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Autor Thema: Interviews mit dem Hauptcast von 'Walking Shadow'  (Gelesen 353 mal)
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« am: 24. Februar 2016, 16:58:50 »

Marcia Gay Harden Interview

A&E: How does it feel, returning for another Spenser film?

MARCIA GAY HARDEN: It's the first time I've ever been involved with a recurring piece, and this will be the third year, and the third story. In one sense, it is like returning home to family, without all the dysfunction of returning home to family, because, in this case, it's also a new crew. But the core people, are the same, the core person, which is Joe Mantegna. He's so fantastic. He helms this ship, and everybody who you talk to around here just admires his ease and professionalism so much.

And then there's, of course, Bob Parker, the writer, and Michael Brandman, our producer. Each time, we get to have a new director, so that there's a new style and a new vision that we're trying to fulfill--within the style of this genre, which is kind of a celebration of modern film noir. And, it's a lot of humor, and yet it's action. You take it seriously, but it's also a little tongue-in-cheek.

A&E: A key difference with this story is that it is Susan who brings Spenser into the mystery.
MGH: My character, Susan Silverman, is a psychotherapist, or a psychoanalyst. She's this very professional Boston woman, somewhat cultured. And her counterpoint is Spenser, Joe's character, who's a little rough around the edges, and is a PI, private investigator, and who sometimes has to kill people, and is involved in the darker side of life. I think that she's attracted to that, and is also possibly repelled by it a little bit. So, Bob Parker has written someone who's comfortable, or at least analyzes herself into "comfortability", with what Spenser does.

In Walking Shadow, she's culpable, because she has asked him to investigate something, as a favor to her, so that she would look good. She says at one point that she's ashamed and fearful. One of the things that I'm finding in this story, is how it is when you are responsible for something, that the guilt background just rises so much. I think that's something that Bob Parker is exploring. There's also some fear you haven't seen before in her, although, I think, it's a more internal journey that she's on in this particular story.

A&E: They have an interesting relationship. It is very clearly deep and emotional, in spite of the very obvious differences in lifestyle and personality.
MGH: Their relationship is always, in some way, reflective of the difference in their personalities. They have a really good-natured banter, even in the most trying situations. But, there is the difference in their worlds. I definitely think she's attracted to his world. She's attracted to his strength, that he uses the power that he exudes, in being able to very fairly and very logically deal with the evil elements in his world. She deals with those elements in an analytical way, and a therapeutic way, and her talking-in-the-office-kind of way. He deals with them in a much more visceral, and tangible way. And so, there is a communion of sorts in what they do, and yet, the way they going about it is completely different.

And then, like any good detective story, there is this strong physical attraction between the two of them. That's something that Bob Parker, the writer, always puts in there, this fun that they have with each other, the way that they flirt with each other. There is constant sexual innuendo in their language, and those are the things that he's always bringing forth. There's one story, that maybe we'll do at some point, that also goes into the difficulties that she has accepting his world. That's one of the stories where I believe she chooses to leave him. We've talked about doing that. It sort of goes a little bit deeper into them.

Ernie Hudson Interview

A&E: You're stepping into the role of Hawk. What is Hawk's relationship with Spenser, and what part does he play in this story?

ERNIE HUDSON: I don't like to think of Hawk as Spenser's sidekick, but he's a friend. He's a good friend. Hawk sort of has his own world in his own right. I think he's something of a hit man, he takes these special assignments. Sort of a modern-day urban mercenary, who does things on the "down-low," so to speak. But, Spenser's a friend, and when Spenser's in trouble, he's there.

This is a case where there's been a murder. It's a very dangerous situation for Spenser, so Hawk comes in as backup, which he's done before. I also like to think that Spenser's done the same thing for him. And, he doesn't interfere with Spenser's method of operation. Comments from time to time. Sort of watches. The relationship between the two is very much what I like to think of as my relationship with Joe Mantegna, who plays Spenser. I think he really respects Spenser. They have a very similar sense of humor, so they kind of "get" each other. They mend from their own error. As I get older, I realize that we are products of our times, much more than we realize. And, so, these are two men who are from the same time. There's a certain kind of commitment, a certain kind of loyalty.

A&E: So, it's important for the strong bond between the two characters to be felt.
EH: Right. I see the relationship that Spenser and Hawk have as very similar to my relationship with Joe Mantegna. I've known him for 25 years. We did a movie together with Nick Nolte years ago called Weeds, and we did Airheads together a few years back. I really like Joe, and we share somewhat the same sense of humor. I think the characters Hawk and Spenser have that in common. There's a certain mutual respect.

Spenser has a stronger support system than Hawk. He has Susan, he has his friends, he has a very good relationship with the police, oddly enough, whereas I think Hawk's is much more adversarial. And, Spenser has a life that Hawk admires, but it's not his life, it's not quite how Hawk does things. But, I think he respects him. And, Joe and I are that way. You know, he's produced and he's directed, and he's done some other things that I have no desire to do. So, I respect that, but it's not my take--it's not how I do things.

