VIGGO: This week on "Sunday Morning" (Dec. 11)

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VIGGO: This week on "Sunday Morning" (Dec. 11)


Source: CBS News.
Found By: pegvt


Thanks to pegvt for the heads up.


Quote:

MOVIES: Viggo Mortensen

Actor Viggo Mortensen ("Captain Fantastic") with correspondent Tracy Smith
Actor Viggo Mortensen ("Captain Fantastic") with c....
© CBS News.
He's a respected movie star as comfortable playing a blockbuster king as he is an arthouse villain, and his latest film, "Captain Fantastic," has brought him even more accolades. But Viggo Mortensen's relationship with the movie camera has been conflicted, he tells Tracy Smith.

© CBS News. Images © CBS News.

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Yet Another Nomination for Viggo in Captain Fantastic


Source: San Diego Film Critics Society.
Found By: Chrissie


Thanks to Chrissie for the heads up.


Quote:

2016 San Diego Film Critics Society’s Award Nominations

Best Actor, Male

Adam Driver, PATERSON
Casey Affleck, MANCHESTER BY THE SEA
Chris Pine, HELL OR HIGH WATER
Jake Gyllenhaal, NOCTURNAL ANIMALS
Joel Edgerton, LOVING
Ryan Gosling, LA LA LAND
Viggo Mortensen, CAPTAIN FANTASTIC

© San Diego Film Critics Society.

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Viggo Mortensen ci racconta il suo padre fuori dal mondo in "Captain Fantastic”


Source: Rolling Stone, LLC.
Found By: Chrissie
Categories: Captain Fantastic
Thanks to Chrissie for bringing us this piece from the Italian Rolling Stone.
Quote:
Rolling Stone (Italy) - December 2016
Rolling Stone (Italy) - December 2016
Image Fabrizio Cestari.
© Rolling Stone, LLC.
by Veronica Raimo

Dopo aver visto in Captain Fantastic tutta la gagliarda prestanza fisica di Viggo Mortensen – scene di allenamenti nel bosco, arrampicata sotto la pioggia, e anche un omaggio di nudo integrale (non ai livelli della scena nella sauna de La promessa dell'assassino) – incontrarlo dal vivo, alle 10 di mattina, nello scenario leccatissimo dell'Hotel de Russie romano, con maglioncino blu e giacca in mano per lo shooting fotografico, ha un po' l'effetto di una doccia fredda Captain Fantastic è una storia alla Walden, soltanto che, al posto di un lupo solitario, c'è un'intera famiglia – un padre e sei figli – alle prese con la vita nei boschi e un'educazione anticonformista che mette assieme Chomsky, Bach e un training alla Rambo. L'idillio, però, finisce quando la famigliola è costretta ad abbandonare il buen retiro e a confrontarsi con la società, nel tentativo di scongiurare un funerale religioso per la mamma appena morta.
Dopo lo shooting, che fa slittare l'intervista di quasi un'ora, Viggo mi raggiunge a un tavolino all'aperto. Ci rolliamo tutti e due una sigaretta, e lui si scusa tantissimo per il ritardo. È di una gentilezza così disarmante che comincio a sentirmi io in colpa, tanto mi conforta essere cazziata appena un attimo dopo: «Senti, mi potresti ridare l'accendino?».

In Captain Fantastic c'è questa famiglia che decide di vivere nei boschi, fuori dalla società. Pensi che questa nuova forma di escapismo "green" sia anche una pericolosa forma di resa?
No, per niente. Mi sembra molto più pericoloso il livello di devastazione a cui è arrivata la società, l'inquinamento, l'annientamento di un'idea di futuro. Ma in realtà il film non parla neanche di questo, non è un film sulla vita nei boschi, ma sul modo di comunicare con gli altri, di crescere i figli, di impartire certi valori: la curiosità, l'apertura mentale, la sincerità. Ben parla schiettamente con i suoi figli anche di morte, di sesso, di malattia. Per me ascoltare gli altri è fondamentale, soprattutto quelli di cui – o per istinto, o per idee politiche – non ti fideresti. Ma se smetti di ascoltarli…

