24
Feb

Harry Potter Stars Daniel Radcliffe And Rupert Grint Scoop Prizes At Whatsonstage Awards

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Best Newcomer winner Rupert reveals he was inspired to take on theatre by his pal Daniel

Daniel Radcliffe and Rupert Grint both picked up gongs at the Whatsonstage Awards last night, with the Harry Potter co-stars reunited at the ceremony as they were honoured for their work in theatre.

Radcliffe, 24, won the prize for Best Actor in a Play for his performance in the black comedy The Cripple of Inishmaan, which won rave reviews last year and is now set to transfer to Broadway.

While Dan is a theatre veteran, having starred in a number of hit productions since his stage debut in 2007 in Equus, Rupert only made his foray into the West End recently after seeking advice from his Harry Potter co-star.

Grint was named Newcomer of the Year for his portrayal of a 1950s Soho drug dealer in Jez Butterworth’s Mojo, with the 25-year-old telling reporters after his win: “Dan has always said it’s a great thing to do and he absolutely loves it. Just watching him enjoy it told me it must be quite fun.”

Elswhere at the awards, A Midsummer Night’s Dream won Best Shakespearean Production and David Walliams, who played Bottom, won Best Supporting Actor in a Play.

Dame Helen Mirren won another gong for her acclaimed role as the Queen in Peter Morgan’s The Audience, with the actress taking home the Best Actress in a Play prize. The production was also awarded Best New Play and won Best Supporting Actress for Haydn Gwynne, who played Baroness Thatcher.

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Original article found here:entertainmentwise.com | FEBRUARY, 24th 2014

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24
Feb

Carrie Fletcher and Rupert Grint win big at the WhatsOnStage Awards in London – PICS

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Last night, all the fancy drama lot from the West End headed over to the WhatsOnStageAwards for a bit of a swanky schmooze, to celebrate the creme de la creme of the acting world who tread the boards.

Amongst ‘em were the lovely Carrie Fletcher and everyone’s favourite ginge Rupert Grint, who proved that they’re definitely NOT just Tom’s little sister and that one who was Ron Weasley, as they scooped themselves some major prizes during the night for their incredible performances. AWOO.

First up, Carrie was looking incredible in a super shiny black and silver frock, which she styled with a floaty black shawl, awesome brown boots and of course those amazing signature curls of hers.

Proving that no one can belt out On My Own quite like Carrie Fletch, she bagged almost 40% of the vote in the award for Best Takeover in a Role for her performance as Eponine in Les Miserables, and took to Twitter to spill how chuffed she was to win.

Carrie wrote: “It’s enough of a dream come true to be playing Eponine every night but to win an award for it is just out of this world. Thank you so much!” Nice one lady.

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Suited and booted for the occasion was Rupert Grint, who was looking rather dapper in his black velvet jacket and opened buttoned shirt. Oh you suave, mister. Rupert also won big for his onstage antics, scooping Newcomer of the Year for his portrayal of a 1950s drug dealer in Mojo. FANCY.

Wahey, we might have a celebratory piece of cake seeing as Carrie and Rupert did so well last night. Glad to hear they both bagged awards? Chuck us a comment in the box below.


Original article found here:sugarscape.com | FEBRUARY, 24th 2014

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2
Feb

Rupert Grint: ‘If anything will make you not do drugs…’

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Former Harry Potter star Rupert Grint on making his stage debut as a Soho dealer and watching Shia LeBeouf drop acid

Rupert Grint at the Harold Pinter theatre

Rupert Grint at the Harold Pinter theatre in London, where the former Harry Potter star is making his stage debut as a drug dealer in Jez Butterworth’s Mojo. Photograph: Richard Saker for the Observer



Rupert Grint‘s dressing table is piled high with throat lozenges and manuka honey. On stage for eight performances a week in Jez Butterworth’s Mojo, his voice is suffering: “I’ve had to have vocal massages, which are extremely painful. You basically get strangled.”

When it was announced that the Harry Potter actor would be making his stage debut in a play about rival gangs in 50s Soho, it was seen as a risk. But as the drug-dealer Sweets, he is finally distancing himself from his alter ego, Ron Weasley. He has been nominated for a Whatsonstage.com award, London newcomer of the year, and the run has been extended. “I love the fact that it’s not a play for the theatre elite. Young people are camping out for the £10 day tickets,” he says.

