The original badass Girl with the Dragon Tattoo and the hot dude who scared the shit out of us but still made us fall in love with him in Bronson, together for a heist movie involving dog, adapted from a Denis Lehane short story? Yup, I’m sold!
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You’re attracted to these male-driven, violent stories. They’re not violent for the sake of it, but just because they are it’s necessary for their survival. Is that something that you’re cognizant of when developing an idea?Actually, what I thought was so great about what Tom brought to Forrest was actually quite a vulnerable, feminine side.
He was like the mother of the family.And when he lashes out he is absolutely terrifying and probably all the more for it. But because of the contradictions and complexities, I am fascinated by the sort of flip side to those archetypes and also the vulnerabilities. To me, it’s always more interesting to see, a sort of powerful alpha male vulnerable than just pure alpha male. Having said that, and this what I love about the Maggie and Bertha, I do love a little respite in there. It’s hard to find, often in most of these stories, to find strong female characters and so I’m always actively seeking that. And in actual fact, I’m actually specifically looking for female-driven leading characters. I love these kind of genres and these generic, almost like ancient kind of dilemmas and conflicts. Often the written scripts for leading female characters tend to be not in these kind of robust genres and I would love to find that, I’m always looking for that material. I’m saying, I would like a classic genre film in extreme situations but the character is a woman. That’s hard to find.
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Some of these are a little wonky but at least Tom is here for his haunting and brilliant performance.
Art is meant to penetrate you. Violence doesn’t have to be an act of physical violence, it can be emotional violence, and it doesn’t have to be destructive, which can be a violent emotion, but not necessarily a bad one. The DNA of art and war is very similar. It’s two very powerful forces in our world that takes up a lot of our time; but, where war destroys, art inspires. In my film I always approach violence like sex. It’s all about the build up. The climax itself is a mechanical procedure that we as an audience know is not true, so my job is to make the build up so engaging so that whatever happens in front of us actually affects us, but it only affects us because we believe the emotion before it.
The characters that I go through a lot in my movies, violence is part of their catharsis. They have to go through extreme pain and suffering in order to obtain what they’re meant to be.
I look at Hardy’s chest, thinking that it’s a shame he’s wearing a long-sleeved top. Otherwise we could spend the rest of our allotted time reading his tattoos. Like Groucho Marx’s tattooed lady Lydia, he has anencyclopedic chest, though in his case it is an encyclopedia of his private life. His 1999-2004 marriage to Sarah Ward is commemorated by the tattoo “Till I die SW” and a dragon on his left arm. Below it are the words “figlio mio bellissimo” commemorating his son Louis’s birth three years ago with ex-girlfriend Rachel Speed. On his back is the word “Charlotte” marking his relationship with fiancee actor Charlotte Riley, whom he met on the set of Wuthering Heights. There are many others (his torso is a big canvas) but Hardy isn’t going to talk me through them today.
Instead, he wants to discuss his career. Warrior may be the film that breaks him in the US. “I hope. The question I ask myself every 24 seconds is: ‘Are we going to have a crack at the investment market in acting and producing and directing, or am I going to be a jobbing actor who struggles to work on theatre or TV?’ I just want to know.”
The actor who made his name in Bronson talks about the punishing physical regime for his new cage-fighting role in Warrior, being typecast as a thug – and making it in Hollywood