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Старый 07.07.2014, 18:25   #31
Yulya
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По умолчанию Полный текст интервью. (Glamour UK)

I have a healthy appreciation of Ryan Gosling

Just one reason Gillian Anderson is our kind of woman. She talks to Celia Walden about feminism, the F-word and 20 years of iconic roles


Few are immune to the Gillian Anderson factor. Lads' mag readers, sci-fi nerds, discerning theatregoers, animal, mineral or vegetable: all have knelt at her altar. And, of course, as fans of the BBC drama The Fall can testify, the woman rocks a silk blouse like nobody else. Over a gourmet pub lunch and iced lattes, the 45-year-old Golden Globe-winning actress tells me about her affinities with Kristen Stewart and her feminist principles.

CW: I've got a confession to make: I’ve felt more nervous about interviewing you than I have anyone in a long time.
GA: (Baffled] Why?
CW: I suppose I thought you'd be ‘glacial’, but you don't seem to be.
GA: [Curled up on the pub banquette, looking as far from glacial as is humanly possible] Because I'm not! But somehow I'm often portrayed that way.
CW: Your character in The Fall - detective Stella Gibson - is pretty steely, isn't she? It must be liberating playing a woman who absolutely knows what she wants.
GA: Oh, it is. Just because of who she I and how she carries herself…
CW: …and how she rocks a silk blouse. Do you know how many column inches those silk blouses racked up?
GA: [Laughing] It was mad. What’s weird is that when I wear a silk blouse it looks nothing like when Stella does. It must be down to the way she carries herself, because even made-up with my hair done I can't replicate it.
CW: Then there was the other attention hogger: your co-star Jamie Dornan.
GA: How can you not notice Jamie?
Our photographer: Can you smile for the camera, Gillian?
GA: I don’t smile.
Our photographer: Can you look impish?
GA: I can do impish.
CW: You do impish but you don’t smile?
GA: [Laughing] Yes. Do you know what’s funny? Sometimes I'll see photographs of myself in the early days of The X-Files, and I think that my attitude towards the whole thing was very similar to Kristen Stewart's. There's a very similar look in my eye-, slightly defiant, slightly bored. All I ever got was: “Smile! Smile!" when I didn't want to smile. And I really wish that somebody at that time had told me: “You know that it's OK to be who you really are."
CW: Hard to do in some of those ’90s-tastic suits...
GA: [Shuddering] The odd thing is that even when I was put in those horrible pastel Lycra suits, there wasn’t a single part of me that considered saying: ‘Whoa! Wait one second!” Likewise with the hair. I was made to have red hair, styled in a particular way, but you'd have thought that I might have done something with it off screen... still I didn't bother, because I was so exhausted. So for nine years I went to work and was somebody else, without devoting any time or attention to the way I looked. Now, when I look back at images of myself in those horrible fashion decisions with my weigh fluctuating all the time, I can’t believe it.
CW: Last year was 20 years since The X-Files first aired - how weird does that feel?
GA I’m just very pleased it happened. It was an extraordinary opportunity and it was the beginning of the golden age of television. To be on the cover of Rolling Stone magazine and be immortalized in The Simpsons was incredible.
CW: You've never been vain about the women you play. Detective Superintendent Stella Gibson may be a sex bomb, but you were happy to play Miss Havisham in Great Expectations at 43, and Blanche DuBois in A Streetcar Named Desire - your new role - is a woman falling apart at the seams.
GA: [Pensive] I think Blanche's problem is that she comes from another era and has trouble reconciling herself with the life she's living.
CW: Do you think life is more or less complicated for women nowadays?
GA: I think the really complicated thing about life now is that men haven't caught up with us.
CW: What do you get riled about in a feminist context?
GA: [Sighing] A lot. I have feminist bones and when I hear things or see people react to women in certain ways I have very little tolerance.
CW: But don't you ever feel sorry for madam men? Not knowing whether they should help us with our bags and open doors for us or whether we'll see it as an affront?
