blur said:
This is a newspaper review from down here:
I will retort with an Interview I read before seeing the movie:
Daniel Craig Interview, Casino Royale
from: moviesonline.ca
PART 1 of 2
At the recent New York City press day for the new James Bond film "Casino Royale,” Movies Online caught up with Daniel Craig who plays the new 007. Craig delivers an impressive performance in his first outing as the formidable secret agent and leaves no doubt that he has what it takes to reinvigorate the long standing franchise for a 21st century audience. Based on the 1953 novel by Ian Fleming, "Casino Royale” explores Bond’s early career and how he came to be the legendary 007.
Craig, who is a theatrically trained actor, takes the role seriously and brings dimension, complexity, subtlety, and magnetism to his performance that hasn’t been seen on screen since Sean Connery appeared as James Bond in "From Russia With Love” over 40 years ago. In fact, the rugged featured, charismatic actor may just be the best Bond since Connery. His modern version of Bond, while a bit grimmer and more realistic, remains dashing and true to the original spirit of Fleming's inspired creation.
Craig's Bond is tough, arrogant, humane, sadistic, and vulnerable – all rolled into one. And he hasn’t lost his sense of humor even when he’s angry. When asked by the bartender in one particularly intense scene if he would like his martini shaken or stirred, he responds with a dangerous glint in his eyes, "Do I look like I give a damn?’ There's no doubt he means business and he'll take his drink straight up if he has to.
Daniel Craig is a sensational actor and we appreciated him taking time out of his busy schedule to sit down with us and talk about the challenge of becoming the new Bond, working opposite Eva Green, and his plans for 007’s future. Here's what he had to say:
Q: So, did you let yourself go after you wrapped production?
DC: You mean physically let myself go or mentally let myself go? I did a little bit of both after it. I went on holiday and let myself go in lots of ways. But that was just because we were in France and eating good food and drinking lots of wine. And I have kept up going to the gym, but not quite as intensely as I was doing it during the film.
Q: Have you had time to breathe yet?
DC: It wasn’t like that because we went straight into long-lead press, a junket for a week, where I actually had to go talk about the movie just as we finished it. And it was one of the most bizarre experiences because I hadn’t given it any thought. I’d been just working. People were going, ‘What’s it like to be Bond?’ And I didn’t know. I still don’t really know. And then we went on holiday. So it’s kind of never stopped. As much as I went away on holiday, the phone was ringing every day and we were discussing stuff about how we were going to do this and how we’re going to do that and what the next stage is. It’s a full-time job. It’s a good job, though.
Q: We heard you indulged in several vodka martinis when you got the role. Were you a fan of the drink?
DC: No, no. Believe me, a good one; nothing is like it. I’m not bad at mixing them, either. I used to do that in pubs, in bars. I’m quite particular about them.
Q: You had to go through a lot to get the role and you’ve had to deal with the press and internet since getting it. Why did you want it?
DC: There are simple answers and there’s no kind of bullshit attached to it. The script was great. I got it and I read it and I thought, ‘I’d be a fool not to have a go at this.’ Hindsight is a very easy thing to say, but I was going, ‘If I don’t do this, you’re going to regret not having a go at this,’ because he is one of the biggest, iconographic [characters] in movie history. And I’m an actor. This is what I do for a living. If I don’t take on challenges like this, then what’s the point? Work was going well. It’d been going very well for me and I’ve been very happy with what I’ve been doing. And I so didn’t
expect it to happen. I had other kinds of plans in my mind, maybe, what I wanted to do and how I wanted to carry on, but this came along and Barbara Broccoli is very persuasive. She made me an offer I couldn’t refuse.
Q: How different at the end of the day is something like Bond vs. The Mother?
DC: It is and it isn’t. You’d be surprised, really. The biggest difference on a movie set like that is when you walk on and you’re doing a huge stunt sequence. Then you get an understanding of how big the scale is. You see many more people on set. But when you’re [doing a] dialogue sequence, when I’m doing it with Eva or I’m doing it with Mads, it’s scaled down. You’re trying to do the same thing as I was doing in The Mother. You’re just telling a story and you’re acting with other people. I don’t differentiate between the two, and that was important when we were doing the film. I didn’t want us to shoot two movies. I didn’t want to shoot an action movie and a love story, or whatever the story (part of it) was. I wanted it to be absolutely seamless. I wanted it to be so that I could see the storytelling going on in this.
Q: What was your most grueling stunt?
DC: They were all pretty grueling, but I think the Madagascar sequence at the beginning, because of all the running involved. I picked up injuries, strained muscles. I wouldn’t classify myself as a professional athlete in any way, but I understand now a little bit more about how professional athletes are constantly working through pain. And painkillers go a long way.
