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The King's Speech #2
Romi: Король говорит! Страничка фильма на IMDb _______________________________________________________________ О короле Георге VI можно прочитать здесь. Первая часть треда закончилась тут. _______________________________________________________________ Скачать русские субтитры к фильму можно здесь. _______________________________________________________________________
Jane: olja, Carrie, присоединяюсь к дружному хору спасибов Потрясающе интересная статья, ну а комменты прессы вызывают те же смешанные эмоции, как и у всех от "здрассти, приехали" до "уж лучше поздно, чем никогда"
Romi:
Carrie: Romi пишет: Тянет на открытие Америки, не меньше. Не говори. А еще его тут недавно в американской прессе обозвали "британским Джорджем Клуни", тоже смешно. Спасибо за постер, такого "профильного" еще не видела!
olja: Carrie пишет: А еще его тут недавно в американской прессе обозвали "британским Джорджем Клуни", тоже смешно. О, бедныи, как у них с воображением-то не густо. Или с выбором?
Carrie: olja пишет: как у них с воображением-то не густо. Или с выбором? Ну вот не знаю. С актерами такого уровня, наверное, не густо. Поэтому я искренне надеюсь, что их сравнили не по уровню актерского мастерства, а по каким-то другим параметрам. Я лично считаю Клуни очень интересным внешне мужчиной и отношусь с большим уважением к его активной общественной и благотворительной деятельности, так что если их по этим критериям сравнивать, то пожалуй. Но вот как актер Клуни и рядом не стоял, ИМХО. Так что это еще ему окажут огромную честь, если когда-нибудь назовут "американским Колином Фёртом".
olja: Carrie пишет: Я лично считаю Клуни очень интересным внешне мужчиной и отношусь с большим уважением к его активной общественной и благотворительной деятельности, так что если их по этим критериям сравнивать, то пожалуй. Но вот как актер Клуни и рядом не стоял, Но, думается, речь шла об актерских данных? Клуни хорош внешне, ничего тут не скажешь, но сравнивать актеров... Вообще, дело такое, сравнивать, американский, английский. Каждый интересен или нет по-своему. Но КФ лучше...
Carrie: olja пишет: Вообще, дело такое, сравнивать, американский, английский. Каждый интересен или нет по-своему. Вот именно, потому и смешно слышать такие сравнения. Совершенно разные актерские школы, разный уровень таланта, да и сам стиль актерской игры тоже разный. И, разумеется, для нас КФ лучше, потому мы и здесь, а не на фан-сайте Джорджа Клуни.
Den: Что бы это значило? click here Путешествуя по отечественным киносайтам, залюбовалась комментарием: Фильм рассказывает о человеке, который прошел путь от герцога до короля Англии, о человеке, который поверил в свои силы и смог повести свою страну в светлое будущее.
Carrie: Den пишет: Что бы это значило?" Пустышка, на 99,9%. Сейчас таких много будет в сети, пока сам фильм не выйдет. Судя по выложенному "синопсису" и "комментам", фильма этого никто из писавших и в глаза не видел. Не вздумайте только смс-ки им слать, это обычное разводилово.
Carrie: Еще одна статья, интересная тем, что написана дамой, которая всю жизнь страдает от заикания (Сандра Говард, супруга экс-члена парламента от партии тори). В основном она пишет о собственном опыте, о том, как пыталась лечиться от заикания и о том, какие сложности в жизни и в карьере испытывает человек, страдающий от этого недуга, а об игре Колина отзывается так: As I watched this opening scene of the new film The King's Speech, my heart was in my mouth. Having lived with a stammer since I was very young, I felt the Duke's humiliation as my own. I could identify with every interminable pause and stumble, every blockage and contortion as he struggled to speak. It gave me the sense of an extraordinary bond with him. Having a stammer is like living in your own shadow. It is a black, inhibiting cloud, always holding you back, never giving you a chance to shine and talk normally, like everyone else. <...> That Firth could have learned to stammer entirely convincingly for the part, when I have spent a lifetime failing to learn how not to, was a source of wonder to me. «Когда я смотрела сцену, открывающую фильм "Король говорит!" [речь на стадионе в Уэмбли], у меня сдавило горло. Страдая от заикания с раннего детства, я прочувствовала унижение герцога Йоркского, как свое собственное. Мне была знакома каждая его бесконечная пауза и запинка, каждая блокировка и судорога, мешающая ему говорить. И это дало мне ощущение невероятной связи с ним. Жизнь с заиканием подобна жизни в собственной тени. Это черное, подавляющее облако, которое все время заслоняет вас, не давая вам возможности сверкать и говорить нормально, как все прочие люди. <дальше она рассказывает о себе и о своей жизни, и о малоуспешных попытках лечения.> Меня глубоко изумило, что для этой роли Фёрт смог научиться абсолютно убедительно заикаться, в то время как я за всю свою жизнь так и не смогла научиться не заикаться.» Думаю, Колину очень отрадно читать такие отзывы, подтверждающие, что ему удалось взять очень точную ноту и не сфальшивить, раз сами заикающиеся безошибочно узнают в его герое себя и свои мучения. И еще одну "документальную" фотку из этой статьи утащу, понравилась очень:
olja: Carrie пишет: Колину очень отрадно читать такие отзывы, подтверждающие, что ему удалось взять очень точную ноту и не сфальшивить, раз сами заикающиеся безошибочно узнают в его герое себя и свои мучения. Такой трогательный отзыв, и фотография интересная. Так просто и как-то «по-русски» выглядит королева.
