Отправлено: 20.02.10 11:59. Заголовок: Статьи на английском и других языках
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David Cronenberg's "A Dangerous Method" has been met with a somewhat mixed reception as it's done the rounds at Venice, Telluride and Toronto: some admire the uncompromisingly brainy nature of it, others find it stiff and mannered (we landed somewhere in between when we saw it on the Lido). But if there's one thing the critics can agree on, it's that Viggo Mortensen, in his third film on the trot with the Canadian maverick, gives another brilliant turn as Sigmund Freud. Buried beneath a prosthetic nose and playing older than he's usually allowed to, he's easily the highlight of the film, giving a beguiling turn worlds away from the professional killers he played for Cronenberg in "A History of Violence" and "Eastern Promises."
We caught up with Mortensen in Toronto to talk about the project and found all kinds of insight from arguably the most unconventional, maverick A-list actor around, a polymath as happy dabbling in photography, poetry and painting as he is on the big screen. Below are five highlights from our conversation.
1. The biggest discovery about Sigmund Freud was how warm and witty he was. Like most of us, Mortensen came to Freud with certain preconceptions, but swiftly found that they weren't necessarily true. "When you start to read about him and learn about him," the actor said, "you learn that at the age that I play him, early fifties, he was very robust and healthy, and described as being magnetic and handsome and personable. Socially engaging, a great conversationalist with a piercing gaze, who had a melodious strong voice, and was eloquent and humorous, you know?"
2. Freud's wit is mirrored in "A Dangerous Method" director David Cronenberg, a man seemingly much funnier than his reputation might suggest. Considering the ultraviolence, perversion and vaginas-in-unusual-places that make up his films, you could be mistaken for thinking that David Cronenberg would be a tortured soul. But after three films together Mortensen has learned that the helmer is, like Freud, a warmer person than you might imagine. "[Freud's sense of humor is] not unlike David’s sense of humor actually. I sort of had a model there to help me anytime I had any doubts about the approach. David has that wit, and you know I think it’s healthy on a set to have a director to whom nothing really is sacred, but is always done in a general way. Sort of making fun of everything including himself, is very healthy and relaxes people and makes for a good work environment.
The calm, relaxed working environment also helped for a film that could have become a staid period piece. "When he shoots there’s a time constraint, but he’s so well prepared that he makes it seem effortless," Mortensen says. "This kind of dialogue, this kind of period piece, these kinds of people, these historical personalities, a director could easily get lost living in the forest for the trees and feel like they have to show off all the time to the camera and make for lots of complicated sequences visually. David was so comfortable with the knowledge he had about the period and so well-prepared that you realized that the perfect contrast was to shoot it as simply as possible." Shooting with Cronenberg was such a good experience that Mortensen is sure that the two will continue to work together, possibly even on the promised "Eastern Promises" sequel. When we asked the actor about that film, he responded "I think that’s still a possibility, but we’ll definitely do something [together] I’m sure and I’m looking forward to it already, whatever it is."
3. Despite having mostly shied away from studio pictures in recent times (including allegedly turning down the role of General Zod in "Man of Steel"), Mortensen isn't against them in principle. The actor hasn't made a film with a major studio since 2008's "Appaloosa," and has only made a handful since breaking through with "Lord of the Rings" a decade ago. But that doesn't mean he's necessarily averse to them. Mortensen told us "I just look for good stories, generally you don’t find them [there]. It’s unusual, it’s a relief to go see a big studio movie and actually walk out thinking that was a great movie, really thought-provoking. It doesn’t usually happen, it’s just not the nature of the beast because so much money’s at stake that it’s understandable they want to fall back on tried and true formulas and often that’s something you see. To find a good story, you’re generally going to find it in independent or lower-budget movies. That’s probably why. I wouldn’t mind doing a big-budget movie if it had a great story."
