Interview med Rebecca Ferguson om blandt andet ‘Mission: Impossible – Fallout’

Svenskfødte Rebecca Ferguson har spillet med i adskillige amerikanske og britiske film samt tv-dramaer og har arbejdet med mange af de største Hollywood-stjerner.

Hun fik sit store gennembrud for tre år siden, da hun spillede med Tom Cruise i ‘Mission: Impossible – Rogue Nation’. Rebecca er endnu engang aktuel som Ilsa Faust i efterfølgeren ‘Mission: Impossible – Fallout’, der nu er udkommet på dvd, Blu-ray og 4K Ultra HD.

“Jeg elsker Ilsa Faust! siger Rebecca i telefonen fra gæstehuset lige ved siden af sit hjem i Simirishamn. Ilsa er hård, smart, selvsikker, veluddannet og alt, hvad jeg beundrer i en kvindelig filmhelt. Det er en ære at få chancen for at spille hende! Ilsa passer så godt sammen med Ethan Hunt, som spilles af Tom Cruise – og hun redder endda hans liv gentagne gange i filmen.”

I ‘Mission: Impossible – Fallout’ møder vi Ethan Hunt og hans IMF-hold (Alec Baldwin, Simon Pegg og Ving Rhames), der går sammen med nogle bekendte karakterer (blandt andet Rebecca Ferguson). Målet er at undgå en mislykket mission, men tiden arbejder altid imod dem.

Henry Cavill, Angela Bassett og Vanessa Kirby er også en del af castet og filmskaber Christopher McQuarrie er igen ansvarlig for instruktionen. “Jeg elsker virkelig denne bande”, siger Rebecca. “Vi har det sjovt på sættet. Simon Pegg er min bedste ven! Han er en meget sjov og en flink fyr. Vi deler den samme humor. For nylig så jeg ‘Hot Fuzz’ igen, hvor han er hovedrolleindehaver. En ligeså god oplevelse som første gang jeg så den.”

Hvordan arbejdede Tom Cruise? Det har været rygter om, at han for eksempel ikke tillader nogen at se ham i øjnene under optagelse, samt at være svær at arbejde med.

“Jeg læste også en masse underlige ting om Tom før jeg mødte ham, men jeg tænkte, at nu opfører jeg mig, som jeg altid ville gøre, når jeg møder en ny person”, fortæller Rebecca. “Jeg forsøger ikke at dømme eller skade folk, jeg møder. Jeg må sige, at Tom er lige så langt fra personen, som det medierne gør ham til. Det er muligt, at rygterne er fabrikationer eller, at rygterne opstod i hans yngre dage og har ændret sig over tid. Jeg ved det ikke, og jeg har heller ikke spurgt ham. Den Tom Cruise, som jeg har arbejdet med og lærte at kende, kunne ikke være mere fokuseret og interesseret i sit arbejde. Han elsker, hvad han laver. Han tager sig af sine medskuespillere og resten af crewet. Han er meget sjov og endda drilagtig, når han ikke er foran kameraet – så snart kameraet kører, er han meget alvorlig.”

Der er en masse action i ‘Mission: Impossible – Fallout’, og selvom Rebecca var højgravid i slutningen af optagelserne, lavede hun alligevel mange af sine egne stunts.

“En scene var særlig mindeværdig at filme”, siger hun og griner. “Jeg skulle sidde på Henry Cavills skuldre og stramme mine ben omkring hans hals. Det var helt absurd, for filmholdet at se en gravid kvinde klatre op på en mand ved hjælp af en stige, for derefter at presse hendes bryster i hans ansigt, mens hun strammede sine ben om halsen. Men det gik fint og da vi var færdige grinede vi alle af det.”

‘Mission: Impossible – Fallout’ blev filmet i England. Skuespiller-arbejdet har taget Rebecca til masser af spændende locations rundt om i verden. Nogle gange i ganske lange perioder.

“‘The Girl On the Train’ blev filmet i New York, den var vældig sjov at være med i. Min mand og jeg lejede en ejendom i området, så fik vi mulighed for at opleve byen på den helt rigtige måde. Jeg kan godt lide at besøge New York, men jeg vil nok ikke bo der. Det samme med London. Jeg elsker Richmond. Vi har et hus der og bor der, når jeg arbejder i London. Jeg kan godt lide Richmond Park. Her kan du gå ture og cykle. Områderne nær Barnes og Chiswick er også interessante. Derudover er Richmond tæt på filmstudier som Pinewood og Shepperton, hvilket gør det meget bekvemt at bo lige der.”

Rebecca har to børn, Isak på 11, fra et tidligere ægteskab og datteren Saga, født i juni i år.

“Vi bor i Simrishamn i det sydlige Sverige. Jeg elsker min lille “fiskerby”. Havde det ikke været fordi min søn, Isac, skulle gå i skole her, var jeg måske ikke flyttet hertil. Men jeg er glad for, at det blev sådan. Jeg bliver altid trukket tilbage til denne rolige atmosfære. Faderen til Isac, Ludwig, bor desuden i nærheden, og så har vi mulighed for at se hinanden. Vi er som den store familie i filmen ‘Together’.”

Skuepillerinden griner og siger, at når hun er hjemme hos børn og familie, virker det ret uvirkeligt at blive interviewet og tale om ‘Mission: Impossible – Fallout’. “Det føles som to helt forskellige verdener, uanset hvad det er. Jeg kan godt lide at arbejde og heldigvis bliver jeg ikke hjemme for længe ad gangen, for så begynder jeg at styre hjemmet på en næsten manisk måde. Jeg starter store renoveringsprojekter, som i sig selv er sjovt, men nogle gange kan det blive lidt for meget.”

Rebeccca siger, at hun nyder sit liv lige nu. “Jeg har mange sjove filmprojekter kørende og har det også godt hjemme. Jeg føler mig glad og mener, at jeg har fundet en god balance, selvom jeg ikke helt ved, hvor længe jeg kan holde denne balance. Det er vigtigt at nyde det gode, mens du oplever det. Jeg lever, som jeg sagde, i to forskellige verdener – og jeg elsker dem begge.”