GA: No. I don't feel sorry for men. I do appreciate gentlemen, though. I have a frozen shoulder at the moment and I've been on a plane twice a week since February, struggling to put my bag into the overhead compartment. Because I always do things for myself I don't ask for help, but it's amazing how people don't even offer. Only three times in two months has any man offered to help. It's sad.
CW: What are these men's mothers teaching them?
GA: Who knows? Having spent some time in developing countries, I also have a problem with women not being included in conversation.
CW: What about men swearing? Actually maybe that wouldn't bother you: I read somewhere that you were fond of a well-placed swear word yourself...
GA: [Laughing apologetically] I swore about five minutes before I got here... but I do mind it around my kids. There was a period where I became aware of the fact that I was using the F-word around my developing teenager and I was fine about that, but I was very appreciative that she didn’t follow my lead. And I remember thinking: ‘Perhaps she would appreciate it if I swore less.’
CW: If you could pick one leading man to have a love scene with, who would it be?
GA: [With a sidelong look] I do have a healthy appreciation for Ryan Gosling.
CW: [Chuckling] You do?
GA: [Shaking her head] I don’t know what it is. I haven’t met him, but I read something recently that said that from the moment he walked into a room, nobody could concentrate on anything else. I think some men do have that effect. Bradley Cooper has it, and Tom Hardy, who I think is one of the most extraordinary actors of our time.
CW: Is it hard for an actress to be confronted by her own image day after day?
GA: I remember in 2009 doing A Doll’s House at the Donmar and sitting in front of the mirror on the first day of rehearsals, telling the actress beside me: "Something's happened to my face! I’ve had an allergic reaction. I’ve swollen up.” It was this sudden realisation that I was getting old.
CW: And yet you’re one of those lucky women who looks even better now than you did at 20.
GA: Well, since that day I’ve started using face creams. Until then I had two decades worth of creams unopened in my bathroom. [She pauses] I did have a very pathetic/existential moment a few years ago, too. I’d been filming something where I was a couple of decades older than everybody else and I remember spending a day mourning my youth - literally weeping. Afterwards I talked to women about it and found out that it's not uncommon and potentially a healthy thing to do. Because as long as you can get to a point where you’re able to embrace what the next stage is, and you’re not constantly obsessing over trying to get back to looking a certain way, then it's fine.
CW: Does it affect your enjoyment of TV or films when someone has obviously had work done?
GA: Oh, completely. I find it very hard to watch those people. And it's not just the women. There are two or three very high-profile men who have clearly had things done recently, and it's noticeable. I’m fascinated by what the spouses feel about all this. I mean, imagine waking up one day next to your true love and not recognising them? Also, children get their cues from their parents’ faces - they look to them for safety or comfort. So does that mean that we’re breeding a generation of children who can’t do that anymore? And how much less safe are those children feeling when they look at their mothers and they can’t tell whether they’re happy or sad?
CW: Do your children find it hard watching your TV, film or stage work?
GA: [Smiling] Until recently, my five and seven year olds didn’t even know what my job was. But I did feel bad the other day when my 19-year-old daughter first watched The Fall. I hadn't had the conversation with her in time about “those scenes" so out of the blue I got this phone call. "Mum!" she said. “I was watching that with my friends!" I felt awful for her [she chuckles]. Then again, it’s what I do…
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Очень немногие люди умеют говорить правду себе и другим. Это не о лжи. Не лгут многие, а вот говорить правду не способен почти никто.
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Старый 09.07.2014, 01:50   #32
Yulya
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+ 4 фото



