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Archive for the ‘David Tennant’ Category

Sono indecisa fra barare oppure no in questo turno, perché il mio attore preferito (sempre parlando di hic et nunc) è più che altro un attore di teatro e televisione, quindi devo vedere quale titolo scegliere. La mia indecisione è fra due lavori, uno lo conoscono tutti (ma è più propriamente un film), l’altro merita un po’ di pubblicità (ma non so se rientri davvero nella categoria). Per non parlare della differenza di peso dei due ruoli nei due film. Vabbé, per ‘sto turno baro un pochetto.

Hamlet di Gregory Doran

Hamlet è la trasposizione per la BBC dello spettacolo della Royal Shakespeare Company (mica pizza e fichi). Non sono riprese dal palco, è proprio realizzato a mo’ di film. La storia è sempre quella (con qualche spostamento e taglio pensato), costumi moderni (indimenticabile la t-shirt del principe), set suggestivo e abbastanza minimal. Il punto di forza (oltre, ovviamente, allo splendido copione) è il cast di attori di prim’ordine. David Tennant meraviglioso nel ruolo di Amleto, ma si può sentire il talento aleggiare sulle teste di tutti: Patrick Stewart, lo zio (e il padre), Penny Downie, la madre, Mariah Gale, Ofelia. Simpatico Olver Ford Davies, Polonio. Odiosi Guildestern e Rosencratz (ma è il ruolo ruolo, no?).

Qual era l’altro film che ho spodestato al posto di questo? Harry Potter e il calice di fuoco. Io amo i film di quella saga, ma non hanno per niente bisogno di altra pubblicità e inoltre David Tennant fa la parte di Barty Crouch jr, quindi si vedrà per un totale di 5 minuti.

Torniamo all’Amleto. David è per me il protagonista perfetto. Con un solo sguardo riesce a comunicare tutto. Ricordo che, vedendo per la prima volta la prima scena in cui appare (senza sottotitoli, quindi capendo un po’ e un po’) osservavo i suoi occhi da pazzo (perché è la prima caratteristica che mi ha colpito di quell’attore) e mi dicevo: “Questo sta per sbarellare”. Non ricordavo la storia, ma nella scena dopo è a terra a piangere. David Tennant è perfetto perché è brillante ed incredibilmente intenso e per essere Amleto è quello che ci vuole. Un pazzo intelligente, ma travolto da cupi pensieri.
Sguardi in camera, corse, lacrime, gente coi piedi sulle sedie. Fantastici monologhi, scene che fanno venire i brividi, che spaventano, che affascinano.

Indicazioni per la visione:
Il problema è che questo film non esiste in italiano. In realtà aggiungerei fortunatamente perché, per quanto bravo potrà essere un doppiatore, dubito che potrebbe raggiungere certi livelli di recitazione. Quindi va visto in lingua originale.
Solo per il fatto che si tratta di Amleto vale una visione. A questo si aggiunge ciò che ho già detto.
Molto teatrale, poco cinematografico, ma è quello che doveva essere.

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Auguri a tutti!

Non disdegno il Natale, ma devo dire che più volte mi viene da dire “il Natale fa schifo” in questo periodo dell’anno. Ormai non lo sento più arrivare, non c’è l’attesa dei regali (anche perché me li compro io e poi vengo rimborsata e non è esattamente una cosa nello spirito natalizio). Il problema del Natale è che ti fa sentire obbligato a festeggiare ed essere buono, affettuoso, legato alla famiglia… ma se il tuo spirito è diverso da così (per un motivo o per l’altro) ti senti in colpa e ti deprimi. E la depressione Natalizia è diffusa proprio perché ci si aspetta di sentirsi come in un film per bambini o in una pubblicità della Mulino Bianco. Dannazione!

Nonostante ciò, non mi chiudo in proteste contro questa festa, faccio comunque gli auguri a chiunque passi di qui! Ecco un po’ di video/immagini a tema natalizio

🙂

 

 

 

 

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Quando ho scoperto (via twitter, grazie a Nathan Fillion) che Joss Whedon aveva in serbo qualcosa a proposito di Much ado about nothing non ci potevo credere. Mi piace Shakespeare (sono piuttosto ignorante in merito, non ho visto/letto molto, ma mi piace) e sapere che Joss Whedon, quel geniaccio, aveva preparato una nuova versione di un’opera shakespeariana mi ha sorpresa ed esaltata. E, ciliegina sulla torta, Nathan Fillion interpreta quel folle di Dogberry.

Ecco un’intervista al regista/sceneggiatore dal sito Rookie.