– ‘Mission: Impossible – Fallout’ er ude på dvd, Blu-ray og 4K Ultra HD.

Af: Monika Agorelius
Oversat af: Mathieu R. Lund og Jakob Joergensen

Interview og rejsebeskrivelse: Hvad ville Game of Thrones være uden island?

Interview og rejsebeskrivelse: Som opvarmning til den længeventede udgivelse af den 7. sæson af den populære serie ‘Game of Thrones’, der udkommer den 11. december, bringer Filmskribenten her en rejsebeskrivelse og interview på svensk skrevet af Gunnar Rehlin.

Vi følger her guiden Einar Sveinn Thordarson, der beskriver hvorledes forskellige egne på Island er brugt som locations til indspilningen af ‘Game of Thrones’ og flere af seriens legendariske scener.

Først lidt om ‘Game of Thrones’ på Blu-ray og dvd: 
Med sine 437 minutter og eksklusivt materiale udkommer Game of Thrones sæson 7 i HD på Blu-ray samt dvd den 11. december. Oplev hele sæson 7 af Game of Thrones fyldt med action, drama og blændende billeder fra start til slut.

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Om de forskellige udgivelser af sæson 7:
Fans og interesserede kan finde sæson 7 af ‘Game of Thrones’ i forskellige formater og udgaver. Den mest prominente og eksklusive af dem alle er Drogon limited edition med sæson 1 til 7 i Blu-ray-format plus en fin detaljeret figurine af dragen Drogon.

En anden limited edition er ‘The Iron Throne’, hvor hele sæson 7 i Blu-ray-format er inkluderet + en figurine af Jerntronen. Af Drogon og ‘The Iron Throne’ limited edition vil der kun være 200 enheder til rådighed i hele norden.

Ydermere vil Game of Thrones kunne findes som bokssæt på Blu-ray og dvd med sæson 1 til 7 samt sæson 7. Der vil også være en Steelbook-udgave af sæson 7.

Både Blu-ray- og dvd-udgaverne af bokssættet indeholder aldrig-før-set historiefortælling af de syv kongedømmer, samt kommentarspor til samtlige episoder. Diskene vil også indholde to helt nye behind the scenes featuretter.

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Om Sæson 7 af ‘Game of Thrones’
Daenerys Targaryen har endelig sat kurs mod Westeros med hendes hære, drager og den nye Tyrion Lannister – ‘Hand of the Queen’. Jon Snow er blevet udnævnt konge af Norden efter at have besejret Ramsay Bolton i ‘Battle of the Bastards’ og har taget Winterfell tilbage til House Stark. I King’s Landing, har Cersei Lannister vundet ‘The Iron Throne’ ved at have brændt High Sparrow, hans følge samt rivalerne i Sept of Baelor. Mens gamle alliancer dør hen og nye opstår, marcherer en hær af døde mænd mod Muren – en hær, der truer at ende de syv kongedømmer for altid…

Interview og rejsebeskrivelse med Einar Sveinn Thordarson på svensk
 af Gunnar Rehlin
När nu säsong sju släpps på dvd och Blu-ray finns det gott om scener att se som helt eller delvis spelats in på den karga lavaön – till exempel den scen där Jon Snow och hans män omringas av The White Walkers.

– Det är en kombination av att filma på plats och att komplettera med specialeffekter, säger Einar Sveinn Thordarson på produktionsbolaget Pegasus Pictures. Han har under åren varit location manager för Game of Thrones-inspelningarna på Island. Tillsammans med seriens producenter har han tillbringat många dagar med att med flyg, jeep och bil leta passande inspelningsplatser.

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photo credit: HBO

Under några dagar gör vi samma sak – med flyg, jeep och bil reser vi runt på Island och tittar på en rad av de platser där man spelat in scener till Game of Thrones. Och om någon tror att det bara handlat om scener med snö och is, så tänk om. Här har man också hittat platser för bland annat landstigningar med båt och massiva klippformationer som den i Thingvellirs nationalpark där Brionne och The Hound hade en kamp till döds.

Under de dagar vi reser runt på ön ser vi allt från klippformationer, vattenfall, grottor – bland annat ingången till den grotta, Groytágjá, där Jon Snow och Ygritte badade nakna – och glaciärer. Det är gott om vattenfall runt de gigantiska glaciärerna; det är mycket vackert men inte ett gott tecken.

– Det betyder att uppvärmningen gör att glaciärerna smälter allt fortare, säger Einar. I en intervju i en brittisk tidning berättade nyligen Kit ”Jon Snow” Harrington om hur han när han återkom till en glaciär efter några år nästan hade svårt att känna igen sig. Så mycket hade smält bort under ett par år.

Många av inspelningsplatserna, som Myvatn-området, når vi med vanliga bilar, men när vi ska ta oss ut mot de rätt otillgängliga glaciärerna några timmars bilfärd från Reykjavik krävs det färd med stora, specialutrustade jeepar. Färden går på primitiva vägar och flera gånger färdas vi genom brusande vattendrag som nästan riskerar att rycka med den jeep vi färdas i.

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photo credit: HBO

Einar berättar om hur naturen kan förändras i princip från en dag till en annan, hur det som idag är en liten ström imorgon kan vara närmast en stor flod, vilket givetvis sätter käppar i hjulet för inspelningsteamet. Man måste därför alltid vara beredda på att improvisera, på att hitta alternativa inspelningsplatser. Vädret på Island kan vara mycket nyckfullt.

Mycket av det vi ser i ”Game of Thrones” skapas med digitala effekter. Denna dag besöker vi bland annat den ravin i Höfðabrekkuheiði-området där Jon Snow och en liten samling män från Castle Black omringades av The White Walkers och där en av drakarna sköts ner i den nu dvd-aktuella säsong sju. Det är en mäktig, hög ravin, med en fors som rinner fram i ena kanten.

– När vi hittade det här området var den där lilla forsen något som mer liknade en flod, men vi insåg att det skulle passa ändå. Vi hade base camp nere på parkeringsplatsen, och satte upp portabla toaletter i närheten av ravinen, säger Einar.

