Having one of the most recognizable voices in movie history can lead to some surreal moments. Just ask Anthony Daniels. He’s played C-3PO in all seven Star Wars films, including this weekend’s Star Wars: The Force Awakens and once rented a car with a very familiar voice on the GPS.
“I felt uncomfortable with me —very clearly — giving me instruction for something I didn’t know. I found it quite bizarre. I was driving thinking, ‘This is unnatural.’”
Other times the voice, which in real life is less mannered than his on-screen counterpart, brings him unexpected recognition.
For some of his fans, seeing isn’t believing — hearing is.
“One of the most charming things that happens to me is when an adult will bring a child to me and say, ‘He doesn’t believe you’re C-3PO.’
“And why would he? I’m some old guy with white hair. Then I do the voice. You see the sound go in one ear and then there is an absolutely realistic time delay whilst the synapses process this. Nothing happens for a second-and-a-half, then suddenly there’s a smile and excitement. I love that delay while they process it. You couldn’t buy that. I’ve been given that and it gives me utter joy because it is without guile. It is just an honest recognition of something I did.”
A week before Daniels trekked to Tunisia in 1976 to begin shooting the sci-fi space opera, he was a stage actor performing in Tom Stoppard’s absurdist play Rosencrantz and Guildenstern Are Dead.
“It’s about two nobodies,” he says. “Rosencrantz is a bit gung ho, (he) doesn’t think. Doesn’t work things out really; just goes for the main thing. His friend Guildenstern is much more reserved, much more intellectual. He thinks about things. Worries about things.
“There I am a week later playing C-3PO in the desert with R2D2. I would say it was three or four years later that something in my brain went, ‘Wait a minute, R2 and 3PO are Rosencrantz and Guildenstern.’ There is a nice synergy there, or connection I think. 3PO is the clever one and R2 is the gung ho one. They’re odd couple buddies. It is a great dynamic to act off.”
Today C-3PO and R2D2 are seen as a classic combo, but during filming, Daniels had his doubts it would work.
“The problem for me was R2D2 never made any sounds so I was playing off myself. Not to aggrandize myself, but it was quite a challenge. It was a bit like a terrible Whose Line Is It Anyway? where you pretend a chair is your best friend.
“When I saw the final movie and there were R2’s beeps and responses, to me it was total magic because that was the first time I ever saw it. They had woven a conversation after the fact.”
Playing the golden droid has been a lifelong career for Daniels. The 69-year-old actor was just 30 years old when he first donned C-3PO’s suit and has since appeared in person or voice in dozens of movies, television shows, commercials, PSAs and live events as the character. He’s even in the legendary The Star Wars Holiday Special and says he’s been “very lucky to be given the chance” to play C-3PO but calls that his “business life.”
“I don’t go around saying, ‘Do you know who I am?’
When I suggest he could at least use his fame and the C-3PO voice to get great tables in restaurants he says, “No, no, no. Then they’d say there’s no table tonight or tomorrow. I don’t think people would be too terribly impressed to have me in the restaurant. Were I to enter in a gold suit then I could have the entire room to myself!”
There’s good news for Star Wars fans. The initials in director J.J. Abrams’s name definitely do not stand for Jar Jar. His take on the “Star Wars” universe does everything the much-maligned prequels did not; that is it focuses on character and adventure not treaties or political dealings. It delivers a nostalgic blast while at the same time offering a new hope that the series can be freshened up.
Set thirty years after “Star Wars: Episode VI – Return of the Jedi” and the defeat of the Galactic Empire, “The Force Awakens” sees Han Solo (Harrison Ford), Chewbacca (Peter Mayhew) and a new set of allies—including scavenger Rey (Daisy Ridley), Finn (John Boyega) an AWOL Stormtrooper and budding resistance fighter, daredevil pilot Poe Dameron (Oscar Isaac) and the lovable basketball-shaped droid BB-8—battle against “a dark shadow spreading across the galaxy,” Darth Vader wannabe Kylo Ren (Adam Driver). They all have one goal in common, to locate missing Jedi Knight Luke Skywalker (Mark Hamill).