Emerging from the “safe bubble” of Potter, Grint, 25, felt slightly lost. He credits director Ian Rickson for bringing him Mojo. “That cockney language is almost Shakespearean. And it’s a proper ensemble cast. Danny [Mays] gives me so much energy to bounce off and Ben Whishaw is amazing.”

There’s real camaraderie offstage too. “Everyone in the theatre plays aisle volleyball at 6pm.”

The play is energetic and funny, but shot through with sadness. “All the characters are trapped. They’re the lost boys. And there’s an abuse storyline that is quite relevant today, with all these allegations about 70s TV stars coming out.”

How is he coping with fans at the stage door? “The crowd are usually quite manageable. There’s one blonde girl who has a photo with me every night but she’s never actually seen the play, which is a bit weird.” The worst thing is cameraphones when he’s eating. “People set up a fake friend next to you and pretend they’re taking a picture of them. You can spot it a mile away.”

There’s a modesty to Grint: being the oldest of five from a close-knit Catholic family “keeps you quite level”. And on Potter there were never any egos. “We filmed it in Watford, so that’s quite grounding!”

While shooting The Necessary Death of Charlie Countryman, a forthcoming film in which he plays an aspiring porn star, he was astonished to see Shia LaBeouf take LSD for real. “He smashed the place up, got naked and kept seeing this owl. If anything will make you not do drugs, it’s watching that.”

Worth an estimated £24m, Grint need never work again but says: “I’ve got a really weird relationship with money. I don’t really know how much the full amount is.” His guilty pleasure is offensive T-shirts.

He’d love to do more theatre. “It’s opened my eyes; I’ve learned so much.”

He’s always had fun with his image. He appeared in fellow redhead Ed Sheeran’s video Lego House. “People still think I released a song,” he says. “I met Wayne Sleep, who said, ‘I love your single. You’ve got a great voice.’ He definitely thought I was Ed.”


Original article found here:theguardian.com | JANUARY, 5th 2014

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15
Nov

It’s liberating to play drug pusher in theatre debut, says Rupert Grint

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Harry Potter star Rupert Grint swears by new role in his stage debut

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He spent his youth as sweet child wizard Ron Weasley — now Harry Potter star Rupert Grint admits it is “liberating” to play a foul-mouthed drug pusher in his stage debut.

Grint, 25, said he was loving his first venture into theatre in Mojo, Jez Butterworth’s groundbreaking play of Fifties Soho lowlife. “It’s been an incredible experience. The thought terrified me for years,” he added.

I’m of a nervous disposition and I never thought I could comprehend being in a play, and had put it to one side as not for me. But I’m just absolutely loving it, it’s so exhilarating.

Mojo is now on at Harold Pinter Theatre in Panton Street. Grint, who plays the part of Sweets, said the concentration required for more than two hours on stage was very different from film, where “you’re dipping in and out. It’s exhausting but an amazing experience”.

It was “kind of odd but quite refreshing” to be scattering expletives: “I’ve never gone out to deliberately shock. It’s just we’re all growing up.” He was as conscious of shocking his family as much as his fans in last night’s audience. “I don’t think they’ve ever heard me say the C-word. But there’s something liberating about saying ‘f***’.

Ben Whishaw, who sings on stage for the first time and battled with a collapsing bar stool for the opening night, said he was “intrigued” when asked to play the key role of Baby, the nightclub owner’s son, adding: “It felt like unknown territory.” Grint was “amazing”, he said. “He’s incredibly quiet but he’s got great confidence and is very grounded.” Co-star Brendan Coyle, whose Downton Abbey wife Joanne Froggatt was in the audience, said of Grint: “I’ve seen a lot of debuts but none as accomplished as that.” But the whole company was “quite extraordinary”, he added.

The first-night audience included Stephen Daldry, who premiered the play in 1995 at the Royal Court, George Osborne, Lenny Henry, Zoë Wanamaker and Patrick Marber.


