Nowy, fajny wywiad z Wentem!

Serwis The Daily Beast opublikował ciekawy wywiad z Wentem (poniżej znajdziecie tłumaczenie): 

Whatever Happened to ‘Prison Break’ Hunk Wentworth Miller?

The actor has been out of the spotlight since ‘Prison Break’ ended. And he’s changed gears—he tells Ramin Setoodeh about his first screenplay, ‘Stoker,’ inspired by Hitchcock’s ‘Shadow of a Doubt’ and vampire mythology.  

Ever since Prison Break ended in 2009, Wentworth Miller has taken a step away from the spotlight. He’s done a few TV guest spots—Law & Order: Special Victims Unit andHouse—and decided to try his hand at writing. A lot of actors attempt a second career, but Miller’s screenplay for Stoker, which he submitted under a pseudonym, ended up on Hollywood’s annual “Black List” of best unproduced work. South Korea’s Park Chan-wook (Oldboy) signed up to direct the story, starring Nicole Kidman, Matthew Goode, and Mia Wasikowska as a troubled teen who loses her father. The horror thriller opened in limited release last weekend.

Miller hasn’t given many interviews about Stoker, but he agreed to answer our questions over email. Since he’s a writer now, we thought we’d give it a try. 

Hi, Wentworth! We haven’t heard a lot from you since Prison Break. I think I read somewhere that you’re a “former actor” now. Is that true? Did you quit acting to become a screenplay writer? Or would you still like to do both? 

There was a stretch in there—after Prison Break, when I was first starting to find my way as a writer—when I definitely thought I might be done with acting. But it’s still in my system. Somewhere. There’s a lot about acting—and when I say “acting” I don’t mean performing, I mean the process of producing and promoting a movie or a TV show—that doesn’t line up with who I am. But there’s also a sense of community in that process that you don’t get to tap into as a writer. It goes without saying, but writing is a solitary, isolated business (for me anyway). And I’ve got my limits as far as that goes, like anyone. 

You went to Princeton, where you studied English literature. Did you always think of yourself as a writer first? 

Actually, it was at Princeton that I learned to think of myself as not a writer. My freshman fall, I applied to the creative writing program and was promptly hosed. (That’s what we called getting rejected, “hosed.”) And with good reason. I don’t remember what I submitted, but I’m sure it wasn’t very good. Anyway, I continued to think of myself as “not a writer” well into my 30s. In fact, I tried to enlist a bunch of people to write Stoker for me because doing it myself didn’t seem within the realm of what was possible.

That went on for four years. Then late one night, when my DVR was tapped out, I thought, “Why don’t I sit down and try to write one scene? Who’s gonna know?” Four or five weeks later, I had the whole thing. 

You submitted the first draft of Stoker under a pseudonym, Ted Foulke. Where did you come up with that name!? And why didn’t you use your real name? 

“Foulke” is the name of a dorm at Princeton, and a friend of mine used to have a particularly vicious dog named “Ted.” It seemed appropriate. I went with a pseudonym because I was worried people would see my name on the title page and jump to conclusions before they even cracked the script. Also, I didn’t want actors who might be right for the part of “Uncle Charlie”—like Matthew Goode (who I’d imagined in the role while I was writing it, actually)—I didn’t want these guys reading it, seeing my name on the cover and thinking, “Oh, he must have written this part for himself but then he wasn’t allowed to play it” (because I was only a TV star or whatever). I wanted actors to be able to imagine themselves as “Uncle Charlie” without any extra static. 

Matthew Goode

Stoker takes places after the death of India’s (Wasikowska) father. Her creepy uncle (Goode) moves into her house, and there seems to be something off with her mom (Kidman). Can you talk about where you found the inspiration for the story? Did you think of it as a scary movie first, or did it evolve from a different genre in your head? It’s at times so dark that it’s difficult to watch. Where did that darkness come from? 

Stoker began as a mashup of Hitchcock’s Shadow of a Doubt, The Stepfather with Terry O’Quinn, and bits and pieces of vampire mythology. I think one of the most interesting, most sympathetic interpretations of the Dracula figure is that he’s just another lonely soul schlepping through the years, looking for someone to love him, fangs and all. I think that speaks to the core of the uncle/niece dynamic in Stoker.

As to why the movie feels “dark,” on a surface level, my original screenplay wasn’t as gruesome as a Saw or a Texas Chainsaw Massacre. But you don’t go to those movies to invest in the characters. You go to see hotties getting butchered in new and creative ways. My hope with Stoker was that the audience would invest in the characters. Then, when horrible things happened, it would resonate differently. More deeply. 

What’s your writing process like? Do you write in spurts? Do you have a specific place where you write? Do you have movies that you watch over and over, and study for structure? Do you revise a lot? Did you read books about screenplay writing? 