Carrie: olja пишет: Такой трогательный отзыв Кстати, читая отзывы на фильм в британской прессе, я обратила внимание, что это едва ли не самый частый эпитет, которым его награждают — "трогательный" (moving, deeply moving, touching и т.д.) Ну и еще funny, что тоже радует. olja пишет: Так просто и как-то «по-русски» выглядит королева. Ага, такая она здесь домашняя и уютная какая-то. И в то же время становится понятно, почему недобрый язычок Уоллис мог наградить ее прозвищем "шотландская кухарка". Как и обещала в "Прессе", приношу сюда ссылку на статью о съемках фильма. Тут рассказывается в основном о том где, как, в каких интерьерах снимали фильм, интервью с художником-постановщиком и т.д. Тоже интересно почитать — особенно после того, как сам фильм посмотрим наконец. The King's Speech: How clever sets create a compelling picture of 1930s London. Lancaster House stands in for Buckingham Palace. Queen Elizabeth (Helena Bonham Carter) listens with Princess Margaret and Princess Elizabeth while the King makes his first wartime broadcast. The King's Speech: How clever sets create a compelling picture of 1930s London The King's Speech uses period locations that capture the feel of Depression-era Britain. Even the dirt on the streets was authentic, and the smog effects set off the fire alarms in John Lewis Geraldine Bedell The Observer, Sunday 2 January 2011 Colin Firth makes his way down an opulent and very long room, its ceiling elaborately studded with gold mouldings, its panelled walls oppressively gilt-sprigged, garlanded, swagged and punctuated by Louis XIV-style cherubs. Firth is playing George VI on his way to make his first wartime broadcast and the room is in Buckingham Palace – except it isn't, of course; it's actually in Lancaster House, tucked away between the Mall and St James's. Now used by the Foreign Office for diplomatic conferences and assemblies, Lancaster House may actually be the grander of the two: when Queen Victoria once visited, she told its owner: "I have come from my house to your palace." The overblown state drawing room, with its exuberant gilt trellises and traceries, suits the logic of a film that deals with the pressures facing a man who is intensely shy and hampered by a terrible stammer yet reluctantly becomes a public figure. The King's Speech shifts between grand royal residences and depression-scuffed 1930s London, with much of the action taking place in the consulting room of Australian speech therapist Lionel Logue (Geoffrey Rush), a maverick who works in a plain, scruffy space with dark wood and not much furniture. The big question of the film is how, by visiting this room, Firth's character will overcome his stiffness, uncover the private man beneath the protocol and prove that, unlike his elder brother, off gallivanting with Mrs Simpson, he is in touch with grimy 1930s Britain. The production team were determined not to make a prettified costume drama. "When we were financing the film, there was a belief that this kind of movie had become unpopular, that audiences wouldn't connect with it," says Iain Canning, the producer. "Everybody felt it was important to bring back those aspects of cinema that Britain does very well – historical drama with rich production design – so we were keen to avoid the cliches of period films; we wanted London to be authentic, not look like some strange postcard from the past – clean, with blue skies." They looked at filming in Glasgow, Liverpool and Dublin, but eventually decided to shoot in London in the low light of last December and January. Director Tom Hooper has recreated London in Lithuania, South Africa, the US and Hungary, but never previously here in his home town, let alone in Regent's Park, which he walks through on his way to the cutting room. The team anticipated that there would be enough peasoupers to hide inconveniently modern lampposts, and that by using the real Harley Street and a tenement building in Kennington for Logue's home, the shots would have more depth and resonance than is possible with CGI. Hooper wanted a "smoggy, grungy look", according to Amy Merry, who worked on the production design. "When we were shooting exteriors we threw dirty water over everything. We filmed in Harley Street on a Sunday so we closed the road in the early hours and a gritting van came along at 5am and covered the ground with dirt. Then we pumped out so much smog that we set off the fire alarms in John Lewis." The actual rooms Logue practised in were too small to film so the team found a building a block away, 33 Portland Place, which has an unusual vaulted room with large leaded windows at one end, reminiscent of a Venetian palace, and roof lights that make it look a bit like an artist's studio and allow some light in on the pervasive gloom. This room also has extraordinary walls, decorated