tag:blogger.com,1999:blog-40441964348965824912024-03-13T00:37:36.331-04:00Books, Films, and MeTV, films, books, writing, travel--My major interests keep me busy. I write about popular culture, which often propels me to new destinations around the world.Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.comBlogger79125tag:blogger.com,1999:blog-4044196434896582491.post-46703318328340151502014-10-26T11:09:00.002-04:002014-10-26T11:12:55.012-04:00In Praise of Alan Turing: Benedict Cumberbatch on CBS Sunday MorningOn <i>CBS Sunday Morning</i> today (October 26), Alan Turing, not Benedict Cumberbatch, took center stage. Nevertheless, the actor’s comments went a long way not only toward helping viewers understand Turing, but to anticipate <i>The Imitation Game</i> and Cumberbatch’s stellar performance.<br />
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In the five-minute segment, Cumberbatch was one of a half-dozen specialists (including a historian, an engineer, a professor who teaches a course about Turing, and Turing’s nephew) celebrating the genius mathematician’s contributions to the war effort. It was a different kind of interview for popular actor Cumberbatch. He was the focus of promos throughout the show to encourage viewers to keep watching at least through the Turing segment, which was broadcast in the final third of the program, but his interview was only a small part of the program's larger emphasis on Turing.<br />
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So what did Cumberbatch the actor get from this exposure?<br />
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For one, <i>CBS Sunday Morning</i>’s primary audience is 25- to 54-year-olds, who are a prime market for <i>The Imitation Game</i>. [The film opens in the U.S. on November 21, after being screened at 27 U.S. film festivals held between August 20 (Telluride) and November 15 (Key West).] Although the film has been heavily promoted at film festivals this autumn, the <i>Sunday Morning</i> audience likely hasn’t been able to see <i>The Imitation Game</i> yet. The segment about Turing not only was designed to pique their interest, but to portray Turing as an unsung war hero, a genius deserving of our respect and honor, and a persecuted homosexual—the latter point underscoring a sympathetic portrayal on screen.<br />
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<i>The Imitation Game</i> was significantly featured during the <i>Sunday Morning</i> segment. If audiences didn’t have the chance to get to know Cumberbatch very well, they at least saw his own brilliance as an actor through clips from the movie’s pivotal scenes. Whereas American audiences falling into <i>CBS Sunday Morning</i>'s “typical” demographic may not be as familiar with Cumberbatch’s roles as Khan or Smaug, for example, they are more likely to be PBS viewers who may have seen <i>Sherlock</i>. As shown in the <i>Imitation Game</i> clips, Cumberbatch is again playing a highly intelligent character, and <i>Sherlock </i>fans watching the segment could easily make that connection—despite the fact that the CBS show never mentioned any of Cumberbatch’s other roles. The segment, after all, was focused on Turing, not Cumberbatch. What is more important, however, is that audiences who may primarily associate Cumberbatch with a clever consulting detective got to see moments of the actor’s performance as Turing—one that is very different from his depiction of Sherlock Holmes.<br />
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Finally, the actor took his place among the other specialists discussing Turing to briefly contribute his knowledge of the mathematician. When interviewer Anthony Mason asked whether it was intimidating to play Turing and portray that level of intelligence on screen, Cumberbatch smiled self-deprecatingly. “Hell, yeah, it is.” He and Mason toured the Imperial War Museum in London to view the Enigma machine. In a later interview clip, Cumberbatch explained Turing’s approach to defeating Enigma. Turing understood that “to beat a machine, you had to use a machine, rather than humans.”<br />
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One of the many film clips showed Turing’s machine at the moment it works and the Bletchley Park team realizes that they can defeat Enigma. “That moment in the film actually gave me goose bumps,” Cumberbatch enthused. “The hairs literally stood on the back of my neck, as it must have for them. That is a Eureka moment.”<br />
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Near the segment's conclusion, after mention of Turing’s posthumously received pardon, Cumberbatch commented that Turing had “a too-short epic life . . . . We owed him at least double that, I’d say.”<br />
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Segments like this one on <i>CBS Sunday Morning</i> are one way to repay Turing’s legacy by making audiences aware of the man, as well as the mathematical genius and war hero. For Benedict Cumberbatch to be highlighted in this segment pragmatically promotes him as an intelligent actor in an important forthcoming film and makes at least part of that film’s target audience in the U.S. aware of <i>The Imitation Game</i> and Cumberbatch’s range as an actor. However, it also illustrates his sincere mission to make moviegoers more aware of Alan Turing. In this interview, Cumberbatch received earnest attention because of his knowledge of Turing, rather than for being a sex symbol or a rising star, which are often the focus of fawning interviews by entertainment reporters. <br />
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Was this a good, if brief, exposure for Benedict Cumberbatch on U.S. television? Did he come across as sincere, intelligent, and concerned with Turing rather than with receiving accolades for his performance or promoting his latest film? and Was <i>CBS Sunday Morning</i> worth watching for this segment alone? Hell, yeah.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com1tag:blogger.com,1999:blog-4044196434896582491.post-78427921079555185512014-09-30T10:14:00.000-04:002014-09-30T10:14:01.288-04:00TIFF 2014: Benedict Cumberbatch, Transition CompletedBenedict Cumberbatch’s fans began lining King Street hours before <i>The Imitation Game</i>’s first screening at the Toronto International Film Festival (TIFF). The women who graciously let me stand behind them had arrived about 9 a.m. I arrived far later, after a delayed flight from Orlando, but by about 3 on a warm Tuesday afternoon I, too, waited for the stars to arrive. My new friends had secured a prime spot slightly diagonal from the press area at the Princess of Wales theatre. Before long, and well in advance of the stars’ arrivals, both sides of King for a block either side of the theatre were at least six people deep. <br />
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Some fans brought signs (which the crowds behind them repeatedly urged to be lowered so more people could glimpse Cumberbatch the moment he arrived). Other fans held copies of the <i>Entertainment Weekly</i> cover of Cumberbatch as Sherlock, <i>Sherlock </i>posters, or postcards for Cumberbatch to sign. Some simply wanted a photo. During the long wait for the black cars to drive up, fans bonded over stories of meeting other actors or standing beside other red carpets. “We should ask him to guess our passwords,” one young woman suggested. “And they’ll all be the same word,” smirked another. Students in a film studies course suggested that they say they someday would be working with him.<br />
