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@темы: фото, Benedict Cumberbatch, Richard III, bts, "The Hollow Crown"

Cumberweek #18


Продолжались съёмки четвертого сезона "Шерлок"

05.05.2016

Арвел Вин-Джонс в своём твиттере

A Cumberknuckle!





07.05.2016

Завершились съёмки первой серии четвертого сезона "Шерлок"


07.05.2016.

В эфире первая серия второго сезона "Пустой короны".

Бенедикт появится только на следующей неделе.

@темы: Benedict Cumberbatch, cumberweek

Съёмки первой серии 4-го сезона "Шерлок" завершились.


Rachel Talalay@rtalalay
Treat #400 (partial) from the brilliant camera department Alex. Thanks to an amazing team. #Sherlock221B @StuartDoP






Mark Gatiss@Markgatiss

@темы: Sherlock, Sherlock BBC, setlock, Sherlock-4

А может ещё и ничего?

@темы: "Star Wars"

будет жить молодой Хан Соло.



А я улетаю в другую far-far galaxy.

ЗЫ: я понимаю, дерево тоже надо уметь сыграть. Причем так талантливо сыграть дерево. Но..... Но не Хан это, не Хан!!!!!!!!!!!!!!!!!!!

@темы: "Star Wars"

Это реально - cute!

@темы: фото, Martin Freeman, Sherlock, Sherlock BBC, Benedict Cumberbatch, setlock, Sherlock-4

cumberbweek #17

25.04.2016.

Продолжаются съёмки 4-го сезона "Шерлок"

Сетлок 25.04.




26.04.2016

Сетлок 26.04.




27.04.2016

Сетлок 27.04.




28.04.2016

Сетлок 28.04.




01.05.2016

Новые стиллы из "Пустой короны"

@темы: Benedict Cumberbatch, cumberweek

Интервью с Софи Оконедо.

Sophie Okonedo plays Margaret



How were you approached about taking part in The Hollow Crown?
I’ve known Dominic Cooke for a long time and have worked with him before. He asked me if I wanted to play Margaret. I had seen Richard II from the first series and loved it. I’d never read the original plays until I got Ben Power’s adapted scripts. What attracted me is the power of the stories and the words. It was a no-brainer.

What did you think of Margaret?
I was surprised I didn’t know about the character before. I don’t have a huge knowledge of Shakespeare - I’ve done a bit but not loads. I’m more familiar with the famous plays. I was amazed that there was such an extraordinary character. She becomes extraordinary throughout the whole cycle but one play on its own wouldn’t give you a sense of who she really is.

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What role does she play in the stories?
She’s quite strong in the beginning but she doesn’t realise how Henry is going to behave until she gets to England and spends some time there. She realises that she has to take charge all the time because he’s got quite a spiritual nature and finds it hard to be forceful. The crown was thrust upon him at a very young age, so he’s very different from his father. She’s had to fill the gap and steer the ship to what she feels is the rightful place: Henry on the throne and the Yorks in charge.

Is she frustrated with the politics of the day?
She is particularly frustrated at the beginning because Gloucester seems to have such a powerful influence and Henry is treated like a child. They’re married so she feels he should be allowed to rule, with her alongside him. She feels a lot of the people around him are unruly and don’t treat him like a King, as they would have done with Henry V. She’s very unhappy about the situation she finds herself in. It’s not what she dreamt when she was on the boat coming to marry the King. She’s very savvy and has a quick instinct. She’s fearless, particularly for that time as a woman. She’s… got balls.

What’s it been like being on location?
It’s been very helpful going around all the castles in England and Wales. The words give you everything though. I could be on a bare stage and give you the words.

We’ve been like travelling gypsies. There’s a different energy to each film. I’ve got The Hollow Crown Episode One people, the Episode Two people, and the Episode Three people. They’re each quite separate groups and I’m in each group. There’ve been lots of really good nights out around the country in different hotels. Sam Troughton did a quiz night, which was really good.

The War of the Roses is essentially a family feud, with intensely familial relationships.
That’s always the case with Shakespeare, or at least with the bits that I’ve done. People are always the same, no matter what the period is. The same thoughts and feelings, inconsistencies and ambiguities still occur and Shakespeare goes to the heart of that.

