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Joe recently did an interview with The Times — read the full interview below:

Sometimes the best Christmas presents are the ones we don’t think we need; a new Christmas Carol, for instance. Indeed it may be indicative of a certain unappreciated vacancy around the Christmas tree that in discussing the BBC’s new version of the Dickens classic both its director and leading man refer back to The Muppet Christmas Carol made way back in 1992.

“I was sent the script,” admits Nick Murphy, best known for directing the Rebecca Hall ghost movie The Awakening, “and my first thought was, ‘For God’s sake! The Muppets! They nailed it. What’s the point?’ ”

Joe Alwyn, who plays Scrooge’s clerk Bob Cratchit in the BBC three-parter, has meanwhile posted a trailer on Instagram with the caption: “Hard to fill the shoes once worn by Kermit. But I tried.” The self-deprecation was quickly “hearted” by the singer Taylor Swift, who is the actor’s girlfriend and who will be watching the mini-series with Alwyn and his family in London in the final days before Christmas.

There is nothing wrong, of course, with The Muppet Christmas Carol. It is probably in most people’s top three adaptations of Dickens’s masterpiece (alongside, I would say, Alastair Sim’s 1951 version and Scrooged). Its endurance does suggest, however, that it may be time someone did something a bit more serious, a little darker and a touch more grown-up with a tale that excoriated Victorian neglect and associated Christmas with the relief of poverty for ever more.

And this is exactly what Nick Murphy has achieved with a bracingly fresh script by the Peaky Blinders creator Steven Knight. Guy Pearce’s Ebenezer Scrooge is still a “squeezing, wrenching, grasping, scraping, clutching, covetous old sinner”, but since Pearce is only 52, there is rather less of the old. At the end of the novel, Dickens wrote that “ever afterwards” — that is after Scrooge’s Very Bad Night — “it was always said of him that he knew how to keep Christmas well”. That is rather more of an achievement when, as in this version, you may have 40 Christmases, rather than a couple, left to you.

Equally remade is Cratchit, who in Alwyn’s incarnation is far from the bashfully gulping frog thanking his master for granting him Christmas Day off before scampering back to Miss Piggy’s fleshy arms. Although Alwyn grew a rough beard for the part, his is also the best-looking Bob Cratchit you have seen. As the actor and I talk at the Picturehouse Central cinema in London, I find him as mesmerising off screen as on.

“Bob is trapped by Scrooge,” Alwyn says. “He’s abused by him. He’s not treated fairly. He’s there only because he has to be. He’s treated like shit.”

I’d say there’s a definite feeling in their shared scenes that Bob might just snap and hit Ebenezer over the head with a poker. “That was the intention. He’s at breaking point. He’s pushed right to his limits and Scrooge, I think, relishes winding him up. All Bob can do is hold his ground and fight back as much as he can — but he isn’t such a sap in this version.”

Scrooge and Cratchit’s relationship so much resembles an unhappy marriage that the niggling, bitter exchanges invented by Knight, with very little reference to Dickens’s dialogue, resemble Steptoe and Son rewritten by Strindberg. The easy contrast would have been with the Cratchits’ poor but happy marriage, but this too comes under scrutiny. There is an acknowledgment of the challenges a disabled child can bring to a household, and it is somehow emphasised by Tiny Tim being played by Lenny Rush, an extraordinary young actor, aged ten, who has a rare form of dwarfism called spondyloepiphyseal dysplasia congenita, the same condition as Warwick Davis.

“It really mattered to me that nobody was photo-fit,” Murphy says from a studio where he is dubbing the last episode. “Bob Cratchit is always a winsome, put-upon nice guy and the Cratchits themselves represent this idea of an ideal, working-class, lovely family. So we looked into their relationship on the page and there seems a genuine tension between Bob and his wife. Things are hard. It isn’t easy to have no money and a disabled child, and they lean on each other and they’re not straight with each other and there is a genuine antagonism between them.”

Knight has written into the narrative a family secret that connects the Cratchits to Scrooge. The secret belongs to Mrs Cratchit, played by Vinette Robinson, whose part is greatly expanded; indeed, the novella does not even grant her a first name, although the Muppets, and other adaptors, opted for Emily.

