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Micropsia Translation

Source: Micropsia.
Found By: Eriko
© Haddock Films.
Many thanks to Ollie, Rio, Sage, and Zoe for translating the extended interview with Viggo posted by Diego Lerer at Micropsia. Many thanks to Eriko for the find!

Interview With Viggo Mortensen On The Shooting Of Todos Tenemos Un Plan

The car trip is taking us further and further from the city by the hour, until we leave it far behind, like a distant point that the eyes cannot make out. Then the boat, moving slowly along the river till reaching the island - unpleasant, desolated, dried up. The freezing cold that makes everything gloomy, spectral, covering all. Wind and more wind. There, at the end, behind some demolished shacks and some half put up tents, in a small clearing among dry leaves covering almost everything, a group of men, dressed in white from head to toe, are gathered in a cluster, close together. Survivors from a plague? Astronauts? Science-fiction characters?

The location of Todos tenemos un plan has something of fiction in itself. The heavy cables intermingle with the garbage on the ground and in a big metal drum a log is burning, letting out smoke and sparks and heat. People speak little - they seem tired, dirty - and look at the visitor with a certain scorn, like looking at a strange character approaching a group of survivors. It could be a scene from The Road, in which Viggo Mortensen himself acted. Or an unreleased and wintry episode from Lost. Or a frame from Tarkovsky´s Stalker, waiting to be filmed.

The men in white are not astronauts, of course. They are Mortensen himself, Sofía Gala, the director Ana Piterbarg and part of the technical crew who have to film a complicated scene involving the handling of dangerous bees. The thing is no easy matter. In addition to the scene´s own mechanics - which involves story-telling matters not convenient to reveal - they have to deal with the whims of the insects and the rigors of the weather. Although there are two cameras covering everything, it has to be repeated again and again.

During a break in the shooting, while the elements are being readied, Mortensen, without the hood that covers his face, looks with the reporter for a comfortable place to talk and chooses a shack that takes the place of an improvised trailer, possibly one of the most depressing in the history of cinema. "With the cold, bees don´t come out, they don´t want to come out", he says, explaining an unexpected complication in the scene while he sits down on... something.

It´s already known. At this stage it is not surprising to speak with Mortensen as you would do with a neighbour and begin the chat talking about River´s drop, the riots at the exit, whether the public should have attended and whether he remembers when San Lorenzo dropped. Neither are his drinking mate and his thermos bearing the cuervo emblem that goes with him everywhere. In the midst of the bleak landscape that the area of Dique Luján is near several private neighbourhoods and country clubs but so distant as to seem another planet - his calm presence and his soft, relaxed voice, are familiar, almost calming.

In the first Argentinian film of his career - of his life - the actor from A History of Violence puts himself in the skin of twin brothers, Agustín and Pedro. The former is a man who has moved to Buenos Aires and who seems to live a quiet, though somewhat frustrating, life until he finds out about the death of his brother, who lived in Tigre, where the two of them grew up. Agustín goes there and ends up taking on the identity of his brother, unaware that Pedro was involved in a criminal world and that his life, peaceful until now, will begin to be in danger.

"These are themes that came up in the first two films I made with Cronenberg," says Viggo, referring to A History of Violence and Eastern Promises, and excluding A Dangerous Method, in which he plays Sigmund Freud and which will have its world premiere in September at the Venice Film Festival. "The question of identity, of how we present ourselves to our family, friends, whatever. Although the difference is slight, you present a different personality to each person, depending on what you feel or what you want. It's natural to change how you present yourself a little. Even children learn to do it."

In your case, it must be even more so, since there's Viggo the Argentinian, the American, the Dane, the famous actor...

And yes, each time I return here I think about things from my childhood. Now that I've been working with Argentinians every day for quite a while, suddenly I'll see something and I'll remember things, ways of doing or saying things. This is the personal side that he also has when he goes back to Tigre: being able to relive that. Although you can't go back, you´ll remember.

That one brother has to be the other is, for an actor, like doubling your work. Being someone who is being someone else.

What Agustín does, trying to take his brother's place, is an actor's job. Noticing that he's trying to be the other one, paying more attention. For example, if I have to play you, I observe you more thoroughly than usual: how you speak, how you feel, how you walk, how you put on clothes, those things. Although this brother can see how the other puts on his clothes and knows some of his gestures, he's not an actor. And even if he were a much better actor, when someone who knows the other one sees him it's hard, harder than you'd think. And that makes him nervous...

