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Интервью Джоша / Josh's interviews

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Lika написал(а):

Ох, бедолажка Джоша... наверное,  поначалу отбивался руками и ногами)))))

Представляю эту картину 
Мы смеемся, а вдрух правда?


Interviews really terrible, a lot of mistakes   :yep:  a tabloid  :dontknow:

okay but can you still translate? would be so great so i could understand propperly what was said there. :)

Отредактировано Алоха (2011-02-05 22:55:47)


Алоха написал(а):

okay but can you still translate?

Может быть, кто нибудь переведет, но не обещаю сразу.  :)
Девушки, кто может сделать это?  :question:


Интервью не новое, возможно уже было у нас, опубликовано в честь выхода фильма "Я прихожу с дождем" на DVD в Англии, так почему бы и нам  не перечитать.  ;)

Josh Hartnett Discusses Neo-Noir Thriller, ‘I Come with the Rain’

Josh Hartnett is amused to be called a “Hollywood cad”, having been linked with Scarlett Johansson and Rihanna in the past. But the truth is, the 30 year old star largely keeps out of the limelight, and that includes keeping away from the kinds of places Paris Hilton, Britney Spears and Lindsay Lohan hang out.

Apparently he prefers to go back to Minnesota, where he was raised, rather than spend too much time in Tinseltown. Now living in New York, his next movie is ‘I Come With the Rain’. He also stars in ‘Rain Man’ on the London stage.


It’s kind of difficult to explain what ‘I Come with the Rain’ is about. It’s a movie I shot in Hong Kong with Tran Anh Hung (‘The Scent of Green Papaya’). He's amazing, a Vietnamese director. It's a visual kind of poetic piece. He’s a very famous Vietnamese-French director whose films are very difficult to define in certain ways. I had a great time working with him and the film is about a young private investigator who goes to off to… - well, I suppose I should stop saying young because I’m 30 now (laughs). Well, the film is about a private investigator that gets sent by this man to find his son, that might be in the Philippines. He goes there and the kid might or might not be there. But the movie is really about Catholicism and how this religion is the fastest growing in Asia. There’s a very Catholic theme throughout the movie. The character that I’m chasing, he can heal by touch, and my character is overly empathetic and he finds people becoming like them in a certain way, going through an emotional state, living like them and suddenly he bumps into them. But my character has a really dark past. In the beginning of the film he is in tears, he tries to kill himself, and he is in a mental institution because he was chasing a serial killer and he becomes a little bit like the guy he was chasing. And he finds the guy and kills him in the same fashion that the guy used to kill his victims.


The movie is like his movie ‘Cyclo’. It’s dark but the way he shoots it turns the movie in a very beautiful light. What make his films so great are the visuals and lyricism and the way he approaches the scenes. I never had a director telling me to slow down that often, you know, take your time and just do one shot. He wants the film to breathe, which is really rare because usually the pace of scenes in films nowadays is about how many scenes you can get in one minute. I think this is going to be a phenomenal film, on the highest level. Hopefully, we’ll see.


I produced this movie called ‘August’ which is Austin Chick's sophomore effort. We have some amazing actors in it like Rip Torn and David Bowie. They haven't worked together since ‘The Man Who Fell to Earth’. And there's a lot of other interesting people in it. It was a very solid script about real people in an extraordinary situation. We shot it really cheap here in New York, but it looks quite good. It's good to be able to do a film at home, I live here now.


Actually, I started working at 18 and I moved away from home at 17 – I moved to New York, went to school. So I’m back in New York now. I have a place in Minnesota as well but really I’m always travelling. I’m always on the move at this point in my life. I figure later on I’ll be settling down. I made this film in Hong Kong and before that I was in New Zealand, so…


Sure, I think so. I mean, I’m not so caught up in the daily process of self congratulations that we have out there. I don’t read Daily Variety. I’m not up on who’s making how much money on what project. You can get caught in that trap of - I think you do get - almost everybody who has spent enough time out in LA gets caught up in that trap of, I want to be the biggest, I want to be making the most, I want to be the most respected. And by respect I mean that it’s the same sort of game that sports players play with each other. It’s like, I’m number one right now. They’re always trying to one up each other. You think that if you are the best actor, you deserve the most or if you are the biggest star, you deserve the most. That race just isn’t important to me. I just want to make good films on my own wherever I can. Yeah, it’s been the healthiest thing for me to get away from all this.


Yeah! I’d love to.


I think there are an inordinate amount of creative people that come from my hometown because we literally spend six months out of the year inside with nothing to do but...imagine. Really great musicians come from Minnesota because there's just so much time to practice. We have a couple of true geniuses like Bob Dylan and Prince and other artists as well. And I come from an artistic family so I think climate ultimately affects everything. If you have nothing but beaches around you, you'll probably surf and have a great tan. It's going to affect the way you look and the way you act. Period.


I play all sorts of sports.


The easiest one to play with friends when you’re anywhere is probably basketball because there’s nothing except for two guys, a ball and a hoop. So I play basketball a lot for fun a lot. Snowboarding I love too.


I like to paint, and I like to play music, but I’m a terrible musician, and I don’t know how good a painter I am.


I play guitar a little bit, and my little brother taught me piano. My whole family is musicial. My little brother is a genius musician. When he was 14 he got accepted to Berkeley School of Music based on a CD that he composed, and they didn’t realize that he was four years too young. He’s awesome. He taught himself eight instruments. He’s incredible.


Not from them. They can take care of themselves, and they never asked me to change anything for their benefit. I think that the hassling was kind of…I mean it goes with the territory, but it isn’t the best part. Obviously it probably has a little bit to do with why I stepped back, but I think the biggest reason was that it wasn’t a step back, as much as it was a step forward for me personally and artistically. I think that the stuff I’m doing now is much better than the stuff I did in the past. I’m going to continue to do new and interesting work. Whether or not everyone want to see it, that’s not really my goal anymore. I’m excited to be working with good people, and real artists on real projects, and feeling satisfied at the end of the day.


I felt that the roles I was being offered were reflecting where I was at personally. After ‘Black Hawk Down’ there was a real lull. Everybody was trying to put me in action movies and typical of heroic roles and I wanted to find more complex things. They just didn’t suit my taste so I thought, okay, I have to be brave enough to say no. And for a while that hurt me immeasurably in the Hollywood world. A lot of people felt jilted, like my ex-agents and stuff like that. They felt like I wasn’t working with them and some studios, I guess, didn’t want to work with me because they felt like I turned my back on these great things that people had given me. But it wasn’t a personal issue with them, it only had to do with what I felt I wanted to do as an artist, as an actor. ‘Artist’ is such a loaded word, please don’t quote me on it – actor – so I wanted to take some time and rework my thinking. So it just had to do with being able to pull back when I felt like the work wasn’t in line with what I wanted to do.


Well, I never considered ‘Superman’. It’s not really my thing or wasn’t really what I wanted to do. So, yes, I’m glad that I didn’t have to put on the tights but that was a decision that I made for myself. I love the movies, I love the big action movies and stuff like that it’s just not what I’m interested in playing. Yeah, so I saw the tights for ‘Superman’ [laughs] and I'm only getting older, so…


Ever since I've started I've always been behind the scenes you ask any director. Whenever I'm not working I'm always behind the scenes. The point more for me is learning the process in all regards and when I decide to step out and do something else I'll do it.


His past films, like how was the performances in his last films? Or if his visuals are exciting. I want constantly to grow. I think people have more potential than they give themselves credit for - in this industry specially. When you work with great directors, you can really throw yourself to them and they can find a way to work with you. Sometimes when you see these actors who tend to do these flamboyant characterizations in a movie where the director didn’t protect them, they look terrible, you know? For a long time I was completely terrified to look like an idiot on the screen. Now I’m becoming less and less worried about looking like an idiot and more and more worried of not fully embodying every emotional state the character has to have. I think I’m driven by fear. I’m trying to pick directors that I really feel comfortable with. In the past, I was much more interested in how the role was.


I think I’m a little bit more of a realist. I think I see that if you’re always trying to operate outside of reality you’re not going to get anywhere. That’s what people admire, and that’s what people want to see. That’s part of it, but my struggle is to try and take that into consideration, and try to do something that is different in the realm…in the movies, and that’s just what I want to do.


I don’t really like to talk about that stuff because it’s just asking for more scrutiny.


Smart, funny, physically attractive. But beyond that it’s the intelligence and the wit that really attracts me for sure. And it’s not so much where a girl comes from, it’s how she is individually.


95 percent of them are false and I just laugh. It’s funny how they connect you to everyone in the room. They called me a Hollywood cad. I think it’s fantastic, having been in two real relationships in my life. I think the rumours in papers sometimes are false.


No it doesn’t surprise me because they want to make a story out of anything, really. I think that’s just the bread and butter of a lot of magazines these days. They sensationalize everything because they don’t have a story. They’ll write whatever they can get their hands on it. I think the more you stay out of the spotlight the more believable you are as an actor. You don’t want anyone knowing about your life anyway.


What’s surprising to me is how obsessed people are about it, the same way in Britain. And there are just as many magazines dedicated to celebrity in Britain, but there is one third of the population. So it’s a universal phenomenon that really enjoys celebrity culture.