Beh, se smetti di ascoltarli, ti ritiri in una foresta…
No, perché è vero che vivono nel bosco, ma parlano sette lingue, disquisiscono di Storia, di Critica, di Filosofia. Ben si rende conto di avere isolato i figli dalla società e questa consapevolezza è uno dei motori del film, che diventa un road movie, e come in tutti i road movie il percorso è anche interiore. Lo spettatore probabilmente se ne rende conto prima di Ben, ed è quello che amo di Captain Fantastic, che la prospettiva cambia di continuo, crea una distanza e un riavvicinamento ai personaggi, ma nel momento in cui anche Ben se ne rende conto farà delle scelte. Ma il fatto di riconoscere i propri errori, o i propri limiti, non significa che l'intero modello di vita sia da buttar via.

Credi che le scelte di una società partano dai comportamenti individuali? Che la democrazia vada rifondata dal basso?
La democrazia si fonda sempre dal basso. Quella fondata dall'alto non è una democrazia di azioni, ma solo di parole.

Ti sei sempre esposto politicamente. Quando uscirà questa intervista ci saranno già state le elezioni negli Usa, tu come hai vissuto la campagna elettorale?
I media in America sono abituati a trattare i movimenti come fossero fenomeni modaioli. Il fatto però è che le persone sono reali, e continuano a scendere in strada, fare politica, anche se le telecamere o i giornali smettono di parlarne. Così, tutte le persone che si sono radunate attorno a Bernie Sanders, prima che desse il suo appoggio a Hillary Clinton, continueranno a esistere. E si è trattato di un movimento davvero unico in America, molto eterogeneo. C'è un documentario che si chiama The Revolution Televised per cui mi hanno chiesto di fare la voce narrante. Fa vedere immagini che non sono state trasmesse da nessuno, che la gente avrebbe dovuto vedere, perché avrebbero avuto un impatto sulle elezioni. Non si tratta di propaganda: mostra semplicemente quello che è successo davvero, un momento fondamentale nella storia democratica del Paese.

Pensi che quelli della tua generazione abbiano abdicato alle proprie battaglie politiche?
Invecchiando ci si disinteressa della politica. Ma allora poi non ha senso chiedersi: "Ma come siamo arrivati a questo punto?". Una delle ragioni per cui amo fare l'attore è che devi prendere in considerazione e adottare un certo punto di vista, che può essere radicalmente diverso dal tuo. Devi crederci ciecamente, e solo quando il tuo lavoro è finito puoi prendere una distanza critica dal tuo personaggio; ma finché sei dentro al processo, sospendi il giudizio. Per me questo è un modo per sviluppare un'apertura mentale, per restare flessibili. Sento in continuazione gente che dice: "Ma guarda quello, che patetico!" o "Le abbiamo già viste queste cose, non siamo più negli anni '70". Ecco, per me questa è solo rigidità mentale. La mente va allenata, esattamente come il corpo.

Le figure femminili in Captain Fantastic sono estremamente influenzate dal carattere forte di quelle maschili. Non pensi ci sia un certo squilibrio di ruoli?
Assolutamente no. Ieri una giornalista mi ha detto la stessa cosa, ma non sono d'accordo. C'è la figura di mia sorella che è una donna forte, autorevole, e poi c'è quella di mia moglie che è il motore di tutto il film: è per lei che la famiglia decide di intraprendere il viaggio.

Sì, ma tua moglie nel film è morta, ed era bipolare, che più o meno è il modo in cui si rappresenta una donna quando vogliamo dire che è stramba, ma affascinante…
Sarei potuto essere io bipolare. E poi ci sono le mie figlie: è insolito vedere in un film delle adolescenti che non stanno tutto il tempo lì a dire: "Oddio, mi ama! No, non mi ama!".

Eppure sono solo i figli maschi a ribellarsi apertamente nei confronti del padre…
No, senti, su questa cosa non transigo, forse dovresti rivederti il film!

Alla faccia dell'apertura mentale!
(Ride) Sì, okay, hai ragione. Ma non mi hai convinto.

