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02-05-2006, 04:40 AM
| #1 (permalink) |
| Josh&Hart&Nett.   |  Can any US ers out there get this (and scan it), as there's an interview with Josh in?! Here's the issue but I can't find anything online... help please?! [img]graemlins/thumbs.gif[/img] |
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02-07-2006, 02:18 PM
| #6 (permalink) | |
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However, thanks for the info. Would be nice if someone could get that mag. [img]smile.gif[/img] | |
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03-07-2006, 05:06 PM
| #9 (permalink) |
| MIHO THE HARTNETT BUNNI!!  | I know this took me way too long but I have some news that will make you all very happy! I have been uber busy but I finally found the time to go to the book store and I found the mag., found the article and it's actually a four page interview. I would scan it but I don't have a scanner so I'll type the interview out for y'all. the pictures aren't new; they're all from Lucky Number Slevin, so no worries there. I'm not going to type out all of the intro part because it's all stuff we've heard many times before; pretty typical. I'll just type the last paragraph of it because they unintentionally made a reference to Josh's intro skit when he hosted SNL and I thought it was kinda funny. Here it is: "Now that the hype has died down and Hartnett is back to living a less hectic life in New York City, he's found he's happier balancing smaller projects like the drama Mozart and the Whale and the hardboiled 'crimedy' Lucky Number Slevin with movies like the long-awaited adaptation of James Ellroy's The Black Dahlia. In short, Josh Hartnett doesn't need to be the next Gary Cooper. He's content being the new Josh Hartnett. David Fear (MM): Lucky Number Slevin is your second time working with Paul McGuigan. So it would be safe to say you guys hit it off? Josh Hartnett (JH): Yeah. We wanted to work with each other before we did Wicker Park together; he'd seen a few of my films, and I'd seen Gangster No.1 (2000). But neither Paul nor I were happy with Wicker Park's script when filming started and we both felt we'd been rushed into something that wasn't ready. If we'd only had a little bit more time, I'm convinced we could have just nailed it. But we didn't get that, and then once it was finished, the release date was delayed. It was the last film that MGM did before they were sold, so they were literally coming apart at the seams... I think they announced they were going under three days after our film had finally hit theatres! So we'd both gone through this less-than-pleasant experience and felt like we hadn't really gotten the chance to do our best together. When we came across the script for Slevin, we just jumped on it. MM: what do you usually look for in a director? JH: I try to work with new directors... ones who are just starting to hit their creative peaks. Sometimes you get a filmmaker who's just starting out and maybe they're two or three films away from being able to bring to the screen what they encision. Once they hit that point, where he or she has the capability plus the passion, that's when a lot of great work gets done. Those are the sets you want to be on. MM: I don't know that I would consider either Ridley Scott or Ron Shelton 'new directors'... JH: Oh, man! When Ridley or Ron asks you to be in a movie, you'd be an idiot to turn them down! (laughs) You always want to work with people who have vision and talent. I just finished working with Brien DePalma too, on this Black Dahlia movie. He's another director that, if given the chance to do something with him, you rearrange your schedule. MM: He wasn't the original director on the project though, right? JH: No. I was actually hired onto the project by David Fincher. I sincerely belive that David is one of the few bona fide geniuses working in film today. Unfortunately, he's also usually got four or five projects he's working on at once, and he eventually dropped out of doing Dahlia to concentrate on something else. But it's still Josh Friedman's script, and bu the time Brian came on board, he'd been tooling around in Paris for a while thinking about how he wanted to tell this particular story. When I was researching for the part, it amazed me that the case still fascinates people almost 60 years after the fact. MM: How much research do you usually do for a role? JH: I like to do my homework, though it depends on the part. For Mozart and the Whale, I play someone who suffers from Asperger's Syndrome, so I talked to a lot of doctors and read as much about the affliction as I could. If the role was, say, a professional criminal, I'd probably just rely on my imagination. MM: It seems that since the 1970s, when guys like Robert De Niro raised the bar for transforming yourself for a role, a