I'm probably going to do this movie called ‘End Zone’. It's a very interesting project. I love Don DeLillo as a novelist and I think that the script he wrote [based on his story of games, including college football and nuclear warfare, set in Texas] is fantastic and hilarious.


The Chet Baker project is kind of on hold; we had a script that wasn't kinetic enough, and was for the wrong audience. Not that many people have followed Chet Baker's career. We thought that it would have to be this commanding story [about his life] that everyone would want to see, if we could only get it on the page. We had multiple people who wanted to work on the film, so I felt like I would take a step back. We'll see what happens.


I have a very short attention span so if I don't move to something completely different, I tend to get pretty stale. In terms of sequels, I’m hoping to get back to do another ‘Sin City’. Probably that’s the only sequel I will be involved with in the future. I love working with Robert (Rodriguez). He hired me for my first film (‘The Faculty’) so I told him at the time and I really like him as a person and I really like the way he works.

I Come With The Rain is release on DVD and Blu-ray 2nd MAY



Людмила написал(а):

Josh Hartnett Discusses Neo-Noir Thriller, ‘I Come with the Rain’

Это интереснейшее интервью, постоянно цитируемое сейчас, в связи с выходом DVD "Я прихожу с дождем" в Англии, перевела для нас Verte, за что ей большое пребольшое спасибо!!!

[взломанный сайт]  :cool:

Джош Хартнетт  обсуждает нео-нуар триллер  ‘Я прихожу с дождем’

Джош Хартнетт, связанный в прошлом, отношениями с Скарлетт Йохансонн и Рианной, был крайне удивлен, когда узнал, что к нему уже давно, и достаточно прочно приклеилось прозвище "Голливудский хам”. Впрочем, такое прозвище, имеет под собой вполне определенные основания. В последние несколько лет, Джоша все чаще можно встретить в Миннесоте, где он родился и рос, чем на красных ковровых дорожках и каких-либо светских мероприятиях.

Впрочем, положение вещей, вполне возможно скоро изменится. Теперь он кажется, окончательно обосновался в Нью Йорке и играет в театральной постановке "Человек дождя" на Лондонских подмостках. К тому же, совсем скоро у него должен выйти новый фильм "Я прихожу с дождем" о котором, мы с ним как раз и хотели поговорить.


Наверно, это трудно. Вот так, сразу же объяснить, что такое "Я прихожу с дождем".
Мы снимали его в Гонконге вместе с Чан Ань Хунг («Аромат зеленой папайи»). Он удивительный. Я бы даже сказал восхитительный вьетнамский режиссер. Все что он делает и снимает, это своего рода визуальный вид, поэтическое произведение . Он - очень известный вьетнамско-французский режиссер, фильмы которого очень сложно привязать к какому-то определенному жанру. И еще сложнее их понять.

Но, не смотря на это - работать с ним, одно большое удовольствие. Я прекрасно провел время, на съемках, и наверно еще долго буду вспоминать эти моменты своей жизни с теплотой.

Впрочем, вернемся к изначальному вопросу. Этот фильм... Хм, это история о  молодом частном сыщике, который... Хорошо, я предполагаю, что должен прекращать говорить о себе молодой. Мне уже третий десяток (смеется).

Но все-таки фильм.. Как я уже говорил, это история о частном сыщике, которого нанимает человек, чтобы он нашел его сына, которого не так давно видели на Филиппинах. Мой герой, отправляется туда, и именно с Филиппин и начинает вся история.

Впрочем, суть фильма далеко не в том, что лежит на поверхности - это кино о католицизме. И том, как эта религия начинает крайне быстро распространяться по Азии.  На протяжении всех двух часов, что идет фильм, практически в каждой сцене, так или иначе эта тема проскальзывает, или показывается в открытую.

Человек, которого я разыскиваю, он может исцелять прикосновением. И пока, мой герой ищет его, он попадает в водоворот всех тех людей, которым он помог. Со временем, это начинает жутко давить на него - он словно проживает за них, их же жизни. Переживает все те же эмоциональные состояния, что и они. И это дается, ему крайне трудно - ведь у него самого темное прошлое.

Начальные кадры, показывают моего героя в психиатрической больнице, в слезах. Он пытается убить себя. А все потому,  что он  преследовал серийного убийцу, и со временем, он сам стал, как тот парень, которого он преследовал. Что в итоге, приводит к тому, что он убивает серийного убийцу, ровно тем же способом, каким последний убивал всех своих жертв.


Этот фильм, чем-то похож на его же фильм «Рикша». Он темный, но способ, которым он снимает, превращает фильм во что-то невообразимо прекрасное. Этим, в большинстве своем, его фильмы всегда и отличаются от других - у них всегда ошеломительный визуальный ряд, и особый лиризм, вкупе с нетривиальным подходом к каждой сцене. Я никогда еще не снимался у режиссера, который бы говорил  мне, что бы я растягивал сцену, как только мог. Обычно режиссеры, говорят прямо обратное. Им надо,  что бы все было отснято быстро.

А он.. Он другой - он хочет,  что бы фильм дышал, и у него в отличие от других режиссеров не крутиться в голове вопрос "Так сколько сцен и ракурсов, я смогу снять за минуту"?!. Это здорово.  И это действительно редко можно встретить сейчас. Я думаю, что в итоге, с таким подходом -  это будет феноменальным фильмом.


Я снялся, и выступил вместе с Остином Чиком  продюсерами фильма "Август". Остин выступал тут, так же как режиссер. Фильм собрал удивительный актерский состав. Хотя, больше всего мы были рады, когда Рип Торн и Дэвид Боуи согласились сниматься у нас.  Они не снимались вместе после «Человека, Который Упал на Землю» ( а это аж 1976 год!), так что за их встречей на съемочной площадке было довольно весело наблюдать.
Естественно, кроме них, было и еще огромное количество интересных и талантливых людей, которые были задействованы в фильме. В итоге,  у нас получился отличный фильм о настоящих людях, попавших в экстраординарную ситуацию. Бюджет фильма не был баснословным, так что нам приходилось сильно ужиматься, но в итоге - все выглядит более чем отлично. Ко всему прочему, хочется сказать, что сниматься дома, это огромный плюс. 


Фактически, я начал работать в 18. Соответственно в 17, я уехал из дома. Я переехал в Нью-Йорк,  вернулся в школу. Таким образом, сейчас, это просто своего рода, возвращение к истокам. Я знаю, что у меня всегда будет место в Миннесоте, и меня всегда будут там ждать, но по натуре своей, я редко когда сижу на одном месте. Я люблю путешествовать.  Я всегда в разъездах – по крайней мере, в этот период своей жизни. Вполне возможно, позже, я все-таки осяду где-нибудь, но пока...


Теперь я не настолько погружен в процесс ежедневного пиара "себя любимого". Я не читаю Daily Variety. Мне абсолютно все равно, кто и сколько денег делает на том или ином проекте. И с каким режиссером лучше сейчас "дружить", что бы в дальнейшем получить у него роль.
Это не по мне. Ведь по сути своей ЛА, это одна большая ловушка, из которой практически не выбраться -  почти все, кто провел достаточно времени в ЛA, могут это подтвердить.
Со временем, ты начинаешь думать:
- Эй! Я хочу быть самым крутым и крупным актером. Я хочу максимально использовать, все то, что у меня есть. Я хочу,  что бы все и вся меня уважали.
А уважение в ЛА, это что-то сродни игры, в которую все играют 24 часа в сутки. Это дурдом и вечное лицемерие. И это все явно не мое. Я очень рад, что в нужное время, смог оттуда уехать и огородить себя от всего, что там происходит. Единственное, что для меня важно - это сниматься в хороших  фильмах, которые затрагивают и располагают меня. А не кого-то другого.


Да! Я бы точно не отказался от такого предложения.


Я думаю, что есть огромное количество творческих людей, которые приезжают из моего родного города - взять хотя бы Боба Дилана или Принца - потому что мы почти по 6 месяцев в году, мы практически ничем не занимаемся  (упор тут, скорее всего, идет на то, что там, как и в большинстве городов России по полгода зима- прим.переводчика), а , значит, у людей появляется куча свободного времени.  Которое они тратят на практику.
Да я и сам, происхожу из артистической семьи ,  таким образом, я думаю, что климат в конечном счете, влияет на вас. Если вокруг вас нет  ничего, кроме пляжа, вы, вероятно, станете отличным серфером и будете 365 дней в году иметь великолепный загар. И место, где вы живете, всегда будет влиять на вас. И на то, как вы выглядите, и на то, как ведете себя, в той или иной ситуации.


Я играю, практически во всего его виды.


Пожалуй, баскетбол. Это  наверно самый легкий способ провести время со своими друзьями - потому что все, что вам нужно это 2 парня, мяч и обруч. Ну и, пожалуй, я никогда не откажусь от сноуборда.


Мне нравится рисовать, и мне нравится играть музыку. Но я должен признаться, я ужасный музыкант, и подозреваю что художник, примерно такой же.   


