business, especially considering that Brosnan's last outing, Die Another Day, had grossed nearly $450 million. The question was, why toss out all the beloved ingredients—Miss Moneypenny, Q, the gadgets, the cheeky humor—long cherished by Bond fans? Why risk messing with success? "Well, I think we've seen Bond films go through different periods of change," explains Wilson, who first served in a producing capacity on 1977's The Spy Who Loved Me along with his late stepfather, Cubby Broccoli. "In the 1970s they got bigger and bigger and more fantastic until we reached Moonraker (1979) in outer space. And we realized that it was going in the wrong direction and we brought it back to basics with For Your Eyes Only (1981). "So what we saw with Die Another Day is that we got to that same point," he candidly admits. "We started getting too high in the sky—outer space, invisible cars—the technology began to overwhelm the story and the characters. We felt it was very important to bring it back down to Earth."

Wilson agrees that tinkering with such a proven formula could've had enormous financial repercussions, but he and his stepsister both felt that this Bond redux was a risk they were willing to stake the series on—as well as their family legacy. "At the end of the day, what's really important—not just for the audience, but ourselves—is that we are doing stuff that we believe in, that makes us enthusiastic. And if we're enthusiastic about it, it will come across as a great film. Because after Die Another Day, we were confronted with a situation where we said, 'We'll have a guaranteed winner if we just do the same thing over again.' But I think we would've lost a lot of what we think is important to this series." Though Q and Miss Moneypenny won't be back for Quantum of Solace either, Wilson doesn't rule out their return at some point in the future. "Those characters will come into his world when they're needed to tell the story," he figures.

It's now a few weeks after filming has wrapped on Quantum of Solace, and over a lunchtime interview at London's posh Landmark Hotel, Daniel Craig is noticeably more relaxed, if not downright giddy. Dressed conservatively in a powder blue shirt, navy cardigan and gray pants, Craig reflects on the past six months of what has been a grueling, often 18-hour, seven-day-a-week schedule. "The last one seemed like a walk in the park compared to this one," he admits. And he has the battle scars to prove it. He's still sporting a facial scar along with a bandaged and splintered index finger, all incurred in the line of duty, while traversing the globe from Chile, Panama and Mexico to Spain, Italy, Austria and, of course, the MI6 home base here in London. Craig says the amount of intensive fight sequences and elaborately orchestrated stunts was purposely amped up on Quantum of Solace, necessitating an even more demanding physical commitment.

"The last time, I pulled my Achilles tendon and was limping around a lot—I was in major pain through a lot of the shooting . . . but now, it's a whole new set of injuries," he laughs, waving his broken finger. "For Casino Royale, I really pumped a lot of weights and bulked up, because I wanted him to look like someone who literally just dropped out of the Navy and was Special Services. But this time I wanted him leaner and have been doing a lot more running and stamina exercises. But because I've been even more physically involved in every aspect of this film, accidents are bound to happen."

Fortunately, Craig's nearly naked love scenes proved far less treacherous. "I'm an actor, so I've been an exhibitionist since as long as I can remember . . . they always help make the shoot a little easier," he says, laughing again. But as for his newly crowned sex symbol status, Craig is far less at ease. "I mean, I'm very touched by all that and it's very nice, but you need to have a sense of humor about it," muses the notoriously private Craig. "On the one hand, it's very flattering, but it also doesn't have much relevance in my life. I live with somebody [producer Satsuki Mitchell], so all my energy goes into our relationship."

However, that didn't stop actress Gemma Arterton—who plays Bond Girl "Agent Fields" (whose first name will be revealed in the film as a classic double-O-seven entendre)—from fulfilling her Daniel Craig fantasy with a steamy between-the-sheets liaison. "It was like a dream," gushes the ginger-haired 22-year-old about their love scene. "But I couldn't believe they scheduled it for my first day on set! I was sooooooo nervous, I can hardly remember it now. We had to do take after take after take, and each time I was just like, 'Goodness me, I can't believe this is actually happening' . . . it all felt so surreal." But now, in hindsight, Arterton admits director Forster made the right decision. "Doing that scene right off the bat before Daniel and I got to know each other was probably best; otherwise it would've felt weird—like I was kissing my brother or something. "Although I must say," Arterton adds with a sly smile, "Daniel is a very good kisser!"

Craig may send female hearts aflutter and exude an undeniable 007 "cool factor," but what does he consider his least Bondian trait? Craig chuckles, and sinks down in his chair. "I guess I tend to giggle a lot . . . probably way too much," he confesses, looking a little sheepish. "I like practical jokes and I like to have fun and I guess I really laugh and giggle too much and I tend to get in trouble for it . . . I guess that's not very Bond-like."

But Craig admits he often refers to the original source material for inspiration in his continuing interpretation of James Bond. "While we were shooting Quantum, I went back and reread the Fleming novels again, and started making further assessments about how [the author] perceived the character," explains Craig. "And the James Bond he writes is an emotional character; he's not just a robot. Obviously that's what we tried to get more of into this movie—you know, that he loves good food, he loves beautiful locations, he loves beautiful women. He has a genuine love for life's best. But he's also very ruthless. And so those two things together are interesting in the way that those two aspects of his personality knock off each other. The remorse that he has and doesn't have about certain things I think are really interesting and worth exploring more of in this film."

However, some of Bond's notorious habits haven't survived into this twenty-first-century incarnation. "I'm still amazed that Fleming wrote a Bond who smoked 60 unfiltered Morland cigarettes a day—that truly will kill you before any villain could," laughs Craig, who quit smoking himself while getting in shape for Casino Royale. "I just wouldn't have been able to run three miles down a road and then be tearing through the jungle and jumping over walls . . ." Although he still enjoys the occasional cigar, he says he's thankful Casino Royale forced him to quit his pack-a-day cigarette habit. Rest assured, however, 007 hasn't gone completely politically correct. "The drinking is still there, that sort of 'Dutch courage,'" smiles Craig. "It's funny, but I remember reading Moonraker, and Bond goes out to play cards at a club with the bad guy and he orders from MI6 some Benzedrine, which is basically speed. Bond then mixes that in with Dom Pйrignon and that's how he starts the night," Craig marvels. "He then talks about how, during the evening, how jagged he's getting because he didn't get the mix right." Craig laughs in disbelief. "But I absolutely love that, because it plays into the fact that the guy is flawed. He's not perfect. Sometimes he gets things wrong and there are weaknesses in him. And I think those are the kinds of interesting things to put into the movie."

And Quantum of Solace certainly remains faithful to the brutality and violence of the books, because as Craig points out, it's all in context. "With the violence in the last movie, it was also very important that we showed the consequences of it," he states. "But we take it very responsibly—glamorizing violence is wrong. But it's James Bond—they are violent films about violent people. That's what these stories are all about—plain and simple."

One rainy summer evening, director Marc Forster screens a collection of various finished scenes at a private Soho screening room. He's still in the midst of editing, but from what he's assembled so far, Quantum of Solace indeed invokes a glorious '60s style reminiscent of such series classics as From Russia with Love and Goldfinger. The action has never been so frenetic, and the drama never so textured and nuanced. And sure to thrill Bond fans are a couple of surprise "winks" to past Bond hallmarks. "I just felt that I had to pay homage to the legacy," acknowledges Forster with a proud smile. "I'm really glad I did the movie I wanted to do," adds Forster once the lights come up. "So if it fails, it's my responsibility. But I never approached this film as trying to top Casino Royale. I've never approached a film like I'm making it for millions of people. I had to approach it as a film I would love. If I set out to make a film for masses of people to love and to be bigger than Casino Royale, it would be a failure."

