The Big Interview: Robert Sean Leonard Reporter: Charlotte Marshall, first published Wed 22 May 2013 17:59
Speak to any journalist and they’ll tell you that before an interview there is always an inescapable feeling of excitement mixed with nerves. Prior to my chat with Robert Sean Leonard, this was no exception, the feeling potentially heightened in this case by the fact that, like many of Generation Y with an English degree, at some point in the mid to late 90s, I undoubtedly fancied Dead Poets Society’s romantically tortured Neil, played by a 19-year-old Leonard.
But even with three Tony Awards under his belt – not literally, although it was a phone interview so I can’t guarantee that – an eight year stint in one of the US’s most popular television dramas and casual mentions of close friends Ethan Hawke and Noah Wyle, it’s impossible to be nervous with Leonard; this man is so refreshingly laid back it’s infectious. So laid back, in fact, he claims never to have planned anything in his career – “I don’t think I ever had any [ambitions] aside from wanting to do plays and have Kevin Kline think I was cool” – renounces the benefits of working in a profession where you can continually learn new things in favour of “being home and reading and doing nothing much more than walking my dogs and feeding my daughters” and makes transcribing the interview a doddle with his lazy New Jersey drawl awash with causal erms and hmms.
Perhaps his likable self-deprecating humour and dry declaration that “I don’t embrace change, so you can imagine my life as human on this planet is pretty much hell” are veiling a driven careerist, but I highly doubt it. However, his return to the London stage after more than 22 years to play Atticus Finch in the Regent’s Park Open Air theatre’s production of To Kill A Mockingbird does mark a change for the actor and, while the opportunity to play a literary legend might seem like a no-brainer, it wasn’t the case for Leonard.
“I was highly sceptical when I first spoke to Tim [Sheader, the director],” Leonard frankly explains. “In many ways Gregory Peck [who received an Oscar for his performance in the same role in the 1962 film] was the problem. When I heard they were redoing the Psycho movie, my first thought was ‘why?’ Psycho’s a brilliant movie, why would you dare rethink it? I think To Kill A Mockingbird is a wonderful book, but so is Moby Dick. There’s a reason why The Iceman Cometh is a play, there’s a reason why Moby Dick is a book. I didn’t see the point of putting a book on stage.”
Of course, it’s not just any book. It’s a book commonly revered as one of the great modern classics and, as a staple on both the British and US curriculum along with Peck’s defining performance, there will be plenty of people who come to the Open Air theatre with a fully formed vision of Finch in their heads. “The role was the least appealing thing [to the project],” Leonard tells me, joking: “When I heard Matilda was coming to New York and I didn’t know if Bertie Carvel was going with it or not, it was like ‘Well if I could play Miss Trunchbull that would be great… the Tony Award should be in your dressing room the first day you get there’. This role did not feel that way. I’m going to do the best that I can, but wrestling with the ghost of Gregory Peck in front of 1,200 people is not something I look forward to doing.”
All of this begs the question why Leonard left the bright lights – not to mention sun – of Hollywood to play what he describes as a “problem” role on a stage open to the UK’s less than desirable elements. Other than the obvious attractive qualities of Sheader’s award-winning, much-loved venue, “It was the beauty of the story and Tim’s vision of it,” Leonard affectionately explains. “It’s unlike anything I’ve ever rehearsed before… there’s something magical about it.”
While the actor is no stranger to modern classics, with his theatre CV jam-packed with roles in iconic works by everyone from Eugene O’Neill to Brian Friel, Sheader’s work brings new challenges. “It’s all very beautiful and very flowing,” Leonard explains, hinting the production will be embrace elements of physical theatre, before breaking into tongue-in-cheek disbelief to tell me, “We’ll have movement for two hours! 10 to 12 is movement with Naomi [Said], and I think ‘Movement with Naomi? What is that?!’ When I venture to say that it’s amazing to work in an industry for more than 20 years and still have opportunities to learn new skills and work in new ways, he ‘hmms’ not quite convinced and says: “Well, sure, if that’s the kind of person you are. My friend Ethan Hawke has always embraced that side of being an actor – ‘sure, I’m going to do this movie, I’ve got to learn to sky dive!’ – [but] I’m not really that guy.”
The kind of guy he is, however, is one who is devoted to theatre, even running a theatre company with Hawke for a short time and citing the actors who played New York’s legendary Public Theater as he was growing up his heroes, telling me, “I grew up wanting to play Hamlet in Central Park. That was my dream. I didn’t want to be Bruce Willis, I wanted to be Sam Waterston.” Making his acting debut at just nine-years-old, it’s a passion currently heightened by the presence of the “heartbreakingly good” young cast members in Mockingbird – including Matilda The Musical’s Olivier Award-winning actress Eleanor Worthington-Cox, who he refers to as “the Paris Hilton of our group. She’s the star, although she doesn’t act like it at all” – with the actor compelled to tell them on the first day of rehearsals that, as lucky as they felt, the adults felt luckier to have them there. “They nodded like they won the lottery,” he tells me, “that’s how Dead Poets felt to me.”