Я немного играю на гитаре. И мой младший брат научил меня играть на  фортепиано. Вся моя семья немного повернута на музыке. Мой младший брат - гениальный музыкант. Когда ему было 14 лет, он был принят в Berkeley School of Music (насколько я знаю, принимают туда только с 18 лет- прим.переводчика), на основе того CD , что он записал, и отправил им. Сейчас, проучившись у них,  он спокойно может сыграть на восьми инструментах. Это невероятно. И я им очень горжусь.


Как сказать. Моя семья, может о себе позаботиться. И они никогда не просили, что бы я изменил свою жизнь, для их выгоды. Они привыкли, что вокруг меня всегда есть и будут папарацци, и какие-то люди. Наверно, в тот момент я просто вымотался. К тому же, мне нужно было взять время на обдумывание, кое-каких своих жизненных ценностей. И приоритетов. И признаться честно, для меня эта передышка стала большим шагом вперед. Тот материал, с которым я работаю теперь, намного лучше того, что было раньше.  Хотят ли все видеть это - мне уже не так интересно. Я рад, что работаю с отличными людьми, великолепными режиссерами и чувствую себя удовлетворенным в конце каждого дня.


Как не странно, но после "Черного ястреба", в плане ролей для меня наступило затишье. То есть, конечно, роли были - но 90% предложений было из разряда "Боевики" или "Герой, который спасает Америку от очередного взрыва или конца света". Это конечно весело. Раз или два - но я хотел найти и сниматься, в каких-то более серьезных и сложных ролях.
К тому же в тот момент, я испытал на себе всю "прелесть" Голливуда. Люди , с которыми я работал долгое время, отвернулись от меня. Бросили.  Они чувствовали, что я не работаю с ними. Со студиями, которые раз за разом, предлагали мне все новые и новые проекты. Они  чувствовали, что я окончательно повернулся спиной ко всем большим проектам.
Но это отнюдь не было моим с ними личным делом. Это был порыв. Я просто чувствовал, что как актер, как "художник" хочу сделать что-то другое. Что не хочу заставлять себя, примерять какие-то новые роли и заставлять играть себя только для того, чтобы повысить свой статус в мире Голливуда.  Мне просто надо было взять время, что бы принять для себя решение. Окончательно разобраться, что я хочу от жизни, и по какой дороге, я хочу идти. 


Честно говоря, я никогда не видел себя в этой роли. Это не совсем то, что я бы хотел после себя оставить. Так что, я отчасти рад, что не меня взяли на эту роль. И что не мне, придется надевать облегающие колготки и трико [смеется]. Я по большому счету люблю такие фильмы, но только как зритель.


С тех пор как я начал сниматься, я практически всегда, будучи "за кулисами" (то бишь,  дожидаясь своей сцены- прим.переводчика), я всегда "надоедал" режиссерам, у которых снимался. Можете сами поинтересоваться (смеется). Каждый раз, когда у меня выпадает период без работы, я тоже стараюсь попасть в "закулисье". Мне хочется узнать весь процесс. От и до.  Так что  - да. Я начинаю задумываться и о режиссерском крене, в моей судьбе. 


Его прошлые фильмы. Обычно, перед  тем, как начать работать с тем или иным режиссером, я стараюсь посмотреть хотя бы один-два его фильма. Что бы понять, что он вполне себе может потребовать  от меня на съемочной площадке.
Я постоянно хочу расти. Я стараюсь, хоть это и не всегда получается, выбрать режиссеров,  с которыми я действительно чувствую себя комфортно. С которыми мне хорошо.  В прошлом я намного больше интересовался тем, какая была роль. А не тем, кто стоит у "руля".


Скажем так - сейчас я живу по принципу "Люди видят, то что хотят видеть". В конце концов, только я знаю, что происходит в моей жизни. Ко всему прочему, бороться со слухами в Голливуде - бесполезное занятие.


Давайте не будем затрагивать эту тему.


Умный, забавный, физически привлекательный. Но кроме того это, она должна быть интеллигентна и  остроумна. Два этих качества, всегда будут для меня почти решающими. При всем при этом, мне совершенно все равно кто она и откуда - эти мелочи, для меня никогда не играли для меня какой-то роли.


95 процентов из них ложны, и в большинстве своем, они вызывают у меня только смех. Это забавно. В каком-то журнале, меня назвали "Голливудским хамом". Хотя, что можно взять от желтой прессы Голливуда.


Нет, это меня не удивляет. Потому что они хотят, как всегда - сделать историю из того, чего нет. Это хлеб, для многих журналов в настоящее время. Так что, я стараюсь не обращать на все это внимание. Они всегда будут писать всю информацию о вас, которую смогут раздобыть.


Я, вероятно, собираюсь сделать фильм  под названием "End Zone". Это очень интересный проект. Я люблю Дона Де Лилло,  как писателя, и я думаю, что сценарий,  который он написал,  это что-то невообразимо смешное и фантастическое.


Проект Чета Бейкера пока завис. У нас есть сценарий, правда над ним надо еще работать и работать. Не так много людей исследовали карьеру Чета Бейкера - и это создает много проблем.  У нас было и есть, множество людей, которые хотели бы работать над этим проектом - но пока все это дело стопориться. Хочется надеяться, что в скором времени, все проблемы и преграды исчезнут, и мы сможем уйти с головой в этот проект.

ВЫ - ОДИН ИЗ НЕМНОГИХ АКТЕРОВ, КОТОРЫЙ НЕ СНИМАЕТСЯ В ПРОДОЛЖЕНИИ ФИЛЬМОВ, КОТОРЫЕ КОГДА-ТО ПРИНЕСЛИ ЕМУ СЛАВУ. (вопрос странный, такое чувство, что журналист не в теме. Я как-то очень трудно вспоминаю, что бы хоть один проект Хартнетта получил продолжение- прим.переводчика)?! ПОЧЕМУ ТАК?!

Признаться честно, я не люблю входить дважды в одну реку. То есть да, есть актеры, которые сделали на этом карьеру. Но я не хочу идти таким путем. И пожалуй, единственным проектом, куда я вернусь, будет "Город грехов". Я не могу передать словами, как я люблю работать с Робертом. У него абсолютно уникальный способ работы с актерами и это чертовски здорово. Его проекты, всегда будут у меня на первом плане.


Людмила написал(а):

Мне нравится рисовать, и мне нравится играть музыку. Но я должен признаться, я ужасный музыкант, и подозреваю что художник, примерно такой же.

:D Я помню, когда я это кусок переводила, смеялась как дурак)) С чувством юмора, у Джоша, все хорошо)))

Единственное только, надо кое-чего подправить)) Кое-где еще есть повторы...


Verte написал(а):

Я помню, когда я это кусок переводила, смеялась как дурак)) С чувством юмора, у Джоша, все хорошо))

:D Согласна, только он зря прибедняется))) пусть явит нам свои картины, думаю, нам понравится  :crazy:

Verte написал(а):

надо кое-чего подправить)) Кое-где еще есть повторы...

Торопилась выложить)) уже вторую неделю цитаты из этого интервью гуляют по инету, вырванные из контекста, выданные за эксклюзивный свежак, так что ты выполнила важную миссию, расставила все по своим местам.  [взломанный сайт]


Людмила написал(а):

перевела для нас Verte, за что ей большое пребольшое спасибо!!!

спасибо огромное Verte !
ты настоящий друг!
интервью классное. Джош меняется. интересно узнать об определенных этапах его жизни из его уст.


Людмила написал(а):

Я как-то очень трудно вспоминаю, что бы хоть один проект Хартнетта получил продолжение- прим.переводчика

речь видимо о вампирской саге 30 дней ночи. ну и понятно Город грехов.))))


удача написал(а):

речь видимо о вампирской саге 30 дней ночи

:D  Видимо я совсем выпала из жизни.. А что этот проект, продолжение получил?!)))


Verte написал(а):

продолжение получил?!)))

да уж, в прошлом году ощасливили нас)))

вот здесь Чиффа изголялась над шедевром)))синопсис пуквела от Чиффы)))

почитай!  :mybb:  :mybb:  :mybb:


удача написал(а):

вот здесь Чиффа изголялась над шедевром)))синопсис пуквела от Чиффы)))
ахахахаха. Пасибо большое за такие шедевры)))


Людмила написал(а):

перевела для нас Verte,

..... спасибо...

Людмила написал(а):

Скажем так - сейчас я живу по принципу "Люди видят, то что хотят видеть".

Людмила написал(а):

Я постоянно хочу расти. Я стараюсь, хоть это и не всегда получается, выбрать режиссеров,  с которыми я действительно чувствую себя комфортно. С которыми мне хорошо.

....за это любим и уважаем...

Людмила написал(а):

И что не мне, придется надевать облегающие колготки и трико [смеется]  [взломанный сайт]


Людмила написал(а):

пусть явит нам свои картины, думаю, нам понравится

да мы их уже обожаем

спасибо за перевод, Verte. а то обычно приходится читать при помощи автопереводчика - совсем не тот эффект


Verte, спасибо за перевод! )


Спасибо за перевод!
из за работы редко появляюсь, но было приятно почитать интервью, спасибо тебе


Всем пожалуйста))) Всегда рада перевести, что-то о Джошике))


32-летний актер недавно рассказал, почему он отказывался от съемок в блокбастерах.
Это слова Джоша из  интервью, что перевела для  нас Verte
с дополнениями от источника

The 32-year-old actor recently revealed why he took a break from doing big budget movies.

