:"> Tom Hardy you quotable man you.
I don't know if you guys have read this already, but:
(And a bit tl;dr so I bolded stuff. :">)
Tom Hardy on Eames:
You’re absolutely right. The thing about Chris is that he’s British and I’m British. We’re from a very similar neighborhood. I was quite fortunate to be able to tap into my one on one relationship with Chris Nolan. That was my port of call. So the process of dispatching information and recording a response was very simple. What do you need? Who is this guy? What do you want? >He wanted a little bit of John Hurt. A little bit of Bond-ness. A little bit of the Royal Shakespeare company. A bit of FAILY GRANGER? He gave me a book to read about forgery about the fake masterpieces by the Dutch artist. He used to forge. Colin Firth played him… He gave me very images and ideas to collect to put into this character. He liked what I did in ROCKNROLLA and wanted to keep it as close to me as possible in many ways. And he didn’t want to try too hard. He wanted to really create something. But this is who he is. This is what he portrays in the film and how he does. He’s very simple and there wasn’t a great amount of back and forth over it. There didn’t need to be. He was very clear about who it was I was to play. And there’s something very old school, MI-5 about this guy as well. He’s got the Graham Greene OUR MAN IN HAVANA type. Old and faded, slightly shabby down and out diplomats. A bit unscrupulous and off-the-radar. He’s got the gambling and he’s into the dream stuff. Parts of him you find questionable, but you’ve also got the fighting and the scenes within the dreamscape, which shows a potential military background. He’s a very can-do person with weaponry as well. He a good blend of the British kind of espionage take on what a James Bond type would be. Educated. Also minimal effort, maximum force when it comes to the speedy delivery of violence and death. That’s something we pride ourselves on in the military in Britain. That was very clear. He’s an archetype. Everyone up there has their ownwhe private relationship with Chris. What I realized personally, on a very minor scale, was that the more I did impressions of Chris, the easier it was. I thought, I have to stop because I’m still talking like Chris. Using his cadence or whatever and then slightly changing it with maybe a little of a slight edge and that Roman Catholic softness. That was feedback I was getting from him. I think Eames (his character) is Chris. To be honest, I think they all are Chris. But the more I tried to be Chris, the more I ended up projected on him. That was really what went into it rather than any massive research prior to the planning. Plus, I came straight from shooting in Pittsburgh. I was straight on and off set. Lost anyway and trying to catch up. There’s Leo and there’s Ellen Page and Ken WATANABE. Tom Berenger. I’m fans of everybody and I have to come to that, coming from obscurity all of a sudden being on set with these very prolific actors. In my world, these are very, very prolific people to do a good job with. I was concerned about not letting the team down. And that fed the work, really. Because not letting the team down was very much what it was all about. Being dispatched and working with new people was the mission of the heist. It’s all reflective.