That’s it, just a barebones synopsis with no spoilers. I’m going to leave you to discover “Star Wars: The Force Awakens” with fresh eyes because for the first time in over thirty years there is a “Star Wars” movie that delivers the same kind of wide-eyed joy as Lucas last delivered when Luke still had two hands.
Abrams gets away from the political bafflegab that made the prequels such a chore. Instead he returns to the basics, good vs. evil, fathers and sons, keeping it on track as an action-adventure with great characters.
Rey is the female lead everyone has been waiting for Marvel to make a movie about. Abrams beat them to the punch. She’s powerful, human, self sufficient—“Don’t take my hand,” she snarls at Finn as he tries to lead her to safety—and would never even consider wearing a gold bikini.
As a Stormtrooper who finds redemption Finn is the catalyst for much of the film’s action. He’s a little bit goofy, a lot brave and in over his head but because he thinks with his heart and not his head he’s a welcome, charming presence.
Poe Dameron has the swagger of a young Han Solo while BB-8 has personality plus and purrs like a cat. Kylo Ren, on the other hand, is a robed evildoer prone to childish temper tantrums.
Connecting these new characters to the universe are legends from the past, Han Solo, Chewbacca and Leia (Carrie Fisher).
Teaming Solo, Chewie and the Millennium Falcon provides an undeniable nostalgic rush but they are here as more than just cameos to pay tribute to the past. Ford’s Spencer Tracy-esque vibe allows him the gravitas to utter lines like “The galaxy is counting on us,” while sidekick Chewie says much without actually speaking words. Leia has a smaller role, but it’s a blast to see Ford and Fisher, both looking age appropriate, together again.
Their first meeting exemplifies the movie’s playful tone. “You’ve changed your hair,” Hans says to his old flame, noticing her famous bagel hair buns are gone. What could have been a grand reunion is underplayed and instead the call back to the past is presented as a warm moment between two old friends.
It’s that kind of warmth and humanity that separates “The Force Awakens” from other big budget blockbuster entertainment. The finale is big and loud like the Marvel movies but unlike “The Avengers” films Abrams keeps the emotional core alive right up until the end. It’s the right mix of space-opera-cool and character that will please the hard-core fans that see this as just another piece of a much larger puzzle but also works as a standalone story as well.
“Star Wars: The Force Awakens” is a blast, nostalgic and otherwise.
There’s good news for Star Wars fans. The initials in director J.J. Abrams’s name definitely do not stand for Jar Jar. His take on the “Star Wars” universe does everything the much-maligned prequels did not; that is it focuses on character and adventure not treaties or political dealings. It delivers a nostalgic blast while at the same time offering a new hope that the series can be freshened up.
Set thirty years after “Star Wars: Episode VI – Return of the Jedi” and the defeat of the Galactic Empire, “The Force Awakens” sees Han Solo (Harrison Ford), Chewbacca (Peter Mayhew) and a new set of allies—including scavenger Rey (Daisy Ridley), Finn (John Boyega) an AWOL Stormtrooper and budding resistance fighter, daredevil pilot Poe Dameron (Oscar Isaac) and the lovable basketball-shaped droid BB-8—battle against “a dark shadow spreading across the galaxy,” Darth Vader wannabe Kylo Ren (Adam Driver). They all have one goal in common, to locate missing Jedi Knight Luke Skywalker (Mark Hamill).
That’s it, just a barebones synopsis with no spoilers. I’m going to leave you to discover “Star Wars: The Force Awakens” with fresh eyes because for the first time in over thirty years there is a “Star Wars” movie that delivers the same kind of wide-eyed joy as Lucas last delivered when Luke still had two hands.