4. There are more than a few parallels between Freud in "A Dangerous Method" and Mortensen's next role, Old Bull Lee, the fictionalized version of William Burroughs, in Walter Salles' "On the Road." When Mortensen was offered the role in Salles' long-awaited beat generation adaptation, it, like that of Freud, initially gave him pause. "If someone else had offered me Freud I might not have taken the plunge, but David, I trusted him, Walter I didn’t know Walter, so I thought really?" But actually, a kinship between the two characters enabled him to find his way into the part. "Both Freud and Burroughs were mentors in a sense. [People] went to visit Burroughs and he would share his books with them and they loved to pick his brain when he was down in Louisiana. They all came down to have a good time but also because they knew they could ask lots of questions and sort of glean a few pearls of wisdom from this crazy old guy. He seemed like an old guy to them, he wasn’t that old at the time, he was 10, 15 years older. Just like Freud was older than Jung."
5. Mortensen consulted Cronenberg on the best way to approach playing twins. The star's taking another venture into Spanish-language cinema, after being approached by a first-time filmmaker for "Everyone Has a Plan," set in Argentina. "I had never shot a movie in Argentina and I thought, well, it will probably be like many of the scripts I read that are maybe well-intentioned but not that good, and I read it and thought this is an amazing script, a really tight, well-written film noir and I thought sure, let’s try and get it done. It took almost four years to get financing and it’s a great low budget movie." But it came with its own set of challenges; Mortensen plays twins in the film, one of whom impersonates the other. But who better to go to for advice than Cronenberg, the man behind one of the great twin movies. "I actually called David to ask him about 'Dead Ringers,' just from a technical thing, you know in terms of the scenes where you see the two brothers together," Mortensen said. "It was a great shoot, it was a hard shoot. Winter, outdoors in Argentina, great character, very ambitious for a first time director [Ana Piterbarg], but I think she pulled it off. She has a great future as a director.
Отправлено: 26.11.11 22:32. Заголовок: Hossein Amini, who w..
цитата:
Hossein Amini, who wrote the screenplay for the Oscar-nominated The Wings Of The Dove — and many others, including Drive and Snow White
And The Huntsman, now shooting with Kristen Stewart — will make his directing debut on the film version of Patricia Highsmith’s psychological thriller The Two Faces Of January.
Viggo Mortensen, who is currently starring as Sigmund Freud in the film A Dangerous Method, will play the lead. I’m expecting an astute analysis of the central role from the actor.
Нет,только словеса..Его привлекает возможность попробовать себя в качестве со-сценариста,но и документальный фильм в Испании,и в Барселону просят "Чистилище",и еще есть наметки проектов,о которых он пока не говорит..Так же зависщий проект по Кингу,где все неясно,скорее-туманно..Точно пока ответа нет..
Взяла для перевода. У меня какой-то прям английский бум начался, ни дня без переводов В загашнике уже лежит два текста для сайта, в скором времени выложу. А Вигго тоже разошелся.. Каждую неделю столько новых интервью.
Отправлено: 29.11.11 21:15. Заголовок: Девочки, я уже котор..
Девочки, я уже которое по счету интервью перевожу и тихо сползаю под стол. Как же он любит Кроненберга-то. Одно из последних, где про Оскар, вот там никаких конкретных ответов, одна сплошная ода Дэвиду. Разными словами, но смысл везде один и тот же.
Rita-chka-1
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Зарегистрирован: 16.05.10
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Отправлено: 29.11.11 21:30. Заголовок: А Девиду - сделать о..
А Дэвиду - сделать ответный жест : снимать Вигго почаще))
Отправлено: 03.12.11 11:07. Заголовок: Если вдруг у кого-то..
