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Michael Fassbender: Rise of an actor
Coveted by Hollywood, celebrated by all the critics, the actor multiplies prestigious collaborations. For the first issue of Obsession, he agreed to do a striptease in reverse and took the time to engage
By Philippe Azoury
Do you remember what was your initial motivation in wanting to try an acting career? It was the recognition? Success?
Work hard. I wanted to prove I was good at something. I was young, I was 17, I wanted to score, do not end up swallowed by the newspaper. I fantasized about Brando, De Niro ...
The American press nicknamed you today "the English Brando" ...
I take. Definitely. I do not know if that's true, but I can not get angry with a label like that, you'd do it, you? Brando, De Niro were my idols, teen. So of course, the comparison just crushes me.
The other goal was almost - I will not say it so pompous, but ... - philosophical. I mean that at 17 I found it strange that the Irish school does not teach the rudiments of philosophy. It's not that I am an avid reader of Kant, but I thought that being an actor, I could learn more about how we react to each other in different situations. This kind of behaviorist philosophy that continues to guide me. It is this knowledge which then opened my appetite Shame is an exciting movie from this point of view then. I go out haunted by Brandon. The press said, "nudity, nudity. "Seriously, this is the thing that is more incidental in this film. A mere detail compared with what the fucking movie tells you about what being a man in 2012. Try to understand why he can not get the enjoyment that removing the idea of love and commitment, how this commitment then haunts him, scares him, cut his legs. This is a movie that made me move.
You mentioned Keith Moon just now at lunch. Music plays a big part in your life or in your preparation?
Yes, considerably. The music was forwarded to me by my parents, my older sister (Katherine, she is a neurologist in Sacramento, it's a good guy), I touched the piano, guitar, I even considered teen to become a musician, but the fact is that I was not good, so that I preferred to take another route, which was the theater. I felt more capable as an actor. But something stayed because every time I have to prepare a scene or working on a script that I give, I always think in music, I measure the scene according to the movement so the tempo, I can see how stakeholders will work together, talk together, and I see it as a group where everyone would play a different instrument. Rehearsals are like jams, but the temperature is different when the camera rolls, it's like being in the studio to record an album. Finally, I guess ...
I can imagine your work with Steve McQueen exactly like that too: two musicians who understand the look and play the same partition ...
Steve is actually very musical. I saw some scenes directing, eyes closed, headphones on the ears ... He knew just by listening to us if we were right or wrong. It has a very clear idea of what he wants but he says the reality is advancing in the dark both - we work in the dark, we start simple, no frills, we just try to understand the geography of the room in which it is. It tries to capture the feeling of arriving at a time when we feel something tangible, we take the stage, it is the climate of the film. Sean Bobbitt, who is behind the camera, this collaboration complements extrasensory. Him, he starts with the camera a sort of dance, it measures the distance between each other, it seeks its proper place. Then there are of course working with other actors, and I think when everyone tries to do his best, it is not necessary to talk too much before, but instead to see when so and so will enter your game and help you, what else is going to provoke you and who, in the scene, will surprise you in the end ... This is the challenge of a scene.
As time passes, each of your roles seems to confirm a hunch: you're a bit like a guinea pig. You test for us conflict situations ...
I'm glad you say that. I always worried for my characters and most of the temp, s people do not understand "why you worry so much, Michael? You do not confuse your life and that of your character. You play the scene and once back at the hotel, you become again that you were. "But that's just not, it's not interesting to do things in that direction. be an actor, it's not; be an actor, for me, is to experience a place, a situation. There is a kind of investigation, you canceled yourself and you go where the character is already: he is waiting for you. This is the actor who must try this place before transmitting. This is not the easiest way, believe me. Most of my work is in it. I do not see me arrive on a tray and tell the filmmaker: "I have not worked a, I have no idea about the role, but do not worry I'll give" Michael Fassbender: the Package ". I'll rely on my technique and good looks. "This is the reverse.
What do you like both the bike? Brands, spare parts or just draw?
Tracer. Definitely. What I like about the bike is that you're not "encapsulated". You're outside, you have this giddy feeling of danger in places, but who is also a sense of freedom, the feeling that the air penetrates you. You feel something cathartic with the world, it can sound a bit new age, but I do not care since yes, it happens something that is beyond me. That exceeds the risk. Just a feeling that life gives you when you drive the tracks. It cleans the past month to drive your car and plane. There is all this love between people on the road. People help each other a lot of bike. You meet lots of people well on the road. I really like it.
You live in London, not in Los Angeles ...
You know, the first city that symbolized for me the dream of being an actor, this is New York. My method comes from the books and writings of Stanislavski Lee Strasberg, the whole school of the Actors Studio. But for economic reasons, I started with London. Three years of school. But London is very expensive, I had not a cent at the time. Every six months, I moved to an apartment even cheaper. London was a nightmare at that time for me. Now I feel better. I rediscover London, I see what it is, compared to Los Angeles and New York, a place where you can take your time. L. A. I'm not happy. This life of car ... Me, I need streets, I need to walk. I need to see the seasons change. Fucking endless sunshine.
You play any sport?
It's been a year since I practice almost nothing. And I smoke more. It sucks. I would have to be careful to breath. I will resume. Of course, before I made a lot: everything comes to cardio (swimming, running, boxing) - which is a fascinating exercise because you focused on one thing and you try to exceed it. I love yoga. (Simone: Yeah!!!)
This is perfect for the belly, does not it? And you play with your belly ... In the famous dialogue of Hunger, since you're shirtless, you see that you hold on your breath ...
Good point. The scene had twenty-two minutes of non stop dialogue. We worked with Liam for two weeks. May then you hold on a pace almost binary. Seeing the scene, I saw what you describe: damn, my belly overplay. I did not see it. (Laughs)
At lunch, you said when you get a script, you think of the 10 players who would be better than you, but receive nothing because their name is not on the list ...
Because I've been waiting for years, and I saw some roles without the cast have any meaning - and I, meanwhile, I wiped the glasses in bars. Anyway, the industry should trust the filmmakers. A good director always manages its castings. Look at the casting films of Cronenberg or Kubrick.
Now I ask myself the opposite question: that of longevity. And I think that longevity in this business is also based on a sense of protection. Do not accept everything and anything. Do not abuse my picture. Not to tire the patience. Not to be pressed like a lemon. If I gave in to the hype, right now, I would only turn. It has developed in me the opposite reflex. I refuse, and even beautiful things: I just refuse Jarmusch and yet I love this guy, but I want to focus on my projects and prod box that I want to start this year, it is called DMC. So I probably will in the coming months, the next film by Steve McQueen to develop the mine, including the one I want to achieve.
Why do you throw yourself in the production, right now, rather than make the most of the score that is yours and can still grow?
Probably to get away once again. I always do this: zigzag. I surf. I like projects that are beyond the labels. Looks Tarantino, Inglourious Basterds, which can put a label on that movie? It bypasses the genres. I just do Soderbergh, this guy is going at full speed, it is now ten years since his own cinematographer, he goes to Ocean Girlfriend Experience. I like that freedom.
My biggest mistake would be to let the industry put a label on me. So I do things unexpected; not suicidal, because I want all this continues, and advance again, grow again. But why, we must surprise, take things speed, take risks. It is a moral biker in the background.