And, uh, Tom admitting that he has a mancrush on Tom Berenger: (lollers, just had to put this in)
A little bit. [When asked if he'd spent some time with Tom Berenger.] See, I watched everybody. I like to be the security, so I’m always watching for anything and everything that can possibly go wrong. So with Tom, I’m a massive fan of Sergeant Barnes from PLATOON. As a kid, I watched that movie over and over and over again. I was watching Vietnam movies because they’re like my western. I’m 32 years of age and that was the genre that was around when I grew up in England and the south of France [HOLD THE FUCK UP. HOLD UP HOLD UP WAIT. He grew up in the SOUTH OF FRANCE? WHAT, REALLY? WHAT. WHAT. Or did he mean, like, the genre was around while he was growing up in England and it was also around in the south of France? If he grew up in France then herro, Tom. You classy multinational person you.]. All the way from APOCALYPSE NOW all the way through to TOUR OF DUTY, the television show that was on to PLATOON or FULL METAL JACKET. In PLATOON, all the American characters are there. None of them are from the UK. So I’m looking at a cross-section of society. Every man from every race. That, at the time, was very unique. And that war, too, had the conscripts and the translated section of society. There were those who could obviously pay their way out of the way but there were also officers in there with LIEUTENANT WOLF and you could see the Harvard Yale group. Right through to the brothers in the black fraternity and the Hispanic and Latino fraternity. Your rednecks. You had a mixture. Those who were into drugs and those who weren’t. Sergeant BARNES was, to me, very much like my father. I keyed in very much on him and that was somebody I wanted to be as a young man. So when I met Tom, it’s fucking Sgt. Barnes, you know? And I got to work with Willem DaFoe on another film called THE RECKONING I’ve got to say, I’ve got a bit of a man crush on Tom Berenger. I just love him. And, of course, I was watching him a little bit harder than I would have if I was just studying something. I just would, by osmosis do little things with the glasses. I tried to make it simple and clear that I was doing an impersonation of him at times. It’s just observation. And listening to his stories. I’d ask him for as many stories as possible. I was a bit shy at first. Whenever I meet somebody who is that much of an icon for me, I get a little nervous. He’s fucking Tom Berenger. Despite what anyone else says about him, I think he’s awesome. You know what I mean?
And Tom about JGL. :>
Q: Your character has an antagonistic relationship with Joseph Gordon Levitt’s. Do you guys sort of discuss in advance how you’re going to pull that off in your performances?
A lot of stuff is just instinctive. You take the floor and that’s just the way it is. Chris says, “You two have a running banter” and we go with it. If it doesn’t work, it’s not in the can. If it does work, it’s in the film. And Joe’s such a terrific kid. [Ehe. 'Kid'] Everybody on that set were such great people to work with. Very articulate and very intelligent and very inventive. All of them love their work. And they love Chris. There was a compete void of ego. And there was plenty of opportunity for there not to be one. I’ve been on sets where you mix actors together and it’s the most atrocious outcome. Interacting with actors, the more generous you are and the more open - The mind is like a parachute. It only works if it’s open. It’s the same thing with interaction with another actor. If someone is open, if I make you look as good as possible by giving you everything I possibly can, I should look good in return, theoretically. Then everyone is on the same wavelength and the possibility is endless, depending on the structure of the piece and the outcome of the team. You never know what you can get. You can get something quite magical from what you first see on the page. The problem with this one is that what was on the page was so fucking magical, how could we take what was on the page off and make it even better? The complexity of it was to be simple. Not to over think it. Chris directs in such a way that the landscape, no matter how massive - and I speak like I’ve done millions of these films. I haven’t. This is just what I picked up from my first big movie - but you have this huge landscape of massive movie drama in the background. You have this orchestration of technical support and stunts and people on the clock looking as money is being spent. Everything was so specific. It’s all in the right place at the right time and orchestrated and organized enough so that Chris, if he had his head on, could turn his back and turn all that into a very intimate environment not dissimilar to how we’re sitting around this table talking. Meanwhile, the background is being moved all around. It’s like being in the middle of a big military operation. And Chris never raised his voice. He was so calm to the point that he was so relaxed as a human being and in such a confident zone that it was infectious. You felt safe to do whatever he asked you to do. He had Joseph on that wire for three weeks. That’s painful for anyone to do. A day is painful. Three weeks… It’ s just painful. You think about military training. I’m not a superman. I’m not a hard guy. I’m not a tough guy. I’ve had military training for the very physical stuff. You start to question your limits very quickly when you’re in pain. You overcome the adrenaline and the excitement and go, “I don’t know if I want this.” There was no moaning from anybody on this film. Joe especially was asked to do things that cost. I mean a little bit. We’re acting. It’s entertainment. It’s not the army. But that’s a very specific human being that can not only orchestrate this kind of movie but get trust from people like that.
Source. :-)
And aww, he has a Blackberry. And says it, like, Blackbree. He asks the interviewer, "What's your phone?" And the interviewer says he has an iPhone 4. And Tom's like, "Oh, iPhone 4, what's that mean?" lollers.
