Sunday, December 20, 2009

British Actress Emily Blunt Reigns In "The Young Victoria"

Q&A by Brad Balfour

One of the great things about English actress Emily Blunt is that she carries no vestige of her characters beyond the set -- especially since she played the British Queen Victoria.

At her roundtables for The Young Victoria, she showed no royal imperiousness, no contempt of the masses, no unwillingness to answer questions that didn't please her. But her characterization of the youthful Victoria was so dead-on in the award-worthy The Young Victoria that you’d have expected her to be a royal pain.

It takes a fine actress to make interesting the story of a young princess who has basically been a prisoner in her own home, trapped by her mother, the Duchess of Kent and lover/consort, Sir John Conroy. When they try to force her to give control of the crown to her mother, she resists. On her 18th birthday, she becomes the Queen -- but the power really shifts to her once King William, her uncle, dies shortly after her birthday.

Of course, Blunt’s on-screen intensity is what makes the 26-year-old actor such a hit in the films she's made from her breakout role in The Summer of Love as a well-educated, cynical and deceptive 16-year-old beauty, Tamsin. She went on to have key parts in such films as The Devil Wears Prada, The Jane Austen Book Club, Charlie Wilson's War and Sunshine Cleaning but nothing has brought her to such public attention as this film about the English monarch who reigned the longest and changed her country's culture. Blunt's already been nominated for a Golden Globe and a BAFTA award for Best Actress -- and she's expected to garner a few more award noms including one for an Oscar.

Q: How aware were you of the Victorian period? What were your prior impressions, and how did they change?

EB: I actually had a rather limited knowledge of Victoria and Victoriana -- how they created that -- and of her and Albert together. I had the image of her as the old lady who’s mourning and dressed in black.

I had no idea about the antithesis of that, when she was young, rebellious, spunky and bright, and she partied all night. It was these elements of her that I never imagined possible, so when I started reading about all of that, I was very surprised to hear about the character traits I never thought were there.

Q: What did the director Jean-Marc Vallée or the producers do to inform you? Was it just what you got from school?

EB: I had no idea, because I took geography, which I thought was the easiest subject compared to history. I took geography and can’t remember any of it. It was probably a stupid thing to take because I think history would have been a better way to go. It certainly would have helped me more with this. But maybe not; we have a whole lot of kings and queens, so I think that I probably would have only known a paragraph about her anyway beforehand.

It was really fascinating to read about what they did together, really mainly under Albert’s influence, because he was very educated in all these departments -- social reform, architecture and the arts and the sciences -- and what they did for [curing] poverty. They were very progressive in what they wanted to do for the country.

Q: How did the producers help you?

EB: [Screenwriter] Julian Fellowes is a historian really; you can’t try out history on Julian Fellowes because he will nail you every time. So it was very helpful talking to him and then reading books that he had encouraged me to read: biographies, diaries of hers and letters. The diaries were most helpful to me, because you can learn as much as you want about this history, you can read about it out of your own interest, but it doesn’t necessarily help me with trying to play this person.

At some point, you have to drop that and make it your own. Another actress would have read the same diaries and had a different take, so it was just my personal take on her, what I felt I could identify with, what I thought was important to bring across.

Q: Was it hard to keep that balance to make her relatable?

EB: It’s interesting... I wanted it to be accessible because I feel period dramas can be quite staged almost, and stiff and arch, and I think that that stops people from actually getting in and identifying with what’s going on. At the same time, you don’t want to risk losing those constraints because then you lose the whole nature of the implications of what happens if you do a certain thing in that period. And if you’ve lost any of those constraints and any of the world then it doesn’t become relevant.

It is a tough balance but Rupert [Friend, who played her husband Albert] and I approached it very similarly. I was very lucky with him because he is such a natural actor, so we fed off each other trying to make those moments incredibly real. Love is this thing that is all about emotions and instinct, and so you can have this flowery dialogue, but at the end of the day, instinctually, it’s about love.