Pointing to the screen, Forster adds proudly, "I'm really excited about this . . . it feels right and truthful to me. And that's the only way to make a film." Having now successfully written a completely new and unexpected chapter in the legendary 007 history, Craig remains committed to his world-famous alter ego. "It's certainly starting to seem that way," he says. "If everything goes well, and people still want to see the movies, then I'll keep doing them for as long as it holds. "Or until my knees go—whichever happens first!" laughs Craig.

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LiluДата: Среда, 12 Авг 2009, 22:30 | Сообщение # 46
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Daniel Craig Talks About "Layer Cake" (старое, не знай было-не знай нет, простите люди коли что не так )
Craig on "Layer Cake," Working with Matthew Vaughn, and the James Bond Rumors
By Rebecca Murray, About.com

April 28, 2005 - Producer Matthew Vaughn takes a seat in the director’s chair for the indie thriller, “Layer Cake,” starring Daniel Craig, Colm Meaney, Kenneth Cranham, George Harris, Jamie Foreman, Sienna Miller and Michael Gambon. Centering on Craig’s character (who is never referred to by name), the film delves into the drug world with Craig starring as a successful businessman whose plans are thwarted when he tries to retire from the drug trade.

Director Vaughn acknowledges that selecting the right actor for the lead role wasn’t easy. "It’s a hard character to play as an actor. The whole point about XXXX is that he's a poker player. It doesn’t matter what’s going on around him, you never know what he’s thinking which means you’ve got to be a very good actor, a very subtle actor to play him,” said Vaughn.

J J Connolly, author of the book the film’s based on, adapted the story for the big screen. Connolly couldn’t be happier about getting Daniel Craig to play the lead in his multi-layered story. “Casting the untitled central character was always going to be hard. A lot of very good actors really wanted it but when Daniel Craig was suggested it was a done-deal. We wanted to get as far away as possible from jolly-ups and banter, guys trying to look too cool throughout the movie. We needed an actor who was prepared to go to the depths of emotion without anchors - not wanting to remain too cool for school,” explained Connolly.

Immensely popular in England and only now catching on in America, award-winning actor Daniel Craig’s name has been floating around a lot lately in connection with the role of Bond, James Bond. Known for his roles in serious British films, it’s not a huge leap to picture the talented, sexy actor filling the shoes recently vacated by Pierce Brosnan.

In this one-on-one interview, Craig discusses his role in “Layer Cake,” working with first-timer Matthew Vaughn, and those pesky Bond rumors:

INTERVIEW WITH DANIEL CRAIG:

You’ve described “Laker Cake” as a crime film, not a gangster movie. What’s the difference between the two?
I think gangster movies involve the behavior of gangsters and how despicable they are or how they control people. This is much more a movie which has a strong story line based upon the rise and the fall of characters, with a crime setting. Hopefully it’s more sophisticated than your average gangster movie. I believe it is. You have to think more. There [are] very complicated plot twists, which will all work out, but you have to sort of sit and concentrate if you want to follow the movie. Which, as far as I’m concerned, that’s more the type of movie that I enjoy watching.

What did Matthew Vaughn say to you to convince you “Layer Cake” wasn’t just another “Lock, Stock, and Two Smoking Barrels?”
Well, he just said that. But we also clicked early on. We share a lot of our favorite films, especially from the late 60s and early 70s that came out of the UK, but also out of the US. Sort of the classic crime films. And that this movie had to look as cinematic as possible, and that it had to have a grand scale and make London look like as cinematic as possible. And to steer away from being ‘tricksy’. Not using the camera as another character, but the camera just tells the story.

The audience never learns your character’s name in “Layer Cake.” When you were preparing to play him, how did you refer to him? Did you come up with your own name?
Only a joking name. I always called him ‘Cynthia.’ No, the point about it is that he’s someone who doesn’t have an identity. He doesn’t have an identity for a very good reason because he doesn’t want to sort of allow too much of himself to be known. So it kind of just played into the character.

So when you were working on the film, you’d tell your friends you were just playing ‘this guy’?
Yeah, just a guy. I mean, really, people call him “Four X” or “Quadruple X.’ I was talking to someone today who called him “Deleted.” And that’s probably the best name for him.

How did you get into this character? You couldn’t really create a backstory, could you?
You need a good script and that’s what we had. Most of the character and most of his traits are on the page. And then I just wanted to instill this sort of sense of mystery about him and make sure that we’re not… You know, you can’t get too close to him. But actually what I liked, what really attracted me to the movie, is that you get closer to him because of, to put it bluntly, the s**t he gets into (laughing).

Had you read the book before reading the script?
I read the script and then I read the book.

How do the two compare?
They’re quite close. The script, obviously because it’s a film, has to be sort of pared down. Quite a few of the characters become one character, and situations obviously had to get cut because it would be difficult to film the whole book. But actually it adheres quite closely to the book.

Was there anything in the book that wasn’t in the script that helped you with the character?
There might have been but to tell you the truth, I can’t remember now because once you stop filming it it sort of goes out the window (laughing).

Did you do any research on drug dealers or the drug culture?
No. All I wanted to do was make a character that you would pass on the streets and not notice. I think that’s closer to reality than having someone drive past in a car with spinning wheels and having someone wear gold chains and things. I think that these people are, as I say, businessman and they like to keep a low profile. JJ Connolly who wrote the book, although he says he hasn’t had contact with that world, seems to know an awful lot about it.

Did you use Connolly as a resource when getting into character?
Oh yeah, definitely.

Did he give you any specific input on playing this guy?
I think he was happy with the way I was going with the character. He was just very good for stories and he was very insightful as far as me asking, “Do you think this is a good behavior at this particular moment?,” and that sort of thing. He always had very good advice for me.

What will sell “Layer Cake” to an American audience? How would you describe it to get people interesting in checking it out?
Go in expecting something. If you’ve seen “Lock, Stock and Two Smoking Barrels,” go along because you won’t be disappointed on so many levels. It’s a very classy British movie and if you’re into British movies at all, I think you’re going to get a thrill out of it. If you’re not and it’s the first time, the first time you’ve been to see a British movie, you’re going to be entertained. I think this movie entertains on lots of levels but it also sort of makes you think. I think it’s quite a feel-good movie because a lot goes on. It will stimulate your brain (laughing).

Working with a producer who takes on director duties is different than working with a first time director who has either been an actor or a screenwriter. Did you find it a challenge?
Well you think there’d be a problem but Matthew’s experience in movies is quite large so he did all the right things - most of the time. He’s sitting in front of me so I have to be careful (laughing). He planned the movie incredibly well. He storyboarded the movie shot for shot and we basically did that. We shot the script and we shot his ideas. And he had a very, very, very clear vision about what he wanted to do which, thankfully, I agreed with.

He employed a great [director of photography] in Ben Davis so visually that was all very clear as far as how as he wanted to make London look, and how he wanted to make the movie look. I mean, I can’t say enough about it really. He did it brilliantly.

Does working with a first-time director make you more aware of what’s going on behind the camera?
I’m thinking about everything all the time. You have to, that’s part of the job. You can’t not think about it. For me it’s very important because of the whole process. The whole creative process is about making movies and making movies is part technical, part artistic, part emotion, part communication. You have to have an eye on all of these things when you’re making it. And hopefully when you come to do a scene, that’s just about the scene. A scene rarely goes longer than three, four, five minutes at the most, unless you’re shooting very, very long shots. It’s all part of the job.

