Yo os pongo aquí la entrevista con Michael Sheen, porque me parece que tiene un papel fundamental en la película y hay muy poca información sobre su trabajo.
During the second day of my visit to the "New Moon" set, Rachel, the unit publicist, is able to snatch Michael away for a few moments to meet with us. He's affable and quite charming, the kind of person who sees humor in most everything.
Was yesterday your first day of shooting?
No, it was my second day of shooting.
What’s it been like to come in middle of production, basically when they’re…going away?
It’s been great, thrown into the deep end. The first day of filming we did the 18th century stuff, and then one of the modern scenes. It was a lot to deal with—the wig, and contact lenses all day, and the make-up. But it was fantastic! These sets are amazing. And the look of everyone is so strong, so it was great to just kind of get right into it straight away.
And how does it feel—having been a Lycan in the “Underworld” series—is it ironic to be now playing a vampire?
Yeah, it’s nice. Now I can, you know, bring out the other side of me—the vampiric side, rather than the werewolf side. I feel a bit like a traitor, that I’ve swapped sides. No, it’s nice. I’m glad. The vampires get to wear much cooler clothes, in “Underworld” and in this, so now I get to have a nice bit of tailoring instead of, you know, raggedy leather.
The best thing about playing a werewolf is, you don’t have to worry about getting dirty; if it’s lunchtime, I can have a lie-down and it doesn’t matter, because you know, I’m supposed to look rough. But as for this, I’m supposed to look perfectly tailored and groomed and clean all the time, so I can’t sit down or do anything, because I’ve got all this white make-up on. I’m wearing black clothes. So I’ve got to be really careful that I don’t get covered in stuff.
How did you approach playing Aro, since he is sort of the de facto leader of the Volturi, and he’s sort of touched in the head it seems, and he’s got special powers?
Well, I love the thing in the books that Stephenie wrote about how these vampires are all– well, the Cullen family–really beautiful, and that’s what lures people into their web. And yet Aro is not like that; she describes Aro as being not the same sort of thing. I like the idea that it’s his voice that lulls people in, or his sort of demeanor, rather than the way he looks–because he looks quite weird and scary. But yes, so I’ve tried to go down that route, make him very mesmerizing to people, that his voice is gentle and soft–and yet, there’s something kind of unhinged about him.
But they’re great scenes. Stephenie was saying that she loved writing this scene that we’re doing right now, in the book. I read it over and over again, that particular bit in the book, because there are all kinds of things that she says. Like, she describes his voice as being quite feathery; that’s what gave me the idea of making it very soft and light. I think she describes it as being like a sigh, his voice. And that he’s a bit like a concerned grandfather at times, with Edward. I like the idea of him being—even though he’s this kind of deadly, really dangerous character—there’s something quite sentimental about him, quite soft, and yet the next moment he could eat you.
You said that you read the books, and you paid so much attention to the passages. A lot of actors will talk about how when they do a movie adaptation they won’t read the book, they’ll just stick to the script. Is that something you normally do?
Oh no, if I’m doing something that’s based on a book, then I’ll definitely read the book. I look for anything that will give a little clue or something, a little help, a little hint. Just things like that, like one word that Stephenie uses in the book will kind of tee off my imagination.
Michael is called off to get his makeup touched up before his next scene. It takes a lot of work to look that scary.
Was yesterday your first day of shooting?
No, it was my second day of shooting.
What’s it been like to come in middle of production, basically when they’re…going away?
It’s been great, thrown into the deep end. The first day of filming we did the 18th century stuff, and then one of the modern scenes. It was a lot to deal with—the wig, and contact lenses all day, and the make-up. But it was fantastic! These sets are amazing. And the look of everyone is so strong, so it was great to just kind of get right into it straight away.
And how does it feel—having been a Lycan in the “Underworld” series—is it ironic to be now playing a vampire?
Yeah, it’s nice. Now I can, you know, bring out the other side of me—the vampiric side, rather than the werewolf side. I feel a bit like a traitor, that I’ve swapped sides. No, it’s nice. I’m glad. The vampires get to wear much cooler clothes, in “Underworld” and in this, so now I get to have a nice bit of tailoring instead of, you know, raggedy leather.
The best thing about playing a werewolf is, you don’t have to worry about getting dirty; if it’s lunchtime, I can have a lie-down and it doesn’t matter, because you know, I’m supposed to look rough. But as for this, I’m supposed to look perfectly tailored and groomed and clean all the time, so I can’t sit down or do anything, because I’ve got all this white make-up on. I’m wearing black clothes. So I’ve got to be really careful that I don’t get covered in stuff.
How did you approach playing Aro, since he is sort of the de facto leader of the Volturi, and he’s sort of touched in the head it seems, and he’s got special powers?
Well, I love the thing in the books that Stephenie wrote about how these vampires are all– well, the Cullen family–really beautiful, and that’s what lures people into their web. And yet Aro is not like that; she describes Aro as being not the same sort of thing. I like the idea that it’s his voice that lulls people in, or his sort of demeanor, rather than the way he looks–because he looks quite weird and scary. But yes, so I’ve tried to go down that route, make him very mesmerizing to people, that his voice is gentle and soft–and yet, there’s something kind of unhinged about him.
But they’re great scenes. Stephenie was saying that she loved writing this scene that we’re doing right now, in the book. I read it over and over again, that particular bit in the book, because there are all kinds of things that she says. Like, she describes his voice as being quite feathery; that’s what gave me the idea of making it very soft and light. I think she describes it as being like a sigh, his voice. And that he’s a bit like a concerned grandfather at times, with Edward. I like the idea of him being—even though he’s this kind of deadly, really dangerous character—there’s something quite sentimental about him, quite soft, and yet the next moment he could eat you.
You said that you read the books, and you paid so much attention to the passages. A lot of actors will talk about how when they do a movie adaptation they won’t read the book, they’ll just stick to the script. Is that something you normally do?
Oh no, if I’m doing something that’s based on a book, then I’ll definitely read the book. I look for anything that will give a little clue or something, a little help, a little hint. Just things like that, like one word that Stephenie uses in the book will kind of tee off my imagination.
Michael is called off to get his makeup touched up before his next scene. It takes a lot of work to look that scary.
Merece la pena escuchar el audio sólo por oír como hace el efecto de la voz de Aro. Me encanta cómo habla del personaje y cómo lo ha construído a partir del libro.
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