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  • Leonardo DiCaprio röportaj ingilizce


    Leonardo DiCaprio röportaj ingilizce

    Leonardo DiCaprio flew into London last week to discuss his latest offering, Revolutionary Road, the dramatic tale of 1950s suburban discontent, based on the acclaimed novel by Richard Yates. The film reunites DiCaprio and Kate Winslet as Frank and April Wheeler, a young married couple struggling with their marriage. Directed by Sam Mendes (Winslet’s husband), the film has garnered numerous award nominations. DiCaprio told us about the struggles to make the film, what’s it like working with a husband and wife combo and why this is unlike anything he’s ever done before.

    LOVEFiLM: Did you know about the book before you got involved with the film. And did it surprise you how long it’s taken to reach the screen?

    Leonardo DiCaprio: It’s tough material to translate into a film format so it didn’t surprise me that it hadn’t been made already. I’d never read the novel, but as soon as I read it I understood why so many people attached themselves to the book. What Yates was able to capture was that voice of doubt that we all have as we’re projecting an air of confidence. It really captured post-Industrial Revolution America, where a lot of the American value systems were first being formed and iconic imagery of a man’s role and a woman’s role in a household. Here are two people desperately trying to break free of that format and hold on to some form of individualism in a very contained world.

    LF: Since the unprecedented success of Titanic, have there been many attempts to bring you and Kate together again?

    LD: There were a couple of projects through the years and we would ring each other up and say, “What do you think of this? Do you think we should work together?” We fundamentally knew that if we were going to do something we didn’t want to tread on similar territory to Titanic. Not that we don’t love that movie, we just knew it would be a fundamental mistake to try to repeat any of those themes. This is obviously unlike anything we’ve done in the past. It’s the disintegration of a relationship.

    LF: You’ve played a lot of dreamers who come to a sticky end. It’s quite un-American in a way in that there’s no winner. What’s the draw to these kind of characters?

    LD: That was what was great about Yates’s novel in a way. There is no clear cut hero in this film. If there is any heroic character, it’s actually Kate’s character. She’s the one who’s willing to risk everything to lead the life that she wants to live. My character is entirely unheroic. He’s unable to break free of his environment.

    You know, what was compelling about doing this movie is they are dealing with very real, everyday problems. If a studio were to make this film nowadays or start this project from scratch, the couple would have to win the lottery or there’d have to be dead bodies in the basement. There’s rarely a movie these days about people and their normal struggle to find happiness and that’s what this movie’s about.

    LF: There are some extraordinary fights between you and Kate on screen, how straining are they to do for real?

    LD: Those, to tell you the truth, were the sequences that I most looked forward to. Knowing Kate for such a long period of time, I knew that we could take advantage of our friendship. You know the first thing I said when I called her up to do the movie was, “I can’t wait to do these fighting sequences. I’m really going to give it to you”. She said, “I can’t wait to do them myself.”

    I actually found it a joy to do those sequences because finally these people were letting each other have it. Finally they were telling the truth to each other.

    LF: To April and Frank Wheeler, Paris is this kind of Utopia. Have you got a “Paris” in your life?

    LD: I don’t have something like that. I think that would be a facade if I did. What’s the John Lennon quote? “Life is what happens while you’re making other plans.”

    LF: What’s the most fun you’ve ever had on a movie?

    LD: A lot of movies I’ve done recently haven’t been synonymous with that word. That isn’t to say that I don’t love what I’ve worked on recently. The first one that comes to mind, actually, is a film I did called Celebrity many years ago with Woody Allen. That was a lot of fun. You know, the extent of the direction was [impersonating Woody Allen], “You can stand over there, but you don’t have to.” And that was a very fun environment because there was absolutely no pressure. But a lot of these roles that I’ve taken on since; there’s been a lot of work involved in them. They’ve been rewarding, but I wouldn’t necessarily call them fun.

    LF: Was it a strange dynamic working with a husband and wife combination?

    LD: You know, Sam really was on the back burner while making this movie as far as the dynamic of the three of us. He let us have our own relationship on set. He realised that we were Frank and April Wheeler when we were on set as this house, and his wife was his wife off the set. And that really helped us. To me, although there were weird moments of course, it was beyond comfortable. It was like a family atmosphere. It was like a little theatre group of people and I was at their little bed and breakfast making a movie.

    LF: What do you think is the difference between you and Kate now in comparison to when you first met on the set of Titanic 13-years ago?

    LD: Kate has always had an intense work ethic. Ever since I first met her she wanted to do great work, and that’s been a part of her DNA ever since she’s been in this industry. What’s changed about her now, by the mere nature of having done so many movies, is she no longer looks up to producers or directors as parental figures or sources of guidance. She now walks on set and can feel equal with everybody else. She is a truly amazing actress that’s able to convey so much. And it’s very rare when you come across somebody that has her kind of talent.

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