It’s the first of many, always fond, mentions of the cult film from Leonard during our interview, which, more than 20 years later, holds enormous reverence for the actor, with Leonard fittingly slipping into romanticisms when he talks about it. “It was the most exciting professional experience of my life and always will be probably,” he explains. “I almost get teary when I think about it. You know those things you think about when you were 16 – your first girlfriend or boyfriend, the drag you used to drive your car up and down with you friends – it’s almost too painful to think about because I was so young and it was so meaningful and rich with feeling… Dead Poet’s Society was beyond magical,” adding, before I can ask, “I can’t watch it, it’s too painful. It’s like watching yourself try to ask a girl out for the first time at 16.”
This emotional attachment to the film is a point of contradiction with Leonard, given his honesty at finding film work “a bit dull”. “Maybe that shows in my work…” he deadpans, before searching for the most diplomatic way to sum it up, settling on: “If theatre paid more that’s all I’d do, let’s put it that way.” But of course, following Dead Poets Society and subsequent numerous films, it was his biggest – and longest – screen role to date as Hugh Laurie’s sidekick Dr James Wilson in the award-winning medical drama House that made him a household name.
An apathetic view of film work aside, Leonard is undoubtedly proud of the show and, unsurprisingly for someone who hates change, admits he was “nervous” about the show ending after its eight year run. But the frequent passion apparent in his voice is clearly reserved for discussing theatre. “House was a lot of things, but it was a great financial windfall mainly,” the actor tells me with brutal honesty sure to upset a few die-hard fans. “I don’t enjoy working 15 hours a day… TV shows are incredibly wonderful financial gifts, but boy do you pay for it in the time you spend.
“It’s funny whenever I talk to someone like Noah Wyle or Hugh, people who love film work, the word ‘puzzle’ always seems to come up,” he muses. “That they like film because it’s one little puzzle after another, but I never really got that. I feel more like an actor for hire and that sounds more like direction to me. I have great respect for it and I’m very proud of House, it’s just, to me, it’s not what I do best.”
What he believes he does best, and I’m sure the Tony’s would be happy to testify in his favour, happens on stage, and, facing a first in his career, this time it’ll be on a stage open to the elements. “I’m not without trepidation,” he admits. “On a balmy night with no wind, I can see it would be great, I’m just a little bit worried about the other nights.” You get the feeling, whatever the night, it would take more than bad weather to keep him from wanting to perform. “I feel more rewarding, wonderful moments in an hour rehearsing this play than I felt in a year doing a TV show,” Leonard says as our conversation draws to a close, the dry wit and self-deprecation disappearing for a moment as he leaves me with a moment of wonder worthy of Dead Poet Society’s Neil, “It just happens in theatre.”
Robert Sean Leonard - he's a man I would put my life in his hands, and almost have on occasion (с) H. Laurie
Какая фота классная! «Распознаю “своих” по сиянию глаз, по невзначай сказанному слову, даже жесту – и плевать я хотел, как давно мы знакомы» (с) Макс Фрай
Было бы здорова Тем более что продление сериала, по мнению deadline, считается формальностью. It is yet to be renewed for a fourth season though that is considered a formality as Falling Skies is TNT's #1 scripted series in the younger demos. Cause we were never being boring, We were never being bored
“It was the most exciting professional experience of my life and always will be probably,” he explains. “I almost get teary when I think about it. You know those things you think about when you were 16 – your first girlfriend or boyfriend, the drag you used to drive your car up and down with you friends – it’s almost too painful to think about because I was so young and it was so meaningful and rich with feeling… Dead Poet’s Society was beyond magical,” adding, before I can ask, “I can’t watch it, it’s too painful. It’s like watching yourself try to ask a girl out for the first time at 16.”
И:
Цитата (Ginger82)
An apathetic view of film work aside, Leonard is undoubtedly proud of the show and, unsurprisingly for someone who hates change, admits he was “nervous” about the show ending after its eight year run.