lot of young actors feel like they have to totally immerse themselves in the reality of their character. Like, 'Oh, the scriptsays this guy lived near a bakery, so I'm going to move into a house near a bakery for six months.' JH: (laughs) Yeah, you can take it to absurd levels and it just becomes self-indulgent after a certain point. I mean, is it serving the story or your own vanity? And yet there are certain actors who do incredible work using that method. If that's what it takes for them to get to that place, you wouldn't want them to stop, right? But for me, when I was first starting out, I felt like there had to be conflict or else it wasn't right. Now I realize that it doesn't have to be serious, soul-searching business every single time out. There can be a sense of imagination and play, which I like. (pauses) But that's just me. If someone eels like thay need to smell a donut every morning before work because their character lives near a bakery, then go for it. MM: In 2001, it seemed like you were being groomed to be the next big male star. But after Pearl Harbour came out, you immediatley moved back to Minnesota and sort of slowed down the momentum. Were you trying to just wait out the heat until people stopped declaring you the 'Next Big Thing?' JH: That was exactly what it was. Moving back to Minnesota was a big part of that, too. Hollywood is such an industry town, where people cast their friends and expect their buddies in the marketing department to take care of everything. There's no life outside of work and I quicky realized that. Having seen how all that star-making machinery works firsthand, I decided that I didn't want to be that guy. I was gettin all these scripts where my only function was to shoot a gun and get the girl, and I just had no interest in that. You can only be the hero for so long before it gets boring. I'm much more interested in playing people who don't have all the answers. But I quickly realized when all that hype was being manufactured around me that, hey, I don't have to be that guy. I can just be an actor, which became very liberating. MM: Were you getting advice like that from some of your older co-stars who'd been through the same kind of thing? Like Warren Beatty or Harrison Ford? JH: I don't think either of them gave me any direct advice on what to do, though when you look at Warren and Harrison's careers, they offer two different examples of how to go about becoming a star. Warren moved to Hollywood, made sure he met everybody he wanted to meet, then got those people together every five years and made his movies. He's only made something like 12 films in 40 years, right? MM: That sounds about right. JH: Then you have Harrison, who managed to become the goldon boy in a relatively short time and made choices that played to his strengths. People had to come to him, in other words. I've managed to follow neither example. (laughs) I mean, after Pearl Harbor and Black Hawk Down, everybody started saying I was the latest action hero. So I immediately signed up to do a comedy - 40 Days and 40 Nights - to avoid getting pigeonholed. (pause) I had such high hopes for that movie... MM: Yeah, but now you've manages to come back pretty well. JH: I really like where I'm at, career-wise. Every project I've gotten involved with has started out having a kernel of something there that makes me think 'This is really interesting' or 'I want to see if I can challenge myself by doing this,' and that still stands. Honestly, I just want to do interesting work. I'm just getting ready to start working on this movie called Texas Lullaby, which is like a trailer-park version of Hamlet. I play the Hamlet character; John Malkovich is playing Polonius. If I'd situated myself where I was only making those big-budget, summer movies, then I might not have had the chance to do something really incredible like this or Lucky Number Slevin or The Black Dahlia. I mean, I could be a prop in some bloated spectacle or I could be hanging out in Texas with John Malkovich discussing Shakespeare. (laughs) There's just no choice. I wouldn't have bought the magazine but I knew you all would love me forever lol! ENJOY! [ March 07, 2006, 03:08 PM: Message edited by: Intensely Deceiving ] |
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03-07-2006, 07:20 PM
| #10 (permalink) |
| Josh&Hart&Nett. | Yes!!! Thanks so much ID! You're a real star. That was a cool interview; it's sad how Josh and the director were disappointed with the way Wicker Park turned out, but it's good that on Slevin they had the time to do just what they both wanted. And I wonder what did go wrong with Texas Lullaby; Josh sounds so enthusiastic about it there. Shame but I'm excited about The Prince of Cool now. Thanks again for typing that out. [img]graemlins/thumbs.gif[/img] |
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