Если вдруг у кого-то возникнет желание перевести, будем рады
Viggo Talks and Talks Culture |By ZOE HELLER | December 2, 2011, 12:39 pm
High up in an apartment block in Toronto, Viggo Mortensen was padding around barefoot, cleaning up the kitchen after lunch and speaking, in his soft-voiced way, about his longing for immortality. “I’m not afraid of death,” he said, wiping down a counter with a damp cloth, “but I resent it. I think it’s unfair and irritating. Every time I see something beautiful, I not only want to return to it, but it makes me want to see other beautiful things. I know I’m not going to get to all the places I want to go. I’m not going to read all the books I want to read. I’m not going to revisit certain paintings as many times as I would like. There’s a limit.” He paused. “I mean, I understand limits are good for character and all that, but I would rather live forever.”
Mortensen’s combination of cheekbones and limpid-eyed sincerity has tended to inspire a slightly awestruck tone in journalists over the years. Some of their more breathless accounts of his chilled-out, barefoot demeanor have come perilously close to making him sound a bit of a pill: a parody of the soulful gypsy artiste, all flared nostrils and rippling Kant quotations. Happily, he is not really as oppressively soulful or as grandiose as such reports might suggest. He is earnest, God knows, and his pronouncements on life and art verge, occasionally, on the sententious. But he’s not a preening nostril-flarer. What he brings to mind, more than anything, is your older brother’s hippie friend from childhood — the one who played you your first Velvet Underground album and instructed you in Trotskyist politics. He has the same lank-haired seriousness, and — oddly enough — the same shyness. He also has, for what it’s worth, one of the strangest and unsexiest laughs in America: a kind of abrupt, feminine cackle that is liable to make you jump if you’re not expecting it.
The counter being clean now, Mortensen rinsed out his cloth and turned his attention to the dirty dishes. (The reporter ought to have offered some assistance at this point, but the sight of Aragorn with his hands in a sinkful of Fairy Liquid was too beguiling: reader, she sat back and watched.)
The original plan was to meet Mortensen for lunch at the Ritz-Carlton, where he was staying during the Toronto Film Festival, and then to visit an exhibition of Robert Motherwell drawings at the Art Gallery of Ontario. But by the time the appointed day rolled around, Mortensen had moved out of the Ritz-Carlton. (Life, he said, was too short to stay in a “prison” where you couldn’t open the windows and where the lobby was always full of industry people.) We met instead at the apartment he was borrowing from a friend and ate a picnic lunch of cold salmon and broccoli rabe. As for the art outing, Mortensen thought it would be better to go and see an exhibition of work by the Group of Seven, a lesser-known school of Canadian painters. There were plenty of opportunities in life to see Motherwells, he said. But if we didn’t drive out to the McMichael Canadian Art Collection in Kleinburg today, we might never get a chance to see these particular works again.
The brevity of life and the importance of grasping the day are, one quickly learns, big themes for Mortensen. The sound of time’s winged chariot is very loud in his ear, it seems, and the imperative to “use time well” crops up repeatedly in his conversation — particularly, when he is explaining some of the more unorthodox ways in which he has chosen to handle movie stardom.
In the decade since his leading role in the “Lord of the Rings” trilogy turned him into a household name, he has studiously resisted acquiring any of the standard accouterments of Hollywood success. With some of his “Rings” earnings, he founded Perceval Press, a small L.A.-based publishing house specializing in art books and poetry. Other than that, he has continued to lead much the same modest, under-the-radar existence that he did before. He paints, he writes poetry, he plays piano, he takes arty photographs. He hangs out with his 23-year-old son, Henry (by his former wife, Christine “Exene” Cervenka, lead singer of the L.A. punk band X). He campaigns for various human rights and political causes. (During the 2008 election, he endorsed Dennis Kucinich.) He travels a lot: for most of the last year, he has been living in Madrid,where he is rumored to be involved with the Spanish actress Ariadna Gil. When he’s in Los Angeles, he crashes in the Perceval office and socializes with what his friend, the political activist and urban historian Mike Davis, calls “Southern California’s grass-roots cultural scene.” (“Most of Hollywood ignores or disdains . . . the Venice poets and Leimart Park painters,” Davis says, “but Viggo is a passionate homeboy. Multiply him by one hundred, and Hollywood might be worth sparing when the Red Cavalry next rides down Sunset Boulevard.”)