“The roles I was being offered were not reflecting where I was at personally. After Black Hawk Down there was a real lull,” he told the Daily Record.

“Everybody was trying to put me in action movies and heroic roles and I wanted to find more complex things,” he added. “They just didn’t suit my taste so I thought, ‘OK, I have to be brave enough to say no.’ And for a while that hurt me immeasurably in the Hollywood world.”


Interview: Josh Hartnett Goes to Cartoonish Heights in ‘Bunraku’
Features By Jack Giroux on September 2, 2011 | Be the First To Comment

Guy Moshe‘s live-action cartoon, Bunraku, lives or dies by its cast. The poppy world Moshe created calls for a specific type of acting, and not an easy one. The film requires a sense of unrealistic cool. Josh Hartnett plays a silent, but suave cowboy, and he has to spout out some dialog you would never hear a normal human being say. With Lucky Number Slevin, The Black Dahlia, and his brief scene in Sin City, Hartnett’s done that style of acting before.

Here, he went about it differently.

Instead of worrying about finding a grounding, as Hartnett says below, he wanted to embrace the odder tonal aspects. It bridges on cheesiness. But when one’s acting against Woody Harrelson cracking jokes or Ron Perlman looking the way he does in the film, it’s understandable that Hartnett would want to fit in with that scenery-chewing gang.

Here’s what the actor had to say about getting heightened dialog off the page, the eccentric tone of Bunraku, and the support of working under a detailed auteur’s eye:

The world of Bunraku is a pretty unique one. When you got the script, did you get a sense of what Moshe was going for?

Actually, I got the script second. First, Guy came out to New York to show me a visual presentation, talk about his influences for the film, and then discuss the archetypes for these characters. After that, he let me read the script. I had been warned and guided into a state of complacency before reading the script. I knew the script was going to be really out there, so that helped a lot in getting a sense of what it was going to be like. I’m guessing if I read the script first, I’d say, “What is this? How the hell are they going to do this film? What are they talking about?” Obviously, it was incredibly ambitious.

So, the script was pretty spare in details?

The script wasn’t as detailed as he was in the presentation. There were explanations for fights in the script that were nonexistent, like, “Here’s a fight!” It didn’t explain much of anything. He got people involved directly, by letting them know what it was going to be and how the fights were going to unfold.

What’s that process like of taking stylized dialog off the page to naturally speaking it? Are there ever cases where it reads great, but when spoken, doesn’t work?

Some scripts read like an instruction manual [Laughs]. There’s not a lot of passion in some. Some are pretty simplistic about it, so that’s where the actors just have to figure out how to do it. In this particular instance, there were some incredibly wordy sequences. For me, I mostly play mute. I didn’t have to worry about that too much.

You’ve worked on films before that require heightened performances. Is it freeing going to those different tonal places, or is it tricky finding a sense of grounding?

In the past I was interested in grounding it, and finding the reality of a situation. Lately, I’ve been more interested in pushing it into more bizarre ways. I’m always looking for things that are totally different, because I get bored with the same old coming out week after week. I like film. I like to watch films. I just find myself watching Netflix, and thinking, you have to go back 20 or 30-years to find more interesting films more often than what’s in the theaters. As far as Sin City, Lucky Number Slevin, or The Black Dahlia goes, I was more sold on the writer-director combos, with what those guys were going to do with the material. In this film, I had to put all my faith in Guy. He had never done anything like this before, but he has incredible knowledge of film history. He referenced a lot of interesting places in film history. He gave me some films I was not all that familiar with. Like, Jean-Pierre Melville‘s work. His take was I could use certain things from those films, take all these little things, and stitch them together. It was an interesting way of going about it.

Tonally, if one cast member wasn’t on the same page, the film could have easily fallen apart. Was Guy specific throughout the whole process when it came to the tone he was going for?

He was incredibly specific about what he wanted at every turn. Sometimes a director will hire who they think are the best for the job, and let them have it. Guy hired who he thought was right for the job, then he would tell everybody what they were doing was wrong. To his credit, he had a very thorough vision, and he pulled off what he wanted to achieve. I love someone like that who can make something he wants. I admire that he plowed through it, and did what he wanted in the face of a lot adversity. It was difficult getting this to the screen.

While promoting Resurrecting the Champ, you mentioned how acting is an “incredibly independent” process. For a film like Bunraku, is that still the case? I imagine you’d be playing more off of what other actors are doing, right?

The difference between film acting and stage acting — not that I’m an incredibly versed stage actor, but I’ve been on stage a few times. For theater, you have to be incredibly aware of what everyone else is doing at every moment, because things will change. You want the experience to be organic. There’s never anybody playing exactly the same way day after day. It gets old, stale, and then there’s no life to it. In order to keep that inner-peace alive, you have to be shifting little things. It’s this big, organic mass of people. For film, you’re shooting one person on one day, and then another person another day for the same thing. You have to rely on what you hope they’re going to takeaway from what you’ve done.

I still think it’s incredibly independent. What’s great about working with a director that’s incredibly specific about what they want — you have a partner in crime. You believe he’s going to steer everyone else in that same direction, so you just feel safe. You’ll try something that doesn’t feel right, and you’ll believe what he says is going to work. We were able to come up with new traits for the characters, which weren’t in the script. For example, the character is afraid of heights. The character had to have some levity, because he’s such a downer. Tonally, I was really proud of how the character turned out.

You’ve worked with some perfectionists before, like Ridley Scott. Working under a filmmaker that specific, do you ever feel confined? Can you still get freedom in that type of dynamic?

I only like working with perfectionists. If a person doesn’t have an opinion, then it’s much harder for me to give them what they want. Also, it’s much harder for me to argue what I want with someone that’s not sure about what they want. If you come to a director, and say, “This is the way I see it,” and they say that’s cool, then you come away positive. You have your confidence about how you’re going to go about a scene. Then you come back a day later, “Actually, I think the character is coming from a different place. I was rereading the script, and there was ‘this’ and ‘that’.” If the director again says, “Oh yeah, you’re right,” then you feel like they’re not even paying attention, or maybe they’re just afraid of you. All these things start to come to mind, and you don’t feel supported. I like to work with people who have definite opinions. I find myself having opinions. If the director has an opinion, then you can have a great dialog about where you want the character to go. Usually, everybody’s work gets heightened. Nobody can just sit up on a mountain and decree what every decision should be without the decisions becoming repetitive. I think it’s the directors who are opinionated that force you to stretch.

Bunraku is currently available on VOD and opens in limited release on September 30th.



Actor Josh Hartnett Toys With Swordplay in Bunraku and Lives to Discuss It

Through Bunraku, an archly-stylized swordplay fantasy, 33-year-old actor Josh Hartnett returns to the genre spotlight playing an enigmatic drifter appropriately called, "The Drifter." This computer-enhanced tale revolves around Hartnett's character, a "Man with No Name" and draws heavily on Samurai and Western tropes in an alternate-world dystopia where guns are banned and the sword is king (as it was in Japan until the end of the 19th century).

The film's title is based on bunraku, the 400-year-old form of Japanese puppet theater; the puppets are four feet tall with highly detailed heads, operated by several puppeteers who wear black robes and hoods so as to not distract the audience.

In Guy Moshe's uncharacteristic follow-up to Holly (his controversial film on child trafficking shot in Cambodia's brothels), a classic retribution-and-redemption tale is re-imagined in a skewed reality blended with arch characters and shadowy fantasy.

A crime boss who rules with an iron fist and nine assassins -- Nicola the Woodcutter (Ron Perlman) -- is the most powerful man east of the Atlantic. His associates include the murderous, cold-hearted-yet-smooth-talking right hand man, Killer #2 (Kevin McKidd), and lover Alexandra (Demi Moore), a femme fatale with a secret past. The citizens live in fear and hope for a hero who can take them out.

In come the drifter to the Headless Horseman Saloon who tells the bartender (Woody Harrelson). that he wants two things -- a shot of whiskey and to kill Nicola. Then enters a samurai, Yoshi (Gackt Camu), who wants to avenge his father by recovering a talisman stolen from his clan by Nicola. Guided by the bartender's wisdom, the two eventually join forces to bring down his corrupt reign, chopping heads and limbs along the way.

The California-born Hartnett had developed a steady career appearing in such Hollywood films as The Faculty, Black Hawk Down, Lucky Number Slevin and Pearl Harbor. In 2002, he starred in an adaptation of William Shakespeare's Othello, O, set in an American high school, as Hugo -- the film's version of Iago.

He then starred in Brian DePalma's true-crime mystery, The Black Dahlia (based on James Ellroy's book), as a detective investigating the real-life murder of actress Elizabeth Short. Next he tackled two other genres -- the classic boxing drama, Resurrecting the Champ, with Samuel L. Jackson, and the graphic novel-based horror thriller, 30 Days of Night, in which he played a small-town sheriff battling vampires.

