DISCOVER YOUR REAL POTENTIAL
What have been the greatest challenges of your career so far?
In terms of repertoire, learning and performing the Britten Concerto was a huge challenge, both musically and physically. It’s a work that requires an enormous amount of stamina due to its length and technical difficulty, but it also takes a great toll emotionally. It’s really impossible not to feel how the composer was feeling during the Spanish Civil War, and it was a rewarding experience to re-tell this story.
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Emma Thompson and Anthony Hopkins are to star in a new television adaptation of King Lear, directed by Richard Eyre.
The TV film is being produced by Playground and Sonia Friedman Productions for BBC2.
Friedman has previously collaborated with Playground on the TV adaptations of Wolf Hall and The Dresser.
King Lear is a co-production with Amazon Studios, which will air the drama on Amazon Prime Video in the UK following its premiere on BBC2 in 2018.
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“I was completely responsible for developing that backstory, and that particular scene was my one opportunity to tell the story of Stupe. So I did, I took advantage of that, I told his backstory. I wanted to tell something that would make people think, and kind of be able to relate to, and I think anybody in a marriage could relate to that.
Originally in the script, Stupe was on his way back from overseas, he was in the military, and as he was on his way home his family was killed in a car accident, and I didn’t think that was very interesting at all. So I actually proposed that to the directors one day. I talked to the directors and Brittany [Snow], and I said, “Well, what if this was Stupe’s backstory?” And [I] gave them kind of a general outline of the story, and then I said “Well, if you trust me to tell my story when I have the opportunity, then I’ll just do it.”
And that’s actually what I did. I had a story in my head and I just told it as a story rather than a written-out monologue.”
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Photo Credit: Restless Creature
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“The challenge with Thrones is that unlike some of the smaller, maybe independent movies, where it’s a single camera and it’s in a room, and it’s very domestic — it’s far more actor- and performance-focused. With this, in the nicest and best possible way, you are one part of the scenery in various shots. You have to sometimes go into a zone with Thrones where you just shut off everything around you, because everything has to be so detailed. The background has to be in exactly the right place, the smoke has to be the right level, the light has to be right — there’s a hundred things that have to be right. At any one moment, the take could not work, because of any of those elements. It’s exactly like shooting Lord of the Rings. Any big, epic movie would be like that. And it’s a different way of acting where it can get very frustrating, but you have to zone out the background noise a bit. And there are times when you don’t, when it’s a less intense scene or something. It’s a certain skill, and one that I’m glad I’ve had the opportunity to try and craft, because some actors come into this and it’s way too much going on and they can’t zone out.”
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