Jesus loves me
Джерри расказывает о своей роли в мюзикле, о своих чувствах...
Россум тоже самое, и еще о Джерри и Патрике... очень интересное интервью, на английском...
читать дальшеChristine is but one part of the romantic triangle that drives Phantom’s story, and so it was vital that she share some serious chemistry with Butler and Wilson. “Gerry is very handsome; it wasn’t difficult,” she smiles. “But that’s on a very superficial level. Christine is a compassionate person, and she sees past the Phantom’s deformity. One of my best friends was born with a cranial facial deformity. She has had 24 operations to try to get to a point that she thinks is ‘normal.’ So [physical abnormalities] don’t scare me. I totally look past that and see the person inside, and Christine is the same way. That’s one of the reasons that I identified with her.
“And the chemistry between Gerry, Patrick and myself – the two of them are so charming and such gentlemen. At the time of the shoot, I was 17, Gerry was 34 and Patrick was 30. Gerry and I spent a lot of time together, and Patrick and I spent time together, but we were separate in our relationships. Patrick and I would go do something, and then Gerry and I would go do something.
“Gerry and I share a love of music, like the Phantom and Christine, so he took me to concerts at Royal Albert Hall. We went to see Ennio Morricone, who was great, and to some rock concerts. We attended Fashion Rocks, which was in honor of the Prince’s trust. Gerry and I also have personal sadnesses, which we shared with each other and bonded over – and that’s also similar to Christine and the Phantom. Those two are kindred spirits in a sense: Both are lonely people who very musical and creative. And as Christine has grown up – because the Phantom has always been her mentor and a father and empowered her creatively – their relationship has become something sexual, and part of that stems from their passion for music.”
So, which was tougher – The Day After Tomorrow or Phantom? “Phantom” Rossum replies. “The Day After Tomorrow was more physically difficult, even though Phantom involved many corsets. But emotionally, it was harder dealing with the things Christine goes through. It was so overwhelming and challenging to distance myself from that. I took those feelings home with me – at night, on weekends, even weeks after.”
Butler offers his point-of-view on the influence Dracula 2000 had in landing him The Phantom of the Opera. “There were six films playing at this cinema, and Joel had seen all the others, so he said, ‘We might as well go and see Dracula,’” Butler explains. “That’s the story he tells me, anyway! It just goes to show that one character, one movie, can influence someone.”
This screen Phantom has more heart and pathos than his musical counterpart. That isn’t a critique of Crawford or any subsequent Phantom performers, but rather a result of Schumacher’s decision to beef up the role and fill in the details of the Phantom’s youth. “That’s a disconnect I had with the stage play, even though I loved it,” says Butler, whose genre credits also include Timeline, Reign of Fire and the second Tomb Raider (which he discussed in STARLOG #316). “I read the Phantom sсript, fortunately, before I ever saw the stage version, so it was completely fresh to me when I read Joel’s interpretation, which is more emotionally complex. When I connect with something, I already imagine myself playing that role, and I knew the direction and feeling I could give the Phantom.”
Unlike many of Butler’s previous roles, the Phantom is a pained figure, as scarred inside as outside. And much of that anguish had to be expressed through singing. “Most of my acting jobs have been tough, like the one I just did in Iceland [Beowulf and Grendel], because of the conditions or a tight schedule,” he says. “But Phantom was the most difficult because of the emotional journey. The actors who do it on stage, God love ‘em, perform eight times a week. I [played the Phantom] for six weeks, 15 hours a day, and I was insane, screaming, crying. I was really in that space, and a bit of a basket case by the end of it. So it was an emotional roller-coaster, and then, of course, there was the singing, which was added pressure. I would film all day and then still have to work on the songs and recording. And it kept getting worse, because my voice was becoming tired.
“There was so much I wanted to say through my singing, because I don’t normally get the chance to be physically and theatrically expressive. To me, the Phantom’s voice is about subtle movement, so I took movement classes to understand that better. I knew that my voice was my main means of communication, and I wanted to become as technically good as I possibly could. I wanted to hear the Phantom’s life story in every note, which I think weakens him up in the beginning. I’ve always felt that even his more seductive moments – including ‘Music of the Night’ – are tinged with pain. Like the Phantom knows this isn’t going to happen for him. It’s a controlled yet desperate attempt for something he realizes he can’t have. My first reaction to reading the screenplay was, ‘This is so sad.’ And then Joel said, ‘But this is so sexy.’ Somewhere along the way, we managed to get both elements in there, which was very exciting.”
“If you can do ‘Point of No Return’ – which is so heartbreaking, sexy, sensual, lusty and yet tragic. . . If you can feel both of those things at the same time, they’re almost like warring emotions. It’s similar to Billy Elliot, which gets you laughing and crying at the same time. That’s the experience I have when I watch ‘Point of No Return.’
“In the finale, when I looked into the eyes of Patrick – who is such an exceptional and truthful actor – I could see this man dying in front of me with nothing, and it broke my heart. And yet, I wanted to kill him,” Gerard Butler says. “I wanted to kill someone, but to be breaking your heart about it as well. That’s why playing these villainous characters is so fascinating to me.”
Россум тоже самое, и еще о Джерри и Патрике... очень интересное интервью, на английском...