Спасибо Laudanum.
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Очень немногие люди умеют говорить правду себе и другим. Это не о лжи. Не лгут многие, а вот говорить правду не способен почти никто.
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Старый 13.07.2014, 10:02   #33
viktoriap63
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По умолчанию Интервью в Гардиан перед выходом спектакля



Цитата:
Gillian Anderson and Ben Foster on A Streetcar Named Desire: 'We're not doing a full-on sex show...'

Gillian Anderson and Ben Foster tell Sarah Crompton about their suggestive, violent new Young Vic production of A Streetcar Named Desire.

Gillian Anderson walks into a rehearsal room in south London having just hit her head with her own car door at the end of the school run. The large swelling on her right temple does little to dent her beauty – those sculpted cheeks and large, compelling eyes – nor her sharp intelligence, but it is a cause for concern.

“Headbutting children again,” teases Ben Foster, her co-star in a new production of A Streetcar Named Desire, as we fuss around, finding an ice pack, while Anderson settles down, elegant in a yellow chiffon dress, laughing at her own incompetence.

Seeing them side by side, you can’t imagine more suitable casting for Tennessee Williams’s dark, daring play about sexuality, need and madness. Her refined delicacy and his grounded intensity make it easy to see them stepping into the roles of the damaged Southern Belle Blanche DuBois and her volatile brother-in-law Stanley Kowalski, parts made famous on Broadway in 1947 by Jessica Tandy and Marlon Brando, and on screen four years later by Brando with Vivien Leigh.

Yet it is the insight with which the two actors talk about the play, directed at the Young Vic by Benedict Andrews, that makes you hope this might be a production to remember. “It’s really a thrill. It’s very scary in the best way,” says Foster. “There’s nowhere to hide.”

Anderson has wanted to play Blanche for years, and was conscious that if she left it too long – she is 46 next month – the protective Williams estate might deem her too old. She told a producer that it was the only play she was interested in appearing in and made the further stipulation that it must be played in the round.

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“I’ve never seen a production where I felt I was a fly on the wall in New Orleans and I felt that that version of it would not only be exciting to perform, but the version that I’d want to see,” she says. “I’d want to sit in that room and be hot and sweaty with the actors. And after I’d had that idea there was no changing my mind.”

After much toing and froing, the production she had initiated ended up at the Young Vic with Andrews (who enjoyed a triumph with Three Sisters there in 2012) attached as director and Foster “lassoed” – as Anderson puts it – to play Stanley.

But that decision to perform in the round means that the play’s brutality, its suggestion that Blanche’s descent into madness is triggered by Stanley raping her, is exposed. “We’re not doing a full-on sex show,” says Foster. “But it is suggestive and we’re not hiding the violence.”

Foster speaks with rumbling, low-voiced fervour. Over the past few years, he has built a reputation as one of America’s most exciting young actors, appearing on screen as William Burroughs in Kill Your Darlings and as a Navy SEAL in Lone Survivor; and also on Broadway opposite Alec Baldwin in Lyle Kessler’s Orphans.

In their initial conversations, Andrews suggested to Foster that he think of Stanley as a soldier returning from Afghanistan. “That made sense and undid any concerns I might have about getting stuck in the historical locks of the play,” he says.

Anderson has also escaped the long shadow cast by previous productions; she has never seen the film and has not allowed herself to watch Blue Jasmine, Woody Allen’s update of the story, starring Cate Blanchett.

“I wanted to come at this completely fresh,” she says. “I’ve never studied the play, but I have always known I wanted to do it. I didn’t really know why and now I do. I have completely fallen in love with Blanche and I was unprepared for that.”

For Foster, the play is a challenge partly because it set a template for a new kind of drama. He calls it “a powder keg shift in culture”, a moment when the melodrama of the 19th century was definitively replaced by a realistic treatment of working-class life and acting rooted in genuine emotion. “We’ve all been influenced by American naturalism, and to ignore that entirely would be impossible for me, as someone who works primarily in film.”

He points out that the legacy of the Actor’s Studio method that Brando represented has been distorted over the years. “We’ve turned film into such an industry that we pursue naturalism just by shaking the camera, and cutting the film to ribbons to provoke a bogus sense of documentary. But we haven’t done the homework. To push the depth that the Actor’s Studio did or the Russian theatres did with their actors, is to rehearse, to spend time, to dig, to excavate. And that is what we are doing.”

The difference between screen and stage is a subject that interests both actors; they each found fame on television (Anderson in The X Files, Foster in Six Feet Under) and have gone on to pursue the majority of their careers on screen. Anderson is acutely aware of the limitations of working in film. “These days, in my experience, you show up and you have to have [your performance] all figured out. Everything I’ve done in the last few years, I rely on my own resources and you get two takes and you move on.”

Foster agrees. “Film’s much more private. I usually have at least five weeks to prepare but rehearsal is a solo deal for me. I don’t like to rehearse, and the film-makers that I have been drawn to are interested in provoking something between people rather than nailing a scene in advance. Doing Streetcar is drilling in; you feel you can’t get to its bottom. Every pass, something blooms and you feel so much more connected to the whole piece.”