in distressed browns and oranges like an exotic damaged fresco, if in autumnal colours. When the team arrived, one area was covered in wallpaper infused with oil, which had then been half-scraped, half-burned off. Eve Stewart, the production designer, loved the mottled, peeling effect so much that she decided to reproduce it across the whole wall. The room became so striking that very little furniture was required, and the almost empty set gives the actors space, in Rush's case to make Logue theatrical and expansive; in Firth's, to allow his character, who in the manner of royals in those days has far too many names – Bertie, the Duke of York, King George VI – to emerge from behind his carapace. Stewart, who previously recreated 1950s London in Vera Drake, researched for a couple of months at the Victoria and Albert Museum and the Geffrye Museum of interior design, as well as in photographic libraries and by reading Logue's diaries. She describes the consulting room as a method set, the few props all there for a reason: model aeroplanes to signal the warmth of his life with his sons; a photograph of himself playing Othello in an amateur production (he was a failed actor); some games he might have used to teach children with speech impediments, which Amy Merry researched at the Institute for the Deaf. "You'd bring a prop to Tom," Merry says, "and he'd always want to know if it was true to life." Before Edward VIII's abdication, the Duke and Duchess of York lived at 145 Piccadilly, the location for which was (surprisingly, when you see the film) also 33 Portland Place. In addition to the wood-panelled extension, the house has a number of elegant eau-de-nil rooms designed by Robert Adam. Firth and Helena Bonham Carter didn't even have to go outside to cross the fictional barrier between stuffy royal residences and ordinary London. The website of 33 Portland Place describes the house as "shabby chic". In the film, it looks elegant although not particularly luxurious and certainly not very comfortable. (The family seem to spend a lot of time on the landing.) "It would have been tempting to make everything look lush, but it was the Depression and no one did things up," Stewart says. "The royals also had a kind of disregard for decor. We got hold of the diaries of the princesses' nanny and she said 145 Piccadilly was a horrible dusty building, draughty and not very well heated." The King's Speech opens, dramatically enough, at Wembley Stadium, a sequence that was shot at Leeds United's Elland Road ground and the Grattan Stadium in Bradford. Hooper had directed The Damned United at Elland Road, so knew it was one of the few places that could stand in for the old Wembley, where, in 1925, the Duke's stammer first came to public attention when he gave a halting, hopeless, humiliating Empire Day speech. The crew had to wait until 10pm to get into the stadium, following a match; overnight, the stands were filled with an inflatable crowd. According to Amy Merry, these blow-up people – actually only blow-up upper bodies – are much more convincing than CGI. "They look very funny when they arrive. They came in period costume because they'd already been used for The Changeling. But once they're put in the seats and inflated, they look great." The biggest challenge for the production team, Stewart says, was "no money and lots of sets". At less than £10m, the budget was tight; Lancaster House alone cost £20,000 for a day and supplied only two scenes – the walk to make the broadcast and the official photograph afterwards. The speech itself was shot off-site, "pretty much in a cupboard". The production also used Battersea power station, which did duty as the BBC wireless control room, using machinery that was already there, supplemented with dials moulded from flan cases. Logue's home was an atmospherically beautiful tenement in Kennington, south London, where, again, there was a lot of dirtying-down and gritting over road markings. "We destroyed the window frames – only with paint, of course, but a lot of the residents were alarmed," Merry says. Locals wanted to keep the Bovril ad the team painted on a wall, but it had to be removed with a water cannon. It would have peeled off in the rain eventually anyway. Despite the royal settings, The King's Speech is a remarkably brown film. The palaces are intimidatingly, rather than comfortably, luxurious. The production design plays into the sense of Firth's character struggling to be a king, which, for him, means struggling to be himself. "There was a real commitment on the part of the whole team to put the money on screen," Canning says. "We knew if we could make the setting authentic, paradoxically that would make the story timeless. We wanted nothing out of place to jolt you away, nothing to get in the way of the emotions."