читать дальшеChristine is but one part of the romantic triangle that drives Phantom’s story, and so it was vital that she share some serious chemistry with Butler and Wilson. “Gerry is very handsome; it wasn’t difficult,” she smiles. “But that’s on a very superficial level. Christine is a compassionate person, and she sees past the Phantom’s deformity. One of my best friends was born with a cranial facial deformity. She has had 24 operations to try to get to a point that she thinks is ‘normal.’ So [physical abnormalities] don’t scare me. I totally look past that and see the person inside, and Christine is the same way. That’s one of the reasons that I identified with her.
“And the chemistry between Gerry, Patrick and myself – the two of them are so charming and such gentlemen. At the time of the shoot, I was 17, Gerry was 34 and Patrick was 30. Gerry and I spent a lot of time together, and Patrick and I spent time together, but we were separate in our relationships. Patrick and I would go do something, and then Gerry and I would go do something.
“Gerry and I share a love of music, like the Phantom and Christine, so he took me to concerts at Royal Albert Hall. We went to see Ennio Morricone, who was great, and to some rock concerts. We attended Fashion Rocks, which was in honor of the Prince’s trust. Gerry and I also have personal sadnesses, which we shared with each other and bonded over – and that’s also similar to Christine and the Phantom. Those two are kindred spirits in a sense: Both are lonely people who very musical and creative. And as Christine has grown up – because the Phantom has always been her mentor and a father and empowered her creatively – their relationship has become something sexual, and part of that stems from their passion for music.”
So, which was tougher – The Day After Tomorrow or Phantom? “Phantom” Rossum replies. “The Day After Tomorrow was more physically difficult, even though Phantom involved many corsets. But emotionally, it was harder dealing with the things Christine goes through. It was so overwhelming and challenging to distance myself from that. I took those feelings home with me – at night, on weekends, even weeks after.”
Butler offers his point-of-view on the influence Dracula 2000 had in landing him The Phantom of the Opera. “There were six films playing at this cinema, and Joel had seen all the others, so he said, ‘We might as well go and see Dracula,’” Butler explains. “That’s the story he tells me, anyway! It just goes to show that one character, one movie, can influence someone.”
This screen Phantom has more heart and pathos than his musical counterpart. That isn’t a critique of Crawford or any subsequent Phantom performers, but rather a result of Schumacher’s decision to beef up the role and fill in the details of the Phantom’s youth. “That’s a disconnect I had with the stage play, even though I loved it,” says Butler, whose genre credits also include Timeline, Reign of Fire and the second Tomb Raider (which he discussed in STARLOG #316). “I read the Phantom sсript, fortunately, before I ever saw the stage version, so it was completely fresh to me when I read Joel’s interpretation, which is more emotionally complex. When I connect with something, I already imagine myself playing that role, and I knew the direction and feeling I could give the Phantom.”
Unlike many of Butler’s previous roles, the Phantom is a pained figure, as scarred inside as outside. And much of that anguish had to be expressed through singing. “Most of my acting jobs have been tough, like the one I just did in Iceland [Beowulf and Grendel], because of the conditions or a tight schedule,” he says. “But Phantom was the most difficult because of the emotional journey. The actors who do it on stage, God love ‘em, perform eight times a week. I [played the Phantom] for six weeks, 15 hours a day, and I was insane, screaming, crying. I was really in that space, and a bit of a basket case by the end of it. So it was an emotional roller-coaster, and then, of course, there was the singing, which was added pressure. I would film all day and then still have to work on the songs and recording. And it kept getting worse, because my voice was becoming tired.
“There was so much I wanted to say through my singing, because I don’t normally get the chance to be physically and theatrically expressive. To me, the Phantom’s voice is about subtle movement, so I took movement classes to understand that better. I knew that my voice was my main means of communication, and I wanted to become as technically good as I possibly could. I wanted to hear the Phantom’s life story in every note, which I think weakens him up in the beginning. I’ve always felt that even his more seductive moments – including ‘Music of the Night’ – are tinged with pain. Like the Phantom knows this isn’t going to happen for him. It’s a controlled yet desperate attempt for something he realizes he can’t have. My first reaction to reading the screenplay was, ‘This is so sad.’ And then Joel said, ‘But this is so sexy.’ Somewhere along the way, we managed to get both elements in there, which was very exciting.”
“If you can do ‘Point of No Return’ – which is so heartbreaking, sexy, sensual, lusty and yet tragic. . . If you can feel both of those things at the same time, they’re almost like warring emotions. It’s similar to Billy Elliot, which gets you laughing and crying at the same time. That’s the experience I have when I watch ‘Point of No Return.’
“In the finale, when I looked into the eyes of Patrick – who is such an exceptional and truthful actor – I could see this man dying in front of me with nothing, and it broke my heart. And yet, I wanted to kill him,” Gerard Butler says. “I wanted to kill someone, but to be breaking your heart about it as well. That’s why playing these villainous characters is so fascinating to me.”
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03.03.2005 в 00:12-
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03.03.2005 в 09:20Хотя, я не могу сказать, что на английском я хорошо изъясняюсь)
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03.03.2005 в 19:30EMENA молодец... ну ты все поняла?
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03.03.2005 в 19:32-
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03.03.2005 в 19:50-
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04.03.2005 в 00:48-
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04.03.2005 в 01:16