- 22 hours ago
Tom Hiddleston platica sobre su trayectoria como actor a lo largo del tiempo. En este episodio, cuenta el momento más surrealista de su carrera, la primera vez que le pagaron por trabajar como actor, cómo fue grabar una película con efectos especiales y sobre la pieza de dirección más extraordinaria que ha tenido. ¡Descubre a lado de quién fue!
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Por más de 50 años, GQ ha sido la guía de moda y estilo de vida para el hombre contemporáneo. Considera este canal como tu espacio para entretenerte con las últimas noticias del deporte, consejos de moda y cuidado personal, lo mejor de la cultura pop, eventos culturales y todas tus celebridades favoritas.
No olvides suscribirte a GQ México y Latinoamérica para más contenido: https://www.youtube.com/c/gqmexicoylatinoamerica
ACERCA DE GQ
Por más de 50 años, GQ ha sido la guía de moda y estilo de vida para el hombre contemporáneo. Considera este canal como tu espacio para entretenerte con las últimas noticias del deporte, consejos de moda y cuidado personal, lo mejor de la cultura pop, eventos culturales y todas tus celebridades favoritas.
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LifestyleTranscript
00:00It was an extraordinary time.
00:01It remains a very special memory for me,
00:03the experience of making that first film,
00:04because I had never worked on that scale before.
00:08I'd never done a film with visual effects before.
00:10I'd never done a film with a stunt department.
00:13Working at that capacity and doing wire work and action
00:16sequences, it was just a thrill.
00:18I remember just being awake and alive every day of that job.
00:24Hi, my name is Tom Hiddleston, and this
00:26is the timeline of my career.
00:30The Life and Adventures of Nicholas Nickleby
00:33Are you both ready?
00:35Ready.
00:37Ready.
00:37Oh my goodness, he went deep.
00:39Deep cuts.
00:40The Life and Adventures of Nicholas Nickleby.
00:42I remember I was playing Lord Number Two.
00:48It was made in the summer of the year 2000.
00:52I was still studying as an undergraduate
00:57at the University of Cambridge, and it was in my summer break.
01:02Yeah, I must have been 19.
01:04And I had four days work, and Lord Two was a member of the group
01:11of rather foppish and debauched young men who were in the company
01:16of Sir Mulberry Hawke, who is a rather rakish character in that novel, played in this adaptation
01:23by Dominic West.
01:25I was required to drink a lot of wine and eat a lot of food, and I learnt a very profound
01:31and important lesson about filmmaking on my very first day.
01:35We shot what is known as an establishing master shot of the entire scene at about 12.30pm.
01:42In this said master shot, the direction was, okay, everybody else, just eat as much as
01:47you can and drink as much as you can.
01:49I hadn't had anything to eat for about six hours.
01:51I thought, I'm starving, and all I have to do is eat as much as I can.
01:55And this is brilliant, and I ate almost this entire lobster salad or fish salad or whatever
02:02it was in the first take, and the director called cut and said, fantastic, this is great,
02:07Tom, fantastic.
02:10And we broke for lunch, at which point I felt rather full and thought, okay, that's enough
02:13of that.
02:14Came back, said, right, we're now moving into coverage.
02:17And the continuity supervisor came up to me and said, so Tom, in the master you ate almost
02:23the entire plate of fish salad and you took eight gulps of wine, and you now have to match
02:28your continuity for the rest of the day.
02:30And I thought, oh my God, oh my God, and nobody had told me.
02:36So I spent the entire day having to eat exactly as much as I'd eaten in the first take and
02:41learnt a very important and profound lesson about continuity on that day.
02:46But it was an extraordinary job, I suppose.
02:48I had never been paid to work as an actor before that day.
02:53I'd always acted for fun, it was my hobby as a schoolboy and a student.
02:58I was very, very nervous.
03:00And then I couldn't wait to see it, and it took months and months and months for it to
03:02come out.
03:03And then, of course, I was only in it for about 30 seconds.
03:05It's the story of my life.
03:07And your death came by the son of Odin, Thor.
03:17I spent 2008, by sheer coincidence, working as an actor alongside Kenneth Branagh.
03:25We did a television series for the BBC called Wallander.
03:32And then after that, I had done, again, by complete coincidence, a play with Ken.