Hartnett's turn-downs have been as notable as some of the films he made; he passed on an opportunity to play Clark Kent/Superman in the film that was going to be directed by Brett Ratner and was going to play trumpeter Chet Baker in The Prince of Cool, but didn't agree with the producer's ideas.

In 2007, he took time out from filming to support the green lifestyle campaign of Global Cool. But more recently Bunraku premiered as a selection of 2010 Toronto International Film Festival Midnight Madness section. A theatrical and VOD release is slated for this weekend.

As Hartnett regains a public presence -- he has a quartet of films up-coming including Singularity and Stuck Between Stations -- he is again giving interviews such as this exclusive Q&A.

You had a string of exciting, interesting films and then slowed down a bit. What went on between those films and this one?

JH: I've been working, just not necessarily acting. I took some time off from acting.

I started a production company, directing a little bit and writing a lot. Right before this, I did a movie, I Come with the Rain, which didn't really get a release because it was so dark.

And then I did this, and now I've got a movie called Singularity with [director] Roland Joffé that will come out soon, I believe.

Q: It's supposed to be science-fiction?

Well, it's set in the late 1700s in India.

I thought it had a time travel theme to it.

JH: It's set in 2020 as well. There's no time travel, but it's about the possibility of reincarnation.

Q: When you do offbeat and off-kilter dark things, something like Bunraku, it forces you to figure out how to give life to an unusual character like in this film. What was it that you did to make him into a character, into an archetype of some kind?

JH: A film like this requires making up an entire backstory because there is no backstory to speak of. You don't know anything about him. I came up with a world that he might have existed in and then gave him some pathos.

Enlighten me about that world that lies behind him which we don't necessarily see outlined in the film?

JH: Obviously, his father was killed, so he didn't really know his father. His mother was gone, so he was raised by somebody else. I thought it would be interesting because the world was kind of a circus-oriented film. If he was part of something like that, he was a drifter of some sort. He's called "the drifter."

So who drifts? We came up with traveling gypsies, and that was the way that he was raised. He didn't know any home, really, and he didn't really know who he was and he was never given a name.

We spent some time figuring out who he was and decided that it almost doesn't matter what his backstory is. What's more interesting is why he's here and why it's taken him so long to get back.

My idea is that he wasn't really told about this situation, like about his father being killed, until he was old enough and he'd been living in this gypsy world for a long time.

And then he had to spend some time figuring out how he was going to take revenge. No guns, so he had to learn to fight. He's just a brawler, a natural brawler.

Q: How much did this bring out your inner brawler? Did it take a lot of work for you to put aside your pacifist elements and get the brawler out of you?

JH: There were some pretty physical things in this film to do, so I had to work pretty hard to get my body in shape for this. But I've got a little brawler in me.

Were there any famous brawls in your past that you engaged in or defused that you can tell me about?

I haven't been in a physical fight since I was 14. I broke up a fight in New York a few years ago, and then the people who were in it tried to sue me saying I was in the fight. That's just some bad behavior on some idiot's part. But no, no, I don't.

Q: Obviously there's the Japanese cultural background to this film. Did you read books about the puppet theater or look at samurai films? Do you know about the wandering samurai, the ronin; did you look into any of that stuff?

There were a lot of different references for this film, one of them being something like a ronin, but having to do with [the late director Akira] Kurosawa usually -- and it was film references, mostly.

Kurosawa was used in creating this, there was [Sergio Leone] of course, and then Jean-Pierre Melville -- French New Wave stuff. This is such a film-centric film, I had to do a lot of watching of films to kind of figure out what [the] references [were].

Q: Name three films that you saw that will stay with you for the rest of your life now that you've viewed them in doing this movie.

JH: I've watched a lot of French New Wave films, but they were mostly the Truffauts and the Louis Malles, those kind of guys. And then pretty much Guy, the director, introduced me to Jean-Pierre Melville, and he's one of my favorite directors now.

Q: Did you have any particular Kurosawa film or other samurai movies you watched to prep for this?

JH: Hidden Fortress. I've seen everything of Kurosawa's over the years; I don't know what I watched specifically for this. This is three and a half years ago you know, that we started filming this.

Q: When you were filming, did you know about the digital side of it? How much did that help or hurt you in making the film, knowing that it was going to be altered technologically?

It was no different for me. I saw the landscape drawings that were sitting in the production office and I knew what he was going for as far as the feel of the world. But we were on physical sets the whole time.

So for me it was like making any other film, except there was a lot of physical requirements that I had never had to use before. It doesn't matter to me what the sky is going to look like.

How was it seeing the finished product? That must have been exciting to see things turned into other things than what you knew in the making of it.

Sure, Guy really pulled it off. The reason I was drawn to this film was because of Guy's vision. Before I even read the script, he came in and spoke to me in New York about being in it.

He didn't want me to read the script, he wanted to explain it to me visually, he wanted to have a discussion about his reference points as far as other films go for the film. And then I went and read the film.

I was intrigued by Guy's thorough understanding of what he was trying to create, even though most people wouldn't understand it just by reading the film or looking at the title, of course. But he pulled off what he was going for, and that's brave and takes a lot of guts and intelligence.

Q: What did you think about the cast he selected for this movie? Were they people you had worked with, or wanted to work with?

I love the guys that worked on this film. We spent a lot of time hanging out. We were in Bucharest, Romania. There wasn't a lot else to do except hang out with each other, so we got to know each other very well.

Obviously I've been a fan of a lot of their work for a long time, so it was unsurprising that they were great fun to work with on set.

Did you see his previous film Holly? What did you think of it?

I hadn't seen Holly when Guy came out to New York. He came out with a completely clean slate.

I knew he was a new director, but he knew exactly what he was going for. He was very conscious of the fact that it was something new for him as well. He's an incredibly intelligent guy.

I believed that he could make something unique, something interesting, something different from the cookie cutter films that come out every week. This is obviously not right down the middle, so I was really pleased with the final product.

Did Guy's Israeli background enhance your appreciation of each other and did it add to the dialogue between you two?

Guy comes from a world where there's a lot of fighting, obviously, and so the theme of the film made sense to me knowing that he was Israeli. But he's a remarkably easy guy to get along with.

It doesn't matter where he's from. I trusted his judgment on this film. We had our share of talks about what I wanted to do with the character, and we came to a conclusion and I'm proud of the outcome.

I always like to work with people who have a real sense of what they're going for. If you're working with someone who's just accommodating all the time, then you never know where you stand.

Guy definitely has opinions and he definitely knows what he wants, and that's reassuring for me as an actor. So this was a good experience.



Ещё одно интервью!  :flag:
Josh Hartnett Interview - Bunraku

Josh Hartnett stars as The Drifter in writer/director Guy Moshe's action thriller Bunraku co-starring Gackt, Woody Harrelson, Ron Perlman, and Kevin McKidd. The Drifter is a mysterious stranger who's on a mission to take down the powerful Nicola (Perlman), a vicious crime boss who rules the city with the help of his evil henchmen. Mixing different genres (including old-school Westerns) and drawing inspiritation from Japanese puppet theatre, Bunraku takes audiences into a bizarre new world where guns no longer exist and where gangs rule the streets.

In support of Bunraku's release on Video on Demand on September 1st (followed by a theatrical release on September 30th), Josh Hartnett talked about being a part of such a unique project, Guy Moshe's vision, and tackling some very intense action scenes.
Exclusive Josh Hartnett Bunraku Interview

How does the final cut of the film compare to the vision you had in your head after seeing the script?

Josh Hartnett: "You know, I didn't know what to expect when I read the script. The script was secondary in the process of getting to know this movie because Guy came out to New York - Guy Moshe, the director - came up to New York and showed me kind of a pre-made digital mock-up of a few scenes. We talked about his references for the film far before I ever read the script. He asked me not to read it before he showed me all these visual things. It kind of reminded me of the way that Robert Rodriguez did Sin City. It was the visuals first, and then he tried to figure out what to do with the script."

"I really respected Guy's obvious enthusiasm and his excitement and his ability to push himself to the point that most people would kind of stand back and say, 'This may come across as totally absurd.' He just pushed through it. And I think he accomplished something that's unique and definitely something that other people aren't doing. I'm proud to be able to work with him on this."

"I read the script before I actually said yes, but the first thing I saw and the thing that stuck in my mind were the references he had. He referenced a lot of French new wave films and Kurosawa films, of course, and Sergio Leone films of course. And he was looking to do something that was kind of '60s-centric, you know, and yet he wanted to bring in new technology to create this world. The reason that I think that he titled it Bunraku is because he wanted it to be an obvious staged world that you're involved in. Do you know what Bunraku means?"

I do now, but I didn't before this film.

Josh Hartnett: "Okay. Well, puppeteers are onstage with these life-size puppets and they're performing melodramas and mysteries. It's a traditional Japanese form of theatre, and Guy wanted this to be just as far removed from reality, in that he's telling a parable. And it reminded me a lot when I read the script of something like Star Wars, actually, or Hidden Fortress - the Kurosawa film that Star Wars is based on. It has this sort of little guys versus an evil empire storyline and the little guys all band together in a hilarious way and are guided by a sage, in this case Woody Harrelson's part as the bartender. In Star Wars' case, the Obi-Wan Kenobi part with Alec Guinness. It had a lot of similarities to it."