Här filmades skådespelarna, sedan kompletterades detta med de digitala effekter som skapade illusionen av en istäckt sjö – och en drake som skjuts ner och blir zombie.

En jeepfärd uppför en slingrande väg tar oss till Dyrhólaey, en högt belägen fyr med en enastående utsikt både ut över havet och, när vi vänder oss om, över berg och glaciärer.

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photo credit: HBO

Nej, fyrhuset förekommer inte i ”Game of Thrones”, utan här ser vi ut över den långs stranden som ligger långt nedanför. Einar berättar, samtidigt som han varnar oss för att gå för nära kanten:

– Här filmade vi hur Jon Snow och hans män landsteg i en episod i säsong fem. Det var gott om turister, som stod här uppe och tittade på. Det har det för övrigt ofta varit när vi filmat, men det har alltid gått att undvika att få dem med i bild.

Numera är turistindustrin Islands mest inkomstbringande näring och har gått om fiskeindustrin. Det finns gott om företag som sysslar med rundturer, flera med aktiviteter baserade kring ”Game of Thrones” – en officiell rundtur heter ”Myvatn Mystery & Magic: Game of Thrones Themed Tour”.

Turist-boomen har också gjort att fler och fler bygger om sina gårdar till hotell eller bed & breakfasts, allt från superlyx till enkla hotell med våningssängar.

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photo credit: HBO

När ”Game of Thrones” kommit till ön har detta givetvis krävt en mängd hotellrum. Ofta har skådespelare och team fått bo på något mindre luxuösa inkvarteringar.

– Jag är säker på att många skulle ha föredragit att få bo i Reykjavik, men det skulle inte fungerat när vi till exempel filmat uppe i norr. Det har ändå varit långa transportsträckor, så det skulle inte ha gått att varje morgon flyga upp dem från Reykjavik till Aukeyri, säger Einar.

Å andra sidan har de kunnat få möjligheten att avsluta dagen med ett bad i Myvatn Nature Baths – norra Islands svar på den mer berömda Blå lagunen, mindre men inte lika packad med besökare.

För islänningarna har närvaron av ”Game of Thrones” inte bara gjort att de inhemska filmarbetarna fått mer och mer erfarenhet av att arbeta med stora produktioner, utan öns befolkning har också fått erfarenhet av att vara statister. Mestadels har de fått spela vildingar.
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Eksklusivt Interview: Sir Anthony Hopkins om Michael Bays Transformers: The Last Knight

I forbindelse med udgivelsen af Michael Bays ‘Transformers: The Last Knight’ bringer Filmskribenten.dk stolt et interview med Sir Anthony Hopkins, der har rollen som Sir Edmond Burton, en britisk robot-ekspert. Han forbereder i filmen Mark Wahlbergs karakter, Cade Yeager, på menneskehedens ultimative showdown med kæmperobotterne. Her taler han blandt andet om sit samarbejde med Michael Bay, den store produktion og favorit-robot.



- ‘Transformers: The Last Knight’ udkommer på 4K Ultra HD, 3D Blu-ray, Blu-ray og dvd den 9. november.


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What was it that first attracted you to The Transformers?

Michael Bay, really. We met at a hotel for breakfast, way back. And I gathered from that very first meeting that he had the whole film already in his head. I mean, he knows all about that computer stuff and will concentrate for hours just on the reflection of light off their steel to make them look real. I thought, this is going to be interesting.

He then sent me the script and told me he wanted me to play a man called Sir Edmond Burton. I said, “Sir Edmond?” Okay… He said, “Well, you’re a knight.” I said, “Okay… Is he a lord?” He said, “Yeah, an aristocrat.” I said, “Okay…” So I got the script, read it, and it was actually very, very good. I thought, I like this.

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How did you proceed?

Like everything else – learn the part; learn all the lines. But what I do know about directors like Michael Bay… You know, they have reputations for being tough. Like Oliver Stone or any of the great ones. But tough in a good way. They’re experienced and tough about what they want. And I respect that. And therefore you, the actor, you have to know what you’re doing. You have to be there ready to go.

What was the first day of shooting like?

We filmed out at this big country house. Michael came to greet me. “Hi-How-You-Doing-Okay- Great!” He talks really fast – like Speedy Gonzalez… But, you know, I’m not short of intelligence. I’ve got a couple of synapsis still working… I go in and Michael’s there and the whole crew is set up. “Can I call you Tony?” he said, “Yes, call me whatever you want to call me.”… I think he got the message quickly that I’m a team player. I’ll do whatever the director tells me to. And then they begin to trust you.

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What can you tell us about your character?

Well, I can’t tell you much… He’s an English lord, an aristocrat whose lineage goes back a thousand years, ancient families and all that – back to the court of King Arthur. And he knows that the Transformers come from that period in time and that they’re now going to take over the earth. That there’s going to be a battle with the humans.

How does the film compare in scale to your recent projects?

Oh, this is a big, big film. It’s huge. We were at Stonehenge, Blenheim Palace… We were at Downing Street – that’s never been done before. But he can get in there. Down the Mall, outside of Buckingham Palace, racing in a car with a stunt driver… Yes, I think it’s one of the biggest I’ve ever done. It’s a big, big movie.

What was it like working with Mark Wahlberg?

He’s really terrific. Excellent actor. And very quiet, actually. You know, comes on set prepared and does it. He also likes to improvise and I like that too. Honestly, when you have a good script, and this was an excellent script, the rest is easy. If a director doesn’t want you to improvise because he values his writing that much, then fine. Just learn the script. But a really good director has the capacity to say, “Okay, let’s kick this about.”

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What was the biggest challenge making the film?

No challenge. No challenge at all. It’s never a challenge. My philosophy is don’t take yourself so damn seriously. I guess I’m, as they would say today, ‘cool’, about it… I can’t take it too seriously.

Do you have a favorite Transformers movie?

