#Charlie talking about his theatre experience and the way its shaped him as an actor

[charliethomascoxuniverse]

Interview with Charlie Cox and Wes Bentley

by Nobuhiro Hosoki - 01 February 2012 (X)

Story : London-based investigative journalist Robert Torres (Dougray Scott) visits Spain to research a book about Josemaría Escrivá (Cox), the controversial founder of Opus Dei. But Robert hits a wall, both professionally and personally, when his most promising source—his own father, Manolo Torres (Bentley), turns out to be his least cooperative one.

(Q): We were asking them before a little bit about your background and experience to the characters and what kind of research you did. (Q): I heard that your father is the minister, right? So you had the background that you had some of that relationship with your parents. Wes Bentley: Both my parents are Methodist preachers. In fact, in my extended family are quite a few preachers. My mother is remarried to a former Catholic priest, my brother's a preacher, my grandfather's an Evangelist; so I'm surrounded. Charlie Cox: They've got you cornered. Wes Bentley: Yeah, I'm cornered. (Q): Here you are a heathen. Wes Bentley: Obviously I've not just had them to fall back on and to ask questions, but I knew a lot just from my youth and growing up in church. My mom actually when they offered it to me she read the script as well. My parents are great because they're not only preachers they're both historians of everything they study, including the church, so they know a lot about it and have a lot to say. Charlie Cox: I was raised Catholic. (Q): So then you really have roots in this. What did this show you or enlighten you or not? Charlie Cox: Yeah, I was raised Catholic and I spent the best part of my school years trying to find ways and means of getting out of going to services, as all of us did. I've had kind of a funny journey since then. I've always been curious. I have a lot friends who kind of finished school and then never went to church ever again, and that wasn't quite my experience. I always kind of went back. I've also been very interested and read a lot about other religions as well and found that fascinating.

And my journey, of which the making of this movie has been a massive part of, has been revealing in many ways. It's a hard thing to talk about because it is so personal, and also because it's one of those things that you're so aware of how much it changes and has changed in the course of a week, let alone a year or a month. So it's something that I don't feel incredibly comfortable talking about because I know that that then goes into print and suddenly that's your opinion and view, and a week down the line I have a very different opinion and view. (Q): How'd you both get cast in the film? What was it about your character that made you say yes? Charlie Cox: I needed a job. I'll be honest with you. I really needed a job at the time. (Q): You weren't on the street begging. Charlie Cox: I wasn't on the street begging, no. I said yes primarily because of Roland. I had met with him, "The Mission" was one of my favorite films, and I loved "The Killing Fields" as well. I met with him, the audition process was to this day the greatest audition experience I've had. I remember ringing up my agent and saying "Okay, the script is currently a bit iffy and a bit all over the place, and I'm not sure what it wants to be, but I'll go wherever he is if he wants me to." (Q): And yourself? Wes Bentley: Basically the same thing verbatim. Same thing; I needed a job and I needed a good job. Or I needed a job and I wanted it to be a good job, please god. And then I get this script and to meet with Roland and I thought that can't be right, but I went and it was Roland.

And "The Mission" was huge for me as a kid too. It took a while because they were getting their money together, so I thought it may have disappeared, and then I was just so thankful when I got the phone call. And it was at a time when nobody was really working, so to have not only a film that you're in and getting to work, but a film with a good budget like this, it felt like a miracle. Charlie Cox: It really did actually, it really did. I'd forgotten that, but that's exactly right, it was at that time when no one was working. That was the only kind of redeeming factor of that period of that year was that no one was working. (Q): Did either of you feel a little bit cautious or intimidated by the fact that there was a faith component to this film, that the Catholic church is a big part of the theme, that perhaps that was something that would be a turn off to somebody?

Wes Bentley: Yeah, naturally. The thing about it is you can't please everybody, that's the nature of anything, including film. The fact that Josemaria was so controversial, and I don't know much about that. I only know now what I learned from the film about the beginnings of Opus Dei and a bit about stuff after that. Since it didn't affect my life personally I don't know it in detail.

But the film's not really like that. Like I said, the film is really just about the beginnings of Opus Dei. I think some people were actually frustrated by that; they wanted to see more about the controversy, when in fact the focus isn't even there. It's more about Josemaria's passion and calling as far as this aspect of the film goes, and how he maintained that passion and calling through a way, a very violent war. (Q): The whole work ethic, what Opus Dei stands for; is that something that you got something from? Did you take something from the movie that you're able to apply to your own life or that maybe reminded you of something that you've already done in your life? Or did it reinforce something or not? Charlie Cox: Yeah, I think that's true of most jobs. You learn something, whether it be a skill or something. But yeah, learning about Josemaria and the reading I did around his life and the little things he would do. Not the major events in his life that he's known for, but the little ticks that are most interesting for an actor who's preparing to play the role have taught me a huge amount, a great deal, and some of them have stayed with me today. (Q): Can you give me an example? Wes Bentley : One of the things is this idea, he had a word for it, but it was this idea, and it sounds quite abstract, and it was explained to me in a way by an Opus Dei priest, who was on the set with us who's to this day the most open minded man I've ever met in my entire life, which is ironic, considering he's an Opus Dei priest. We would sit down and tell him dirty jokes and try and shock him and he would howl with laughter. (Q): He probably could drink you under the table. Charlie Cox: I don't know if he could do that. We traveled through Spain together on this retreat when I was preparing for the role, and we had a few nights where we'd stay up late talking. Josemaria used to do this thing where he would offer up, it wasn't penance, but he would offer up discomfort or forms of discomfort and offer it up to god. But when it was explained to me he would do it not just for god, but he would do it to condition and to help himself wean himself off the grips of desire. And it's a practice, so for example every Thursday night he wouldn't sleep in his bed. In fact, every Thursday night he wouldn't sleep.