Everyone else seems to be doing it. Do you have any desire to direct?
No! I’d rather stick needles in my eye.

The "Layer Cake" cast is loaded with top-notch actors. What’s it like working opposite actors such as Colm Meaney, Michael Gambon, and Kenneth Cranham?
It’s easy, to tell you the truth. That’s the simple answer. When you’ve got great actors in front of you, it cuts my job in half. It’s actually easy because when you know they’re going to be great, then you have to step up to the plate.

Does that elevate your game?
Sure. It’s like they say, you’ve got to aim for the stars and you might hit the treetops.

Photos of a scene featuring you and Sienna Miller seem to indicate there was an alternate ending.
There was. I don’t want to give the ending away but we shot two endings. We shot the ending that Sony wanted and we shot the ending that we wanted. And then we told Sony, or Matthew told Sony, that he’d shot the ending that they wanted and then he edited his ending into the movie. Then they [screened] the movie with Matthew’s ending and they liked it so it was kept.

And now to the Bond rumors…
And they are just that…

Definitely publications have you already cast in the role, some say you said no thanks, and others just report you’re in the running. Do you get tired of reading and addressing all the different rumors?
I’m not tired of it. Look, it’s a high class problem to have. But there’s an awful lot of smoke and very little fire at the moment. There’s a lot of names in the pot and I happen to be one of them. And you know I’ve said to people that I’d be very silly not to give it very careful consideration. But we’re not that far down the line yet. They’ve got a lot of working out to do, what they want to do. And if the call comes, then obviously we’ll think about it very carefully. But it’s… You know, the British press…I love them but they’ve decided that they wanted to call it and they’ve called it (laughing).

They’ve already got you cast as James Bond.
And trying on the suit.

It’s such a double-edged sword. It’s a role you could feel trapped in.
There is that, so that would have to come into it. It is and that’s why you have to think about these things very carefully.

What are you looking for in a role?
I’m looking for something that changes. I mean, as far as I’m concerned every piece of art or whatever you do should have some sort of political import. By politic I mean the wider meaning of politics. Something that has something to say and hopeful engages a little debate when you walk out of the cinema.

Is that why you took a supporting role in “The Jacket?”
I did that because [director] John Maybury’s a friend of mine. I did his movie “Love is the Devil” with him and he asked me to do it. It was a week’s filming in Glasgow and I was quite happy to go out there and shoot it for him. And who wouldn’t want to play a mental patient in a hospital? It’s fun.

Did you come up with your own dialogue?
That had a pretty tight script. I did little bits, but I always do.

”The Jacket” was advertised in the States as a horror film, which really hurt its chances of attracting the right audience.
Which is a shame. What I hope is that it’ll have some legs and that people will see it. Once it gets on DVD people will watch it for what it is. It’s not a horror film. It’s a psychological thriller and it’s also a bit of a fairy story, to tell you the truth.

And a romance.
Exactly. That’s what I mean. That’s the strongest part of the movie is the romantic aspect of it.

Speaking of romance, will we ever see you in lighter fare? A romantic comedy maybe?
No (laughing). I don’t know, we’ll see. It depends on the script. I never say never because I always said I’d never do a gangster movie but this one came along and this one was too difficult to resist.

But “Layer Cake’s” not a gangster movie…
Right. So I might do a romantic comedy that’s not a romantic comedy.

http://movies.about.com/od/layercake/a/layerdc042705.htm

 
ElvenstarДата: Понедельник, 14 Сен 2009, 14:25 | Сообщение # 47
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Спасибо Лил. :* Обожаю ранние интервью! heart heart

Добавлено (14.09.2009, 14:25)
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Интервью с Дэном и Хью о Steady Rain
Много нового. Спектакль задумывался для постановки в Лондоне оказывается...

Broadway Action Heroes
By PATRICK HEALY
TO paraphrase a line from the movie “Stand by Me,” could James Bond beat up Wolverine? Or would the “X-Men” mutant’s metal claws dice 007’s Brioni suits faster than he could say “shaken, not stirred”?

Rarely do fans have the thrill of seeing two of their favorite testosterone-charged action heroes square off. But Daniel Craig (Mr. Bond) and Hugh Jackman (Mr., well, just Wolverine) are offering a variation on that theme on Broadway this month in “A Steady Rain,” a dark portrait of two Chicago cops whose close friendship corrodes from suspicion, betrayal and lethal rivalry.

Be forewarned: The death match between the two characters is fought more with words than bullets or blades. Yet the two actors, during a recent interview over lunch, facetiously sought to reassure their admirers (men and women alike) of at least a little blow-’em-up-and-beefcake.

“There’s one mud-wrestling scene between us, yes, but I’m afraid that’s all we can offer,” Mr. Jackman said, deadpan.

“And there’s one explosion — medium-big, pretty impressive,” Mr. Craig added.

“And a few cars crashes,” Mr. Jackman said.

“And Hugh of course flies onto the stage.”

Enormous expectations have awaited “A Steady Rain,” which was originally produced by Chicago Dramatists in 2007 and began previews at the Gerald Schoenfeld Theater on Thursday, starting with curiosity about the chemistry between the two stars. “That was the biggest unknown for me,” the playwright, Keith Huff, said.

But not unlike Mighty Mouse and Superman, the two superheroes that the boys in “Stand by Me” imagined trading blows, Mr. Jackman and Mr. Craig seem too upstanding, too cheerful, too nice to brawl. Just a few minutes into an hourlong lunch at their rehearsal studio in Brooklyn it’s clear that they have developed the sort of finish-each-other’s-sentence rapport that comes from long days of rehearsing broken up by Ping-Pong and catch. During the interview Mr. Jackman thumped a baseball on the floor repeatedly as he listened to Mr. Craig. When Mr. Jackman spoke, Mr. Craig would nod frequently and often follow up with comments to underscore his fellow actor’s viewpoints.

While Mr. Craig, 41, is making his Broadway debut, Mr. Jackman, 40, who won the Tony Award for best actor in a musical in 2004 as the showman Peter Allen in “The Boy From Oz,” knows that audience members can have a hard time separating the actors from their film roles as mythical crusaders.

“During ‘The Boy from Oz’ there was one scene when I was kissing Jarrod, who played my boyfriend, and an audience member yelled, ‘Don’t do it Wolverine!’ ” Mr. Jackman said with a laugh. “I lost it. I literally lost it. The whole audience loved it. I mean, you can’t deny Wolverine.

“That’s part of the fun, though, seeing the different reactions you get from an audience every night, something I miss when I do films. Another night during ‘Oz,’ there was a woman who all of a sudden started running down the aisle —— ”

Mr. Craig yelled, “Take your pants off!,” mimicking the female fan.

“She took her top off,” Mr. Jackman said. “She was right on the edge of the orchestra pit, right over the violin section. She had the biggest chest I ever saw.”

If the campy fun of “A Boy From Oz” might have helped stir a streaker to action, “A Steady Rain” is so dark, so serious, that such spontaneous outbursts seem unlikely. The two-character play starts with a bloody explosion and through its 90 intermissionless minutes turns more intense only as the camaraderie of the cops falls to pieces.

“There’s an immediacy and directness to the way this play grabs you, as if around the throat, that is compelling to say the least,” John Crowley, the director, said. “And for it to succeed, the play requires two actors who can act not only emotionally but also with their head — who understand what’s required for two characters to tell a story of their own unraveling. And these two have it in spades.