Love is timeless and I think that we really strive for that, to fight against the dialogue, fight against the costumes, to try not to be swallowed up by the sets and the opulence of it. I thought this was a love story, but I also thought it was a film about a dysfunctional family and about a young girl who’s in a job where she’s in way over her head. So I tried to approach it in a way that I could understand. I have no idea what it’s like to be Queen of England.

Q: Did you feel the chemistry was there between you and Rupert or did you only see it when you saw the film?

EB: I think you know it [from the start]. Rupert and I met and we just got on so well and that really helps. When you have a genuine liking for that person it gives you a freedom within the scene to try stuff.

There’s a lot of trust there so you can improvise moments and they come alive, and sometimes you strike gold and sometimes it’s like watching paint dry, but at least you can try it because you have the trust there with that person.

Rupert was wonderful, and it’s just because he was the only guy to play that job because he was so perfect as Albert. He was the last person that came in to read and I was like, "Thank God," because he just blew it out of the water; he was so fantastic.

Q: Lord Melbourne -- her early advisor and friend who helped before she got involved with Albert -- was the other major male relationship in Victoria's life. He is so incredible -- what a dynamic between the two of you.

EB: It’s a really interesting relationship because Melbourne was sort of everything to her. He was a father figure, she was infatuated with him in a slightly teenage way, but she didn’t have those romantic feelings towards him. It was more sort of a teenage crush that developed into very much a real friendship.

She had a real love for him but at the same time he was manipulating her and was toying with that, but he actually ended up having a huge amount of respect for her when he realized he couldn’t do that anymore, the tables turned.

So it was an interesting dynamic to get because you wanted to see that there was a threat to Albert, but at the same time that nothing shady was going on. So he was great with that pull because he’d add elements of being vaguely flirtatious but not seedy, and you could see he really liked her but it wasn’t that he was completely trying to sabotage, or use her as a pawn.

It was a very complicated dynamic to get [right] and it was mainly on [Paul Bettany] to create that. He created it because it should always have been ambiguous as to what that relationship really was. I thought he was great; it was very delicately done.

Q: Did the corset help you find your character?

EB: It's very good in that it transports you to moving a different way, holding yourself differently. You do have to kind of glide with it, so I think it does help me. I usually try and approach characters in that way, I mean everyone’s very different, but I find the physical aspects of creating that person very helpful, like the costumes, the clothes, the way they move, the voice, and everything like that. I usually start from that point.

Q: Did you ever faint wearing those corsets?

EB: I got close to it. Miranda Richardson [who played Victoria's mother, the Duchess of Kent] was the one who had the closest call, after claiming she was amazing in the corset and that she could take it as tight as anyone wanted. We call it in the UK, she “pulled a whitey;” she literarily went white. She was sitting at the table and she was talking and she suddenly just went… and she was like, “Get me out of it!” and had a panic attack.

I was alright; I got very used to it and by about four o’clock, that’s when it starts to hurt. But they look beautiful so you’ve got to just suck it up, really. Or suck it in, as they say.

Q: One of the most powerful scenes was between her and King William. Was he as entertaining in real life?

EB: Oh he’s so entertaining. She did adore her uncle; he was always wonderful to her and very much a father figure. She was kept back from seeing him and that was always very sad for her. She was kept from seeing anyone. It was really an oppressive, lonely childhood.

There was one story I read about that she was walking with her mother in the gardens -- and her mother was reluctant about being there with King William -- and he came past in his carriage and just picked her up and they went on this crazy ride around the gardens in his carriage. So that was her outlet, going to see him. But Jim Broadbent [as King William] is absolutely as fun as you can imagine. He’s really wonderful. That’s my favorite scene in the film, that dinner scene.

Q: What do you think you'd do if you lived in that time?

EB: It’s almost an impossible question because I have no idea. I would hope that I could be as forward-thinking as she was. She went against protocol and she was determined to make things better and she overrode tradition. I thought that that was a really wonderful quality for her, and surprising that she had the guts to do it.

It probably helped her not growing up at court amongst those stately manners, from the mannerisms to the etiquette, and I think that she was kind of a loose cannon in a room like that. She had a horrible temper, which correlated as well to how passionate she was as a character. I think that she was a modern girl and that she was independent, so I would hope I wouldn’t be manipulated and controlled in a way that a lot of women were in those days.

