Q. You’ve been acting since the age of five, though… So, you had to be quite artificial because you have the online world where it’s all done through words, and you’re expressing yourself through words, so it’s not very natural and feels slightly heightened and artificial. How much fun was that scene on the beach in the car? It’s exactly what I need right now, because it keeps me ticking over.

Q. Has this first experience of movies whet your appetite? We also had the James Bond stunt driver give us a quick lesson because I couldn’t drive. I didn’t know anyone was in it when I took the part, I just said ‘yes’, but it also has Anne Hathaway and Jim Sturgess and Rafe Spall and all these people. But he’s done it so cleverly. But Anand very cleverly had a day of rehearsals before, where we sat in one of those posh Soho club places and talked about the book and the screenplay with Jim and Colin [Firth]. And I really liked the whole concept of the film – the online and offline worlds and that seemed very filmic and visual.

Basically, I wanted to go and sit on the set and the only way I could do that was to get a job! It has an incredible cast as well. We were sat there looking at him for most of the time. The first thing I did was to sit down with the scripts but then to sit down with Freud also as it’s a crucial part of the show and what Max is interested in. So, on one level you have this kind of self-consciousness in you, but on the other level you need to kind of bring some naturalistic vulnerability to it and it’s how you try and get those together without making them seem too messed up. Amelia, I had been a fan of for a really long time, and I was very excited and looking forward to her being my mum, so I was very lucky there.

I think we pushed the limits of the artificiality.

I didn’t study medicine, I studied English Literature, but a disproportionate amount of my thesis had a Freudian tilt - or at least a psychoanalytical angle. You look at his career and think: “That’s exactly what I want.” He’s doing it perfectly and he’s really, really good.

But at the same time I’m very proud of the film. How did you get on with your on-screen family? You feel like you’ve betrayed yourself if you do and your whole life gets drawn into this world of microwave meals and Jeremy Kyle. I just did another little bit for Lone on One Day but I really loved working with her on An Education. So, he’s lucky in that way. How is finding the balance between work and study? I mean I liked the whole film but Jim was someone who struck me as really interesting to play with.

It wasn’t so much to get into character, but more to try out the lines and try out the script and see how it was going to work. Anand says that you’d been going through some hard times in your own personal life at that time and that’s what swung it for him… Matthew Beard: It’s just a tiny part but it was great just to be able to sit and watch Cillian Murphy and Sienna Miller, as well as Beeban Kidron, the director. If it goes down OK then hopefully there’ll be auditions and parts for other things.

I just kept smiling but I couldn’t help it. Matthew Beard: It was very lucky really. But I try and avoid it. But also my parents got divorced. in 2007. It was such a long time ago as well that it almost seems alien to see everyone again [on the press tour]. I think I would be good at solving murders… I think my friends would probably say more likely to have done the crime than solve the crime but yes, maybe… I don’t know. We’re a similar age. You’re thinking about the job at hand and getting the scene done. And I think we share a sense of humour - I find the things that Max finds funny, funny too. They just get unfairly branded. Matthew Beard: No [laughs]. Was Jim a particularly easy character to inhabit? And yet you look at someone like my favourite actor, Paddy Considine, and he seems to be struggling for work sometimes. Ours has got five people in it; but some have hundreds of people in them and it’s very chaotic… you have to follow the different threads of narrative by working through them.

I’ve had some of the best times of my life on film sets and people I’ve met have been the best friends I’ve ever had, so I definitely wouldn’t swap it. I went to see the Egon Schiele, I went to visit the Adolf Loos buildings and tried to get a feel of what was going on in 1906. But some people will fill it with the easiest thing, the thing that’s most at hand, and that today is the Internet.

Even the greatest actors in the world can not do anything for a while – either because they haven’t got a pretty face for that film, or whatever. MATTHEW Beard talks about some of the challenges of filming Hideo Nakata’s Chatroom and getting into the shy, introverted character of Jim. So, I’m only really extending that to university. Matthew Beard: Jamie Bell is a definite role model for me.

