- 22 hours ago
Tom Hiddleston es originario de Londres, comenzó su carrera estudiando actuación en la Royal Academy of Dramatic Art y después apareció en algunas obras de teatro. Su debut en la pantalla grande fue en la película Unrelated en el 2007. A partir de esto ha tenido la oportunidad de trabajar con grandes directores como Guillermos Del Toro y Woody Allen. Tom Hiddleston logró fama internacional a partir de su interpretación de Loki en las películas de Marvel. Sin embargo, ha logrado protagonizar todo tipo de papeles en The Night Manager un espía internacional, en Kong: Skull Island un soldado, además fue el narrador en el documental Earth At Night In Color. Es considerado uno de los actores más influyentes en el Reino Unido en este momento, próximamente aparecerá en la serie The Essex Serprent de Apple TV.El actor nos contó sobre sus papeles más importantes, en este recorrido por su trayectoria cinematográfica Hiddleston nos cuenta sobre sus diferentes papeles, nos platica como cambio su vida después de Thor, su relación con los directores con los que ha trabajado y sobre los retos a los que se ha enfrentado al interpretar estos personajes.
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00:00Loki was, yes, a comic book villain and somebody with magical powers and someone
00:10who had to, these emotions had to read on a big scale but also if you boiled it
00:16down there was something very very kind of human about his, about the things he
00:20was his grievances. Thor, 2011, directed by Kenneth Branagh, four months of
00:33auditioning I think in 2009, a big leap, a big leap for me from making very small
00:40films in the UK and working in the theatre and suddenly in the next Marvel
00:48Studios picture after Iron Man. It was, it was a moment of adjustment and a moment
00:57a kind of just, I felt like I'd won the lottery and it was kind of, it had a, the
01:04whole thing had a very special atmosphere. I had worked with Kenneth Branagh before, we
01:15had acted together in a television series on the BBC called Wallander and we had
01:20also acted together on stage in London in a Chekhov play called Ivanov. This is my
01:26first time being directed by him but we had a, we had a kind of understanding as
01:31actors and I felt very grateful to him that he had, it was able to somehow
01:38support my casting to the studio. It was a kind of amazing and extraordinary and unprecedented
01:43process of working on a project of this scale, working with a stunt department and working
01:52with visual effects on blue screen and green screen on sets the size of which I had never
01:58seen. But I was a fan of these movies too and I, and it was such a, a joy for the first
02:03time to be inside the process. But rather like any, any process of making a film, in
02:09the end it comes down to the atmosphere you create together as actors and trying to tell
02:18a story and trying to tell it with, you know, which is interesting and complex and sort of
02:24recognizable emotion and hopefully it's funny and it's moving and it's touching and
02:29it, it's kind of, it connects with people and I could see from the first scripts that
02:33the story was really, there were two stories almost. One was a, was on this epic, spectacular
02:41canvas. Asgard, a shining city in the sky with a rainbow bridge and a kind of intergalactic
02:51energy that connected it to other universes, that transported characters to new worlds and,
02:56this was, this was a world of gods and monsters, a world of, from myth and legend. And we knew
03:03the film had to deliver on that scale, but inside it was a very small drama about a family,
03:10about a father and two sons. Ken Branagh sitting us down and saying, actually this is what the
03:15film is, is it's about this family and a father, two sons, their mother, and there are all sorts
03:23of, uh, fractures. If that happens to be the family, um, the royal family at the top of the
03:30universe, there's a very, very high stakes. But ultimately they'll still have the same very
03:37relatable, very accessible family dynamics as any, as any family on the planet. And so that
03:41became a very interesting psychological thing to explore about. A triangle of Odin and his two
03:48sons, Thor and Loki, and Loki's sense of being marginalized or, or less favored than Thor and
03:58why that should be. Was it just because he's the younger brother and therefore won't inherit
04:04the throne and all that responsibility? And then Loki finding out halfway through the film
04:10that he's actually adopted and wasn't even supposed to be there and then feeling very betrayed and,
04:16and, um, and upset and, and it gives way to all kinds of, of vulnerability and, and anger
04:24and grievance and grief.
04:29Laufey's son.
04:34Yes.
04:39Why? You were knee deep in Jotun blood. Why would you take me?
04:43You were an innocent child.
04:46You took me for a purpose. What was it?