Q: What about handling fame and wanting to be a young person?

EB: It’s funny because I think it is all about choices, from the choices you make as to where you want to go and eat dinner, like don’t go to the scenes, don’t go to where you know people are going to take your picture. Just find a dive bar. Why do you have to go to a scene?

Are you talking about me or Victoria? It’s a similar thing.

It’s interesting. You have to develop quite a thick skin because people are going to trash you. Not everyone’s going to think you’re great. I think that that’s important to remember… You’ve got to relinquish that and just let it go, because you have no control over that side of it – of people’s opinions – but I do have control over how much I put myself out there.

I feel that in a way I now lead a similar existence to what Victoria led, although certainly not under the amount of pressure that she was under. I have a good life. It’s not compared to the ridicule that she was put under, but I think it’s that sort of element of a dual existence. You have yourself at home behind closed doors and then you have an awareness [of something else] when you step outside the house. For me, it’s only an awareness. It’s no more than that.

Q: Celebrities are always complaining about the downside of dealing with fame and attention and paparazzi.

EB: It’s a really magical job, so the side effect of what comes with that can be good and bad. But what I get out of it is the work. It’s not whatever people think of me because with that comes bad and that willingness to see you fall as well.

A lot of people like to see a fall from grace. There’s a real hunger for that. I’m aware of that, so I try not to buy too much into what people think. But as long as I keep getting the parts that I’ve been lucky enough to play… The variety is what I really strive for, because that’s what I love about the work.

It’s a wonderful job in that everything you go through in life can come out in it somehow. You can have a visceral reaction to so much in life and then put it into your work.

Q: What was your impression of Sarah Ferguson, Duchess of York [former sister-in-law of Britain's Prince Charles], and did you get to meet any other real-life royals?

EB: Sarah was a great support system because she came up with the initial idea, but then she very much took a back step and said, “What do I know about making a film? I know nothing about that.”

But she’d come on set and make tea for everyone. She was always so open and down-to-earth; I think that you were able to see the humanity in the royal family through her because she would talk quite openly. In a way, she identified more with Albert because Albert was the guest in the house and the outsider, and she actually understood his character more.

Q: I want to know more about Fergie. She actually came on set and made tea?

EB: She only came on set twice. She really wasn’t around once we started filming. She was very tenacious with Graham [King, producer of the film] in getting it off the ground, but once we started making it, she was just thrilled to be a part of it. I only got to know her after, when we started doing press.

Q: How do you think the royals will react to this movie?

EB: The Queen saw it; she liked it. She said she wants to know what happens next. So that was good.

Q: Did you get to meet her?

EB: No I’ve never met her.

Q: Though you haven’t met the Queen, what is your imaginary scenario of getting to meet her Majesty.

EB: I’m sure I would botch it up somehow. I’m sure I’d forget to curtsy, or I don’t know what I would do. I’d probably say the wrong thing; I might drop an F-bomb, it could all go wrong. I think it would be nice to meet her in this context because I’ve played a queen and I think I’d feel more at ease meeting her in this context.

Q: Did you hear that Lady Gaga met The Queen?

EB: Did she meet the Queen? She did not! What was she wearing? Are you serious? Unbelievable. Unbelievable.

Sunday, December 6, 2009

Oscar Winning Actor Robert De Niro Makes Sure 'Everybody's Fine"

Feature Interview by Brad Balfour

On the heels of his Kennedy Center Honors (along with Bruce Springsteen, Dave Brubeck, Mel Brooks, and Grace Bumbry), legendary actor Robert De Niro is on the silver screen again. While he's being lauded for past laurels, he's also garnering kudos for his latest film, Everybody's Fine, a comparatively modest work that has recently been released after making a festival circuit tour -- most recently it had a special feature screening at the 2009 Denver Film Festival.