I love the ones with Shia LaBeouf, especially the very first one I saw because I didn’t know what to expect. The others with Mark Wahlberg too. I’ve seen all of them now. But I can’t really pick one. I actually watched them all again before we started filming just to be fresh. I really think they’re terrific.

Do you have a favorite Autobot?

No, not really. But kids would ask me that when we were in London, when we were filming on The Mall, near Buckingham Palace. You know, all these kids were there and they wanted photographs with me. And they would ask me: “Do you know Bumblebee?” I’d say, “Yeah, very well. We had breakfast this morning!” “Yeah?”

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Michael Bay is known for favoring practical stunts over CGI whenever possible. How did you find that aspect of it?

Love it. I remember going down The Mall that day in one of the cars – we had this great American stunt driver. He tells me we’re going to go 75 mph through Admiralty Arch, which was like going through the eye of a needle in a rocket. And I just thought, well, god, I’ve had a good life… They call action. The car roars.  And the camera is on me as we go through the arch. And then we do it again. I just thought, please don’t ask for a third take, that’s pushing your luck…

What kind of film are we ultimately in store for?

I think it could be one of the best ones and one of his best films. It should be good fun.

– ‘Transformers: The Last Knight’ udkommer på 4K Ultra HD, 3D Blu-ray, Blu-ray og dvd den 9. november.

Eksklusivt: Interview med Michael Fassbender om ‘Alien: Covenant’

I forbindelse med udgivelsen af Ridley Scotts både nervepirrende og blodige ‘Alien: Covenant’ bringer Filmskribenten stolt et interview med Michael Fassbender, der har dobbeltrollen som Walter og David, eksklusivt i Danmark.

Det hele startede tilbage i 1979 med Ridley Scotts egen rumklassiker – den klaustrofobiske og yderst skræmmende ‘Alien’. Den har siden affødt den actionmættede 2’er ‘Aliens’, videre til David Finchers ‘Alien³’ og den spraglede ‘Alien Resurrection’ samt to ‘Alien vs. Predator’-film – samt ikke mindst Ridleys Scotts egne ‘Prometheus’ og nu ‘Alien: Covenant’.

– ‘Alien: Covenant’ er ude på Ultra HD, Blu-ray, dvd og digitalt den 5. oktober.

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In ‘Alien: Covenant’ you have two roles. So who is it you play alongside David?

I also play Walter who is the synthetic on the Covenant ship. He is sort of a different version of what David was, because David was very humanlike and had elements in his programming that allowed him to develop human personality traits that freaked people out. So they built the following synthetics with less of those human design traits. Walter is very much a non-emotional robot.

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Does this mean you get to act with yourself?

Indeed, there are a couple of scenes just between David and Walter. We did some cool stuff there where we filmed it with the camera on a special computerised crane. When we do the David take the movement of the crane is mapped in electronically. So when we do the reverse for Walter it will follow that same electronic path as it did for David. Then they’ll lay me in as Walter into the scene with David. That was pretty cool.

Is he still influenced by Peter O’Toole in ‘Lawrence of Arabia’ as he was in ‘Prometheus’?

I am still taking that as a central thing. I don’t want to veer away too much from what people saw in ‘Prometheus’. So there are some elements that will remain constant and that sort of Peter O’Toole influence is still very much there. There is a reference to ‘Lawrence of Arabia’ in a scene that I do where he is singing the song that Lawrence sings where it echoes round the valley.

So there are still those things. I think that is cool, when you do that with any franchise or running series. You can do little hat tips to previous films and have a level of consistency that the audience can anchor themselves down with.

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Playing both Walter and David must be a tremendous challenge as an actor.

It’s helpful to have a clear idea. It’s fun. When I got offered ‘Prometheus’ and went into that, I wanted to make sure that it was going to be fun doing something like this, to be part of this Alien world and work with Ridley Scott. It is really just seeing how far you can push certain things.

David is very clear to me. I understand him very well. It is just trying to find fun things to do. Sometimes they work and sometime they don’t. It was also important to find the comedy in him as well, because the film is going to be really scary. In ‘Prometheus’, even when he got his head ripped off that was kind of funny.

How much have you looked at Ian Holm’s performance as Ash in ‘Alien’ as an inspiration?

For ‘Prometheus’ I didn’t look at him at all. I didn’t look at Bishop in Aliens either. I didn’t look at any of the previous synthetic incarnations. I really rooted it in Peter O’Toole, David Bowie and Olympic diver Greg Louganis — they were my three influences for him. They remain my hook for him. I also watched ‘Blade Runner’ before ‘Prometheus’ to see the Replicants in that. This time, on the plane over to Sydney, I did watch ‘Alien’ and ‘Aliens’. Took a look to see what both robots were doing there.

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Then for Walter there is more Leonard Nimoy in there, sort of a Spock-like influence. I wanted something that was without emotional content, something that was very logical. It’s interesting looking back at Ash, I think he has purposefully played him very human. It is only after the fact, when you watch it again knowing he is a robot, you almost project the idea that he is a robot onto him.

Have you been involved in the development of ‘Alien: Covenant’ with Ridley Scott since ‘Prometheus’?

I have had conversations with Ridley for sure, every now and again, but I didn’t have a great deal of input on the script. We kept in contact. We’re friends and we have had dinners since ‘Prometheus’ and discussed it, but I can’t take any credit for any of the ideas in the script. It is as we are going along and playing I sort of add some ideas.

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Is ‘Alien: Covenant’ a different kind of film to ‘Prometheus’?

I would say that it remains in the universe. We were introduced to the Engineers in ‘Prometheus’, but they will play less of a role in this. In terms of its feel as a film, it is probably harking back more to ‘Alien’ in terms of it being a thriller. I think it will be a lot scarier than ‘Prometheus’. Once it starts, it is relentless. But not in a way that you see with a lot of action films where it is action packed.

This is psychological suspense. The elements of ‘Prometheus’ that are present are in the grandness, the world that we are trying to explore, the planet that we are on. Those things are similar. What really made ‘Alien’ stand alone is that you never left the ship, so it was a very claustrophobic experience.

– ‘Alien: Covenant’ er ude på Ultra HD, Blu-ray, dvd og digitalt den 5. oktober.