For anyone who has the nerve to be enthusiastic about things, a species I believe is commonly called “nerd” or “geek,” Joss Whedon is like a living embodiment of that presidential slogan about hope. A person might be laughed at in high school for reciting self-motivational mantras with rocket-ship metaphors, but these are the people who have the will and creative juices to go on to make great things, great and thoughtful and awesome things like Buffy the Vampire SlayerAngelFireflySerenityDr. Horrible’s Sing-Along BlogDollhouse, the upcoming Avengers movie, and now, a semi-modernized version of Shakespeare’s Much Ado About Nothing. Here, Joss talks about that homemade project and things of feminist concern, helps me get over myself and my attitude problem about school, and displays the wonderful knowledge and interestingness you gain when you have the nerve to be enthusiastic about things. And so, vote for Obama in 2008! Or…what? I don’t know what I’m saying anymore. Read the interview. Bye.

TAVI: Hi.

JOSS: Hi. I’m so sorry that I’m super late.

Not a problem at all. I’ll just jump right in then.

All right, let’s do this.

So The Avengers was like this huge superhero production, and really exhausting, I would imagine. After making it you should’ve taken a vacation, but instead you made another movie. I wanna know why, and what’s wrong with you.

There is something horribly wrong with me. I admit that fully. I’m not exactly sure how it happened. I was in New York at the end of the shoot ofThe Avengers, in the beginning of September. It had been about seven months since I’d slept for a full night. I was so crazed, and Kai, my wife, and I were talking about the vacation we were gonna take for our 20th anniversary of bein’ sweeties. We had October free, so we were going to Venice. Then we started talking about Much Ado—neither of us can remember how it came up. And Kai was like, “You know what? Make the movie. Venice isn’t sinking that fast.” I said, “Honey, there’s no way I can adapt the script and put it together in a month.” She’s like, “Yes, you can.” So I started talking to people about it. Then I realized how much work it would be and I was like, I have gone insane. This is a terrible idea. But at that point I’d already started getting people to commit, so it was like, I gotta put my head down and do it. It’s one of the weirder decisions I’ve ever made and absolutely the best.

That’s good.

Yeah. What if it turned out the other way!

That would suck.

It was exhausting, but it was the kind of exhaustion that feeds you and makes you strong. I mean, I’m very excited about The Avengers, and I hope people will be like yay! for that film, but you know, you make a movie like that piecemeal, a tiny bit at a time, and then you assemble those pieces, and half of what’s going to be great about the movie is not even built yet, because it’s special effects. And then I get to do this other thing, where I’m shooting by necessity about eight to 10 pages a day of just…meat. All the interactions, all the dialogue, all the silly, all the fun, all the visuals—they’re all there. They’re accomplished by the end of the day. You don’t go, “Oh, excellent! We got him walking into the room. Tomorrow he’ll say a word.” It’s a completely different experience.

You’ve worked with a lot of the actors in Much Ado before, and you filmed it in…I believe I read 12 days? on a shoestring budget and in a single house. Does that kind of seat-of-your-pants spirit come through in the movie at all or will it be like The Avengers: Shakespeare Edition?

[Laughs] It definitely will come through—though hopefully not so much that people go, “Wow, this looks like they shot it fast!” But yeah, it is literally homemade. ’Cause it was my house we shot it in.

Oh, wow!

Yeah. My wife designed the house. She’s an architect. That was another reason we finally decided to make the movie. I was like, I have the space, the whole movie takes place in one location. And I happen to live in it, and it happens to be beautiful. I mean, I’m in love with that house. My only regret was that we didn’t have any kind of rigs or steady cams or anything like that, so I couldn’t move from space to space as much as I wanted to. Because part of what’s beautiful about that house—and what I like about a film—is the flow.

I heard that you used to throw these, like, Shakespeare parties at your house.

They were Shakespeare readings. Shakespeare parties sounds like we all get in the big collars and quilted hose and dance to a lute. It’s just people showing up and reading. We started it years ago with some of the Buffy andAngel people—actors and writers and friends—and it turned into a huge monster of fun. Everybody just enjoyed each other enormously, learned about the text, got to pretend, got to show off a little, and got to make fools of themselves. Then it kinda died down for a while, because we had kids, and everything dies down when you have kids. But during its most fertile period, we did Much Ado with Amy [Acker] and Alexis [Denisof], and it became clear to me that if I was ever going to shoot a version of that play, this is my Beatrice and Benedick. They had both done an enormous amount of Shakespeare onstage, and they were the kind of people that even when they had tiny little parts, they would just blow it up, and not in a show-offy way. When they read Beatrice and Benedick, they were just delightful.

That’s kinda perfect.

It all happened very organically.

Did filming Shakespeare feel different from your normal supernatural and superhero stuff, or did any of the super-blanktactics come in handy?

