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Aidan Gillen是我看GOT的动力啊~  

2011-06-04 15:50:51|  分类: blabla |  标签: |举报 |字号 订阅

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Aidan Gillen是我看GOT的动力啊~ - Du - ~Haven Seeking~

Google这个演员,没想到居然就是UK版QAF的那个斯图尔特!
当初因为他在QAF中的发型让我倒胃口以至于才看了一集。
不过我要诚实地指出Aidan在QAF中,真的是那种一颦一笑和举手投足之间都能放电的那种(该死的发型)。
仔细看GOT中的他,小表情真的是非常的多~~>——<~~台词很多也很经典。

Aidan Gillen是我看GOT的动力啊~ - Du - ~Haven Seeking~
 
胡子+叔叔也切中我极大的萌点。
昨晚看EP7他拿刀架在Edd脖子上说“I did warn you not to trust me”的时候萌度爆棚了!!!

关键还有一个很有意思的地方是,Aidan居然也是爱尔兰人!(也许真的“世界将来是被爱尔兰人征服的”这句话讲得没错。)
我当初以为演QAF的Aidan会是个gay,不过wiki上说他有老婆还有两个孩子,我天,直男把gay男演的那么gay的,真的是…*星星眼*

Google到一篇07年Guardian采访他的报道 'I don't mind nasty roles' 中提到的有些事情挺有意思,让我想到了Colin——

'It is only a part' ... Aidan Gillen. Photograph: David Levene

In 1984, when the National Theatre premiered a new play about Chicago real-estate salesmen by a dramatist known only to the theatrical cognoscenti, Aidan Gillen was a 16-year-old actor in the Project Arts Centre in Dublin, playing Bottom in a production of A Midsummer Night's Dream and learning the pleasure of getting a reaction from the audience.

Almost a quarter of a century on, David Mamet's Glengarry Glen Ross is being revived in London's West End with the status of one of modern drama's most cherished scripts, and Gillen's standing has risen - through TV roles in Queer As Folk and The Wire and a Tony-nominated performance in Harold Pinter's The Caretaker on Broadway - to the level of above-the-title billing in this production.

Although Glengarry is a team piece, with half-a-dozen decent acting parts, Gillen has the choice speeches, getting the play's catch phrase (the salesman's slogan, "always be closing") and the curtain lines in both acts, as Richard Roma, the amoral super-schmoozer whose prize of a Cadillac for being the office's salesman of the month is threatened by a police investigation.

Talking before rehearsals in an East London day centre, Gillen is polite but keen to get to work. Mamet's scripts need rehearsing even more than most pieces because they are as precise as orchestral scores in telling the players when to come in, interrupting or overlapping other lines.

"You sort of have to learn it all twice," he says. "You learn the lines at home and then you have to relearn it, when you see what the other actors are doing."

Slight of body and tight of face, Gillen's striking resemblance to Sean Penn - who, it turns out, heads his list of favourite actors - has been further enhanced by a moustache grown for this role. Another of his professional role-models is Al Pacino, which could be problematic as he took the role of Roma in Mamet's film version.

(肖恩*潘似乎意义很深啊~)

"Yeah," Gillen acknowledges. "I saw the film when it came out but luckily don't remember what Pacino did with it. The odd thing is that the character everyone remembers from the film is Alec Baldwin and that part wasn't even in the play. Mamet wrote it for the movie as a way of explaining what the fuck was going on."

The climax of that sentence - and Gillen's description of Roma as a "cunt with a romantic, poetic streak" - suggest that the actor was already well attuned to the spectacular scatology of Mamet's dialogue or has now become so, perhaps as a result of having just done the same dramatist's American Buffalo in Dublin.

Some actors would prepare for Glengarry Glen Ross by actually selling properties in Illinois for several months but Gillen has found a less intense way of doing methodical research: "The internet has made it much easier. I might look up the rules of filing a real estate contract or what the economic climate was in Chicago in 1984. It's all there, the kind of stuff that comes up when you're looking at a play like this."

He also clearly has a strong instinct to perform. The sixth in a Dublin family, he remembers that, during his childhood, "we used to make fake movies in the back garden". It would, presumably, have been a video camera in those days? "No. Nothing. Just like this." He rolls one hand into a pretend lens, raises it to his eye and mimes pulling the focus-puller with the other. "I was cameraman, director and star."

(都是很小就显现表演的本能。)

It was when a neighbour in the road joined the Project Arts Centre that Gillen went along as well: "I don't know how serious I was, playing bit parts in this and that. But the social life was definitely good."

When big laughs started coming back from the stalls, he began to think of this being his living. In his early days as an aspiring actor, he was so short of cash that he would go to casting directors who had copies of his photograph and take them back to mail on to other offices. The response, though, was slow: "There was a year between school and getting going as an actor when I basically just watched films. Video shops were the new thing and there was a good one round the corner and me and my brother just watched everything, from the horror to the European art-house. Everything except the porn."