Do you believe, knowing all the references that Guy was intending to work off of, that's what actually comes across on the screen?

Josh Hartnett: "You tell me." 

I think so. I think he captured it.

Josh Hartnett: "Good. Being so close to it, I had certain expectations before I saw it. But I saw a lot of the visuals before we finished because they were cutting together these little short reels with music. You could kind of get a sense of how it's going to look and how it's going to feel."

"They talk about special effects all the time these days and how you can heighten things and create these fantastic superhero movies where some of the characters will do things that are just physically impossible at every turn. I liked that this was pretty much all the stunts, all the fight sequences, were in camera and that it was just the background that was heightened. It's more of an art piece, really, surrounding these spectacular fights than it is a CGI-infused over-the-top action films."

Your fight scenes look really brutal.

Josh Hartnett: [Laughing] "I was in pretty good shape."  :D

Was it difficult for you, because this is not the type of film you normally do?

Josh Hartnett: "I was getting a little fat before this film. [Laughing] But it whipped me right in shape. It was a challenge for me, for sure. Before I did this film I was sitting on my ass all the time and they made me go to the gym and learn some brutal fight moves. We had a good time - nobody really got hurt."

"We worked with these terrific stunt guys and they were all trained in MMA. They got me a month and a half before we started filming, and I mean the first day I couldn't do 20 sit-ups. I was not in good shape. They got me to quit smoking. I started really going to the gym three or four hours a day with them. You can see some of it, I'm sure, when the DVD comes out. I'm sure that they'll have some of the behind-the-scenes stuff. We just did a lot of choreographed training. It was not so much about being bulked up but being ready to do some pretty interesting moves."

Were there any mishaps during the action scenes?

"The only time I really got hurt on this film was doing that jump from building to building. Obviously I wasn't jumping from building to building, but I was jumping quite a long ways to a pad. I was supposed to jump to a pad but I kind of leaped over the pad because I was playing a little game with the camera operators, seeing how close I could get to the actual camera. I think I did something to my hamstring and that swelled up, and then my sciatic nerve started to pinch. My whole left leg turned into a mess for about three months."

"But the training was just kind of stage choreography, really, combined with a lot of physical, twice a day physical training. But it was mostly focused on the choreography because everybody had to be doing it exactly right, especially for the sequence in the prison. I mean, it's a long, uncut sequence and the timing had to be correct. It had to be that way, and you don't spend five days doing it. I think we did that whole scene in like three hours or something. We just shot it really quickly. We didn't have a lot of time on this film. It's not a huge budget, so we had to make sure that our choreography was all pre-planned and worked out to the end."

Not only do they put you through a lot of physical stunts, but you also hold your body very differently in this movie. Was that something that just came with the character?

Josh Hartnett: "No. I mean, there are little tricks, you know? You can make the shoulders of your jacket too tight or you can wear a lot of heavy, restrictive garments. Or you can put some sort of pebble in your shoe which I think Dustin Hoffman did in Midnight Cowboy. You can do all sorts of things to give yourself physically a different demeanor. But with this, it just came organically through all the training and the fighting. His mentality is just so straight line; he doesn't beat around the bush, so I just wanted to be up front and center. He's not very sly. He's no-holds-barred."

I always find it really interesting when a character doesn't have a name. You're just known as 'The Drifter' in Bunraku. Did you, in your own mind, give him a name?

Josh Hartnett: "Harold. [Laughing] No, I didn't. I let him remain a mystery. Okay, so, we came up with this whole backstory which I don't want to give too much away because I don't want to spoil it, but it had a lot to do with his family being taken away from him and who he was raised by. And, what we decided is that he was raised by gypsies and he traveled a lot. All the while he had this idea in his mind that he was going to avenge his father's death and find out who he really is. But he got caught up in this training and this world...and maybe there was a little bit of fear. The idea that we had was that he was never really given a name - that he had a name as a young boy, but that he lost it over time in a sort of fantastical way. It's not meant to be strictly...obviously this movie doesn't even take place in the real world and I don't want to be Freudian."



Интервью появляются, как из рога изобилия, не нарадуюсь  :cool:
Dialogue: Josh Hartnett Talks the Stylized Ass-Kicking of 'Bunraku'
By Brian Salisbury Sep 30, 2011

BunrakuSince exploding onto the scene in 1998, Josh Hartnett has been working hard to stretch his creative muscles and amplify his range.  Hartnett stars alongside Woody Harrelson, Ron Perlman and Demi Moore in the fantasy/action epic, Bunraku, which tells the story of a group of outcasts who band together to take down a ruthless dictator in a world where guns have been outlawed.  The Guy Moshe-directed film has been enjoying a run on the festival circuit over the course of the last year, and today it opens in theaters, giving us the opportunity to chat with the film's star. Normally in an interview like this I’d start by asking what attracted you to the project. But given Bunraku’s wildly imaginative story and unique mix of styles and genres, I think the attraction is pretty obvious. Can you talk a little about your reactions when reading the script?

Josh Hartnett: Well you know, my introduction to this film was with Guy Moshe, the director, coming out to New York and telling me not to read the script. I had the script in hand and he told me, “Don’t read it until I’m able to talk to you.” So that was intriguing. He came out and showed me some visuals. We sat, had umpteen cups of coffee, and discussed what we like about film and where we wanted to go with this film in particular and what styles we wanted to bring to it before he would allow me to read the script because he thought it would really help the interpretation. Also he had some fight sequences he wanted me to see because in the script it just kind of said, “spectacular fight sequence takes place.”

So by the time I read the script I had a real understanding of what this was going to look like. I was drawn to the film mostly because of Guy’s enthusiasm and his utter believe in himself. He knew he was going to pull off something interesting and unique and he knew it was going to be artistic. He wasn’t trying to create a special effects-laden, over-the-top simple action film. He was trying to make a parable of sorts and saying something about the state of, not necessarily exactly our current predicament, but Guy comes from Israel, as I’m sure you know, and there’s a lot of war going on over there, a lot of fighting.

So that was sort of the piece that keeps coming back in the script that the world is all about Darwinism: about fighting, survival of the fittest. And sometimes the little guy can strike back. And it reminded me in a way of Star Wars because Star Wars also has characters that are a ragtag bunch of people coming and taking the power away from the evil forces that rule the universe. Then of course it was a chance for me to play and do something that I’d never done before. First off, I’ve never had a chance to do so many choreographed fight sequences. Also he’s not a very verbose character and that was fun for me to play something that was purely physical; almost mime in a way. For me it was just pure silliness and fun. Speaking of those fight sequences, how much of your own stunt work did you do for this film? In particular, that fight scene with the “Mirror Drifter” character, as I call him, was intense. And I suppose it could have been movie magic, but it seemed like a lot of it was you.

Hartnett: It was 100% me, yeah. Awesome!

Hartnett: There was nothing in the film that I didn’t do. We were shooting two different scenes at the same time every day pretty much. Guy was running back-and-forth between sets so there was no time to be there for the setups. So we’d shoot some sequence and then we’d half some sequence and then they’d need to setup different shots. So we’d go over to the other stage and we’d shoot some of this other sequence and then we’d go back-and-forth, back-and-forth. So the only time the double, who’s a great stunt guy and could have done everything and made it look like I was doing it, but he only filled in for me on a couple of punches from behind that I had already done.

So it wasn’t the physical stuff, it was like, “ok, we need to get a reverse on that and Josh can’t be in two places at once.” I mean I trained with these guys for a long time and that was the fun of this character was to get into the physical side of it. So yeah, everything you see on screen, with the possible exception of a couple of shots from behind, were all me. Fantastic! And seriously, how much fun did you have playing that Drifter character? The guy’s a total badass.

Hartnett: It’s fun to play the badass, but what I liked about him, and what I wanted to bring to it, was just a little bit of vulnerability. You know, like he’s afraid of heights. You know it’s fun to play a total badass, but they never come across as realistic unless you can give them something that they….you have to give them their kryptonite. And because there were a lot of scenes on top of things that Guy had written, I was like, “why don’t we make it so that the Drifter, like, heights make him want to throw up?” He just can’t deal with them; everything else he’s fine with. That was the fun part for me. He’s a badass, but I also found it fun to play the physical comedy. I think he comes across pretty funny sometimes. Absolutely, and yeah you do have to add that air of vulnerability. It’s sort of like, going back to something like Lucky Number Slevin: always, or not always but most of the time, having Slevin in a towel. Even though that character too is a badass, it’s a way to show that vulnerability. So it’s kind of a similar thing having the Drfter being afraid of heights.

Hartnett: Thank you for recognizing that about Slevin. That was something that was hard-fought. We had to convince some people that it was going to be funny. But if you’re trying to convince people that you’re not a threat in any way, shape, or form, what possibly could you do that would be more vulnerable than pretty much walking around naked throughout the whole film. Exactly. So Bunraku is one of those rare movies that borrows little touches here and there from many different films, but in a way that’s wholly original and completely its own thing. You know, you already mentioned Star Wars, but were there any other films or classic film characters that informed your performance?