The most interesting thing to me was that it’s not that different. When you do Shakespeare, you have the burden of trying to make it all make sense. ’Cause some of it just doesn’t necessarily track. But there’s a way that it does, and you sort of have to find that. So I’m like, well, what’s up with Margaret? What’s up with Borachio? And why on earth would Don Pedro say this this late in the scene when it’s already been said? And one by one you figure out these problems, and you go, well, wait a minute, there’s a lot more here than I realized. And what I figured out was that my version of Much Ado is just exactly the way I make my shows and my [superhero] team movies. Everybody gets to step up and explain why they’re there. They get to have their moment, you know, that explains why in their world, they’re the center of this universe. Everybody gets to shine. They are all heroes. Especially Hero.

We have to read a bit of Shakespeare this year, and we did Romeo and Juliet last year, and I had a bit of trouble with it. It’s hard to read and appreciate something when it’s an assignment for school. Any ideas on making it easier? Did you like Shakespeare in high school?

Oh my god yes. Literally my favorite subject. I loved what he had to say, I loved all the darkness, I loved all the strangeness. Hamlet is my favorite—that would be no surprise to anybody who’s hung out with me. But I also found sometimes that I needed someone to interpret it for me. The best thing is to see it. Because there are certain things that don’t make sense until you really understand the context. I would always read a play before I saw a film of it, and I remember reading Henry V before I saw [Kenneth] Branagh’s version, and going, OK, this doesn’t make any sense to me at all. Then I saw the movie and saw, A, where it did make sense and I had missed it; and, B, where Branagh used the fact that it didn’t make sense to create his own emotional through line. Both of those things were life lessons for me. He’s great at making clear to an audience what he’s saying and what he’s feeling, and sort of going beyond the text and saying, here’s why they’re talking about this odd thing in the middle of this very emotional scene. And there’s a good deal of that in my Much Ado. A good deal of finding not just the point of the scene but the life beyond it.

I guess part of it is ’cause the plays are written to be performed. I think my favorite thing about what I have read of Shakespeare is how theatrical it is. Especially A Midsummer Night’s Dream.

He’s playing to an audience, he’s not playing to a reader.

Your Much Ado is a modernized version, right?

It’s modernized in the sense that it takes place today, or in a sort of nethertime. I mean, there are definitely iPhones about, everybody’s dressed rather elegantly, a lot of suits. This was a purely artistic consideration and had nothing to do with the fact that we had no budget and it was BYO costumes [laughs]. But we decided Leonato is clearly like a politician, and he lives the life of an extremely rich politician. One of the things we added is that he has what I refer to as a court photographer, who’s always just there, taking pictures, because everything in the play is a big event, and very important people are always having their pictures taken during big events. But also, the way she’s looking at everyone, and the way we’re looking at everyone—which is very often through glass or in a reflection or distorted—and the way they’re all looking at each other and not really seeing each other is very much kind of the point of the thing. Also, they’re all super drunk, not gonna lie. We sort of referred to it as the Kennedy compound. They’re very privileged, and they party very hard. They’re not responsible people. And everything they do in the play is evil, irresponsible, or just plain ridiculous. So it kind of makes sense that they’re all a little bit in their cups.

Is there anything in it that you think would appeal especially to A Teenage Girl?

It is the first romantic comedy, in the modern sense. Two people who can’t stand each other who are perfect for each other. All the greats—His Girl FridayThe Cutting Edge—all the great romantic comedies have built off of that premise to some extent. There’s a lot of humor. There’s a lot of romance.

I think Beatrice is one of the great female characters that Shakespeare ever wrote. She is extraordinarily witty. And generally speaking, Benedick—he may get the last word in the play, but not generally around her.

There is also an element where everybody behaves like a bunch of teenagers. Status is everything, and everyone’s always forming little cliques and either turning against or trying to help other people, and gossip nearly destroys Hero and tears everything apart. It is a very fraught little world that would be recognizable to anyone who’s ever been in a school.

What I’m saying is, the villain in Much Ado is gossip.

“Everyone’s a hero in their own way” diceva proprio uno dei personaggi di Joss, come lui nell’intervista. Impossibile non pensare ai personaggi di Firefly (che attualmente fanno da sfondo al mio blog) nel discorso sugli eroi e sul fatto che ognuno è in un luogo per un motivo.

Devo decisamente leggere l’opera originale. E, se non ho avuto informazioni errate circa l’uscita, a febbraio devo assolutamente comprare il dvd dello spettacolo di Tennant/Tate su Much Ado.

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Cinema 2011

Cosa c’è in questo video? Un po’ di tutto direi, scene da un sacco di film di quest’anno (sono tutti di quest’anno?). Ne ho visti un bel po’ e molti me ne mancano, un buon numero da noi non è ancora uscito.