Who are you now? (Laughter)

Now I'm playing the other, Pedro, but seventy, eighty percent of the time I'm Agustín trying to be Pedro. And in general it's going well. It's not only doing it well; it's that you have doubts about many other things. When that guy looks at you, does he know you or is he just looking at you? The way they treat you at the store. That dog that waits at the pier, is he mine? I don't know. At the same time, pretending so much, making the effort to literally get into the shoes of the other, you are beginning to understand him better. And also, you are getting to know more about yourself. At one point, he ceases to be nervous and cares less; he begins to like it....

Although it was not, it seems to be a movie made for you, because you have a person who goes away from where he lives , like you left Argentina.

Yes, he went away from this area with his brother when he was eleven. His brother returned of his own accord and there wasn't a good relationship between them. He gets to know his brother better after he dies. When he was alive he didn't know him well; he didn't know much about him. It's the same with me; my relationship with Argentina settles down as I stay here longer. I'm here, working; it's normal. I'm living nearby and we filmed a bit in Buenos Aires.

You have two younger brothers (he has two, Walter and Charles). Do they remember anything about being here?

When we left they were 8 and 6 years old. I was 11. They remember images. The middle one remembers more. But the youngest didn´t speak one word of English. He understood, but he spoke only Spanish and my parents were worried. I remember in the plane when we left, we spoke Spanish together. Afterwards we started speaking English and my younger brother, after a week, loosened up and completely forgot Spanish, forgot the vocabulary. When I came back, I recovered it all...

The plot looks as if it was a fictionalization of personal things: the different identities, the brothers who took different paths, leaving one place for another at eleven and, some time later, feeling at home when you come back.

There´s something of that. Making the film brings to me that thing about remembering my childhood. Speaking of brothers, there are photographs in the film that are of me with one of my brothers. There are things getting blended. When, as an adult, you go to the city, you lose things from childhood, you forget, and that cannot be recovered. There´s an inner world that has to do with the loss of innocence, with a certain inner, physical and mental thing. Agustín likes to see things as if they were new, to enjoy himself. He has done everything he had to do, lives in a nice apartment in Recoleta with his wife, is a doctor. Everything seems perfect, but he doesn´t feel that it belongs to him. And playing the other, his brother, he feels he´s becoming more himself. At first he is a bit clumsy with the motorboat, the bees, but he is learning, he is getting used to the silence. Being here he´s starting to remember: the house, the pier, the little river; the grandparents´ house where the children grew up until they were eleven. And I left when I was eleven. It´s very similar; you begin to remember things.

In Alatriste you speak Spanish, but you are doing an accent. This is the first role where you play a one hundred per cent Argentinian.

I did a small role in Ray Loriga´s La pistola de mi hermano, somewhere around 1996. It was one scene, an exiled Argentinian who lived in the country. There I spoke a little. Here there´s a difference between the brothers: one speaks more correctly and with another tone. He is a doctor, lives in Buenos Aires, speaks well. The other is a bit more islander and speaks like me, half "blahblahblah". It´s subtle, but it´s a difference.

About the way of working, do you feel it´s very different from the one you are used to in the United States?

No, it has something similar to the way of making independent cinema there. Obviously there´s a way of being, culturally, here and in Spain, which is different. But generally work is done equally well. The way you speak to each other changes; I like this kissing everybody you see in the morning...

How do you see Ana, doing such a complex first work, one that requires so much responsibility?

Rather self-assured. She must be feeling pressure, but it doesn´t show. She is very careful and doesn´t want to waste the chance. But the challenge is great, filming in the Delta, in winter. We respect the script she wrote very much. We look for things, too, we talk, we have a very good relationship. There are always changes, different things, but everything is very faithful to what she wrote.

Since you're hooked on young Argentinian literature, are you seeing national cinema as well?

A little more now. I saw some things in Spain, less in the United States. When I come, I buy films; I see what I can. There is much more here. Thinking about this film, I saw La León and it's beautiful. To see how the people of this area are - the islanders, the Paraguayans, the landscape. It's very good. I'd also read Haroldo Conti's Sudeste [Southeast], and I re-read it. Sudeste is a meditation and it also has a thriller aspect, and there are paragraphs, phrases from that book that helped me a lot. Another excellent book that was re-published and that touches on this subject is Enrique Wernicke's La Ribera [The River Bank] on the relationship between the man and Rosa (Sofía Gala's character). There are things in the film inspired by that novel.

Tell me about working with the Argentinian actors. How has it been so far?