None of this is quite, perhaps, what little boys and girls dream of when they dream of becoming a star, but it’s Mortensen’s idea of fun. He never had Champagne dreams and caviar wishes, and much of what passes for “a celebrity lifestyle” is, he thinks, rather banal and grim. “I don’t have lots of friends in the business, and the ones I do have are probably more like me, in that they’re not the kind of people to go places just so they can be seen. I see people doing that stuff and to me, it seems pathetic and ridiculous and kind of . . . well, humiliating. Life’s too short.”
His contempt for actors who engage in superfluous acts of self-promotion also extends to actors who appear in dopey blockbuster movies, just for the paycheck. “Sometimes you look at a movie and you can see that the actor or actress said, ‘I’m taking this onboard because I’m making a ton of money, and not because it’s going to be something special,’ ” he said, sounding scandalized. In choosing his own projects, his chief criterion is always “a good story.” But with the exception of the odd Tolkien adaptation, his notions of what constitutes a satisfying narrative tend not to coincide with those of the multiplex audience. He told me at one point about a script that he wrote back in the ’90s — “a silent movie set a thousand years ago” — that he had hoped to direct himself. (He sent it to Leonardo DiCaprio, with a view to getting him to play the lead, but not entirely surprisingly, DiCaprio, fresh from starring in “Titanic,” declined the part.)
“An agent will say, if you have the option, it’s good to do a big movie and then a little one. I understand that and within reason, I’ll try to, but 90 percent of the time, I’ll end up in low-budget movies that are difficult to finance and often won’t get distributed very well. I could have done one big-studio movie after another if the goal was to stay as visible as possible, to make as much money as possible. I guess, because of my temperament, I didn’t want to. I wouldn’t have been telling good stories. The challenge would have always been to try not to make a total ass of myself, even though I knew the story was really stupid.”
Next year, he will appear in Walter Salles’s adaptation of “On the Road” as Old Bull Lee, the William S. Burroughs character, and in a low-budget Argentine film noir, “Everyone Has a Plan,” as a pair of identical twins. The movie he was promoting at the Toronto festival was “A Dangerous Method,” a spiky little psychiatric costume drama directed by David Cronenberg, in which he plays Sigmund Freud, locked in intellectual battle with Michael Fassbender’s Carl Jung.
Mortensen has worked with Cronenberg twice before, on “A History of Violence” and “Eastern Promises,” and he relished the opportunity to do so again. But the real appeal of this film, he says, was the chance to play someone who talks. Mortensen is a voluble man, off-screen — he frequently responds to questions with dense, uninterruptible monologues — but as an actor, he is usually allotted taciturn, still-rivers-run-deep roles. “I haven’t been given the chance to play men who speak much. The parts that people — including David [Cronenberg] — normally give me are men of few words, people who express what they’re thinking or what they’re afraid of or what their goals are, physically. With Freud, it was all words.”
Choosing Mortensen to play the Viennese doctor was not “obvious casting,” Cronenberg says, but he thought it was a useful way of injecting some “charisma and virility” into a character who has become ossified in the public imagination as a fragile old man. There were moments, he concedes, when he feared Mortensen might be bringing a little too much virility to the part. “I remember standing in the Belvedere Gardens in Vienna and stopping the shoot to tell him, ‘You’re not walking like a Jew, Viggo.’ He had this kind of rangy, athletic thing going on.”
Mortensen not only worked fastidiously on acquiring an appropriately “Jewish” gait, but he also took calligraphy lessons in order to be able to emulate Freud’s elegant script. (The hand that you see writing letters in the film is Mortensen’s own.) He studied Freud’s work, and — because he wanted to know “what Freud read for pleasure” — he researched the work of contemporary Austrian and German playwrights and humorists. (He can now talk authoritatively and at length about the oeuvres of Johann Nestroy and Wilhelm Busch.)