What do you think Dominic’s brought to the table?
Dominic is my all-time favourite director anyway, so working with him on his first TV film is fantastic. I’ve seen his previous projects and I’m a massive fan of his theatre work. He’s a person that I would say yes to absolutely anything he asked me to do. Also, he gave me the top part in this, so it was a double whammy! He’s intensely intelligent, coupled with a great instinct for humanity and what it is to be human, the human condition. He pours all that into his work. It’s always done with the utmost authenticity. He’s also a decent chap and quite a laugh. All of those qualities are probably why he’s got the cast he has, because a lot of people know him. I just can’t imagine another director getting this cast, but it’s because a lot of people simply want to work with him.

First of all, it’s Shakespeare, Ben Power adapted it and it was very well received last time. You know when you do this that so many people will see it around the world because people study Shakespeare and they’ll be doing it for another generation. And Dominic doing it makes it incredibly exciting.

I’m glad we’re doing the whole thing. It’s a whole story. My character is the only one that runs through all three films so it’s great to have that continuity of having the same director. Benedict was saying it has been great for him to play Richard all the way through. It’s not often you get to do that. You can really get to see who he was and how he started. The same is true of Margaret. In a scene that’s often cut, in Richard III, you see her as a madwoman running along, but you don’t see how she got to that place.

Did you look at the real history?
With this, it was all about the words. I didn’t look into the real history because it was so different. I just made sure I understood all the words. The words give you the character. I looked at things about war and battles and the stress of battles and of death. I looked a little at the meaning of royalty in those days. But I really just went with the text and made sure I really understood everything about every word I said. I let the words and the energy of them guide me.

Did you go back to the play after reading Ben’s adaptation?
Occasionally I went to a speech of mine in the original, just to see what happened between the lines and see the imagery that was used. Mostly I just stuck with Ben’s sсript and didn’t get caught up in the history.

Does it inspire you when you’re working with actors of this calibre?
I think it brings quite a lot of relaxation. Everyone knows what they’re doing and they’re at the stage in their career when they’re no longer trying to prove things. It’s a relaxed atmosphere because you’re working with the best, and everybody is there to serve the play. It’s quite a laugh too, which is important to me - I love the work but it’s important to have a laugh as well. It’s been brilliant working with Benedict. I’ve known him for years anyway and have worked with him before. He’s pretty much the same as he was back then. He’s a great actor and really good casting for Richard III.

Have you worked with Tom Sturridge before?
No but I love working with him. He’s brilliant and a genius actor. We have a really good working relationship - I can throw anything at him and he’s really loose. That’s the way I like to work. I like things to be free. We get on very well and suit each other.

It’s a difficult part to play, challenging, but he makes it look really easy. He makes it look like there’s no other way of playing it, which is when you know someone’s really good. I believe everything he does. It’s a really interesting part, especially the way they’ve shaped it with Benedict. I don’t know how it was in the original. I think he’s got an interesting journey. The way I’m playing Margaret, she really loves him and is just a bit disappointed sometimes with his behaviour. I do try to put love into every character I play.

What are your hopes for the audience and introducing it to new viewers?
I just really hope people watch it. That’s the main thing. I hope that people watch it who perhaps wouldn’t have watched it the last time round. Another good thing about Benedict is that he’ll bring a whole audience that wasn’t there before. I hope they watch the ones before he comes in!

Does it inspire you when you’re working with actors of this calibre?
I think it brings quite a lot of relaxation. Everyone knows what they’re doing and they’re at the stage in their career when they’re no longer trying to prove things. It’s a relaxed atmosphere because you’re working with the best, and everybody is there to serve the play. It’s quite a laugh too, which is important to me - I love the work but it’s important to have a laugh as well. It’s been brilliant working with Benedict. I’ve known him for years anyway and have worked with him before. He’s pretty much the same as he was back then. He’s a great actor and really good casting for Richard III.

Что вдохновляет Вас, когда вы работаете с актерами такого калибра?
Я думаю, что это приносит довольно много расслабления. Все знают, что они делают, и они на той стадии их карьеры, когда они больше не пытаются что-то доказать. Это спокойная атмосфера, потому что вы работаете с лучшими, и все они здесь для служения пьесы. Это также много смеха, что очень важно для меня - я люблю свою работу, но очень важно, чтобы хорошо посмеяться. Это было блестяще работать с Бенедиктом. Я знаю его в течение многих лет, так или иначе, и работала с ним раньше. Он в очень мил, как и раньше. Он отличный актер и очень хороший выбор для Ричарда III.