Eksklusivt: Interview med Ridley Scott om ‘Alien: Covenant’

I forbindelse med udgivelsen af Ridley Scotts både nervepirrende og blodige ‘Alien: Covenant’ bringer Filmskribenten stolt et interview med den legendariske filmskaber eksklusivt i Danmark.

Det hele startede tilbage i 1979 med Ridley Scotts egen rumklassiker – den klaustrofobiske og yderst skræmmende ‘Alien’. Den har siden affødt den actionmættede 2’er ‘Aliens’, videre til David Finchers ‘Alien³’ og den spraglede ‘Alien Resurrection’ samt to ‘Alien vs. Predator’-film – samt ikke mindst Ridleys Scotts egne ‘Prometheus’ og nu ‘Alien: Covenant’.

– ‘Alien: Covenant’ er ude på Ultra HD, Blu-ray, dvd og digitalt den 5. oktober.

alien covenant diverse covers

Did you have the ‘Alien: Covenant’ concept already in mind while you were making ‘Prometheus’?

I’ve got the whole concept that will lead us back to the original ‘Alien’. I was always surprised by why no one in the subsequent three sequels ever asked who would create this thing and why.

‘Prometheus’ was resurrecting ‘Alien’ off from ground zero, because it was dead, and getting finally to who would do such a thing and for what reason. It touched on mortality and immortality, it touched on the creation of AI. This one really gets to it. This is the next phase.

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Is it fair to say the new film is more reminiscent of ‘Alien’ than ‘Prometheus’?

Yes, only the evolution is way beyond the original ‘Alien’. The original ‘Alien’ was pretty good in the effect that it was a good old basic story of seven people locked in an old dark house and all of them will die. There is nothing more B-movie than that is there? But B-movies have a habit of really playing big when they are done right.

I always thought that ‘Alien’ was a B-movie with an A cast-list and an AA monster. So we evolved and elevated what was fundamentally a horror film to another level and here we are still making them, so the proof is in the pudding.

How would you describe this new planet?

It might feel familiar. Any planet that is going to be the right position from a source of heat like a sun to have life is probably going to get a very similar construction in terms of biology and plant life to Earth. I’m trying to find a reality for the story. NASA now think that by the thousands, millions maybe, aliens are out there.

About 30 years ago, when I made ‘Alien’, I was coming round the fact that we aren’t necessarily biological accidents. To be a biological accident means the forces of nature would had to have made millions or billions of correct decisions randomly, which of course is mathematically ridiculous. Therefore was there anyone in charge? We would call that God, but I look on it as another form of superior life and part of their job was to evolve other planets.

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What did Milford Sound (New Zealand) give you as the location for this new world?

Well, New Zealand is shocking beautiful. The South Island particularly. It is kind of heaven on Earth. Also there are only four-and-a-half million people on the North and South Island. And the South Island is one million people. So it is empty and spectacular.

Did you deliberately want Katherine Waterston’s Daniels to echo Ripley in ‘Alien’?

Yes, we wanted to follow the tradition of having a leading lady but it is no longer that new. I mean, I’ve done GI Jane, I’ve done Thelma and Louise. I’ve done quite a few. I never thought it was particularly remarkable that I had a leading lady in Sigourney Weaver in ‘Alien’. I thought, “Why not? Good idea. Let’s go.” The same with Katherine — it seemed to make sense to follow in the tradition.

How does the crew of the Covenant as a whole compare to the Nostromo in ‘Alien’?

Well, in those days we were talking about the equivalent of a freighter that is going off to planets for their mining capabilities. They will come back with valuable ores; whatever is valuable at that particular point. The crew of the Nostromo were workers, in that respect. The crew of the Covenant are scientists, biologists, builders and electricians. What’s more, they have been chosen to fit in with one another.

Anyone who was taken onboard would have to be like any good pioneer wagon train: very much self-sufficient and part of the overall structure. Because when they get there, as we say in the movie, they are going to be neighbours — and neighbours had better help each other.

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Are you using practical effects to create the various stages of the Alien?

You need everything. I always try and shoot as much as I can. I had to on the original Alien. We had to physically build the Alien. The Alien had to be fitted on a guy as a rubber suit. It was never animatronic. There was no way of doing that kind of thing on that scale. I had a secret studio, I was the only one allowed in there, and every day I would go in there and sit and chat with the actor who was in the suit, Bolaji Badejo, and work with him.

Everything that you saw on the original ‘Alien’ was physical. I filmed it and cut around the dodgy bits. Nevertheless it was hugely successful. So you look to maintain some of that. And the little ones were as bad as the big one. I think one of the mostly ghastly things was the egg and the facehugger.

How do you balance that with computer effects?

It is all about planning. Knowing what you are about. The best thing I did as a filmmaker was go to art school. You learned to draw professionally. I can really draw and really paint. In fact, I do that as a hobby now. I’ve gone back to it. But it has helped me enormously because I have a natural aptitude for it. When I’m reading a script I am already seeing the film.

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How much of the look the new film has been predetermined by the styles of ‘Alien’ and ‘Prometheus’?

Well, I try and keep everything different. So the style of the film, I think, is quite different from the original Alien. Also we are going into a different universe that the original Alien didn’t go into, we’re on a new planet and we’re inside new architecture – the world of the Engineers. So it’s quite different. It’s a much more layered, complex story.

Is it harder to shock an audience now compared to 1979?

It’s much harder. In a funny kind of way it is easier to make people laugh. Most comedians would say, “Fuck you, that’s not true.” But it is, because I have done both. To really, really disturb and scare wilfully as a form of entertainment is tricky, there are so many dark, cruel and weird films now. You’ve got to be careful about that.

You have a responsibility as a director. I used to watch the audience reactions to Alien and realised that you can go only so far with the violence. You’ve got to really think about who you showing this to and is it sick or is it not? I try not to make it sick but scary.

– ‘Alien: Covenant’ er ude på Ultra HD, Blu-ray, dvd og digitalt den 5. oktober.