His preparation for a film role is, however, intense. “The luxury of this job is you get to listen to specialists and engage in questioning people you are interested in talking to.” Researching his part as disgraced cyclist Lance Armstrong, in the forthcoming Stephen Frears biopic, he spent time with cyclists who are now riding on the Tour de France.

His admiration for them was intense. Filming was “brutal. I break into tears every time I see a bike,” he says, laughing. But he is serious when he adds “I lost my f------ marbles on that shoot.” “Why, the physical strain?” asks Anderson. “The man’s story isn’t over,” he responds. “I get to go home at night. He’s waking up, and he’s got his kids and those who have suffered because of him. And those who have been enriched by him. Half a billion dollars raised for cancer research. That’s something.”

His voice trails away and the conversation switches to Anderson’s work. She has just shot the second series of the hit BBC drama The Fall in which she stars as Stella Gibson, a cool, collected police chief on the trail of a vicious serial killer who doubles as a devoted family man (Jamie Dornan).

“I am a lover of film and so I am always on the verge of being disgruntled about television,” she says. “And then something like The Fall comes along and it’s such a gift and I just shut up.” It even took her time to appreciate that in playing Agent Scully, in The X Files, she was “part of an extraordinary movement and that I had an opportunity to play one of the greatest female characters ever.”

It is perhaps because she has played such women, that people think Anderson herself is as icily analytical as they are. In fact, the opposite is true. In person she is warm, witty and laughs a lot. She is so far from being calculating, that she admits her film career stalled because she came to live in London in 2002 and stayed to bring up her sons, now five and seven. “I am so devoted to this city and my little ones are British. I can’t imagine being anywhere else so I work with that.”

She goes to the theatre once a week and spends some time telling Foster what he should see. In return, he tells her – laughing – that as a boy without friends, in Fairfield, Iowa, “I would come home from school every Wednesday, order pizza and watch X-Files. I was devoted.” Anderson has continued the science-fiction theme by co-writing a sci-fi novel with Jeff Rovin in part, she admits, “to create a character I could play in films. Hopefully it is good.” That reveals, I suggest, an unusual degree of motivation and self-determination. “With The Fall and Streetcar I feel that if I died in September then I could look down from up there feeling I had accomplished what I wanted to accomplish.

“But on the other hand, I don’t feel like I have even begun.” She pauses. “That is mostly because I just love film. I love the medium and there are so many directors I haven’t worked with and experiences that I have not had.

“I have been putting my responsibilities as a mother first and as my children get older at some point I can pursue it in a different way than I have been, probably when nobody wants to hire me because…” she sucks in her breath, widens her eyes and shouts, “I will be 50. So then nobody will want to make my novel unless the lead is actually 33 and they’ll hire a 12-year-old to play her.”

“It’s changing,” says Foster, who is engaged to the 48-year-old actress Robin Wright, who recently won a Golden Globe for her performance in House of Cards on Netflix. “The worship of youth has always existed. But in terms of how we receive entertainment, it’s like the Wild West. If you have content you can get it to people. No matter what age or place, there’s an appetite for intelligent content. So that’s encouraging.”

He laughs at his own enthusiasm. “I have to be optimistic. Maybe that is overly American. But I am.”
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Старый 13.07.2014, 22:26   #34
Ann-Katerin
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Все время вздрагиваю, когда слышу подобное:
Цитата:
With The Fall and Streetcar I feel that if I died in September then I could look down from up there feeling I had accomplished what I wanted to accomplish.*
Нет, я понимаю, что сказано для усиления значимости событий для нее, но все равно - не по себе, как то от таких слов.

Вика,спасибо.
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Старый 24.07.2014, 20:46   #35
Yulya
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По умолчанию The Stage interview




'I Finally get to Play Blanche'

Television, film and stage star Gillian Anderson tells Mark Shenton about her fascination with A Streetcar Named Desire and how she was determined for the new Young Vic production to go ahead - even if she got sued by NBC.

Gillian Anderson was destined to play Blanche DuBois. "I've never actually known why, it's just been a given," says Anderson, explaining that she knew she would play Tennessee Williams's lonely, isolated heroine in A Streetcar Named Desire one day.