That was clever because it meant when I went onto the set for the first day of filming I already knew Jim and we already knew what we were doing with the script. Something like Dear Wendy, I know exactly why he did it – because Thomas Vinterberg was the director and he has the Dogma background. We asked whether we could look at each other, or react to gestures and feelings. It also wasn’t scary to go up and talk to Jim, or to talk to Anand. It was learning about acting but also how to conduct yourself on set. MATTHEW BEARD RETURNS TO THE STAGE IN 'LONG DAY'S JOURNEY INTO NIGHT' Three years ago, the English actor Matthew Beard made his New York stage début opposite Carey Mulligan and Bill Nighy in Skylight, earning himself a Tony nomination for a performance that lasted roughly nineteen minutes each night. She’s really warm and special and you get a feeling on some sets where you can see yourself turning up there every day for the rest of your life and I would happily do tiny parts for Lone for the rest of my life [laughs]! I would have followed exactly the same route he did. I went to quite a lot, actually. So I had time to explore that and that was really valuable - I went to a lot of the art galleries and I watched a lot of documentaries about what was going on at the time because in 1906 there was huge burst in architecture, art and science so I tried to explore all of that. It helped me to consider what questions I should be asking of the director or of myself. I guess the same applied to Blake [Morrison] in that everything he thought was safe and secure suddenly was not. So, as a film fan it interests you more than any five star reviews would.

I could just relate to having a father that’s quite impatient. Everything happens really quickly when something like that happens, which I think is what Anand means. They try and tempt me. I’ve had ideas but I give up too early. It takes a lot of guts, if you’ve got a three film project called Pirates of the Caribbean sitting on the table with Johnny Depp and Keira Knightley and a film in the Hebrides for six weeks with no money and someone you don’t really know, to turn the former down. So it’s something I’ve been interested in for a long time. Hanging from the Riesenrad ferris wheel was pretty good fun. So, I am excited. Q. I read that in getting into character you spent some time in chatrooms?

Are you intending to pursue it as a career? Is it a different kind of nervousness now that the release date is approaching and people are starting to see the film? Chatroom - Matthew Beard interview. Matthew Beard: I can definitely see why people are attracted to it. We tried to play with the online/offline world and make the offline one a bit more gritty. Did you have any nerves to overcome on your first day of filming? I’d only had two lessons. Matthew Beard: I’m just in my last year and I have a couple of terms left at uni, so that’s a bit insane at the moment. What was the appeal of Chatroom for you? Q. How did you first get involved with And When Did You Last See Your Father? So, he had to command the set basically, from the first day. He’ll be doing his crosswords or looking up at the cieling and you’ll be wondering what he’s thinking about. But somehow I got it and I was really happy. I think if you have a void in some way and you want to fill it… some people do it through sport or with family and friends. People sort of disappear into personal messages and then re-appear again. But if I had some more significant help that I needed I wouldn’t turn to a chatroom. Matthew Beard (Max Liebermann) I think I would be good at solving murders… I think my friends would probably say more likely to have done the … I think he’s just done the new Bob Dylan film. Matthew Beard: Well, some things weren’t serious at all. And then Charlene was just the cherry on top, I didn’t know her but she’s a real laugh.

But it was ridiculous, we were sat there with the sun setting over the sea, a pink sky, Anand Tucker standing over you with his camera and Jim Broadbent sat next to you. Matthew Beard: Well, they’re either something that was incredibly embarrassing, like trying to chat up a girl, or something that was incredibly enjoyable, such as learning to drive a car on the beach, or really upsetting for him such as arguing with his father. How was working with Aaron Johnson? Matthew Beard: Yeah, little bits of TV and stuff. So, I was happy to shake it off once done and get on my life, and get my family and friends back. I already knew of Conleth through mutual friends, so I was really excited to be working with him because he’s such a fun person to work with, and he is, although he’s dangerous - it’s very hard to keep a straight face!

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matthew beard interview

Matthew Beard: You’re right, it’s a very different kind of nerves. It’s exactly what you should do. I was with a Yorkshire agency and film roles don’t generally come that way! Q. If you look at someone like Orlando Bloom, he’s doing more or less every blockbuster around.

Matthew Beard: I did.

Matthew Beard: Yeah. But in terms of having them there, I think it would have been strange to do our bits individually with blue screen or something. The acting bit was great but there really wasn’t much thought going into it. So, in a way you have to be quite self-conscious about your performance and how you’re acting, because that’s how someone when they’re typing thinks… they’re consciously shaping themselves in the role when they’re typing.

EMERGING British actor Matthew Beard talks about appearing in And When Did You Last See Your Father?, tackling first-day nerves and learning to drive on a beach with Jim Broadbent…, He also talks about experiencing a different kind of nervousness as the film reaches cinemas, where he’d like to see his career going and why people like Paddy Considine and Jamie Bell are role models…. So, I have two lines or something – if you go to the toilet you’ll probably miss me [laughs]. But this is the first role that I actually think I’ve brought an acting mentality to. I also hate the film poster because it’s got my head plastered right in the corner! You can see exactly why he’s done it.

