[Britu]

Indil Ninque! Можно использовать твой перевод для субтитров? Канадский Ричард - один из моих самых любимых Ричардов))))

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Под спойлером транскрипт Breakfast - последнего теле-интервью Ричарда. Может, кто-нибудь переведет ... А то я сейчас субтитры к Браку по расчету штурмую.

LM: Welcome back. After 12 years away from the stage, making his name in ‘The Hobbit’ and the tv drama, Spooks, Richard Armitage says it’s taken something very special to tempt him back to the theatre.

BT: And that something special’s a revival of Arthur Miller’s tale of witch hunting, ‘The Crucible’. Richard plays John Proctor, a role he first played in drama school twenty years ago. Here he is -

LM: It’s very dramatic —

RA: Lots of shouting!

LM: Wow!

BT: Well, I went to it the other night and I was, it’s the same with Jeff Field, I think, as did most of the
audience, wrung out by emotion by the end of the first act, ‘cause it is an incredibly tense production.

RA: Yeah, I mean, it's a four-act opera,really. I mean that in a sort of metaphorical sense, it’s a... the first act is an overture and then there are three acts, climaxing in act four when Proctor is in his own crucible and evolves into Miller’s vision of a, Everyman, I think.

LM: And so why was it this play that brought you back to the stage? I mean, it’s clearly very dramatic -

RA: It was this play, it was this director, it was this particular time in my life, it was this theatre in the configuration that it is, in the round. I think it’s so special, what they’ve done in the 0ld Vic, and I studied the play at drama school. I only got to play the final acts, so um... those lines were very familiar to me when I came back to it 12 years, 20 years later. Twenty years! My goodness!

LM: You can pretend it’s twelve.

RA: But, yeah, it, there’s certain lines just resonate with you, and there are still lines in the play that l find really difficult to speak, and you know that you’re dealing with great writing when the words have
that much of an effect on you.

BT: I was just... it was Miller’s, not peril, but analogy of the American, un-American... I’m trying to remember the un-American Activities Committee, or whatever it was... McCarthy’s -

Rk Yeah, McCarthyism in the 50’s, yeah.

BT: McCarthysim, indeed, and the “Black List" and that sort of political witch hunt going on — does it have a relevance for us today?

RA: I think, you know, it depends which culture this play is played for and to a British audience it’s difficult because, you know, I think as a nation we are traditionally oppressors and suppressors. We haven’t been conquered or invaded so, in general, we look at it from a paspective rather than being in the middle of it. Yael Farber's production, she’s a SouthAi‘rican so she has a different kind of approach to this - you know, there’s lots of resonances with Eastern Europe, and we looked at the Holocaust, we looked at all sorts of influences. I do think that there is a theatre of fear, fear, which is played out in every, you know, civilized culture, and I think that that’s what Miller’s tapping into.

LM: I mean, when you wait to America and drove to the place where it’s based on to what, to help you at all or —

RA: Yeah, I mean, I just want to... I mean, I live in New York so it was a four-hour journey up to Boston, Massachusetts and Salem and to find the original Salem. I think it’s important to me to go to the source and really find out that these were real people, and I’d read Miller‘s biography and he, I wanted to sort of tread the path that he trod in the 50’s when he decided to use this story as, as his parable, yeah.

BT: You’ve also been very busy in films and tv over the years and in ‘The Hobbit’ with Mr. A Serkis —

RA: I know, we just high-fived each other -

LM: I know, we heard that high-fiving -

BT: We heard you. Let’s have a look. You do you play Thorin? Is it Thorin Oakenshield is the
correct way to pronounce it?

RA: Thorin Oakenshield.

BT: Leading a company of dwarves in ‘Desolation of Smaug.’

BT: ‘Desolation of Smaug’ there, and a 6’2" dwarf is sort of contradiction in terms, really, isn‘t it?

LM: Yes

RA: I know. l sort of, the first time I met Peter Jackson I did question him as to why he cast me, but, um... yeah, I think he wanted guys that could fight and look like warriors and not really look like little people. I don’t know.

LM: Also, the exciting thing is, the next film that comes out at the end of this year, doesit’?

RA; Yes, we’re at, the third and final installment comes out at Christmas, and it’s the final installment of six movies —

LM: Yes

RA: It's the end of an era for Peter, really. It’s, thirteen years of work.

BT: And Andy was telling us how he’s bear assistant director —

RA: Yes

BT: Did he direct, assistantly direct you?

RA: He did. I mean, we would never have met if he hadn’t been the second-unit director because l had,
my character didn’t work with Gollum. So, but we qaent a long time and, you know, he’s a great director, actually. He's really fun to work with.

LM: And you’ve done another film, but you’ve busy, aren't you?

RA: Quite.

LM: Another film called ‘Into The Storm’, what’s that one about?

RA: Yes, that’s a good old-fashioned tornado movie, which we shot in Detroit shortly after I finished ‘The Hobbit’, so I think that’s out on, on the 22nd of August, my birthday. So —

BT: Do you play an American?

RA: I do, yes. I play a school teacher from Oklahoma whose children get kind of caught up in the storm.

BT: If I was an American actor I might be slightly upset at the sight of all these British actors —

LM: Yes.

BT: coming and going over, nicking their parts.

RA: I always, I feel really guilty —

LM: Do you?

RA: Yeah, you feel guilty kind of taking their role away from an American —

BT: Is it, why... I mean, obviously, clearly, hugely talented, etcetera, so an automatic choice for any role that you went up for, but is there something about British actors at the moment that makes them the choice of American producers and directors?

RA: Oh, gosh, that’s a good question. I, do you know, I think they’re probably always has bear, but I do feel like the industry here isn’t really driven by finance so much so I don‘t know, and we have access to a lot more media. We do a lot more theatre, perhaps, um... television and film. There’s less of it so we’re more eager to work and probably for less money.

LM: Is it... well, that could be part of it, and tell us about the American accent. How concerning is
that? I mean, you know, you live in America anyway, but, is taking it on is that a concern for you?

RA: Yeah. I mean, you, it’s something that you will, that l always practice and I don’t like doing a
general American accent so I try to be specific as to which region of America you’re speaking from is quite important, so ...

BT: Again, and what‘s funny about ‘The Crucible", of course, is that there are no American accents because they’re all Northern sounding.

RA: Yeah, I mean, in a colonial sort of l600’s accent, which it came out like a slightly Elizabethan sounding, Lancashire, Lincolnshire —

BT: Yeah, yeah, brilliant. All right, Richard, thanks very much.

LM: It’s very good. Thank you very much, indeed.

RA: Bless you.

LM: ‘The Crucible’ is on at the Old Vic theatre in London until Saturday, September 13th, and ‘Into the
Storm’ is out at cinemas next montlg your birthday, 22nd of August —

RA: Of Angust.