“I think both Hugh and Daniel are artistically ambitious enough not to be defined by their film work,” Mr. Crowley continued. Asked if either star had picked up bad acting tics or habits from their years on movie sets, he replied: “I think they would acknowledge that some of their film work isn’t the most demanding. But they brought nothing into the room in terms of Hollywood rubbish.” He did note, however, that he chose to rehearse the play on a film lot in Brooklyn to escape “any potential hoopla from the guys’ fans.”

The production grew out of Mr. Craig’s desire to perform in a new piece of writing on the London stage. A veteran theater actor, Mr. Craig played the central role of Joe Pitt, the closeted Mormon lawyer, in the seven-hour “Angels in America” production at the National Theater in London in the early 1990s and starred in “A Number” by Caryl Churchill in 2002. After reading “A Steady Rain,” Mr. Craig said he knew he wanted to do the play and also knew that, rather than playing the flashier alpha-male role of Denny, he wanted the role of his best friend and fellow cop, Joey, an emotionally damaged, romantically wary, recovering alcoholic Irish-American.

“There is layer after layer after layer to this guy,” Mr. Craig said. “He is quite far from the perfect-in-every-way hero.”

Mr. Craig quickly turned to his “boss,” Barbara Broccoli, the producer of the Bond films, who also produced “Chitty Chitty Bang Bang” on Broadway in 2005. They brought the project to Mr. Crowley, the director, who in turn suggested Mr. Jackman for the role of Denny.

Mr. Jackman said he was also gripped by the play — “I’d been wanting to do a new, thought-provoking straight drama for a while now” — but couldn’t see himself performing in London anytime soon because he and his family had just moved to Manhattan, where his children started school this month. Broadway suited his logistics perfectly, and soon Mr. Craig was headed to America.

The two actors spent a week with police officers in Chicago, interviewing them about their lives walking a beat and visiting some of the more crime-ridden neighborhoods in the city, some of which are mentioned in the play.

“Driving from one tough street to another, we got a sense of the challenges that cops faced and how they have to make a potentially life-or-death decision based on instincts,” Mr. Craig said. “What I really wanted was a sense of how these guys defend themselves against the dangers in their lives. And we also kept asking the question to cops: ‘How do you relax? How do you relax?’ Very few cops could answer that.”

Mr. Jackman, whose character in the play has not only a volatile temper but also a family that is torn apart by his police work, said he particularly pressed Chicago officers to open up about how their jobs affected their private lives and relationships.

“The cops were totally transparent about the realities of crime and street gangs,” Mr. Jackman said. “Their attitude was: ‘Gangs have been here since the start of America. They’re not going away. So the question is: How do you manage it?’ ”

“A Steady Rain” was a particularly personal work for Mr. Huff, the playwright, who married into a police family. His father-in-law and brother-in-law were both Chicago policemen, and they had differing opinions about the morality and ethics of police work.

“My father-in-law was a cop during some of the most corrupt years of Chicago, and yet he always defended the ethical and most morally righteous points of view of law enforcement,” Mr. Huff said. “My brother-in-law saw the world as more complicated, a lot more gray areas.”

As for the complications of the play itself — in which the two men largely deliver alternating monologues about events, particularly a brutal crime that helps sunder their friendship — both men described the rehearsal process as unusually exhausting. Mr. Crowley devoted the first week or so to the process that the actors called “actioning” — when they all went through every sentence in the play to discuss the intention behind each line.

“It was like going back to school,” Mr. Craig said. “But John was adamant about it, and he was right. It’s a very complicated play, and to have that grounding is essential for our confidence.”

The two actors ended up getting baseball mitts and going outside on nice days to run lines with each other while playing catch. They also began playing Ping-Pong together in their rehearsal area, less as a drill to accompany their line readings than to boost their energy in the afternoons on long rehearsal days. Both men seemed to have adrenaline to spare, perhaps not surprising for Wolverine and James Bond.

“There is one scene that is very tricky, a complicated scene emotionally and a lot of broken dialogue,” Mr. Crowley said. “I told them we had to speed run it” — meaning, fire off each line quickly to accustom them to the choppy sentence structure — “and at the end of the day they wanted to do the scene one more time.”

While Mr. Craig has another Bond film ahead of him shortly, Mr. Jackman is developing the musical “Carousel” into a new movie and said he would also love to do an original musical. As a full-time resident of Manhattan he has been on a steady diet of New York theater, he said, recently seeing “Mary Stuart,” “Blithe Spirit,” “Next to Normal” and “Twelfth Night.” And his face lighted up, with a smile that you would not expect from Wolverine, at the prospect of adding this new play to the mix on Broadway.

“No special effects supporting us, no sound track,” Mr. Jackman said as Mr. Craig nodded. “This is going to be hard work. If the audience wants to see us sweat a little bit, they’ll go away happy.”

http://www.nytimes.com/2009....d=print


 
EollanДата: Воскресенье, 06 Июн 2010, 20:08 | Сообщение # 48
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Если такое интервью уже читали, пост можно удалить
http://www.empireonline.com/interviews/interview.asp?IID=602

Quote
Daniel Craig: 007 - Part 1
The first instalment of our massive Casino Royale interview.

His was one of the most controversial and hotly debated casting decisions in modern movie history. Now Casino Royale is out, audiences can finally make up their own minds, but as the dust settles, Empire speaks at length to Daniel Craig about James Bond's past, present and future.
If I was worried about my hair, I don’t think I would’ve been doing my job properly.
Would the little boy who grew up watching films be awestruck at the thought of you being this iconic character?
I can’t make that connection at all, it’s weird. I don’t know what...there’s no connection between that and this now. I mean, obviously, as a kid I played at being James Bond but then I played at being everything, you know? So it's, yeah...it’s nuts, isn’t it?

You didn’t have any flashbacks when you’re actually sort of posing in front of the mirror with a tux?
Not really, but I never did pose in front of the mirror with a gun. I actually kept that for the movie. (laughs)

You took a lot of flak before anyone had seen any footage. Was there a moment when you thought, “Yeah, I’m starting to hit my stride, people can say what they want, cos I know I’m getting there”?
I don't know if there was a particular moment. I mean, the fact is, the flak that came along, there was nothing I could reply to. I wasn’t gonna make a statement about it, I wasn’t gonna get into a public discussion about it. Ordinarily, when I do a movie, then I wait for it to be edited and it gets out and people go and see it and then make a decision. But I got affected by it. I probably had twenty-four hours of darkness, then I thought “You know what? Let’s get on with this! Let’s get on with it and make the best movie." That’s what I set out to do and it’s what everybody on set was trying to do, and when it came down to it, I put it out of my mind or used it to spur myself on. And the same thing applies now as it did then - go see the film, see what you think.

The fact is, it’s not a bad position to be in; being typecast as James Bond is not bad, there's worse things that could have happened to me.
For some actors, playing Bond takes them into a corner. Do you believe you're you better insulated against that because of the variation in previous roles?
Well I hope so. But I went into this... full bore, thinking “There’s not point in me thinking about what may be and what may happen - that’ll just have a negative spin on this movie. I just wanted to concentrate on getting this absolutely right. The fact is, it’s not a bad position to be in; being typecast as James Bond is not bad, there’s worse things that could have happened to me.

You've really captured Fleming's James Bond, which is quite different from what the films have impressed upon us over the years. Does the gap in between concern you?
Well, I think that what’s been set down with all the other movies is very important - our perception of him, who he is and what he is. Anybody who’s got into the Bond movies has an abiding memory of at least a couple of them. I would ignore that at my peril, as that’s what’s defined him over the years. I didn’t go out deliberately or self-consciously to create the Ian Fleming Bond, but in this movie, I wanted us to meet somebody who can make mistakes, who can bleed, who is feeling, who is fallible - and can fall in love, because you wouldn’t believe the love story if you didn’t believe the man was raw. Once I started working on it, I just started attempting to do what I did and they didn’t stop me, so I just carried on!