Answering the above in order...

1. I like to pick out or make a soundtrack for each script and then listen to that and only that until the script’s finished. It helps me get in—and stay in—the necessary groove. The soundtrack for Stoker was The Hours by Philip Glass. I must’ve logged well over 300 plays.

1. Yes. Sometimes I’ll write for 10 hours straight. Then I won’t write for days. Depends on my mood. (And my deadline.)

1. My desk. Or sitting on a stool at the little island in my kitchen. I’ve never tried writing at a coffeehouse. I just know instinctively it’s not for me. Someone chewing with their mouth open to my right, someone watching porn on their laptop on my left ... too many distractions. appreciate.

1. No. But looking back, I learned a lot from my four seasons on Prison Break. It was a relentlessly plot-driven show, and the writers were very good about making connections and tying up loose ends. I think I absorbed a great deal about story structure during that period, albeit unconsciously.

1. I revise obsessively. It’s important to me to have a clean page. I’m not a grammar god (by any stretch) but I try to keep a lookout. When I’m reading a script that’s got glaring typos, it pulls me right out of the story. It may sound cynical, but I never assume I’ve got my reader’s full attention or that they’re going to willingly slog through dense, illegible material. So I try to keep my writing as user-friendly as possible.

1. I’ve never read a book or attended a class on screenwriting. I’m not opposed to the idea, but I like what I’ve got going on naturally and want to protect that. The one question I will ask myself as I’m re-reading a script for the 60th time is, “Am I entertained? Still?” If the answer is “yes” I’ll assume other people will be too.

I know that the movie was written before we were having a national conversation about gun violence. But BuzzFeed’s Kate Aurthur has pointed out how, in the aftermath of Sandy Hook, one of the things that bothered her about watching the film was seeing a high school heroine obsessed with guns. I’ve asked other people in Hollywood about violence in films (Django Unchained, etc.), and the answer I usually get is that movies are different from reality. What are your thoughts about this? 

What I can tell you is that beyond selling Fox Searchlight my original screenplay, I had nothing to do with the movie’s execution. The script was revised multiple times by multiple writers. Consequently, the end result is both mine and not mine. Which is how this business works. It’s collaborative.

In my draft, Mia Wasikowska’s character wasn’t obsessed with guns. Fearing she might be a nascent Uncle Charlie, her father had tried to insulate her from violence and violent pastimes and anything else that could potentially trigger what lay beneath the surface. 

Nicole Kidman i Mia Wasikowska

Tell me three things you learned about Nicole Kidman during the making of this movie that you didn’t know. 

I can only remember meeting Nicole Kidman once, and that was while we were doing press for a movie called The Human Stain back in 2003. She was very beautiful. That’s all I’ve got. 

Is it true that you’ve already written a prequel to Stoker? Is it getting made for sure? Will it star Matthew Goode? Are you writing any other films/projects? 

Yes, the prequel is called Uncle Charlie and I wrote it while we were negotiating the sale ofStoker. When the studio bought Stoker they also bought the creative rights to the characters, so the prequel is theirs to make if they so choose. Will they? No idea. But naturally my hope is that the actors would reprise their roles. I think it’d be jarring for the audience otherwise.

I’ve written two more original scripts since then and I’ve also executed my first foreign remake and my first novel adaptation. I’m especially proud of those last two because they were my first official “for hire” gigs. 

I’ve heard that you’re a private person, which is a hard thing to be in the TMZ 24-hour news cycle. Was that something you struggled with while you were on Prison Break? Is that one of the reasons why you took a break from acting—to get your privacy back? 

No, I took a break from acting because I was burned out. And I think I needed a moment—several moments—to breathe and get my figurative house in order. And that took some realigning, some reprioritizing. Some growing up. All of which was best done in private, away from the cameras.

I have a different, more flexible definition of “privacy” today than I did when I first hit my stride as an actor. Which is helpful, because it feels like “fame” and “celebrity” have longer legs than they used to. The show’s been off the air for years but thanks to Netflix and Hulu, people are discovering Prison Break every day. Someone will come up to me and mention some moment in season 2 episode 12 that they just watched last night and I’ll have no idea what they’re talking about because we shot that seven years ago.

But my favorite is when total strangers corner me on the street and start grilling me about my career prospects. “What are you workin’ on now? You got a movie comin’ out?” And I’ll be like, “No. Actually I’m writing now.” Then I get to watch the light in their eyes flicker and die. They’re just like, “Huh.” And I’m like, “Yup. Writing.” Then they look at me like I just confessed to a crime and now they don’t know what to say. Then they start backing away. 

Do you ever Google yourself? 