Hartnett: Oh, for sure. Jean-Pierre Melville made a few films with Alain Delon, Le Samourï and Le Circle Rouge, which both inspired the Drifter a bit. Then of course, there are the Sergio Leone westerns with Clint Eastwood, and some of the Kurosawa samurai films. It’s a mishmash of different references but that’s what I like about what Guy did with it. He understood that his approach was using all of these other ideas, but he wanted it to come across as something organic. In order to create this organic world, something he’d never seen before, he just decided to take away reality entirely.

This is some place that exists “East of the Atlantic” where the buildings are origami, and that’s why he chose the title in my opinion. Bunraku is a puppet show where the puppeteers are on stage moving life-sized puppets and they play out these human dramas, but with a lot of comedy and lot of melodrama. You’re never once unsure of whether or not this is reality; it is a parable, it’s outside of reality. So you’re kind of able to watch it with enthusiasm. I think that’s what Guy had figured out quite well; you’re never unsure of what this world is. I’m glad you brought up Melville because I was going to ask you a question about that. You know Melville had this concept of his characters and their armor, which was so important to them. And since he made gangster films, the armor was usually comprised of things like fedoras and trench coats. And that seemed to be resonating in Bunraku, but I didn’t know if that was just because I had been watching a lot of Melville recently or if that was something intentional.

Hartnett: Absoultely! I mean, right down to his gloves. He has very little of his skin exposed, the Drifter-just the tips of his fingers and his face. It was like armor, and then of course the character doesn’t give away a lot so his personality is quite guarded as well. Exactly. So Bunraku played last year’s Fantastic Fest, which is one of the premier genre film festivals in the country. You’re no stranger to genre films. You’ve got horror films, action films, and graphic novel adaptations under your belt. But you’ve also tackled Shakespeare and done plays in London’s West End. Do you feel more and home with genre films or are you more partial to straightforward drama?

Hartnett: You know, I’m partial to human drama, but I don’t think that any film has to be without its human drama. It doesn’t matter how far out into the genre world you go, the ones that are most interesting in the long run, the ones that stick with you, are the ones in which the characters come across as human. So the job is the same on all accounts. The challenge with a film like Bunraku is to take somebody who has no past and give him a past: give him pathos and make it recognizable. Also to make him, like I said before, somewhat vulnerable so that there’s someone that you can relate to in a way even though he’s obviously not your everyday kind of guy. For me, as I’m getting older, I’m finding that with characters that it doesn’t matter what the genre is, they have to be fully-realized. Otherwise, they’re not going to be that much fun to watch or you’re not going to go along for the ride with them. So the job becomes more and more similar, switching from genre to genre to genre almost doesn’t matter now.



'Bunraku' Star Josh Hartnett on Avoiding the Beaten Path

Josh Hartnett never wanted to fit in Hollywood's box. The handsome Minnesotan was just 20 when he was thrust from steady, low key work shooting commercials to a major big screen role against Jamie Lee Curtis in the horror reboot Halloween: H2O. Overnight, he became the heartland's favorite hunk and a continual nominee at the MTV and Teen Choice awards where he competed for such laurels as Best Breakthrough Performance and Best Chemistry. But look beneath the pretty face and you can see a male starlet determined to be taken seriously. Hartnett shunned straight romantic comedies (he's only ever done one, 40 Days and 40 Nights) for roles in Black Hawk Down and the high school Shakespeare adaptation O. And even when he did get the girl in Pearl Harbor, The Virgin Suicides or Here on Earth, by the credits, one of the lovebirds always ends up dead. As he approached 30, Hartnett took advantage of graduating from teen stardown to take on roles in quirky thrillers. His latest, Bunraku, is his oddest yet: a neo-retro noir when the men wear kimonos and kill each other with katanas in a heightened, violent world somewhere "east of the Atlantic." Visually, it's unlike anything audiences have ever seen. And for Hartnett, it represents a new frontier in his quest to carve out a career on his own terms.

Bunraku is a wild-looking samurai western made by someone who's never made anything like it. What made you trust him?

Guy Moshe came out to New York. He made a visual presentation before he'd allow me to read the script. So the visuals seemed secondary by the time I read the script. I just really respect somebody when they come to me and they say, "I don't know if I can pull this off necessarily, but I'm gonna try to accomplish this and this and this. And here's how I'm gonna do it." Their ambition is larger than the average person's.

Did the stylization of the film put different demands on you as an actor?

Well, the one thing that was different about this was the physical aspect. I'd trained in the past, but I'd never done serious fight scenes like this. It was harsh, but it was a lot of fun. With the physical stuff, it's just choreography. And when you don't get it right, people are still awed by your ability to get most of it right, so it's kind of a win-win situation. And in a fight sequence, everybody's on your side, so it was awesome.

Your character doesn't have much to say other than very pointed lines like saying to Woody Harrelson's character, "I ain't your son." Who is he under the surface?

For the most part, he's a physical creature. He's not, like, incredibly verbose. Everybody else seems to have some speeches, but not the Drifter. As far as lines go, there weren't a lot of cues, but I think that I just came up with a solid, what I thought was interesting, backstory, and a lot of that is reflected in what he's wearing and how he holds himself and what his reactions are to everything that's headed his way. He's got a very simple part in this. He's at a simple place in his life. He's just there to avenge. This isn't a story of him coming-of-age or anything-he's already made. So I didn't think it was that difficult to find the emotional core of him. It was fairly simple.

Did the film turn out the way you expected, or was it different than you could have imagined?

In a film like this, because the script is actually quite long and our production budget is not particularly high, we had to sacrifice certain things. There was more back story in the original script. But you never know how something like this is gonna turn out. I didn't know what to expect when I signed on-I wanted to see what I was gonna do. I was fully onboard. I had a sense of what he wanted and I just went with that. It was more based on instincts. I said, "Can we just make the Drifter have some sort of weakness, because in the original script he just kicked ass." He's on top of things a lot, so I said, "Why don't we make the Drifter afraid of heights?" Looking objectively at the final project is pretty much impossible. I'll just say that with what I saw, I was really pleased with everything that Guy accomplished. I like his tenacity in sticking with his vision.

When you first started out in Halloween and then Pearl Harbor and O, it seemed as if Hollywood was very determined to make you into a movie star, but you were always more interested in just being an actor. Now that you're a little less in the spotlight, does that feel like an advantage or disadvantage?

Being in the shadows is a good way to explore something new. When you have a lot of expectations, it's very difficult to make rational decisions. But I enjoy being a little bit more on the outside, and I think that over the last years, I've done some films that I really like. They haven't been seen all that widely, which has been difficult to take because everyone wants their work to be seen. So, I don't know, man. I'm always trying to make films that are interesting to me, that are new for me. In this film, I had never done anything physical—not like this. No fight sequences really except for Black Dahlia, which is one boxing scene. And I thought it'd be really interesting to take this on and not do it in the same old way? I get as sick as anybody about the same old films coming out: the same character dilemmas and similar visuals—it gets a little old.

Robert Rodriguez said that if he's going to shoot Sin City 2, he's going to do it this year. How much did shooting the first Sin City help you make this one-and conversely, how much will this one help if and when you go back for Sin City 2?

Sin City was so bizarre. We did a lot of green screen work. That was pretty much the only green screen film I've done. And I mean, the characters are completely different, but being on a sound stage for exteriors is kind of what filmmaking is all about. I didn't find that part odd either time. I don't know, maybe you think I'm in the minority there, but I actually don't mind acting against a ball on a stick. I don't mind that being my scene partner. It doesn't bother me. It's all in my head anyway.

Have you actually spoken to Robert about getting the cast back together to make Sin City 2?

He kind of owns the offsite film industry, in a way. He just works when he wants to that makes it easier for everyone to come down and do their part. The nature of those stories is that everyone's kind of separate. People interact but all the actors don't have to be there at the same time. But no, I haven't spoken to him about any participation in it-who even knows what the plot line is?



Кевин МакКидд о Джоше:   :cool:

In the film your character, Killer No. 2 is really at odds with Josh Hartnett’s Drifter, and the two go toe-to-toe with each other in some fantastic fight sequences. What was it like collaborating with Josh on those scenes and working with him on the movie?

McKidd: It was great and Josh is great. We've become good friends, as I have with Ron (Perlman) and everybody in the film, we all stay in touch. He's great in that role as the Drifter and I think he really shows a great side to him. He's fleshed out the character into this real kind of American leading man and I think he plays the role great. I think the dynamic between Killer No. 2 and Josh’s character is interesting because they're both quite dark characters. Killer No. 2 is such a sociopath individual that I think it rubs up against his character in a cool way; the confrontation between those two guys. It's almost like two animals just kind of smelling each other so they can just instinctively hate each other's guts.



:'( пошла учить английский дальше :mybb:


Светулька написал(а):

пошла учить английский дальше

ну, если коротко, то все круто, и Джош - крут)))


Людмила написал(а):

It's almost like two animals just kind of smelling each other so they can just instinctively hate each other's guts.