“Inevitably the secret begins to surface and cracks appear in the family,” Alwyn says. “Something has to happen. I think what Steven has done is take the story and drill deeper. He hasn’t taken too much liberty. It’s not bending the truth too much from what Dickens would have wanted. Or I hope not.”

Murphy insists that worthwhile adaptations of classic texts should be “edgy” and have “a good bite to them”. “If you absolutely don’t want any variation from the book then I strongly suggest you sit in a corner at Christmas and read it again. But if you want to see it used as a prism through which we can see a broader and slightly different subject explored, then this one’s for you.”

Alwyn’s performance is part of the iconoclasm. “Joe’s instinct as an actor is always to push away from the obvious and into ambiguity,” Murphy says. “He’s very quietly spoken. He’s not brash at all. He’s a gentle, intelligent guy, but he just simply wasn’t interested in fitting a Dickensian cliché.”

“I’ll take that,” Alwyn says when I pass on the compliment, having not considered his technique in such terms. He is 28 and would probably accept that he is best known for two facts: the first is that he is Taylor Swift’s boyfriend; the second that, aged 25 and with no professional acting experience, he won the title role in an Ang Lee movie.

He is from north London, the middle of three sons. Their father is the television documentary-maker Richard Alwyn, renowned for making The Shrine about the public reaction to Princess Diana’s death.

“He was away a bit,” Alwyn says. “He made quite a lot of films in Africa when I was growing up. He was often in Uganda, Rwanda at one point, South Sudan. So he’d come back with stories and artefacts from all over the place. He made a great documentary in Liverpool during the World Cup about two kids on an estate growing up there.”

His mother, Elizabeth, is a psychotherapist. So, I say, although his family were comfortably off and he was sent to the fee-paying City of London School, he knew something of other people’s lives?

“All different kinds of people, all different kinds of stories,” he says. “Obviously, she couldn’t share them with me in the same way that Dad could, but both their jobs take an interest in other people and are about how to empathise, understand, and listen to stories and tell stories. I suppose it’s not a million miles away from an actor’s job; listening to other people, understanding them, trying to tell stories.”

I ask about the contemporary political resonances of A Christmas Carol. I cite the wealth of certain members of his profession and of Swift’s. Only the other day I have read that she has a private jet so she can visit Alwyn on a whim. He promises me that 99.9 per cent of what the press write about them is false, and this is an example.

I ask if he finds it embarrassing.

“Find what embarrassing?”

The disparity between the amount some people earn and the wages of workers in, say, Amazon fulfilment centres.

“I saw something in The Guardian the other day, I think, saying that the top six richest people in the UK accumulate the same amount of wealth as the poorest 13 million. I think that was the figure,” he says.

And politics today?

“It’s bigger than Scrooge, but it’s the same thing amplified; not being able to see beyond yourself, building walls, cutting yourself off from other countries. If there was ever a story to counter that, featuring someone who epitomises that and then who remembers who he is as a human being, it is A Christmas Carol.”

Unlike the young Dickens, Alwyn was not a boy to stand on a table and sing and dance. As a child he auditioned to play Liam Neeson’s son in the Richard Curtis film Love Actually, but didn’t get it. He harboured ambitions to act, but pursued them only later at the University of Bristol, where he took plays up to the Edinburgh Fringe. One night he acted before an audience of one: the writer’s mother. Undeterred, he went on to the Royal Central School of Speech and Drama, joining the scramble at the end to find an agent. Weeks later, his new agent rang to say that Ang Lee was working on a new film, Billy Lynn’s Long Halftime Walk, and wanted to see an audition tape.

“I got some mates to film me in a lunch break and then my dad filmed another scene, and we got a call that night saying, ‘He wants to meet you this weekend. He’s saying, we’re going to put you on a plane and take you out of school. Come for the weekend. Learn these scenes.’ ”

As Billy, a young US Marine fêted for killing an enemy assailant in Iraq, Alwyn was painfully believable; a virgin solider returning home to be exploited for an act that had devastated him. The film did not do well, mainly because it was shot at a hyper-reality frame rate that few cinemas had the technology to show, but Alwyn was on his way.

“Things only evolve by change and people taking risks,” he says. “And Ang Lee is someone who I admire for that. None of his films are the same. Maybe thematically they draw on the same things, but he’s always pushing the boundaries.”