Original article found here:standard.co.uk | NOVEMBER, 14th 2013

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14
Nov

Jez Butterworth’s award-winning Mojo revived in West End

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Jez Butterworth‘s dark comedy Mojo was a hit for the Royal Court theatre in London in 1995. Now it is being revived in the West End by the same director, this time with Harry Potter’s Rupert Grint making his professional stage debut alongside the likes of Ben Whishaw and Colin Morgan.

Rupert Grint has appeared in half a dozen film projects since the eighth and final Harry Potter came out two years ago. But the role of Sweets in Mojo takes him far from any world Ron Weasley would recognise.

Jez Butterworth’s tale of Soho tough-guys contains a dismembered corpse, copious swearing, a large dollop of sexual ambiguity and some magnificent 1950s quiffs. It’s a bit like The Ladykillers reworked by Quentin Tarantino and it’s very funny.

It’s great that for my stage debut I’m such a long way from anything I’ve done until now,” Rupert Grint says.
Brendan Coyle (Mickey) Downton Abbey star Brendan Coyle plays club ‘heavy’ Mickey

I’ve been offered stage things before and I always hesitated: I thought I wasn’t ready. I didn’t know Jez’s play at all so it was a big leap of faith – but that also goes for Ian Rickson (the director). But we’ve had the luxury of 19 previews to get it right and it’s been an amazing experience.

But is he finding it hard to work straight through for two-and-a-half hours, after spending his teens in the endless stop-start process of making movies?

Well that’s what the rehearsals do for you. It’s more intense and deeper than in the cinema. In film you dip in and out, with big distractions in between: you don’t go into much detail. Theatre is exhausting in a way film-making usually isn’t. But it’s also really rewarding.

For Colin Morgan the play’s a chance to remind audiences he was already a much-praised stage actor before the BBC series Merlin.

“I think for actors variety is always the key, whatever the medium. It’s about doing the best work you can in the most interesting projects. So I’m really lucky to find myself in a strong team in a fantastic piece of writing.

Morgan, like all his colleagues, is full of praise for Butterworth’s dialogue. “It’s deliberately slightly unrealistic, slightly heightened. In one sense that makes it quite difficult to play but it’s also a huge delight.”
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The obvious appeal was the use of language. Jez was experimenting with the form of language, which at the time no one else was doing. ”

Stephen Daldry, former artistic director of Royal Court theatre

Brendan Coyle is another actor coming to the show after a profile-raising TV role – the valet Bates in Downton Abbey. Like Morgan, he’s a fan of Jez Butterworth’s way with words.

“There’s a communal rhythm and a vibe: we have to tune into each other even more than in most productions. The pace, the language, the imagery are all relentless. But when you feel the audience get into it it’s fantastic.

The opening night brought back memories for Stephen Daldry, who in 1995 was responsible for choosing the play for the Royal Court.

“Mojo was the quickest decision I ever took as artistic director: we said yes virtually at once. In theory it was absolutely not how the Royal Court worked but if you know a play is right you go with it.
Ben Whishaw (Baby) Ben Whishaw’s career successfully spans theatre, TV and film

“The obvious appeal was the use of language. Jez was experimenting with the form of language, which at the time no one else was doing.

“But there was an energy and a freshness and an unpredictability to it. Normally even with a good script you know what’s going to happen next. Reading Mojo I didn’t know where it was going and that’s why I loved it.”

Ben Whishaw, now known on screen as MI6′s Q, says he accepted the role in part because it’s the total opposite of what he’s usually offered.

“Often I’ve played withdrawn or slightly shy characters. Earlier this year I played Peter Llewelyn Davies in the play Peter and Alice: it was a lovely part but I knew I needed to take on something utterly different afterwards. My character Baby seems extrovert and initially comic – but as the play proceeds he gets more ambiguous. So this was a chance to explore something different in myself.

“But in my performance I try not to categorise him as a psychopath. People need to recognise a real human being there. And Jez’s slightly heightened dialogue actually helps that process. The language is so rich it seduces the audience.”

Mojo at London’s Harold Pinter Theatre runs until 25 January, 2014.