With Soledad (Villamil), we did very difficult scenes and it went very well. She comes to let one brother know that the other has passed away. With (Daniel) Fanego too, we had a key scene and it was very good too. He has tremendous presence. And Sofía is great, too. We rehearse a lot, more than I'm used to doing, but I like it. And the ones that come from the theater like it a lot. All of us prepared the best we could, the actors, the director, the technicians, because once the thing gets going, everything is what you did before and you have to live with that...

What does your agent say when you show up with a project like this?

She wants to kill herself (Laughs) Why Alatriste, this one, theater? But it's what I like. Suddenly I received offers for a lot of bucks but, no, I'm doing this. I'm not refusing to do big films; I'm not doing only independent things. I do the things that I like. And above all, when I say that I'm going to do something, I do it. I know that there are actors that say, "Shit, if they are going to pay me a million dollars to do something else, I'm going." But no. If I'd have said "yes" to a studio film, and this script had arrived, I would have done the same thing.

But this can't be the first Argentinian script that's been given to you.

Whenever I come to visit, I take back several. Not only could I do Ana's but it interested me a lot. Others didn't interest me or I was doing other things and couldn't. I haven't been working as much lately. I was going to do theatre in Spain, but my mom got sick and my father had some problems and I had to leave several things to be with them. It's been a while since I filmed The Road. Those were two difficult years. Until six months ago, I'd been with my parents a lot. It was lucky that I could, but it took saying no to several things. In David Cronenberg's movie, I replaced someone else. He told me, "I know that you're with your parents, but you can do it all concentrated into one week and if you have to return, you return." I haven't seen the film, but I know of people who saw it and liked it. I did that and one very short role in Walter Salles' On the Road. I filmed in New Orleans, the part of Old Bull Lee, who is based on William Burroughs. We did it in a week. I haven't seen anything from the film yet.

And how about the cast reunion from The Lord of the Rings for The Hobbit? Are you going to participate in that?

They asked me if I was interested and if I was willing when The Road was released. The character isn't in The Hobbit, but they were thinking of creating a bridge between the two films. Now they are already making it and I still don't know anything. But if Aragorn is going to return, I prefer to be the one to do it.

© Micropsia. Images © Haddock Films.

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Clarin Translation

Translation by Ollie
Source: Clarin.
Found By: Dom
Many thanks to Ollie for translating the short interview with Soledad Villamil from Clarín on July 8, and to Dom for the original find.

Soledad's Gaze

© Haddock Films.
Soledad Villamil plays Claudia, Agustín´s wife, one of the brothers portrayed by Viggo, and her character moves in the city and interiors that will be filmed in a set in Alicante, Spain. "They are a husband and wife who have been together for quite a time and at the beginning you see them with problems, with him immersed in a bad state of mind situation. A death takes place, Claudia is left as witness and is trying to understand what happened. She is the eyes of the audience, the one who wants to discover what happened."

Villamil says that Ana sent her the script and " the story interested me very much. The film has a very special development, a lot of atmosphere. I knew from the start that Viggo would be in it, since he is a main key to the project. He was in it before anybody." The obvious question is how it was to work with him. And although they filmed during three days (they will do more in Spain), "when hearing his name one imagines how that meeting will be. At work he is one of the crew, a great workmate, deeply involved in the film in every aspect and not only with his character. He is a person with enormous warmth and great honesty. We rehearsed, we read the script, we got to know each other a bit and build up a relationship as people." As for the scenes in particular, the actress from El secreto de sus ojos said to have felt "very comfortable from the start. I like him as an actor, he goes beyond the screen. He has an impressive level of communication. I was interested to know how he faces work someone who comes from filming with Cronenberg. And the truth is he is very professional, very serious on the set, and he knows very well how to control his energy."

About the future of Todos tenemos..., the actress (increasingly dedicated to her musical side and about to go on tour) says she doesn´t have any idea about what can happen, just as she never imagined that, because of Campanella´s film, "I was linked to something people had experienced very intensely, because what happened with the film was extraordinary." She adds: "It´s a thoroughly Argentinian film: script, cast, crew, even Viggo himself. I hope the road it will walk will be the best".

© Clarin. Images © Haddock Films.

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Iolanthe's Quotable Viggo

Categories: Quotable Viggo

On the A Dangerous Method thread this week I made the tongue-in-cheek comment that 'most performers worth their salt would sell their grandmother' to work with Viggo. So this week I thought it would be fun to take a look at Viggo's thoughts about the male actors that he's enjoyed working with over the years. There are actors who are heroes he'd longed to work with, like Christopher Walken and Omar Sharif, others he enjoyed learning from as he perfected his craft in early roles, and others were just plain fun to be with.