Carrie: И еще одна статья, на сей раз в Independent — рассказ продюсера Гарета Анвина о том, как возникла идея снять фильм и как находились актеры и вайнштейны. В чем-то он повторяет рассказ сценариста Дэвида Сайдлера (особенно в той части, как они Рашу на крыльцо синопсис закинули, и как негодовал по этому поводу его агент). Ну, "для коллекции", пусть и эта ссылочка будет.
рина: Den пишет: Путешествуя по отечественным киносайтам, залюбовалась комментарием: цитата: Фильм рассказывает о человеке, который прошел путь от герцога до короля Англии, о человеке, который... смог повести свою страну в светлое будущее. Прелестно! Какой пир духа ожидает отечественного кинозрителя! "Ричард III" и "Ленин в Октябре" в одном флаконе!
Carrie: Еще одна статья, от 1 декабря, как-то мимо прошла в свое время. Здесь опять много неизбежных повторов, но есть и интересные моменты, к примеру, когда актеры рассказывают о том, как им работалось друг с другом. 'Speech' Therapy The cast of 'The King's Speech' re-creates a crisis in the British royal family. By David Sheward DECEMBER 1, 2010 It all began when an unsolicited script was plopped on Geoffrey Rush's doorstep in suburban Melbourne, Australia. "It turned out that this woman who was looking after it from a fringe theater group in London, her sister or best friend lived two streets away from me," says the actor. "Against all natural protocol of going through agents, they were desperate to get the story to me. I found it fascinating." He's speaking of "The King's Speech," the new Weinstein Co. film, which was a play by David Seidler at the time. The story revolves around a real episode in British history. As King George V was fading in health and Europe was on the brink of war, his son Edward, the heir to the throne, had no desire to become king, because it would mean not being able to marry his true love, the American divorcee Wallis Simpson. Edward's brother George, the Duke of York, known as Bertie to his family, was next in line. But his crippling stammer hindered him in making public speeches, a crucial necessity in the age of radio. When Bertie's wife, Elizabeth, finds unconventional Australian speech therapist Lionel Logue, the future king is on his way to finding his voice and being crowned King George VI. Rush's schedule did not permit him to do a play, but he saw the potential in a film, with himself as Logue. Colin Firth, fresh from his triumph in "A Single Man," signed on as the stuttering duke, and Helena Bonham Carter took the role of his supportive wife. Tom Hooper, no stranger to historical settings (the HBO miniseries "Elizabeth I" and "John Adams"), was slated to helm, and Seidler adapted his stage work for the screen. Casting director Nina Gold worked to fill in the rest of the real-life figures—including the abdicating King Edward VIII (Guy Pearce), his American love (Eve Best), Winston Churchill (Timothy Spall), the dying George V (Michael Gambon), and the Archbishop of Canterbury (Derek Jacobi). Schedules were tight. Rush had only seven weeks to spare for rehearsals and filming in the U.K., after which he had to return to his homeland to headline the Australian stage premiere of "The Drowsy Chaperone." Bonham Carter was simultaneously playing the polar opposite of the proper duchess and future queen mother: the evil sorceress Bellatrix Lestrange in the penultimate installment of the "Harry Potter" franchise. "I was doing 'Harry Potter' during the week and 'The King's Speech' on the weekends. It was very crazy," recalls Bonham Carter. "In a way it was good for me because Bellatrix is so externalized and screaming, out there and big. It was good on the weekends just to be more contained and attempt to be a normal person." Studying the Stutter "Colin and I went into a fairly intense period," says Rush. "The three weeks of rehearsal were predominantly the scenes between the two of us, because we felt that trajectory was such a dramatic gift: two people from polar extremes—culturally, by class and geography—having them come together through a kind of cultural gulf which is kind of interesting. The Duke of York came from a family ruled by a lot of history and protocol, and Lionel Logue [was] the son of a brewer from what would have been a very small city in Australia then, Adelaide. The fact that Lionel's techniques were avant-garde for the time, clashing that kind of egalitarian Australian energy up against that formality of the royal family, we wanted the audience to ride that with a great deal of credibility and hopefully find a certain fascination in how these two men came together. Out of that a lot of comedy came when we were improvising and working with David Seidler on the screenplay." During rehearsals and filming, Rush admired his co-star's ability to re-create Bertie's halting speech pattern: "I was in awe of Colin—because the difficulty of playing a kind of disability, there are pitfalls inevitably in that sort of stuff. I was just dazzled sitting a meter