(And a bit tl;dr so I bolded stuff. :">)
Tom Hardy on Eames:
You’re absolutely right. The thing about Chris is that he’s British and I’m British. We’re from a very similar neighborhood. I was quite fortunate to be able to tap into my one on one relationship with Chris Nolan. That was my port of call. So the process of dispatching information and recording a response was very simple. What do you need? Who is this guy? What do you want? >He wanted a little bit of John Hurt. A little bit of Bond-ness. A little bit of the Royal Shakespeare company. A bit of FAILY GRANGER? He gave me a book to read about forgery about the fake masterpieces by the Dutch artist. He used to forge. Colin Firth played him… He gave me very images and ideas to collect to put into this character. He liked what I did in ROCKNROLLA and wanted to keep it as close to me as possible in many ways. And he didn’t want to try too hard. He wanted to really create something. But this is who he is. This is what he portrays in the film and how he does. He’s very simple and there wasn’t a great amount of back and forth over it. There didn’t need to be. He was very clear about who it was I was to play. And there’s something very old school, MI-5 about this guy as well. He’s got the Graham Greene OUR MAN IN HAVANA type. Old and faded, slightly shabby down and out diplomats. A bit unscrupulous and off-the-radar. He’s got the gambling and he’s into the dream stuff. Parts of him you find questionable, but you’ve also got the fighting and the scenes within the dreamscape, which shows a potential military background. He’s a very can-do person with weaponry as well. He a good blend of the British kind of espionage take on what a James Bond type would be. Educated. Also minimal effort, maximum force when it comes to the speedy delivery of violence and death. That’s something we pride ourselves on in the military in Britain. That was very clear. He’s an archetype. Everyone up there has their ownwhe private relationship with Chris. What I realized personally, on a very minor scale, was that the more I did impressions of Chris, the easier it was. I thought, I have to stop because I’m still talking like Chris. Using his cadence or whatever and then slightly changing it with maybe a little of a slight edge and that Roman Catholic softness. That was feedback I was getting from him. I think Eames (his character) is Chris. To be honest, I think they all are Chris. But the more I tried to be Chris, the more I ended up projected on him. That was really what went into it rather than any massive research prior to the planning. Plus, I came straight from shooting in Pittsburgh. I was straight on and off set. Lost anyway and trying to catch up. There’s Leo and there’s Ellen Page and Ken WATANABE. Tom Berenger. I’m fans of everybody and I have to come to that, coming from obscurity all of a sudden being on set with these very prolific actors. In my world, these are very, very prolific people to do a good job with. I was concerned about not letting the team down. And that fed the work, really. Because not letting the team down was very much what it was all about. Being dispatched and working with new people was the mission of the heist. It’s all reflective.
And, uh, Tom admitting that he has a mancrush on Tom Berenger: (lollers, just had to put this in)
A little bit. [When asked if he'd spent some time with Tom Berenger.] See, I watched everybody. I like to be the security, so I’m always watching for anything and everything that can possibly go wrong. So with Tom, I’m a massive fan of Sergeant Barnes from PLATOON. As a kid, I watched that movie over and over and over again. I was watching Vietnam movies because they’re like my western. I’m 32 years of age and that was the genre that was around when I grew up in England and the south of France [HOLD THE FUCK UP. HOLD UP HOLD UP WAIT. He grew up in the SOUTH OF FRANCE? WHAT, REALLY? WHAT. WHAT. Or did he mean, like, the genre was around while he was growing up in England and it was also around in the south of France? If he grew up in France then herro, Tom. You classy multinational person you.]. All the way from APOCALYPSE NOW all the way through to TOUR OF DUTY, the television show that was on to PLATOON or FULL METAL JACKET. In PLATOON, all the American characters are there. None of them are from the UK. So I’m looking at a cross-section of society. Every man from every race. That, at the time, was very unique. And that war, too, had the conscripts and the translated section of society. There were those who could obviously pay their way out of the way but there were also officers in there with LIEUTENANT WOLF and you could see the Harvard Yale group. Right through to the brothers in the black fraternity and the Hispanic and Latino fraternity. Your rednecks. You had a mixture. Those who were into drugs and those who weren’t. Sergeant BARNES was, to me, very much like my father. I keyed in very much on him and that was somebody I wanted to be as a young man. So when I met Tom, it’s fucking Sgt. Barnes, you know? And I got to work with Willem DaFoe on another film called THE RECKONING I’ve got to say, I’ve got a bit of a man crush on Tom Berenger. I just love him. And, of course, I was watching him a little bit harder than I would have if I was just studying something. I just would, by osmosis do little things with the glasses. I tried to make it simple and clear that I was doing an impersonation of him at times. It’s just observation. And listening to his stories. I’d ask him for as many stories as possible. I was a bit shy at first. Whenever I meet somebody who is that much of an icon for me, I get a little nervous. He’s fucking Tom Berenger. Despite what anyone else says about him, I think he’s awesome. You know what I mean?