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Shannon, the TIFF coordinator, said she would signal who was arriving—if the crowds behaved. However, when Cumberbatch turned out to be in one of the first cars, all sense of organization (and in a few cases, all sense) was abandoned. Cumberbatch sprinted from the car and started posing and signing far down the line from where I was standing. The crowd across from the theatre surged forward to the point that security pleaded with everyone to step back so that the first row would not be squished against the barricade. When the actor was only a few yards away from me, a photographer peeled off from the press section to urge him and a section of faithful followers to pose for a few shots—the ones that made all the newspapers the next morning, in Toronto and around the world, alongside news of the film.<br />
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Cumberbatch was friendly but not chatty as he interacted with the people around me. He signed my <i>Sherlock </i>card—even returning to sign it because my pen (likely overwhelmed to be in the actor’s presence) failed to work at the crucial moment. He posed for a selfie with a woman a few feet away. He rushed down and up both sides of the street to greet as many fans as possible. When he finally turned toward the media photographers about 20 minutes after arriving, he kept waving at fans as he walked to the press area.<br />
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This Benedict Cumberbatch looked very different from the man I watched interact with the crowd and his colleagues at the 2011 BFI screening of “A Scandal in Belgravia.” He was physically larger then (while filming <i>Parade’s End</i>), more casually dressed, and a bit wary of the audience. The fans rushing after Cumberbatch were fewer in number, and security did not need to hover nearby as he signed and posed for fans. The man who walked the TIFF gauntlet of highly enthusiastic fans has grown more accustomed to crowds shouting his name. He was styled handsomely for this event, but he somehow looked slighter when he stood in front of me. Perhaps his stature in the entertainment industry this year made him seem impossibly taller and broader in my memory. At TIFF, the man in the blue suit, with perfectly coiffed hair, large dark glasses, and a sincere demeanor was not larger than life. He was not a slick movie star but a very popular actor starring in the film about to be screened at a major film festival. And that is why I enjoy writing about and following the career of Benedict Cumberbatch.<br />
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He may not seek the attention, but he knows how to handle it well at a public event and seems to increasingly enjoy interacting with fans. He pleased even those who didn’t get an autograph or a selfie because he went first to the fans, kept moving up and down the street to greet as many people as possible, and spent a long time by red carpet standards with fans. Then he turned to the media. <br />
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“He really cares about his fans” is a line I heard quite a few times as I walked back toward my hotel. If Cumberbatch aimed to please, he scored a bullseye.<br />
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A few hours later, as I left a theatre district restaurant, I saw people running against the light—much to the chagrin of a traffic officer, who was trying to keep irate taxi drivers from slaughtering pedestrians. “It’s a red light!” he shouted, but people only scooted across the street faster to get near the back door of the Princess of Wales theatre. I could hear cheers and screams from more than a block away. “That must be a huge star,” the guy next to me said. His friend agreed, and when we managed to stand on the edge of the curb to watch who was leaving the theatre, we could see Benedict Cumberbatch, standing on the door frame of his car to address the hundreds who had been waiting for him. My paparazzi-style grainy photo shows him smiling as he slipped into the car. He rolled down the window and waved as he headed for the airport.<br />
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When I first started writing a performance biography about Benedict Cumberbatch a few years ago, my agent and I had trouble convincing publishers that anyone would want to read about this actor. The argument went that if you asked people what they thought of <i>Sherlock</i>, they would say that they like the series, and then if you explained that Benedict Cumberbatch plays Sherlock Holmes, they would say they like him in the role. However, ask the question about Cumberbatch first, and no one would know who he is. I grinned at that memory when I was asked to write a second book about Cumberbatch.<br />
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Similarly, even at last year’s TIFF, when Cumberbatch starred in the gala opening film, <i>The Fifth Estate</i>, and fans screamed for him, the argument against Cumberbatch being a true film star began with the statement that his fandom is principally Internet based—he doesn't have instant name recognition among mainstream movie or TV audiences (no many how many writers and chat/talk show hosts joke about its sound or spelling). When Cumberbatch showed up on the TIFF red carpet at the <i>12 Years a Slave</i> premiere, the cynics who noted the crowds chanting his name commented that the majority of people were there to see producer/star Brad Pitt, and Cumberbatch was merely a bonus. These comments vied for attention with the media touting Cumberbatch as TIFF's "It" man.<br />
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A year, especially one in the life of such a busy actor (with high-profile projects on television, radio, film, and stage), makes a big difference in perception. Like last year, Cumberbatch could only stay in Toronto a few days again this year, but they were filled with interviews and red carpet appearances before he flew back across the Atlantic to work. Last year’s post-TIFF job was <i>The Imitation Game</i>, the film that would bring him back to Toronto in 2014. This year <i>The Hollow Crown</i> called him home for an immediate script reading and filming within days of his return. Despite winning numerous awards (including an Emmy) for <i>Sherlock</i>, gaining a phenomenal amount of attention for numerous film roles in 2013, being named the Britannia Awards’ British Artist of the Year, and now being critically acclaimed for his performance as Alan Turing—all indicators of stardom—Cumberbatch is still very much a <i>working </i>actor. He has numerous projects in progress. Even though he coyly feeds the rumor mill with non-statements about possible roles as part of the industry’s game playing, he most often emphasizes his work instead of his celebrity. At TIFF, he transitioned from one fan’s focus on him (as a "delicious"ly sexy man) back to his screen role and his desire to see Turing’s story told. In some important ways this prolific actor’s public persona has not changed with his increasing fame.<br />
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When MX Publishing suggested that I write a second book about Benedict Cumberbatch, because the first performance biography was submitted just before <i>Star Trek: Into Darkness</i> went into wide release and so much has happened since, I wondered how I could write an entire book about one year. Silly me. I was writing about Benedict Cumberbatch, which meant I wrote chapters about <i>Star Trek, 12 Years a Slave, August: Osage County, The Hobbit</i>, the most recent series of <i>Sherlock, Cabin Pressure, Little Favour</i>, lots of awards and honors, and ticket sales for <i>Hamlet</i>—among others. I both loved (because Cumberbatch, Martin Freeman, and Steven Moffat were winners) and loathed (because I had to revise a section of the just-submitted manuscript) the Emmys—that award became my stopping point for this book. I’ve already posted in my blog my review of <i>The Imitation Game</i>, and I suspect I am far from finished about writing about Benedict Cumberbatch’s incredible career.<br />