Как сказано, а?! Тут и не переведешь... МакКид мастер красноречия)))


Перевод интервью с сообщения 141   :) 
Джош Хартнетт Интервью- Бунраку

Джош Хартнетт сыграет Бродягу в боевике Гая Моше «Бунраку». В фильме также снимаются Гакт, Вуди Харрельсон, Рон Перлман и Кевин МакКидд. Он – таинственный незнакомец с миссией свергнуть могущественного Никола (Перлман), жестокого криминального авторитета, с помощью своих злых приспешников правящего городом. Смешивая различные жанры (среди которых классические вестерны) и черпая вдохновение из японского кукольного театра, «Бунраку» погружает зрителя в причудливый новый мир, в котором оружия больше не существует, а на улицах правят банды.
В поддержку релиза фильма «Бунраку» в сервисе Video on Demand  1-го сентября (с последующей премьерой в кинотеатрах 30-го сентября), Джош Хартнетт поведал о том, каково это, учувствовать в таком уникальном проекте, о взгляде Гая Моше на проект, и о том, как ему давались боевые сцены.

Насколько готовый фильм отличается от того, каким вы себе его представляли после первого прочтения сценария?
Д.Х.: Вообще-то, когда я прочитал сценарий, я не знал, чего ожидать. Для понимания фильма сценарий был вторичен, потому что режиссер фильма, Гай Моше, приехал тогда в Нью-Йорк, специально для того, чтобы  показать мне заранее заготовленные цифровые макеты некоторых сцен. Мы говорили о некоторых отсылках в его фильме еще задолго до того, как я увидел сценарий. Гай попросил меня не читать сценарий, пока я не увижу все эти сцены в макетах. Это немного напомнило мне о том, как Роберт Родригез делал «Город Грехов». В первую очередь он заботился о том, как это выглядит, а уже потом пытался придумать, что же делать со сценарием.
Я действительно уважаю энтузиазм Гая, его волнение и способность двигаться вперед к цели, когда другие люди опустили бы руки и сказали «Полная нелепица получится». Он просто проскочил через это. Я думаю, у него получилось что-то по-настоящему уникальное, то, что другие бы точно не сделали. Я горжусь возможностью работать вместе с ним над фильмом.
Да, я читал сценарий перед тем, как согласиться на съемки, но то, что я увидел первым, и что меня больше всего и зацепило, были эти отсылки, что он мне показывал. Он цитировал французские фильмы новой волны, и, конечно, фильмы Куросавы и Серджо Леоне. Знаете, он хотел создать мир, похожий на то, каким мир был в 60-е, и в то же время с новыми технологиями. Я думаю, он назвал фильм «Бунраку» потому, что хотел, чтобы зритель постепенно втягивался в историю. Вы знаете, что означает «Бунраку»?
Уже знаю, но до фильма не знал.
Д.Х.: Кукловоды находятся на сцене с этими куклами в натуральную величину, и исполняют мелодрамы и таинственные истории. Это традиционная форма японского театра, и Гай хотел, чтобы фильм был настолько же далек от реальности. Мне вспомнилось, как я читал сценарий чего-то похожего на «Звёздные войны», или фильма «Три негодяя в скрытой крепости» Куросавы, повлиявший на сюжет «Звёздных войн». Здесь тоже есть такие «маленькие парни» против злой империи и «маленькие парни» объединяющиеся в группу, руководимую мудрецом, в данном случае это Вуди Харрельсон в роли бармена. В «Звездных войнах» это был Алек Гуиннес в роли Оби-Вана Кеноби. В этом у фильмов много общего.
Зная о всём, что Гай собирался процитировать, как думаешь, удалось ли ему в итоге перенести это  на экран?
Д.Х.: Это вы мне скажите.
Я думаю да. Думаю, он смог донести всё это.
Д.Х.: Это хорошо. У меня были какие-то ожидания после знакомства с идеями Гая. Но я увидел многие сцены еще до того, как фильм был закончен, в процессе их нарезания с музыкой. Этого достаточно, чтобы представить, как фильм будет выглядеть и какие ощущения будет вызывать.
Сегодня всё время говорят о спецэффектах и о том, насколько крутые можно снимать фильмы про супергероев, в которых персонажи будут при каждом удобном случае делать физически невозможные вещи. Мне понравилось, что практически все трюки, все боевые сцены снимались на камеру, на фоне настоящих декораций. Съёмка захватывающих боев в окружении декораций является намного большим искусством, чем боевики, нарисованные на компьютере.
Боевые сцены с твоим участием смотрятся по-настоящему брутально.
Д.Х.: (смеётся) Я был в хорошей форме.
Для тебя это было сложным? Ведь обычно ты не снимаешься в подобных фильмах.
Д.Х.: Я уже начинал толстеть до съёмок фильма. (смеётся) Но он вернул меня в форму. Конечно, это оказалось испытанием для меня. До съёмок фильма я не отрывал задницы от дивана, и меня заставили ходить в тренажерный зал и разучивать жестокие приёмы. Мы хорошо провели время, ведь в итоге никто не пострадал.
Все парни, которые обучали нас трюкам, были обучены ММА (смешанным боевым искусствам). Они натаскивали меня полтора месяца перед началом съёмок. Я был в плохой форме, в первый день не мог делать и двадцати приседаний. Меня заставили прекратить курить. Я начал проводить в тренажерном зале 3-4 часа в день. Думаю, на DVD покажут что-то из этого. Наверняка у них есть закулисные записи. И мы много занимались хореографией. Не то чтобы меня сильно нагружали, но нужно было всегда быть готовым к выполнению необычных трюков.
Были ли какие-то несчастные случаи во время съемок боевых сцен?
Я пострадал только однажды, когда исполнял тот прыжок с крыши на крышу. Конечно, со здания на здание я не прыгал, а прыгал я на маты, на довольно большое расстояние. Я должен был прыгнуть прямо на маты, но я проскочил их. Я хотел узнать, насколько близко смогу подобраться к объективу камеры, что-то вроде игры с оператором камеры. Наверное, я повредил себе подколенное сухожилие, оно распухло, и я почувствовал покалывание седалищного нерва. Вся левая нога пришла в негодность на три месяца.
На самом деле тренировки – это хореография, объединенная с физическими нагрузками, физ. упражнения проводились два раза в день. Но всё-таки это больше хореография, ведь каждому приходится выполнять всё именно так, как было задумано, особенно в эпизоде с тюрьмой. Весь эпизод снимался за один раз, без перерывов с последующей нарезкой получившихся отрывков, и на протяжении всего этого эпизода действия всех актеров должны были быть четко выверенными по времени. Эта сцена должна сниматься именно так, и пять дней ей заниматься не будут. И мы действительно быстро сняли эту сцену, управившись где-то за три часа. У фильма не огромный бюджет, и мы не могли позволить себе тратить много времени, поэтому вся хореография полностью отрабатывалась заранее.
Тебя не только заставили делать множество трюков, у тебя и походка в фильме другая. Это часть вживания в роль?
Д.Х.: Нет. Вы знаете, что для этого есть различные хитрости? Вы можете сделать пиджак очень тугим в плечах, или можете одеть тяжелую, сдерживающую вас одежду. Или можете подложить какой-нибудь камешек себе в туфлю, думаю, Дастин Хоффман в фильме «Полуночный Ковбой» так и делал. Есть много способов сделать свои движения другими. Благодаря этим ухищрениям со временем, в процессе тренировок, эти движения становятся естественными. Мой персонаж  прямолинеен и не ходит вокруг да около, поэтому я хотел быть впереди всех персонажей. Он не особо прячется, и в бою не сдерживается.

Я всегда нахожу интересным, когда у персонажа нет имени. Вы известны как 'The Drifter' в «Бунраку». У себя в мыслях вы назвали его как-нибудь?
Д.Х.: Гарольд (смеётся). Нет, не назвал. Я позволил ему сохранить свою тайну. Тут мы подходим к предыстории, которую я не хочу сильно раскрывать, чтобы не испортить впечатление, скажу лишь, что многое связано с его семьей, с которой его разлучили, и с теми, кто его растил. Мы решили, что он был воспитан цыганами и много путешествовал. Он постоянно был одержим идеей отомстить за смерть своего отца и выяснить, кто же он на самом деле. Но потом он попал в этот мир, эти тренировки, и, возможно, он почувствовал какой-то страх. У нас была идея – никто не давал ему имени. У него было имя, когда он был маленьким мальчиком, но потом, со временем, он потерял его каким-то немыслимым способом.  Не то, чтобы всё было именно так, в конце концов, действие фильма даже не происходит в реальном мире, и я не хочу показаться фрейдистом.

За перевод спасибо Deil Zombie


"До съёмок фильма я не отрывал задницы от дивана, и меня заставили ходить в тренажерный зал"
Ну есть же в нем что-то от наших мущщин!)

"Меня заставили прекратить курить"
"Тебя не только заставили делать множество трюков, у тебя и походка в фильме другая"
Хм... Странный образ Джоша вырисовывается  - все-то его заставляли...будто он сам ничего не хотел)


gall написал(а):

Хм... Странный образ Джоша вырисовывается  - все-то его заставляли...будто он сам ничего не хотел)


gall написал(а):

Ну есть же в нем что-то от наших мущщин!)


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