Bene, neanche tu.
Vedi, abbiamo appena avuto uno scambio dialettico in cui ognuno cerca di difendere le sue ragioni, ed è esattamente questo che insegna Ben ai suoi figli. Non solo a ragionare in maniera autonoma, ma anche a saper difendere la propria posizione.

Ottimo, quindi possiamo cambiare argomento. Visto che tra le altre cose sei anche un musicista, c'è una scoperta musicale a cui sei particolarmente legato?
Le Skating Polly. Sono una band punk-rock di Oklahoma City, due sorelle che hanno cominciato a suonare da giovanissime, avevano qualcosa tipo 10 e 15 anni, e oggi hanno già pubblicato diversi album. Sono fantastiche.

E tu hai qualche nuovo disco in arrivo?
Sì, un lavoro al piano, strumentale, si chiama Preguntas desde la orilla, cioè "Domande dalla riva" (traduce lui in italiano, ndr).

Progetti di film?
Ho scritto due sceneggiature, una era in fase di pre-produzione e poi sono finiti i soldi, ma è normale nell'industria cinematografica, ci possono volere anni per realizzare un progetto.

Che tipo di film sono?
Uno è un film storico, ambientato nel XIX secolo in Nordamerica, l'altro è contemporaneo, la storia di una famiglia.

Reciterai anche tu?
In quello ambientato nel XIX secolo sicuramente no, non voglio attori famosi, in realtà vorrei pochi attori veri, sarà una sfida, ma preferisco non parlarne troppo.

Vivi a Madrid ormai da diverso tempo, vedi una differenza nel modo di fare film in Europa rispetto agli Usa?
No, in realtà no. Quello che è davvero cambiato è il modo di consumare i film. I giovani non vanno al cinema a meno che non si crei un evento intorno al film, non c'è più bisogno che sia un "grande film", ma un "film grosso". Per questo è difficile per pellicole indipendenti come Captain Fantastic – storie in grado di suscitare un certo numero di quesiti – riuscire ad arrivare nelle sale. Ma sono contento che il film abbia avuto una buona distribuzione, e quando mi è capito di assistere alle proiezioni, la gente era veramente interessata a una discussione post-film, e non solo a farsi i selfie.

Non credi che le piattaforme alternative possano aiutare proprio i film indipendenti?
Certo, se un film non va in sala, la distribuzione si riversa su quelle piattaforme ed è un bene che esistano. Forse sarò io old style, però continuo a pensare che vedere un film al cinema sia un'esperienza più reale e completa. Credo che il fatto di scegliere volontariamente di uscire di casa, e spendere un tot di soldi – per quanto pochi – per andarsi a sedere al buio in mezzo a degli sconosciuti, sia diverso dal consumare un film a casa o sullo schermo di un telefono. Non è una questione di qualità visiva, ma una forma di rituale, ed è molto probabile che anche a distanza di tempo ti resterà impresso come ricordo, perché almeno in quel momento eri totalmente immerso nell'esperienza, che fosse di piacere o di disagio.

Vale lo stesso per un concerto?
Sì, esatto. Per esempio, le Skating Polly sono straordinarie su disco, ma vederle in concerto, con tutti gli errori, il coraggio, l'ispirazione, è un'altra cosa, e a me continua a interessare quell'esperienza.

Hai fiducia sul futuro del cinema indipendente?
Sì. Sai cosa diceva il grande artista francese Edgar Degas? "Non esiste niente di nuovo nell'arte, a parte il talento". E sono sicuro che ci saranno sempre persone piene di talento che riusciranno a trovare il modo di raccontare le loro storie".

Per la cronaca, quando poi ho googlato la frase, ho scoperto che non era di Degas, ma di Anton Cechov. Così, casomai vi venisse la voglia di citarla.

© Rolling Stone, LLC. Images © Fabrizio Cestari.

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OSCARS 2017: We at Viggo-Works Certainly Think So!


Source: Variety
Quote:

After a Tough 2016, Is Oscar Ready for an Upbeat Winner?

Sundance Film Festival - Portrait studios - 24 January 2016
Sundance Film Festival - Portrait studios - 24 Jan....
© Henny Garfunkel.
It's been a tough year. And that could be a big boost for some heartfelt movies in the Oscar race.

