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Пресса о Колине #13
Carrie: Предыдущая пресса закончилась здесь. Продолжаем...
Romi: Интервью. Ба-а-а-альшое... Interview: Colin Firth Talks The King’s Speech Nov 24, 2010 - By Mali Elfman What I believe is sure to be Colin Firth’s Oscar winning film, The King’s Speech impresses on all levels and so far is the film to beat in 2010. The cast is led by Firth (who should have won an Oscar last year for his role in A Single Man) as King George the VI, a King with a speech impediment who has to turn to the extravagant speech therapist Lionel Logue played by Geoffrey Rush and his wife, Queen Elizabaeth playing by Helena Bonham Carter. Firth and his supporting cast all put in equally phenomenal performances that will stay with you for some time to come. The film won the top prize at the 2010 Toronto International Film Festival and has many more awards on its way. We were lucky enough to have a chance to speak with Firth about his performance in the film, taking on such a challenging role, the obstables the film is facing with the important albeit foul language in the film and much more… Taking on a Speech Impediment: Have you ever known anyone with stuttered and did you relate any of your performance to any real life experiences? Colin Firth: I grew up with people who stammered. There seemed to be more then than there are now, I wonder if there any any figured on that. I certainly knew people who did, yeah. Did you know about the King’s stammer prior to this film or any of the events surrounding it? Firth: I knew about it, and that’s it. All I knew was that he had a stammer. Beyond the stammer is the issue about friendship and isolation, how could you relate to that as a person who is famous. Firth: It’s funny to say about a story about a member of the Royal Family when none of us our members of the Royal Family or could possibly know what that’s like. Most of us were not around in 1937. There are all these things you could say – how could it possibly be universal? But I think, what [the film has] done, is taken an issue that applies to absolutely everybody and used this convention to heighten those things. Isolatiion is universal. It doesn’t matter how close you are to your family, how many good friends you have, how perfect your marriage is — and most people are not ticking all those boxes. There’s some level on which you which you can’t be reached – we can’t get inside each other’s minds, hearts and souls. This is taking that reality, that truth and making a very extreme case out of it. If men protect themselves behind certain reserves against intimacy, let’s take a man who not only does that – he’s protected by high walls, titles, protocols, and make a therapist work through all those things, you could almost look at them as metaphors for barriers we all put up. In the film it shows how he overcome his stutter… Firth: He didn’t overcome it. And I don’t think the film shows him overcoming it. I think it shows him having an arrangement with it. Where he’s not going to let it stop him from doing his job. You know, that last speech you still see him fighting, he has to have his therapist right there. He fights for every word.If you listen to the cadence (in his speech) it’s a struggle, he has to break it up. That’s the point! He was never cured – I tried to follow the cadences to some extent of the real speech. Some were more fluent than others, but you hear them very measured and broken up. You hear him going through three syllables ending on up phrases and then finding a down phrase and getting blocked again – that’s a fight. Everyone who’s sitting listening to it, The Queen, Churchill and the rest are on the edge of their seat til the end. So, he overcomes the debilitating fear of it – but he doesn’t overcome the fact that he’ll always have the obstacle. Taking on The Royal Family: Have you met any members of the Royal Family? Firth: Not meaningfully. There are certain events in which you might find yourself shaking hands with a member of the Royal Family but it’s nothing that gives you any clue of about what it’s like to be that person, apart from watching peoples behavior around them. When was that? Firth: I was at an event where Prince Charles, who is very gracious with the people he meets, was being ushered around by his private secretary. And he was trying his best to give as much of his focus and interest –he’d known quite a lot about the people he was speaking to – but the private secretary would be making sure he didn’t get too long with that person because there was somebody else in line, and he’d make sure that was very carefully marshaled. It was interesting to see people who are otherwise composed, would actually claim not to be impressed by royalty, suddenly completely transforming and becoming very nervous. And you realize that if you are a member of the Royal Family you’re surrounded by people like that all the time and it’s probably how you see the human race. How much of this role were you able to bass off real people or real events? Firth: If I were playing a cab driver I’d probably want to hang out with a cab driver or drive a cab and see what it’s like. If I were playing an astronaut, I’d try to meet one. But you don’t get to meet Kings and hang around with them. Your information