03:37So I'd had this experience of working with him as an actor, and it was during the run
03:40of Ivanov that Kenneth Branagh announced that he was going to direct Thor.
03:48And I remember running up into his dressing room, and I had an empty water cooler in my
03:53hand, and I said, it was a sort of way of congratulating, and I was pretending it was
03:56Thor's hammer.
03:57It was completely absurd.
04:00And anyway, months later, the word got out, I suppose, that they wanted to find an unknown
04:06or two unknown actors for the lead roles.
04:10And the casting directors, Randy Hiller and Sarah Finn, to whom I am forever indebted, called
04:16me in, because I was six foot two, and had blonde hair, and there were all sorts of roles
04:23in this that I might be right for.
04:25And I remember, it's well known now that I did a screen test for the role of Thor.
04:30But at the end of that long process, they decided I would be better suited for Loki,
04:35and it was the most life-changing moment for both myself and Chris Hemsworth.
04:40Two weeks later, we were all in the same room, and reading scenes together, and laughing,
04:45and then Ken sent us off to go and train.
04:50He wanted to spend some time with Natalie Portman, working with Jane Foster, and so he
04:53said, Chris and Tom, go and train together.
04:55There are some tree trunks in the garden for firewood, so we were lifting these tree trunks.
05:01And it was summertime, we went for a swim, and I remember it was when we were swimming,
05:05we both, Chris and I, looked at each other and thought, wow, we are two of the luckiest
05:08guys in the world.
05:11And we became firm and fast friends, and it was the beginning of a long, extraordinary
05:16adventure in the world of Marvel, and Asgard, and the MCU.
05:21You were an innocent child.
05:23No.
05:24You took me for a purpose.
05:26What was it?
05:31Tell me!
05:3530 guineas isn't nearly enough to purchase a horse as fine as your joey.
05:39I know that, but it's all I've got.
05:44Will you listen to me, Albert, to be my own mouse?
05:47War Horse was the most unlikely scenario in my recollection, and it was kind of like
05:55a dream.
05:56I was so familiar as a British actor with the extraordinary success of War Horse as a piece
06:02of theatre at the National Theatre in London.
06:04And it was the most extraordinarily touching, purely theatrical experience.
06:08And I heard they were going to make a film of it, and I think that Steven Spielberg had
06:12been to see the production and thought, this would make a great movie.
06:15I think I was in the middle of making Thor, and I was invited to put myself on tape and
06:19send an audition, and I thought, well, there's no way I'm possibly going to get this, because
06:25it's Steven Spielberg, and he's one of the greatest filmmakers alive, and working today
06:31and kind of the architect of my childhood imagination, and it just seemed so impossible and unlikely.
06:37And I got a telephone call informing me that Steven Spielberg would like to meet me.
06:44And at first I thought it was some sort of prank, but nevertheless, it was real.
06:48And so I drove over to his offices at Amblin, which was surreal anyway.
06:57So I met him, and he was just curious to know about my life as an actor and where I trained
07:02and stuff, and then he just said, well, I'd love you to do it.
07:06I think I said something like, are you sure?
07:08Really?
07:09He said, well, yeah, if you'd like to do it, I'd love you to do it.
07:13And I said, yes, I would love to.
07:15I remember thinking, right, I've got to learn how to ride a horse really well.
07:20And that became my project for the whole summer.
07:23So it was quite a very exciting summer, because it's something about working with animals
07:27as noble and peaceful and intelligent as those horses.
07:31And when we did that cavalry charge.
07:33Charge!
07:34Good luck, my friends.
07:43There was a phalanx of, I think, 30 horses in formation, and we were chasing a camera
07:49suspended on what's called a Russian arm, which is a mobile mechanical crane, which you
07:54can suspend off the back of a 4x4, and galloping at full tilt chasing the camera.
08:01I thought to myself, this is an unrepeatable experience.
08:04This is something I'll never forget.
08:07The cavalry charge was basically real, and the only thing that wasn't real were the
08:14bullets in the machine guns on the other side.
08:16It was a, yeah, it was a completely unforgettable day.
08:20Spielberg gave me the most extraordinary note, which, for that, he said, the camera's going
08:26to pan across your face, and so it'll come, it'll start around your, I think, my left shoulder
08:33and come across, across this way.