“Viggo and I both get very enthusiastic about the details,” Cronenberg says. “On this movie, we must have exchanged 40 e-mails about the kind of cigars Freud smoked. Viggo will bring props to the set. I mean, he basically does his own set decoration. He’d come in with these rare books — editions that Freud actually had in his own study — and the production designer would say, ‘Where did you find these?’ ”
Mortensen has acquired a small legend for the elaborate lengths to which he goes in his preparation and research. For “Eastern Promises,” he read Russian poetry and novels, studied Russian history and researched the significance of every one of the 43 Russian gangster tattoos he wore in the movie. For the movie “Good,” in which he played a German professor co-opted by the Nazi regime, he drove over a thousand miles across Germany and Poland, visiting concentration camps. When he played a con-man artist in “A Perfect Murder,” he ended up painting all the canvases that appeared in the movie.
He is not particularly dogmatic about his own preparation techniques. He acknowledges that actors achieve excellent results with all sorts of strategies, including doing nothing but reading the script a lot of times. The meticulous research is, he says, its own reward: “It’s enjoyable and stimulating. I learn things. It’s particularly important to me, because I have had experiences where the shoot has been really annoying and unprofessional, and the director has made poor choices and the movie has not turned out well. But however it turns out, I always feel that I’ve got something out of it, because of the experiences I’ve had and the knowledge I’ve got from the preparation stage.”
Mortensen has been acting for a very long time. He’s 53 years old now, and he went up for his first film audition in his early 20s. Before 1999, when Peter Jackson made a last-minute decision to cast him as Aragorn, he had been toiling, and often “resting,” in the Hollywood trenches for a good 20 years. “For a long time after I started out, I couldn’t get anything. I mean, I’d do a small play, or one scene in a TV thing — I’d get just enough encouragement to keep me going — but I wasn’t making a living at it.”
There were many false starts. Twice, he said, he had scenes in movies — Jonathan Demme’s “Swing Shift” and Woody Allen’s “Purple Rose of Cairo” — that ended up on the cutting-room floor. “I wasn’t told. Months go by, the movie comes out, I tell my parents — you know, my whole family. They go see it, and I’m not in it. The scene isn’t there. They think I’ve lost my mind. They’re like, What are you really doing in Los Angeles?”
In 1990, he got the lead in “The Indian Runner,” directed by Sean Penn. “And everyone said, ‘Oh, boy, you’re set.’ But I wasn’t. I don’t know, maybe I didn’t capitalize. I don’t know what I was supposed to do. People would tell me do this, do that, fire this guy. . . .” It was not until 1993 that he began getting a steady flow of work — “supporting parts in studio movies, a job or two a year.” He admits to having become demoralized on occasion. “But I guess I kept being curious. I was curious as to how movies were made. It wasn’t, like, I wanted to be famous or anything like that. I liked the idea of telling these stories, the make-believe aspect. I wanted to do it, to try it. I don’t know.”
Cronenberg speculates that the years Mortensen spent as a “B actor” have made him gracious and grateful in success: “It helps that he got it late. He has an appreciation of his luck.” Certainly, his years working in relative obscurity gave him plenty of examples of how not to behave as a famous actor. He remembers every bit of on-set misbehavior he ever observed, with astonishing clarity. (Holding grudges is one of his vices, he says.) He remembers the actors who didn’t come to set because they were hung over after a night of drinking, or who came and behaved horribly. He remembers the leading actors who did little tricks to throw him off. “I see it now with veteran actors doing it to younger actors, and the young guys don’t even know that it’s happening. I’ll say to them, ‘Watch out, he’s already done his close-up, and he did a great job. Now it’s your close-up, and he’s tickling you and distracting you and telling you stories.’ The young guy will be like: ‘Really? You really think he’s doing that?’ And I’m like, ‘Yeah!’ ”
He also remembers the actors who didn’t even bother to show up when it was time to do their off-camera work. “Earlier in my career, I saw a lot of important actors and actresses splitting when they had done their close-ups. You’d say, ‘Where’s so and so?’ and they’d have gone home, so you’d end up doing your close-up with an assistant director. It makes your work harder and it also makes you feel disrespected.”