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The new book illustrates how this actor’s transition to star has been completed in the past year—and how celebrity is having an impact on his career and public perceptions of the actor. More than the first book, this second one includes greater analysis of the way Cumberbatch’s celebrity image continues to change and what that means for his career and his place within popular culture. I think the book lives up to its name: <i>Benedict Cumberbatch, Transition Completed: Films, Fans, Fame</i>.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-26343909845369549362014-09-14T15:17:00.000-04:002014-09-14T15:19:46.370-04:00No Imitation--The Imitation Game Proves why Benedict Cumberbatch is the Real DealA low-key, yet symbolically striking scene occurs late in <i>The Imitation Game</i>, when mathematician and Enigma code breaker Alan Turing (Benedict Cumberbatch) finishes a solo run and rests on his knees in a field. While catching his breath, he calmly watches a glorious sunset. By this point in the film, Turing indeed has run the most important race of his professional career—assisting MI6 during World War II by successfully building a machine to break the Nazis’ daily-changing communication code. As he has been for most of his life, however, Turing in this scene is alone. He faces a return to “normal” society after being ensconced at Bletchley Park with co-workers who gradually became friends. In many ways, his personal triumph at breaking Enigma and gaining some measure of social acceptance is the high point of his life. As the sun slowly sets in heartbreaking beauty, Turing—as well as the audience—wonders what will come next.<br />
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Wartime encourages and fuels secrets, and Turing not only has to keep quiet about his government work but the secrets he uncovers about his colleagues—and the ones they learn about him. Turing is a man who often must hide who he is, what he feels, or what he has done, either professionally or personally. As depicted in this film, gaining knowledge is only part of surviving a war. Knowing when to share information, and how much, and with whom, is the key to winning. Turing and his team of brilliant analysts learn this truth at devastating personal costs.<br />
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<i>The Imitation Game</i>, on the surface, is a biopic determined to make 21st century audiences aware of Alan Turing’s brilliance and his significant contributions not only in helping the Allies win the war but in leading to our computer-reliant society. It also is an apology to the man who, in 1954, died at the far-too-young age of 41, as a result of Britain’s criminalization of homosexuality. (Queen Elizabeth II officially pardoned Turing last year for his 1952 conviction for homosexuality.) Such themes might seem too serious or tragic for a film hoping to become Oscar’s Best Picture, but the performances by Benedict Cumberbatch in particular, Keira Knightley (as Joan Clarke), and Mark Strong (as Stewart Menzies) make the film more personal and empowering.<br />
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This is Cumberbatch’s star turn. Critics who compare his role as Turing with those as Sherlock Holmes or Stephen Hawking miss the point. Yes, Turing is a genius with some serious socialization issues, but audiences will not see Sherlock or Hawking in this performance. When Turing is out of his element in conversation, his expression washes out and his eyes dim. When he is presented with a new puzzle, his eyes come alive, as if the man dully trying to navigate the banalities of common conversation suddenly awakens and knows just what to say. Cumberbatch’s portrayal is surprisingly intimate; emotion leaks from Turing’s eyes, and the stiff upper lip developed as a child’s defense mechanism wobbles. The actor physically inhabits the role, with Turing’s slightly hunched gait and downward gaze, runner’s speed and measured breath, or tremored hand in the scene that surely will gain Cumberbatch many acting nominations in the coming months.<br />
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Turing is a difficult man to understand, much less like. He prefers to work alone and looks with disdain at his colleagues [mostly depicted as “types,” such as the dashing Hugh Alexander (Matthew Goode)]. For all the drama, the film is surprisingly funny because of Turing’s social faux pas. When his colleagues tell him they are going to lunch, Turing fails to acknowledge the group’s spokesman. After telling Turing for the third time they are leaving, he finally realizes that Turing does not understand he is being asked to go along. Later, when Turing follows Joan Clarke’s suggestion that he try to make friends with his co-workers, he proves he is the world’s worst joke teller. Cumberbatch plays Turing appropriately straight faced, but his performance explains, never mocks, Turing’s social unease.<br />
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Knightley and Strong assist greatly with the film’s lighter moments. Both have a deft comedic touch. Knightley is particularly good at showing that Clarke, like Turing, is an outsider, but one who knows how to play the game to succeed as much as a middle-class woman in the 1940s was allowed. This performance is one of Knightley’s strongest in quite a while, and she and Cumberbatch work well together. Clarke and Turing have what Knightley termed a “meeting of the minds”—they understand each other, and Clarke tutors Turing on how to understand or be understood by everyone else. Strong, as Turing’s MI6 “handler,” does not even need dialogue. He can convey wry humor by lifting an eyebrow, and his character slyly manipulates the intelligentsia at Bletchley Park, sometimes, it seems, for his own amusement.<br />
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Biographer Andrew Hodges expressed dismay during filming that he feared Turing’s and Clarke’s relationship would become a standard movie love story. Rest assured, it is not. The film does deal with discrimination because of gender or sexual orientation, but its depictions of love do not require sex scenes. I did find details from Hodges’ <i>Alan Turing: The Enigma</i> useful, particularly in the flashbacks—narrated by Cumberbatch—to young Turing’s unhappy school days. Alex Lauther, playing young Alan, does not mimic Cumberbatch’s mannerisms or delivery, but the parallelism between the performances enhances the connection between the flashbacks and the main story. Audiences can believe that Lauther’s bullied public schoolboy grows up to become Cumberbatch’s under-duress stutterer who names his finest mechanical creation for his dearest school-days friend.<br />
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“You picked a good one,” TIFF artistic director Cameron Bailey assured <i>The Imitation Game</i>’s second-screening audience (who, even with tickets, waited hours outside in a queue wrapping around blocks in order to get a good seat). A few minutes later, director Morten Tyldum described the way the cast had come together as a family to make this film, but he explained that now it is not just his film, or the cast’s—“It is now yours.”<br />
