Exclusive: Ben Kingsley, Christopher Briney, and director Mary Harron discuss working with Ezra Miller in ‘Dalíland’: “I just don't know what to say”
“This was not an academic starting point, not a historical starting point, but more a starting point based on his language; his behavior; his taste in love, life, food, wine, and everything; and also his daring to break so many rules,” Kingsley says. “I think of the trapeze artist swinging from one trapeze to the other, and that triple somersault in midair is what the audience needs to watch. We do not need to watch the trapeze artists swinging and holding on to the trapeze.
despite several investigative reports over the years that have stated the contrary. Nevertheless, she has remained a trans icon for decades.addresses her fluid style, but doesn’t declare anything definitive about Lear. “We don’t say it’s fact; we say it’s rumored,” says Harron. “She’s never said that she was, so we have to put a question mark over it.”By Rekha Garton and Marcel Zyskind.
His other “duet” was with Dalí’s wife Gala , his financial protector who shares his fear of aging. She carries on a public affair with a young Broadway star and clashes viciously with her husband at times. “Mary Harron has a perfect pitch for harmony in her casting and harmony in performance,” Kingsley says. “She allowed people to harmonize together, even if it was a brittle moment of violence. Even when I’m spitting venom at Gala, it is still a duet. Duets don’t have to be nice.
Kingsley also described this moment as “a duet,” and said there were no problems. “Whenever I describe working with a fellow actor as a duet, it means it’s probably 10 out of 10,” he says.By Rekha Garton and Marcel Zyskind.’s story of James and Salvador mirrored his experience with Kingsley—awe threaded with terror. “There was a lot to freak out about,” Briney says.
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