Are you looking forward to developing the character further?
Yeah, really. On the the last day of shooting, the last thing I wanted to do was attempt to do another one - I was exhausted. Now, I'm very excited about the idea, and I think where we’ve gone with the movie and where we’ve gone with the character, there’s gonna be room to take it somewhere. Everyone has asked “Is this when he becomes Bond?” But we’ve got a little more space to work around yet. We’ll find him.

How many more have you signed to at the moment?
It’s three, three to sign up but I’m only looking toward the next one. Beyond that, I’m not sure what’s happening.

When I got it, I genuinely didn't want to like it... 'It's a Bond movie, great, good luck, I'm sure it'll be fantastic - but not with me.' But...
Is that this one and two more?
No, this one and three more. Actually, you know what, I don’t exactly know! (laughs) You’ll have to check with Barbara and Michael - I wish I could be more accurate about, but it’s a couple more.

We're sure they’ll let you know.
I’m sure they will at some point. (laughs)

People complained about you being the first blonde Bond. Did you just think "Well, if that’s your biggest criticism, I’ll just dye my hair?"
Never crossed my mind. It was never about the hair for me anyway. If I was worried about my hair, I don’t think I would’ve been doing my job properly.

Is it true that, after a night of merriment with Rhys Ifans, you were slightly the worse for wear on the day of the stunts?
No, no, no. You probably imagined that, sorry. The truth is I don’t drink when I work. There’s just no point. I was a little bit the worse for wear on stunt rehearsal once after a night of merriment with Rhys Ifans but that’s the price you pay for going out with Rhys Ifans. (laughs)

But you seriously threw yourself into the action stuff, didn’t you?
I thought I owed it to it. I got the job a year ago now, last October, and just said “Okay, Let’s get fit, let’s do it, let’s get into shape.” And thank God I did, because I don’t think I would’ve lasted otherwise. When I took my shirt off, I wanted him to look like he could do the things I was attempting to do. Of course I didn’t do all the stunts, it’s impossible, and the insurance companies won’t let me. But a certain stage in every stunt, you see me. So that was kind of my ambition.

Well, I think Matthew (Vaughn) would be very interested in doing one, I can certainly say that with some accuracy.
Have you kept up with the fitness regime?
Not as much, no. I’m living my life at the moment.

Is there any truth to the rumour that Matthew Vaughn might direct Bond 22?
Well, I think Matthew would be very interested in doing one, I can certainly say that with some accuracy. But I don’t know if he's actually up for doing it.

Michael Wilson has told us that when you were first approached, getting on for three years ago now, you were reluctant?
I was reluctant to commit to it because there was no script. When they spoke to me, and now in hindsight I know they were telling me the truth, they said "We want to do Casino Royale; we want to take it back, we want to get more emotional Bond, and discover who he is." But until I saw a script, I couldn't commit. But we had a couple of meetings, and I was very honoured. It was incredible to be talking about playing James Bond. I said to them "Look, this is fantastic, but I don’t know what to tell you." They wanted to get the script right, so I kind of walked away - I didn’t say no, I just said "Look, I'll read the script when you’ve got it." And Barbara, being as canny as she is, went "Go on, then. I’ll see you in a little while."

And they were good to their word.
Barbara’s very persuasive, and eventually saw me again and said "Just read the script." When I got it, I genuinely didn’t want to like it. I thought it was an easy decision for me to take, that it's be "Well, it’s what you’ve done before. It’s a Bond movie, great, good luck, I’m sure it’ll be fantastic - but not with me." But... the script was just great. It was a great story and really too much of a challenge for me to turn down.

But in that interim between seeing them and reading the script, with all the other competition involved, you could’ve been passing up the role of a lifetime.
Well, what do you do? I had to get on with my life. The fact that I went off and shot Munich and was doing other stuff, it felt like I wasn’t busy. When I’m up for a role, I never consider who else is up for it, you either get it, or you don’t get it. I never consider above or beyond that.



 
nattaДата: Воскресенье, 13 Июн 2010, 13:19 | Сообщение # 49
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Интервью 1996 года! О "Молл Фландерс"

THE HESTER LACEY INTERVIEW: Daniel Craig

The star of the gritty 'Our Friends in the North' is about to whip out his pistol for ITV's raunch-fest 'Moll Flanders'. How do you follow that?; 4 'After a while you forget the fact that you're walking around naked, or you try to' 4

HESTER LACEY

Sunday, 1 December 1996

The Palm Court lounge at the Langham Hilton Hotel just off Regent Street is not a place that Daniel Craig would visit willingly. "Makes you want to throw something, doesn't it?" he says, fixing with a disdainful eye the fussy chandeliers and plant pots and - piece de resistance - the burbling fountain complete with ferns and marble nymphs and fish. "Did you decide to come here?" he asks, somewhat accusingly. Not guilty, it was your PR's idea; and some people expect this kind of thing, believe it or not. "I was going to suggest a pub," he says, a bit wistfully.

But once a table where smoking is allowed and a double vodka-and-tonic have been located, he looks quite cheerful; as well he might. After his lead role in Our Friends In The North - one of the BBC's triumphs of the year, in which he played Geordie, the hapless musician who falls into bad company and ends up as a tramp - scripts have been thudding on to his doormat at a great rate. He has a star part in the big-budget bodice- ripper Moll Flanders, which starts tonight; it is ITV's antidote to the current epidemic of Jane Austen mania. In the Austen sagas, all the demure but meaningful glances and heaving bosoms might eventually culminate in a chaste kiss. Moll delivers the lot; the cast can hardly keep their clothes on. Craig plays Jemmy Seagrave, Moll's highwayman true-love; when not swashbuckling for all he's worth, he spends a fair amount of time out of his breeches, energetically ravishing the actress Alex Kingston.

"Well, you have to really, in these situations, don't you? It would be churlish not to," he says, with a filthy laugh. Indeed, hard work, but somebody has to do it. "I watched the final version the other day and it shocked me, I kept thinking, 'Not another sex scene!' There's at least four an episode and they're full-on bums-in-the-air, or against-the-wall, or oops-Missus-there-go-my-trousers. Obviously they've gone for the sex angle - it's a big kick against the Austens and all that stuff. I was a little worried it was going to turn out as Carry On Moll Flanders, but I'm really surprised by the end product. The last episode is so dark, it actually does get to you. I was in tears by the end, but then I'm just an emotional wreck" (this last in a strangled, mock-luvvie accent that he reserves for any remotely theatrical pronouncements). The unexpurgated version of Moll will only be available on video - ITV have had to cut some of the steamier scenes for television. A much-bowdlerized Moll has already been a hit in America - "I think they just didn't linger on the arses going up and down as much as they did over here," explains Craig helpfully.

Filming nude scenes is all in a day's work; especially when anyone on- set with clothes on is likely to be in a minority. "Any embarrassment quickly passes. All you see is maybe 30 seconds of a scene that took three hours to shoot, and after a while you forget the fact that you're walking around naked, or you try to. Well, I do. Maybe I'm just an exhibitionist - maybe that's my problem. I love getting my kit off," he says, with another hoot of laughter. "No, no, it is embarrassing and I get very nervous and uptight about it and I have to control all those sorts of feelings and control myself as well... in fact it isn't very sexual because you're always thinking, 'Will this look good?' and the best sex is when you're not analysing it, when you're just doing it. I'm sure that with the right person at the right time you couldn't help but get turned on by it, but that hasn't happened to me yet."