And Tom about JGL. :>
Q: Your character has an antagonistic relationship with Joseph Gordon Levitt’s. Do you guys sort of discuss in advance how you’re going to pull that off in your performances?
A lot of stuff is just instinctive. You take the floor and that’s just the way it is. Chris says, “You two have a running banter” and we go with it. If it doesn’t work, it’s not in the can. If it does work, it’s in the film. And Joe’s such a terrific kid. [Ehe. 'Kid'] Everybody on that set were such great people to work with. Very articulate and very intelligent and very inventive. All of them love their work. And they love Chris. There was a compete void of ego. And there was plenty of opportunity for there not to be one. I’ve been on sets where you mix actors together and it’s the most atrocious outcome. Interacting with actors, the more generous you are and the more open - The mind is like a parachute. It only works if it’s open. It’s the same thing with interaction with another actor. If someone is open, if I make you look as good as possible by giving you everything I possibly can, I should look good in return, theoretically. Then everyone is on the same wavelength and the possibility is endless, depending on the structure of the piece and the outcome of the team. You never know what you can get. You can get something quite magical from what you first see on the page. The problem with this one is that what was on the page was so fucking magical, how could we take what was on the page off and make it even better? The complexity of it was to be simple. Not to over think it. Chris directs in such a way that the landscape, no matter how massive - and I speak like I’ve done millions of these films. I haven’t. This is just what I picked up from my first big movie - but you have this huge landscape of massive movie drama in the background. You have this orchestration of technical support and stunts and people on the clock looking as money is being spent. Everything was so specific. It’s all in the right place at the right time and orchestrated and organized enough so that Chris, if he had his head on, could turn his back and turn all that into a very intimate environment not dissimilar to how we’re sitting around this table talking. Meanwhile, the background is being moved all around. It’s like being in the middle of a big military operation. And Chris never raised his voice. He was so calm to the point that he was so relaxed as a human being and in such a confident zone that it was infectious. You felt safe to do whatever he asked you to do. He had Joseph on that wire for three weeks. That’s painful for anyone to do. A day is painful. Three weeks… It’ s just painful. You think about military training. I’m not a superman. I’m not a hard guy. I’m not a tough guy. I’ve had military training for the very physical stuff. You start to question your limits very quickly when you’re in pain. You overcome the adrenaline and the excitement and go, “I don’t know if I want this.” There was no moaning from anybody on this film. Joe especially was asked to do things that cost. I mean a little bit. We’re acting. It’s entertainment. It’s not the army. But that’s a very specific human being that can not only orchestrate this kind of movie but get trust from people like that.
Source. :-)
And aww, he has a Blackberry. And says it, like, Blackbree. He asks the interviewer, "What's your phone?" And the interviewer says he has an iPhone 4. And Tom's like, "Oh, iPhone 4, what's that mean?" lollers.