Not for a long time. There’s nothing the Internet can tell me about myself that I don’t already know. The rest is foolishness and people killing time. (Not that I have anything against foolishness and killing time. Because I don’t. I have a healthy interest in both.)

 Co się stało z przystojniakiem z „Prison Break” Wentworthem Millerem?

Aktor wycofał się z życia publicznego odkąd skończył się „Prison Break”. I przestawił się- opowiada Raminowi Setoodeh o swoim pierwszym scenariuszu „Stoker” zainspirowanym „Cieniem Wątpliwości” Hitchcocka oraz mitologią wampirów.

Odkąd w 2009 r. skończył się „Prison Break”, Went Miller wycofał się z życia w świetle reflektorów. Zagrał gościnnie w serialach telewizyjnych – „Prawo i Porządek: Jednostka Specjalna” oraz w „Dr. House” – i zdecydował, że spróbuje swych sił w pisaniu. Wielu aktorów próbuje drugiej kariery, ale scenariusz Millera do „Stokera”, który napisał pod pseudonimem, został zaliczony do jednych z najlepszych na portalu Black List. Koreańczyk Park Chan-wook został reżyserem historii, wystąpili w nim Nicole Kidman, Mattthew Goode i Mia Wasikowska jako kłopotliwa nastolatka, która straciła ojca. Premiera odbyła się w zeszłym tygodniu.

Miller nie udzielił wielu wywiadów o „Stokerze”, ale zgodził się odpowiedzieć na kilka pytań przez e-mail. Odkąd został pisarzem, pomyśleliśmy, że może się to udać.

Cześć, Wentworth! Nie mieliśmy o tobie wielu wiadomości od czasów „Prison Break”. Czytałem gdzieś, że jesteś teraz „byłym aktorem”. Czy to prawda? Czy rzuciłeś aktorstwo na rzecz pisania scenariuszy? Czy raczej ciągle robisz obie te rzeczy?

Minęło sporo czasu – od kiedy po PB, próbowałem swoich sił jako pisarz, i kiedy myślałem, że rzeczywiście może skończyłem z aktorstwem. Ale to wciąż jest we mnie. Gdzieś. W aktorstwie jest wiele rzeczy – mówiąc „aktorstwo” nie mam na myśli samego występowania, mówię o procesie od produkcji i promocji filmu czy serialu tv – to nie jest to, kim ja jestem. Ale w tym procesie jest także pewne poczucie wspólnoty, którego nie doświadczysz jako pisarz. Pisanie jest odosobnionym, wyizolowanym biznesem (przynajmniej dla mnie). No i dzięki temu mogę żyć jak każdy.

Chodziłeś do Princeton, gdzie studiowałeś literaturę angielską. Czy od początku myślałeś o sobie jako o pisarzu?

Tak naprawdę, to właśnie w Princeton nauczyłem się nie myśleć o sobie jako o pisarzu. Na pierwszym semestrze zapisałem się do programu kreatywnego pisania i zostałem z niego wylany.  I to z dobrych powodów. Nie pamiętam, co przedstawiłem, ale jestem pewien, że nie było to zbyt dobre. W każdym razie, kontynuowałem myślenie o sobie jako o „nie pisarzu” aż do trzydziestki. Faktycznie, próbowałem zwerbować ludzi do napisania „Stokera” dla mnie, gdyż wydawało mi się, że to nie moja dziedzina.

Tak było przez około cztery lata. Pewnego późnego wieczoru, gdy mój DVR był wyłączony, pomyślałem” Dlaczego nie usiądę i nie spróbuję napisać jednej sceny? Kto się dowie?”Cztery lub pięć tygodni później, miałem całość.

Zaproponowałeś pierwszy szkic „Stokera” pod pseudonimem, Ted Foulke. Skąd wziąłeś to nazwisko? I dlaczego nie użyłeś swojego prawdziwego?

Foulke to nazwa akademika w Princeton, a mój przyjaciel miał szczególnie złośliwego psa imieniem Ted. To wydało mi się odpowiednie.

Zdecydowałem się na pseudonim, ponieważ bałem się, że ludzie zobaczywszy moje nazwisko od razu przejdą do jakiś konkluzji, nie otworzywszy nawet scenariusza. Poza tym, nie chciałem, by aktorzy, którzy mogliby wystąpić w roli wujka Charliego – jak Matthew Goode (którego, tak naprawdę, wyobrażałem sobie w tej roli, gdy pisałem) – nie chciałem, by zobaczywszy moje nazwisko pomyśleli „Och, pewnie tę postać napisał dla siebie, ale nie pozwolili mu tego zagrać” (bo na przykład jestem tylko aktorem telewizyjnym lub coś w tym stylu). Chciałem, by aktorzy mogli wyobrazić siebie w roli wujka Charliego bez żadnych dodatkowych zakłóceń.