A&E: Were you familiar with the Spenser novels before you did this film?

EH: No, actually, I wasn't. Years ago, they had Spenser: For Hire, with Avery Brooks, and I really liked Avery's interpretation of the character. Robert Urich and I worked together a couple of years ago, so I was somewhat familiar, though I hadn't read the books. And then, since this came up, I've read four of the books. I like Parker, and I like his writing. My interpretation is a little bit different than Avery's, obviously. I think everybody's sort of bringing their own thing to it. I see Hawk as having a little bit more of a sense of humor. I think through the books, that's so obvious. In fact, that's probably the most dominant thing.

A&E: In a recent interview you said that to play the role of the warden in Oz, you shine your shoes because that's what your character does.

EH: Yeah. I think sometimes there are certain things that can tie you into a character, and you sort of stumble on them. I found that when I would go to the set on "Oz," walk into this prison environment, when I dressed, it changed the chemistry a bit. It was the shining of the shoes that really brought things to the forefront. I'm not quite sure with Hawk.

There was something about shaving my head, which I hadn't done in a very long time. It's kind of an urban, hip thing, it's very contemporary. It's certainly not the way I normally see myself. That has made it more accessible. I don't know if there's any specific things that I do that, that say Hawk. I'm still kind of working on the character. I'm still looking, and trying to find where I end and he begins. I mean, with Oz, it took me, literally, three years to find the character. Some are easy to find, and some are a little bit difficult to nail down.

Eric Roberts Interview

A&E: What attracted you to this particular project?

Eric Roberts: What attracted me was the fact that I was going to be working with fantastic actors like Joe Mantegna, Ernie Hudson, and Marcia Gay Harden. They're great actors. I wanted to know what they were like.

A&E: Describe your character, DeSpain? Who is he, how does he figure into the story?

ER: In this story, DeSpain is a chief of police. He is corrupt, like I think most chiefs are corrupt. He's kind of a stud. This DeSpain's a man who you never see coming. He looks like one thing, which is possibly dangerous. But then he acts very polite, so he comes across like he's a cool cat--only he's not. He's got huge vulnerabilities, like all of us. The biggest one being that he's still chasing the love of his life, and he never quite gets hold of her. He doesn't ever make it, completely. He and Spenser have a past that is not perfect, but they respect each other. And they like each other, in an odd way. You know? But, they of course have to go their separate ways.

A&E: You mentioned that Spenser and DeSpain have a past. How does that fact manifest itself here in Port Town, many years later?
ER: Every time there is a murder, when the chief is about to show up, Spenser's always there. So we have to always cross paths, even though we don't want to. Well, even though I don't want to. We respect each other, and we even like each other. But we're both a pain in each other's ass, simply.

A&E: What sort of a man is DeSpain?

ER: Well, what motivates DeSpain in this story is love. And the loss, thereof, of love. That's what motivates him. He's trying to get back to where he almost started. But he doesn't. He basically fools everyone.

A&E: Were you familiar with the Spenser novels?

ER: Not at all. In fact, I was offered this project, and then I bought the book. It's a hard story, hard characters, hard book, and it's got to really kick you. I just love reading it.

A&E: Describe working with Joe Mantegna.

ER: Well I've known Joe for almost 20 years, and Joe has always been a friend. I always admired his work, and always will, I imagine. You know, he's a great actor.
« Letzte Änderung: 24. Februar 2016, 20:29:16 von Seamus » Gespeichert

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« Antworten #1 am: 25. Februar 2016, 09:06:42 »

Sehr interessant, vielen Dank dafür Danke sagen!

Habe gar nicht gewusst, dass Ernie Hudson mal mit Bob gedreht hat.
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« Antworten #2 am: 25. Februar 2016, 16:03:43 »

Sehr interessant, vielen Dank dafür Danke sagen!

Sehr gerne! fröhlich Ich fand jedes der 4 Interviews klasse, man bekam viele Hintergründe mit, da jeder Schauspieler über seinen Charakter etwas schrieb.

Habe gar nicht gewusst, dass Ernie Hudson mal mit Bob gedreht hat.

Ich auch nicht. Laut der Suchfunktion des Forum spielte er in einem der beiden Weihnachtsfilme von Bob eine Nebenrolle (Miracle on the 17th Green).

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« Antworten #3 am: 30. Oktober 2016, 18:37:32 »


Joe Mantegna Interview

A&E: This is your third go-round as Spenser. What is it like to be playing him once again?
Joe Mantegna: Well, it's great to be returning as Spenser, this being our third one. I think with each one, we learn something as a company. Though a lot of people are different, some are the same. You know, we have Marcia Gay Harden back again. It gives us more confidence, a little more ease. It certainly does for me, you know. I feel just more in control of the character with each successive film. More confidence and understanding in what I'm doing. I've always been a huge fan of the books, and I'd read all the books prior to doing even the first Spenser. Until you actually get up on your feet and try to portray the character, it's a little different. But, it's been great. We have a tremendous cast, especially this time. And again, a wonderful screenplay by Bob Parker. So, for me it just gets better and better as they go along.