'Harrison Ford was most of all professional. Conscientious. Interesting to study. I had the greats before me: Peter Weir, above all, with his calmness and efficiency. In the evening, when I came back from my wandering, they let me watch the rushes. Witness was an idyllic experience.'

Viggo Mortensen: The Soul of a Warrior
By Juliette Michaud
Studio Magazine
December 2002

"Charles Bronson I didn't get to know extremely well but I liked him; in fact, there's a version of the scene where I go to my parents' house at the beginning of the story. It was a really interesing scene with Charles and Sandy Dennis playing really well. In fact Charles delivered some of the best acting I've ever seen. Shame it didn't make the movie, but I could understand Sean's reasons. He thought my character should be more messed up. But it was a scene that was very awkward; I was high, and was really insulting. It was horrible, but also fascinating."

Viggo Mortensen
November 2007

In 1993, you worked in Carlito's Way, by Brian de Palma, with Al Pacino, who many consider today's number one. What was that experience like?

He is a very interesting man, with a great sense of humour, very hard working and, above all, very generous and humble. You learn a lot from people like him. I don't know if he is the greatest. I liked him best during his early stage, in films like Scarface, Serpico or The Godfather.

Viggo Mortensen
A Multi-talented Hero
Dominical, by J. A. - translated for V-W by NacidaLibre
27 August 2006

'Watching Gene Hackman and Denzel Washington was pretty interesting; to be at several scenes when they're arguing in speeches and stuff. I'd say that's fun to watch those actors go at it like a sporting event and I had a front row seat. '

Viggo Mortensen on Crimson Tide
The Fire That Fuels an Artist's Heart
by Carnell
Carpe Noctem magazine #15, 1999

"I accepted, in part because I had always wanted to work with Christopher Walken," the actor says while sitting on the sofa's edge. His face lights up when saying Walken's name. It's evident that Christopher Walken is a cult actor for many young actors nowadays. "I would do any movie with him, no matter what [it was]."

On "The Prophecy'
Viggo Mortensen: A Very Devilish Devil In The Prophecy
by Ferran Viladevall
La Opinión 1995

What surprised you about your other costar, Michael Douglas?

Just before Christmas, Michael was singing Christmas songs all day long, but he'd change the lyrics and he'd make the crew sing along, too. It was just goofy. You don't think of him as being that kind of a dorky guy.

The Hot New 39-Year-Old
By Dennis Hensley
Movieline magazine
August 1998

When asked about the remake of Psycho, directed by Gus Van Sant, he softens. "I laughed every day making that movie. There is that scene in a hardware store with Bill Macy - he's just hilarious. He seems like someone who always has an absurd take on what's going on."

The Brain Dane
by Ariel Leve
The Sunday Times, 2003

'It's the best group of people I've ever worked with. The fact that the story celebrates team spirit galvanized us. It wasn't guaranteed though; we could have very quickly got frustrated with each other! But it must be said that the casting is inspired. Take Ian McKellen, who plays Gandalf. He is very prepared, he knows what he has to do. And he has a good sense of humour and truly enjoys life. I don't know if it's a sign, but Ian came to see one of my plays, long ago, when I was unknown ... The team spirit was also heightened by shooting in New Zealand. This country has an island mentality: you have to work together.'

Viggo talking about Ian Mckellen
Viggo Mortensen: The Soul of a Warrior
By Juliette Michaud
Studio Magazine
December 2002

Omar Sharif is known for his love of gambling, so did you ever go out gambling together at all?

No, but he's also known for his love of horses, so I guess every time he makes money, he either gambles it away, or buys race horses that don't usually win anything [laughs].

But one of the great things about this experience was working with him, and I think his casting was very important to the movie. It was already a good story, but him playing this part, I mean he's very right for it. The man he plays speaks several languages, he has some curiosity about the West, Omar has one foot in the east and one foot in the west, he lives in France, he's an Egyptian Muslim, and he's a perfect piece of casting.

Also, in terms of cinema history; obviously because of his connection to Lawrence of Arabia. You know, it just lifted the movie to another level, so, personally, it was a lot of fun to be able to sit close to him, not only working, but kind of pestering him with questions about David Lean, Peter O'Toole, and what it was like for an Egyptian actor to have that experience.