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The Imitation Game</i> is a fine gift but not a perfect film. It successfully introduces more people to the amazing, and victimized, Alan Turing. It is an intriguing history that intercuts wartime newsreel footage with the actors’ scenes. One critic dubbed it “your grandpa’s new favorite movie,” and many filmgoers may not immediately gravitate to a story about World War II code breakers. It has an uplifting theme, even if the tagline, “Sometimes it is the people no one imagines anything of that do the things no one can imagine,” is cumbersome and underscored once or twice too often; the audience gets the point the first time. However—<i>The Imitation Game</i> presents Benedict Cumberbatch in, if not his strongest work to date, at least one of his most enlightening, moving performances. Whereas the film sometimes is heavy handed in manipulating audience emotions, Cumberbatch’s portrayal is not. And Turing's story needs to be told again now.<br />
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“Are you paying attention?” Turing asks in an early scene. “Good . . . . You will miss things, important things. I am in control because I know things that you do not know.” Turing’s words could be Cumberbatch’s instructions for those who already expect a great deal from his acting but might overlook details in his emotionally layered, well-researched portrayal. Certainly, Cumberbatch incorporates Turing’s expressions or speech patterns into his acting, but he goes far deeper. When, for example, Turing’s work is threatened, Cumberbatch-as-Turing frantically attempts to protect his machine, revealing the boy’s desperation within the genius’ zeal to save “Christopher” from bureaucrats who do not understand. <br />
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“You will not judge until I am finished,” Turing commands. The judging process on the way to Oscar and Bafta is long and riddled with campaign anxiety, as well as potentially fickle voters. Yet the film festivals’ audience reaction has been positive. The Princess of Wales TIFF audience, clearly moved by the film, applauded loudly and eagerly discussed it on the way out. A crowd gathered to drop their tickets into the bin to vote for <i>The Imitation Game</i> as fan favorite. The previous evening’s screening, attended by director and cast, received a standing ovation. A few days earlier, the Telluride Film Festival applauded the film, especially Cumberbatch’s performance. In a few days more, the film will make its European debut at the BFI London Film Festival, where Cumberbatch’s hometown crowd surely will embrace his work.<br />
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I won’t say that <i>The Imitation Game</i> is the high point of Cumberbatch’s career, even if it eventually earns him an Oscar. I still expect a great deal of him and look forward to his future work, and, if he is the actor I believe he is, the roles and opportunities are more gratifying even than the many awards he continues to receive. I respect, admire, and enjoy this performance because Cumberbatch makes Turing human—not machine like—and accessible and memorable. <i>The Imitation Game</i> is good, but Benedict Cumberbatch is excellent.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com1tag:blogger.com,1999:blog-4044196434896582491.post-69378840916235096942014-08-21T11:21:00.001-04:002014-11-04T08:36:58.663-05:00Bibliography for Benedict Cumberbatch, Transition Completed: Films, Fame, Fans<center>Bibliography for <br />
Benedict Cumberbatch, Transition Completed: Films, Fame, Fans<br />
MX Publishing, London, November 2014</center><br />
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<i>12 Years a Slave</i>. Dir. Steve McQueen. Plan B Entertainment. 2013.<br />
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<i>86 Academy Awards, The</i>. ABC. 2 March 2014.<br />
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Adams, Guy. “How Benedict Cumberbatch’s Family Made a Fortune from Slavery (And Why His Roles in Films Like <i>12 Years a Slave</i> are a Bid to Atone for Their Sins). <i>Mail Online.</i> 31 Jan. 2014. http://www.dailymail.co.uk/news/article-2549773/How-Benedict-Cumberbatchs-family-fortune-slavery-And-roles-films-like-12-Years-A-Slave-bid-atone-sins.html<br />
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Arnold, Ben. “Benedict Cumberbatch Colouring Book Unveiled.” Yahoo UK. 12 March 2014. http://uk.movies.yahoo.com/benedict-cumberbatch-colouring-book-unveiled-110338755.html<br />
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Asher-Perrin, Emily. “Learn to Love Listening to Radio Plays by Listening to <i>Neverwhere</i>.” Tor-Com. 28 March 2013. http://www.tor.com/blogs/2013/03/learn-to-love-radio-plays-by-listening-to-neverwhere<br />
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August: Osage County.</i> Dir. John Wells. The Weinstein Co., 2013.<br />
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<i>August: Osage County</i>. Columbia. CD. 2013.<br />
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“<i>August: Osage County</i>: Benedict Cumberbatch Little Charles Aiken.” ScreenSlam. YouTube. 23 Nov. 2013. http://www.youtube.com/watch?v=-rvs8mI_KZM<br />
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“<i>August: Osage County</i> Filming Underway in Bartlesville and Osage County Itself.” <i>Osage News</i>. 9 Oct. 2012. http://osagenews.org/article/august-osage-county-filming-underway-bartlesville-and-osage-county-itself<br />
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Bacle, Ariana. “Benedict Cumberbatch Joins Warner Bros.’ ‘Jungle Book: Origins.’” <i>Entertainment Weekly</i>. 19 Aug. 2014. http://insidemovies.ew.com/2014/08/19/benedict-cumberbatch-jungle-book-origins/<br />
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BAFTA LA. “The Brittania Awards: Benedict Cumberbatch.” 4 Sep. 2013. http://www.bafta.org/losangeles/news/britannia-awards-benedict-cumberbatch,3916,BA.html<br />
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<i>The BAFTA Los Angeles Jaguar Britannia Awards.</i> BBC America. Dir. Russell Norman. 10 Nov. 2013.<br />
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BAFTA, New York. “In Conversation with Benedict Cumberbatch.” 20 Feb. 2014. http://www.bafta.org/newyork/news/bafta-new-york-and-standard-talks-presents-in-conversation-with-benedict-cumberbatch,4112,BA.html<br />
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Bannister, Rosie. “Official Photo Released for Benedict Cumberbatch’s <i>Hamlet</i>.” What’s On Stage. 1 Aug. 2014. http://www.whatsonstage.com/london-theatre/news/08-2014/benedict-cumberbatch-hamlet-photo_35239.html<br />
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Barbican. Theatre & Dance Event Details. <i>Hamlet.</i> May 2014. http://hamlet.barbican.org.uk/<br />
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Barraclough, Leo. “Benedict Cumberbatch to Play Richard III in Neal Street’s Film for BBC.” <i>Variety</i>. 6 April 2014. http://variety.com/2014/tv/news/benedict-cumberbatch-to-play-richard-iii-in-neal-streets-film-for-bbc-1201153203/<br />
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___. “Sophie Okonedo Set to Join Benedict Cumberbatch in ‘The Hollow Crown’: Report.” <i>Variety</i>. 30 May 2014. http://www.bbc.co.uk/news/uk-wales-27660856<br />