is secondary. As I said, you can look at the people who are around Prince Charles and say, “Wow, that’s what the world looks like to you.” You never meet a person who’s relaxed, gives you a pat on the back, and says “What’s Up?” No one does that. So you try to accumulate that kind of information. There are a lot of letters, a lot of people who have been close the Royal Family in one capacity or another and we did speak to people in those positions. In the end, you read and you listen and then you just use your imagination. Can you talk about the monarchy not being able to and the idea of them being so distant in the past, are they more open now? Firth: I find it very difficult to answer questions about the monarchy because I’m not a royal watcher – some people are. I just don’t know anything about them. An extraordinary moment on the death of Princess Diana – obviously there was an enormous affect emotionally. Then the palace was criticized for not lowering the flag, it took a few days for that to happen. People are emoting all over the place. I don’t know what’s happening in their real lives behind closed doors. They have the right not to exhibit it to the public just like as any other families do. I don’t want to be photographed hugging my kids either – it’s my business and my world. Somebody made a comment around that time, a columnist, about the nature of “who the British think they are”. This idea of British repression has always been a stereotype, which is qualifiable anyway. I think the English are just as accurately represented by the Rolling Stones as they are by John Major – the Royal Family aren’t even English anyway. Phillip’s Greek, the rest of them are German. They’re immigrants. I’m being a little bit arch there, but we’re all a mixed nation. But, this guy said “we seem to have gone over night to a country who can’t talk about their emotions to a country who cannot stop.” Everybody was like holding each other and hugging each other, and the English have turned into “that”. It’s quite extraordinary how this touchy feely thing can over and “how dare the royalty not be that way!” Problems with Language: There have been a lot of problems with the film getting inappropriate ratings, in the UK and in the US… Firth: We won the battle in Britain! In Britain we have a 12a, a 15 and an 18 which is your. Out here I believe it’s an R rating. Originally in Britain it was a 15, but it’s been dropped to a 12a. There didn’t seem to be much argument about it. It happened right in the middle of the London Film Festival, there’s a warning on the poster saying “there is strong language is a speech therapy context” or something like that. What do you think is causing the problems in the US? Firth: This can get really facile. I tried to speak in as considered a way as I could on this subject and I still got a headline that said “Firth Blasts MPAA” – I’m not blasting anybody! This isn’t a non-issue. I get that people don’t want their small children hearing these strong words — I don’t like them. One of the things that the British board said was that it was the fact that it wasn’t in a violent context, it wasn’t directed towards anyone, and it wasn’t in a sexual context. I would add, as a father of small children, that the context I would like to keep them away from is when it’s casually used. I find that as disturbing. I love football – soccer – I love to take them to soccer but I have to wrestle with myself because what they hear are things that would make a sailor blush. And certainly make that scene in the film look like something from The Sound Of Music. I don’t want to deny them the joy of a football game, but you can’t get away from it. It’s a dilemma – I don’t relish those words, I don’t relish my children hearing them. I’m not sitting here judging people who don’t like the words, but frankly, as far as the rest of public opinion is concerned, certainly in our industry, I’d be kicking in a door. Because everyone seems to be in harmony on the subject. And this is a great film at the heart of it for young people to see, so this must be frustrating for you an the filmmakers… Firth: Yes it is. I think this is why it’s being used as a bit of a flagship for the cause. Precisely because I think every parent has the right to set down the parameters for their own kids. I don’t want my kids thinking it’s a good way to use language – language is more beautiful than that. It should be more thought about than that. It has more powerful than that. That’s lazy and ugly – but that’s not the case in this movie. It’s not vicious, it’s not sexual, and it’s not lazy – it’s anything but. These are tools, these forbidden words have become momentary tools to get a guy to break out of extreme repression. Then he immediately gets rather sheepish and apologizes. There couldn’t be a more harmless context. It doesn’t teach your kids to sprinkle your language with these words or direct them against people. I would hate to deny kids in that age bracket, or discourage them from seeing a film which has so much to say to people that age. Tricks Behind the Performance: What tricks did you use to get into that speech pattern and were you able to drop it at the end of the day? Firth: I got a bit confused in my own speech patterns. There’s very much a cult of actors telling you how