Olá, leitores do Estante de Cinema! Hoje venho realizar o primeiro bate-papo do blog, em que convido o ator britânico Laurence Fuller que recentemente estrelou um curta-metragem espetacular, intitulado Echoes Of You e dirigido por Henry Quilici. Laurence tem 33 anos e está construindo uma carreira muito interessante, tendo participado de filme bíblico ao lado de Robert Loggia (Scarface) em Apostle Peter and the Last Supper, 2012. Esta é uma breve introdução para a nossa matéria, portanto a seguir, acompanhe a entrevista por escrito, lembrando que nosso bate-papo foi realizado em inglês. Quem quiser pode acessar um tradutor do blog, logo na coluna ao lado, para poder ler a entrevista em português também.
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| Laurence Fuller, 33, nascido em Bath, Inglaterra. |
Echoes Of You foi lançado em 2018 e é um trabalho primoroso do diretor Henry Quilici, que dispôs de uma ótima equipe de arte disposta a embelezar, com a linguagem cinematográfica, uma inspiradora história. Assistam abaixo ao filme, compartilhe a experiência com as outras pessoas:
EC: Your acting is impressive when you need to be angry or upset. Is there a feeling that is challenge to an actor?
LF: That sort of explosive big energy may have come from working in theatre, the high stakes in Shakespeare’s work, or maybe that’s just me sometimes. I always resented the idea of projecting in theatre, forcing my voice and body beyond what it naturally wanted to express. Instead I had some very good directors I was working with at the time in Australia who encouraged me to use even stronger choices in my emotional character work to make the performance naturally bigger and more expressive from an authentic place.
The most challenging emotional range that takes time to develop as a person not just a performer, is a sort of empathic listening which forms the baseline of any great performance. It’s about understanding other people and one’s self which is an ongoing conversation with the universe.
The real challenge comes in honing the complexities of a one’s feelings for the camera, to tell a subtle and effective story of a character, to “explode” when needed and then to keep it small and precise the next moment. It takes a lifetime to develop that craft and it never really comes to an end.
EC: Tell me how was to act in a biblic movie. Are you religious? If yes, you certainly hadn't difficult to develop your character. Is my thought correct or you see from another perspective?
LF: I saw Apostle Peter & The Last Supper as a modern adaptation of the sort of classical pieces I was doing in England not long before that. It was a period piece and people of that time were very informed by their religious outlook. The Romans had their Gods and Christianity was only a growing movement at the time. These were the circumstances of Martinian’s life that inform where he’s coming from at the start of the film, when we meet him as the powerful cocky Roman general. Then he gets taken on a journey as Apostle Peter played by Robert Loggia tells him about another way of life. For me it was an honor to be on set opposite an Oscar Nominated actor, so I sort of let myself get swept away with the wisdom of this great actor’s facility with storytelling, that was really the key to this piece for me.
Am I religious? I believe a secular religious experience of awe and love and a humanitarian caring of our world is possible in a sort of higher cultural learning and understanding. To learn from the best of cinema, the best of art and film, to discipline oneself to take only the things made with the highest level skill and emotional content.
This is why during the Renaissance the church and the Monarchies would employ the most talented artists to express these high emotions and reach the masses in a way that no one else was capable of doing. My personal message is a humanitarian one more than anything else, to take care of our earth and it’s creatures. Creativity is at its most ((((virile))) when coming from a place of (((connectivity)))
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| Laurence interpretando Martinian, em Apostle Peter and the Last Supper (2012) |
EC: I'd like to praise the film photograph. I was thrilled in the moment I saw Andrew and the boy sitting by the piano, where the surrounding were dark and only you and the kid was visible. This take showed me a unique moment which mattered to both characters. How was your participation in this short, besides the acting?
LF: My only contribution to this film was the acting. Zachary Risinger is a very talented young man so it was easy working with him, he picked up so much intuitively from the energy around him and went along with it all.
Henry's brother Max Quilici wrote the main theme to Echoes. The piece was so minimally and yet effectively done, I felt there was no way I could do this part without learning at least some of the piano in order to play this song. With the couple weeks preparation, never having laid hands on a piano before, I managed to learn how to play the first half of the song.
I came across a documentary preparing for the role called Pianomania, about a piano tuner for some of the world's best pianists. He was someone whose love for the piano extends beyond the performance, becomes almost an intellectual pursuit, like preparing for a role that one never acts. The language that he began to use to describe moments within a sound were complex, abstract and beautiful. The joy and the passion for the music then became a dedication to the development of someone else’s craft.
That has always been something that’s interested me, how much should we use art of the same medium to influence our work. I feel that art should be the language to express the fullness of life. But the conflict then comes when confronted with another’s work that we stand in admiration, that admiration must then come from an ideal within us that we wish to reach. Then the choice becomes wether to run forward towards that same goal, almost like an Oedipus trying to surpass the father, or wether to stand back and remain in a place of fixed and constant admiration allowing it to either influence one’s work in another medium, or is it enough to touch a place within a performance, to shape the artists work by pushing a sound, an aesthetic a feeling further than they could have by themselves. The position of a conductor to a musician, a director to an actor, or a parent to a child, shaping the raw materials of a human being in a particular direction, for the purpose of benefiting humanity.
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| Road to the Well foi um filme bastante premiado! |
Continua na próxima postagem... // To be continued (next post)
Link para a Parte 2 - CLIQUE AQUI // Link to Part II - CLICK HERE
Link para a Parte 2 - CLIQUE AQUI // Link to Part II - CLICK HERE