The same can be said for A Christmas Carol and, even more, about Yorgos Lanthimos’s The Favourite, in which Alwyn appeared alongside Emma Stone and Olivia Colman. It applies less so to his other recent films, Mary Queen of Scots, Boy Erased and now Harriet, a faithful biopic about the slave liberator Harriet Tubman in which he played a slave owner’s son. What he has managed to do consistently is work and learn from some seriously good actresses — Colman, Stone, Saoirse Ronan and Cynthia Erivo. “I know. I am targeting them,” he jokes.

I tell him my daughters have insisted I ask if he minds Swift writing songs about him (whole albums, actually, but check out London Boy if you are in search of a little cringe). “No, not at all. No. It’s flattering.”

Does it matter to him that the press — it’s a bit metatextual this, I admit, for I’m probably doing the same thing — make it obvious that they are as interested in his girlfriend as they are in him? “I just don’t pay attention to what I don’t want to pay attention to,” he explains tolerantly. “I turn everything else down on a dial. I don’t have any interest in tabloids. I know what I want to do, and that’s this, and that’s what I am doing.”

The boyf, described only the other day as “mysterious” in one of those tabloids, is no mystery at all. He knows what he wants for Christmas, and it is the career he is already forging.

A Christmas Carol begins on BBC One at 9pm on Sunday

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Joe Alwyn on Playing Bob Cratchit in FX’s “Dark” and “Uncomfortable” Version of ‘A Christmas Carol’

From screenwriterSteven Knight(Peaky BlindersTaboo) and director Nick Murphy, the iconic ghost story A Christmas Carol (premiering on FX on December 19th) delves deep into a dark night of the soul for Ebeneezer Scrooge (Guy Pearce), a successful businessman who prefers to search for the worst in people than to see their goodness or struggles. As he is faced with his past, present and future, and the consequences of all three, it will be up to Scrooge to determine whether he is even worth redemption.

During this 1-on-1 phone interview with Collider, British actor Joe Alwyn(who plays Bob Cratchit, overworked and underappreciated employee of Ebeneezer Scrooge and family man to two young children, including Tiny Tim) talked about the relatablility and universality of A Christmas Carol, what excited him about this telling of the story, the dark and uncomfortable subject matter, what he identified with in Bob Cratchit, exploring the family dynamic, the Cratchit-Scrooge relationship, working with co-star Guy Pearce, the experience of walking onto a set like this, and his own holiday family traditions. He also talked about his upcoming film Last Letter from Your Lover, about a young woman who becomes obsessed with a series of letters she discovers that recount a love affair, and the TV series that he’d love to do a guest spot on.

Collider: I’ve loved a variety of different retellings of A Christmas Carol, and this one is so interesting because it’s set in the time period, and yet still somehow feels very modern and relatable.

JOE ALWYN: Good. It definitely tries to stir things up, a little bit. Nick Murphy, the director, was clear that he didn’t want us to slip into the old, very Dickensian way of things that often can happen when you see interpretations of Dickens. There’s nothing bad about that, but he wanted a more irreverent, modern feel, even though it’s still within the structured framework of the story. That really comes down a lot to Steve Knight. His writing is so brilliant. He just took the original novel and drilled deeper, and looked between the lines and beneath the surface. Consequence brings about things that are, oftentimes, a lot more uncomfortable to see. It’s certainly a little more twisted and darker, but it’s good fun.

Everybody is so familiar with this story, and even just the title of the story, so when A Christmas Carol came your way, was it something that you were immediately intrigued by and curious to read, or did you need a little bit of convincing to sign on for something that so many people have done?

ALWYN: I didn’t, no. I had to hold my hands up and say, “I don’t think I’ve ever seen a proper full version of A Christmas Carol before. I know there are so many of them, but somehow I had a deprived childhood and was never shown one.” I read the book again, which I must’ve read when I was younger. I read it again, just doing my homework. I’ve since been told about The Muppets and that Kermit is my main competition. I’m going head to head with a frog who played Bob. But I didn’t know a huge amount about other interpretations. The descriptions were so complete, unto themselves, and there was so much in them to mine and go off of, that was attractive, in itself. I knew the people surrounding it. I’d worked with Guy [Pearce] before and really got on with him, and I think he’s just fantastic. So, with the combination of him, Andy Serkis, and everyone, really, it was an exciting opportunity.