deeply immersed they were and what it cost them — But, it’s muscle memory. If you do an exercise often enough, your body will train yourself to do that exercise. If you train yourself to interfere with your rhythm of speech, something in your brain remembers that and follows it – If you’re going around trying to promote A Single Man it sometimes come to haunt you. And it did, that’s not a stammer – that’s my mind playing tricks on me. That’s not a real stammer, I spoke to the head of the British Stammering Association a couple weeks ago, and he told me that the research shows now that there’s a strong neurological component. It’s not a psychological problem, there’s something happening in the brain. It’s physical. I asked if that meant that [the therapist in the film] is on the wrong track? He said “well no, because the therapy helps you come to an accommodation with the problem” – you learn not to be crushed by it, not to be disabled by it. You can find a way forward. There are wonderful, great actors who fought stammering… James Earl Jones. Firth: Yes! And there are a lot of others we could name. Politicians – Churchill has speech problems, really severe ones, which he says in the film. Not to mention writers, Lewis Carroll, Somerset Moore. If you’ve lost the use of your legs, or you’ve lost your legs, the people who give us the inspiring and heroic stories are the people who triumph over it – not by getting their legs back but by living their life that makes a virtue of what they’ve got and that’s why we’re so moved by it. Can you talk about your process and how you came to that? Firth: I cannot. I don’t know how to answer it. It was such an incremental process. In conversations with Tom, conversations with David Sidler, our writer who spent his childhood battling a stammer and still says it’s not completely gone. But, to listen to the way he talked about it and then to talk to Tom about how it can work in the context of a film… we’ve got a certain limited amount of time, scenes that have to have a certain pace. And we also have to judge it so that people can experience the agony of the stammer. Not just him – the people who are rooting for him. How do you do that in a way the people share that, but that it’s not so uncomfortable that the film becomes unwatchable or the pace grinds to a halt. It was nice that certain scenes were left to just play and allow the stutter to take its time. How were those scenes for you? Firth: My first scene was the first scene with Logue [Rushes character] and it was an amazing baptism of fire, really. I hadn’t really tried it out, we’d had three intense weeks of rehearsal where we were sitting there, Geoffrey, Tom Hooper, David Sidler, and myself honing that script. Really, really, really challenging every beat, finding what could be got out of it at its maximum, where the humor was to be highlighted… but I couldn’t sit in my own clothes in a hotel room with a script in my hand, really trying to go there. Film doesn’t really allow for that kind of rehearsal in my experience. It wasn’t until Tom put a camera on me, in that room that I thought, “I’m on, this is it now.” And it’s a very interesting thing how he shot it. He just decided he was going to make a huge commitment. You’d normally, I would think, start with a master shot. You’ve established everything, then refine things – he started with a mid-shot, just a single of me. And played an entire 10 minute scene. It’s interesting, Tom will tell you, he committed to his cinematic style then and there. He had kept his options open up until that point. At the end of that day we thought, that’s 10 percent of the movie we just did. He said that at the end of that day. It’s rare that you have a scene long enough to say, we’ve got 10 weeks to go and we just shot 10 percent of this movie. You can’t break the convention – you can’t suddenly say, “I’ll do soft focus and dark lighting”. In a way it was the same with me – I laid a character down, and it was wonderful to have that much of a run at it. It was like doing live theatre. And to have Geoffrey Rush and have his energy and his humor to bounce off gave me so much for nothing. What seemed to be an immense mountain to climb felt incredibly easy because I was in the hands not only of a director like that but an actor who energized me in every way I needed. What’s next for you? Firth: I’m doing a movie called Tinker, Tailor, Soldier, Spy – it’s a wonderful, wonderful novel which was a legendary, brilliant television series in the 1970’s. I am playing a spy And the big “O” Question: You should have won an Oscar last year and this year everyone is saying that you’ll be winning an Oscar come next year? Would it be gratifying to get that kind of attention for this performance? Firth: It’s gratifying to get attention for a performance. I’m not going to wish any of it away, talk as big as you like. I welcome all of it. But, the film has to come out. And all I can say about it right now is that if people are talking like that from the festivals and the few people who’ve seen it already, it’s a wonderful start. It’s code for it’s a really good movie, at the moment, I completely welcome it. Make sure to check out Colin Firth in The King’s Speech starting this Friday, November 26th before he wins all the awards he has coming his way!