04:52Tell me!
04:54And that's when he becomes an antagonist in a way. And that's that Thor and Loki fragment and
05:00split off and become adversaries.
05:03I swear to you, mother, that they will pay for what they've done today.
05:08Loki!
05:09Thor!
05:11I knew you would return to us.
05:20Why don't you tell her how you've sent the destroyer to kill our friends, to kill me?
05:25What?
05:26Why, it must have been enforcing father's last command.
05:29You're a talented liar, brother, always have been.
05:32It's good to have you back.
05:34And all of that was really rich material, um, to, to get into, especially with these actors.
05:41You know, I remember that day that Loki finds out he's adopted and it's a scene in the weapons
05:48vault and it was a, just really, it was a very small scene in terms of its kind of structure.
05:57And on the day, Kenneth Branagh and Anthony Hopkins and I was there going, oh my God, working with
06:04Kenneth Branagh and Anthony Hopkins.
06:06Um, and I remember, also remember them kind of not able to talk to each other about how much
06:13they admired each other. So they came to me, which was quite sweet.
06:16Um, and, uh, Anthony Hopkins telling me how much he admired Kenneth Branagh and Kenneth Branagh
06:22telling me how much he admired Anthony Hopkins. I felt I was like a vessel for their, um, for their
06:26kind of, uh, sheepishness about, about being able to be honest about that. Um, but it was a big day and
06:33it was a big day of big devotion and, and, um, and I remember that scene became the anchor for the whole
06:39characterization. You know, it all makes sense now why you favored Thor all these years because no matter
06:46how much you claim to love me, you could never have a frost giant sitting on the throne of Asgard.
06:55Loki was, yes, a comic book villain and somebody with magical powers, um, and someone who had to,
07:06these, these emotions had to read on a big scale, but also if he boiled it down, there was something
07:12very, very kind of human about his, about the things he was, his grievances. And last but not least,
07:20my first film with Chris Hemsworth, with whom I made a very fast and, and, and firm friendship
07:26because we were playing brothers in this enormous thing. And, and, uh, it felt like we were brothers
07:32by the end in some way. He was the only other person who understood what the experience had
07:37been like. He was the only other person who, you know, I came back and friends of mine were like,
07:42how was it? And I was, it was always hard to explain. And there's one person who knows,
07:45and it was Chris. And, and, uh, we've always shared that really, because it's, uh,
07:50it's kind of a life changing moment for both of us.
07:52The first one, 2012. And it was the first big team up superhero film. And I remember reading
08:04the script and I was thinking, okay, there are six of them, Iron Man, Thor, Captain America,
08:09Black Widow, Hulk and Hawkeye. And there's one of me. And the way this film is structured is
08:17the Avengers have to win and we all want to root for the Avengers. And it was so brilliant because
08:22it was almost like Loki's, Loki's superpower, which is his mercurial shape-shifting and his capacity to
08:31manipulate situations, his wit, his charm, his sort of strategic intelligence is used to turn these
08:40individual characters against each other, um, initially so that he has the upper hand. And then in the
08:45second act, they actually all unite as a team to stop him. And I remember thinking,
08:52I've got to really lean into my, I've got to really lean into being a pure antagonist in this
08:58one. Um, because the balance of the film needs to be such that you just need Loki. Loki needs to,
09:05you know, I wanted the audience to cheer at the end when he gets Hulk smashed. And I think they did.
09:12Anyway.
09:21Enough! You are all of you beneath me. I am a god, you dull creature. And I will not be bullied by
09:29it.
09:29No!
09:38Puny god!
09:45It was a, it was an amazing experience because it was the first one and I think there was a sense
09:49of, with Robert and Chris Hemsworth and Chris Evans, that they were kind of almost relieved to
09:55to share the responsibility for carrying the film
09:58and a kind of uncertainty
10:01about whether we could all pull it off.
10:03When, I guess, the following spring in 2012,
10:07when the film came out and it kind of became what it became,
10:09we were all so honored, I guess.
10:12We were all so honored that it seemed to work
10:15and it seemed to connect.
10:17And that was a very special experience to share with them
10:21because the Avengers suddenly took,
10:25occupied a position in the culture
10:29which they went on to,
10:30they carried on to the second film and the third film
10:32and the Avengers are this team
10:35that everybody in the world has heard of
10:37and I was really honored that I was there
10:40kind of for the first go around.