@темы: Benedict Cumberbatch, "The Hollow Crown"

Чем ближе день премьеры, тем больше ВВС нас радует.

Пресс-релиз и интервью с ведущими актерами из второго сезона "Пустой короны"

Интервью с Бенедиктом Камбербэтчем




Benedict Cumberbatch plays Richard III

How did you connect with the character?
In terms of tackling the real historical figure versus the fictionalised version in Shakespeare, I think we’re smart enough as audiences that the two can coexist.

The sсript does all the heavy lifting. Richard tells the audience about how wrong he feels in his body, about being dejected and overlooked, and about being unable to be part of a royal courtly life with the Plantagenets.

In medieval England if you were not born perfect you were often drowned at birth. It was a terrible social taboo. In Shakespeare’s story, Richard is fostered at a distance from the Kennedy-like family of perfect specimens. There’s very little care for him. His deep-seated anger and hurt leads to his ambition and everything we know of him. That was our way into humanising him.

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Do you see Richard III as a villain or as an antihero?
His arc is hugely brilliant. In Richard III he gives a speech about how he’s going to go and kill the king, Henry, and how this ties into his feelings about himself as a disabled man. I think that humanises him. As an actor you have to flesh out your character. You can’t pantomime with the daggers and the looks, because that gets really dull.

There’s such humour in other moments where Richard relishes his plans. He’s an antihero because he lures us in. He’s very funny, hopefully. Audiences don't necessarily side with him but they revel in his villainy! I also don't want to burden Freudian analysis onto him and make him more understandable. I don’t want to say, ‘Oh, he’s just a victim of this cruel world. Oh, what other choice did he have?’ Of course he had choices. He very clearly makes the wrong ones and suffers the ultimate downfall for that.

What do you think of Ben Power’s scripts?
Richard III is often performed stand-alone, because you can mention it in the same breath as Macbeth and Othello, if not, say, Hamlet. It is a standalone of the histories in a way that the Henry VI’s aren't. What Ben has done is to create a sense of a through-line in the themes across the plays. He has created a real sense of urgency.

What’s it like to work with such a stellar cast and crew?
It’s exciting to see the talent you can draw due to the shorter engagement period. For example, it took Judi Dench a matter of days to film her scenes playing my mother, but to get someone of that ilk to do that on stage would be tricky, if not well nigh impossible.

History cycles are sometimes done, but rarely with the same director, and in this medium I can’t think of these plays ever having been done with the same director back to back like this. This series of The Hollow Crown is a continual drama rather than three separate films.

Dominic Cooke is an extraordinary director and someone who managed the Royal Court, one of our best-loved theatres, through a period of one of the best incarnations of new writing. He is so beloved in our industry, as well as being utterly brilliant, very kind and generous. You feel in safe hands.

It’s a winning element that we have the combination of Ben Power, the sсript-writer, along with Karen Hartley Thomas who worked on the prosthetics, with Dominic overseeing all.

What was it like working on location when shooting these scenes?
One of the joys of the job was an extraordinary heritage tour of Great Britain. It was a real honour for all of us to have access to these incredible parts of our history. It was awe-inspiring to be on these hallowed bits of preserved or ruined ground which these characters might actually have walked upon. The settings immediately create a sense of drama and scope.

What was like to recreate the medieval battles?
We were carrying around weapons of steel and aluminium, which were props but could still do a great deal of damage. We were fighting in fields and in rivers with water literally up to our chests. It was brutal.

The broadsword as a weapon could crack your skull open with just a glancing blow. It really is such a barbarous way to go about winning power. I’m in awe of it. The training was tough - all of us would come away from training looking shell-shocked and pale!

How do you reconcile the play with the historical Richard III, whose remains were recently discovered?
Physicality has always been at the centre of playing Richard III. He is very clearly described as being a hunchback with disproportionate legs. His physicality is there in the play and the sсript, in his own analysis and in other people’s name-calling. It is unavoidable.

On camera, anatomical accuracy is even more important because of the scrutiny provided by the lens. In the opening shots of Richard III we have the character topless, so you can see every detail of the curvature of his spine. It took me about 3-4 hours to put on the prosthetics. The weight of the silicone is incredible. It’s painted to match the skin tone and it looks distressingly real. By contrast, on stage Richard’s body has always been something to hide.

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источник

@темы: фото, Benedict Cumberbatch, Richard III, "The Hollow Crown"