Abrams gets away from the political bafflegab that made the prequels such a chore. Instead he returns to the basics, good vs. evil, fathers and sons, keeping it on track as an action-adventure with great characters.
Rey is the female lead everyone has been waiting for Marvel to make a movie about. Abrams beat them to the punch. She’s powerful, human, self sufficient—“Don’t take my hand,” she snarls at Finn as he tries to lead her to safety—and would never even consider wearing a gold bikini.
As a Stormtrooper who finds redemption Finn is the catalyst for much of the film’s action. He’s a little bit goofy, a lot brave and in over his head but because he thinks with his heart and not his head he’s a welcome, charming presence.
Poe Dameron has the swagger of a young Han Solo while BB-8 has personality plus and purrs like a cat. Kylo Ren, on the other hand, is a robed evildoer prone to childish temper tantrums.
Connecting these new characters to the universe are legends from the past, Han Solo, Chewbacca and Leia (Carrie Fisher).
Teaming Solo, Chewie and the Millennium Falcon provides an undeniable nostalgic rush but they are here as more than just cameos to pay tribute to the past. Ford’s Spencer Tracy-esque vibe allows him the gravitas to utter lines like “The galaxy is counting on us,” while sidekick Chewie says much without actually speaking words. Leia has a smaller role, but it’s a blast to see Ford and Fisher, both looking age appropriate, together again.
Their first meeting exemplifies the movie’s playful tone. “You’ve changed your hair,” Hans says to his old flame, noticing her famous bagel hair buns are gone. What could have been a grand reunion is underplayed and instead the call back to the past is presented as a warm moment between two old friends.
It’s that kind of warmth and humanity that separates “The Force Awakens” from other big budget blockbuster entertainment. The finale is big and loud like the Marvel movies but unlike “The Avengers” films Abrams keeps the emotional core alive right up until the end. It’s the right mix of space-opera-cool and character that will please the hard-core fans that see this as just another piece of a much larger puzzle but also works as a standalone story as well.
“Star Wars: The Force Awakens” is a blast, nostalgic and otherwise.
Woman in Black 2: Angel of Death has more in common with its predecessor, the 2012 chiller Woman in Black, than just a title and source material.
The first film starred Daniel Radcliffe, Harry Potter himself, in the lead role. The spooky new movie about the strange goings-on at a haunted house during World War II co-stars Potter alum Helen McCrory and Adrian Rawlins.
McCrory, who plays Angel of Death’s uptight schoolmarm, was pregnant when Potter producers offered her the role of pure-blood witch Bellatrix Lestrange in Order of the Phoenix. She passed and the part went to Helena Bonham Carter but two years later she jumped at the chance to play Narcissa, Bellatrix’s sister and the mother of Draco Malfoy, in The Half-Blood Prince.
Co-star Rawlins is the shadowy Dr. Rhodes in Angel of Death, but is best known as the father of Harry in seven Potter movies. Years before playing James Potter the actor starred in the original Woman in Black TV adaptation as Arthur, the role Radcliffe played in the recent remake.
Over the ten years they were in production it seems like the Potter films employed almost all of the British Actors’ Equity Association. Everyone from Ralph Fiennes, Richard Harris and Gary Oldman to Maggie Smith, Imelda Staunton and Emma Thompson appeared in the series. When Bill Nighy was cast in The Deathly Hallows he said. “I am no longer the only English actor not to be in Harry Potter and I am very pleased.”
Less well known than the British superstars that peppered the Potter cast are some of the supporting players, many of which have gone on to breakout success without Harry.
Tom Felton will likely always be associated with cowardly bully Draco Malfoy, so it’s not surprising he played the spineless bad guy utters the famous “damn dirty ape” line,” in Rise of the Planet of the Apes.
Before he starred opposite Rachel McAdams in the time travel romance About Time Domhnall Gleeson was Curse-Breaker Bill Weasley in The Deathly Hallows. The son of actor Brendan Gleeson is on his way to household name status with a role as an Imperial officer who defects to the Republic in J.J. Abrams’ Star Wars: The Force Awakens.