Original article found here:www.bbc.co.uk | NOVEMBER, 14th 2013

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4
Nov

Jez Butterworth recovers his Mojo

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Before Jerusalem, a 24-year-old Jez Butterworth electrified British theatre with a swaggering story of pill-popping Soho gangsters. Nearly two decades on, he tells Ryan Gilbey why it’s time to put it back on the jukebox

Andy Serkis, Tom Hollander, Aidan Gillen and David Westhead in the 1995 production of Mojo

Electrifying … Andy Serkis, Tom Hollander, Aidan Gillen and David Westhead in the original 1995 production of Mojo. Photograph: Tristram Kenton for the Guardian

Theatrical monster hits of recent years don’t come much bigger than Jerusalem, which bounced from the Royal Court to the West End and on to Broadway, scooping awards and prompting all-night camp-outs for tickets. But more than a decade earlier, Jerusalem’s writer, Jez Butterworth, and director, Ian Rickson, had launched another stage phenomenon at the Royal Court.

The rock’n’roll thriller Mojo, Butterworth’s first play, was set amid the pill-popping frenzy of 1950s Soho where two gangland bosses are locked in a power struggle over the pretty young heartthrob Silver Johnny. The reviews were glowing: this paper’s Michael Billington called it “the most dazzling main-stage debut in years”, while the Telegraph’s Charles Spencer said of the first-night audience: “Everyone knew they were at the birth of something special.” Dustin Hoffman, Tom Cruise and Gary Oldman were in the audience, and Cruise sent a congratulatory postcard to the cast. It was the first main-stage debut at that theatre since John Osborne’s Look Back in Anger in 1956. Or so the publicity claimed. “I put that out there,” Rickson says sheepishly. “I don’t think it was true. But the spirit of it felt right.”

That electrifying 1995 production featured several rising stars: Tom Hollander, later to become Rev in the BBC sitcom, played the petulant Baby, a Hamlet-like heir to one of Soho’s crime empires; Andy Serkis – who has spent most of the past decade squeezed into a motion-capture blue-suit to play Gollum in the Lord of the Rings films – was Potts, a stooge convinced he can benefit from the teenybopper bandwagon; and Aidan Gillen, whose work in The Wire and Game of Thrones has now made him one of the guarantors of quality television, played Skinny, whose worship of Baby is his undoing. Seventeen years after its debut in summer 1995, the play is being revived by Rickson with an equally impressive cast: Ben Whishaw as Baby, Daniel Mays as Potts, Brendan Coyle of Downton Abbey as the group’s strategist, Mickey, and, making his stage debut, Rupert Grint as Potts’s speed-freak sidekick Sweets.

Rehearsals for the new version of Mojo

Rehearsals for the new version of Mojo. Photograph: Simon Annand

When I drop in to the central London rehearsal space on an autumn afternoon, Whishaw is prowling the floor looking vulpine in a black leather jacket and shaggy hair. He’s outsmarting the twitchy Mays and Grint, who are trying to distract him from the grisly secrets hidden downstage in a pair of silver dustbins. The room is filled with period props and paraphernalia, from a jukebox to an array of Tommy Steele album covers. A ping-pong table is there purely to allow the actors to let off steam after tackling the coiled dialogue, which itself has the rat-tat-tat rhythms of an Olympic-standard table-tennis match.

There are any number of reasons to revive Mojo, from the commercial (hitching a ride on the Jerusalem juggernaut) to the topical (the play’s backdrop, with powerful showbiz crooks fighting over the flesh of children, has an unsavoury tang of the Saville era, Jonathan King and the Walton Hop). For Rickson, the main incentive was to ratify the play’s standing. “I think it’s a modern classic,” he says when I join him and Butterworth during their lunch break. The director is svelte and stubble-headed; the playwright resembles a jolly bear in a flat-cap. “I just watched them do 20 minutes of act two, and it was so thrilling,” says Butterworth. “It’s brilliant to see actors get that excited.”

As if on cue, the cast members pour back in from their break and rush over to the ping-pong table for some noisy and rambunctious face-offs. “To enshrine it now as a classic it has to be about the players who are available,” observes Rickson. Though Whishaw and Grint will be the box-office draws, it is Mays who is the lynchpin of the new production. “Jez and I have adored Daniel for many years. As far as I’m concerned, there are certain actors who can speak Butterworth. It then became about whether we could build a team around him.”

Ben Whishaw as Baby in Mojo.