He no longer tolerates this sort of thing. “If someone comes up to me and says, ‘Do you mind if I go?’ I’ll look them right in the eye and say, ‘I don’t want you here, if you don’t want to do it.’ If they say, ‘Oh, fine, I’ll stay,’ I’ll be like: ‘No, go. You’ve told me who you are, get out of here.’ I’d rather do it without them. When someone does that to me, it’s like, Boom, I’m not working with you again.”
That seemed a bit harsh.
“Yeah, well, about that stuff I am harsh. There’s no excuse for that behavior. You’re tired? Come on! The crew isn’t tired? The crew who got here two hours before you, and who’ll be here two hours after you leave and who are being paid, in many cases, one thousandth of what you’re being paid? Come on!
“I always thought treating people well was probably the most important thing, but now I’m convinced,” he adds. “Life is too short to work with idiots — well, not idiots, but people who are rude and selfish.”
We took rather longer over lunch than we had planned, and by the time we set off to Kleinburg, it was already late in the afternoon. We drove through the drizzle, with Mortensen occasionally checking the directions he had scribbled down from the Internet. When we arrived, the museum was about to close. We whizzed through the exhibition rooms, diligently taking in as much as could be taken in of the Group of Seven in half an hour. Then we took a bathroom break and got back in the car. “Where did the time go?” Mortensen lamented as we inched back through rush-hour traffic to Toronto. “I’m glad we went, though. Are you glad? I think it was worth it. My feeling is, you’ve got to see these things when you can. I mean, if you’re riding along the road and you see a sign saying ‘Mark Twain lived here,’ you should stop and take a look. Sometimes, you’ll think, Ah, I’ll leave it, and come back another time. But you might not be back. You might die.”
A few days after our meeting, Mortensen called and left a message on voice mail. He had been thinking about what he’d said regarding immortality and he was concerned now that perhaps he had taken too vehement a position: “I know I said I wanted to live forever and I would never be bored, but the reality is, it’s probably kind of sad to live forever if you’re the only one sticking around. I guess living through injury and disease is pretty hard too, so I don’t know — maybe immortality is not such a great thing. You know, Freud accepted his lot very stoically and very well and with a sense of humor. He aged and died gracefully and there’s a lot to be said for that. Still, it would be nice to live a little longer, with your mind intact and your body reasonably functioning. . . .”
The message went on in similar vein, for a while. Toward the end, Mortensen seemed to become vaguely embarrassed by his own meandering. “Anyway, whatever,” he said. “I don’t know if any of this matters.” There was a long, crackly pause. “But I guess what I’m saying is, I’d settle for another 150 years.”
Отправлено: 16.12.11 07:34. Заголовок: Golden Globes: Viggo..
цитата:
Golden Globes: Viggo Mortensen discusses his methods
December 15, 2011 | 11:28 am
To get inside the mind of the famed psychoanalyst Sigmund Freud for "A Dangerous Method," Viggo Mortensen did extensive research and mulled the details with director David Cronenberg. The effort has paid off with a Golden Globe nomination for supporting actor. Mortensen spoke by phone to 24 Frames' Elena Howe about how he found out, how he feels and what else he's up to.
PHOTOS: Golden Globe top nominees
E.H.: How did you find out about your nomination?
