介绍:
文本源及音频源：
http://collider.com/crimson-peak-tom-hiddleston-talks-progressing-from-romance-to-kink-guillermo-del-toro-and-more/
额，文本链接那个地址上本来有音频链接的，不知怎么找不到了。要翻墙。想看原文和下载音频的童鞋可以去T大微博找。
调整了部分提问者音量。
Question: Talk a little bit about working with Guillermo Del Toro and what you thought it would be like and what it actually happened like.
TOM HIDDLESTON: He is amazing. I mean, that probably isn’t a secret from everyone else who’s ever worked with him but he’s like this great Mexican bear of passion and warmth. He is just so inspiring, he loves his job and, I think, as a working experience and collaboration he’s one of the most inspired and inspiring people I’ve ever worked with. His knowledge about everything is so deep, he knows how to do everyone’s job and he’s very, very special, really inclusive. Just everything, from the very first moment I met him, has been about enthusiasm and expansion and love and a good time, as well. This crew was working 16-hour days and they would follow him into war, 16-hour days never felt so short because it’s such fun.
When Benedict Cumberbatch dropped out, Guillermo sent the script to you and he said that you turned around almost immediately and accepted, I think he said within 72 hours.
HIDDLESTON: Yeah.
Was it based on him, or was it based on the script, or was it based on – What was it that made you say, ‘This is definitely a part worth taking’?
HIDDLESTON: Well, it happened very quickly. He called me, my agents called and said, ‘Guillermo Del Toro is going to call you in the next hour’ and he called me and told me the story and he said, ‘Don’t say yes, or no. But I’m gonna rewrite the script this weekend or tonight or tomorrow, and I’m gonna send you a new draft’ and like an hour later Jessica [Chastain] called me and said, ‘You have to do it’ [Laughs] ‘I want you to do it, and Guillermo wants you to do it’ and I was really excited I couldn’t wait to read the script. Then, it must have been like a day later, I got it and I read it immediately in one sitting and he had rewritten the role, so I got sort of my own draft, he had rewritten the part for me in a way. It’s just brilliant, it just is a brilliant screenplay, and I wanted to work with him, I knew that Jessica, and Mia [Wasikowska], and Charlie [Hunnam] were locked in and on board; and I love Mia and I know Jessica from before and I wanted to work with Charlie so there was just no possible way I was going to say ‘no’. Working with Guillermo who I’ve admired for so long, and the script itself was just brilliant, the screenplay was captivating and rich and sophisticated and terrifying; and the role was amazing, and different than anything else I’d done, It was a very, very quick ‘yes’ after that.
Do you have any idea what the changes were that he made to make it for you specifically?
HIDDLESTON: I don’t know actually, I don’t know. [Laughs] You would have to ask him. The character is quite emotionally complex, he has shades of light and dark in him and perhaps that’s something I’ve done before, I don’t know. I think maybe he changed the age or he changed certain aspects of his physical disposition or something, I don’t know. It didn’t seem particularly tailor-made but it seemed like a part that I could play and I really wanted to play, as well.
Can you go over your relationship with the two ladies, how they might bring out different aspects of the character? Because Jessica told us earlier just about the similar relationship and how it’s co-dependent from her perspective.
HDDLESTON: It’s really interesting I’ve read a book –Literally, I’ve been reading a book all day called The Politics of Family by R. D. Laing who’s a very famous psychologist from the ‘60s, and he talks about the difference between the subjective experience of someone within the family unit and then the public definition of what that family unit comes to be, and essentially that the gap between the two in every family is often quite wide; and there’s always a tussle about who gets to define what the relationship is in a public context within the family. So I think Lucille [Sharpe] and Thomas [Sharpe] would disagree about what the nature of the relationship is and who does the talking, who does the listening, and who does the leading, who does the following. But they are both… [Laughs] Sorry I’m trying not to reveal things that I don’t want you to know. They’re both orphans and have lived together, it’s the late 19th century, so it’s obviously a time when a women’s power is expressed through the capacity of the men closest to her. That’s sadly the situation, and so her proximity to her brother is one of co-dependency in that she’s invested in his success in the world, and he feels very protective of her as well but not just because of their isolation, because they’re orphans. The thing of sibling who are close in age, who have been left alone and who need each other and who depend on each other, she’s older he’s younger; but he has a career, he’s a brilliant really deeply gifted craftsman and engineer who may have gone on to become someone like [Henry] Bessemer or [Isambard] Brunel, that’s actually like a God-given talent that he has, he’s a gifted craftsman so he’s brilliant with his hands and his great ambition his brain child is to revolutionize clay mining in the north of England in the last decade of the 19th century, early Victorian era; and if his scheme works, he has this great dream of he’s built this machine –which I saw today which is mind-blowing. I’ve pitched to Guillermo a whole 20 minutes of There Will Be Blood 2 [Laughs] where it’s just me and the machine and he’s like, ‘Yeah man, then we’ll fucking do it. Why not?’ [Laughs].