10:43And they were all so kind
10:45and it was a fun team to be around.
10:48And what I've been amazed by is
10:50because I had a little break from the MCU for a bit
10:54while it expanded and it seemed to get,
10:57the MCU seemed to get braver
11:00and the film seemed to get bigger and more ambitious
11:03and with Doctor Strange and Black Panther
11:06and the characters from Wakanda
11:09and Ant-Man and the Guardians of the Galaxy
11:12and I was sort of watching from the sidelines going,
11:16I'm so proud of all these actors and what they're doing.
11:19This is great!
11:20Watching with my popcorn on the opening night
11:22and it was really fun to just feel a part of it in some way.
11:28And then it kind of culminates with Infinity War
11:31and Endgame where you see
11:36all these individual films
11:38and the threads of the Infinity Stones,
11:41it all kind of crystallizes in this moment
11:44of all the Avengers against Thanos
11:46and it was just such an extraordinary experience
11:49to be a part of.
11:52The rightful King of Jotunheim,
11:55God of Mischief,
11:58do hereby pledge to you
12:01my undying fidelity.
12:04What I always used to say is like,
12:19Taika took everything that had been built before
12:23and just added all of his own kind of sense of humor
12:27and style and the bells and the whistles
12:31and there were fireworks
12:33and he was able to respect what had gone before
12:37and say,
12:38but this is my reading.
12:40And it was so playful and so irreverent.
12:43It was just so fresh.
12:44And my first conversation with Taika was,
12:49look, three movies and Loki's always somehow manages
12:54to pull the wool over Thor's eyes
12:57and get him to trust him and then betray him.
13:00What if Thor was onto him?
13:02What if Thor wasn't gonna be fooled again
13:06and it was actually Loki who was on the back foot?
13:09And so Thor's like,
13:12okay, Loki, I get it.
13:13You get me to trust you, then you betray me, fine.
13:17You can keep playing the same tune if you like.
13:18I'm gonna go off and do this.
13:20And Loki's almost nonplussed by that.
13:23It's like, what?
13:24So the shtick isn't working anymore?
13:26I'm gonna have to think of something else.
13:28And that was really new.
13:30So in a way, Loki becomes the straight man
13:35and Thor's playing off that.
13:40And Loki has to think of another way,
13:43sort of a way of reinventing himself
13:45because it isn't working.
13:47And there's a great scene where Loki,
13:51they sort of need each other to get out of the palace,
13:54the Grand Master's Palace, played by Jeff Goldblum.
13:58And it works for a while
14:00and they form this kind of unstable alliance
14:02and then Loki betrays him again.
14:05And then Thor goes, it's not gonna work like that.
14:07And then Thor betrays Loki and then sort of stands over him
14:11and says, you know, you just never change, do you?
14:14Just the same over and over again.
14:16And Loki is so shocked by it.
14:18I know I've betrayed you many times before,
14:20but this time it's truly nothing personal.
14:22The reward for your capture will set me up nicely.
14:25They were one for sentiment, were you?
14:27Easier to let it burn.
14:29I agree.
14:30Yeah, it was just fun to kind of send up some of the things
14:41that I had played with such sincerity in the previous films.
14:45And Taika is, you know, he comes from a background
14:48of independent filmmaking and comedy
14:50and we improvised a lot.
14:52And I was really aware on that set
14:54of how kind of bonkers and funny this film was gonna be.
14:58And Chris was so released as well by,
15:01because, I mean, everybody knows by now,
15:03but Chris is hilarious.
15:05And he always has been ever since I met him.
15:10And he was kind of like, felt so free
15:12because Thor was kind of silly and, you know,
15:15there was a lot of a very endearing,
15:18very endearing goofiness to what he was doing.
15:22Just joining in in that atmosphere was really fun.
15:24And also that finally it sets him on a road to kind of maybe
15:32setting down some of the old tricks
15:36and some of the old ways of doing things
15:38and reflecting and thinking, well, maybe, you know,
15:42if I can't provoke my brother anymore,
15:44maybe I should join him.
15:47I really enjoyed that, that ultimately the death of his father
15:53and the threat to his home.
15:55He's like, you know, I'm gonna miss,
15:58who am I without Thor?