and a half, two meters away from him, watching the kind of detail. It was the silences, the gaps in between the words that couldn't come out, that I found so compelling." Firth returns the compliment. "Every so often I find myself paired with someone who really does ignite me," he says. "Geoffrey was definitely one of those." The two got to know each other slightly while they were shooting "Shakespeare in Love." Rush recalls they became better acquainted during the New York press junket for that film, when they spent several days together with fellow cast member Rupert Everett. "I never laughed so hard in my life," Rush says with a chuckle. Firth had connections with several other actors in "The King's Speech." He co-starred in "Pride and Prejudice" with Jennifer Ehle, who plays Logue's wife, and went to school with Timothy Spall. The actor has praise for all his fellow players. "I thought it was fantastic the way Eve Best inhabited those moments as Mrs. Wallis Simpson," Firth says. "You absolutely felt the power of this woman and that she was real. Tim playing Churchill, you suddenly feel how monumental history is. And Guy Pearce made me raise my game in this. The Brits have forgotten how we spoke a generation or two ago; the Americans have changed too. If you listen to old movies, we were all more clipped. Guy did it. Maybe because he's not English—he's Australian—and he'd studied it. I remember Tom Hooper was very keen that we did get that authenticity, and I thought I was doing it. But then Guy showed up and I realized I'm not coming anywhere near it. The dialect coach said the same thing. He said, 'You all have to catch up with Guy.' I think he probably had the most authentic and accurate sound that any of us had." Pearce, who was born in England but moved with his family to Australia when he was 3, says he relied for his characterization on his lifelong fascination with accents. "I was exposed to the British accent through my mother, who was very English, and films and TV shows and going back to England, so it wasn't the most unfamiliar territory for me," he says. He also viewed film footage and listened to Edward's famous abdication speech. "The quality makes everything sound like it's coming through old-fashioned telephones and terribly high-pitched," he says, laughing. "You have to be careful so that the way you the actor wind up sounding isn't influenced by the technology of the 1930s." Though Pearce has only a few scenes, his portrayal of Edward clearly conveys the conflict between the character's royal duty and his love for Wallis Simpson. Pearce explains, "I was playing that David [the family name for Edward VII] wanted Wallis Simpson to be more than his mistress; he really wanted to marry her. But at the same time, I find it more of a complex issue than that. David probably knew subconsciously that this was his way of getting out of becoming king, which he didn't want to be." The actor had never worked with Firth before but says he found him "an absolute delight—charming, funny, very bright, really engaging." Pearce adds, "He's just an absolute wonderful creative entity and very enjoyable to be around. He made everything very relaxed and was really into discovering the nuances in the relationship between the brothers." Research Pays Off Bonham Carter had something of a head start, as her family tree contains several dukes and duchesses and she is the great-granddaughter of Prime Minister H.H. Asquith. But she also wanted to be sure the future queen mother was more than a stiff historical figure. "I'm quite big on research," Bonham Carter says. "I'd read lots of biographies, as much as I could. The thing about the queen is she lasted so long, so all those books were incredibly thick and I had a huge amount to get through. I had a really helpful friend, Hugo Vickers, who is one of her biographers. I gathered all this information and tried to distill it. As a supporting role, you've got less time to make a point. I didn't want to be just this bland wife. I knew she was the making of [George VI]. I think that was true of the queen mother. She was sort of enigmatic. She had a very presented, expert front of sweetness and charm and grace, but underneath she was a real woman of complex substance." Rush concurs, recalling that Churchill described her as a "marshmallow with a steel center." Rush was helped by a treasure-trove of material, provided by Logue's grandson. "When we got into that three-week rehearsal period, Tom's assistant came in and had typed out all of Logue's diaries and papers and letters and diagnostic charts," Rush says. "There were photos—which was fantastic because we got to see what Lionel and Myrtle looked like. I took a lot from the photos, because he was a very dapper man. I loved that he had a little quiff of hair and always wore bow ties and very smart pencil-stripe three-piece suits. Technically he was an impostor. He did have great success with his experience with shell-shocked