Hidalgo - Viggo Mortensen Q&A
By Jack Foley
Indie London
April 2004

'Working with William Hurt was particularly enjoyable. He's also really smart.'

Viggo Mortensen Talking To Janet Maslin at C.U.N.Y.
By - transcription by Chrissie and Tatiana
New York Times Arts and Leisure Weekend
6 January 2006

I just worked with Jeremy Irons on this western called Apaloosa and I hadn't met him before. So I was talking to him about the movies he did. He really loves David [Cronenberg] and really admires him.

And Jeremy Irons, still one of the greatest actors to this day...

And it's no accident. I think, when he won... what did he win an Oscar for?

Reversal of Fortune , I think...

Yeah. When he got his award, he, you know, David Cronenberg didn't direct that movie but he went up and thanked David Cronenberg because of what he did for him in Dead Ringers, and what that meant to him and that probably put him in a place to get that other job. It's unusual, [Laughing] to win a prize and thank another director.

Inerview: Viggo Mortensen
14 December 2007

Mortensen spoke with clear reverence for the opportunity to work with Duvall, as well as real joy for living and free-wheeling in the moment as a pair of actors working through a key scene.

"What was interesting about that was it was going fine as scripted and Duvall was such a great actor that it was really good. But there was time for one more before we lost the light. We looked at John [Hillcoat] and he says, 'Yeah, we can do one more.'

We were just sort of sitting talking as they were setting up the camera and getting the fire ready for another take. We talked about, 'Well let's forget everything, let's just do one for ourselves. Let's just let things happen.' There was nothing calculated. It was just like, 'Let's just open our hearts,' I guess, without saying it that way as much as we can and see where it goes.

Suddenly he said -- it was not scripted and added that other layer -- he just threw me that line: 'I had a boy once.' And I suddenly realized, 'Wow, okay.' And I just went with him, you know? And what happened to him. All of a sudden it was just magic. It was beautiful to watch him."

Viggo Mortensen on working with Robert Duvall in 'The Road'
By Kristopher Tapley
In Contention
10 September 2009

You've worked with everyone from Al Pacino and Michael Douglas to Sylvester Stallone, Denzel Washington and even Demi Moore and Sandra Bullock. Who have you most enjoyed working with over the years?

VM: That's so hard because everybody's so different. What I appreciate in athletes is no different than what I like about fellow actors; I like people who go about their business and when success comes to them, they're grateful and they don't treat it like a given or like it will just be there forever. A lot of people can get lucky and have one great season or one great role, but it's what you do with it that matters.

The Last Word: Viggo Mortensen
Canadiens Magazine
8 December 2009

As always, you will find all previous Quotables here in our Webpages.

© viggo-works.com. Images © Universal Pictures, Courtesy of HermioneO.

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Viggo Mortensen: "Filmar acá es volver a mi infancia"

Source: Clarin.
Found By: Eriko
Our thanks to Eriko for bringing us this new piece from Clarin.

En el rodaje de "Todos tenemos un plan". La opera prima de Ana Piterbarg marca el debut del actor de "Una historia violenta" en el cine argentino. Cómo es el filme, en boca de la estrella y sus compañeros.

© 1996-2011 Clarín.com .
Por Diego Lerer/dlerer@clarin.com

El viaje en auto, por horas, nos aleja cada vez más de la ciudad hasta dejarla muy atrás, un punto distante que la mirada no alcanza a resolver. Luego el bote, avanzando lento por el río hasta llegar a la isla ingrata, desolada. El frío, helado, que lo cubre todo y lo vuelve lúgubre, espectral. Viento y más viento. En el fondo, detrás de unas chozas derruidas y unas carpas a medio armar, en un pequeño espacio abierto entre hojas resecas que lo tapan casi todo, hombres vestidos de blanco de pies a cabeza están agrupados. ¿Sobrevivientes de una plaga? ¿Astronautas? La locación de Todos tenemos un plan tiene algo de ficción. Los pesados cables se entremezclan con la basura del piso y un tronco se quema en un enorme tacho largando humo, chispas y calor. La gente habla poco -parece cansada- y mira al visitante con cierto desdén, como quien observa a un sujeto extraño aproximarse a una secta. Podría ser una escena de La carretera , en la que Viggo Mortensen actuó. O un episodio inédito e invernal de Lost . O un plano no filmado de Stalker , de Tarkovsky.