He would stay up all night on a Thursday night. And again, I know I'm not going to be able to explain it in the way it was explained to me, and it can sound a bit wacky, but little things, tiny things. If you're making a meal for you and your friend or you and your girlfriend and you can't help but notice one of them has more than the other plate, it's just worked out that way, and you know for damn sure which one you're getting.

Just a little thing like that. And what I'll do now is I'll notice that in the moment and I'll flip it, and I won't say anything. It's a tiny thing, but if you practice that all through your day it becomes other things like when you go to the loo in a club and the loo is gross, and so you think well why should I do anything about it because it was gross when I came in. And you think you know what, I'll do my bit. It's little things like that that you don't necessarily talk about except in press apparently. (Q): So you've been cleaning up the loos. Charlie Cox: Charlie Cox enjoys cleaning loos in New York clubs. (Q): Could you talk about how you guys tapped into the accent and how you played an old man? Wes Bentley: The accent was very tricky and much discussed because we had so many different actors from all over the world; Argentinean, Spanish, English, American. I can't count Olga because she was doing a Hungarian accent, but Rodrigo, Brazilian. We were all trying to match up a Spanish accent that was somewhat similar and it was very tricky. We had one dialect coach between all of us for her to run around and try to keep us all together. We debated whether there would be an accent or not and finally decided there would be one, but it was a lot of work. Charlie Cox: We're also not doing an accent that exists, which is tricky. If an English person speaks Spanish they stumble over words, but we're speaking English in a Spanish accent as if we're speaking in our native tongue. And it's been done before; famously they did it recently in "Valkyrie," and they did it in "Schindler's List."

But interesting enough they didn't do it in "The Mission." I was against it actually early on. The problem was with the Argentinean and Spanish actors, because they can't do an English or an American accent, and if you've got them sounding Spanish. In many ways why "Valkyrie" didn't work for me was because the accents were all over the place.

Wes Bentley: And the makeup was very difficult, a lot of work, a lot of physical work, a lot of emotional work. And I stayed in it all day and I don't do that as an actor, I don't stay in character in all day, but for this old man I had to. It was the most difficult thing I've ever done.

(Q): Did you two figure out a way of working together? In other words, some people keep themselves separate, some people work together, some people discuss their character, some people don't in terms of developing your parts that are complementing each other and interacting with each other at different points.

Wes Bentley: Did we rehearse with each other? (Q): Yeah I mean how did you talk to each other about your characters? Did you discuss it, did you keep it separate? Charlie Cox: We just became friends really. I know what you mean. I don't really buy into that thing as an actor where there's certain information you shouldn’t have because the character wouldn't have it. That's not acting to me really. I respect people who do that, it's fine, but often you'll find it's people who haven't done much theater work.

I've worked with actors who don't like to rehearse, they want to turn up and they want to just say it, and often you'll get a really good performance. But the trick with acting is to be able to do that and then do it again and then do it again, and do it twice a day on a Wednesday and twice a day on a Saturday, and it 250 times over the course of four months and keep it fresh each time. That's the real trick. (Q): What's next for both of you? Wes Bentley: We worked intensely together with Roland in fact. And Roland was great because we had a lot of childhood history that we had to build and it's difficult in a week and a half, but Roland was great because he had a lot in stock and he would kind of feed it to us in these sessions where we'd turn the lights off and turn on music and just start talking about history between us, and that worked.

And then we worked on scenes intensely. And I agree with Charlie, everything he said about acting. I think you have to kind of be open and talk about the whole thing. It's not just you and your character, it's the whole project. The movie's called "Gone" and it's with Amanda Seyfried. And then I'm doing something else I don't know if I can say yet. (Q): Who directed "Gone"?

Wes Bentley: A Brazilian director named Heitor Dhalia. Charlie Cox: I'm currently doing "Boardwalk Empire." It's great fun and it's interesting because I've only ever done theater and film before, so you get a script, you know what scenes you're in, you know what's required of you, I can tear up the script and make an arc and choose which moments I'm going to lose it. You can construct a performance. But on this show I got given two audition scenes and I had a brief conversation with one of the writers and he was like "This is what we're thinking."