V.M.: I’m in Madrid. It’s nine hours later, but they don’t show that here anyway. I was headed to work — I’m doing a play — and a friend called and told me. I’m very grateful, but I would have been even happier if [director] David [Cronenberg] had been included. I owe it to him. He made a risky decision to cast me as Freud, and I’m glad to see his hunch paid off. I’m proud to represent “A Dangerous Method” at the Globes.
E.H.: What is the play you’re doing?
V.M.: Ariel Dorfman, who wrote that play “Death and the Maiden,” he wrote one called “Purgatorio,” which is what I’m doing. It’s heavy on dialogue, like Freud, so I got that back to back. I haven’t been in a play for over 20 years, and there’s lots of dialogue. At first I regretted [signing on for it]. But it’s going well now.
E.H.: How did you prepare to play Sigmund Freud?
V.M.: I had real concerns that it wasn’t a good fit for me. I did it because it was David. Had another director proposed this, I wouldn’t have. But once I got my mind around how to present him — he had a good sense of humor and a sense of irony, which I could relate to — and I actually enjoyed having a lot of dialogue, and now doing the play, it’s like out of the frying pan and into the fire.
I always do a lot of research. I read everything I could that Freud had written and what his contemporaries had written and just informed myself about the period and Western Europe of the time.
E.H.: You’ve worked with David Cronenberg three times now. How did this production go? V.M.: David is like-minded, so we share hundreds and hundreds of emails — we talk about Freud’s cigars, his influences, how we were going to transform me, anything to do with it, even peripherally. We do that with all of the movies we’ve done. The more we work, the more in tune we are. He’s a great artist, but I like him as a man as well, which unfortunately isn’t all that common [in this business]. He’ll listen to anybody — me, the crew. He’s just trying to make the best film possible.
E.H.: Do you have plans for another project together?
V.M.: We’re talking about a sequel to “Eastern Promises,” and a couple of other things are possible. It depends on what he gets the money for first.
E.H.: Was it hard to shake off Freud when filming was completed?
V.M.: I never have any desire to. I never think in terms of shaking anything off. We all lose our memories anyway, so I’m happy to remember what I’ve learned from playing him. I learn something from every character I play, and I like to keep that. I had fun playing Freud, so I’m not in any hurry to shake it off.
Отправлено: 16.12.11 20:11. Заголовок: “I was very pleased ..
цитата:
“I was very pleased to learn that my Sigmund Freud was nominated today to be part of the Golden Globes ceremony. It would have made me even happier if our director, David Cronenberg, and the remarkable performance by Keira Knightley also had been invited to the party, but I will be extremely proud to represent A Dangerous Method. Fortunately our fine Carl Jung, Michael Fassbender, was nominated for his work in Shame. David made a risky choice when he cast me to play Dr Freud, and I’m glad that his instincts have paid off in the eyes of the Hollywood Foreign Press Association.” Viggo Mortensen, A Dangerous Method
Отправлено: 19.12.11 19:56. Заголовок: Best Actors Keep It ..
цитата:
Best Actors Keep It Real While Playing An Icon In “A Dangerous Method,” opening Friday, Viggo Mortensen plays Freud, not as the balding, white-bearded man with a scowl most people conjure when they think of the Austrian neurologist, but as a middle-aged family man of warmth and even humor. (“What an exquisitely Protestant remark,” Freud says when Jung betrays his naivete about anti-Semitism.) Mortensen’s co-star, Michael Fassbender, didn’t need to clear the same preconceptions about Jung as Mortensen did about Freud, which makes Mortensen’s performance all the more accomplished.
Playing the psychiatrist at a moment when his theories about sexuality and human psychology were controversial and precariously fragile, he imbues the real-life man with the stately reticence of a Viennese bourgeois, not the inner fire-bomb-thrower. It’s an approach that allows the film’s true stars — ideas — to shine. Fassbender and Keira Knightley, as Jung’s patient-slash-lover Sabina Spielrein, get the showiest scenes, but “A Dangerous Method” works thanks to the quiet, self-effacing work Mortensen does to take Freud out of the pantheon and into the cozy, well-worn living room.