Los hombres vestidos de blanco no son astronautas, claro. Son el propio Mortensen, Sofía Gala, la directora Ana Piterbarg y parte del equipo técnico que tiene que filmar una complicada escena que involucra el manejo de peligrosas abejas. El asunto no es fácil. Además de la mecánica propia de la escena -que involucra cuestiones narrativas que no conviene adelantar-, hay que lidiar con los caprichos de los insectos y las inclemencias del tiempo. Y por más que haya dos cámaras cubriéndolo todo, hay que repetir una y otra vez la cuestión.

En un alto del rodaje, mientras los elementos se preparan, un Mortensen sin la capucha que cubre su rostro busca con el cronista un lugar cómodo para conversar y elige una choza que funciona como improvisado trailer, posiblemente uno de los más deprimentes de la historia del cine. "Con el frío las abejas no salen, no quieren salir", dice, explicando una complicación inesperada de la escena mientras se acomoda sobre... algo.

A esta altura no sorprende conversar con Viggo como se lo hace con un vecino y empezar hablando del descenso de River o de los disturbios. Tampoco que tome mate y que su termo tenga el escudo de San Lorenzo. En medio de ese panorama desolador que es esta zona del Dique Luján, su presencia calma y su tono de voz bajo son familiares, apaciguadores.

En el primer filme argentino de su carrera, el actor de Una historia violenta se pone en la piel de dos gemelos, Agustín y Pedro. El primero vive en Buenos Aires y parece llevar una vida normal -aunque algo frustrante-, hasta que se entera de la muerte de su hermano, que vivía en el Tigre, donde ambos crecieron. Agustín va hacia allí y termina tomando la identidad de Pedro, sin saber que estaba envuelto en un mundo criminal y que su vida comenzará a correr peligro.

"Son temas que tienen que ver con las primeras películas que hice con Cronenberg -dice Viggo, refiriéndose a Una historia...

y Promesas del Este , y exceptuando a Un método peligroso , en la que encarna a Sigmund Freud y que tendrá su première mundial en el Festival de cine de Venecia-. La cuestión de la identidad, de cómo nos presentamos frente a nuestra familia y amigos. Aunque sea leve la diferencia, presentás un personaje diferente a cada persona, depende de lo que sientas o quieras. De niño aprendés a hacerlo".

En tu caso debe ser mucho, ya que está el Viggo argentino, el estadounidense, el danés, la celebridad...

Y sí, cada vez que vuelvo acá pienso en cosas de mi infancia. Ahora que estoy hace un rato largo trabajando con argentinos, de repente veo algo y me acuerdo de maneras de hacer o decir las cosas. Ese es el lado personal que también tiene él al volver al Tigre: revivir eso. Aunque no vas a volver, acordarte.

Que un hermano tenga que hacer del otro es, para un actor, como duplicar su trabajo...

El que hace Agustín, tratar de reemplazar a su hermano, es el trabajo del actor. Observar qué hace el otro, prestar más atención. Si, por ejemplo, yo tengo que interpretarte a vos, te observo más detenidamente de lo normal: cómo hablás, cómo te sentás, cómo caminás, esas cosas. Aunque este hermano sabe algunos de los gestos del otro, no es un actor. Y aunque fuera muy buen actor, cuando lo ve alguien que conoce al otro es difícil, más de lo que piensa. Y eso lo pone nervioso...

¿Ahora cuál de ellos sos? El que hago ahora es el otro, Pedro, pero el 70, 80% del tiempo soy Agustín tratando de ser Pedro. En general le va bien, pero duda de muchas cosas. Cuando ese tipo te mira, ¿te conoce o sólo te está mirando? El trato con el del almacén, ese perro que espera en el muelle. ¿Es mío? No sé. A la vez, al fingir tanto, haciendo el esfuerzo de ponerte literalmente en los zapatos del otro, lo vas entendiendo a él mejor. Y también te vas conociendo más a vos mismo. Y en un momento para de estar nervioso y le importa menos, le va gustando... Parece una trama hecha para vos.

Sí, él se fue de esta zona a los once años con su hermano. El otro volvió por su cuenta y no había buena relación entre ellos. El conoce mejor al hermano haciendo de él después de que muere. A mí me pasa también que mi relación con Argentina se normalizó al estar más tiempo.

Tenés dos hermanos menores (Walter y Charles). ¿Ellos recuerdan algo de su paso por acá? Cuando nos fuimos tenían 8 y 6 años. Yo tenía 11. Se acuerdan de imágenes. El del medio se acuerda más. Pero el más chico no hablaba una palabra de inglés. Entendía, pero hablaba sólo español y mis padres estaban preocupados. Me acuerdo en el avión, cuando nos fuimos, hablábamos entre nosotros en castellano. Después empezamos a hablar inglés y mi hermano menor, a la semana, se soltó y se olvidó totalmente del castellano. Yo, al volver, lo recuperé todo...

