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Your June Reminders


Categories: Calendar: Viggo

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© viggo-works.com. Images © Getty.

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Iolanthe's Quotable Viggo


Found By: Iolanthe

When Kyle Lee of Box Office Prophets called Juaja 'one of the great westerns ever made, and possibly the most unusual' I realised I'd never thought of the film as a western, but all the elements of some of cinema's most iconic westerns are there – the wide open spaces in which people are almost lost, the taking of land from native peoples, the lurking threat of hidden violence, the search for someone missing in a hostile environment, the trying to hold on to the familiar when transplanted into another world. But Jauja is also so much more – a Quixotic journey through an environment where dreams and reality flow into each other and become something strange and wonderful. I think it's time to put the Bluray back in the player and see this magical and mysterious film again...





I've now seen Lisandro Alonso's captivating, unearthly Jauja four times, and I don't think I'm any closer to telling you what it's all about; the more I see it, the more puzzled I am. Alonso likes to traffic in the oblique — in the blank, mysterious spaces between the ostensible realities onscreen. That sounds like a lot of hooey, but watching Jauja, which is certainly one of the best films of the year, I never once doubted that I was in the hands of a master filmmaker.

Bilge Ebiri
Vulture
21 March 2015




The faint echo of The Searchers' plot should already make it clear that this is a deconstructed western (the relationship between man and his surroundings is where Alonso and Ford's westerns overlap). But it's one that, slightly reminiscent of Miguel Gomes' Tabu a couple of years before it, seems in dialogue with silent cinema, with its Academy (4:3 aspect ratio) format and rounded corners, as well as Viggo Mortensen's brilliant but largely wordless performance...

CineScope Blog
21 December 2014




Mustachioed, astride his horse in a cavalry uniform, sword in sheath and a splendid hat on his head, he is reminiscent of John Wayne in the early John Ford films.

Franck Nouchi - translated by Ollie and Zoe
Le Monde
19 May 2014




[Dinesen's] off the map even before he's robbed of his horse and most of his possessions; from the start he's destined to be lost in and swallowed up by nature, red in tooth and claw and utterly disinterested in the plight of insignificant humans... Like all of us, he's a rationalist who expects the world to work a certain way, and is helpless when it does not...

Matt Prigge
Metro (US)
20 March 2015




'Sometimes it was quite awkward and tiring to tramp around in that heavy greatcoat, wearing those slippery-soled riding boots, tripping over that saber. But I found that all of that helped me construct a sort of Danish Don Quixote, a man who has no idea how clumsy he seems in those landscapes, once he is off his horse.'

Mortensen plays a Danish engineer in Patagonia
by Pam Grady
San Francisco Chronicle
14 May 2015




'Dinesen is a surveyor and scientist, very northern European, very rational, everything has to have a logical explanation… And in that way my character is very determined – like if you are going to do a job, you might as well do it correctly, and in a timely fashion. And if someone says, 'Well, we're having tea at 4.30pm on Tuesday', you say, 'Well, I'll be there'. But it's Argentina, so whoever you were going to meet might turn up on Wednesday, or maybe he doesn't.'

Viggo Mortensen
Jauja: Interview with Viggo Mortensen
by Pamela Jahn
Electric Sheep
16 October 2014




"I find him an admirable character in a way," says the 56-year-old actor. "He's so obtuse, even when he doesn't know where he's going or why he's going or who he is, he still keeps moving forward. It's his stubbornness which I find both pathetic and endearing and, as I say, admirable."

Interview: Viggo Mortensen
Tobias Grey
The Financial Times
27 March 2015




As [Dinesen] progresses through this limbo-like landscape we watch him gradually transforming, Mortenson's weathered features becoming akin to the rocks surrounding him. As he emerges from within dark cracks, kneels to sip dripping streams or dozes underneath the stars, he melts into the environment, the boundaries of Dineson's self slowly eroding into the Patagonian dirt.