Mortensen was deservedly nominated for a Golden Globe on Thursday for his performance in “A Dangerous Method.”
Отправлено: 26.12.11 00:01. Заголовок: Interview sur le div..
Interview sur le divan avec Viggo Mortensen
Il est un Sigmund Freud convaincant dans le thriller psychanalytique A dangerous method, de David Cronenberg, avec qui il en est à sa troisième collaboration. Confidences d'un artiste polymorphe et polyglotte, rompu à l'exercice de la confession.
Viggo Mortensen, acteur culte de 53 ans, déboule dans une suite du Bristol en jean et marinière de Viking cool, pieds nus, ses Weston (trop serrées) sous le coude. Beau gosse scandinave – yeux bleus délavés, coupe au carré –, il parle vrai, se moque des apparences et respire l’intelligence. Hier, il conduisait son peuple, fier Aragorn, vers la Terre du Milieu dans Le Seigneur des anneaux, de Peter Jackson. Aujourd’hui, il enfile pour David Cronenberg, avec lequel il a tourné trois films et non des moindres, la panoplie du patriarche Sigmund Freud. Enlaidi, vieilli, ironique, mâchouillant son cigare et disséquant l’inconscient de ses partenaires (Michael Fassbender et Keira Knightley), Viggo Mortensen impressionne. « J’avais vu Freud, passions secrètes, de John Huston, dit-il. Montgomery Clift y était saisissant. J’estime que Clift fut bien plus que Brando le génie de l’Actors Studio. » Mortensen, lui, est un as de la zen attitude, un passionné serein, un modeste à qui tout réussit.
Далее-здесь...Если будет время,завтра рискну попробовать перевод..Коли надо??
Отправлено: 29.12.11 22:06. Заголовок: A Dangerous Method ..
A Dangerous Method
"A Dangerous Method is so strange and unnerving precisely because the world it depicts is, for better and for worse, the only one we know." (A.O. Scott, NY Times)
Viggo Mortensen (Eastern Promises) and Michael Fassbender (Shame, Hunger) star as Sigmund Freud and Carl Jung in a film depicting their contentious episode with patient Sabina Speilrein (Keira Knightley). The latest from director David Cronenberg, A Dangerous Method portrays the epic rivalry between Jung and his mentor Freud, capturing the birth of their groundbreaking theories and eventually the disintegration of their collaboration as it plays out through Jung’s relationship with Sabina Spielrein, the brilliant, beautiful, and disturbed young woman who slowly overwhelms him.
David Cronenberg. 2011. 93 m. R. Canada/Germany/Switzerland/UK, English/German. Sony Pictures Classics.
Отправлено: 30.12.11 12:10. Заголовок: Oscar predictions: B..
Oscar predictions: Ballots are out!
Yesterday the Academy of Motion Picture Arts and Sciences mailed its nomination ballots to 5,783 voters. So where do things stand in the Oscar race? Not much has changed in the last week, but here are my current predictions in the six major races.
BEST SUPPORTING ACTOR 1. Christopher Plummer, Beginners (last week: 1) 2. Kenneth Branagh, My Week With Marilyn (last week: 2) 3. Albert Brooks, Drive (last week: 3) 4. Jonah Hill, Moneyball (last week: 5) 5. Nick Nolte, Warrior (last week: 4) 6. Max Von Sydow, Extremely Loud and Incredibly Close (last week: 6) 7. Armie Hammer, J. Edgar (last week: 7) 8. Ben Kingsley, Hugo (last week: 8) 9. Patton Oswalt, Young Adult (last week: 9) 10. Viggo Mortensen, A Dangerous Method (last week: — ) 11. Andy Serkis, Rise of the Planet of the Apes (last week: 10) 12. George Clooney, The Ides of March (last week: 11)
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