Ben Whishaw as Baby in Mojo. Photograph: Simon Annand

Whishaw had played Skinny in a production of the play at Rada, and jumped at the chance to graduate to Baby. “I wanted to do it straight away,” he says softly. “We’re all still kind of figuring the play out really. Baby is damaged, but then I suppose they’re all damaged men.”

The new cast members are united in their admiration of the writing. “It’s been quite hard mastering those rhythms,” says Grint. “There’s lots of bouncing off one another, and it’s so fast-paced and charged. But it’s a lot of fun.”

“Jez was 24 when he wrote it,” exclaims Mays incredulously. “It’s got that unapologetic rawness to it: it’s someone pouring out their talent. It’s fearless.”

Butterworth was holed up with his brother and sometime co-writer Tom in a cottage in Pewsey – the Wiltshire village which later became the setting for Jerusalem – while he worked on the play in 1994. He survived for an entire year on the £1,500 that the producer André Ptaszynski had paid him to write it. “It was a wonderful time,” he sighs. “And I had such a clear idea of the story – more so than I’ve ever had of anything since. The fairytale idea I came up with right at the start: two kingdoms, two kings, both of whom are off-stage, and with Silver Johnny like a princess who gets stolen from one by the other. Then there are all the knights fighting over who’s going to take over, and you’ve got the kingdom’s rightful son, Baby, who is a bit useless. I wrote the first scene relentlessly for several months because I was trying to get the voice. Once I knew how everyone should sound, the rest came in a burst.”

Rickson was part of Stephen Daldry’s team at the Royal Court when he received a copy of Mojo. The pressure was on for the theatre to have a summer hit. “I brought Jez in, we had a read-through with six actors, and we knew straight away we were onto a winner. The dogma of the time dictated that new playwrights went in the theatre upstairs, but Mojo felt constrained there. So Stephen did the bold thing: debut, main stage, bang!”

The play was staged dynamically – it’s a claustrophobic piece punctuated by blasts of sound, light and violence – with audiences becoming especially tense during a long scene in act two in which Silver Johnny is suspended from his ankles like a carcass in an abattoir. “We’re so prepared now,” says Rickson. “This kid Tom [Rhys Harries] has been on a special diet, done hanging practice, had his retinas checked, seen an osteopath.” When I report this to Hans Matheson, who at 20 was the original Silver Johnny, he splutters. “You’re kidding? They didn’t do any of that for me! I was convinced something was going to go wrong and I’d fall and break my neck.”

Mojo was the hit the Royal Court was looking for. When the BBC suggested adapting it for cinema, Butterworth knew he wanted in. “I was 26 and I’d always wanted to be a film director,” he says. Matheson recalls visiting the playwright’s Soho flat and seeing a book called How to Make a Film. “It was there on the coffee table,” he laughs. “He must have thought, ‘I’ll get the manual.’”

But Butterworth blotted his copybook with two important people. Sam Mendes had desperately wanted Mojo to be his own cinematic debut. “Sam didn’t talk to me for years afterwards,” Butterworth admits. Then there was a controversial casting decision: for Baby, Butterworth dropped Hollander and promoted Aidan Gillen to the lead. “I imagine Tom was stung to the core. Looking back, I think it was an unbelievably cold piece of business on my part,” Butterworth says now.

Serkis and Matheson were also drafted in from the original production, and there was an important addition: Harold Pinter in an unforgettable cameo as the vulture-like paedophile gangster Sam Ross, a character feared but never seen in the stage version. “On set I was always thinking, ‘I’m sure this isn’t the most exciting thing we could be filming right now,’” says Butterworth. But the static scene in which Pinter and Matheson are scrunched together on a sofa is taut and terrifying. “That was the penultimate day of shooting, and it was the first thing that really worked.”

Hans Matheson and Harold Pinter in the film version of Mojo

Hans Matheson and Harold Pinter in the film version of Mojo Photograph: Kobal

Matheson feels the same. “The film was okay. Not rubbish-rubbish. But that scene was outrageous and naughty. Jez ruined a few takes from laughing. I just couldn’t believe I was doing a scene with Harold Pinter. He wasn’t someone who took any shit. I was rehearsing a song when he was in another dressing room and he came in, rolling his sleeves up, and shouted at us: ‘Will you keep that bloody noise down?’ I thought I was about to be decked by Harold Pinter.”