Awards contenders like "Captain Fantastic," "Fences," "Hidden Figures," "La La Land," "Lion," and "Sully" are movies with heart and brains. That's admirable in any year, but their positive messages may have special resonance this year.

In 2016, people around the world suffered through the most brutal presidential election ever, not to mention Brexit, Syria, the Orlando shootings, Zika virus, terrorist attacks, nasty battles involving public figures (Roger Ailes, Sumner Redstone, et al.), arguments about immigrants and climate change, and even exploding Samsung phones.

There are pervasive moods of anger, fear and suspicion. "Fantastic" is one of the antidotes to those feelings, says star Viggo Mortensen. "It's about the problem of communications, and the idea of listening to others — especially those we disagree with. It's about listening to people that you don't know about — and therefore dislike. There's a lesson in that. If ever there was a time that people needed to listen to one another and engage in real conversation, it's now."

"Lion," "Fences" and "Hidden Figures" give audiences a good cry, which may be exactly what they need. In truth, it's pretty easy to get an audience weeping: All you need is a sick child and a puppy, and then the puppy gets hit by a car. But these films earn their tears.

"La La Land" is not pure escapism, but heightened realism; it's so stylish and clever that audiences leave the theater swooning with happiness. And the lead character in "Sully" is like the film itself: Heroic, in a quiet way, sticking to old-fashioned values. And "Arrival" is about world-threatening tension, which can only be resolved by communicating clearly.

Oscars are like time capsules; they capturing the moods and tastes of any given year. In the recent past, "The Departed" and "No Country for Old Men" reflected their troubled times. However, it's questionable whether those movies would win best pic in 2016: Audiences (and voters) may have had enough tension.

By comparison, 1968 was another extremely traumatic year, with the assassinations of the Rev. Martin Luther King Jr. and Robert Kennedy, the war in Vietnam, racial unrest, police violence, and rising anger around the world. And the Oscar for best picture: the musical "Oliver!" That Dickens adaptation didn't depict anything close to the harshness of 1968; it had dark and upsetting moments, but it ultimately provided a heartwarming contrast to the news of the world.

A lot can happen in a few months. The best picture race has a wide range. So things can change. But if the Oscar voting were held today, it seems that dark movies are at a disadvantage.

The term "uplifting" has become a left-handed compliment in describing movies; It usually means that a film is well-intentioned but sappy. However, these films are uplifting in the best sense of the word; as an audience member, you walk away feeling that there IS hope in the world, and that it's a good thing to be a human being.

As Mortensen says of his film, "You cry and you laugh. And it opens your mind and heart." As 2016 winds down, these are invaluable.

© Variety. Images © Henry Garfunkel.

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Viggo Mortensen on Captain Fantastic, Being Typecast, and the Long-term Benefit of Being in Lord of the Rings


Source: Vulture
Quote:
07vm.png
© Vulture.
By Stacey Wilson Hunt

Though it's been almost a year since Captain Fantastic premiered at the 2016 Sundance Film Festival, Matt Ross's film — about an anti-establishment father raising his six kids off the grid in the woods of the Pacific Northwest — has seen an impressive uptick in awards buzz for its star Viggo Mortensen, who recently earned both Critics Choice and Indie Spirit nominations for his portrayal of a man torn between his kids' needs and his own rejection of mainstream culture. In November, Mortensen met with Vulture in front of a live audience at SAG-AFTRA in Los Angeles as part of its Foundation's "Conversations" series, to discuss the film, his breakout role in Peter Weir's Witness, and how the "long-lasting" fame afforded by the Lord of the Rings trilogy has allowed him the freedom to pursue smaller passion projects.

How, if at all, is Captain Fantastic emblematic of the type of film you're most interested in making at this stage in your career?