Based on Oscar-winning director Guiseppe Tornatore's 1990 hit Italian film, Stanno tutti bene (which starred Marcello Mastroianni as an Italian bureaucrat on a veritable travelogue across Italy in search of his adult children), English director Kirk Jones transfers the story to the States and De Niro.

The 67-year-old actor plays retired widower Frank Goode who used to string telephone wire -- a job that encouraged interaction -- but is a guy not good at communicating or even knowing what's going on with his kids. When his wife was alive she handled his quartet of kids; now, as adults, they are spread across the country, so Frank goes on a surprise tour to re-connect with them.

Though the narrative falls flat at times, De Niro makes up for it with his passion and understanding of his character. And the interplay between him and the trio of actors playing his kids -- Drew Barrymore, Sam Rockwell and Kate Beckinsale -- is authentic and affecting. A great turn this late in his career, De Niro shows a softer side and redeems himself for some of his recent, lesser movies.

Ever since he established himself through his breakout performance in 1973's Bang the Drum Slowly, De Niro has racked up quite a track record of cinematic achievements --culminating in various Oscar nominations and two wins. In '74, De Niro received an Academy Award for best supporting actor for his role in The Godfather: Part II and won Best Actor for Martin Scorsese's 1980 boxing film, Raging Bull. The New York born and bred De Niro has made a unique partnership with his fellow Italian American Scorsese, establishing quite a catalogue together from 1973's Mean Streetsto Oscar noms for best actor in two of Scorsese's greatest films, Taxi Driver (1976) and Cape Fear (1991).

In 1993, De Niro made his directorial debut with the touching A Bronx Tale and directed the epic CIA historical, The Good Shepard. Now De Niro heads his own production company, part-owns various restaurants and other real estate in lower Manhattan, and, in response to the 9/11 attack, co-founded the Tribeca Film Festival.

At least in Everybody's Fine, he neither plays a character who kills someone or plays a parody of Robert De Niro as either a crook or cop who kills someone. Instead, he has made a seasonally appropriate movie about a parent's loss and the enduring relationship with his adult children.

Getting De Niro to speak on much of anything is a bit of trick -- not unlike his character in this film. So when a crop of journalists sat down for an Everybody's Fine press conference with Jones and actor Sam Rockwell and this the veteran New Yorker, they were seriously tested.

De Niro deferred to Jones unless they were directly addressed to him (and Rockwell wasn't asked much anyway). Fortunately. enough questions were asked to produce some decent answers, but nobody will ever call Bob De Niro longwinded...

Q: When did you get involved with the process of making this film?

RD: Kirk and I had a meeting and he told me the story and what it was based on. He had photos of the whole project -- the traveling across the country -- and I was impressed with how passionate he was about the project. I could see that he was special and doesn't do movies often. This will have been his third [after two long hiatus between each of his other films, Nanny McPhee and Waking Ned Devine].

So that informed me obviously [about how] he cares so much. I saw the original [Italian film] and [Kirk's] other two movies, and then I read the script. We then just decided when to do it.

Q: How does your personal life affect the roles you pick and the way you play them?

RD: Obviously, I related to Frank and drew on my own experiences like I do in all my parts. You draw on whatever's relevant to the part you're playing; it makes it more personal. There was a lot here of course.

I have five children, and two grandchildren. But also, going back to Kirk being the director and his caring [about the project], that's the anchor of the whole thing [here]. So that's really, really important.

Q: More important than the role itself?

RD: Well, yeah. It's not more important but it's equally as important. He has to steer the ship, it's his baby, so he's got to make choices and all that. I put myself in his hands so to speak.

Q: You watched the original Italian movie; how did you relate to the Marcello Mastroianni character? What do each of the fathers have in common?

RD: It was just a different type of movie. I love Mastroianni. Since I was kid I always watched his movies. He's been in great films part of the great Italian tradition, obviously. But it was a different thing, totally. Kirk made it his own. The structure was there and all that stuff. But it was totally different.

Q: Possibly the most moving moments in the film are when we see Frank's telephone calls to his kids. When was the last time you heard a busy signal? Do you get nostalgic for those times or are you into the techno-gadgets?