15:59I'm gonna, if Thor is destroyed and Asgard is destroyed,
16:03I don't know who I am.
16:04So maybe I should be there.
16:05I should help them.
16:06I think it's really touching.
16:08I hope in a very unsentimental way.
16:10I mean, you didn't think I'd really come and see you, did you?
16:15This place is disgusting.
16:20Does this mean you don't want my help?
16:22Look, I couldn't jeopardize my position with the Grand Master.
16:24It took me time to win his trust.
16:25He's a lunatic, but he can be amenable.
16:27What I'm telling you is you could join me
16:29at the Grand Master's side.
16:30Perhaps in time, an accident befalls the Grand Master,
16:34and then what I love about Loki the series is,
16:47it's the Loki you know in a world you don't know.
16:50This is the Loki who's mischievous and witty
16:52and charismatic and playful and transgressive
16:57and disruptive and broken and vulnerable and angry
17:01and betrayed and jealous and fractured
17:04and all these things, the whole cocktail.
17:07Someone who you can't trust, ever the trickster.
17:11But he's always someone who's somehow been in control.
17:14And he's suddenly in a world where he has no control.
17:17He's in a institution, a bureaucracy called the TVA,
17:22the Time Variance Authority.
17:24And they are an organization who have been tasked
17:29with the order of time.
17:33Reality unfolds as it should,
17:35according to its predetermined decisions.
17:46Please sign to verify this is everything
17:47you've ever said.
17:49This is absurd.
17:54Sign this too.
17:55And Loki's a character who basically inhabits
18:00the idea of chaos.
18:01And he's up against a bureaucratic institution
18:04that inhabits the idea of order.
18:06And you put those two together.
18:09And that's where we start.
18:11So therein lies the drama.
18:16You picked up the Tesseract breaking reality.
18:20I want you to help us fix it.
18:22Why me?
18:25I need your unique Loki perspective.
18:28Do I get a weapon?
18:29Nah.
18:31It is adorable that you think you could possibly manipulate me.
18:39And I love that about him.
18:40So suddenly you strip Loki of all the familiar stuff.
18:44Asgard, Thor, green, gold, helmets, magic.
18:48It's all gone.
18:49And you put him in a world where he's out of his comfort zone
18:52and destabilized and completely confused.
18:55And I really enjoyed seeing how he's almost confronted
19:00with having to find a new way through.
19:03And I hope that everyone is as excited by it as I was.
19:07I was so surprised and delighted to be asked to be involved in this.
19:30Jim had been writing a film for a while, I think, for about five or six, maybe seven years.
19:38It was really a film about a long-term relationship.
19:42And the two people in that relationship happened to be vampires.
19:46And so if you've made a commitment to be with someone, with one person for the rest of your life,
19:56but the rest of your life is forever, how does that change your commitment?
20:02And Jim and Tilda were long-time friends and collaborators.
20:12And he had very much written the part of Eve with Tilda in mind.
20:18And he just needed to find his Adam.
20:20And I remember meeting Jim in New York.
20:24He just kind of pitched me the film.
20:25He was like, so there's Adam and Eve, and they're vampires, but they're vegetarians.
20:31And, you know, so they have, like, a deal with a doctor at a hospital
20:35who can get them the right blood, you know, and they really like the good quality stuff.
20:39And it was just so, it was such an amazing idea anyway.
20:43And he said, you know, Adam is, like, he's an artist and he's a musician.
20:48And he's younger than Eve.
20:51Eve is, like, 2,000 years old, and Adam is only 500 years old.
20:56But they're together and they love each other.
20:58But Adam lives in Detroit, and Eve lives in Tangier.
21:21And it's a kind of, sometimes they spend time apart because he likes to go and make music
21:31on his own.
21:31And he's kind of unhappy.
21:36He's inclined to the sort of, the heaviness, the spiritual heaviness of the romantics,
21:44a pure romantic, somebody who feels everything.
21:46And can, maybe perhaps he's even a little bit depressed, and he feels kind of burdened
21:54by the weight of the world on his shoulders.
21:56And that, you know, that life is unfolding, reality and things happening on Earth are not
22:02going well.
22:03And he has a heavy heart.
22:06But it's a pure one, and it's an honest one, and it's kind of got this quite childlike sensitivity.
22:13And Eve is much wider and deeper and broader, and that she can contain him.