Цитата (Ginger82)
I have great respect for it and I’m very proud of House
Robert Sean Leonard - he's a man I would put my life in his hands, and almost have on occasion (с) H. Laurie
продление сериала, по мнению deadline, считается формальностью
Я тоже уверена, что продлят. Второй сезон, имхо, был лучше первого, а третий по ощущениям будет еще круче Вот эта строчка про РШЛ, такого всего из себя противоречивого
Цитата (Ginger82)
This emotional attachment to the film is a point of contradiction with Leonard, given his honesty at finding film work “a bit dull”
напомнила прочитанное пару дней назад по поводу прошлого интервью
RSL's Interview. I've had some email, DMs and twitter messages asking my opinion on this article. Figured this was the easiest format to plot out my thoughts
First, he is an ass. Always has been, in a way. Nothing new about his decision to do television being purely financial. Complaining about how it interfered with his ability to do what he wanted every second of the day, not an attractive trait. Also doesn't explain why one of the first things he did after House was to guest star in a TV series, Fallen Skies. I sometimes wonder if one of the things he and HL had in common was a kind of special insulation that must come from always having been in the entertainment industry. At least I haven't seen anything to indicate either of them ever had a "real job". And especially for Robert who has been performing since childhood. Doesn't seem to have much insight as to how people with regular jobs have to deal with these kinds of things for years on end and with only a fraction of the monetary reward.
As to the "truths" of what he says, Depends on the article (his mood) you read. He has talked about loving to travel and hating to travel. He has mentioned just wanting to read Philip Roth books which turned into Stephen King books after the kids came. Certainly while working on House there were a number of articles that talked about them spending time together off set. (personal favorite was one where HL said that yes, Robert had been to his home and then asked if the reporter wanted to know what time he left) Before going to London he said he was staying with Hugh. In this one he mentions talking to him about the pirate movie. So do they still talk? Who knows.
If I had to hazard a guess about the offsetting attitude in this article (besides the fact he is a self proclaimed spoiled Chihuahua) I think he may be tired of constantly being asked about HL. One of the great mysteries to me about Wilson was why he reacted as strongly as he did to repetition. First the Billy Joel song playing over and over and then House confronting him "Admit it Admit it Admit it" Now I wonder if this might be an RSL trait they carried over, He reacted rather abruptly (and some would say with cruelty) when asked over and over about the non-appearance of Cuddy in the finale. He may just not do well when the same questions get asked over and over, As opposed to HL who has shown patience beyond the norm when asked for 8 straight years about his accent. I have a feeling that if it had been Robert, after the first ten times he would have denied being English. http://www.twitlonger.com/show/n_1rkd4n3
Никто не знает, что творится у него в голове ---- Очень надеюсь, что сегодня будут красивые официальные фоты Сегодня press night и у них там уже шампусик стынет
Robert Sean Leonard - he's a man I would put my life in his hands, and almost have on occasion (с) H. Laurie
Сообщение отредактировал Ginger82 - Среда, 22.05.2013, 22:38
Еще раз убеждаешься в том, что очень многое зависит от журналиста берущего интервью. Если журналист может не только задавать правильные вопросы и не быть навязчивым, но и способен слушать, что поможет интервьюируемому раскрыться как можно полнее и шире, вот тогда получаются такие прелестные интервью Не в пример статьи в The Sunday Times, вокруг которой до сих пор кипят страсти
Цитата (Ginger82)
Сегодня press night и у них там уже шампусик стынет
Чего то я уже с их графиком вообще запуталась. Ну да ладно. Главное что погода действительно пока шепчет Сейчас специально глянула веб камеру. Вроде солнышко Cause we were never being boring, We were never being bored
очень многое зависит от журналиста берущего интервью. Если журналист может не только задавать правильные вопросы и не быть навязчивым, но и способен слушать, что поможет интервьюируемому раскрыться как можно полнее и шире, вот тогда получаются такие прелестные интервью
Цитата (Shepa)
вокруг которой до сих пор кипят страсти
Да ладно, страсти! у кого-то это, может, был единственный повод за год поонанировать
А вот и ревью от критиков пошли Пять звездочек! www.londontheatre.co.uk Review by Peter Brown 21 May 2013
First up in the new season at the Open Air Theatre is this adaptation of one of America's most significant and popular works of literature. Harper Lee's book of the same title, which apparently has never been out of print since it was published in 1960, is her only published work, yet as its print record suggests it has had immense influence for millions of people across the globe, leading one commentator to describe it as an 'astonishing phenomenon'.
The first few minutes of this production, directed by the Open Air Theatre's Artistic director Timothy Sheader, left me with an uneasy feeling. It starts with members of the cast popping-up in the audience and reading snippets from the book. As I was sitting almost on the stage in the second row, this involved turning round to see who was talking and to discover just where they were. In this process, I started to miss what was being said. And then I began to get worried about just what Christopher Sergel's adaptation was going to be. Eavesdropping on a conversation behind me during the latter part of the interval, I discovered that I was not alone in being a tad disconcerted at the onset of the evening. But, like my neighbours, after a few minutes into the show the conceptual vision soon started to make sense. A lot of sense. That's because what the production does is to place the book centre-stage, acknowledging its influence and significance. The cast continue to fill-in the gaps which the action cannot cover by reading extracts right through the play. And the copies they use are all different published versions with a variety of jackets and bindings - its almost as if the books are characters in their own right.
