Paul Dano: ‘Nobody needs to know about my high-school band!’

The actor on singing with Brian Wilson, why War and Peace is the best book ever written and what drew him to his latest film, The Wizard of the Kremlin You were wonderful as Brian Wilson in Love & Mercy . Did you get any feedback from the great man himself? Fran2016 and Aubrey26 Thank you. I spent a bunch of time with Brian before filming. If you asked him about the world, you might only get a little bit out of him. But if you asked about music, he’d light up. I loved talking with him. I also got to sing with him and his touring band a few times, which was amazing. We filmed in the studio in which they recorded Pet Sounds, and he came on set, which was a trip. I didn’t get much feedback in terms of my performance – it was more getting to know each other and learning about his life. Which was more challenging in Little Miss Sunshine – the first half where you don’t speak, or the second half where you break your vow of silence? mattyjj I remember the first few days, filming...

Donald Sutherland was an irreplaceable aristocrat of cinema

The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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