Hell Yeah Paul Anderson
Paul Anderson in Piggy
Paul Anderson in Piggy
Paul Anderson, Piggy Interview
“Paul. Um.. I play Piggy.”
Paul put his heart and socks into his performance…
(via shikari-moran)
Scene with Paul Anderson: She speaks to mask of Rachel McAdams
Noomi Rapace is the cover story of this Sunday’s New York Times Magazine, in anticipation of the release of the upcoming Ridley Scott film Prometheus. For the article inside, Karen Olsson visited Rapace in Berlin while the actress was filming Passion, and the article ends with some very intriguing happenings on the set of the film, where Rapace was working on a post-sex scene with Paul Anderson.
[…]
On the set of Passion, going over line reading with De Palma and Paul Anderson
On my last morning in Berlin, I accompanied Rapace to the “Passion” set, inside an apartment building in a fashionable neighborhood. The set itself was a Euro-creepy bedroom, with scaly black curtains, a round, black bed in the middle, a stuffed bird on a dresser and an open bathroom. Because of the room’s small size, most of the crew huddled in the hall, while De Palma and the cinematographer José Luis Alcaine sat in chairs in the back of the room, near the camera and monitor. It was a post-sex scene that Rapace was performing, with the actor Paul Anderson, and after she changed into her costume — a man’s dress shirt — and her hair and makeup were adjusted to look tousled and slightly sweat-dampened, they read through the dialogue.
In the film, based on a French thriller, Rapace’s Isabelle suffers at the hands of Christine, her manipulative boss, played by Rachel McAdams, then seeks revenge. During this scene, Isabelle, who has just slept with Christine’s lover (played by Anderson) at his apartment, discovers a trove of sex toys. These include a ghostly mask of Christine herself, with white skin and long blond hair, which Isabelle holds up to the light and then addresses.
During the read-through, Rapace questioned De Palma about a couple of lines in which Isabelle talks to the mask, suggesting they weren’t consistent with how she played an earlier scene. She substituted another line, mimicking something Christine has already said: “I used to want to be admired, now I want to be loved.”
As they started filming, Rapace adjusted her performance slightly with each take — more smiling in one, more solemn in the next. And when it came time to shoot her close-up, Rapace and De Palma started analyzing the line again. “Maybe I should just do it more simply,” she said. It was a strange declaration — “I used to want to be admired, now I want to be loved” — to hear Rapace-as-Isabelle make, over and over, after having listened to Rapace-as-Rapace tell me how much she hoped not to fall prey to those desires. She went on to try a few different phrasings, cooing each one to the mask of Rachel McAdams, and finally pared it down to this: “I wanted to be admired, but now I want to be loved.”
[I know this article is more based on Isabelle’s character, but a few informations about Paul are in there too. Not to mention that it’s interesting.]
from Piggy - Making Of
(via shikari-moran)
Screencap from Paul’s Audition tape.
Two screencaps for darkest-alchemy.
They aren’t too spoilerish.
Click to make bigger.
Listen up folks…
If you go to this Youtube page you can pay to watch Paul Anderson’s Piggy
Passing this on, for those that cannot get ahold of the DVD
- Did you pen the screenplay with any particular actors in mind? Can you talk to me about the casting process?
[…]
There were some brilliant actor who came in, they really were exceptional, but there was something that just wasn’t quite clicking. Then Paul Anderson walked in and I was like ‘yeah we have found him’, I think that that was about a week and a half before we were due to start shooting.
- You have slightly touched on my next question really as you say Paul Anderson and Martin Compston take on the central roles of Piggy and Joe so what was it that you saw in these two actors, particularly Paul, that you thought would be great for the roles?
[…]
Paul Anderson just came in as I said… by then I was a little bit like ‘I can’t quite find this character of Piggy I just can’t find him, and then Paul walked in and there was something about it. He didn’t know the script very well as he had only got it the day before but it just didn’t matter.
Then it was really the conversation we had after and we talked about the morality of the story and he was walking around the same idea that I had but in just a slightly different way, essentially it was the same idea and I was like ’this is the guy’.
- I had a chat with Martin last week and he said Paul’s performance was the best performance that he had ever seen evolve in front of him so what was it like seeing him embody this character?
It was incredible! Because of the collaborative nature of the way that the three of us work it was incredible because one of us would have an idea and the other one would go off. Paul just brought so much to the table and it was exceptional to see him give so much.
What was magic, and this is something that no one will see which is a shame, but he almost gave me three different performances throughout the takes; he would give me a big performance a mid range performance and a more restrained performance - that is how in control of the character that he was.
Paul is an incredibly intelligent and creative actor and I think that that really shows in this film.
Full Interview at femalefirst.co.uk