22:18I think it's called Only Love is Left Alive for a reason.
22:21It really is about love and the power of real love and the endurance and durability of it
22:28and how strong it is if it's real, and that true love is about acceptance and accepting
22:34somebody else for everything they are.
22:37And they're both artists.
22:39They both have this appreciation for literature and art and music and the finest things.
22:45And I learned a lot, not just about filmmaking from both Jem and Tilda, but also just about
22:52life.
22:52There's an amazing line that Eve says to Adam when he's feeling a bit low and she needs
23:05to kind of pull him out of the place he's at in his mind.
23:10And she says,
23:11How can you have lived for so long and still not get it?
23:20This self-obsession is a waste of living.
23:27It could be spent on surviving things, appreciating nature, nurturing kindness and friendship.
23:38And dancing.
23:45And as advice goes, I don't know if you can get better than that.
23:51And then they put a record on and it's Denise Lassalle, the record called Trapped by a Thing
23:59Called Love.
23:59And they dance and they smile and they fall into each other's arms.
24:03And I just thought, yeah, it's a project that's very close to my heart, that one, for all
24:09kinds of reasons.
24:14Crimson Peak.
24:15Guillermo del Toro.
24:17This was, you know, again, it kind of came out of nowhere.
24:20I suddenly got a call saying, you know, I was, I think I was in North America anyway.
24:29And they said, could you fly to Toronto next weekend to meet Guillermo del Toro?
24:34And I was like, sure.
24:35And I got on a plane and I met Guillermo.
24:38And he kind of met me straight off the, I arrived at the studio straight off the plane.
24:41And we sat down and had a cup of coffee or something.
24:47And he pitched me this film, a gothic romance, in the manner of the great gothic romance novels
24:53of English literature, Jane Eyre, The Mysteries of Udolpho by Anne Radcliffe.
24:59He mentioned Bluebeard.
25:01There was a trope, essentially, in literature at a certain time where a young and pure-hearted
25:09heroine would meet a tall, dark stranger who lived in a big house on the hill.
25:16And they would fall in love.
25:18And then it turns out that tall, dark stranger was not as pure-hearted as perhaps she first
25:23thought.
25:23And maybe there were some skeletons in the closet or in the basement.
25:27And this was kind of a literary trope in that time.
25:34And he wanted to use that to make a version of that sort of film, but with a different
25:39sort of ending.
25:41The ghosts, rather than being somehow metaphorical, would be real.
25:47And he'd be using the same techniques and craft and makeup to bring these ghosts from
25:55the past to life that he had used in his other films, particularly Pan's Labyrinth and
26:02The Devil's Backbone.
26:02And it had a much more, actually, quite a feminist inclination.
26:06You know, the heroine played by Mia Vashakovska, my second time working with Mia, after Only
26:14Love is Left Alive.
26:14She absolutely takes charge of her destiny in this.
26:20Good morning, miss.
26:22Forgive the interruption.
26:24I have an appointment with Mr. Carter Everett Cushing.
26:27Goodness, with the great man himself.
26:29I'm afraid so.
26:29Sir Thomas Sharp-Arenet.
26:35He'll be here shortly.
26:38You're not late, are you?
26:40He hates that.
26:41Not at all.
26:42In fact, I'm a little early.
26:43Oh, I'm afraid he hates that, too.
26:45The film is about Edith's agency.
26:48And I play the tall, dark stranger who at first appears to be elegant and charming and full
26:54of promise and kind-heartedness.
26:56There's a few secrets in his past and a sister that hasn't been accounted for, played by Jessica
27:05Chastain.
27:05Guillermo's knowledge of his craft, of the world of literature, of the world of Gothic romance,
27:12of cinema, of acting, of filmmaking, is encyclopedic.
27:18And simply being a part of his crew was such a pleasure and a privilege because he knows pretty
27:29much how to do every single job.
27:31And his kind of authority over his vision is total.
27:36And the attention to detail, the precision with which he works.
27:39He understood that, you know, people do things for the reasons they have and perhaps they're
27:46not aware of them.
27:47But sometimes, you know, characters make bad choices.
27:50But there's always a kind of emotional logic.
27:52So Thomas Sharp, a baronet, somebody who had inherited this crumbling mansion on a hill
28:01in northern England, who seems to be one thing and then is revealed to be another.