It definitely says something about the work and the themes that are in the work, when it can be interpreted as a drama or a comedy, and it can even be told by The Muppets. That’s certainly a wide range of things that most stories can’t do.

ALWYN: Yeah, definitely. It’s that idea that we always seem to come back to stories of redemption. The themes in it are universally significant to who we are as humans, about remembering who we are, and why we behave the way we behave, and about family, love, redemption and hope. It’s wrapped up in this amazing, powerful Christmas fable, and Christmas keeps coming around every year, so we keep coming back to it. It’s just a story that we keep going back to, and the fact that it’s been done in so many different ways really speaks to the strength of its core.

This is definitely a darker and more twisted telling of the story, with some difficult subject matter and some adult language. I was actually a little surprised by the swearing that was in it. Do you think that this is still something families can watch, or do you feel like this version is geared a little more toward an audience that’s a bit older?

ALWYN: Yeah, it’s undeniably darker and the themes explored are more uncomfortable, compared to what we’re used to seeing. I think it’s suitable for families, but I don’t think it’s suitable for a seven year old. I don’t know what that line is. For some reason, since the novel was written and the story seems to have been told, from what I understand and from what clips I’ve seen, it’s progressively gotten cheerier and cheerier, and almost glossy, with the Ghost of Christmas Past as a Santa Claus-like figure, and we all know who Scrooge is, but he’s an old, removed miser. Here, they’re the characters that we recognize, but they’re darker and more relatable, and hopefully the characters translate as 3D humans, as well. The things that are explored probably were there, at the time, and were an implicit path to the story, but it’s beneath the surface. [Steven Knight] has just read beneath the lines and has gone deeper into looking at why Scrooge is the way he is. He looks into his pain and has asked, “What could have made this man become this man?” And the answers that he’s come up with are certainly uncomfortable.

What was it about this version of Bob Cratchit that you found yourself most identifying with and that you also most enjoyed getting to explore?

ALWYN: I like that Bob, in this version, has got a little bit more pluck and spine, and he fights back and bites back with Scrooge, as much as he can, within the workspace. There are these great scenes between the two of them, where he doesn’t just lie down and stand down. He pushes back on Scrooge, as much as he can. Whether that’s through wit or sarcasm or dishonesty, he pushes back. He doesn’t just let himself be trampled all over. At the same time, there’s obviously a line. He knows what the stakes are and the stakes are huge, and he can’t afford to cross it because he has to provide for his family. But I liked that he had a bit more backbone to him, and he isn’t just completely submissive. And I also like that we spend more time with his family and we get to know his wife, Mary (Vinette Robinson), and his children. Mary has her own story with Scrooge, and it’s a secret that emerges within the family and these cracks begin to form. I don’t think that’s ever been explored before, in a telling of A Christmas Carol, and I thought that was pretty interesting. 

I love that you really do get to experience that family dynamic and see what they’re like together, because it helps you to understand why they might be willing to endure certain things, in order to keep that together.

ALWYN: Yeah. Obviously, Bob is in the dark. He doesn’t know what’s happening. Often, if you see a family portrait, and it’s all completely happy and cheery and smiley, for all of the love that’s in this family, they’re also struggling and this secret is pulling them apart. Their conversations are quite fractured and full of tension, but that’s truer, in a way. Not everything is cheery and sanitized and 2D. Hopefully, it’s a little more rounded.

What was it like to have those young actors to work with?

ALWYN: They were amazing. A girl called Tiarna [Williams] played Belinda, and a boy called Lenny Rush played Tim, and they were both fantastic. Lenny, in particular, is just brilliant. It was so great to have both of them on set because the whole thing would just become more magical. The excitement and enthusiasm is infectious, whenever you have a child on set. It lifts everyone else. There’s a production of A Christmas Carol at The Old Vic in London that’s been going for a few years now, written by Jack Thorne, and Lenny plays Tim in that. I think he’s the only cast member who’s returned, consistently, for that production. He’s a master of that role. He’s such a lovely boy.

The dynamic between Cratchit and Scrooge is so important. How did Guy Pearce affect your approach and performance, throughout this?