Fabuła Stokera zaczyna się od śmierci ojca Indii (Wasikowska). Jej przerażający wujek (Goode) wprowadza się do jej domu i wydaje się, że między nim i jej mamą coś było. Możesz powiedzieć gdzie znalazłeś inspirację do tej historii? Czy myślałeś o tym jako o strasznym filmie, czy ewoluowało z innego gatunku w twojej głowie? W niektórych momentach jest tak straszne, że aż trudno to oglądać. Skąd wzięła się ta mroczność?

Stoker zaczynał jako mix „Cienia wątpliwości” i „Ojczyma” Hitchcocka z Terry’m O’Quinnem, i posiada elementy mitologii wampirów. Myślę, że najbardziej interesującą, współczującą interpretacją postaci Draculi jest ta mówiąca, że jest to kolejna samotna dusza istniejąca od lat, szukająca kogoś, kto pokocha jego, kły i całego w ogóle. To właśnie nadaje dynamiki w relacji wujek/siostrzenica w „Stokerze”.

Choć film wydaje się być mroczny, w niektórych momentach, mój oryginalny scenariusz nie był aż tak makabryczny jak „Piła” czy „Teksańska masakra piłą łańcuchową”. Ale nie idziesz na tego typu film by skupiać się na postaciach. Idziesz by zobaczyć jak przystojniacy zostają zarżnięci w nowy, kreatywny sposób. Ja miałem nadzieję, że w Stokerze publiczność będzie chciała zagłębić się w postacie. Wówczas te straszne wydarzenia będą odbijały się echem, będą miały inne znaczenie. Głębsze.

Jaki jest twój proces twórczy? Czy piszesz w zrywie? Czy masz jakieś konkretne miejsca do pisania? Czy są filmy, które wciąż oglądasz by poznać ich strukturę? Czy często wprowadzasz korekty? Czy czytasz książki o pisaniu scenariuszy?

Odpowiedzi poniżej w kolejności...

1.      Próbuję wybrać podkład muzyczny dla każdego scenariusza, wtedy słucham tylko tego, aż ukończę skrypt. To pomaga mi wprowadzić się i zostać na odpowiednim torze. Podkładem do „Stokera” były „Godziny” Pilia Glassa. Musiałem go odtworzyć prawie 300 razy.

2.      Tak. Czasami piszę bez przerwy przez 10 godzin. Potem nie piszę przez kilka dni. Zależy od nastroju. (i od terminu oddania).

3.      Moje biurko. Lub siedząc na stołku przy małej wyspie w mojej kuchni. Nigdy nie próbowałem pisać w kawiarni. Po prostu wiem instynktownie, że to nie dla mnie. Ktoś żujący gumę po mojej prawej, ktoś oglądający porno po lewej... zbyt wiele rozkojarzeń. Plus, lubię odgrywać części po napisaniu, co mogłoby się nie spodobać innym.

4.      Nie. Ale patrząc wstecz, wiele się nauczyłem po czterech sezonach PB. To był serial pełen bezlitosnych zwrotów akcji, a scenarzyści byli bardzo dobrzy w łączeniu fabuły i zawiązywaniu luźnych zakończeń. Myślę, że wchłonąłem wielką część wiedzy o strukturze historii podczas tego okresu, aczkolwiek bezwiednie.

5.      Tak, poprawiam obsesyjnie. Dla mnie bardzo ważne jest mieć czystą stronę. Nie jestem zbyt dobry w gramatyce (w jakiejkolwiek rozciągłości) ale staram się uważać. Kiedy czytam scenariusz z rażącymi błędami, odrywa mnie to do fabuły. To może brzmi cynicznie, ale nigdy nie zakładałem, że uzyskam pełną uwagę od moich czytelników lub że będą brnąć chętnie w skupieniu w tekst.  Więc próbuję pisać w najbardziej przyjazny sposób, jak to tylko możliwe.

6.      Nigdy nie przeczytałem książki ani nie byłem na kursie pisania scenariuszy. Nie jestem przeciwnikiem tej metody, ale wolę, by to wypłynęło naturalne i chcę tę naturalność chronić. Jedyne pytanie, jakie sobie zadaję, kiedy czytam scenariusz po raz sześćdziesiąty to: „ Czy bawi mnie to? Jeszcze?” Jeśli odpowiedź brzmi:”tak”, zakładam, że innych ludzi też będzie bawić.