Interview med Tim Burton om inspiration, barndom og film

INTERVIEW: I forbindelse med udgivelsen af Tim Burtons seneste film, den eventyrlige Miss Peregrine’s Home For Peculiar Children, bringer Filmskribenten.dk med stolthed et interview med den legendariske instruktør om blandt andet arbejdet med filmen, hans inspiration og barndom.

Tim Burton er som bekendt manden bag blandt andet fremragende film som Beetlejuice, Batman, Edward Scissorhands, Ed Wood, Mars Attacks! samt Corpse Bride – og med denne hans nyeste film er han tilbage med sit umiskendelige burtonske eventyrunivers.

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When you first read Ransom Riggs’ book, Miss Peregrine’s Home for Peculiar Children, what did you make of the photographs in it?

Well that’s what drew me to it. That’s the thing I liked the most about it, was that the story was based on those old photographs. I don’t have as big a collection as he has, but I look at and collect some photographs, and I just love the mystery of them and the poetry, and the creepiness, and that there’s a story but you don’t really know what it is. It just sort of spurs your imagination to make up your own story about these things and I just thought it was an interesting way to approach the book.

Did the visual element of the book make it more complex to adapt?

The thing about the photographs is that you sort of feel things but you don’t really know everything. To try to keep the mystery without explaining everything, that aspect of it was important. Just to try to get the vibe of that, so that it’s not about, ‘Well why does this boy have bees living in him?’ It’s just to try to keep that slight air of mystery about it, where you can make up your own mind and find out your own feelings about it.

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Why did you choose to film in Blackpool, the seaside resort in the north of England? Am I right in thinking that you have filmed there before?

Yes, and that place says a lot about me! I did a Killers video there as well. There’s just something about it. I grew up on the west coast of California, and the Santa Monica pier was a similar thing. They shot a few movies there – they did this movie called Night Tide where Dennis Hopper plays a sailor who finds a mermaid. I used to go as a teenager, that sort of Quadrophenia lonely person on the dilapidated amusement pier – that just always spoke to me, and I think that’s why I kind of like Blackpool.

When did you first become familiar with the book?

It was a couple of years ago. I don’t know if I saw the book when it first came out, but somebody sent it to me. I didn’t really know that much about it, and it was good in a way because you get something fresh where you don’t have any preconceptions about it. I wasn’t reacting to whatever The New York Times said – I was just sort of reacting to it, and there was something very positive about that.

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Some have pointed out the similar premise to the X-Men film. How does Miss Peregrine fit into the landscape of superhero films?

Obviously the superhero genre is alive and well, but with this I never quite saw it that way. I always felt this was a more human version of that kind of thing, and I always saw it as less of a superpower and more of an affliction. Each kid had their own peculiarity, that’s what I was interested in. It wasn’t, ‘we’re going to save the world.’ It was, ‘we are who we are and this is our thing, and maybe we can help to get out of a problem, or deal with an issue.’

Why is it important for children to see stories like this?

If you go back before films to fairy tales – those are horrible stories. They’re graphic, grotesque, with mothers eating their children. I just always believed, that when you’re new to life, everything is just abstract. It’s horrible imagery, but they’re somehow processing something that you don’t intellectually understand yet as an adult. I think that’s an interesting thing about the power of those kinds of stories, or myself growing up with monster movies and fantasy movies. They’re not real, but they are real to me, and they help process whatever psychological things you’re trying to understand in your life.

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In the story the children are living the same day on a loop. Have you had any filmmaking experiences so gratifying that you’d relive them on loop?

Well, every day feels like it’s a loop on a film. it’s a weird concept, and I didn’t want to get too involved in the overly technical aspect of it. Growing up in Burbank or wherever you live, you feel that kind of feeling a lot, like you’re in this kind of weird bubble, and you’re in this sort of weird time warp. It’s something that didn’t feel that unusual to me, that feeling.

What were you like as a child?

Well, I mean, I feel a bit like Benjamin Button. I’ve talked to a lot of kids this way. When I was young, I felt like I was about 80 years old, and I think just this morning I hit 13. That’s why I give kids more credit. Parents go, ‘Oh, that’s too scary.’ It’s like, kids know their own boundaries with this sort of stuff. I think that you sort of always feel the same way, in a funny way. I was kind of the same as now, only smaller.

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Why was Samuel L. Jackson right for the part of Barron, the bad guy?

Well, Sam is a guy I just always wanted to work with. He works a lot, but he’s one actor where I don’t get tired of him. If he’s in a movie, I just want to see it. Also, it was great to give him a look that he’s never had before, and to give him a different vibe. The poor guy, it’s like, ‘Would you mind if we wire you and yank you across here?’ or ‘Oh, we’re going to set you on fire today.’

With a reputation like yours, do you become more self-aware of how a ‘Tim Burton’ movie feels?

It’s a very interesting point, and if you ask anybody who is around me, to my own detriment, I’m very techno shy – I don’t go on the internet. I spent my whole life as a child always categorising that I was that thing, I was ‘the weird kid’. So you spend your whole life trying to become a human being, and then I kind of hit a point where I became a human being, and then I became a thing again, so I just avoid that very strongly. I don’t like hearing about myself, I don’t go on the internet. I just don’t do it, because of that reason.

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How does having a cast of children affect the process? Some were studying for exams. Is that an added stress?

They’re all different ages so it was all over the place. It was interesting because they were all doing that, but they bonded. That made me feel good because they became a group, just fending off their own school work. They were a good bunch of kids, but no, you’re right, it does take patience.

How was it to work with Judi Dench?

Oh, well she’s great. She caught the crossbow on the first take. She’s a real professional. Again, it’s funny to work with these kinds of people, like Sam and her, in a different way than they’re kind of used to. It’s not your typical Dame Judi Dench type movie, whatever that is. But the amazing thing is meeting people like that that have been through so much, and that they still have that spark and curiosity and artistry and positive spirit.

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Do you enjoy the day-to-day? Is being on set the biggest thrill?