The biggest breakout Potter alum has to be Robert Pattinson. He’s best known as sparkling vampire Edward Cullen in the Twilight franchise but he first appeared as Cedric Diggory in The Goblet of Fire. “The day before [the movie came out] I was just sitting in Leicester Square,” he said, “happily being ignored by everyone. Then suddenly strangers are screaming your name. Amazing.”
Like a lot of young people in the aftermath of 9/11 Adam Driver joined the marines. “Being in the military,” says the This Is Where I Leave You star, “believe it or not, is very different than being in an acting school.”
An injury during a training exercise cut short his military career just shy of three years.
“With the military I grew up very fast,” he says. “Suddenly I was responsible for things that aren’t typical for eighteen or nineteen year olds. Other people’s lives and things like that. It ages you. I loved being in the military but when I got my freedom and could be a civilian again I was interested in perusing acting. I had tunnel vision but there was a big learning curve of learning to be a civilian again; it’s not appropriate to yell at people, people are people and I can’t force my military way of thinking on them. There were a lot of things going on. I am better adjusted now.”
Post marines he studied at Julliard, became one of the breakout star of Girls, worked with Spielberg, the Coen Brothers and has a movie coming soon with Martin Scorsese.
His This Is Where I Leave You co-star Jane Fonda calls him, “our next Robert De Niro plus Robert Redford.”
He plays Fonda’s youngest son Phillip, a young man who arrives home for his father’s funeral with a much older finance (Connie Britton) and a chip on his shoulder because his siblings don’t take him seriously.
“I understood Phillip,” he says. “Similar to the military, you leave and grow into a different person. You experience things that obviously people weren’t with you when you experienced them, and you come back and want people to view you differently and acknowledge this man you’ve become.
“It’s like being a civilian when you have rank and are used to a certain level of respect. You’re Lance Corporal and you go to a Starbucks and somebody who probably went to college, and you’re jealous that you didn’t go to college, tells you to move and suddenly you’re angry. You don’t know who I am! I was a Lance Corporal! It means nothing. That kind of dynamic was really relatable to me.”
Driver has a host of projects on the way, including Hungry Hearts, a film that won him the Volpi Cup for Best Actor at the 71st Venice International Film Festival and a little thing called Star Wars Episode VII.
“Star Wars is a big thing,” he says. It’s huge but what [director] J. J. Abrams and [screenwriter] Larry Kasdan have written, the way they have decided to approach the project is how you approach anything. From the very beginning it is all about story and character. Effects and the spectacle, as in the original, won’t take a back seat because it is very much part of the story but the story dictates that instead of vice versa. Yes, this a long time ago in a galaxy far away, but at the same time it’s about loves and friendship, those universal things that gave the original movies such a long life and resonance. It’s all about just playing this moment and the next moment and hopefully at the end we’ll have a movie.”
People say Hollywood has run out of ideas. How else do you explain all the sequels, prequels and remakes that clog up multiplexes? “Star Trek: Into Darkness” could easily have been lumped in with those movies.
It’s a reboot of a movie franchise that was based on a television show. So it’s a sequel AND a prequel (something so illogical Spock would never approve) featuring a cast of characters originally created by Gene Roddenberry when Lester B. Pearson was still prime minister.
Nothing new there, and there’s nothing much new in J.J. Abrams’ film—they boldly go where many men have gone before—but rarely has a retread of material been as exciting and entertaining as this movie.
The story gets underway when an act of terror robs James T. Kirk (Chris Pine) of a close friend. The reckless Starfleet captain becomes determined to bring the perpetrator to justice. Taking the Enterprise and his usual crew—Spock (Zachary Quinto), Dr. Leonard “Bones” McCoy (Karl Urban), Uhura (Zoe Saldana), Chekov (Anton Yelchin), Scotty (Simon Pegg), Sulu (John Cho) and a new addition, weapons expert Dr. Carol Marcus (Alice Eve)—to a war zone populated by Klingons and one brilliant and ruthless genetically engineered adversary (Benedict Cumberbatch) he must make difficult decisions to finish his mission.