La trama parece una puesta en ficción de esas cosas personales: las distintas identidades, los hermanos que tomaron caminos diferentes, el irte de un lugar a los once años...

Filmar acá es como volver a mi infancia. Hablando de hermanos: hay fotos que se ven en la película que son mías con uno de mis hermanos. Hay una cosa que se está mezclando. Cuando te vas a la ciudad, ya adulto, perdés cosas de la infancia, te olvidás y eso no se puede recuperar. Hay un mundo interior que tiene que ver con la pérdida de la inocencia, con cierta cosa interior, física, mental. El personaje, estando acá, se va acordando: la casa, el muelle, el arroyo, la casa de los abuelos donde los chicos se criaron hasta los once. Y yo me fui a esa edad. Es muy parecido: te vas acordando las cosas.

Respecto a la forma de trabajo acá, ¿la sentís muy diferente a la que estás acostumbrado? No, tiene algo parecido a la forma de hacer cine independiente allá. Obviamente que hay una forma de ser, cultural, que es distinta. Pero en general el trabajo se hace igual de bien. Cambia la manera de hablarse, me gusta eso de darles un beso a todos a la mañana... ¿Cómo la ves a Ana, haciendo una opera prima tan compleja? Bastante tranquila. Debe sentir presión, pero no se nota. Es muy cuidadosa y no quiere desperdiciar la oportunidad. Pero es un desafío grande, filmar en el Delta, en invierno. Respetamos mucho el guión que escribió. Buscamos cosas, hablamos, tenemos una muy buena relación. Siempre hay cambios, diferencias, pero todo es muy fiel a lo que ella escribió.

Así como estás enganchado con la literatura joven argentina, ¿estás viendo cine nacional también? Un poco más ahora. Cuando vengo, veo cosas. Para esta película vi La León y es hermosa. Ver cómo es la gente de la zona, el paisaje.

¿Cómo fue hasta ahora el trabajo con los actores argentinos? Con Soledad (Villamil) hicimos escena muy difíciles, muy bien. Con (Daniel) Fanego también, hicimos una escena clave y está muy bien. Tiene una presencia bárbara. Y Sofía es genial. Ensayamos mucho, más de lo que lo suelo hacer, pero me gusta. Todos nos preparamos lo mejor posible porque después que arranca la cosa, lo que te queda es lo que hiciste antes.

¿Qué dice tu agente cuando te aparecés con proyectos como éstos? Se querrá matar (risas). Pero es que es lo que me gusta. De repente recibí ofertas por mucha guita y no, estoy haciendo esto. No me niego a hacer películas grandes. Hago lo que me gusta. Pero cuando digo que voy a hacer algo, lo hago. Hay actores que dicen "una mierda, me van a pagar un millón de dólares, me voy". Yo no. Si aceptaba una peli de estudio y me llegaba este guión, decía que no.

Pero no debe ser el primer guión argentino que te dan... Siempre que vengo me llevo varios. Y el de Ana me interesó y podía hacerlo. No estuve trabajando tanto últimamente. Mi mamá se enfermó y mi padre tuvo problemas y tuve que dejar cosas para estar con ellos. Estos fueron dos años difíciles. Hasta hace seis meses he estado mucho con mis padres. Suerte que pude, pero dije que no a varias cosas. En la película de Cronenberg reemplacé a otro. Me dijo: "Sé que estás con tus padres, pero se puede filmar todo junto y si tenés que volver, volvés". Hice eso y algo corto en En el camino , de Walter Salles. Hice de Old Bull Lee, basado en William Burroughs.

¿Cómo viene la reunión del elenco de "El Señor de los Anillos" para "El Hobbit"? ¿Vas a participar? El personaje no está en El Hobbit , pero era para trazar un puente entre las dos películas. Todavía no sé nada. Pero si va a volver Aragorn, prefiero ser yo el que lo haga.

© 1996-2011 Clarín.com .

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Iolanthe's Quotable Viggo

We know we girls love Viggo, but what about the guys? Well, they love being around him too. But, as Agustín Díaz Yanes says, when you have a friend like Viggo 'the bar is set very high'. Are they daunted? Nope. Are they the least bit jealous. Not at all. Well... OK... maybe just a little bit...