08:37And as you feel the camera settle in front of you, I want, I basically want you to start
08:43with everything you've brought, all the courage and determination that Captain Nichols has
08:47in this moment.
08:48So it's almost like a war face, you're a warrior and you're confident of your convictions
08:53and you have no fear.
08:56And then as the camera settles, how old are you, Tom?
08:59And I said, I'm 29, he's okay.
09:03When I say action, I want you to be 29, 29, 29, 29, 29, war face, and as you feel the
09:08camera settle, I'd like you to de-age yourself by 20 years, so you're nine.
09:13Show me the boy.
09:14And I was like, I just thought that was the most extraordinary piece of direction I'd ever
09:19received, really.
09:20It was just so honest and intuitive and immediate and, yeah, very, I'll always, I'll never forget
09:30that.
09:33It was such an extraordinarily ambitious idea and kind of breathtaking in its daring and
09:46in its vision.
09:47The experience of making it was a long summer in 2011.
09:50What felt like an extraordinary relay race of people doing a lap of the track and then
09:54handing the baton on to the next actor who would do a lap of the track.
09:58And all of us wondering and hoping that our best efforts would coalesce into something
10:03that would feel fresh and exciting.
10:05I remember there were some very exciting days on set when everybody was together.
10:09And I thought, wow, look at these actors in these costumes.
10:14And they've got such different energies.
10:17The actors themselves had such different energies, which was so exciting to see in contrast.
10:24And to see Robert Downey at that time where he was with Tony Stark and Chris Evans where
10:29he was with Captain America and they would face off.
10:31Or to see Mark Ruffalo invent the Hulk in that particular way and Scarlet was taking Natasha and
10:37Black Widow in a direction that maybe hadn't been explored before in Iron Man 2.
10:40And Chris Hemsworth too, like coming straight off the back of Thor and feeling really confident
10:45about maybe both of us feeling more confident about who Thor and Loki were.
10:49And I remember when it came out and seeing it for the first time and thinking this is so fun.
10:57And the structure of it just seemed to work.
11:00It was that shot of the six of them when it tracks around them and the Hulk roars.
11:05And I remember watching it, I think, at a screening in New York and the people just cheered spontaneously.
11:11And I remember thinking, phew, okay, okay, it's, it's, it's, uh, it works.
11:17And then also cheering when I got Hulk smashed, which is very satisfying.
11:21And I will not be bullied by that.
11:30What are you doing?
11:30I thought you might need some help.
11:31How did you get here?
11:32I walked.
11:33You walked?
11:34Yes.
11:35Yes.
11:36I've seen worse.
11:37Okay, you are crazy.
11:38The Night Manager has, has come around.
11:41A brilliant novel by John le Carré about a former soldier who, with a complex internal
11:48world, who works as a night manager of a very expensive hotel.
11:56And there was something in the character presented this immaculate exterior, which seemed very difficult
12:02to determine what was going on behind it.
12:04I had this idea that it might be fun to go to a hotel and ask a real hotel manager what
12:10their experience was like.
12:12And they were very, very open to the idea.
12:15So I went to this hotel in London and they said, they said, would you like to just shadow,
12:19come and shadow the night manager for a night?
12:21So I turned up and I was wearing a suit and I realized the importance of how they turned up.
12:26They are, they are pristine the way, the way the uniform is pressed and prepared and the tie is
12:32just so and the tie pin and the hair is just right.
12:35It's almost an act of the most effortless diplomacy.
12:38You have to, it's like theater.
12:40There's a stage where the action is happening and there's a backstage where there's a whole
12:44team of people who are making sure that the show, I suppose, is running well.
12:48I remember at night people would come up to me behind the desk and I would give them their
12:52keys and stuff and there was, I was absolutely not recognized.
12:55It was only in the morning at dawn around sort of seven o'clock,
12:59people starting to come down for breakfast and they'd hand in their hotel keys and say,
13:02thank you so much.
13:03And it's been a bit, it's been such a lovely stay and do a kind of,
13:08are you, anyway, it's been a very nice, thank you so much.
13:12It's been very nice to, uh, to stay here.
13:16You look very familiar.
13:17Oh, it's, I'm, I'm sure, I'm sure I do.
13:19Well, anyway, thanks.
13:21It was a kind of, they were kind of double taking.