And then as the show's gone on just every two weeks I'll get sides for the next episode and I'll be like "Oh okay, so this is what my character's like." I'm having to piece it together as we film it and it's actually in some ways very freeing, but in other ways it's like "Ooh, well if I'd have known that when I filmed episode two I wonder if I'd have done the same."

~End.

#some interesting stuff in here 👀✨ #Charlie talking about his theatre experience and the way its shaped him as an actor #reminds me of how the director of Stone of Destiny commented that Charlie never gives the same performance twice #and it makes SO much sense considering his theatre background and all the additional skills he learned through it #and of course there's also something to be said for the difference classical training in Britain makes vs acting in America #where so many American actors simply don't have the same level of technical skills...and it shows tbh most of the time #my random ramblings #charlie cox #josemaria escriva #wes bentley #there be dragons #interview

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PROFOUND MEMBER POST - NOVEMBER 2018

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The Masterpost is open for all creations by ProfoundBond members which are posted in entirely during that month.

MEMBER CONTRIBUTIONS FOR NOVEMBER 2018!

Masterpost below the cut.

wargurl83 - @wargurl83​

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JessJessTheBest - @saywhatjessie​ - JessJessTheBest

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Tags: WWE AU, Established Relationship, WWE typical violence, discussion of past injury.

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Accompanying art by @purzelndesbaeumchen 

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Tags: Alternate Universe - College/University, Theatre, Homophobia, Misappropriated Christianity, Astronomer!Castiel, Accidental Actor!Dean, Gay Panic, Misunderstandings, Mutual Pining, First Kiss, First Time

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canadduh - @canadduh - canadduh

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sharkfish - @reallyelegantsharkfish - sharkfish

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mittensmorgul - @mittensmorgul - MittensWraith

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deliciousirony - @delicious-irony - deliciousirony

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dean-bangs-cas-in-the-impala (maknatuna) - @dean-cas-in-the-impala - Dean-Bangs-Cas-In-The-Impala

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EllenOfOz - EllenOfOz

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Summary: Part of the DCBB 2018. Just four ingredients is all they need to reopen the rift. Archangel grace, the Seal of Solomon, blood of a most holy man, and a fruit from the tree of life. Castiel returns from Syria with the fruit, saying that he killed some djinn and bargained with the rest. But just what bargain did Cas make with the djinni queen? What did he experience at her hands? Heaven's great leader of armies prides himself on his self-control, his steadfast courage under pressure. But when the djinni's dream is everything he's ever hoped for...

Tags: No Archive Warnings, canon level violence, canon verse, Djinn, angst with a happy ending, angel wings, season 13

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Accompanying art by @usarechan

Bumocusal - Bumocusual

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Summary: Dean has a dog that won't stop vomiting, a brother with Sasquatch hair that brings all the ladies to the yard, and is developing a particular attachment to the hot guy that jogs by his house.

Tags: Police Officer Dean Winchester, Animal Lover Castiel, Meddling Sam Winchester, Fluff and Smut, Romantic Fluff, Shameless Smut, Vibrators, Anal Fingering, Anal, Kissing, Implied/Referenced Homophobia, Homophobic Language, Rimming, Top Castiel, Bottom Dean Winchester

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jscribbles - jscribbles

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MalMuses - @malmuses - MalMuses

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The Doppelganger Effect

Summary: Dean had been having a pretty great week, all in all. There had been that case up in Dodge City where he’d worn a cowboy hat, he had made homemade burgers for dinner, and best of all? Cas was back from the Empty. Alive, unharmed, and in the bunker. Things were back to normal. Then they showed up to ruin things—Dean and Cas, Version 2.0. They're not just different, they're happy. Not to mention very... coupley. Thrown from their own world with magic unheard of since Purgatory, the doppelgangers need Team Free Will’s help—or is it Dean and Cas that need theirs? Suddenly, Dean is stuck in a minivan with two angels that hate each other, a (pretty awesome) copy of himself, and his gassy little brother. Through magic mirrors, ill-advised pacts with Eldritch gods and rather too many gas-station tacos, Dean and his angel face down the past, and decide on their future. A 2018 DCBB fic with art by EL.

Tags: Case Fic, Possession, Eldritch Gods, Car Accidents, Canon-Typical Violence, Eye Trauma, Tentacle Monsters, Horror, Canon Flashbacks, Dean Winchester is Bad at Feelings, Drinking, Pining, Slow Burn, Witches, Original Character Death(s), Mutual Masturbation, Gore, Angst with a Happy Ending, Sam Ships It, Casturbation

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exceptcas - @exceptcas​ - exceptcas

No Call

Summary:  While celebrating Sam's bachelor party in Vegas, Dean runs into Cas. --- This is based off of the song "Closer" by Halsey.

Tags: Implied/Referenced Alcohol Abuse/Alcoholism, Past Relationship(s), Bachelor Parties

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Hitori-Alouette - @hitori-alouette

Can’t do it alone

Summary: Art created for the DEANCAS CREATIONS CHALLENGE

Tags: #deancascc #destiel  #deancasedit

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