ALWYN: Firstly, I was lucky enough to have worked with him before, on a film called Mary Queen of Scots, and got on with him really well, and so, I was so happy to have the opportunity to work with him again ‘cause he’s not only phenomenally talented, but he’s also a really, really good person and I got on with him. So, that was great. More than maybe any actor I’ve worked with, he’s been the most interesting to watch the way he works, and the way that he approaches a scene and asks questions, and the way that he conducts himself on set, within a scene, is amazing to watch. I like that his Scrooge is younger and has a swagger to him. Where often Scrooge can be a character that’s retreated from the world, there’s a cockiness to his and an upfront-ness that makes you engage with him. He’s not just twiddling his thumbs, sitting in a corner and grumbling. He meets you and he’s present, whereas I feel like with other older Scrooges, there’s something more passive about them. He’s younger, he’s active and he’s engaged, and that was great.

What was the experience like, being on the set, in these costumes, and surrounded by all of these actors? What are the most memorable aspects of walking onto a set like this and seeing all of that come to life?

ALWYN: Well, it was summertime, so it was very hot and very sweaty. We did it in May and June, and it was a really hot summer in London. The costumes all look amazing, but I wouldn’t have wanted to be washing them, at the end of the day. It was pretty unpleasant. But it was amazing, the way they’d close down roads in London and cover everything with fake snow. It just makes your job easier, when you’re placed into a setting in a world like that, that’s so amazingly built around you, with costume and production design. You just need to turn up and know your lines.

When you do something that is such an epic production like this, and you have such great writing to work with, and a great director and cast, does it affect what you want to do next? Every time you do a project of this caliber, does it then make you think about what the next step is?

ALWYN: It makes me want to continue to try to work with great people. I feel lucky, in my career so far, to have worked with some really, really great people and great directors. That’s all I just want to keep trying to do, and this was another version of that. It was the first time I’d done television. I hadn’t done TV before. And it didn’t really feel any different than film. We had a fair amount of time to do the three episodes. Also, it’s a real mini-series, with three episodes. We were not doing 10 episodes, or a multi-season. It’s just the attraction of trying to tell interesting stories, in new ways, with great people. I grew up watching films like Memento and, later on, The Proposition, which I absolutely loved, so getting to work with [Guy Pearce] and [Andy Serkis] and Stephen Graham, as well as Steven Knight, I just want to find people like that to work with.

Do you know what you’re going to do next, or are you in that stage of trying to figure out what you’re going to do next?

ALWYN: I just wrapped something two days ago (this interview was conducted on December 17th) in London, which was a film called Last Letter from Your Lover, and that was directed by a woman called Augustine Frizzell, who directed the new HBO show Euphoria. That stars Felicity Jones and Shailene Woodley. And then, I think there’s something I’m going to do, near the start of next year, but it’s still being figured out and is not set in stone. So, I’m just reading lots and trying to figure things out, for next year.

What’s the character you played in Last Letter from Your Lover?

ALWYN: It’s a story in two parts. It’s a modern day story and a ‘60s story, and it jumps between the two. My storyline is in the ‘60s with Shailene and Callum Turner, who’s a British actor. I play Shailene’s husband. We’re a couple, and this other figure comes into our life and disrupts the balance.

Is there a current TV series that you watch, that you’d love to do a guest spot or guest arc on?

ALWYN: I haven’t finished it, but I love watching Succession. That’s been pretty amazing. The writing on that and the performances in that are incredible.

Is there anything that you would love to do that you feel would really stretch you, as far as a genre or a character, that you just haven’t gotten the opportunity to do yet?

ALWYN: In one sense, no. It’s not as specific as that. I just want to find really good people to work with, and that could be on anything. But I would love to do a World War film. I don’t know what or how, but I think that would be really fun.

For Bob Cratchit, the holidays seem to really be about family. Do you have holiday traditions that are important to you? Is it about a sense of family, or are you a crazy decorator?

ALWYN: There’s a bit of decoration going on, with wreaths and stuff. But, yes it’s about seeing family and keeping up with weird family traditions. There are these ponds in London, near my family’s house, and for some reason, on Christmas morning, we go and jump in the ponds, and it’s absolutely freezing. It’s ridiculous, and you’ve gotta get out quickly, or you aren’t getting out. But for some reason, that starts the day on Christmas.

A Christmas Carol premieres on FX on December 19th.