Out of costume, without his highwayman's coat and flowing wig, he is slighter than on screen. He is very attractive without being conventionally handsome (there's a scene at the end of Moll where for an instant you can see how he could one day look like Sid James - probably something to do with the nose); but with his impressively twinkly, long-lashed blue eyes, rugged laughter lines and dimples, he is all charm (and he knows it). He is only 28, but could pass for a good deal older - his face has a lived-in look. What are his vices - drugs, drink? "Everything! Everything I can get my hands on," he chortles merrily, and perhaps he's only half- joking. Being interviewed is something he resists. "I don't go along with this thing that it's part of the job," he says. "It's not the reason I got into this game. I have to be quite guarded, I like to talk and I like people, I'd probably be a tabloid journalist's dream. Get enough drinks down me and I'd tell all." And, indeed, he is certainly a spirited talker once he gets going. His favourite adjective is the wicked one that begins with "f"; readers, please insert it (mentally) at frequent intervals throughout.

Born in Chester, brought up in Liverpool, he wanted to be an actor from the age of six ("such a cliche," he moans). His mother studied art and theatre design. "I knew what the back end of a theatre looked like from an early age, and I think that rubbed off," he says. He left school at 16 ("I got really bored"), and moved to London almost straightaway. "I had quite a few friends and I stayed on people's floors and I did odd jobs and survived. I still owe a lot of people a lot of favours. Then I finally got to drama school at 19. When I first started, villains were all I did. I'm blond and blue-eyed, so they always gave me the part of the Nazi. When I started getting roles that were goodies, I didn't really know what to do with them, I just wanted to thump people." After drama school he did film work, "bits of television", spent a year at the National Theatre - "I was a jobbing actor, just doing what I could." Starving romantically in a garret, he says, is no longer a rite of passage. "I was out of work for seven or eight months, but I wasn't penniless and starving - I had an overdraft, this is the modern world, I just owed the bank a lot of money." Along the way, he got married, produced a daughter, now four, and got divorced. "I was 23 when I got married, I was too young. I don't know if it was a mistake exactly, but it was not the right thing to do at the time. I don't regret it, but I do wish I'd lived it in a different way."

Our Friends In The North was his first taste of stardom. "It was a peculiar production, I don't think you can measure anything else by it," he says. "When we started doing it we realised we were doing something special. We thought the critics would get hold of it and rip it to pieces, especially the bits that were political. But every single critic pushed how affecting the relationships were, and that was the nicest result." Geordie was the favourite of the critics and the public. "I've had people burst into tears over me, and I'd have to say 'Look, Geordie's fine, he's okay, at the end he just walked off, he's quite all right'."

He has spent most of this year filming a German-French co-production, working title Obsession - a brave move given that arty foreign stuff doesn't make a lot of money. "I don't look at things that way. The script came along and it was a good script, and it meant Berlin for three months, then we went to France, then to Paris, I wasn't going to turn down an opportunity like that - plus it's quite a good movie."

And when he's not filming? "I try and just get my head together when I'm not working. I don't use my time particularly well, I'm not organised, when I've got enough money I'll employ someone to look after me, which is a pretty pathetic actory thing to say," he says. "Financially I'm hopeless, completely numerically dyslexic - that's another actor's whine. I quite fancy running clubs actually, but I don't think it'll ever come about, it's a lot of organisation - and finance. I'd lose everything."

The past year or so, he says, has been a steep learning curve. "I'm bewildered. I don't know what it all means. I think in the end it's all about 'Could you show this to your mates?' I would like to think I could sit down with my mates and see something I've done and they'd say 'Yes, you've got away with that, that's okay', and if that happens, that's cool."

Источник


 
nattaДата: Четверг, 07 Июл 2011, 13:03 | Сообщение # 50
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Интервью для журнала Esquire
Daniel Craig Is a Movie Star From England. Any Questions?

The cowboy in Cowboys & Aliens is hard to get to know. Even if you witnessed the encounter our writer had with him in London, you'd be left wondering about a few things. We imagined what those things might be.

By Tom Chiarella

Published in the August 2011 issue

So, where is this?

It is a room. Though you wouldn't call it a room, since technically there is no ceiling.

What, then?

A courtyard then, many tables. This is London. The neighborhood of Camden, specifically. Just north of Regent's Park. Nice part of town — urban, once hip, not dripping with money. Midday sun needles through the arbors.

Who are we looking at?

In the corner, by the walkway to the kitchen, in a threadbare T-shirt, torso gripped by a misbuttoned gray cardigan, sits Daniel Craig, forty-three, eyes properly aviatored against the light, spinning something in his hand — an unclasped watch or a set of house keys.

Nervous? Or bored?

Maybe he likes to keep occupied while he talks. He lives near the courtyard. Could be a form of simple impatience, or anxiety about all of the reasons he's sitting here in this courtyard. There are many. This year alone, he will star in installments of three different movie franchises, one already massive, the others almost assuredly so too: the next Bond film, his third, which begins filming in November; The Girl with the Dragon Tattoo, based on the Stieg Larsson book that everyone on the planet read, directed by David Fincher; and director Jon Favreau's Cowboys & Aliens, which also stars Harrison Ford and which is about cowboys and aliens, plus some Indians. Craig also will finish shooting the drama Dream House, long in the works, and he's in Steven Spielberg's first cartoon movie, The Adventures of Tintin. And there's the new romance, with an actress. Plus, he lives close by.

What did you think when you sat down across the table?

Daniel Craig looks like sandpaper.

What's he talking about just now?

Where he was born, where's he's from: "Kind of a small town. Chester. It's a city in the northwest of England. Famous, I suppose, for being a Roman city." His eyes focus on a corner of the courtyard to the left, then hold there.

What is he looking at?

Nothing in particular. There's a house cat necking its way around a planter. A table full of forgotten stemware. It's just a corner of a courtyard. His eyes narrow, then return to center for eye contact. There's a little head tilt, then he winches the gaze down again. The impression: Daniel Craig is always telling you something he ought not tell or ought not have to tell, so it's either confidential or obvious.

It's like a bit then, this thing with his eyes?

Maybe. He works his eyes, sure. Those blue pegs are his moneymakers. He's made a good decade's worth of movies behind them. Flashed them as an assassin in Munich, as a freedom fighter in Defiance. He pretty much trademarked the stare as a drug dealer in director Matthew Vaughn's Layer Cake, in 2004, though at the time it was hard to tell whether it meant he was cool or heavily opiated. (Perhaps that was the point.) Then he found a role to define the smoldering gaze and locked it down on the last two Bond posters. Surely he'll use it again on the next one. In fact, it's jarring when he goes wide-eyed or shows a bit of vulnerability, as he did in strong but largely unseen movies like Love Is the Devil: Study for a Portrait of Francis Bacon in 1998 or Flashbacks of a Fool, ten years later.

That's what he's doing here in London — courtyard: the flock of tables and chairs — just as he tips into the next part of the story, this tale of his hometown: squinting, which leads him to yet another sidelong. "It's also famous because the Duke of Westminster — the richest man in the country, as he owns Westminster, including the American embassy — um, he owns Chester as well. It's his seat, it's where he ..."

What, besides the eyes?