David James
wegotthiscovered.com
6 April 2015




The film is framed in a 4:3 aspect ratio and, most strikingly, sports rounded corners on its images. That relatively constricted vision (somehow the rounded corners highlight how quickly the world slips out of view as the camera pans) is offset by the incredible depth that Alonso and masterful cinematographer Timo Salminen produce in their shots. In the open desert, fading gradually from sharp clarity in the foreground to the soft blur of the horizon, the images seem to connote infinity...

Tomas Hachard
NPR
19 March 2015




...the landscapes remind us that 'Scope is not indispensable for evoking vastness: the tight parameters of these frames encourage us to imagine an infinity outside their edges. Rich colors suggest both dream and the artifice of Hollywood Westerns: deep blue clouds on a sky fading to yellow at its base resemble a painted backdrop; pools of golden firelight in a night shot are manifestly lit, as if on a studio set.

Jonathan Romney
Film Comment
19 March 2015




Sweating in layers of bulky long johns, and sporting a droopy, weeping mustache, Mortensen carries the film, his human grumbling and surprised, rageful violence conveying the sense of a nervous, basically average man caught on a journey into his own heart of darkness. Increasingly, as the other characters drop away, Mortensen has nothing to play against but nature and himself.

Mark Asch
Brooklyn Magazine
7 October 2014




'Dinesen is a man who seems to cope well with loneliness, but finally he becomes lost in it. He goes out in the desert trying to find his daughter, but in the end we realize that he is also tracking down his wife, his mother, all women and men in the world, his own childhood, his country and his death'

Viggo Mortensen
An Anarchist in the Closet
By Viggo Mortensen - translated by Chrissie and Ollie
Pagina 12
27 October 201
3



We're as lost as Mortensen's protagonist, and we feel the weight of it acutely. The semi-flat steppes all look the same in every direction, and the minutes tick by, until eventually night falls and we lose our bearings completely.

Michael Atkinson
In These Times
18 March 2015




"There's a lot of entering and coming out of dreams, a lot of transitions in the movie… By the end of the story, you don't know if we're being dreamed, or if the characters are all dreamed, or if it's a dog's dream or the girl's dream. In a way, it doesn't matter. It's what it stimulates."

Interview with Actor Viggo Mortensen
Nick Chen
London Calling
7 April 2015




What kind of western ever gets us to ask these kinds of questions? One of the greatest, that's what kind. A true Hidden Gem.

Hidden Gems: Jauja
Kyle Lee
Box Office Prophets
31 May 2018



You will find all previous Quotables
here.


© Viggo-Works/Iolanthe. Images © 4L Productions.

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Thank You for 14 GREAT Years!


Categories: Viggo-Works
Today marks the 14th year of the Viggo-Works forums and website. We'd like to publicly thank all our members, especially those who have been with us since the beginning. All of you are the best fans Viggo could have!






© viggo-works.com.

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There's One Helluva Sale Going on Right Now at Viggo's Perceval Press!


Source: Perceval Press
Categories: Perceval Press
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© Perceval Press.



Holy cow!! There's an extraordinary sale going on at Viggo's Perceval Press right now! What a great time to round out your Viggo library for pennies!

You can check it out HERE.

© Perceval Press.

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Iolanthe's Quotable Viggo


Found By: Iolanthe

Sticking with Purgatorio and Ariel Dorfman after his comment that Viggo spotted an anomaly in the script, I thought it would be good to take a look back at the play. Unbelievably, it's been 7 years since Viggo took his courage in both hands and trod the boards at the Matadero Naves del Español in Madrid. As you can see from the the quotes below, it was a very challenging text…




What brought you to theatre? "Fear. I've done theatre because it frightens me. I'm attracted to everything that frightens me."

Viggo Mortensen: "I'm attracted to what scares me"
By Roció García - translated by Ollie, Rio and Zoe
El País
24 November 2011




"…when I met [Dorfman] in person, since he's Chilean, we were talking in Spanish and I asked him, out of curiosity, if there was a version in Spanish, and he said, "Well, yes, I have a version. A translation, and furthermore it would be interesting if you'd be interested in doing it, since you're bilingual, if you'd do it, Viggo, in Spanish first and we'll see what happens after that."