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Joe and Guy Pearce did a bunch of press for A Christmas Carol yesterday, December 17, in New York City. The costars did interviews for Good Morning America, Strahan, Sara and Keke, Buzzfeed’s AM to DM, ET Canada, and BUILD Series. Joe also did an interview with Collider which you can read here. You can watch all the interviews below and see photos of Joe throughout the day in our gallery.

Good Morning America
 

Buzzfeed’s AM to DM
 

Buzzfeed News

BUILD Series
 

Leaving BUILD Series

Joe Alwyn concedeu uma nova entrevista onde fala sobre Harriet Tubman, sua admiração por Joaquin Phoenix e mais, confira:

“Eu apenas pensei que era uma história incrível sobre uma mulher incrível da qual eu não conhecia nada”, diz ele quando nos encontramos no hotel Rosewood, em Londres. ‘Ela é extremamente importante. Obviamente, há toda a saga de 20 dólares – ela deveria estar presente, mas Trump atrasou isso”

Em maio, o presidente dos EUA vetou que sua imagem fosse usada até que ele deixasse a Casa Branca. Alwyn acrescenta: “Fiquei chocado por ninguém ter feito um filme sobre ela antes”.

Abençoado com traços delicados, olhos azuis e cabelos loiros, Alwyn é um material clássico de protagonista (ele já foi modelo da Prada), então como foi interpretar uma pessoa tão vil.

“Achei difícil, com um personagem como Gideon”, ele admite. ‘Conectar-se com alguém assim é praticamente impossível. A ideia de escravidão é obviamente repulsiva, então onde você encontra uma maneira de entrar?

Pessoalmente, Alwyn é discretamente confiante, embora cauteloso quando se trata de perguntas sobre seu relacionamento.

Como você vê a crescente fama?

“Eu realmente não me sinto diferente, então tento não pensar nisso”, diz ele.

Você encontrou uma maneira de lidar com isso?

Eu apenas ignoro – Ele responde sem rodeios

É mesmo possível?

Cada vez mais, sim. Só por não se entregar demais. Ser privado sobre o que você quer que seja privado e ser público sobre o que você quer que seja público … apenas mantendo as coisas para si mesmo.

Um olhar determinado o invade.

“Algumas pessoas podem ceder [à fama] se quiserem e outras não”, diz ele. “E acho que escolho não fazê-lo.”

Mas isso é fácil quando você está namorando alguém muito famoso?

“Não … quero dizer … apenas mantenho a vida privada em particular” “Tomei uma decisão clara de ser privado sobre o que é privado e o que não é para outras pessoas”.

Talvez Alwyn ainda esteja atordoado. Mesmo antes de se formar na escola de teatro, ele ganhou o papel principal no longa de Ang Lee, Billy Lynn Long Halftime Walk (2016). Ele nunca esteve na América até fazer um teste em Nova York. Ele conseguiu o papel e teve que permanecer, inesperadamente.

O produtor correu comigo até a GAP e me comprou um monte de meias e cuecas, ele sorri.

Antes disso, a vida no Tufnell Park, no norte de Londres, era maravilhosa.

“Passei tanto tempo correndo em Hampstead Heath”, diz ele. Seu pai fazia documentários na África. “Nos dias em que ele podia trazer coisas pra casa, na bagagem de mão, ele trazia lanças, arcos e flechas, enrolados em tapetes!”

O que está por vir? Bob Cratchit no mais recente ‘Uma canção de natal’ da BBC, uma participação especial em ‘The Souvenir Part II’ e ‘The Last Letter From Your Lover’, com Felicity Jones. Só não espere encontrar muita coisa sobre isso nas redes sociais dele.

‘Eu tenho Instagram, mas acho que não sou muito bom nisso ‘, ele ri.

Se Joe ALWYN pudesse escolher trabalhar com qualquer ator , seria Joaquin Phoenix. ‘Eu acho que ele é incrível em tudo. Definitivamente ficaria intimidado, mas adoraria trabalhar com ele’. Alwyn recentemente viu o desempenho de Phoenix no Coringa.

“Eu gostei”, diz ele. “Eu li muito sobre e li várias resenhas e a controvérsia a respeito, foi muito difícil de assistir com isso passando pela minha cabeça. Eu estava monitorando enquanto assistia.”

não foi a única performance de Phoenix que ele viu recentemente, tendo assistido ‘You Were Never Really Here’ para uma segunda visualização.

