Wenn sie schlau war, hat sie das! :daumen: Aber irgendwie zweifle ich dran, wenn man nach der "Qualität" ihrer Sterbeszene geht...

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I am in the Charybdis of passion, and must perforce circle and circle ever nearer round the fatal centre.

Auf die Gefahr hin, jetzt gleich mit faulen Tomaten beworfen zu werden: Das kann auch ganz schön in die Hose gehen. Nicht jeder gute Schauspieler ist ein ebenso guter Regisseur oder Drehbuchschreiber.

Natürlich gibt es Talente, die dies einfach aus dem Ärmel schütteln. Ich kann nicht beurteilen, ob RA zu denen gehört. Normalerweise aber ist eine lange und harte Ausbildung dafür notwendig.
Möchte hier natürlich niemandem die Illusionen rauben, aber in den Fall weiß ich ziemlich gut, von was ich rede... :gnade:

Edit: Okay, es klingt ein klein wenig zu hart, was ich da gesagt habe! Entschuldigt! Trotzdem möchte ich es zu bedenken geben!

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No, I can't, really... (MMs Antwort auf eine "freche" Frage von mir...)

Ich kann das nur unterstreiche,n Doris.
Bei sehr vielen Schauspielern taucht früher oder später mal der Wunsch auf, sich als Regisseur zu versuchen, was noch lange nicht heißt, dass er /sie damit auch Erfolg hat.
Richard wünsch ich natürlich das Allerbeste, sollte es mal so weit sein, und ich kann mir auch vorstellen, dass er für die Regiearbeit durchaus geeignet ist. :daumen:

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No rotten tomatos. Ich wollte damit nur sagen, wie frustrierend es sein muß, wenn man machen muß, was einem gesagt wird, obwohl man glaubt, es besser machen zu können.

Wie gut er wirklich wäre, werden wir vielleicht in R III sehen und auch da war nicht die Rede davon, alles selbst zu machen. Aber er könnte sich mit fähigeren Leuten umgeben und hätte als Co-Produzent ein entscheidendes Wort mitzureden.

Was Lucy angeht, vermutlich haben sie nicht nur diese Szene durchgesprochen und vermutlich privat geprobt, sondern auch andere. Und irgendwie stelle ich mir vor, dass dabei mehr Input von Richard kam als von Lucy und die gemeinsamen Szenen letztlich so gespielt worden sind, wie er es sich vorgestellt hat, im Rahmen dessen, was Regisseur und Skript erlauben.

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Mit Erlaubnis von Deb das ganze Transkript plus screencaps (clickable thumbnails) ! :blum:

I've done transcripts of excerpts of the dvd interviews (not the commentaries ;D). Where someone refers to Richard, and it's relevant to what he's saying, I've mostly put it in. I think there's one comment I've missed and if I can find it again, I'll add it.

Beneath the Hood

On the series:

Richard: I think it's a bit more, a bit more adventurous. The castle has expanded a lot so there's more rooms. It's more labyrinthine, if you know what I mean. …



Burning Marian's house

Richard: He kind of vents his vengeance on her and her father in quite a serious way and almost it's very personal. The Sheriff sort of says, 'Deal with it'. And the way that he deals with it is very out of proportion with what's happened. It's like his whole anger kind of attacks them in quite violent act.



Guy

Richard: … Basically, in Series I, I kind of figured that Gisborne was a bit like a robot. Um. No comments about the style of acting, thank you (smiles).


But he was kind of like – he wasn't really very human and that was deliberate. And, throughout the series he kind of came to understand his human qualities. And in Series 2 he has to continue to do the job that he does but at the same time he's, he's a man that's starting to experience compassion.

DM/FA: In our heads when we created Guy of Gisborne we wanted somebody who'd just missed being Robin Hood. … She's stirred by him, in our heads. And, who wouldn't be? He's great. …

Richard: It's become much less tolerant, compared to the last series. I think he suffers the same humiliations but his fuse is much shorter this time. I [just light it/dislike it - sorry, couldn't really make it out, so somebody - suggestions?] (head drops and laughs). So he snaps a lot easier.




Farewell to Marian

Guy/Marian

Richard: I think Guy's relationship with Marian is a sort of ever-changing sort of being really. I think it started off that he, he wanted a prize, he wanted a wife the most eligible woman in the area, daughter of a, a nobleman. But it changed from that into somebody that he actually deeply fell in love with. She's become somebody that's shown him who he is because, prior to that, he sort of had a very thick armour on. She's taken him somewhere that's irreversible. So, that's what she is to him, I think.