"It's just been there somewhere, even though I've never studied the play. But one of the monologues was familiar to me when I re-attacked it this time, so I think at one point I must have done it somewhere, perhaps as an audition speech. But I've never studied the play, and I don't known that I've seen the film - I know images from it, but I'm not sure that I've seen the whole film. But I've seen about four productions of it and the play has always been in my consciousness to do. I haven't known why, but I assumed I would know when I got there."

As we meet in the final stages of rehearsals at the Jerwood Space, three days before the company moves on to begin the tech and then performances at the Young Vic Theatre, has the strange lure of the play finally been explained?

"I certainly do know, working on it now, not just what an extraordinary piece of writing and a construction it is, but also more specifically in terms of Blanche herself. It is almost revealing too much to admit how many similarities there are, or why there is a kinship of some kind, with Blanche - though not necessarily in all of the obvious senses. But it might raise a couple of eyebrows."

As a globally recognized celebrity from her long stint on The X-Files, as well as many other film and TV roles including Great Expectations and The Fall (both for the BBC) and the series Hannibal and Crisis (both for NBC), she has faced the inevitable battle to keep her private life private, and is understandably reluctant to make too much of any personal connection to the role.

But there are other reasons too: "I'm wary of either jinxing it, or sounding pretentious by saying that I understand her - also, it gives the critics the opportunity to say, 'well, you certainly do not!'"

But if past press interviews have led me to expect someone who (according to one) had a "reputation as a tricky interviewee", Anderson absolutely isn't. She's open and charming, frank and easy to talk to.

She is also immaculate and precise in her choice of words, and keen to share the convoluted story of how this production came about.

It was ultimately at her own instigation, which also demonstrates something of her confidence, given her relatively limited theatrical experience. She began her professional career on the New York stage fresh out of drama school in 1991, but since then has worked on stage only in London in four plays since she moved here nearly 13 years ago.

"I've been talking about this play for years, and in between other work I've kind of nudged in areas and we've called to find out if the rights to the play were available. Someone I know told me about a very old friend of theirs who they knew from school that was just going off on his own after working as a partner to a big West End producer, and thought we could do something together. His name was Joshua Andrews, and we sat down for lunch. He had a list of plays and actors he wanted to work with in future, but I said there's only really one conversation we can have - if this isn't the next thing I'm making happen, it is going to be another six to eight years before I could make it happen again. I knew the rights were becoming available, so it was potentially a good time, and I said to him, 'Can you help me make this happen?'"

They embarked on a journey together to find a theatre, constrained by another condition set by Anderson, which was to do it in the round: "I'd always just had this vision that at the point when I do it this is what it will look like, with people sitting all around, so I was pretty much not able to engage in any kind of corner-station that involved a traditional or proscenium arch."

she's obviously got a determined streak, and it runs a lot on instinct. The next occurred around her choice of director. "I saw Three Sisters at Young Vic, directed by Benedict Andrews, and we started a conversation and Skyped. He was very interested. We began looking at theatres and started with the Trafalgar Studios, as it was the only other place that could potentially do it in the round besides the Cottesloe or Donmar, which has already done the play recently. We were waffling and waffling, then Benedict needed to take another job and that time period fell out. Then I did [the TV show] Crisis, and jumping off of doing that, I met another producer who said, 'What about the Yougn Vic!' It was like being hit over the head - why the hell hadn't I thought of it before? Partly it was because I'd brought Josh on board, even though from the beginning I kept saying to him this is not about profit. He had to understand that even if we ended up at a hole in the wall to make this happen, it was about the space. So this other producer then said let me call David [Lan] at the Young Vic and see if he is interested. Two seconds later he responded - he was and it al happened right there."

Even the dates miraculously fell into place, though initially there was a potential problem. "There was a whole drama with NBC and not being able to release me because there might have been a second series of Crisis, so we couldn't announce it and all kinds of stuff that people don't know about.

"But I was so determined that this was going to happen that I said I know this is crazy and I might get sued by NBC, but we are doing this at this time and nothing is going to get in the way, especially after David contacted Benedict and he was available."

In the end, Crisis wasn't renewed for a second series, "so it all worked out."