Romi: Статья. Colin Firth's royal pains For the actor, his physically and emotionally demanding role in 'The King's Speech' has been difficult to shake. By Steven Zeitchik, Los Angeles Times November 25, 2010 Reporting from New York — Colin Firth, playing a monarch with a debilitating stutter in "The King's Speech," found something unusual happening during shooting: He began experiencing symptoms in parts of his body not associated with speaking. "At the end of some days on set I would get headaches, and a few times I did something weird to the nerves in my left arm and couldn't move it. I still don't know what it was," Firth said of his leading part in the highly anticipated royals drama, which opens in Los Angeles on Friday. "It sounds like an actor trying to talk about the rigors of the role, but it really was the strangest thing." Filmgoers might not be surprised to hear that Firth's performance took on a physical cast. In a turn as demanding as it is subtle, the actor plays Bertie, the future King George VI, afflicted by a stammer so crippling he can't speak publicly. It's a malady with geopolitical consequences, as he is urgently needed to reassure a British public anxious about Hitler's rise and Nazi aggression. But the stuttering also has an emotional aspect — Bertie is the product of a repressed upbringing and a friendless adulthood. Director Tom Hooper's film traces an improbable real-life relationship that develops between Bertie and a quirky Australian speech therapist ( Geoffrey Rush). "The conceit of the film is to take a man and isolate him as much as you can possibly imagine — and then set up a situation where a friendship has to be achieved in spite of that," Firth explained. Even months after it finished shooting, the movie continues to play havoc with Firth's well-being. Stepping into a SoHo restaurant the day after getting off a flight from London, the actor shakes his head and, with characteristic drollness, says, "I'm too old for time zones." He should be used to traveling. The British actor finds himself hopping planes and oceans promoting an acclaimed awards-season role for a second straight year. Best known in this country for romantic comedies such as "Bridget Jones's Diary" and "Love Actually" (and, to a devoted female audience, Mr. Darcy in a 1995 British television adaptation of "Pride and Prejudice"), the 50-year-old has recently found himself on a new acting level. Last year, Firth's performance as a grieving gay professor in "A Single Man" earned him a lead actor Oscar nomination. He's all but assured of repeating the feat with "The King's Speech." Firth finds the sudden attention a little surprising. "Someone asked me this morning [about my acting]: 'Did you get better?'" he recalls with a slight laugh. "I've just carried on doing what it says in the manual." Of course there's no blueprint for becoming a successful leading man, and even if there was, Firth has hardly followed it. The actor had always sought serious roles but has often ended up as the guy chasing the girl in romantic comedies. "I'm more comfortable in dramas than in comedies, and I think there's a certain irony that for so many years I was involved on the comedy side," Firth said, his easy eloquence, wavy auburn hair and fashionable plastic glasses confirming his reputation as the thinking-woman's heartthrob. "Some of them I'm really happy to have done. But they're not necessarily movies that I would go to." Although his new role never devolves into bathos, Firth's Bertie doesn't shy from the more brutal manifestations of his disability. "Tom pushed me not to be afraid of how much stammering we were going to listen to," Firth said, his voice occasionally veering into a nasal register that is used to such stark effect in the film. "There would be days when I'd say, 'You want that much, you really want me to do that?' And he'd say, 'We have to go a darker place.'" Hooper, for his part, says "Colin was concerned there would be too much stuttering and the audience would find it unwatchable. My feeling was [Bertie's condition] had to be profound." Hooper says that Firth was the rare actor who could pull off the tricky feat of imbuing a remote monarch with heart. "One of Colin's great gifts as an actor is that he's nice to the core of his being, and you can see his tremendous humanity even as he's playing someone who's not emotionally available," Hooper said. Firth also pored over hours of audio recordings and photographs of King George VI to prepare to play the historical figure. Yet the result is hardly a starchy period piece but an inspiring and often quite comic crowd-pleaser; the movie has played extremely well at the Telluride, AFI and Toronto film festivals, the last of which gave the film its top audience award. "The emotional response we're getting even from people who couldn't care less about history or English people is almost inexplicable," Firth said. "The only way you can even try to explain it is that the friendship and isolation and parental-heartbreak aspects chime all the way through the story." (Rush has a simpler explanation: "I think that the Americans might connect just on the level of therapy," he quipped at a recent Los Angeles screening. The actor later told The Times that "it was exquisite to watch someone go so deep inside a character in a scene and then, when the camera shut off, be able to stand back and objectify and analyze that character.") Of course, there's also the fact that royals continue to fascinate the public on both sides of the Atlantic. Just a week before the movie's U.S. release, the point was proved again with news of the engagement of Prince William, who happens to be Bertie's great-grandson. Firth said he actually had little interest in the British monarchy — "the first book I read about the royals was for this movie" — and for years has mostly been fascinated primarily by rock stars. The actor, who had a peripatetic childhood in England, Nigeria and the U.S., said it became clear to him as he shot this film how unappealing a royal's life could be. "This movie debunks the idea of a privileged upbringing," Firth said. "I wouldn't change places with that guy no matter how many countries are in my empire."