I've been around long enough to know to know that this was one of the best things I'd read in a long time. But I have to say, when I met Matt Ross, I said, "This is a great script, a near perfect blueprint for a story, but I don't know how you can make a movie as good as the script unless you find six genius kids." He said, "Well, we will try!" I was nervous. Fortunately, he included me in the process of the final auditions for each of the kids' roles and they were all so talented. Then I got a little more nervous. Now I'm going to have to be up to their level. But it's good to have that fear. It's also rare that a movie turns out as well as the script. But, to answer the question, this role combined many things I look for: There's an emotional journey and transitions, some of them subtle, some of them less so. In this case, the character has to change or he is not going to be the father or person he wants to be.

What are the distinct differences you see in being directed by someone who is also an actor? Are there things Matt did as a director that made your job easier?

You don't have to be a great actor to be a good director of actors. But I haven't seen anybody do a better job of than Matt did of going the extra mile every day to make sure everybody was comfortable, and not just the kids. This was only his second full-length film. It was very ambitious. We're talking about an indie movie where we are changing locations almost every day, you have a lot of child actors who have limited working hours legally, and you are shooting outdoors a lot of the time. That would be challenging for any director, even a seasoned one. But he was great at creating the illusion. That's how good an actor he is: Inside, he was probably ready to curl up and die. [Laughs.]

Much of the film takes place in the wilderness of the Pacific Northwest, which I'm sure posed many challenges. Was there a scene or sequence that was particularly difficult to shoot logistically?

On a superficial level, the rock-climbing sequence was not something I was looking forward to.

Were all of you, including the kids, actually up there on those rocks?

Yeah, they were there swinging around like monkeys, totally fearless. I look at rock climbing as something I admire. It's aesthetically beautiful, but I was not looking forward to it. I stayed up there basically. They all climbed down to have lunch, and I said, "I'm good!" [Laughs.] They said, "We can send you a sandwich up on a rope!" I'm just really glad the weather held and there wasn't anything we had to reshoot.

You're now three decades into your acting career. What or who first inspired you to pursue the craft ?


It was probably subconsciously my mother, from a very early age. She used to take me to the movies, grown-up movies like when I was very little— 3, 4, and 5 years old — like Lawrence of Arabia and Dr. Zhivago. She was so into it and then in the intermission we would talk — this was back when those long movies had intermissions. Now that I look back at it, she was always talking about the people and the relationships of the characters.

But it didn't occur to me to try acting it until I was, for an actor, relatively pretty old — 22 or 23. I was working selling tickets and popcorn in a revival movie theater and I was seeing movies from the '30s to the '80s and studying seeing certain performances. I always wondered, What was their trick? I wanted to try it.

The first teacher I had was a man named Warren Robertson in New York City. He had sort of a scene study and exercise class and so forth. I didn't really know anything; I hadn't had any kind of acting training so I didn't even know what I was doing. I actually looked in the yellow pages and thought I would try out for a play. I found this thing that said Actors Repertory Theater — yeah, they must do lots of plays with actors! So I called them and I said "I want to try out. What's the story, should I prepare?" They said, "Just come in Monday at 8 o'clock and bring two pieces." I go, "Two pieces of what?" It's a miracle they even let me come in. I cobbled together dialogue of a character from a Karen Blixen story by Isak Dinesen, the Danish writer Meryl Streep played in Out of Africa. And also, for some reason I prepared the lyrics to an Irish song. They said, "We will get back to you." Then, a couple of days later they called and said, "Okay, you are accepted." So that's how that started.

Witness was the first film I saw you in. How did you get that role? Did you audition directly for Peter Weir?

I didn't meet with him at first. I think I'd previously met the casting director for something else. The part as actually written to be just a day's work: It was the funeral scene at the beginning of the movie where there are some Amish men and boys walking through a cornfield, down from where Kelly McGillis's character' family lives. It was a funeral for her husband. I think I had one word in German and that was it. It's funny, the same day I was offered the Witness job in Pennsylvania — I was living in New York at the time — I was also offered a part in a production of Shakespeare in the Park for that summer. That was the thing to do obviously, but my rep said, "Not so fast. It's not often that you have someone like Peter Weir coming through and casting and you can do a play anytime. Trust me, just go down and do this thing."