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___. “Benedict Cumberbatch to Star in <i>Blood Mountain</i> (EXCLUSIVE).” <i>Variety</i>. 28 Jan. 2014. http://variety.com/2014/film/news/benedict-cumberbatch-to-star-in-blood-mountain-exclusive-1201074011/<br />
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Bateman, Robert. “What If All Celebrities Followed Benedict Cumberbatch’s Lead?” The Politics Blog with Charles P. Pierce. <i>Esquire</i>. 19 Aug. 2013. http://www.esquire.com/blogs/politics/celebrities-and-social-responsibility-081913<br />
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BATS Theatre Press Release. “Benedict Cumberbatch Must Die.” <i>Scoop</i>. 10 June 2014. http://www.scoop.co.nz/stories/CU1406/S00128/perfect-benedict-cumberbatch-inspires-new-show.htm<br />
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BBC Radio 4. “D-Day Reports Page.” 6 June 2014. http://www.bbc.co.uk/programmes/ p01zkdry<br />
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BBC Radio 4. <i>Mansfield Park</i>. 12-22 May 2014.<br />
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Beaumont-Thomas, Ben. “Steven Moffat: BBC Thought Tennant and Cumberbatch Weren’t Sexy Enough.” <i>The Guardian</i>. 27 May 2014. http://www.theguardian.com/tv-and-radio/2014/may/27/steven-moffat-bbc-david-tennant-benedict-cumberbatch-sexy<br />
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“Benedict Cumberbatch Does Wookiee Impression.” <i>The Graham Norton Show</i>. BBC America. YouTube. 17 Oct. 2013. http://www.youtube.com/watch?v=OuMQYFDAPyc<br />
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“Benedict Cumberbatch Involved in Fight During Oscars Weekend—Report.” Hollywood.com. 12 March 2014. http://www.hollywood.com/news/brief/56820653/benedict-cumberbatch-involved-in-fight-during-oscars-weekend-report<br />
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“Benedict Cumberbatch on <i>Waterloo Road</i>. Kinda.” <i>Metro</i>. 5 March 2014. http://metro.co.uk/2014/03/05/benedict-cumberbatch-invades-waterloo-road-4430862/<br />
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“Benedict Cumberbatch Punched a Journalist to Defend Keira Knightley’s Honour.” <i>The Independent</i>. 6 June 2014. http://www.independent.co.uk/news/people/benedict-cumberbatch-punched-a-journalist-to-defend-keira-knightleys-honour-9499994.html<br />
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“Benedict Cumberbatch Q&A.” StarFury: Elementary convention. Birmingham, UK. 9 Feb. 2014.<br />
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“<i>Sherlock </i>Star Benedict Cumberbatch Questions Decision to Detain David Miranda.” <i>Metro</i>. 21 Aug. 2013. http://metro.co.uk/2013/08/21/sherlock-star-benedict-cumberbatch-questions-decision-to-detain-david-miranda-3933173/<br />
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<i>Sherlock</i>. “The Blind Banker.” Dir. Euros Lyn. BBC. 1 Aug. 2010.<br />
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___. “The Empty Hearse.” Dir. Jeremy Lovering. BBC. 1 Jan. 2014.<br />
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___. “The Great Game.” BBC. Dir. Paul McGuigan. 8 Aug. 2010.<br />
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___. “His Last Vow.” Dir. Nick Hurran. BBC. 12 Jan. 2014.<br />
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___. “The Reichenbach Fall.” Dir. Toby Haynes. BBC. 15 Jan. 2012.<br />
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___. “A Scandal in Belgravia.” Dir. Paul McGuigan. BBC. 1 Jan. 2012. Television.<br />
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___. “The Sign of Three.” Dir. Colm McCarthy. BBC. 5 Jan. 2014.<br />
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Sims, Andrew. “Benedict Cumberbatch, Chris Pine Promote ‘Star Trek Into Darkness’ at First Publicity Event, First Trailer Out Thursday.” <i>Hypable</i>. 4 Dec. 2012. http://www.hypable.com/2012/12/04/star-trek-into-darkness-footage-event-photos/<br />
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Singh, Anita. “Judi Dench to Star with Benedict Cumberbatch in Shakespeare.” <i>The Telegraph</i>. 1 June 2014. http://www.telegraph.co.uk/culture/hay-festival/10868771/Judi-Dench-to-star-with-Benedict-Cumberbatch-in-Shakespeare.html<br />
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Smith, Grady. “Box Office Disaster: Benedict Cumberbatch’s ‘The Fifth Estate’ Has Worst Debut of 2013.” <i>Entertainment Weekly</i>. 20 Oct. 2013. http://insidemovies.ew.com/2013/10/20/box-office-disaster-benedict-cumberbatch-the-fifth-estate/<br />
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Smith, Michael. “’August’ Star Benedict Cumberbatch Gives Bartlesville Women 2 Unique Experiences.” <i>Tulsa World</i>. 2 Jan. 2014. http://www.tulsaworld.com/weekend/august-star-benedict-cumberbatch-gives-bartlesville-women-unique-experiences/article_b3f24114-7919-11e3-843f-001a4bcf6878.html<br />
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___. “<i>August: Osage County</i> Stars Talk About Filming in Oklahoma.” <i>Tulsa World</i>. 12 Sep. 2013. http://www.tulsaworld.com/archives/august-osage-county-stars-talk-about-filming-in-oklahoma/article_38ab411d-5b47-5707-b1f0-b09f7b7d55fb.html<br />
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<i>Special Evening with Meryl Streep on </i>August: Osage County, A. Lifetime. 1 Jan. 2014.<br />
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Sperling, Nicole. “Benedict Cumberbatch Outwits Nazis in ‘The Imitation Game’—FIRST LOOK.” <i>Entertainment Weekly</i>. 5 June 2014. http://insidemovies.ew.com/2014/06/05/benedict-cumberbatch-outwits-nazis-in-the-imitation-game-first-look/<br />
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Stanton, Kate. “Benedict Cumberbatch Interviews Malaysian Grand Prix Winner Lewis Hamilton.” UPI. 30 March 2014. http://www.upi.com/Sports_News/2014/03/30/Benedict-Cumberbatch-interviews-Malaysian-Grand-Prix-winner-Lewis-Hamilton-VIDEO/6031396228209/#ixzz2xYOOmFDG<br />
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<i>Star Trek: Into Darkness</i>. Dir. J.J. Abrams. Paramount. 2013.<br />
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Star, Lianne Bonin. “Press Tour: Benedict Cumberbatch Talks Fans, ‘Sherlock,’ Kissing Moriarty.” <i>Hitfix</i>. 21 Jan. 2014. http://www.hitfix.com/starr-raving/press-tour-benedict-cumberbatch-talks-fans-sherlock-kissing-moriarty<br />
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Steele, Felicia Jean. “Dreaming of Dragons: Tolkien’s Impact on Heaney’s Beowulf.” <i>Mythlore </i>(25, 1-2). Fall/Winter 2006. 137-146.<br />
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“Steven Moffat and Mark Gatiss Talk <i>Sherlock </i>Series 3.” <i>Empire</i>. Dec. 2013. http://www.empireonline.com/interviews/interview.asp?IID=1812<br />
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Stewart, Rachel. “Cumberbatch’s <i>Hamlet </i>Most In-Demand Show of All Time.” <i>The Telegraph</i>. 11 Aug. 2014. http://www.telegraph.co.uk/culture/theatre/theatre-news/11025625/Cumberbatchs-Hamlet-most-in-demand-show-of-all-time.html<br />
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TheOneRing. “Benedict Pinches Martin.” YouTube. Dec. 2013. http://www.youtube.com/watch?v=ZCE52v_Fttc<br />
TIFF LiveStream. 12 Years a Slave red carpet. 6 Sep. 2013.<br />
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<i>Today</i>. NBC. Dir. Joe Michaels. 9 May 2013.<br />