Wiem, że film został napisany jeszcze przed narodową debatą o przemocy z bronią. Ale Kate Aurthur z BuzzFeed ostro skwitowała jak, w następstwie wydarzeń w Sandy Hook, jedną z rzeczy, która zaniepokoiła ją podczas oglądania filmu był widok nastoletniej bohaterki z obsesją na punkcie broni. Zapytałem inne osoby z Hollywood o przemoc w filmach (Django, etc.) i odpowiedź, jaką zwykle otrzymywałem to, że filmy różnią się od rzeczywistości. Jakie są twoje przemyślenia na ten temat?

Mogę ci powiedzieć, że poza sprzedaniem oryginalnego scenariusza Fox Searchlight, nie miałem nic wspólnego z wyprodukowaniem filmu. Scenariusz był poprawiany wiele razy przez wielu pisarzy. W rezultacie, wersja ostateczna jest jednocześnie moja i nie moja. Tak działa ten biznes. Jest wspólnie opracowany.

W moim szkicu, postać Mii Wasikowskiej nie miała obsesji na punkcie broni. Obawiając się wujka Charliego, jej ojciec próbował odizolować ją od przemocy i brutalnej przeszłości i wszystkim tym, co potencjalnie mogłoby wydobyć tę przeszłość spod powierzchni.

Powiedz mi trzy rzeczy, których dowiedziałeś się o Nicole Kidman podczas kręcenia filmu, o których nie wiedziałeś.

Pamiętam jedynie, kiedy poznałem Nicole Kidman, i było to w czasie konferencji prasowej do filmu „Piętno” w 2003 r. Była bardzo piękna. To wszystko, czego się dowiedziałem.

Czy to prawda, że już napisałeś prequel* do „Stokera”? Czy na pewno powstanie? Czy Matthew Goode w nim zagra? Czy piszesz jakieś inne filmy/projekty?

Tak. Prequel ma tytuł „Wujek Charlie”” napisałem go, gdy negocjowałem sprzedaż „Stokera”. Kiedy studio kupiło „Stokera” kupiło także prawa autorskie do postaci, więc mogą wyprodukować prequel, jeśli tak zdecydują. Czy to zrobią? Nie mam pojęcia. Ale naturalnie mam nadzieję, że aktorzy powtórzą swoje role. Myślę, że inaczej byłoby to irytujące dla publiczności. Napisałem jeszcze dwa inne scenariusze, mam także swój pierwszy oryginalny remake i pierwszą adaptację książki. Jestem szczególnie dumny z tych ostatnich dwóch, gdyż były to moje pierwsze oficjalne prace na zlecenie.

Słyszałem, że jesteś osobą lubiącą prywatność, co jest dość trudne będąc w wiadomościach na kanale TMZ 24 w kółko. Czy borykałeś się z tym grając w PB? Czy to był powód, dla którego zdecydowałeś się na przerwę w graniu – żeby odzyskać swoją prywatność?

Nie, wziąłem przerwę, gdyż się wypaliłem. I myślę, że potrzebowałem chwili – kilku chwil – żeby odetchnąć i doprowadzić do porządku mój symboliczny dom. A to wymagało reorganizacji, zmiany priorytetów. Niektóre dorosły. Wszystko to najlepiej odbywa się prywatnie, z daleka od kamer.

Mam inną, bardziej elastyczną definicję prywatności dziś, niż kiedy odniosłem pierwszy sukces jako aktor. Co daje nadzieję, bo wydaje się że sława i gwiazdorstwo ma dziś większy zasięg niż kiedyś. Serial zakończył się cztery lata temu ale dzięki Netflix i Hulu, ludzie odkrywają PB każdego dnia. Ktoś podejdzie do mnie i wspomni jakiś moment z sezonu 2 z odcinka 12, który obejrzał ostatniego wieczoru i nie będę miał pojęcia, o czym ta osoba mówi, gdyż to było kręcone 7 lat temu.

Ale moim ulubionym momentem jest, gdy zupełnie obcy ludzie otaczają mnie na ulicy i pytają o perspektywy mojej kariery. „Nad czym teraz pracujesz? Czy ukaże się jakiś film z tobą?” A ja odpowiadam: „Nie, aktualnie piszę.” Wtedy widzę jak migoczące światełko w ich oczach gaśnie. Odpowiadają:” Aha”. A ja na to: tak, pisarstwo” Wtedy patrzą na mnie jakbym właśnie przyznał się do zbrodni i nie wiedzą, co powiedzieć. I zaczynają się wycofywać.

Czy kiedykolwiek wrzucałeś swoje nazwisko do wyszukiwarki?

Od dłuższego czasu nie. Nie ma niczego, co internet mógłby powiedzieć mi o mnie czego już bym nie wiedział. Reszta to głupstwa i ludzie zabijający czas. (Nie żebym miał coś przeciwko głupstwom i zabijaniu czasu. Bo nie mam. Obie te rzeczy są zdrowe.)