"La Ventana" with Viggo and Carme
By - transcribed by Ollie and translated by Ollie, Rio and Zoe
Cadena SER
23 November 2011




Ariel says, more or less in jest, that it's a cursed play, that every time he tries to put it on in a, shall we say, legitimate theater, it doesn't work. Someone gets sick, something happens, somebody leaves, and there's been a long journey for us, too, before arriving here."

"La Ventana" with Viggo and Carme
By - transcribed by Ollie and translated by Ollie, Rio and Zoe
Cadena SER
23 November 2011




'Sometimes, during rehearsals, I have thought that I've been an idiot to get into this theatrical challenge…'

Viggo Mortensen
By Liz Perales - translated by Ollie, Rio and Zoe
El Cultural
31 October 2011




"…this script is complicated because it's not how people speak. I think that it's just as complicated to seem natural, conversational in a script by Lope de Vega, by Shakespeare. It's complicated!"

"La Ventana" with Viggo and Carme
By - transcribed by Ollie and translated by Ollie, Rio and Zoe
Cadena SER
23 November 2011




'Ariel Dorfman´s script is demanding, but it´s full of little gifts that keep coming to you to the extent that you are deciphering the text and physically absorbing it.'

Viggo Mortensen: "Sometimes I have thought that I´ve been an idiot to get into this theatrical challenge"
By Liz Perales - translated by Ollie, Rio and Zoe
El Cultural
31 October 2011




"I learned more about acting and thinking on your feet in that play than in my last ten or fifteen years in filming," he says, seriously. "There's no saying cut, you just figure it out; it's like an hour and forty minutes long take. I really loved it, loved the connection with the audience."

Viggo's round-table at the Freud Museum
by Lucy Wiles
Felix Films
10 February 2012




"It's just two characters, and it's an hour and 45 minutes," he said, with no intermission. "Any mistake you make is live, and it can go off the rails," he said. "Also, in the script, there's a lot of repetition and a lot of strange things about time."

Viggo Mortensen interview
By Chris Brock
Watertown Daily Times
20 November 2011




"I find peace in Viggo´s eyes. Confronted with the giddiness of the text, you can take risks with him, walk the tightrope."

Carme Elías
Viggo Mortensen And Forgiveness
By Ulises Fuente - translated by Ollie and Rio
La Razón
1 November 2011




I put the script here, although I already know the text. I always have the script backstage. I have this owl with the bracelet in San Lorenzo colors; I touch the two eyes of the owl every night before I go on. I have a photo of San Lorenzo's first championship team in 1923, Father Lorenzo Massa, the Silesian who founded San Lorenzo, I have chocolate. I'm always eating...

Viggo Mortensen
Inside The Dressing Room
By - transcribed by Ollie and translated by Ollie, Rio and Zoe
El Mundo
15 December 2011




'I don't think there's so much difference between good acting in film and good acting in theatre. In general, depending on the size of the hall, it's true that in theatre you have to take into account adequate voice projection, but, ultimately, what matters is whether the spectator believes what the actor is doing or not.'

Viggo Mortensen: "Sometimes I have thought that I´ve been an idiot to get into this theatrical challenge"
By Liz Perales - translated by Ollie, Rio and Zoe
El Cultural
31 October 2011




"You have to be honest about weakness and feelings of guilt. The good thing about any creative work, movie, story or poem, is that it asks you questions without asking you to think one way or another, and this play asks whether it is possible to forgive unconditionally, whether there are things that are so hurtful that they cannot be forgiven, and the answer I personally provide is that real forgiveness cannot set any conditions, be they what they may."

Viggo and Carme explore forgiveness
By Rosana Torres
El Pais
4 November 2011



You will find all previous Quotables here.

© Viggo-Works/Iolanthe. Images © Andrés de Gabriel/Teatro Español.


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Last edited: 15 July 2018 12:07:15