Fonte | Tradução e Adaptação – Joe Alwyn Online

Harriet estreou nos cinemas do UK no final do mês passado, por conta disso o Joe concedeu uma entrevista exclusiva para a ‘Evening Standard’ falando sobre os lugares que ele frequenta em Londres e muito mais. Confira:

Minha Londres: Joe Alwyn

O ator faz compras na Redchurch Street, senta-se para assados no domingo no Royal Oak e deseja poder multar as pessoas lentas no metrô.

Casa é…

Norte de Londres. Eu cresci no Tufnell Park e sempre morei perto de lá. Eu amo isso.

Qual foi a última peça que você viu?

Recentemente, fui ver Fleabag, pouco antes de encerrar. Eu tinha visto a série de TV, que é hilária, brilhante e inteligente.

Hotel Favorito?

O Covent Garden Hotel. Gosto que seja pequeno e discreto, e nada pareça muito novo ou moderno.

Ônibus, táxi ou metrô?

Eu tento andar por toda parte. Mas se for preciso, ônibus ou metrô.

Onde você mais gostaria de ser enterrado?

Mórbido! Não posso dizer que penso muito nisso, mas… O cemitério de Highgate é realmente bonito. Ou eu seria cremado e teria minhas cinzas espalhadas em Hampstead Heath, para todos os passeadores de cães.

Onde você recomendaria para um primeiro encontro?

Eu diria uma caminhada ao longo do Tamisa, ou talvez ao longo do canal em direção a Broadway Market. Há um bar de coquetéis divertidos chamado Off Broadway, por London Fields.

Se você pudesse comprar qualquer prédio e morar lá, qual seria?

Não sei se moraria lá, mas gostaria de comprar um pub realmente velho de Londres, com um belo jardim e muitas lareiras.

O que você faria se fosse prefeito por um dia?

Eu baniria muitos carros e as pessoas andariam mais. E eu também aplicaria uma penalidade para as pessoas que andam devagar no metrô. Isso me deixa louco. É um curso de assalto!

Bar favorito?

Para um assado de domingo, gosto do Royal Oak na Columbia Road.

O que faz de alguém londrino?

Um senso intrínseco de liberalidade e tolerância. É uma cidade que é celebrada por suas diferenças, o que nos torna únicos e fortes e quem somos.

O que você coleciona?

Pequenas bugigangas de feriados ou cenários de filmes e caixas de fósforos de hotéis.

Em quais lojas você confia?

Gosto da Livraria Muswell Hill, que sempre tem uma boa seleção, e as lojas, cafés e pubs da Redchurch Street. Também o BFI, Kipferl em Camden Passage e Toff’s em Muswell Hill para peixe e batatas fritas.

Você já teve uma briga com um policial?

Nada sobre o que vamos falar.

Para quem você liga quando quer se divertir?

Eu tenho um grupo principal de cerca de seis amigos que conheço desde os 12 anos. Todos moramos em Londres e conversamos praticamente todos os dias. Temos um grupo do WhatsApp, mas o nome é muito embaraçoso para compartilhar!

Onde você se exercita?

Joguei muito tênis enquanto crescia e estou tentando começar de novo. Eu também tenho alguns amigos que escalam, então eu tenho entrado nisso.

O que você está fazendo de trabalho no momento?

Eu tenho Uma Canção de Natal saindo com a BBC. Acabei de começar a trabalhar em Last Letter From Your Lover, com Felicity Jones e Shailene Woodley. E também participei por alguns dias no novo filme de Joanna Hogg, The Souvenir 2.

 Fonte | Tradução e Adaptação – Joe Alwyn Online

Joe attended the 22nd British Independent Film Awards on December 1 2019, in London, England. Joe presented the award for Best Documentary to “For Sama”. You can watch a video of Joe presenting below, and see photos of Joe at the ceremony in our gallery.

2019 BRTISH INDEPENDENT FILM AWARDS

2019 BRTISH INDEPENDENT FILM AWARDS — CEREMONY

2019 BRTISH INDEPENDENT FILM AWARDS — PRESS ROOM

2019 BRTISH INDEPENDENT FILM AWARDS — OFFICIAL PORTRAITS




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