Tra quelli che appaiono nel video consiglio (in ordine di apparizione/riconoscimento):
Harry Potter (pefforza)
Drive (un paio di cose non mi hanno convinta, ma è un film davvero interessante e particolare)
Real Steel (adorabile. Svolgersi della trama non particolarmente originale, ma davvero carino)
Mr Beaver (pretenzioso, ma carino)
Super 8 (molto americano, ma il gruppo di ragazzi mi è piaciuto molto)
Lanterna Verde (non è stato molto apprezzato, ma dopo aver visto quella palla di Captain America per me è stato divertente)
Carnage (gran bel film!)
Super (un film di tutti i generi)
Hannah (amo la fotografia di Joe Wright)
X Men: l’inizio (bel gruppo, affascinante scoprire le origini)
Green Hornet (la prima parte è un po’ noiosa, ma poi si riprende)
I guardiani del Destino (si fa più che vedere)
The Conspirator (stile tradizionale, molto interessante)
Il Debito (mi aspettavo un mattone e invece…)
Rango (molto ben fatto)

Sconsigliati:
Captain America (che palle)
I tre moschettieri (a dir poco osceno)
Larry Crowne (insulso)
Immortals (terribbbile)
Transformers 3 (io odio Michael Bay)

Inaspettata apparizione di David Tennant a 4:28 XD (Fright Night  l’ho trovato un po’ noioso)

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Il discorso della Tate prima dello spettacolo di Much Ado About Nothing, il giorno in cui David Tennant non ha potuto partecipare perché senza voce.

Ladies and gentlemen, as I’m sure you’re aware this is not the usual start to the show. As some of you may or may not be aware, David lost his voice yesterday and was unable to perform. Unfortunately he is unable to perform tonight. [audience member: Never mind then] Never mind. Never mind, we’ve just got Matt Smith. Um… [audience member: We’ve still got you] What? [We’ve still got you] You’ve still got me. Can I just say your reaction there was extremely generous and very understanding and I really thank you for that because I expected the roof to be raised and myself to be pelted with things. I can guarantee you will have a wonderful night. We have a wonderful production for you. The knock on effect of David being off means that the part of Benedick tonight will be played by an actor called Alex Beckett who took to the stage last night and was well received. As I’m sure you’ll understand it is no mean feat to come out on a West End stage and fill, you know, David’s shoes. He does it in spades and the audience last night was delighted and loved him as I know you will too. That being said, you’ll hate me. No, that being said, the knock on effect to that is Alex usually plays the part of Borachio. That part will now be played by a wonderful actor called Leo Starr. That part, he usually plays the part of the messenger, that part will now be played by a wonderful actor called Joshua Berg. And there will be a quiz during the interval to see if you remember.

I think that’s all I can say. The very important thing I need to say is David feels wretched at letting people down but he simply has no choice, because he has no voice. And that rhymes and I didn’t mean to. Anyway, I will stop now. And the other thing I will say, Catherine Zeta-Jones went on for her understudy for 42nd Street and the next night she was a star. So watch out for Alex Beckett.

Catherine’s speech before the 30 August show of Much Ado About Nothing

http://skyefall.tumblr.com/post/9607892371/ladies-and-gentlemen-as-im-sure-youre-aware

Io amo questa donna!

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Io adoro questa canzone. E qui ci sono due video STREPITOSI (per i whovians in particolare, ma fantastici in generale).

La prima vede la sfida fra Ten e Eleven. Il montaggio è magnifico!

Il secondo è una scenetta con John Barrowman (il nostro Capitano Jack). Mitici!

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Per l’ultimo giorno mi umilio più del solito. Condividuo un video che ho girato con un’amica. E’ stato pseudo-improvvisato, nel senso che avevo trascritto il testo e avevo guardato la scena più volte, ma non eravamo sicure di farne un filmato… era solo per divertirsi all’ultimo Lucca Comics dove abbiamo fatto il cosplay del Dottore e di Rose. E’ stato un po’ deludente perché ovviamente nessuno ci ha riconosciuto. Ho ancora un TARDIS ancora in costruzione nel box, spero un giorno o l’altro di finirlo.

Ecco a voi la scena di Blink dell’Easter egg!

Non è che sia il massimo come filmato per vari motivi: Movie Maker ha forti limiti per il montaggio, la mia recitazione è talvolta imbarazzante, la versione italiana della scena del telefilm è comunque meno bella dell’originale. Nonostante ciò è stato divertente!!!

E già che ci sono, metto un altro video girato la stessa sera. E’ un mix di serie tv con David Tennant. 🙂

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