At least the experience of adapting Mojo helped make up Butterworth’s mind when the offers to film Jerusalem came in. “It’s not happening,” he says decisively. Rickson concurs: “There are two people who won’t let it happen. Him and me.” The men have worked together several times between Mojo and Jerusalem, and Butterworth also has a successful career as a screenwriter and script-doctor. Revisiting Mojo, though, is something they always planned to do. “I feel there’s this demo, the 1995 version,” explains Rickson. “And now we’re going back and remastering it, trying to make it more itself. I see it now very differently: it’s an austere, savage, hilarious ritual about tribes of men under threat.” Butterworth is even more concise. “The main reason for doing it – and it’s taken me a while to work this out – is that it was a really, really good play. There aren’t that many of them around, so it’s worth doing one when you can.”


Original article found here:theguardian.com | NOVEMBER, 4th 2013

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20
Oct

Rupert Grint on CBGB, Dirty Toilets, and Butt Tattoos

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Along with his former Harry Potter co-stars, Rupert Grint has edged away from his childhood role of Ron Weasley into edgier fare. His latest role as Dead Boys punker Cheetah Chrome in the film CBGB includes a scene in which he drops his pants to prove to a record producer (played by Stana Katic) that the carpet matches the drapes, so to speak — even if all we see is his bare behind, she gets enough of an eyeful to decide to work on the band’s record. Grint, who is currently performing in the West End play Mojo, called from London to chat with Vulture about onstage blow jobs, the infamous CBGB bathroom, and butt tattoos.

Every Twitter feed claiming to be you doesn’t seem like it’s really you. Are they impostors? Are you even on Twitter?
No, I’m not. If you saw one, that would be a fake one, yeah. I don’t know. It’s weird that people pretend to do that, pretend that they’re me. But I’ve never done Twitter. A lot of people have already said that I should give it a go, but I don’t think I’d be very good at it! It’s just not something … I’m not great at any of those things, really. Maybe one day, though.

You wear a dog collar throughout the film. Did you get to keep it?
No. I really wanted to, though. [Laughs.] I kind of got quite attached to the dog collar. Wearing it every day, I felt naked without it.

Not as naked as the scene in which you drop trou!
Oh, right, yeah. Yes. That was quite fun. I didn’t really think about it until I had to do it, but it was kind of quite a tricky process. I think in the end, we needed a sock contraption. [Laughs.] So that kind of worked. That was the first time I had ever done anything like that. Justin Bartha had to do a lot more, actually. He had to get his waxed. So there was a lot of preparation there. Luckily, I don’t have that issue.

And you didn’t end up having to hide any butt tattoos, either, right? Tom Felton started a rumor during the promotion of Harry Potter and the Deathly Hallows that you guys were all going to get cast tattoos, à la The Fellowship of the Ring. I think it was something like lightning bolts on your left buttocks?

Oh, yeah. I kind of vaguely remember that. I’m still up for that. We were actually seriously thinking about it. It wasn’t just a joke. There were loads of people that said, “We’ll get them.” To mark the end of an era, I guess. But it never actually happened in the end. If I did do it, they have cover-up makeup, right? I could cover it up if I had to? That would work.

What was it like performing as a member of the Dead Boys?
We had a lot of fun going crazy. And I always wanted to be in a band and be a part of something like that, and it felt like I got a little taste of that. I enjoyed that, definitely. I knew a few chords before, but as soon as the lights went down on the crowd, I didn’t know what the hell I was doing! [Laughs.] I was just faking it, pretty sloppily. But I think it was kind of like how the whole ethos of punk was, just wild. So I think I got away with it. But yeah, those scenes onstage were really fun. What I knew about the Dead Boys before was that they were just insane, so that was fun to play, some of the disgusting things the Dead Boys did. Re-creating those moments were quite fun.

Like when Stana Katic gets the whipped cream and Stiv Bators gets a blow job while performing onstage?
Yeah! Yeah! And that was true! That actually happened! They have photographic evidence. Hilly Kristal’s daughter Lisa, she was on set as well, and she was showing us all these pictures of the actual event. It just blew my mind. It’s ridiculous, that it actually happened. [Laughs.] Doing that scene, Justin really went for it — that, and blowing his nose in the ham. You could really feel like we were punk.

