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)

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.

CAN YOU TALK ABOUT ‘I COME WITH THE RAIN’?

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.

WHAT CAN YOU SAY ABOUT WORKING WITH THIS DIRECTOR?

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.

WHAT ELSE HAVE YOU BEEN WORKING ON?

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.

YOU HAVE LIVED IN LOS ANGELES AND THEN YOU WENT TO MINNESOTA. IS NEW YORK A CHANGE FOR YOU?

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…

DOES LIVING OUTSIDE LA GIVE YOU A DIFFERENT PERSPECTIVE ON IT?

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.

WOULD YOU LIKE TO LIVE IN EUROPE FOR A WHILE?

Yeah! I’d love to.

COMING FROM MINNESOTA, DO YOU THINK THAT THE CLIMATE REALLY AFFECTS THE MOOD OF THE PEOPLE?

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.

ARE YOU INTO SPORTS?

I play all sorts of sports.

WHAT IS YOUR FAVOURITE?

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.

WHAT DO YOU LIKE TO DO IN YOUR SPARE TIME?

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.

WHAT ARE YOU PLAYING?

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.

LAST TIME WE SPOKE YOU WERE SAYING THAT YOUR FAMILY WAS BEING A LITTLE BIT HASSLED BECAUSE OF YOUR FAME AND SUCCESS. IS THAT PART OF THE REASON THAT YOU LEFT FOR A LITTLE BIT? DID YOU FEEL SOME SORT OF PRESSURE?

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.

SO WHY DID YOU STEP BACK A COUPLE OF YEARS AGO?

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.

ARE YOU HAPPY YOU DIDN’T DO ‘SUPERMAN’?

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…

YOU PRODUCED A MOVIE BUT DO YOU HAVE ANY DIRECTING ASPIRATIONS?

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.

WHAT MAKES YOU COMFORTABLE WITH A DIRECTOR?

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.

ARE YOU MORE ACCEPTING NOW OF YOUR HEARTTHROB STATUS? WHATEVER YOU WANT TO CALL IT…JUST THE BULLSHIT OF HOLLYWOOD. ARE YOU MORE RESIGNED TO THE FACT THAT IT’S JUST THE WAY IT IS?

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.

DO YOU HAVE A GIRLFRIEND?

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

WHAT KIND OF GIRL ATTRACTS YOU?

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.

HOW DO YOU DEAL WITH RUMOURS?

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.

ARE YOU SURPRISED THAT YOU’D BE CALLED A HOLLYWOOD CAD?

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.

DO YOU HAVE ANY THEORY WHY AMERICA IS SO OBSESSED BY CELEBRITY?

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.

WHAT’S NEXT FOR YOU?

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.

YOU WERE WORKING ON A BIOPIC OF JAZZ MUSICIAN CHET BAKER?

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.

YOU ARE ONE OF A FEW ACTORS WHO’S HAD LONG-TERM SUCCESS AND NOT STARRED IN A SEQUEL OF ONE OF YOUR OWN MOVIES. WHY IS THAT?

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

Источник

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...

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

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

     
ахахахаха. Пасибо большое за такие шедевры)))

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

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.”

Actor Josh Hartnett Toys With Swordplay in Bunraku and Lives to Discuss It
29.09.2011

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.

Q: 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?

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

Q: 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.

Q: 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.

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

JH: 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?

JH: 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?

JH: 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.

Q: 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.

JH: 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?

JH: 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.

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

JH: 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.

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

JH: 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.

Источник

Интервью появляются, как из рога изобилия, не нарадуюсь 
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.

Movies.com: 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.

Movies.com: 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.

Movies.com: 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.

Movies.com: 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.

Movies.com: 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.

Movies.com: 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.

Movies.com: 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.

Movies.com: 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.

Источник

Кевин МакКидд о Джоше:   

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.

Интервью

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

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