And yet he’s like the greatest actor we have! We’ve been very lucky with the places that we’ve been filming. So, I went there quite a lot. Every day we go to a new location and you get out of the car and you’re like: "Wow this is so great" and you spend the first five minutes taking pictures of everything. Matthew Beard: Fingers crossed, I hope so. He also talks about visiting real-life chatrooms and wishing (sometimes) that he hadn’t, as well as his career to date and why he’s delighted to have worked with Lone Scherfig again on the forthcoming One Day…. It really was like a real driving lesson. I mean I turn to it for help every day… Googling stuff! I actually feel sorry for Orlando because he is a trained actor, and he’s a very good actor. Juergen is such a joy to work with that it was so easy pretty much from about minute one I knew I was going to love our scenes together.

Q. You’ve been acting since the age of five, though… So, you had to be quite artificial because you have the online world where it’s all done through words, and you’re expressing yourself through words, so it’s not very natural and feels slightly heightened and artificial. How much fun was that scene on the beach in the car? It’s exactly what I need right now, because it keeps me ticking over.

Q. Has this first experience of movies whet your appetite? We also had the James Bond stunt driver give us a quick lesson because I couldn’t drive. I didn’t know anyone was in it when I took the part, I just said ‘yes’, but it also has Anne Hathaway and Jim Sturgess and Rafe Spall and all these people. But he’s done it so cleverly. But Anand very cleverly had a day of rehearsals before, where we sat in one of those posh Soho club places and talked about the book and the screenplay with Jim and Colin [Firth]. And I really liked the whole concept of the film – the online and offline worlds and that seemed very filmic and visual.

Basically, I wanted to go and sit on the set and the only way I could do that was to get a job! It has an incredible cast as well. We were sat there looking at him for most of the time. The first thing I did was to sit down with the scripts but then to sit down with Freud also as it’s a crucial part of the show and what Max is interested in. So, on one level you have this kind of self-consciousness in you, but on the other level you need to kind of bring some naturalistic vulnerability to it and it’s how you try and get those together without making them seem too messed up. Amelia, I had been a fan of for a really long time, and I was very excited and looking forward to her being my mum, so I was very lucky there.

I think we pushed the limits of the artificiality.

I didn’t study medicine, I studied English Literature, but a disproportionate amount of my thesis had a Freudian tilt - or at least a psychoanalytical angle. You look at his career and think: “That’s exactly what I want.” He’s doing it perfectly and he’s really, really good.

But at the same time I’m very proud of the film. How did you get on with your on-screen family? You feel like you’ve betrayed yourself if you do and your whole life gets drawn into this world of microwave meals and Jeremy Kyle. I just did another little bit for Lone on One Day but I really loved working with her on An Education. So, he’s lucky in that way. How is finding the balance between work and study? I mean I liked the whole film but Jim was someone who struck me as really interesting to play with.

It wasn’t so much to get into character, but more to try out the lines and try out the script and see how it was going to work. Anand says that you’d been going through some hard times in your own personal life at that time and that’s what swung it for him… Matthew Beard: It’s just a tiny part but it was great just to be able to sit and watch Cillian Murphy and Sienna Miller, as well as Beeban Kidron, the director. If it goes down OK then hopefully there’ll be auditions and parts for other things.

I just kept smiling but I couldn’t help it. Matthew Beard: It was very lucky really. But I try and avoid it. But also my parents got divorced. in 2007. It was such a long time ago as well that it almost seems alien to see everyone again [on the press tour]. I think I would be good at solving murders… I think my friends would probably say more likely to have done the crime than solve the crime but yes, maybe… I don’t know. We’re a similar age. You’re thinking about the job at hand and getting the scene done. And I think we share a sense of humour - I find the things that Max finds funny, funny too. They just get unfairly branded. Matthew Beard: No [laughs]. Was Jim a particularly easy character to inhabit? And yet you look at someone like my favourite actor, Paddy Considine, and he seems to be struggling for work sometimes. Ours has got five people in it; but some have hundreds of people in them and it’s very chaotic… you have to follow the different threads of narrative by working through them.