Tłumaczenie: Becia

Choose photo of the week #22

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Behind the Scenes of Resident Evil: Afterlife - "Two Fierce Females!"

dzięki Kama:*

RE: Afterlife: Band of Survivors: Casting Afterlife - Chris Redfield

wentworthearlmiller

Wentworth Miller: China 2010 (video)

"There's no truth to that" ("Nie ma w tym prawdy") - tymi słowami sprostował krążącą w necie plotkę o jego ewentualnym udziale w serialu "Spartacus".


Następnie mówi, o chęci wystąpienia w chińskiej produkcji i odwiedzenia Hengdian Movie and Television City

Wentworth Miller na konferencji prasowej w Szanghaju

Dzięki Kama za linki:*

Wentworth o roli w Spartakusie- To tylko plotka

thanks Soraya

Wentworth Miller na niedzielę:)

Kolejny wywiad promujący Resident Evil: Afterlife




Dłuższa wersja duńskiego wywiadu (dodatkowo Milla i scenka z "5 elementu" Luca Bessona)

Resident Stunt Star

Hindustan Times

September 24, 2010
Resident Evil 4 actor Wentworth Miller talks about roughing it out on the sets of the film.

Resident Evil has become a very successful franchise over the years. When did you learn that you got the role and what was your reaction?

I was asked to play the part in the summer of 2009, which means I only had a few months to start training and get myself physically ready to shoot the movie in Toronto that fall.

What kind of training did you have to undergo for this role?

It was mainly cardio and a little bit of weight training. I just wanted to make sure that I had the right kind of stamina and endurance to pull off as many stunts as were required of me.

What kind of stunts did you have to do in the film? Did you manage most of them?

I did as many as they let me. There was a lot of running, a lot of gunfights. There's an intense sequence at the end of the movie involving my character, Claire Redfield and Wesker. All three are going at it at the same time, which required a lot of choreography, a lot of prep work, and a lot of trust.  You really have to trust the other actors that you’re working with because you’re putting their safety in your hands and vice-versa.

You are used to stunts because of your previous work, right?

I’ve had a lot of experience doing stunt work, thanks to four years on Prison Break.  It was a rough show, so there's very little I haven’t done as far as stunts.  I didn’t get to do any wire-work, which was something only Milla got to do this time around.  I've got my fingers crossed — there might be a little more of that kind of stuff for me in the future, something new to explore.

Resident Evil seems to have a very hardcore fan base. Were you a fan of the franchise?

I’d never seen the movies before, but I knew of them. I'd certainly heard of them.  I knew they were very successful and there was a large fan base out there, but I’d never actually sat down and watched them. It was kind of fun getting up to speed and educating myself.

So you had to do your research before starting shooting.

Yeah, it was important. I don’t play videogames. I’m not a gamer.  But I had the producers put together a compilation of scenes from the videogames that spoke to my character’s history and backstory.  I got a sense of what maybe the fans were expecting, so I could balance that with what I bring to the table as an actor.

How would you describe Paul as a director? What kind of director is he on the set?

He’s the cornerstone of this operation.  He’s written all of the movies, directed two and if I had any questions about my character — where I'd come from, where I was going, where I had been — he knew.

MOVIEWEB's Interview with Wentworth Miller at Comic Con 2010

STAR Movies VIP Access: Wentworth Miller - Resident Evil Afterlife

Wentworth Miller o Resident Evil: Afterlife - nowy wywiad

Presscon Break with Wentworth Miller

CONVERSATIONS With Ricky Lo (The Philippine Star)