RD: [Like] Twitter?

Q: Do you tweet?

RD: I don't twitter. Somebody told me about it. I didn't know what it was.

Q: How do you feel about new technology?

RD: I only know how to use a computer. I don't even know how good I am at it. I slowly use the little things and get emails and look at videos on the computer and use an iPhone. I guess I use it adequately.

Q: Did anything in this movie remind you of an experience you had with your own father --after all he was a major abstract expressionist painter -- or as a father with your own children?

RD: My father was pretty easy on me about what I wanted to do, to be an actor and stuff like that. My grandfather was much more strict, more old-school, old time Italian than my father ever was. That was my impression of him.

My father came from that to New York City to get away from certain things and they raised me kind of easily. And the fact that I wanted to be an actor, well, that was okay with them and my father.

And I try not to be too strict with my kids because certain things they have to do. But at the same time I don't want them to get away with anything. But I think I try to rationalize with them, and argue, "Now look I'm very good with you about certain things unless you do this. You have to now do this. That's only fair."

Of course, there are times when that stuff doesn't work. I'm not the all-knowing, all-seeing... But in general it works pretty good.

Q: You mean like the curfew kind of things?

RD: I don't put a curfew -- you know, [tell them] "do this" -- I'm flexible with certain things that the kids have to do. It's not like a curfew where they have to go to sleep at a certain time.

Q: Do you approach your comedic work differently than your dramatic work?

RD: Well, this is a more gentle sort of -- what would you call it -- comedy than say Meet the Parents. It's more of a dramedy.

Q: You've worked on every scale of film from mega-productions to an indie-budgeted one like this film, as a producer, director or an actor. What's the difference in working in indies versus large films?

RD: Well, the difference is you have more time. When you have more -- just a lot more -- then there are a lot more people on the set, a lot more trucks, [and such]. It's a big production. I don't know. I mean, making movies that are very simple, ultimately -- I always wonder when I walk around a big movie and you see all these trucks and this and that -- I think, "Just to get this, you've got to get all these people."

And of course, those are only certain movies that do that. It was good. This to me is a normal time to shoot -- I think we shot eight weeks? So eight weeks is a pretty good schedule. It's an independent film. An independent is going to be less than what goes on this film I think. It costs less to make. And a shorter schedule, like five weeks. Four weeks.

Q: Will you be doing more films like this?

RD: I will.

Q: Do you have some things in mind?

RD: Some, yeah...

Q: You signed a deal with CBS for three pilots to be shot in New York City. What kind of shows do you watch and will we see you taking a part on television?

RD: Maybe. I don't watch much TV other than the news. Really. I'm busy and I'd rather be reading and doing stuff. There's good television. I just don't watch a lot of it.

Q: So your interests are in producing?

RD: Yeah, we're producing these shows. That is -- that's good. But to this point -- and once those start happening I will watch them. Work on them. But in general before that, I'm not that tuned in to television and such. But there's a lot of good stuff.

Q: Are you doing another Meet the Parents?

RD: We're doing a third one -- Meet The Little Fockers.

Q: You've built a career on playing tough guys, gangsters, police officers. How important is it to you to do something different, something softer? Do you think about how people perceive you from movie to movie; does that concern you at all?

RD: No, some people do that and sometimes I play off that because it's a certain thing you do -- you can make fun of it in certain movies. Like in Meet the Little Fockers, it's also titled, Or The Godfocker. And I asked Greg [Glienna, one of the writers] --because I have a feeling if something happens to me -- will he [De Niro's character Jack Byrnes] be the Godfocker?

Q: The film deals with lots of adversity in many ways. Do you have any ways that you deal with adversity in your own life?

SR: Depends on the adversity, I guess. I do different things to calm myself down. Exercise. That's a good thing. [There are] different ways to battle adversity. I can't think of any other ones [right now].

Q: You've dealt with a lot of adversity. You've overcome 9/11 nearly devastating your beloved Tribeca. How do you deal with it?

RD: Which adversity are you talking about?

Q: Any adversity...

RD: I'm here, aren't I?

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