Z
MCN Blogs

By DP30 david@thehotbuttonl.com

DP/30: Hanna, actor Saoirse Ronan

7 Responses to “DP/30: Hanna, actor Saoirse Ronan”

  1. sanj says:

    Saoirse Ronan – Lunch With David Interview

    http://www.youtube.com/watch?v=3R_jYJf79VM

    Unscripted: Saoirse Ronan, Rachel Weisz and Susan Sarandon

    http://www.youtube.com/watch?v=PR53zEp6ng8&feature=related

  2. Tuck Pendelton says:

    SWOOON… damn i’m in love with this one.

  3. LexG says:

    I’d ask Tuck if he’s aware she’s under 18, but that’s a fact apparently lost on Ebert in his riotous review of Weir’s “The Way Back,” wherein he asks why the middle-aged cast didn’t try to hook up with the “cute girl,” meaning SR… who was like 15 when she shot that movie.

    Classic Ebert gaffe.

  4. anghus says:

    atonement is still want one of those movies i go back to because it’s so wonderfully bleak. One of the saddest movies i’ve ever seen. Such great, haunting performances by all involved.

  5. sanj says:

    right at 16 minutes…things got real and she talked about
    comedies . thats where you could have pulled out an ipad / notebook and just showed her the trailer for Sandler pictures + some older movies from Will Farrell …
    20 minutes surfing the net finding cool movie stuff to talk about and at the end you could have sung a Lady Gaga song together. that would have been awesome .

  6. Vin says:

    Dude,
    you’re a great interviewer, I’m amazed by how you make them feel at ease. They are always on defense, it’s hard to reach in but you always manage to do it.
    Congrats!
    Vin B.

  7. Olli says:

    You folks at DP/30:

    you are f….g great inverviewers. The best interviews you can get – you actually really listen to the interviewees and ask actually interesting and
    profound questions. Perfect. Go on with that.

Leave a Reply

DP/30

Z

Quote Unquotesee all »

“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

Z Z