It’s the most interesting, because it’s where it’s all happening and everything goes wrong, so you feel like a manic-depressive – ‘Have I taken my medication today?’ You’re up and down. Look, there’s no complaints because there are much worse jobs to have, and it’s a great thing. Yes, I much prefer that than I do, say, trying to pitch it to the studio, or talking about it afterwards. Because you’re just kind of in there, and all the outside bizarre bureaucratic things go away, and you’re just left with the elements, which is the best.

You filmed a portion of this movie in Florida. Is that your first time shooting there since Edward Scissorhands?

Yes. In fact I visited the neighbourhood there, and the thing that struck me the most was that the trees were like 50 feet tall. That made me feel really old. You go to this neighbourhood and don’t recognise it. It’s a funny place, Florida. But that was in the book, so I didn’t make that one up

Miss Peregrine’s Home For Peculiar Children udkommer på dvd, Blu-ray og Ultra HD den 16. februar.

Q&A med filmskaberen J.J. Abrams

I forbindelse af udgivelsen af J.J. Abrams Star Trek Into Darkness bringer Filmskribenten en Q&A med instruktøren om arbejdet med filmen, hvor han både kommer omkring om store budgetter, Star Trek-castet og hemmelighedskræmmeri.

Filmskribenten: Nu hvor du rebootede Star Trek-universet med din film fra 2009, hvilke tanker gjorde du dig så i forbindelse med at skulle vende tilbage til universet?

Abrams: Det er ofte sådan med sequels, at man går ud fra, at man som publikum også har set den forrige film. Så man er på en måde nødt til at arbejde på at forny engagementet, hvis du forstår. På den måde kan man sige, at vores tilgang til at lave Star Trek Into Darkness, var som at skulle lave en helt ny film, uden at tænke, det var nødvendigt at have set den første. Det var nøglen, om man så må sige. Så hvis man eksempelvis ikke er fan af Star Trek-universet – eller aldrig har set noget af det, du ved, tv-serierne og filmene – så fungerer denne også for dig. Det håber jeg i hvert fald.

Filmskribenten:
Var der andre udfordringer i forbindelse med filmen?

Abrams: Man kan sige, at denne film er meget større end den første. Vi kiggede for eksempel på dobbelt så mange locations, som vi gjorde på den forrige film. Udfordringen var også, hvordan vi brugte pengene fornuftigt – du ved, bare fordi man har et stort budget, har man aldrig penge nok, ha ha. Det er helt sindssygt hvor dyre sådanne film er. Men vi sluttede faktisk før den planlagte tidsplan og holdt os indenfor budgettet.

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Filmskribenten: Nu har filmen jo i mine øjne en ret cool skurk og jeg synes, at Benedict Cumberbatch er virkelig god. Men hvordan vil du beskrive skurkerollen?

Abrams: Det, der i mine øjne gør denne skurk så god er, at hvis du spørger ham, hvem skurken er – altså Benedicts karakter – så vil han aldrig pege på sig selv. Han ser ikke sig selvom som skurken, men er helt rationel og ærlig, både overfor sig selv og publikum, om hvad hans mål er – uanset om man så måtte være uenig med hans mål og metoder at opnå dem på.

Filmskribenten:
Star Trek har en enorm fanbase, så tørsten efter at følge med i tilblivelsen af sådan en film er jo enorm – og der er jo også mange mennesker involverede i produktionen. Så hvad gør du for, at der ikke slipper noget ud?

Abrams: Haha, jeg gør bare mit for ikke at besvare spørgsmål fra journalister som dig. Men det er klart, at jeg informerer crewet og de medvirkende om, at vi holder kortene tæt ind til kroppen. Vi vil jo i vidt mulig udstrækning  bevare overraskelserne til publikum. Mere konkret sørger vi blandt andet for ikke at uddele manuskriptet til højre og venstre. Som du måske ved, så skrev jeg et Superman-manuskript for nogle år siden, og det blev anmeldt før filmen overhovedet blev lavet. Det stoppede produktionen, og var en katastrofe. Her lærte jeg min lektie. Du ved, vi laver jo ikke manuskripter, som folk skal se, men vi laver film, der skal ses.

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Filmskribenten: Men for lige at vende tilbage til selve filmen, hvordan vil du så beskrive dens tone? Vil du sige, at den er mere dyster end den første?

Abrams: Man kan sige, at filmen aldrig slipper sin menneskelighed og humor. Men det er jo grundlæggende en fortælling om familie – altså blandt andet crewet ombord på Enterprise – så på den måde er der også meget på spil. Der er så at sige vigtige, menneskelige relationer mellem karaktererne. Alle har fra starten en helt personlig mission, eller rejse foran sig. Angående om filmen er mere dyster, så kan man måske sige, at den muligvis dystre tone mere er personlig og indadvendt, end gældende for den overordnede fortælling.

Filmskribeneten:
Nu vi taler om filmens karakterer, hvordan vil du så beskrive dit forhold til dem – og er der en, du bedst kan relatere til?

Abram: Jeg elsker alle sammen. Selvfølgelig. Men jeg har for eksempel aldrig været lige så intelligent eller logisk tænkende som Spock, og heller ikke lige så kvik som Kirk. Jeg er dog heller ikke hverken Chekov, Bones eller Sulu. Men ja, jeg forstår dem alle sammen. Hvem de er og hvorfor de handler, som de gør – selvom, der ikke lige er en, jeg kan spejle mig selv i hundrede procent.

Filmskribenten: Nu er der jo et fast cast fra den første film, der går igen i Star Strek Into Darkness. Men der er også nye ansigter, så som Benedict Cumberbatch. Hvordan har det fungeret at skulle inddrage nye skuespillere på holdet?

Abrams: Det kan godt være noget af en opgave for en skuespiller at skulle indgå i et allerede etableret hold. Men med Benedict, eller for den sags skyld Alice Eve og Peter Weller, var det en smertefri forøgelse, både for mig, men også for dem. De blev hurtigt en del af familien, så at sige. Og jeg elsker Benedict, både i filmen, men også som person, hvilket er en hjælp, når man skal arbejde så tæt sammen.