28:09And the one thing that people may know about working with Guillermo is he writes very long
28:16and detailed biographies of each character.
28:19So when you're working with Guillermo, he submits you with a typed, almost novella, of your
28:26character's life before the film starts.
28:29So you have this whole biography, a whole integrated psychology.
28:33You think, well, the reason, you know, the reason he's like this is because this happened
28:36to him when he was a child and he was sent away to this, you know, to this aunt who lives
28:40on the coast and she didn't make nice food and she was abusive and all these kind of details
28:44which were so informative.
28:49Goodness, how many rooms are there?
28:56I don't know.
28:59Would you like to count them?
29:03What do you think?
29:05Does it look the part?
29:06It does.
29:08Although it's even colder inside than out.
29:11I know, it's a disgrace.
29:12We try to maintain the house as best we can, but with the cold and the rain, it's impossible
29:17to stop the damp and the erosion.
29:19And also that set was, I remember we were in a studio in Toronto and Allardale Hall is the
29:29mansion that the Sharps live in.
29:31And he built a set that was on three or four stories, I think it's one of the biggest soundstages
29:39in North America, so we had to be there to fit the set inside it.
29:43And so that when you go upstairs, you would actually go upstairs and when you walked along the landing,
29:48you could play, if somebody was on the ground floor, somebody could be on the third floor
29:52landing and you'd play these.
29:54It was like a real house.
29:56And there was one detail I remember that the plaster of the wallpaper was cracking.
30:04And if you looked closely, the cracks in the plaster spelt out a word and the word was fear.
30:11And he said, no one's ever going to catch that on camera.
30:15I just want you to know that it's there.
30:17And I thought, this guy is just, you know, when do you get that?
30:21You know, it was a really interesting journey to play that kind of archetype from gothic romance.
30:33Archipelago, Edward, written and directed by the great Joanna Hogg, who really I owe everything to.
30:41She was the first director who gave me a job when I left drama school.
30:45It was an extraordinary first film for me because Joanna almost invented for herself a new way of working,
30:56which was to take a script which had a story which went from A to Z or A to Z.
31:03And she decided to film it or shoot it chronologically.
31:08And most movies and films are shot out of sequence.
31:11And the actor's job is to know where you are in the story because you're, you know,
31:17each piece of the jigsaw puzzle isn't in sequence.
31:19Whereas this was going to be, we were going to start at the beginning and finish at the end.
31:23And we lived through the make the story in sequence.
31:29And we improvised, even though the order of the scenes was the same,
31:34we actually improvised within the structure of the scene.
31:38And it could run for very long takes and very wide shots.
31:51You look just like Dad with that one.
31:53You do.
31:54Weird.
31:54It's the right way around.
31:56No, it's the right way around.
31:58Yeah, it's the right way around.
31:58An archipelago is a collection of small islands scattered in a body of water.
32:05And they are, the archipelago in the film is the Isles of Scilly or the Scilly Isles,
32:11which are about 25 miles off the coast of Cornwall in the UK.
32:15So very far south, on the way into the Atlantic Ocean.
32:20And the location is where these older children, Edward is one of them,
32:26are, they're going off for one last family holiday.
32:30But you realize that the family itself is an archipelago.
32:34And each member of the family is an island in a group scattered in a body of water.
32:40And they're not quite connecting.
32:43All the actors live in the house where the characters live.
32:47And it's interesting.
32:49I think the effect is one of, you start to do things authentically
32:54and do things on camera in a very unaffected way.
32:57So if a character goes to make some eggs or make a cup of coffee or a cup of tea,
33:01because you're actually living there all the time,
33:04you do it, you're almost not acting it anymore.
33:06And similarly, in a very unusual way, we started at the beginning
33:12and we improvised our way through the whole story.
33:15It was kind of an extraordinary tuition in the honesty of film acting,
33:22which I owe to Joanna,
33:23because she loved the naturalism of the way real life is.
33:28It gave me a lot of insight into the kind of discipline
33:33that actors have to have about the truthfulness of what they're doing.
33:36I want one night to see her before I go,
33:38before I go away for 11 months.
33:40I don't know what's going to happen.
33:42Are you going to split up?
33:44No, we're not going to split up.
33:46Okay.
33:46I don't know what we're going to do.