Den: Romi, спасибо. Интересное интервью и статья. Тревожит, правда, что КФ приходится столько мотаться через океан, играть шпиона (когда только время находит?), много говорить (до проблем с голосом - тоже ничего хорошего для актера). А впереди все главные затеи сезона! Еще мне понравилось там же по твоей ссылке: «King's Speech' director Tom Hooper on Hollywood: No one says what they really mean» - об «их нравах».
Rhina: Den пишет: (когда только время находит?) Вот-вот! Остается надеяться, что это действительно ОН говорит. Хотя, есть вероятность, что журналисты что-то добавляют от себя. Вот еще пара интервью или просто статей за эту неделю. I'm no English gent Colin Firth says his kids are embarrassed of him Колин открещивается от стереотипа английского джентльмена, который приписывают ему. Еще, что он иногда чувствует себя больше американцем, чем англичанином. Наверное, потому, что он много времени проводит сейчас в Америке. Во второй статье он говорит, что его сыновья стесняются того, что их отец - актер. "Что может быть хуже иметь отца, одетого в спандекс, когда вы вынуждены стоять перед всем классом" А 9-летний Люка вообще думал, что он (Колин) работает на стройке, когда впервые (в 3 или 4 года) попал на съемочную площадку. Так что пришлось его (сына) разочаровать. И он все еще приходит в себя от этого открытия На Ютубе есть очень качественный ролик - тоже интервью (кажется такого не было) Любимые нами жесты, мимика - все в наличии. Что-то у меня с ютуба не вставляется последнее время. Romi, поправь, пожалуйста! Colin Firth's King in KING'S SPEECH
Carrie: Да, сейчас "промоушен" в самом разгаре, пошла череда статей и телеинтервью, Колин, конечно, замотанный донельзя всеми эти перелетами через Атлантику туда-сюда (в каком-то из интервью он признается, что "слишком стар уже для постоянной смены часовых поясов"). Но выглядеть ухитряется более или менее пристойно, во всяком случае, в том ролике, что Rhina запостила, вид у него на удивление свежий и цветущий; видимо, удалось до этого отдохнуть в отеле. А вот на Today's Show (спасибо Lily за перезаливку на Youtube ) у него, как мне показалось, темные круги под глазами и вид какой-то усталый, не? Как бы то ни было, опять пошла сплошная обойма на американском ТВ — все эти Реджисы и Келли, Леттерманы, Джеи Лено, Чарли Роузы, Джимми Фаллоны и прочие телешоу, только успевай отслеживать. Спасибо Lampadena, загрузившей шоу с Леттерманом в отличном качестве на Youtube: Поскольку времени на перевод всего интервью у меня по-прежнему нет, прилагаю кратенький английский синопсис, который был выложен на сайте шоу Леттермана: COLIN FIRTH He's Academy Award nominated. He received a Best Actor nomination for "A Single Man" (2009). Colin did a lot of moving around growing up; born in England, moved to Nigeria, and with a lot of stops in between found himself in St. Louis in his early teens. Because they start school a year earlier in England, the St. Louis school system decided to place him in the 8th grade rather than the 7th. At that age, there could be a world of difference between the two grades. Some have made the maturity and puberty jump, some not yet. Colin, unfortunately, was a "not yetter". Colin immediately sensed he was not nearly as sophisticated as the Americans. As he puts it, "The vernacular was unfamiliar to me." It was a struggle and by the time he caught up he was gone; too late to take advantage of it. Being a dad, are his kids proud of their dad the actor? Colin says he feels it's more of an embarrassment for them. How so? Well, have you seen "Mamma Mia"? Apparently Colin wore a lot of eyeliner and makeup for the picture. It was easier on the kids to pretend he was a crane operator. They were very disappointed in their pop when they discovered he did not operate cranes but was an actor. In the film, "The King's Speech", Colin plays King George VI who was King of England from 1936 to 1952. He was not expected to become King, that honor instead being left to his older brother Edward. Edward abdicated the throne less than a year in to marry an American divorcee. King George VI suffered a speech impediment and loathed to speak in public. "The King's Speech" takes a look at King George VI and those most difficult times of the 30s and 40s in the UK.