It certainly took some determination to make it happen, and speaking days before her first performance, I suggested she's entering the home stretch: "that's one way to look at it!" But another challenge of the process has turned into a virtue: they've rehearsed the play on the actual set that has been brought into the rehearsal room. "Because it is in the round and revolving, it was essential that we got to be on the actual ship - our little rectangle of life - from day one."

She's also full of praise for her director.

"He brings the whole company with him in a very muscular way, but not ego-centrically - he's a very good listener and very compassionate, so even the smallest roles are swept into the whole. He's never too busy on one of the larger roles or too busy in his own mind not to be completely present and take on board and listen to and work with all the characters, which is very admirable."

As a working mother (her two sons are five and seven), she says she has just had the kids "full-on all weekend, and part of my brain is saying, 'you are supposed to be with your face in the script this entire weekend before the tech, and what the fuck are you doing? Football'. But maybe I needed the break. We rehearsed all day on Saturday til six, so maybe having that evening and Sunday off was okay, to be a mother and not be completely obsessive, and by having that balance, trust that it will make a better Blanche."

Her sons are too young to see the show, but she says: "I might bring them at one point so they stand on the revolving set. And over the weekend I took them to see How to Train Your Dragon 2 at IMAX, and as we drove by the Young Vic and I realised where we were, I said to them, 'Boys, that's where Mummy will be working' - They showed no interest at all."

And that's as it should be. Talking of fame, she says, "Friends and family are more important than any slice of fame you get. If you are in a position of being famous at any given time, it is still old friends and family that you need. It's not just about being grounded, but the consistency of knowing that, no matter what number you are on IMDB, that doesn't matter to the people that truly love you, and will be there no matter where on that graph you end up."

She knows of what she speaks, having been cast as Special Agent Dana Scully in The X-Files when she was 24 years old, two years after moving to New York and getting her first job in Manhattan Theatre Club's 1991 production of Alan Ayckbourn's Absent Friends.

"Mary-Louise Parker had dropped out to film Grand Canyon, and they basically hired me with no experience whatsoever really because of my accent."

Having been brought up in England from the age of two to 11, she has a nearly impeccable English accent - only stray words are pronounced with an American slant. When she was cast she'd been waitressing "at a couple of different low=end places", and the job "came completely out of the blue - it was very fortunate and terrifying, but I learnt the discipline of theatre very quickly"

She adds: "Lynne Meadow, who directed it , was appropriately harsh with me at times about the necessity for timing and rhythm, which is important period, but especially comically, and also about my impact on the rest of the company so that I was not acting in my own vacuum."

Theatre, she thought then, was going to play a larger part in her life than it did. "Growing up in London, whether I knew it or not at the time, I had a peripheral sense that it was possible and that theatre was part of what you did as an actor. It was part of your curriculum and it was always going to be that thing I continued to go back to as British actors do."

But then it took many more years - The X-Files would run for nine seasons, from 1993 to 2002 - for her to come back to theatre, and then it also brought her back to London. She was cast in a new play by Mike Weller called What the Night is For.

Her passion for theatre was reignited, leading to jobs at the Royal Court and Donmar Warehouse. At the Royal Court, she performed in another new play, Rebecca Gilman's The Sweetest Swing in Baseball, and at the Donmar she appeared in A Doll's House.

She says that the classics have proved more satisfying.

"Not that new plays can't be exceptional and dense, but these are great plays for very specific reasons, and having an opportunity to jump in and immerse oneself in theatre that is so complex, and where every moment has its beginning which may be pages and pages back, is fantastic.

"It has made me potentially be more discerning in the future - after delving into a piece like this, it's really the only way to go. With this much complexity to the characters, it's all about digging and digging."

She's enjoyed the journey: "From the very beginning of the birth of this particular take on it, from my first inkling to where Benedict has gone with it, it is so much to do with unearthing the truth in it.

"That's been the primary goal, not to highlight for mass audiences the fact hat I finally get to play Blanche."

Anderson On...

Seizing a famous role
"I was reading some Stella Adler stuff about A Streetcar Named Desire, and she goes into this riff about Hamlet and how in England specifically every actor needs to do Hamlet. She wasn't talking about that in relation to this, but it was the first time I thought that there is that, isn't there? But it hasn't been about that for me - it isn't a role that I felt any responsibility to get to, as it might be with Hamlet for a guy."