33:48I mean, actually, frankly,
33:49it would have been nice to have had her here with us now.
33:52I don't really see why she couldn't have come.
33:55She couldn't really come here, could she?
33:56Because it was like a family holiday.
33:57Edward in Archipelago was almost the first in a line of characters
34:05of people who felt, which I can only sort of tell looking back,
34:09is characters who felt that they were somehow misunderstood
34:14or slightly isolated within their own family.
34:18And it was quite strange,
34:19because I remember shooting Archipelago
34:21just before I went to Los Angeles
34:24to start making the first Thor film.
34:25And there were these strange connections
34:28I started making between Edward and Loki,
34:30which were that they're both siblings
34:32and they both feel misunderstood by their parents.
34:35And they're completely different films.
34:38I mean, the idea of Loki turning up in Archipelago
34:40is a puzzling one.
34:43Or the idea of Edward turning up in Thor
34:45with a kind of scarf blowing in the wind.
34:48You know, it's kind of a fish out of water.
34:50But weirdly, I was kind of playing in the same territory psychologically,
34:57which is an interesting thing at the time.
35:01The Deep Blue Sea.
35:03We made it in the late fall, early winter of 2010,
35:08directed by Terence Davis
35:10and starring Rachel Weisz and Simon Russell Beale.
35:14And it's based on a play by Terence Rattigan.
35:19It's a very moving portrait of a woman
35:24who is trying to leave a very fragmented marriage
35:29and moving into an affair with a younger man
35:33in London in the 1950s
35:37in the wake of the Second World War.
35:39And she falls in love with a young bomber pilot
35:44called Freddie Page, who I played.
35:47She feels slightly stranded between two men
35:49who offer her different things.
35:52It's really a film about unrequited love
35:54and or the ways in which we misunderstand each other
35:59in our attempts to love.
36:01Terence Davis is a very poetic British filmmaker.
36:05And I found Terence very sensitive and caring and kind
36:09and his knowledge of the perspectives of these three people.
36:14He was very attentive to both,
36:16to Rachel and to Simon and to myself
36:18and understood that there really are no villains.
36:22Characters singing in pubs
36:23is almost a signature piece for Terence Davis
36:25because he remembers as a child growing up in Liverpool
36:30that in those years after Britain was not an easy place to be
36:37because so many of the cities had been ravaged
36:40by the Second World War
36:41and communities had been diminished
36:44and the economy had taken such a hit
36:47and the 50s were quite hard for people to get through.
36:49But he remembers as a child at a certain time of night
36:52walking past the local pubs
36:55and people would go to the pub
36:57and they would sing together as a group act.
37:00And so almost in the Terence Davis thing
37:03to have people singing in pubs.
37:04And I loved that aspect of the filming.
37:08They sing a Joe Stafford song called
37:10You Belong To Me.
37:11Just remember darling all the while
37:17You belong to me
37:21And I think in the film, if I remember,
37:26it blends into them dancing together
37:29and having a very, very close intimate moment
37:33which is almost about the poignancy of being alive.
37:37They're so happy to be alive
37:39and I think Freddie feels so privileged
37:42that he was one of his number in the Royal Air Force
37:48to come back and that he's made it out.
37:52And to your second point,
37:53I think that's why he's so angry
37:55is because there's a moment where Hester,
37:58Rachel's character,
37:59makes an attempt on her own life
38:01which is unsuccessful
38:03and Freddie is so enraged
38:07that she could be so careless with life
38:10but he also doesn't have the sensitivity
38:11to contain her anxiety in that moment
38:14and in his anger
38:17you suddenly see all of his war trauma
38:21that actually he hasn't been able to unpack.
38:25I know that I'm going to die
38:30Just accept that it isn't your fault
38:33It really isn't, Freddie
38:34You can't help who you are
38:36I can't help what I am
38:37Well, I'm not carrying the can for this old darling
38:40No dice!
38:41I'm not the villain of the piece!
38:42No one is saying you all!
38:44Haven't you read what I wrote?
38:46I'm not blaming you!
38:48I was the one who wanted to wait for the divorce
38:51You didn't
38:52You jumped that particular fence
38:54Now, I never gave myself a big build-up
38:56You knew exactly what you were getting
38:58Yes
38:59I knew the risk I was taking
39:00and I took it!
39:01Oh my God!
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