13:22And, um, and then a very, a funny thing happened when we were filming The Night Manager in,
13:28uh, Marrakesh in Morocco.
13:31We were filming in a working hotel.
13:33And so there were real guests at the hotel with real lives and,
13:37and we were a skeleton crew shooting on long lenses.
13:40And there was one shot in towards the end of the evening at about 11 o'clock.
13:44I guess some real guests came back from having had a nice dinner and, um,
13:50um, they wanted to get their key and they came up to the,
13:53they didn't see the cameras or the microphone or any, any of the lights.
13:56And they came into the lobby and, and said, um, yes, uh, room 303, please.
14:03And I said, absolutely, sir.
14:05And be, uh, there we are, and gave them their key.
14:08And they went up and, and it was all in, in camera and the crew were very tickled by it
14:13because it was sort of life and art merging.
14:17Um, but it was, it was a, it was a very, very, um, rewarding job, The Night Manager.
14:25Unforgettable too, for all sorts of reasons.
14:27Betrayal is, strangely enough, I remember reading it when I was a student at drama school.
14:39I sort of was in the library one evening looking for another play and it popped out
14:44and I wanted to read it because I thought it just seemed like such an interesting,
14:48it was a short play with an interesting title.
14:51And the construction of it is so brilliant.
14:55I loved doing it.
14:56I had a really meaningful experience doing it.
14:59I played Robert and we did it in London, um, for 12 weeks, I think,
15:07in the spring of 2019.
15:08And, and we got called up by the producers and, and they said,
15:12would you like to take this to Broadway?
15:13And I had never done theater in New York.
15:16And to be invited to perform this, um, very brilliant play on Broadway,
15:20right in the heart of the community on 45th street at the Jacobs,
15:25was a huge honor.
15:26And, uh, just the sheer energy of Broadway, the sheer numbers of people who move through
15:32those streets and make connections in different ways is, uh, is a very powerful idea, actually,
15:38and I can't wait for it to come back.
15:40It doesn't plead.
15:43Look, this has been a very enjoyable pantomime, but I'd like to go home now.
15:47Well, you know, what's interesting about Loki is every time I've played him,
15:51it's almost like playing a chord on the piano.
15:55And then it goes out into the world and it echoes around the audience and the readers and the fans,
16:03and it kind of comes back, and it comes back with new tones in there.
16:08And maybe it's a few extra little grace notes.
16:10And so what Loki means to people continues to deepen and change.
16:15And that, what I found so interesting about playing him is that my first encounter with him was as a
16:20younger brother in a family who felt misunderstood and betrayed and had lots of vulnerability and
16:26distress.
16:28And then every time I've been invited back, you think, well, I don't want to do the same thing
16:31I did last time.
16:32And so you'd start digging around more in the source material in the comics and in the old stories.
16:38And there's just so much in there.
16:40I mean, he has so many different facets.
16:42And one of the things I think I've found most interesting about Loki, he's a shapeshifter.
16:47He is the quintessential trickster, a mercurial spirit who is flexible and fleet-footed.
16:57And you can't pin him down.
16:58You don't know whether you can trust him.
17:00You don't know what his motivations are.
17:02You don't know why he's doing what he's doing.
17:05He's committing acts of provocation and transgression and disruption.
17:10And across the films, actually, Thor is always asking him,
17:13what is it you want, Loki? Why? What do you really want?
17:19And I'm not, I've always asked myself, I wonder what he does want.
17:23And I wonder if he even knows.
17:24And so the question for me now is, behind all the masks that he wears,
17:31is there an authentic self there that he is aware of?
17:34Does he even care to know?
17:36Is he interested?
17:37If he isn't, is there a situation that might confront him with it?
17:41And might that impel any kind of change?
17:45And that, in itself, is a kind of human question.
17:47It's, you know, can we change?
17:49Are we capable of change?
17:51Do we know who we are, really?
17:54Do we think we know who we are?
17:55Do we care?
17:56All that stuff about identity and self-knowledge is,
18:01when you're playing with a character as complex and rich as Loki,
18:04is that becomes a really, a really interesting, dramatic question for an actor to play with.
18:09So I've enjoyed that enormously.
18:12That's a lot of stuff to comb through.
18:14And thank you for watching.
18:15That was the timeline of my career.
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