I’ve had some of the best times of my life on film sets and people I’ve met have been the best friends I’ve ever had, so I definitely wouldn’t swap it. I went to see the Egon Schiele, I went to visit the Adolf Loos buildings and tried to get a feel of what was going on in 1906. But some people will fill it with the easiest thing, the thing that’s most at hand, and that today is the Internet.

Even the greatest actors in the world can not do anything for a while – either because they haven’t got a pretty face for that film, or whatever. MATTHEW Beard talks about some of the challenges of filming Hideo Nakata’s Chatroom and getting into the shy, introverted character of Jim. So, I’m only really extending that to university. Matthew Beard: Jamie Bell is a definite role model for me.

That was clever because it meant when I went onto the set for the first day of filming I already knew Jim and we already knew what we were doing with the script. Something like Dear Wendy, I know exactly why he did it – because Thomas Vinterberg was the director and he has the Dogma background. We asked whether we could look at each other, or react to gestures and feelings. It also wasn’t scary to go up and talk to Jim, or to talk to Anand. It was learning about acting but also how to conduct yourself on set. MATTHEW BEARD RETURNS TO THE STAGE IN 'LONG DAY'S JOURNEY INTO NIGHT' Three years ago, the English actor Matthew Beard made his New York stage début opposite Carey Mulligan and Bill Nighy in Skylight, earning himself a Tony nomination for a performance that lasted roughly nineteen minutes each night. She’s really warm and special and you get a feeling on some sets where you can see yourself turning up there every day for the rest of your life and I would happily do tiny parts for Lone for the rest of my life [laughs]! I would have followed exactly the same route he did. I went to quite a lot, actually. So I had time to explore that and that was really valuable - I went to a lot of the art galleries and I watched a lot of documentaries about what was going on at the time because in 1906 there was huge burst in architecture, art and science so I tried to explore all of that. It helped me to consider what questions I should be asking of the director or of myself. I guess the same applied to Blake [Morrison] in that everything he thought was safe and secure suddenly was not. So, as a film fan it interests you more than any five star reviews would.

I could just relate to having a father that’s quite impatient. Everything happens really quickly when something like that happens, which I think is what Anand means. They try and tempt me. I’ve had ideas but I give up too early. It takes a lot of guts, if you’ve got a three film project called Pirates of the Caribbean sitting on the table with Johnny Depp and Keira Knightley and a film in the Hebrides for six weeks with no money and someone you don’t really know, to turn the former down. So it’s something I’ve been interested in for a long time. Hanging from the Riesenrad ferris wheel was pretty good fun. So, I am excited. Q. I read that in getting into character you spent some time in chatrooms?

Are you intending to pursue it as a career? Is it a different kind of nervousness now that the release date is approaching and people are starting to see the film? Chatroom - Matthew Beard interview. Matthew Beard: I can definitely see why people are attracted to it. We tried to play with the online/offline world and make the offline one a bit more gritty. Did you have any nerves to overcome on your first day of filming? I’d only had two lessons. Matthew Beard: I’m just in my last year and I have a couple of terms left at uni, so that’s a bit insane at the moment. What was the appeal of Chatroom for you? Q. How did you first get involved with And When Did You Last See Your Father? So, he had to command the set basically, from the first day. He’ll be doing his crosswords or looking up at the cieling and you’ll be wondering what he’s thinking about. But somehow I got it and I was really happy. I think if you have a void in some way and you want to fill it… some people do it through sport or with family and friends. People sort of disappear into personal messages and then re-appear again. But if I had some more significant help that I needed I wouldn’t turn to a chatroom. Matthew Beard (Max Liebermann) I think I would be good at solving murders… I think my friends would probably say more likely to have done the … I think he’s just done the new Bob Dylan film. Matthew Beard: Well, some things weren’t serious at all. And then Charlene was just the cherry on top, I didn’t know her but she’s a real laugh.

But it was ridiculous, we were sat there with the sun setting over the sea, a pink sky, Anand Tucker standing over you with his camera and Jim Broadbent sat next to you. Matthew Beard: Well, they’re either something that was incredibly embarrassing, like trying to chat up a girl, or something that was incredibly enjoyable, such as learning to drive a car on the beach, or really upsetting for him such as arguing with his father. How was working with Aaron Johnson? Matthew Beard: Yeah, little bits of TV and stuff. So, I was happy to shake it off once done and get on my life, and get my family and friends back. I already knew of Conleth through mutual friends, so I was really excited to be working with him because he’s such a fun person to work with, and he is, although he’s dangerous - it’s very hard to keep a straight face!

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