There are certain things you can count on when paying money to see a “Star Trek” movie. Spock will have pointy ears, Bones will speak in terrible metaphors, Scotty will speak in a thick brogue and Kirk will have a thing for alien girls.
All accounted for here. In fact, Abrams skillfully reacquaints the audience with the characters during a wild opening sequence that establishes the traits of each of the major players. It’s a primer for newbies and a reminder for fans, but it also establishes the film’s warp speed pace.
Abrams doesn’t waste a second of screen time, paring the story down to the essentials. The action, story and characters work in harmony, resulting in a near perfect popcorn movie.
Abrams finds a balance of old—see above—and new—the space suits are redesigned, the tech is different and there are younger characters—that should satisfy hard-core Trekkers and tenderfoot Trekkies. For fans there are in-jokes like Kirks telling two expendable members of the landing team to “lose the red shirts.”
No summer tentpole is complete without a compelling bad guy and Benedict Cumberbatch gives good villain. Prone to opining about “walking over your cold corpses,” he has a great villain stare and is suitably unpredictable.
But it’s not all dire and dark like the recent “Iron Man” outing. It’s funnier than you might expect it to be, but it avoids the kitsch sometimes associated with the original series. Abrams finds genuine humor in the characters and situations.
Surprisingly many of the laughs come from the highly logical Spock. “I’m Vulcan,” he says, “we embrace technicalities.” Zachary Quinto’s deadpan delivery sells the gags, but he also does a good job of playing both sides of Spock’s make-up—Vulcan and human—bringing some subtle but real emotion to many of his scenes. SPOILER: A suitable title might have been “Star Trek 2: The Tears of Spock.”
It’s not all perfect, the final action sequence is exciting and well done, but is much more standard than the work that comes before—think Michael Bay—and you might go temporarily blind from the CRAZY lens flares and occasionally distracting 3D, but it is such a good time that none of that matters much.
J.J. Abrams directs “Super 8” the way he produced the TV show “Lost.” He draws out the suspense, doling out just enough detail, shocks and surprises to keep the story interesting and moving forward. He knows that the strength of the movie isn’t the special effects or the whatever-it-is that is causing all the trouble, but the relationship between the kids. Call it “Stand By Me” with a giant bug… or a monster… or something. I’m not saying what!
Welcome to the no spoiler zone! Here’s what I can tell you about “Super 8”: The action begins with six Lillian, Ohio kids shooting an amateur zombie movie. As their super 8 films rolls they witness a terrifying real life train derailment. Soon strange things start happening in town as they army tries their best to contain the situation.
“Super 8” is one part “Goonies,” two parts “Fright Night,” a dash of “Cloverfield” topped off with a liberal pinch of Spielberg glow. The story, the set-up and the characters feel like a throwback to the great teen action adventure movies of the mid-eighties, and while many people have tried to recapture that sensitive mix of sentimentality, vulgarity and menace, few have actually hit it on the head. JJ Abrams nails it. Perhaps it because he had some heavy weight help—Steven Spielberg, master of the genre is listed as a producer—but despite the Spielbergian flourishes, this still very much feels like an Abrams creation.
His fingerprints are all over the action sequences—particularly the out-of-control train wreck scene—and even the sweetness we’ve come to associate with Spielberg has been dialed back. It’s still there—very much so in the film’s last ten minutes—but Abrams manages to set the tone as though he is paying homage to the saccharine tendencies of his mentor than actually aping him.
There is a sense of wonder to “Super 8” that permeates almost every scene. Whether audiences raised on a steady diet of Michael Bay will buy into it is yet to be determined, but for me some of that familiar glow is a welcome sight.
By Richard Crouse – Metro In Focus