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Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com1tag:blogger.com,1999:blog-4044196434896582491.post-33093588237324189692014-07-06T18:31:00.001-04:002014-07-06T18:46:31.937-04:00Another Perspective on Richard III<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPsSAemijDXjstQxosEen4AfkhvziFgcDTrwCFkPlmyJGsNLEis-qfMmwi_ejSKMj-b4-BRMYX_rxwhLhpur4NEDs4AyHtYz4i7lte-j2jEPLQWvg25qXIIgEJIVEFO6I3dRzTFH3wd9E/s1600/195+(2).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPsSAemijDXjstQxosEen4AfkhvziFgcDTrwCFkPlmyJGsNLEis-qfMmwi_ejSKMj-b4-BRMYX_rxwhLhpur4NEDs4AyHtYz4i7lte-j2jEPLQWvg25qXIIgEJIVEFO6I3dRzTFH3wd9E/s320/195+(2).jpg" /></a></div><br />
Last week I had the good fortune to see the first and second nights’ performances of <i>Richard III</i> at Trafalgar Studios in London. Although I had intended to write a review upon my return home, today’s articles about the play and fans in the <i>Daily Mail, Times,</i> and <i>Telegraph,</i> plus comments I heard from fans during and after the play, prompted me to put aside my jet lag and present another perspective on this production’s very early days and my experience as an audience member. I admit that I am a fan of theater, Shakespeare, and Martin Freeman, and undoubtedly those “fandoms” color my experience of the play. I’m also a critic, an author, and a humanities professor, and those roles also have a bearing on my comments in light of what seems to be a continuing media and public-forum discussion about the nature of “fans” and the essence of “theater”.<br />
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Please be aware that, although I do not think I have included spoilers for those who will see the play, I do comment on aspects of performance and staging. I may assume that you have read or seen the play and are familiar with the material. Just to be clear, <b>IF YOU DO NOT WANT DETAILS ABOUT JAMIE LLOYD’S CURRENT PRODUCTION OF RICHARD III OR MARTIN FREEMAN’S PERFORMANCE, PLEASE DO NOT READ FURTHER. YOUR DEFINITION OF “SPOILER” MAY DIFFER FROM MINE, AND I DO NOT WANT TO UNDERMINE THE THEATERGOING EXPERIENCE OF ANYONE WHO MAY SEE THE PLAY. </b><br />
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Now, about the performances on Tuesday, July 1, and Wednesday, July 2 . . . .<br />
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<b>The Play and the Lead</b><br />
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Jamie Lloyd has successfully pared what would have been about a four-hour play into a powerful two-and-a-half-hour (roughly, with interval) theatergoing experience. The official opening takes place in a few days (July 8) with press night and the subsequent reviews. I have seen two performances very early in the run, and previews may differ significantly from what becomes the “standard” version (although one reason I enjoy theater so much is that every night’s performance is unique because it is live). The version I watched on Tuesday night had been changed by Wednesday night. I noticed differences in blocking, the amount of blood on stage, the increase in humor, and dialogue in the final scene before the interval. Although I enjoyed both performances immensely, I found the emotional build-up stronger during the second night’s performance. I only wish I could watch the play again and again to learn how this production evolves (but that would be immensely greedy, and I hope as many people as possible can see this production. Trafalgar Studios is an intimate venue, which is another reason why I enjoy seeing plays there so much.)<br />
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This production differs from the interpretation of <i>Richard III</i>, as a play or a character, that many Shakespeare lovers may expect. The setting, for example, is England only a few decades ago--and I encourage patrons to read the program for an excellent explanation of the shift in time period. Modernization does not detract from the play, and if some in the audience don’t understand the hazy black-and-white television images at the beginning of the play, that’s OK. The actors’ dialogue (which has not been modernized) and actions clearly illustrate the political chaos. The only awkward line for me as a result of the modernization is Richard’s cry for “A horse! A horse!” but what would <i>Richard III</i> be without that line?<br />
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This production is vibrant, violent, engrossing, and sometimes just gross (depending on how much you like to see blood). It is more dynamic and physical than I had expected, but, since seeing Lloyd’s <i>Macbeth </i>last season, I should have anticipated more action for the lead actor. This production invigorates the characters and, to use a cliché, makes them relevant. <br />
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Richard is surprisingly witty and humorous. For those who read this comment and automatically assume that Martin Freeman is playing Richard as a variation of <i>The Office</i>’s Tim, let me assure you that Freeman’s repertoire includes many shades of “humor,” just like he has the ability to make every character he plays surprising and different. He doesn’t rehash aspects of other characters he has made recently famous. His Richard understands the power of words and ably twists them. His humor lures followers and then entraps them. Because Freeman’s gesture, expression, or line delivery can make the audience laugh, they--like Richard’s inner circle--may want to like this man because he has a keen wit and sharp sense of humor. Richard, however, is not a likeable man, and the use of humor makes his callous cruelty all the more horrific. Yet Richard is not like one of Freeman’s most recent successes, <i>Fargo</i>’s increasingly violent and immoral Lester Nygard, either. From the beginning of the play, the audience knows exactly who Richard is--a villain. He does not change from good to bad or seek redemption. Still, Freeman does not play a one-note baddie. He lures the audience, too, with softly spoken dialogue, only to shout later. Richard may have that famous hump, as well as a slight limp and a useless arm, but he can be lethally spry when necessary. Both Richard and Freeman are compelling because they can still surprise the audience, even those familiar with the play.<br />
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On Tuesday night, I sat at the back of the stage, which, for that performance, had cons as well as pros. I chose that location because I enjoyed sitting there during <i>Macbeth</i> (even if a wayward branch got a wee bit too close as the forest marched on stage). I like watching the larger part of the audience seated in front of the stage, because that the actors' view while they perform, and I also enjoy seeing the actors entering and exiting stage right next to me. At times an actor makes eye contact (that happened twice on Tuesday night), and I feel much more part of the performance when I’m seated only a few feet away from the action and alongside a main entry/exit.<br />
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Those positive aspects of being seated up stage made my experience of <i>Richard III</i> special, but my location also meant that I had a little more trouble seeing everything that was going on. The set, while minimalist, still obstructed my view a few times when the action was down stage. When eerie smoke arose, it became so thick that the people around me started fanning their programs. There were a few mishaps and mistakes, and my vantage point made them seem more obvious than they likely were to those seated farther back, but those kinds of problems are expected at this stage of a production and likely will be worked out. <br />