Q: How pleased were you that this is a low-tech Bond adventure, light on the gadgets?
DC: It was not a debatable issue, and that was from all of us. That was from Martin. That was from Gary Powell, the stunt coordinator, and Barbara and Michael. It was NOT a debatable issue. We are making a movie here which is that any gadget, any kind of effect that happens, is part of the storytelling. You see at Miami Airport there are a lot of planes landing. They were there to sort of say, ‘We’re in Miami. Here are the planes.’ We couldn’t have planes landing in the back of shots, so we had CGI to give us that.
But nothing that you see in the movie, stunt-wise, is not happening. It’s all happening. And if it’s not me doing, it’s someone else doing it, and they’re getting hurt. You also find out what it’s like falling down a flight of stairs. It feels like you’re falling down a f***ing flight of stairs. And that’s what we wanted to feel. We wanted to feel the pain, the pain in it.
Q: How likable or not did you want your Bond to be?
DC: I didn’t go out to make him likable. I didn’t go out, going, ‘Please like him.’ I wanted him to be somebody who changed. I did not want him to be the same person at the beginning of the movie as he was at the end. And, for whatever reason, and I wasn’t thinking beyond this movie at the time, I was thinking that if we ever do do another we need to have somewhere to go. I wanted to see a fallible human being, somebody that made mistakes, somebody who an audience watches and goes, ‘This might not turn out good. This might turn out really bad.’ And sometimes it did.
Q: How many are you signed to do?
DC: Three.
Q: How tough was the torture scene to shoot?
DC: It was the simplest, easiest scene in the movie to shoot. I hate to say it, but it took a day. It took a day of shooting. It was on the page. Mads is a fantastic actor. We figured it out together. I sat in a corner and listened to some music and got myself into the idea. We both had a discussion. I said to myself, ‘The one thing I don’t want to do, even though he is in this position he’s in, is have him lose.’ He cannot lose. Even though he knows he’s going to die, he must never let it go. Martins, Mads and I just sat down, talked about it, thought how we were going to do it and just got on with it and shot it. It was remarkably easy, apart from one [incident]. We had a hard bottom on the chair, obviously, because I wouldn't have been able to do it otherwise. And it cracked at one point. I left the room rather [hastily]. I just like [jumped] eight feet in the air [and yelled] ‘Stop!!’
Q: What were you listening to?
DC: I was listening to the Clash and to the Foo Fighters. Vivaldi? No. The Four Seasons? No. It was just some good guitar music.
Q: Was there a point where, hearing the negative Internet and tabloid buzz, you took those comments to heart?
DC: Look, I will not lie to you about it. It affected me. It affected me and I went, ‘You know what? What can I do? I can’t answer it.’ I can’t start getting on Internet sites and go (he makes whining noises). I get it. I get the passion that people feel for this, and I understand it. But I make films. Normally, when I make a film, we wait until we get to the premiere or we wait to the time when the press screening happens, and I start getting reviews. So it was like,
‘See the f***ing movie. Watch the movie and then you can say what you like about it. But just watch the movie.’ That’s my answer. There’s no point in getting into tit for tat arguments about the way I look.
Q: Women at the screening gasped at your body, in a good way.
DC: Thank you.
Q: Can you talk about the James Bond workout you did?
DC: It was just nothing special. I went to the gym, I pushed weights and I ran about. It was intense. I mean, I had to do it every day. I was doing an hour and a half, maybe, every day. We increased the weight quite rapidly because that was the only way I was going to build up. I had a high-protein diet. And at the end of the workout I’d do 20 minutes on the bike to try and keep the fat down. There’s no real secret to it. You can find it in any heath magazine. I had a good trainer, which helped, someone encouraging me.
Q: You’re signed for two more and you just said you want this to be a beginning for Bond. So what are the next steps?
DC: I think we’ve set up the idea now that there’s an organization out there that needs to be sorted out, and he’s sort of got a sense of revenge. He wants to go and get them, so that’s his spur. Everybody has sort of said, ‘This is how he becomes Bond.’ I think the process is still happening. That idea that we have the finished article? We haven’t yet. We’ve got somebody who’s still maybe too headstrong and doesn’t always make the right decision. I want to take on what we’ve set up and I think we’ve made a good movie here, and I want to make another good movie. I don’t want to let the ball drop.
Q: Why does it work more for you that he’s fallible?
DC: Because I think it’s dramatically much more interesting. If I play any character I want to see a weakness within them, because I want to see how they cope with that, how they dealt with it. I don’t want to watch two-dimensional characters when I go to the cinema. I want to watch rounded people make decisions, and I can’t believe that they’d make a decision that they’re Teflon-coated. That doesn’t interest me.