BEVERLY HILLS, California — I first heard the name Wentworth Miller (which is a bit hard to remember, isn‘t it?) from Kris Aquino who mentioned that name in my “body talk” with her when, asked what she did in her free time, she said that she and her son Joshua watched a lot of TV, among them Prison Break in which Miller played the role of Michael Scofield, a caring brother who created an elaborate scheme to help his brother escape death row after being found guilty of a crime he did not commit.
“Wow, he’s my crush,” Kris exclaimed when I told her that I just did an exclusive Conversation with Miller at, as usual, a suite at Four Seasons during the Resident Evil: Afterlife junket together with Milla Jovovich (who reprises her role as the deadly Alice) and Ali Larter. Written, directed and produced by Milla’s husband Paul W.S. Anderson, Resident Evil: Afterlife (the fourth installment of the franchise, produced by Screen Gems, Davis Films/Impact Picture and Constantin Films, released locally by Pioneer Films, now showing nationwide), inspired by the popular video game, is set in a burned-out Los Angeles overrun by thousands of the undead, and Alice finds herself facing a threat she has never anticipated.
As a refresher, Kris gave me a three-CD package containing Prison Break’s first season and it helped me complete this story.
“I watched every single episode of Prison Break and I bought a complete series DVD boxed set, all episodes,” added Kris
I told Kris that as soon as I sat down to interview Miller, I told the “deep and mysterious actor” (as another WM fan described him) that Kris Aquino, daughter of iconic former Philippine President Cory Aquino, is a big fan of his and Miller smiled, “Nice to hear that, thank you!”
I found Miller, 38 (June 2, 1972), prim and proper, very decent and, the WM fan was right, “deep and mysterious” and serious as well, his bright-blue eyes hardly betraying whatever “mystery” shrouded him.
In fact, while the movie’s production notes devoted long paragraphs to the bios of the other Resident Evil stars, only this much was mentioned about Miller: He was born in the United Kingdom, raised in New York and graduated from Princeton University. Miller is a critically-acclaimed actor whose credit spans both television and feature film. In 2008, he was nominated for a Golden Globe Award for Best Performance by an Actor in a Television Series for his work in Prison Break.
Not mentioned were these: Miller’s father, Wentworth Earl Miller II, was a lawyer and his mother, Joy Marie Palm, a special education teacher. He went to Los Angeles in 1995 to pursue an acting career and it was a rocky road to stardom for him. After appearing in a few minor TV roles, he co-starred in the 2003 film The Human Stain as the younger version of the Anthony Hopkins character. And then in 2005 came Prison Break.
During breaks in the TV interviews and the round-table-style presscon, I noticed that Miller seemed to retreat into himself. Somebody told me that Miller is demophobic (one who fears or gets dizzy in a crowd). But they were nonetheless pregnant breaks that eloquently spoke of the kind of person that he is, somebody you don’t kid around with.

I’m curious, did you play the video game before you were hired for the movie?

“No, I never did. But I know that Resident Evil is looming large in the cultural landscape as an action-adventure franchise and it has a large following out there as a video game. And Milla as Alice has legions of fans. So when the opportunity came to be a part of that, I thought it was something that I had to take very seriously. I thought it must be fun to work with Milla.”

So how was it working with Milla?

“She’s great. She’s one of the touchstones of this entire franchise. She and Paul are the deadlock of the entire structure, so I was able to kind of take my cue as to what it would take and did my best to match it. Being on the set with her was a revelation for me. I only knew Milla as this gorgeous, kick-ass warrior. She’s so impressive on screen, the way she holds herself — the swords, the knives. Then I find that she’s a total cut-up. She’s really got this loud, loose, in-your-face laugh and a sense of humor that makes her seem like one of the guys. To find all of that in the same package with her beauty and intelligence and the acting chops is extraordinary.”

So you never played the Resident Evil video game. But did you watch a lot of action movies as a kid?

“I did, I did! I’ve always been a fan of the genre. I’ve certainly spent my time on the show and it would always be for action-adventure. So doing Resident Evil felt like home for me. Very familiar.”

How would you have reacted to Resident Evil as a kid, what with all those mind-boggling special effects magnified on 3D?

(Laughs) “You mean back in 1983? I think I would have been blown away by the advances in technology. It’s so incredible these days. But I think it’s also important to pay attention to the story. You can’t just rely on the gadgets, you must have a good plot and good characters. Otherwise, it can be a hollow experience if it’s all about the technology.”

I agree. There must be heart in it.

“Exactly.”

What did you find fascinating about Chris Redfield, your character?

“I found him intriguing; he’s also humorous, especially in the context where you find the character. I think it’s a very distinct nod to my past work. If there are any fans in the audience who know me from Prison Break they would be amused. But if you don’t know me from Prison Break, then it’s business as usual.”

Yes, from one prison to another.

“Chris Redfield and Michael Scofield are similar in some way. Chris had been working with a military unit that was using the prison as a staging post when the outbreak began. When the inmates were released to help fight the undead, they mistook him for a guard and left him in a high-security cell in the prison.”

What was your initial reaction when you got the script for Resident Evil?

(Laughs again) “Amused. When I read it, I thought they were playing a practical joke on me. You see, in the beginning my character is shown in prison an d the first things that he says is, ‘I know a way out of here.’ As I said, if you follow Michael Scofield for 81 episodes in Prison Break, you will find that line very familiar, if not very funny. The part is great and the franchise is terrific even if I thought it felt too familiar. After a while, I developed a different perspective. I thought that this was my chance to lead that character to a different ending.”

 How was the shift from Prison Break to Resident Evil, character-wise?