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On Wednesday night, I sat four rows from the front of the stage. I had a much clearer view of the entire set, which made the special effects more understandable because I had a complete visual context for their use. On a second viewing, I also had a better idea of what to expect from the actors. The second night’s performance included more humor—or, rather, lines were punched up a bit more, and the play just seemed to work better. <br />
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Lloyd’s productions of <i>Macbeth</i> or <i>Richard III</i> may not be for everyone, but I find them exhilarating and provocative. Of course, I still enjoy a more “traditional” approach to the Bard, but I am challenged by Lloyd’s productions--I go home thinking about the characters and the actors’ performances. I want to come back and see more. To me, that is what good theater is about.<br />
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<b>Fan Behavior and Theatre Etiquette</b><br />
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I hope the focus of reviews after previews returns to the production and performances, instead of fans and fan behavior. The <i><a href="http://www.dailymail.co.uk/tvshowbiz/article-2681878/Applause-Applause-My-kingdom-applause-But-overexcited-Hobbit-fans-ruining-Martin-Freemans-Richard-III-Shakespeare-purists.html">Daily Mail</a></i>, <i><a href="http://www.thetimes.co.uk/tto/arts/article4140060.ece">The Times</a></i>, and <i><a href="http://www.telegraph.co.uk/culture/theatre/theatre-news/10949592/Martin-Freeman-fans-ruin-Richard-III.html">The Telegraph</a></i> (providing a summary of the complaints presented in the other two articles) today have blamed <i>Hobbit</i> fans for ruining the play for other audience members. The thrust of the argument seems to be that young fans of an actor maybe could contain their enthusiasm or express it more appropriately, but they don’t. They may not understand theater etiquette because they either do not know how to behave during a performance or don’t care. In particular, a venue like Trafalgar Studios, because of the theater’s size and the configuration of seats for <i>Richard III</i>, brings fans closer to the actors. The setting is more intimate and, because of seating on two sides of the stage, automatically involves the audience in the performance, which could lead to inappropriate behavior. Also, to encourage more people who typically don’t attend theater to come to plays at Trafalgar Studios, the producers have marketed plays to and made some tickets more affordable for a younger audience to come see what theater is all about.<br />
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These are purely my opinions shared in reaction to these articles:<br />
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Theater should be for everyone, not just those who can afford a high-priced ticket, and I like the way that Trafalgar Studios is helping to make theater more accessible to more people. I increasingly have problems with the “haves” and “have nots” division between those who are fortunate enough to attend a play, concert, or another type of live performance, especially those events starring a celebrity, and those that cannot get in. That “good fortune” may be the result of a lottery, fastest Internet connection to the box office, or ability to pay membership fees or the highest prices to get a ticket. Of course, the entertainment industry is a business--and popular, high-profile actors attract publicity and audiences. In recent years, the number of plays featuring a film or television star has increased. People like to see stars on stage, and fans of a popular actor may be very determined both to get a ticket and to interact with that actor. In a celebrity-driven popular culture, there will increasingly be a clash between people who want to attend the theater, for example, to see a television or film star in person and those who want specifically to see the play, no matter who plays the lead. The problems stem from individuals who do anything to ensure their own enjoyment at the expense of the experience for others, whether actors or audience members.<br />
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Not everyone who sees <i>Richard III</i> may be well versed in theater etiquette, which seems to be the focus of complaints about fan behavior. My experience may have differed from that of people who watched performances later in the week, but here are my observations of the audience and stage-door fans.<br />
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During the two performances of <i>Richard III</i> that I saw, I heard the audience laugh and applaud at appropriate times. I didn’t see or hear anyone around me applaud or cheer when Martin Freeman began his first speech; if Richard’s famous opening lines had been drowned out, I would have been annoyed, because I wanted to hear Freeman say those lines, even though I already know them. On the second night, as I previously mentioned, the audience laughed more often, and more people smiled or laughed at (in particular) Richard’s or Buckingham’s lines. The audience was involved with the performance, but no one that I saw or heard disrupted the flow of the play or made the dialogue impossible to hear. <br />
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The applause during those two performances took place right before the interval and during curtain calls. On Tuesday, during the first round of curtain calls, the entire cast was loudly applauded, and some people hooted and cheered. When Martin Freeman came out alone for his call, the audience began to stand, but I don’t think everyone gave him, or the cast joining him for the final bow, a standing ovation. Many people did, but a standing ovation is not unique to <i>Richard III</i>, even after the first performance, which probably was not as polished as it will become throughout the run. Within the same week, I saw <i>Skylight </i>(standing ovation), <i>The Crucible</i> (standing ovation), and the opening night/press night of <i>Great Britain</i> (partial ovation--a lot of people remained seated at the back of the Olivier, where I was, although their applause was just as enthusiastic as that of the people closer to the stage who gave an ovation).<br />
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It seems that most audiences nowadays will give a star a standing ovation. Regarding the plays and performances I saw last week, the response seemed justified. Perhaps there are so many standing ovations these days that the concept has become meaningless; an ovation has become an expectation rather than a true response to quality. That should be a separate issue from the problems of inappropriate fan behavior mentioned in the press today. The people who stood and applauded the entire cast of <i>Richard III</i> genuinely seemed thrilled by their theatergoing experience and appreciative of the performances. Those standing and cheering were not all <i>Hobbit </i>fans, or <i>Sherlock </i>or <i>Fargo </i>fans, or Martin Freeman fans. They were people who had a great evening at the theater.<br />
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I did see some examples of lack of theater etiquette that the staff tried to stop more than once. Some people walked across the set during the interval to visit friends or family seated in the opposite block. Walking across the stage if you’re not an actor in the production should seem like an obvious no-no, but in a small venue with seats on two sides of the stage, some people opted to take the shortest route to the other side. The staff courteously explained why that was not a good idea. Similarly, most theaters have a rule that photographs or recordings of any type are not allowed. A few people around me needed to be told, some more than once, that taking photographs of the set or trying to get a close-up of an actor is not allowed. That was about it as far as inappropriate behavior, and I have no idea whether the people who were asked to stop doing something against the rules are fans of a particular film, TV series, or actor. <br />