If sitting watching videos seems a passive way of preparing for an acting career, Gillen next became proactive, getting his first major role - in Billy Roche's play A Handful of Stars - with a rather forceful audition: "I ambushed Roche and the director in the street; just demanded they see me."

He also recalls getting his first film work by "gate-crashing the set, basically" of Jack Clayton's 1987 production of Brian Moore's The Lonely Passion of Judith Hearne, starring Maggie Smith as an alcoholic spinster. Gillen is credited as "Youth in Liquor Store", playing a teenager encountered by the title character on one of her booze-buying trips. He forgot two of his four lines but the director kept the fumble in the final cut as an example of adolescent bafflement and Gillen got "?700 for the day, shit-loads of money at the time".

These early performances - suggesting an unusual intensity and eye-catching quality - got Gillen to the stage where he no longer had to hang around in alleys waiting for the director or writer but was sent scripts in the usual way, one of them being Russell T Davies's pioneering Channel 4 drama of gay life, Queer As Folk: "It was originally called Queer As Fuck, which I remember being incredibly impressed by. It just kind of laid it out there."

The sex scenes crossed a border in broadcasting, but, though a young Irish Catholic lad at the time, Gillen had no qualms about filming them: "I'd been an altar boy. But what does that mean these days? Ample training, I'd imagine. I think my mother made it to halfway through episode two. I heard she was watching it with my brother-in-law and she said, 'How are they actually doing that?' And he said: 'It's trick photography.'" He had "half expected some backlash and grief" from Catholic Ireland but almost nothing happened until, surprisingly, last year, "when a guy pulled up in a van in London - an Irish guy - and started giving me grief. And it was about that. I was taken aback. I didn't know whether to laugh or get in at him through the window."

天主教这个问题……嗯……我觉得Colin和Aidan倒有些异曲同工啊,所以我现在觉得Colin也许对于gay这种属性没有多大的在意性。还有,Aidan妈的反应也挺有意思:D

More recently, Gillen has risked moralistic monologues from truck-drivers in Baltimore, after playing the politician Tommy Carcetti in the final two seasons of The Wire, the searing American series about political and police corruption in the American city. If the acting challenge in Mamet's stage plays is making sense of the overlaps, the obstacle in the scripts for The Wire is the gaps: plot lines and speeches are fragmented, as if the story line has been smashed to the floor and then reconstructed.

And, for Gillen, there was the additional difficulty that he was taking his place in the mosaic three seasons in: "Most of the characters in that spend most of their time off screen, so you have to be able to fill it in. It's like opening a book in the middle and trying to understand a chapter. David Simon, the creator, made himself available to answer any questions about what had happened in the past, where a particular character had been."

Gillen liked The Wire because he found in the scripts something he rarely sees on TV: "A lot of the stuff on American television at the moment is quite fantastical. Heroes, Desperate Housewives, The Sopranos - they're all very stylised. The Wire is much more rooted in realism and honesty. In American television, I can't think of anything I'd rather have been in because it has got something to say and that is the kind of thing I want to do."

Actors who take their first transatlantic roles often comment on the greater level of pampering: drivers and hair stylists and personal assistants.

"Not on The Wire," Gillen laughs. "One of the things on that was that there were no egos, no stars. There's none of that politics of billing and who gets the biggest fucking trailer and big extravagant premiere parties. You can use the energy on set. They didn't cast recognisable stars in the first place. You were never going to get Don Johnson in a special guest appearance. You always knew you weren't going to be on the cover of Now or TV Guide but you'd be part of something great."

Gillen and the British actor Dominic West in The Wire were - along with Hugh Laurie in House, Deadwood's Ian McShane and Ashley Jensen in Ugly Betty - part of the wave of talent from the UK and Irish side of the Atlantic playing roles that might more obviously have been cast from the thousands of performers on the books of American Equity. Why is a green or burgundy passport such a calling-card in US film and television now?

"Because we're cheaper?" half-jokes Gillen. "I dunno. I think Hollywood has always been the place that actors from here went because it was where the whole business started."

More flatteringly to the outsiders, an American producer recently told me that actors from across the water are valued because they tend to have greater training and versatility than their modern American counterparts (usually having done some stage, TV and film) and because they are less worried about playing unpleasant roles. Stars in New York and Los Angeles often choose their parts like campaigning politicians, calculating the demographics. When the role of a paedophile-murderer was being cast in a current movie, only British and Irish actors were willing to audition.

上面三段也挺自嘲的,不过的确扬基人不大演那些变态阴险狡诈的角色,就爱演“H+工口”的hero……=..=

"I can't understand that," says Gillen. "I suppose there are actors who are worried about their public image. But I've never had any trouble playing unpleasant characters. It is only a part. Which is why you do it because you are interested in exploring something you never could or would be."

(这才是演员嘛~)

And then he leaves with relish to rehearse the revolting but rewarding Richard Roma.

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