But if Thomas Sharpe’s dream works, if he gets the investment and the financial capital to put into his scheme, he could be one of the great engineers of the Victorian age; and of course she’s invested in that because it means that their whole life would change; and they are destitute, they live in Allerdale Hall, which is the location of the Crimson Peak, and it’s a mansion they’ve inherited. In the classic case of old money, they’ve inherited this huge pile of crumbling bricks which they don’t have the resources to refurbish, so they have all the old paintings and all the old clothes and the leaky roof and damp, it’s essentially sinking into the clay which is underneath the house; and his dream is to make use of the riches in the soil and earn the revenue to redo the house and then who knows after that.
So does that mean his relationship with Edith [Cushing] is based on genuine love or is that…?
HIDDLESTON: Oh, this is the fascinating thing, I think the film opens –and I’m not spoiling anything by saying it– is Thomas and Lucille, they are old money from the north of England who essentially are borderline destitute and he’s brilliant and she’s quite shy and retiring and they go into the new world, they go to Boston to Massachusetts where everything is full of hope and graft and optimism looking for investment, looking for investors in the machine, in Sharpe’s machine, and he falls in love with a sort of prodigious and slightly willful young woman who’s rebelling against her own father; and they have just a spiritual connection about certain things, they just get each other, and I think he doesn’t expect to fall in love. He’s ostensibly gone to America for business reasons and he meets this young girl who writes her own novels and won’t be told what the content of those novels should be by prospective publishers, and they think they can tell this young woman what to do and she writes her own stuff and he loves it and they make a connection and it’s incredibly romantic after the manner of the great gothic romance novels; and there’s a big ball and they dance and look into each other’s eyes and fall head over heels in love which is really against the wishes of many, many people in the room who have other plans for their family members.
So that’s what I think it is, and so I think they both bring out different aspects, to answer your question, they both bring out different aspects of him. Lucille I think he feels very responsible for Lucille, he feels he needs to look after her, to protect her, she’s a very delicate vulnerable woman, and given their family history will need a great deal of care and attention so on one level he’s pulled home by Lucille, he’s reminded of home, he’s reminded of the past, of the pain of the past, and the experiences of the past. But Edith is this light that’s pulling him away from home that represents new experiences and travel, and she’s the future, she’s the light in his life, I think.
You said ‘romance’, while Guillermo gave us ‘kink’.
HIDDLESTON: [Laughs]. There is kink. It begins with romance and progresses to kink, but I’m not gonna…
How do you define that in your vocabulary, what’s ‘kink’?
HIDDLESTON: It’s really kinky, you’ll see why.
I don’t see anything kinky. What’s kinky?
HIDDLESTON: In my life, in my work, or…? Of course Scarlett Johansson is a mewling quim.
[All laugh].
HIDDLESTON: You know, there is a sexuality in the film which is expressed and you think you know what it is and then you realize you’re only scratching the surface. So… [Laughs] I really can’t reveal more than that. Thomas Sharpe has, and he’s not the only character in the film, but he has a history and I suppose the interesting thing about the film, the story, is it’s about the difference between expectation and reality and each character is sort of projecting certain things. Like, you got Thomas, Lucille, Edith and Michael; and they’re all projecting onto each other and have certain expectations of who the other might be and then when the masks are pulled away you see a very different picture; and that might be where the kink emerges. Without spoiling things too much.
How aware is your character of the living, breathing entity that is the house and the supernatural elements that are going into it?
HIDDLESTON: I actually talked to Guillermo about that this morning. I think it’s really interesting in the kind of quartet of the central characters, Thomas’ journey is one of revelation where he thinks he knows who he is and what he’s inherited, in every sense of that word, inherited emotionally, financially, physically with the house, with Lucille, with all that stuff; and he wakes up to certain truths within the course of the film which then change his intentions and his ambitions before the end of it. So he has almost like a demasking experience in the middle of the film where he realizes that things are much more complicated and spooky than they might have at first appeared.
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