The difference between working on stage and television
"The stage is not about being able to make quick decisions - it's about really funneling into the right decisions for every second that transpires. That's where the real work is. It's easy for TV to just grab at a bunch of moments and call them something - you do it all the time - but that is not for this."


3 top tips for aspiring actors
1) Dealing with disappointment
"No matter what area of the acting life one chooses to step into, 90% of it will be disappointment in one way or another. you have to find a way not to be knocked by it, and trust that for whatever reason it wasn't meant for you - either it was an opportunity for someone else who needs it more, or there's another job around the corner. There have been periods where I've been off when a family member has fallen sick, and were I working I wouldn't have been available. There's a higher order and reason behind all this.

2) Being prepared for auditions
"I've learnt how nice it is from being on the other side when I've been in casting table able to look in actors' eyes because they are off-book, or off-book to the degree that they're not tied to the page. It's really refreshing and disarming to be able to look in the full face of the person in front of you. When I listen to directors and producers talk about the person they've cast, they also talk about the fact that they really liked the person. If you're going to spend next three to six months with them, you want htat in the people you hire. So that also plays into it."

3) Dealing with fame
"don't believe any of it. It is fleeting, and you want it to be fleeting."
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Очень немногие люди умеют говорить правду себе и другим. Это не о лжи. Не лгут многие, а вот говорить правду не способен почти никто.
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Старый 24.07.2014, 20:50   #36
Yulya
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По умолчанию Net-A-Porter Interview

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Очень немногие люди умеют говорить правду себе и другим. Это не о лжи. Не лгут многие, а вот говорить правду не способен почти никто.
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Старый 25.07.2014, 04:24   #37
ulka
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Джилл идет такая длинная юбка
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Старый 28.07.2014, 14:10   #38
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http://www.theguardian.com/theobserv...les?CMP=twt_gu
Очень трогательная статья
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Старый 06.09.2014, 21:19   #39
Yulya
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По умолчанию Интервью о "Крахе"

Gillian Anderson is back for The Fall

The BBC is teasing that Gillian Anderson is about to make her return to the small screen with season two of The Fall set to premiere sometime “soon.”
Gillian falls back into her role in the acclaimed crime drama as Detective Superintendent Stella Gibson alongside her costar, Fifty Shades of Grey stud Jamie Dornan.
Of course this isn’t the first time Gillian tries on a blue coat and holster. We all know the superstar rose to fame when she suited up as FBI special agent Dana Scully in the epic series The X-Files.
While Gillian’s latest gumshoe gig sounds like an open/closed case of type casting, to her, Stella Gibson and Dana Scully are two distinct women.
“I find them very different,” Gillian says. “Stella is a bit of an island, which I like about her. She’s hard to know and I feel like Scully was quite easy to know. Scully was innocent, naive, in many ways square. Stella is definitely not square. I don’t find them similar at all, other than they’re both independent, strong minded, professional women who are very good at what they do.”
The next chapter of The Fall picks up from season one’s cliffhanger with Gillian’s character taking risks and bending the rules in high pursuit of elusive serial killer Paul Spector played by Jamie Dornan.
The Fall aside, Gillian was recently seen in NBC’s Crisis as a stubborn, driven and all-powerful millionaire. Just another role confirming how big of a fan she is of unshakable female characters.
“I play alpha women quite a lot,” Gillian admits. And there is one reason for that. “I am an alpha woman.”
Gillian also has no issue affirming that she is a natural born badass.
“I’m definitely a punk at heart and I feel like I have to keep that aspect of myself in check on a daily basis,” she says. “I don’t think the rebel ever leaves. That’s probably why people come to me for that type of character, and I’m down with that.”
See Gillian return in season two of The Fall. The BBC isn’t releasing an official premiere date, but sources hint that the series will return in October. For updates, follow Gillian on twitter.

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Очень немногие люди умеют говорить правду себе и другим. Это не о лжи. Не лгут многие, а вот говорить правду не способен почти никто.
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Старый 10.09.2014, 08:17   #40
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Давно мучает вопрос один: в каком значении Джиллиан испльзует прилагательное "square"? Неужели отсталый?
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