“Pretty seamless. I think a major distinction for me, character-wise, is that Michael Scofield carried a gun but was never allowed to fire it. He had a clear idea of who he was and what he could do and could not do. For my character, firing a gun was unacceptable. In Resident Evil, my character is quite used to firearms. It’s a welcome change of pace.”

In Prison Break, your body was full of tattoos. For Resident Evil, did you take up martial arts as part of your training?

“No rigorous physical training, really; it was just cardio. I wanted to have stamina, I wanted to have endurance because I knew that some of the fight sequences would take a lot of time and energy and exertion, and I wanted to be ready to give everything I have.”

You have been selective as far as roles are concerned. Is it part of your career plan?

“I think at a certain point of my career it’s possible to strategize your way to the top, if you will, that it’s possible to kind of choose your jobs carefully and correctly so that you wind up, you know, accepting an award one day. I now know that to make it in this business, you must have a combination of talent, timing, luck and accident. There are a lot of things that you cannot control; I don’t try to control those things. I’d like to have a career that keeps a balance between big-budget action-adventure genre and smaller independent films, preferably drama. Thanks to Prison Break, I have the option of choosing.”

What else is included in your “career plan”?

“These days, my focus is not so much on acting as it is on life. I’m excited about where my potentials will lead me. Right now, I have a script called Stoker which is a family/drama-suspense-thriller/twisted-love story. It’s meant to be a cross genre. I really enjoy the process of writing because it’s completely self-generated. I could lie in bed and hammer out a few pages on my computer. I’ve been writing short stories and I’m glad that my English-major mind is at work.”

Did you help perhaps write episodes for Prison Break?

“Well, in the course of Prison Break, I had the opportunity to tweet my dialogue from time to time. In fact, the writers came to rely on my input to a significant degree. Looking back, that was my training — writing.”

Prison Break has made you some kind of a sex symbol. How do you feel about that?

“I was surprised. I didn’t think of the character as being appealing in that way. I saw Michael Scofield as the engineer, more intellectual and someone with edge, not necessarily likeable and not necessarily sympathetic. He was a character who sometimes had to do bad things towards a positive end.”

How do you react to people who sidle up to you in a public place, for example in a restaurant, in a familiar manner?

“Sometimes it’s positive and flattering, and sometimes it’s a little unnerving. I once got a letter from a fan who said, ‘I was sitting behind you in a restaurant and I heard what you had to say about death penalty, and I agree a hundred percent with you.’ That was a very unusual moment, it left a strange taste in my mouth. But I think that’s the nature of fame and celebrity. These are things that you have to deal with as best as you can and there’s no point in complaining about them. I am over that stage. I’m nearing 40, and it’s time to shut up or put up.”

So what’s your stand on the death penalty?

“Uhm…conversation for another time.” (Then he laughs)

As an actor, what’s your preference?

“Romantic comedies or suspense-thrillers or family dramas, something where I can dig into a role like what Jack Nicholson did in The Shining. That’s the kind of ideal part from my perspective where the character can easily make the audience relate to him. It’s a classic because it’s a horror but it’s got enough psychological meat on the bone so it continues to speak to generation after generation after generation. I wanna be a part of a story that speaks to the now but which people will still be watching 10, 20 or 30 years from now.”

You said earlier that you’re nearing 40. I wonder, aren’t you afraid of growing old?

“No, I don’t think so. The actors that I love most in the world tend to be a bit older and that’s because with life comes experience, and inevitably that shows up in your face. I think actors get more powerful and deeper as they get older, as life runs its course. That’s something I look forward to. I can‘t wait for it to happen.”

Aside from Jack Nicholson, any other actors that you look up to?

“Helen Mirren. Denzel Washington. Meryl Streep. These are people who have intensity in their work and lack showiness that I find inspiring. I’m also inspired equally by how they handle themselves off screen, unlike the kids you see coming up now. Unfortunately, it seems all too easy to fall prey to certain things that Hollywood has to offer that might seem tasty and delicious on the surface but are actually a trap. So my role models are these older actors who know how to comport themselves both on and off screen.”

Source: philstar.com

Nowy wywiad z Wentem z Comic Con

Nowy wywiad z obsadą Resident Evil: Afterlife

Wideo z konferencji prasowej "Resident Evil: Afterlife"

linki do pobrania wideo z konferencji cz.1 cz.2

Resident Evil: Afterlife Featurette - Action Packed

*Beware of Spoilers*


i 2 inne (chyba, bo powoli się gubię co już było)- dzięki Pocahontas





credit: www.traileraddict.com

Krótki wywiad z Wentem na planie RE:Afterlife

credit: www.traileraddict.com

Nowe zdjęcie i wywiad z Wentem

Zdjęcie prawdopodobnie z konferencji prasowej w Los Angeles (27.08.2010)

Anka i Mo- dzięki za linki :*