I'm a middle-aged father of two and I'm sitting in Wellington's Duxton Hotel eyeing Viggo Mortensen's bum. If a man's wife tells him often enough what a privilege it is to meet Mortensen, what physical perfection he is, what a sex god, this is what happens.

To thine own self be true
By Guy Somerset
NZ Listener
6-12 June 2009

Viggo Mortensen is a smolderer. He opens those intense, I-know-how-to-build-my-own-kitchen eyes, and he wins my girlfriend over every time. Obviously, I want to hate him because anyone that ruggedly handsome has to be despised on principal alone, but like Paul Newman and his absurdly delicious salad dressing, there comes a day when you just have to admit a dude's alright.

20 Actors Who Deserve Your Support
By Josh
Cinema Blend
22 August 2010

'Viggo's already cornered the market on animal magnetism.'

Liev Schreiber, A Walk on the Moon
The Knoxville News Sentinel
6 April 1999

"Now, Viggo, you speak seven languages, you write poetry in three languages, Danish, Spanish and English, you ride horses superbly and you're a great swordsman and all our womenfolk are in love with you... do you understand how annoying you are?"

Radio interview with Richard Glover
ABC Sydney
24 March 2009

"He is so brilliant he makes me sick."

Elijah Wood
Talkin' To Me?
By Gunnar Rehlin
Scanorama magazine, 2004

"Viggo's a leader, just by sheer dint of his personality. He's an example to us all. He's a massive work-horse, like a massive multiplex. You can go through one door and he's a photographer, then you go through the next door and he's a singer. Then you go and look at his poetry and his art and there's his films! I'm not jealous at all [laughs]. And he's just a great guy and my friend."

Bernard Hill
Viggo Mortensen
by Desmond Sampson
Pavement #62, 2003

Mortensen's facility with the sword became immediately apparent. "The people who were teaching him said that he was insanely talented," says Miranda Otto, who plays the Lady Eowyn, who falls for Aragorn. "There's one scene [at the end of] the first film where a knife is thrown at Aragorn, who clocks it with his sword. One of the stunt guys who was meant to be his double said, 'I've been practicing that and I've never been able to [hit the knife] once, and Viggo hits it on the first take. I hate him.'"

Miranda Otto
The Hero Returns
By Tom Roston
Premiere 2003

"He is also a substantially better fisherman than I am. He can catch more fish, and I hate him for that!"

John Rhys-Davies
Could Viggo Mortensen Be The Perfect Man?
by Nathan Cooper & Mike Glynn
Star, 2003

The Empire Icon award this year went to the disgustingly multitalented Viggo Mortensen, who speaks more languages than God, paints, writes poetry and still finds time to do a bit of acting.

Jameson Empire Award Winners Announced!
Helen O'Hara
Empire Online
30 March 2009

'He writes poetry, he makes photos...it's extraordinary...he is handsome, he acts well...then we say ourselves it's not possible, people like this do not exist. I did not manage to find it out but there has to be a defect somewhere. One cannot be that perfect ! (laughs)"

Omar Sharif
"Hidalgo" : en téte à téte avec Omar Sharif...
by Peggy Zejgman
allocine.com, 24 March 2004
Trans. by Casablanca

Viggo Mortensen isn't just a celebrity, as you're probably aware. He isn't even just a fine actor. He's also a painter, a poet and a photographer, and he makes records, too, often in collaboration with Buckethead, the masked wizard guitarist. In addition, he's also conversant in half a dozen languages -- yet another body blow to an interviewer's self-esteem. But I soldiered on.

Viggo Mortensen On 'The Road,'
By Kurt Loder
25 November 2009

"Viggo is one of the most seriously committed actors I have ever met. He's got so much passion that it is almost extreme. It can be a little daunting at times."

Sean Astin
Talkin' To Me?
By Gunnar Rehlin
Scanorama magazine, 2004

"Viggo is terrifying. He sends you a handwritten letter, all decorated and painted, and when he arrives at your house for dinner he's an intolerable guy: he cleans the fish and picks up the dishes. My wife is fascinated, and she compares the two of us. Damn, what's a guy supposed to do? The bar is set very high."

Agustín Díaz Yanes
The Lord of Simplicity
By Ernesto Garratt Vines - translated by Margarita
Wikén - El Mercurio
30 March 2007

As always, you will find all previous Quotables here in our Webpages.

© Viggo-Works.com/Iolanthe. Images © New Line Productions Inc.

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Last edited: 13 August 2017 07:39:39