Cheetah Chrome was also on set, and he even did a cameo as a cab driver. Did he give you any tips?
Yeah, he was great. It was just amazing to sit with him and talk to him, about when he was so heavily addicted to drugs and living such a wild lifestyle. It’s quite special when you’re playing someone as they’re watching you on set. I felt a little self-conscious about getting the movement right, so there was a bit of pressure, but it was special to get to know him.

Did you feel any echoes of Ron and Snape in the scene where Cheetah first meets Hilly? Because you’re being so polite and calling Alan Rickman sir …
Yeah, I was kind of getting flashbacks. I love Alan. He’s one of my favorites, and he was completely transformed. I was surprised when I saw him. He was just completely in that zone, as he was when he was Snape, when he was quite intimidating. And yeah, when I was doing that first scene, it was weird! I was getting flashbacks of when I was 11, because I kind of grew up with him, really, in a weird way, so he’s been in my life for a long time. So it was kind of cool to see him out of that world and in a completely new environment.

I know you didn’t have any major scenes in the bathroom, but those were the actual toilets from CBGB. They got them after the club was torn down to use as a set.
Yeah, it’s quite amazing, isn’t it? They had quite a reputation, those toilets, back in the day, didn’t they? But it was cool that they had some of the original parts, like the original door of the club, and the cash register, and the desk. Loads of things like that. So the place felt more like CBGB, I guess.

They must have cleaned up the CBGB toilets somewhat on set, right? So it looks cruddy because of the paint, right?
I wasn’t part of the toilet process. [Chuckles.] But yeah, I would hope. It looked disgusting, either way!


Original article found here:vulture.com | OCTOBER, 8th 2013

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20
Oct

Harry Potter star Rupert Grint: I’m battling new demons to make my stage debut

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Stellar line-up: from left, Mojo cast Colin Morgan, Rupert Grint, Daniel Mays, Ben Whishaw, Tom Rhys Harries and Brendan Coyle (Picture: Kevin Cummins)

Rupert Grint fearlessly battled the forces of evil in the Harry Potter movies. Yet he reveals today that he is terrified of making his stage debut.

The actor, who won fame as Ron Weasley, is taking the plunge after observing co-star Daniel Radcliffe’s passion for theatre.

Grint , 25, joins a stellar cast including Ben Whishaw, Colin Morgan from Merlin, Downton’s Brendan Coyle and Daniel Mays in the play Mojo, set in Fifties Soho, which reunites Jerusalem writer and director Jez Butterworth and Ian Rickson on their first hit.

Grint said he knew all eyes would be on him. “There are going to be expectations at my first stab at it. I’m trying not to think about it too much. It is something that really scares me. But part of it is I want to do something that scares me a little bit. It’s quite good to challenge yourself now and again.”

Radcliffe, who has recently finished a West End run in The Cripple of Inishmaan, obviously adored theatre, he said. “Dan has always said it’s a great thing to do and he absolutely loves it. Just watching him enjoy it told me it must be quite fun.” Grint, who last appeared on stage aged about nine as Rumpelstiltskin in a school production, said he needed a break from Potter before making his stage debut — though he has done several independent films.

“I think I just needed time to find myself a little bit. It was 10 years of doing the Potter films and it was quite suffocating,” the Stevenage-born star said.

And money was obviously never a motivation. Grint, who has bought an icecream van and invested in property, said: “I never felt to be in a rush to do everything and so I’m quite careful when I choose things.”

Grint plays “quite naïve” Sweets in the gangland drama. Rickson, who was told by Potter director David Yates that Grint was “special,” hopes he might “attract some people that may not ordinarily see a new production of a modern classic”.

Mojo runs at the Harold Pinter Theatre from October 26 to January 25. Booking opens today.


Original article found here:standard.co.uk | SEPTEMBER, 9th 2013

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20
Oct

Rupert Grint says he’s not trying to ‘shock’ with roles

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Since “Harry Potter,” Grint has played an aspiring porn star and a punk rocker in “CBGB.” But he’s not trying to “shock” people.

1375897055000-GRINT-CBGB-MOV-jy-1212Rupert Grint has tapped into some out-there characters since leaving the Harry Potter franchise in 2011.