The fictional 'tired old town' of Maycomb, Alabama, is brought effectively to life in Jon Bausor's appealingly simple and uncluttered design using little more than chalk lines to lay-out the houses and streets, a few sticks of simple furniture, the odd gate and fence, and one large tree. The rest is left to our imaginations, and it all works perfectly, especially with the park foliage lurking in the background like woodland on the edge of town.
In the first half we meet some of the town characters and learn about others who are more reclusive. In particular, we meet Jem and Scout (played on this occasion by Adam Scotland and Izzy Lee, respectively), the children of Atticus Finch. A lawyer with a strong sense of morality and respect for the rights of others, Finch has recently accepted the task of defending Tom Robinson, a black American accused of rape. In the second half, we see Finch in action in the courtroom as his children look on from the 'colored gallery'.
Courtroom dramas can often be riveting, and this is the case here thanks to several powerful, moving and poignant performances. In charge of the proceedings is Christopher Ettridge as the direct, no-nonsense, but honest Judge Taylor, who presides whilst munching on what looks like a liquorice stick. Richie Campbell is the terrified and despairing Tom Robinson who realises that he is fighting against the odds to prise a not-guilty verdict out of the all-white jury, and breaks down while being questioned. Rona Morison as Mayella Ewell, tries to cover-up her lies by railing against Finch, showing little regard for the life of the man she has falsely accused. And Robert Sean Leonard's highly impressive Atticus Finch is not only a sharp and intelligent advocate, but also a concerned, thoughtful and caring neighbour, a man of integrity whose views about liberty and justice have obviously not been held without substantial personal cost.
'To Kill A Mockingbird' isn't merely concerned with race, or racial prejudice or injustice. As Atticus Finch informs his children about the seemingly odd behaviour of some of their neighbours, it becomes clear that Harper Lee's book is also about compassion, tolerance in general and having consideration for others. All these themes and more are amply described in Timothy Sheader's superbly executed production. If you loved the book, you'll love this play.
(Peter Brown)
Robert Sean Leonard - he's a man I would put my life in his hands, and almost have on occasion (с) H. Laurie
Сообщение отредактировал Ginger82 - Четверг, 23.05.2013, 13:30
Хорошее интервью, и даже на том вопросе, из-за которого ломались копья - игра в шоу ради денег и только ради денег - всё прозвучало иначе: вместо любви к деньгам - любовь к театру, а это не одно и то же. Не "Я не люблю работу, работаю ради денег", а "Я люблю работу, и это - работа в театре, жаль, что приходится отвлекаться от неё ради заработка" - согласитесь, совсем другой оттенок. А по тому. как он говорит о своей роли, о своей игре, чётко видно, что тут нет никакого лицемерия - действительно, влюблён в театр и в работу в театре. Я думаю, для него это примерно так: телевидение - работа на заводском станке, которую он исполняет хорошо и с любовью, но всё по гудку, быстро и конвеерно, хоть он и старается вложить себя туда - творческую жилку ведь не пропьёшь , но работа в театре - это ручная работа, неспешная и более личностная, когда каждая роль - как штучное ювелирное украшение. Путь к сердцу мужчины лежит через торакотомию. Всё остальное - ванильная ересь.
Ну, мне тоже как-то сразу понятно было, что он имеет в виду, но кое-кто всерьёз обиделся за "Доктора Хауса" - а что тут обижаться? Наоборот, если такой заядлый "не любитель телевидения" говорит, что это было хорошо, и ему было комфортно работать в этом проекте и с этими людьми, несмотря на... , это же очень здорово. Путь к сердцу мужчины лежит через торакотомию. Всё остальное - ванильная ересь.
я жутко рада мне почем то кажется, что спектакль действительно удачный.
Цитата (hoelmes9494)
а это не одно и то же.
И вот опять возвращаемся к личности которая берет интервью.
Добавлено (23.05.2013, 00:11) --------------------------------------------- Wild [H]ollie ☤ @hols14HL Scout an Atticus - ROBERT SEAN LEONARD! Cause we were never being boring, We were never being bored
Сообщение отредактировал Shepa - Четверг, 23.05.2013, 00:13
Красиво как всё это выглядит! А вот бы заснял его кто... И перевёл бы... (срочно мне губозакаточную машину в студию! ) Путь к сердцу мужчины лежит через торакотомию. Всё остальное - ванильная ересь.
Сообщение отредактировал hoelmes9494 - Четверг, 23.05.2013, 00:21
Данный проект является некоммерческим, поэтому авторы не несут никакой материальной выгоды.
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