Well, look at the guy. That is some rough business right there, right? All scuffed and creased, lips overdry and at the same time overripe, the space between the eyes too wide, looks like he always has a headache. Maybe he's hungover, or maybe he's growling through a primer on English land stewardship to get to a better point. Or perhaps the mantle weight of being appointed to carry three separate movie franchises is making him show signs of strain — maybe the next four years has him a little bedraggled.

And again — just as he's about to go on, the little tick, the pause, that thing with the eyes. What the hell is he looking at in the corner of the courtyard? Nothing can hurt him. Not here. But Daniel Craig is wary, though he's pressing on about this land thing.

"It still applies," he says, "that you never own the piece of land you live on, you just lease it from the landowner. You can get a 99-year lease, or you can get a 199-year lease, but it's not your house. It doesn't stay in your family; it reverts back to the earl or whatever. That's just this country. England. But it's what American land laws were structured on."

Where did Daniel Craig come from?

He has a house nearby. On a ninety-nine-year lease. Or a flat maybe. He is evasive. When asked if this is his home now, he hooks a back-there thumb over his shoulder, then twirls the air with one finger. "Yes," he says. "Hereabouts."

No, no. Before he was Bond.

He wants to contest this, the widely accepted assertion that he arrived when he became Bond. He waits for the full formation of the question, takes a measuring breath. When he's told that no one ever needs to read another word about his first pass as Bond in Casino Royale — the objections to his blond hair, the doubts surrounding his out-of-the-blue inheritance of the ballyhooed Bond legacy — he is curt in acceding.

"Good," he says. "Neither do I."

So not one word about the next installment of Bond, which he refers to simply as Bond 23?

"No-no-no, Sam's gonna do it, Sam Mendes, and I'm really fucking really lookin' forward to the fact that he's gonna do it," he says, snapping to. Mendes directed him in the gloomy thriller Road to Perdition in 2002. Craig tricks out a little smirk then. A concession, a comfort maybe.

"This has become my way, it's as simple as that," he says. "I mean, since I've just become James Bond. And I think, you know, that means being something that people feel they own. And all of the sudden I'm getting magazine covers, when I got nothing for ten years before that. I say it's just pure luck. And doing covers, people interviewing me, and they want to know everything and I'm going, I'm not gonna fucking tell you!"

Craig settles once more into the clutch of his muscular recline. "Well, you know," he says, sliding the Ray-Bans from his nose. "I mean this is actually very nice. We can talk about anything else, and hopefully it can be made interesting."

Okay, then. What does he want to talk about?

First, it should be said: He's right about this. He can talk about nearly anything and it is pleasant, informed, normal. Mostly the jabber of the everyday: children, politics, regret. His daughter comes up, a student in a college on the East Coast of the United States.

"I don't really talk about her, because — well, she can't defend herself. But she's fantastic. Fantastic, and she's — you know, she's doing something." A certain lightness comes over him then, a loosening of the features, a squaring of the hips to the table edge. The sun angles along the courtyard wall, and on his face: the shine of a pride not often allowed out for a walk. "I mean, she's finishing her education, in the States. I said, 'Look, there's an opportunity here, you should take it.' I'm in that position, and I guess that's something that feels more than lucky. It feels essential."

For him as a boy, he says, it was more luck. "I'd left home at sixteen, so I was independent and I could apply. I got a full grant. But I got full grant and full maintenance, which is fuck-all, but I mean, it made the difference. I got through college," he says. It is strangely difficult to imagine Daniel Craig as a twenty-year-old college student.

There is advice, too, woven in. It springs from him, dry and recognizably earnest, then athletic in its grumpy practicality, and none of it bad. To the father of an indecisive high school kid: "I think you have to put your foot down. You just say, 'Look, I'm gonna have to break my balls here to do this, so therefore you need to make a decision so I can plan the rest of my fucking life.' I mean, it's like, you're eighteen — let's get on with this. I mean, that's easy for me to say to you. Oh, fuck, I'm doing it to you now, aren't I? On kids, it's a different thing. But I do think there's a — okay, ultimately at eighteen, I remember ... you just don't really know. And actually they kinda need someone to say, 'Fuck it, just do what I tell you!' And then, you know, for fuck's sake, if he's there for a year and he's really fucking unhappy, he can change."

He mumbles then, about ten syllables, spoken as if into a cloth napkin gripped by a fist.

"He can move."

What did he say right before that?

He's just mumbling, the way men do.

What else moves him, aside from the frustrating idealism of youth?

Well, he did let loose a sort of foment of the moment. Libya. Capitalism. Facebook. Streets running red with rebellion against consumerism, apathy, what have you. He runs through a troublesome litany. He likes to ask after the opinions of others. He's the sort — educated, opinionated, a reader of newspapers — who hungers for an argument. "But it's all built around that, and, you know, you just hope a generation's gonna come who very soon is just gonna turn around and say, 'Hang on a second. I don't like being fucking manipulated like this. I don't like being told what to do, I don't like being told what to buy' — you kind of hope it's gonna happen. And there's gonna have to be a shift. I mean, the big companies will figure it out. They'll go, 'Oh, you don't want that anymore? You want this.' And they'll figure it out, but at least there'll be kind of a change in attitude towards it. I mean, I don't know. We've had student riots here. And whatever way you think about politics, the fact that students have — there's no such thing as free education anymore. That's kind of gone, and they're gonna put up a fight. But you know, there was a time when it was free, and education was paid for."

The conversational habit seems positively Continental, refined. And when he argues a point, his strings loosen. Everything about him is more straight-ahead. At one point he is discussing, or rather going off about, failing pension systems and lengthening life spans: "Not everybody's happy with their situation!" And here Daniel Craig pounds the table in front of him. There is rattling of glass. "There are some fucking seriously poor people, who are mixing with your diminishing middle class, and there's a sort of ever-growing fucking ruling class, and it's like, it's obvious."

His phone rings, vibrates, and this too rattles the glass. He excuses himself, stays seated, and takes the call.

Who is it?

There's no way to know, is there? Craig puts his sunglasses back on as he speaks — a curious gesture. He explains his schedule, looks at his watch, keeps his eyes low, his gaze downward. He tells the other person: what time he'll be leaving the courtyard, when he'll be home. It might be any of a number of familiars. A family member. His daughter, perhaps. Or it might be Academy Award winner Rachel Weisz. She is his costar in Dream House, and his new girlfriend, rumored to have left her longtime fiancé, Darren Aronofsky, the director, for Craig. Not that the tabloids have much on Craig. Even in the tabloidy UK, he tends to drift above the fray.

He listens for a moment, then says goodbye and I love you. Disconnected, he goes right back to it — foreign policy, social policy, and the familiar pratfalls of the West. "And if you can't afford to give them their fucking pension because you didn't figure it out ... you failed!" He's intellectually fluid, and curious. There's an engine behind his thinking.

Is he smart?

Obviously. He's astute. He thinks.

Nice guy?

Nice? How is that germane? He's fifteen minutes into a conversation here. What do you want, Dick Van Dyke? He's talking. He simply is. In fact, in the courtyard, this blank space, on the other side of the table, he generally acts like a living, breathing "to be" verb. Reserved, static, a limited expression of a state of being. This political stuff lights him up a mite.

Why, do you think?

This, this talker, may be closer to the kind of man he played before Bond. Talky, smart movies based on talky, smart novels or plays. Box-office blips like the exquisite Love Is the Devil, in which he plays a man who breaks into Francis Bacon's apartment and becomes his lover — gritty and hypersexual. And Enduring Love (2004), and even a BBC4 treatment of Copenhagen (2002), a play about the portentous meeting between physicists Niels Bohr and Werner Heisenberg in 1941. Aspirational works. His descriptions of filming them muster up a kind of rhapsody in this otherwise music-free courtyard.