This year Grint has appeared as the drug-taking aspiring porn star in The Necessary Death of Charlie Countryman. In the upcoming CBGB (out Oct. 11) he stars as the drugged-out punk rocker Cheetah Chrome.

Grint will also make his West End stage debut this year in Mojo, where he plays a drug-addled gangster.

“It’s not really that I am trying to shock people or make a big statement,” says Grint, “It’s just part of moving on.”

Grint, whose portrayal of Cheetah Chrome was unveiled in USA TODAY, drops his trousers in one CBGB scene in front of a record producer at the bar to prove that he doesn’t dye his hair.

In another scene, his bandmate from the infamous The Dead Boys engages in a sexual act with a female fan midsong.

It’s all part of capturing the real Cheetah Chrome. The rocker lived a life so hard that Grint says he was surprised that the real Chrome was on set, working as an adviser to the film.

“I couldn’t believe he was still alive given the amount of drugs he took,” says Grint.

Grint admits the prospect of playing on the West End intimidates him. His stage acting experience is limited to school plays.

“This is a completely new thing, a whole new level,” says Grint. “It does scare me. That’s kind of a reason why I want to do it.”


Original article found here:usatoday.com | AUGUST, 7th 2013

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1
Aug

Rupert Grint’s West End stint in Mojo could silence his critics for good

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In 2011, Rupert Grint graduated, freeing himself from the grasps of witchcraft and wizardry. Since, the actor has chosen roles with one common denominator: they’ve had nothing to do with magic – something the actor has described as ‘refreshing’.

Recent diverse acting roles have seen Grint play a World War II pilot in Cross of Honour; contribute as a voice over in American Dad! and Postman Pat: The Movie – You Know You’re The One’ as well as star alongside Shia La Beouf in drama The Necessary Death of Charlie Countryman.

Later this year the actor also plays in CBGB, which documents the rise and fall of the famous New York punk club of the same name.

These roles seem more of a personal pick ‘n’ mix than a beeline for big bucks.

Grint is right to have trod an intriguing path post-Hogwarts, unique to that of co stars and Hollywood hitters Daniel Radcliffe and Emma Watson, who have carved mainstream success in the movies very quickly.

Watson’s sheek hit The Bling Ring and Radcliffe’s role in a screened revival of The Woman in Black confirmed their post-Potter worth. Grint is yet to make his solo imprint.

He is perhaps the lesser-oiled cog in the Warner Bros PR machine, but Grint’s work since Potter – namely his cameo in The Necessary Death of Charlie Countryman – has been heralded as superb; a markable turn from the actor who broke as comic nerd Ron Weasley.

In this vein, Grint the brand packs a big punch. His arrival at the Berlinale Red Carpet premiere of The Necessary Death of Charlie Countryman, in which he plays only a small role, saw Potter fans screaming for the 24-year-old over lead star Shia La Beouf.

It seems Rupert Grint still appeals two years on from Potter. A role in the West End, as part of a revival of Jez Butterworth’s Mojo is the actor’s second foray into the world of underground club-culture after new movie CBGB out later this year, and will only strengthen his appeal as a serious actor.

Mojo is a brutal and important piece of theatre that will provide Grint the platform to prove he’s capable of impacting upon hot, contemporary themes.

He’s playing drug-addled nasty Sweets in the play, which is a contentious piece of 1990s brat-pack theatre that premiered at the Royal Court in 1995 – the theatre best known as Britain’s new writing beacon.

Butterworth, alongside Mark Ravenhill and the late Sarah Kane, became infamous for staging shock in the most harrowing of ways.

Mojo documents the waywardly rise of Rock ‘n’ Roller Silver Johnny, and his ties with Soho’s murky underbelly – namely The Atlantic nightclub – in late 1950s London.

It’s a brutal and important piece of theatre that will provide Grint the platform to prove he’s capable of impacting upon hot, contemporary themes.

It’s as far from Harry Potter as he can get.

Mojo is the actor’s opportunity to instate himself as an actor that can move past the constrictions of film – mainstream or otherwise.

More than this, London’s Harold Pinter theatre will offer Grint the possibility of legitimising himself as a serious actor with longevity and variation akin to his co star Daniel Radcliffe.


Original article found here:metro.co.uk | AUGUST, 1st 2013

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