Romi: Rhina Не получается вставить... Думаю, наложены какие-то ограничения. Скачать — пожалуйста, без вопросов. А вставить — увы... Сорри.
Carrie: Итак, с любезного разрешения razy воспользуюсь ее сканами статьи в американской версии Vogue за декабрь: Собссно, очередное интервью на тему о фильме и около, просто фотки замечательные, ну и есть парочка забавных моментов. Журналистка — некая Габи Вуд — брала интервью в кафе: "Мы встречаемся за ланчем в Чизике, западной части Лондона, где Колин живет со своей итальянской красавицей-женой Ливией, кинопродюсером, и двумя их маленькими детьми, Люкой и Маттео. Пока я колеблюсь, что выбрать — салат или картошку-фри — он провозглашает галантным тоном человека, привыкшего принимать трудные решения: "Она будет картошку-фри". — Затем поворачивается ко мне: "Картошка не полнит, если для вас ее заказывает кто-то другой". Одетый в темные джинсы и синюю рубашку-поло, Фёрт выглядит сейчас сложенным более атлетически, чем тогда, когда Том Форд приговорил его к безжалостным тренировкам для съемок в "Одиноком мужчине". В начале этого года, когда "ОМ" получил номинацию на Оскар, Ливия завела блог об этической моде под названием "Вызов "зеленой" дорожки". Она является совладелицей магазина эко-дизайна, но Фёрт уверяет, что сам он вовсе не борец за экологию. "Я неэтичен с головы до пят!" — восклицает он, когда я спрашиваю, одевается ли он в соответствии с экологической модой. — "Ливии пришлось тащить меня туда силком, а я визжал и упирался".
Romi: Carrie Спасибо! Ну, эти странички сканированы более лучше. Большое спасибо razy "Картошка не полнит, если для вас ее заказывает кто-то другой". А-а! Вот оно!
Carrie: Romi пишет: Ну, эти странички сканированы более лучше. На самом деле, они в еще "более лучшем" разрешении, и текст четко виден, просто это Радикал стандартно уменьшил. Может, задать там другие параметры, чтобы не уменьшал, и выложить в большем размере, как думаешь? Romi пишет: А-а! Вот оно! Ну да. Истинный джентльмен — хоть и неэтичный — с головы до пят. Все без исключения дамы тут же растаяли и растеклись в лужицу. "Он может заказывать мне картошку до конца моей жизни!"
Romi: Carrie пишет: выложить в большем размере, как думаешь? ДА! Пожалуйста!
Carrie: Romi пишет: ДА! Пожалуйста! Заменила. Посмотри, так лучше или превьюшки поставить? (У меня-то экран широкий, но может, у кого-то расползаться будет?)
Romi: Carrie пишет: так лучше или превьюшки поставить? Мне без проблем — у меня монитор широкоформатный. Но, может, у кого-то небольшой обзор? Пусть повисит, пока никто не жалуется?
Carrie: Romi пишет: Может, пусть повисит, пока никто не жалуется? Лады, значица, пока так оставим. Милые дамы, если у кого-то эта страничка форума начнет разъезжаться из-за больших фотографий и будет неудобно читать, дайте знать, я сменю на маленькие превью.
olja: Romi, Carrie, Rhina ! Спасибо огромное за статьи и ролики! И Сестрам по разуму также! Такое количество материалов, что дух захватывает. То ли радоваться за него, то ли сочувствовать, чтоб не перетрудился. Хотя, мужчина в расцвете сил, выдержит... "Картошка не полнит, если для вас ее заказывает кто-то другой". "Я неэтичен с головы до пят!" — восклицает он, когда я спрашиваю, одевается ли он в соответствии с экологической модой. — "Ливии пришлось тащить меня туда силком, а я визжал и упирался". В цитатник надо бы закинуть. Приколинист наш чудный! Carrie пишет: если у кого-то эта страничка форума начнет разъезжаться из-за больших фотографий и будет неудобно читать, дайте знать И ежели даже разъедется, то ради такого лица и фигуры можно потерпеть...
olja: Rhina пишет: На Ютубе есть очень качественный ролик - тоже интервью (кажется такого не было) Любимые нами жесты, мимика - все в наличии. Качественный ролик, но хочется тихо придушить берущего интервью, все за КФ сказал, тот только слушал и кивал.
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