A&E: What are some of the conceptual innovations this time around? There's a lot of action, some really interesting visual elements.

JM: Yeah. We've been able to play around with the script a bit. We've had the luxury of having Bob Parker here to work on it with him. And also, Po Chih Leong, our director, has come up with some nice concepts. We have these kinds of flash-backs and flash-forwards and fantasy moments within the piece. This particular one has this whole kind of psychological bend to it. There are moments when Spenser starts to see events transpire as they might transpire, or would happen, or could happen, or might happen, or shouldn't happen. It adds another whole level of tension. So, this one takes a little bit different tack from the others in some ways, as it should. Which gives it its own identity, and makes it an independent film unto itself.

A&E: It must be almost a unique artistic experience to be able to portray this character, who has been in so many books, with the author actually working right alongside you.

JM: We have the luxury of being able to have the novelist write the screenplay, so we know we have the dialogue and the story as true as possible to what made the book as good as it was. That was my whole attraction to this project, that Robert Parker would be involved. My feeling is: If you're going to do these books, let's do them with as much purity as possible, because they're very popular books. There's a reason they're popular. It's because of the dialogue he writes and the style that he writes.

But, on the other hand, if you're making a movie from a book, why not use the capabilities of the medium to its fullest extent? So, if there are ways to make some creative decisions in terms of the style and how it's done so it can have its own life, its own look, why not? That's why this is our third director as well, so each director can put his own particular stamp on the film, as Po Chih will do this film. This one has a whole kind of Asian theme, while the last one had a very Latin kind of theme. They've all been alike, yet different in their own way.

A&E: You are co-executive producer of this movie?

JM: Well, I've been producing more films of late. I've recently produced a film called Lake Boat that I directed, and I produced a film called Jerry and Tom, that actually went to Sundance a couple of years ago. I felt it was nice to get involved on a producing level now on the Spensers, perhaps to contribute some artistic input, in terms of trying to bring other people to the project, and have further involvement in terms of the whole process. I do love this series of films we're making very much, and so I have a passion for it. So, I figured, if I'm going to have a passion for it, I would like to contribute in any way possible.

Ernie Hudson has been a dear friend of mine, a person who I thought would be an ideal choice for a change in the Hawk character. Ernie is just phenomenal. It's like he was born to play the part. So, that's been one aspect of trying to turn a situation that was unfortunate--someone wasn't available to continue on. But, in this case, we certainly haven't missed a beat. And made things just as well as we've ever had.

A&E: Speaking of Hawk, what is your take on how their friendship came about? The origins seem to be pretty mysterious.

JM: Well, having read all the books, I have a little more insight into the whole background of all these characters. They go back a ways. There was a time when they were both boxing, and they got to know each other at that time. They've been through a lot together.

It's a very interesting kind of relationship, and one of the strengths of many of the Parker books. Of course, Hawk's not in every single one, but he's in a good cross section of them. It's two guys who share a lot in common, and yet are from different worlds. They are different people, and have different likes and dislikes and things, but yet are very into total step with each other on a lot of levels. So, it's not the first time they've hooked up.

Obviously, there have been millions of buddy pictures. It's not the first time you hook up two guys together. But, I think it's the unique kind of way that Parker has written these two characters, and the dialogue he gives them. Anyone who would watch these films (not that you have to watch them in any particular order) but as you watch each one, you would probably learn a little bit more information, and get a little better understanding of the relationship, as well as Spenser's relationship with people like Susan, and any of the other characters that tend to pop in and out of the films.

A&E: In the last two films, Spenser was pretty much on top of everything that was going on. This time, he is simply stymied at a couple of junctures. He just doesn't really have all the answers.

JM: Yeah. I think that the diversity that you'll find in the films and in the stories and in the screenplays are what makes Parker unique, and explains why he's such a popular writer. You can read all the books and enjoy them all on their own merit. You don't necessarily feel like, "Okay, it's the same old thing ... it's a rehash of this or that." Each one has its own particular story. And in this story, it may very well be that Spenser takes quite a bit longer to be able to put two and two together to reach four.

Every mystery you do kind of gets woven a different way. This one has its own life, and the story gets told in its own way. Hopefully, it's done in an entertaining way, and obviously different from either of the two prior ones.

A&E: So, what is the story? Just what has Spenser gotten himself into this time?

JM: Well, what we find is that Susan, innocently enough, invites me to the theater. And, perhaps also to solve a little problem that one member of the theater company is having. What ultimately happens, though, is we get murder in the theater, on stage. All of a sudden, it gets pretty dramatic, and Spenser gets totally immersed in not just theater, but the Asian triads, and dysfunctional actresses, and all kinds of things. It's a lot of fun. Hawk's involved in this one, and there's action, there's mystery, there's suspense, there's humor. It's all the good qualities that you find in any of the Parker books about Spenser. For me, because I enjoyed reading the novel, I enjoyed making the movie.



Spenser:"Es braucht schon einen harten Mann, um ein zartes Hühnchen zuzubereiten
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