"We shot Copenhagen as conversations between the two guys. Heisenberg goes to visit Neils Bohr to ask him how to build the A-bomb. Bohr balks. Heisenberg is left going, 'Because we have to, because they're building the same bomb!' It's a moral issue, an arms race happening during the war. The weird thing: As it was written, the Germans were a lot clumsier than the cliché of the Nazi scientist student, though they did get us to the moon. Let's not get that wrong. But Hitler was spread so far and wide that, you know, releasing that amount of energy from nothing? I don't think he believed in it. Fucking hell, he was more into the occult."

You can hear it echoing in the courtyard. Rambling wonder in the ideas expressed in a nine-year-old made-for-TV adaptation of an intensely serious play. Although one can never be certain, it would seem there isn't much room for Octopussy within the Heisenberg Principle. What is certain, however, is that Daniel Craig wants to make movies for adults.

Did he actually say that?

Directly. Listen to him speak on The Girl with the Dragon Tattoo: "It's as adult as you can possibly make it. This is adult drama. I grew up, as we fucking all did, watching The Godfather and that, movies that were made for adults. And this is a $100 million R-rated movie. Nobody makes those anymore. And Fincher, he's not holding back. They've given him free rein. He showed me some scenes recently, and my hand was over my mouth, going, Are you fucking serious?"

He raises his eyes, looks upward to describe what he saw in a set of Fincher's dailies that startled him this way. You can imagine — the book contains sodomy and torture chambers and lighting people on fire. And yet, "it's not that he simply showed me footage that was horribly graphic," Craig says. "It was stuff that was happening, or had happened. And somehow you don't see it."

What's that mean?

This is the adult thing: to not be obvious about it. "There's more than one way to sense violence," he says. "Much more powerful ways than seeing it step-by-step."

So he's astute when it comes to the nature of violence onscreen. And he is drawn to somber subject matter — Francis Bacon, the A-bomb, the Holocaust, and, apparently, immolation: serious actor. But could he do a comedy? Does Daniel Craig have a sense of humor?

Sure. But the laughs come the same way the views appear when you're riding a train: a matter of what he happens by, all of it told through the lens of work. Consider this anecdote: On top of the three big franchise vehicles, he's got a part in Spielberg's animated version of Tintin, the 1930s French serial adventures of a trench-coated boy reporter, a terrier named Snowy, and various older nautical gentlemen. A churning tissue of subtext. Craig reports that he's pleased by the final product, though he says it's hard to remember what he expected, since they filmed his part two years before. "We shot it in mo-cap. Which is like: Fuck me, I'm literally in a leotard with a fucking helmet on, and a camera strapped to it. It's Steven Spielberg, so every fucker in the world comes to visit. Fincher comes to visit. Clint fucking Eastwood comes to visit. It was just like, are you kidding me? I'm gonna meet these people dressed like this? Playing a pirate, wearing a leotard and a camera? Really?"

In the courtyard, the sun cuts a path across the sky, the day passes. There are plenty of laughs. Still, it seems evident that Daniel Craig doesn't burn with the instinct to delight, to relate the dopey tragedy of life, the absurdity of the everyday. He doesn't aim for a punchline.

"It's hard to translate comedy from one country to another, you know?" says Jim Sheridan, the six-time Oscar nominee who directed Dream House, starring Craig (alongside Weisz and Naomi Watts), a thriller due this September. "Daniel has a kind of British reserve that stays up front."

The release of Dream House was delayed seven months largely by Craig's scheduling conflicts. Sheridan is sanguine about the trade-off that came with employing the world's most in-demand actor. "Ah, it took forever," he says. "Daniel just got very busy and we needed to do these reshoots. But I really think he's one of the very good British actors. They are not many, you know? I suppose you'd say Ralph Fiennes and a few others, but they always dwell in the area of being, you know, very good actors. But who was the last great British star, really? Was it Peter O'Toole? Daniel Day-Lewis? Is he a star or an actor? Ewan McGregor looked like he would be for a while. I don't think he is anymore. And what about Jude Law? He seems to have gone back a bit, yeah? I think Daniel is a star. Or he can be a star."

Before he hangs up, Sheridan says of Dream House: "Daniel is terrific in this. Very vulnerable, very damaged, very lovable. Great, great acting. Very accommodating man." He hums a little, pondering across the ocean's breadth of our phone connection. "I'm just trying to think of something funny that happened. If I thought about one, I'd come back to you."

Did he?

No. But Jon Favreau did call. Director of Cowboys & Aliens, the other installment of Daniel Craig's 2011 trilogy of blockbusters, in which the actor plays a skeletally thin frontier outlaw who is pressed into leading a ragtag assembly of cowboys against a marauding alien invasion. Presumably, another incarnation of The Godfather. Favreau says Craig was in on every choice in the movie, soup to nuts. "He's very smart. Very," Favreau says. "He has a quiet facade, comes across as reserved, but the minute you break bread with him he's full of observations and conversations." So Favreau has been to the courtyard.

He calls Craig a partner. He calls him an "athlete." "He likes to laugh," Favreau says to the question of the moment. "He's not dour by any stretch. His persona onscreen tends to be reserved and calculated, but he's a good host. Gracious." Then, in answering a question about sense of humor, he uses that word again, the same one Sheridan used: "Accommodating."

Wait, so he's funny, then. But funny how? Like a clown? Does he amuse you? Funny how?

You know, he's funny. Favreau acknowledges as much: "He's very funny. Though a lot of the things said about Daniel might be viewed as boilerplate answers for anybody that's just trying to give a positive response — 'Daniel's not a guy just trying to get through the day, he definitely has fire in his belly, his dance card is full, he works to give you his all' — in Daniel's case, that checks out really well. He's a really exceptional guy.

"I think it's in your DNA, it's in your bones, the measure of what you're going to be when you finally get to be yourself," he says. "I think he's there. Daniel Craig's getting to be himself."

Where does that leave us with Daniel Craig?

Still in the courtyard, he's on another ramble. This time describing how he came to the opportunity, the chance to play an archetypal role in a movie hip-deep in summer popcorn — with the prospect of sequels down the line. He's saying what appealed to him. Does the movie have a political heart, or what?

"No," he says, "it can't, I don't think. Because it's got cowboys and aliens. And we team up with the Indians and there's an alien force coming in that's gonna ..."

He pauses then and smiles. The first smile the courtyard has seen from him. He looks different then, looser, leaning forward, telling the story of the movie with a title so simple, it's silly. "You know, in fact, let's not fucking get too crazy about it, but Stephen Hawking just said recently, 'Let's hope aliens don't land, 'cause I think it'll be pretty much like the Europeans landing in the Americas.' You know, it's gonna have that much of a devastating effect. That's kind of ... that's the only political angle. And you can't help but have that. But it's, really — it's called Cowboys & Aliens. Let's ... just ..."

About then, two women on the other side of the courtyard pull their chairs around to the same side of a table and sit side by side, so they can watch him from behind the dark saucers of their sunglasses. He gives them a version of the eye thing, again featuring a tilt of his head. But they don't back down. Why would they? He is a movie star, full-blown and handsome, on a sunny day in London. That's a rare enough thing for a long look.

"Yeah, let's just leave it at that," he says. And Daniel Craig laughs.

Read more: http://www.esquire.com/feature....OytgE74

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