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Filmskribenten: Som du nævnte tidligere, er Star Trek Into Darknees en væsentlig større film end sin forgænger. Er der noget du har lært af den første film, som du kunne bruge her i anden omgang?

Abrams: Helt grundlæggende forsøger jeg som filmskaber at lære mere om faget, og da jeg jo har arbejdet meget med tv, er også det at tænke filmisk, noget jeg hele tiden forsøger at blive bedre og bedre til. Men ja, der er klart ting, jeg ville ønske, jeg havde gjort i den første film. Det fik jeg så mulighed for at gøre med denne opfølger, hvilet har været sjovt og givende – både personlig, men også rent fagligt.

Filmskribenten:
Nu du nævner dit arbejde med tv, så har du jo mange forskellige projekter kørende på samme tid. Hvordan balancerer du alle disse forskellige projekter?

Abrams: Nu arbejder jeg heldigvis sammen med nogle virkeligt hårdtarbejdende mennesker, der er rigtig gode til det, de gør. For mig er fordelen ved det blandt andet, at jeg føler, der også er plads for mig til hele tiden at blive en bedre producent, forfatter og historiefortæller. Men en af de ting, der gør, at jeg kan bevare en vis balance i mit arbejde er, at jeg hver dag kommer hjem til min familie. Du ved, mine børn og kone. Hun er desuden den mest brutalt ærlige person, jeg nogensinde har mødt. Så det er noget, jeg sætter stor pris på.

Filmskribenten: Jamen, det er jo et meget fint at ende interviewet i familiens skød. Tak for din tid – jeg glæder mig til at følge dit arbejde fremover.

Star Trek Into Darkness udkommer på Blu-ray og dvd den 10. oktober. Følg med her på sitet, hvor Blu-ray-udgivelsen vil blive anmeldt.

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EXCLUSIVE: Interview med Martin Scorsese

I forbindelse med udgivelsen af instruktøren Martin Scorseses seneste film, den  eventyrlige Hugo, er det en fornøjelse, at jeg her på MTV at the Movies kan bringe et eksklusivt interview med manden, der bl.a. også står bag Taxi Driver, Raging Bull, Goodfellas og The Departed. Han en af undertegnede absolutte favoritter og taler her bl.a. om det at arbejde med 3D samt hans tanker om filmmediets fremtid.

– Hej Martin, cool at du vil snakke med mig om Hugo. Men lad os hoppe ud i det. Jeg tænker, at du må have mødt nogle nye udfordringer, da det jo er din første film i 3D – kan du fortælle lidt om det?

Det var rigtig sjovt, men det gav også en del hovedbrud – men det var fornøjelige hovedbrud, kan man sige. Alle på holdet kan fortælle, at hvert skud var som en ny opdagelse – en ny måde at tænke i billeder på. Både i forhold til 3D-elementet, men også det, at filmen visuelt er baseret på en drengs hukommelse af Paris omkring 1930.

– Hvordan kan det være, at du overhovedet valgte at kaste dig over 3D?

Lige meget hvor vanskeligt det måtte blive, så tænkte jeg også, at det ville være sjovt at starte et nyt sted. Jeg ville teste grænserne og se hvor langt vi kunne gå. Jeg elskede bl.a. muligheden for at bruge dybde på en ny måde. 3D er spændende, men kræver også respekt. Sandheden er, at jeg altid har været interesseret i 3D og jeg følte, at Hugo var den perfekte mulighed for at udforske mediet.

KLIK VIDERE FOR RESTEN AF INTERVIEWET–> Læs mere

EXCLUSIVE: Interview med Mark Wahlberg

I forbindelse med udgivelsen af Peter Jacksons seneste film, den overnaturlige drama-thriller The Lovely Bones bringer MTV at the Movies i samarbejde med Paramount Pictures et interview med Mark Wahlberg – eksklusivt i Danmark. Her fortæller han bl.a. om det at være far, hvorfor filmen var hård at lave og om at ville være et godt menneske.


– Hey Mark, cool du vil tale med mig om The Lovely Bones. Men lad os straks springe ud i det. Filmen beskæftiger sig med alvorlige emner som døden og sorg. Som far, hvordan var det så at arbejde med en historie, der centrerer sig om mordet på en lille pige?

”Det var hårdt, netop pga. de hårde emner. Jeg forsøgte ikke at tage det med mig, når jeg forlod optagelserne, men så havde jeg bare mareridt om det.”

– Du kunne altså ikke lade rollen og filmen blive på settet?

”Nej, ikke rigtigt. Det er bare sådan jeg arbejder – og det skræmte mig også, da jeg sagde ja til filmen. Jeg har jo nogle skønne børn, som betyder alt for mig, så det var hårdt at have filmen hængende i hovedet hele tiden.”

– Læs resten af interviewet – Klik på “Read the rest of this entry”>
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EXCLUSIVE: Interview med Leonardo DiCaprio

I forbindelse med udgivelsen af Martin Scorseses seneste film, den paranoia-fyldte thriller Shutter Island bringer MTV at the Movies i samarbejde med Paramount Pictures et interview med filmens hovedrolleindehaver Leonardo DiCaprio eksklusivt i Danmark.

– Hey Leo. Tak fordi du vil tale om Shutter Island med mig. Det er en ret intens film…

”Det er det, og en bevægende film. Den gør stort indtryk. Jeg er meget stolt af den.”

Shutter Island foregår i 1954 og du spiller Teddy Daniels, en amerikansk betjent som efterforsker en patients mystiske forsvinden på et sinds-sygehospital. Det er som sagt en intens film… havde du svært ved at slippe rollen efter optagelserne?

”Jeg er ret god til at lade rollerne blive på settet. Jeg tror ikke, at jeg kunne være skuespiller, hvis ikke jeg kunne det. Jeg bliver nødt til at kunne frigøre mig fra rollerne. Du ved, jeg ser det som en god dags arbejde, når jeg får presset karakteren derhen hvor jeg ønsker det og presser mig selv… eksperimenterer og giver mig hen til følelserne, men så også lade det blive ved det… så at sige.”

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