So I took the train down to Lancaster, did the day's work and at lunch Peter Weir came over to the table where I was sitting with some of the other actors and asked, "Can I talk to you for a minute?" I felt like maybe I said the thing in German wrong! He looked very serious. He says, "What are you doing the next six weeks?" I said, "I don't know, nothing?" He said, "I was looking at [co-star] Alexander Godunov and I think I will make you be his brother if you are willing to hang around. Wherever he is, especially when he's interacting with Kelly McGillis and Harrison Ford, you are sort of the audience's eyes watching and seeing. I can't tell you what you will be doing, but we will figure it out as we go along." I worked once or twice a week at most, mostly just background. That movie gave me the absolute wrong idea of what filmmaking is like because the director was polite and there was no yelling. [Laughs.] Work always finished on time or a little before. It was like, "Wow, what a great business!" Then it took me another 20 years to have another experience like that.

Did that movie help get you noticed in Hollywood?


The movie came out in 1985, but it took me a long time to get going after that. I eventually moved out to California and in 1989 or so, and I got a role in Young Guns II. I was getting jobs here and there. I worked a little in TV, small parts in movies. I did a lead in a horror movie set in a prison in Wyoming. Somebody had seen me in a play here in Los Angeles in 1987, then Sean Penn cast me in his 1991 film The Indian Runner and that helped to some degree, but not immediately. Then [Captain Fantastic casting director] Jeannie McCarthy was involved in Crimson Tide, the Tony Scott movie with Denzel Washington and cast me in that. It was all bit by bit.

Was there a trend in the types roles you were being offered? Romantic roles? Bad-guy parts?

I actually couldn't get auditions for those. Bad guys were the ones I wanted; they seem more fun and more of a challenge. But because of the way I looked, and what they had seen me do in Witness, it wasn't going to happen. Every part I was offered was sort of "a nice young man." But you still learn a lot. Making Crimson Tide, for example, watching Denzel Washington and Gene Hackman spar was great, seeing how Tony Scott worked with the actors too. All those experiences added up and helped give me a shorthand about how to be useful to a story and a director. I've always stuck to a similar approach with each job.

Did you have any sense of how giant The Lord of the Rings would be when you were filming the trilogy?

It was kind of a messy process to some degree. It was very ambitious — never been done quite like anything like that before. It was over a year straight shooting the bones of all three stories, and then we kept going back. In the six months before each movie came out, we would go to New Zealand to reshoot new stuff. In terms of the ratio of footage shot to footage onscreen, we probably broke a record. [Laughs.] But it was a great experience. It felt like the spirit of Tolkien was really captured. I remember they showed 20 minutes of footage at the 2001 Cannes Film Festival showing various fighting scenes, Rivendell and the caves of Moria and dwarves and elves running around and all of us in the mountains. I remember some of the producers were nervous about how the movie would play in Asia. They said, "They don't have a history of reading Tolkien there, it's not in their bookstores." I said, "I wouldn't worry about it. The value of this story is that it's universal. Just take the elves for example — they're a very Samarian culture." But I think anyone who'd tell you they knew it was going to be a cultural milestone and box-office success is doing some rewriting of history. I don't think anybody knew.

Did you find those films dramatically shifted fame and notoriety for you?


Certainly like everybody else, all of the sudden I got a huge amount of attention.

Attention from nerds too, which is the strongest kind of attention.

Yeah, and the longest lasting. [Laughs.] It does take some getting used to. But it was wonderful experience working for Peter Jackson and with all those people, that huge family, which is what we became. And it did give me more options. Without The Lord of the Rings, I wouldn't have been able to do the first movie with David Cronenberg [A History of Violence]. You have to do something with your good luck, make good choices and continue to be ready if something happens. With Captain Fantastic, they said, "If Viggo plays the father, yeah, we will finance that." And that's probably a residual effect from LOTR and that's great. I can only be grateful. Acting is the most fulfilling, greatest, inspiring job there is. When it doesn't work, it's the worst, most embarrassing, humiliating, it's just terrible and you just want to die. [Laughs.] But when everything is clicking and you're connecting with everyone, it's wonderful.

© Vulture. Images © Vulture.


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Last edited: 10 December 2016 07:48:32