soldiers in the First World War in Australia and followed through in the 1920s in the U.K. I was intrigued that this man was rather erudite compared with the internationally accepted Australian cultural stereotype. He was very well-read, highly educated, and quite playful, knew his Shakespeare, loved music, fairly refined in a funny kind of way. It was great finding those elements yet letting him have what I call that egalitarian energy, a sense of playfulness." Rush was further aided by the actors playing his sons. "Those boys were amazing," he says. "With Colin and I, we were able to shoot everything in sequence in the therapy sessions, which was great. But the stuff with the family was, as per normal on a film shoot, all over the place. Those boys were a lot of fun, and they both found a yin-and-yang quality: There was the rather bookish fellow and the slightly more spirited boy. I thought for the scenes they had, they had a nice dimension going." He also has praise for Ehle: "Jennifer I met 13 years ago. She was a friend of Cate Blanchett when we were shooting 'Elizabeth.' I met with Cate a number of times socially, and I'd seen [Jennifer] in 'The Real Thing' on Broadway and I thought she was astonishing. She's one of those actresses with a completely chameleon sense of dialect. When I first met her, I thought Jennifer was terribly, terribly English, not realizing she was from North Carolina. For the number of scenes she had, I think she really fleshed out that character." Similarly, Bonham Carter enjoyed working with the young actors playing her daughters—the little girls who will one day become Queen Elizabeth II and Princess Margaret. "Ramona Marquez, funnily enough, we had already been mother and daughter in a television program," she says. "It was fun to be with her again. She's very funny. Freya Wilson, who played Elizabeth, is really an extraordinary girl, way more intelligent than most people on the set. Perhaps more intelligent than Tom." Hooper was definitely in charge, however. His cast appreciated his openness to experimentation, allowing them to find the real people beneath the historical data. "Tom is a very good, actor-friendly director," says Rush. "A great collaborator, really open to understanding the process and fine-tuning the story, keeping it fresh and avoiding clichés. You can see that in his visual style. He's got a wonderful sense of nailing history without making it seem like a genre." "It was a very democratic atmosphere," says Bonham Carter. "Everyone was taking responsibility for the storytelling. Obviously Tom was, because he's the director, but the actors too. So there was a lot of analysis and deconstructing the script and working out if everything was justified." On that note, Bonham Carter summarizes the appeal of the story: "I didn't think it was necessarily a story just about royalty or the elite. It's a story about somebody who's got an affliction, a story about friendship, and an act of courage in facing that affliction. Its humanity and its humor is what drew me to it." «Во время репетиций и съемок Раш восхищался способностью своего партнера воссоздавать прерывающийся ритм речи Берти: "Я был в восторге от Колина. Играть такой род заболевания очень трудно, в этом неизбежно случаются ловушки и западни. И я был просто заворожен его игрой, поскольку сидел буквально в полутора-двух метрах от него и мог наблюдать за мельчайшими деталями того, что он делал. Особенно мощными и захватывающими мне казались его паузы, эти разрывы между словами, которые никак не могли выйти наружу". Фёрт возвращает комплимент: "Мне довольно часто доводится работать в паре с кем-то, кто меня заводит и вдохновляет, — говорит он, — и Джеффри, безусловно, принадлежит к числу именно таких партнеров". Эти двое познакомились давно, на съемках "Влюбленного Шекспира", хотя тогда знакомство было достаточно мимолетным. Раш вспоминает, что они затем узнали друг друга получше во время нью-йоркской рекламной пресс-компании по этому фильму, когда они провели несколько дней втроем, вместе со своим коллегой по съемкам Рупертом Эвереттом. "Я в жизни столько не хохотал", — посмеиваясь, говорит Раш.» И еще хорошие слова о Колине — на сей раз от Гая Пирса (Эдвард VIII): Актер никогда раньше не работал с Фёртом и говорит, что он "абсолютный восторг — очаровательный, забавный, очень умный и невероятно притягательный. Он совершенно чудесное, творческое существо, и с ним очень приятно находиться рядом. Благодаря ему обстановка была очень расслабленной, и в то же время он был крайне заинтересован в разработке и углублении различных нюансов в отношениях между братьями". Но там вообще все рассыпаются в комплиментах друг другу — Раш хвалит Дженнифер и мальчиков, которые играли его сыновей, Хелена, в свой черед, хвалит девочек, которые играли ее дочерей и т.д. Словом, приятно почитать, даже если сделать скидку на то, что это говорится и не на 100% искренне, то все равно приятно.
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