…

Richard: She's lucky in that she has the ear and the heart of Gisborne who is kind of influential in those inner circles and she can wrap him around her little finger and use him. I think that's what perpetuates the relationship from her point of view because without that she sort of has no leverage.
…
The Nightwatchman

Richard: I can't believe that Guy (laughs) doesn't realise that Marian wasn't the Nightwatchman or some female person wasn't the Nightwatchman



but I think that it's when he removed the mask there was a sense of – there were just too many things to try and play in the moment. But actually that's why the reaction to the Nightwatchman is a slow burn because I think the initial reaction would be, 'Why are you dressed up as the Nightwatchman?', because it wouldn't register straight away but I think it comes to him later and it's an extraordinary amount of anger that he's been, ah, betrayed by her. But, at the same time, he would then have to go back through all those times when he'd met the Nightwatchman and she'd beaten him to a pulp so he's suddenly realising that she's this incredible fighter but at the same time, she's still Marian in a woman's body and he can't quite believe that it's her.



Lucy: You can see on his face. It's fantastic, when we filmed it, … but his reaction I thought was spot on. She's been stringing him along and at several points she's actually fought him or gone up against him or tried to steal his wealth. And I think the second thing which hits him is that he almost fatally wounded her … which, because he loves her has got to really, really hurt.

Killing Marian

Richard: It was probably one of the most difficult for me because I didn't really sleep for a couple of nights before shooting. And, Lucy and I had endless conversations because there was so much that they needed to say to each other and Dom hadn't, had deliberately not written it.



Lucy: I think, I can only imagine what he was feeling based on how I was and the way I performed it because I wanted to make sure that when I'm saying that I love Robin Hood it's not so much of a spiteful thing. … First of all it sort of slightly is and then I think you've got to see her realising, 'Oh, my goodness! I'm so in love with this man. And, at that moment I think she almost doesn't really care if he kills her because she's just so happy and it doesn't get any better than that.

Richard: Because from my point-of-view, in order to do that to somebody it has to come out of a moment which isn't rational.



Lucy: You can see the truth in her eyes. She really does love him. And that's it for him. That's black-out. That's the end of their story together. And the only way to really, truly end that story for anyone else, 'cause it's a classic thing isn't it, when you desperately want someone you almost don't want them to have the other person because you – it's such a big thing for you and so from my point-of-view that's what gives him the strength to do it.

FA/DM: Love and death are very similar things, or can be felt that way and this is the closest he's ever going to get to her. He kind of knows this is the consummation of their relationship and it was always going to be tragically so and never happily so. And it's like, in having her, he kills her.

Richard: I don't think he intended to put a sword through her stomach. I think he grabbed her in a clinch, which is probably the closest they've ever come and the fact that he had a sword in his hand meant that the sword went through her stomach. But, I don't think he thought in that moment, 'I'm going to kill you'. I don't think he intended to kill her at all.



The Death of Edward

Richard: Actually, from Guy's point-of-view it's quite interesting because Marian's father has always been the thing that's sort of pinned her down and a lot of the reasons why she has to do what she does and be where she is is because of him. And, once you remove that, obviously you've got the grief that she needs to go through and the loss of, you know, her beloved father



… Marian's father was one of the few benevolent figures that were neither, that sort of saw the world from both sides and taking him out of the mix, um, everyone felt like, it did feel like the father figure had gone.

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Nochmal Danke Maike! anke:

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I don't want realism. I want magic! Blanche DuBois

RAs Lieblingsausdruck: "sort of" :ja:

Und btw - in Lederhose und ärmellos... hnmacht: :wow:

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No, I can't, really... (MMs Antwort auf eine "freche" Frage von mir...)

Ja, er ist very hot. :daumen: :schmacht: :rawelove:

Danke Maike, das ist wirklich toll!!!!

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@TRAnscript
Very helpful, indeed! Deb / Maike!

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Vergangenheit ist, wenn es nicht mehr wehtut.
(Mark Twain)

...oder "kind of"...das tun Menschen, die ihre Aussage abschwächen wollen, um niemanden vor den Kopf zu stoßen (habe ich mir sagen lassen). :schlaumeier:

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Danke Maike! :blum:

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Vielen Dank für das Transkript, Maike! :kuss:

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So, und hier gibt es den fraglichen Teil des Interviews als Download von TEHI! anke:

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:dankeschön: Danke, Maike - du bist ein Schatz! Unglaublich wie schnell du immer alle neuen Links findest! Du bist :held:

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Danke, Maike! anke:

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