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During performances of other plays last week, I was annoyed by people around me who talked through the show, checked social media several times (not during the interval), sighed loudly enough that people two rows away turned around to glare, or opened cello-wrapped food and noisily ate during quiet scenes. That behavior is disruptive, self-indulgent, and inappropriate. I see it not only in the theater but at other live performances or during movies. Audience etiquette, not just theater-audience etiquette, needs to be taught and enforced so that the entire audience can enjoy the performance they paid to see. By the way, the people who annoyed me weren’t fans of any particular actor, nor were they part of a specific age group.<br />
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I seldom try to do stage door because I am afraid of being trampled or pushed, as I have been at red carpet events. I’ve heard the stories about actors being chased down the street or long queues braying for an actor to come out, then becoming unruly if he chooses not to do so. I’ve talked with theater staff who have worried about fans not understanding why they have to do something (like queue or wait patiently) or not to do something (like record a performance or grope an actor entering or exiting next to the audience) and disregarding staff or security members’ instructions. I was relieved that the fans awaiting Martin Freeman were well behaved; a few even said that they realized their behavior could affect whether actors continue talking with fans at all after a performance.<br />
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On Tuesday night, the cast had a party after the first performance. Martin Freeman sent word that it would be a very long time before he would be outside. The group standing outside the stage door wasn’t huge, and it was respectful. Sure, there were some louder conversations about fandom (or <i>Sherlock</i>, or Benedict Cumberbatch), but most people were fairly quiet, more so as nearly two hours passed. Some people left, and some pros wanting autographs to sell joined the crowd. <br />
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When Martin Freeman came out, he looked tired. It was nearly midnight by then, after he gave an intense performance and attended to other responsibilities after the play. Nevertheless, he signed for many people. (I don’t know if he signed for everyone who waited, because I left before he did.) He warned off one pro by saying that he would only sign for people who had seen the play. He posed for a few selfies, and he said thank you many times for fans’ kind words. It seemed that most people brought <i>Richard III</i> posters or programs to sign, but a few had <i>Sherlock </i>books or DVDs.<br />
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On Wednesday night, Martin Freeman came out much more quickly but did not stay very long. He was cordial and signed quickly for many people. He patiently waited while a starstruck young woman in front of me asked him to personalize a book and painstakingly spelled the name. He was more outgoing than he had been the previous night and kept thanking everyone for coming to see the play. Before he had come outside, the crowd received word that he would not pose for photos but would sign, and he stuck to that rule. Before he hopped into the car waiting to drive him away, he wished everyone a good evening. <br />
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At both times I was at the stage door last week, the crowd was friendly and respectful. I only hope that the fans who wait at a stage door remain that way and understand that meeting an actor is not an expectation or a guarantee that comes with a theater ticket.<br />
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Before I conclude my long ramble in response to today’s media reports, I want to mention one other aspect of theatergoing and fandom that troubles me, because it reflects that schism between people who primarily go to theater only to see/meet an actor and those who primarily go to see the play--and I realize that many people (me included) often go for both reasons equally. When I said, online or in person, that I was excited about seeing <i>Richard III</i>’s first two performances, the response I sometimes received surprised me: Why would I go on a first night, when famous people are more likely to attend the press night/opening night or final show? The gist is that I was not terribly bright to buy a ticket to these two previews because they would only be attended by fans. (Personally, I was ecstatic to even get a ticket, much less two, on dates when I would be in London for other reasons.) I dislike the idea that a performance is only or especially worthwhile to attend if a) a famous actor is in the play and b) the famous actor’s equally famous family and friends might be in the audience. I enjoy meeting actors, and I was thrilled to tell Martin Freeman that his performance was fantastic. But that’s not the reason I go to theater. If I don’t see anyone famous on stage or off, my experience of going to the theater, 90 percent of the time, is positive. Even when I don’t like a play or a performance, I generally have learned something or been given interesting ideas to think about. In the long run, that result is more satisfying than an encounter with someone famous, no matter how exciting that can be.<br />
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The short version of this review/cultural critique is that <i>Richard III,</i> currently playing at Trafalgar Studios, is an exciting adaptation of Shakespeare’s text. The cast is very good, and their interpretations should give audiences a new appreciation for the play and individual characters.<br />
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The long version is that what constitutes appropriate public behavior, whether in a theater or another venue, is going to be a focal point of media analysis and discussion, and individual fandoms (e.g., <i>Hobbit </i>fans, <i>Sherlock </i>fans, Freeman fans) will be scrutinized. While a discussion of appropriate theater etiquette is important--as is the ongoing discussion about appropriate behavior in lots of public venues, including social media--it should not overshadow the hard work of the cast and crew who diligently and creatively, performance after performance, bring a play to life. <br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-76840672672249474052013-12-08T15:01:00.000-05:002013-12-08T15:18:23.659-05:00Six Performances, Five WeeksDuring October and November, I was privileged to see a range of Benedict Cumberbatch’s stage and screen performances. Of course, because I’m in Florida, I had to see the stage performances as they were shown on screen in Vero Beach or Palm Beach, but the effect was the same—I was mesmerized. I had previously seen some performances, most notably, <i>Frankenstein</i>. However, that did not reduce my joy at seeing a favorite once more. During five weeks, I watched bits, if not all, of six performances: in <i>Frankenstein, The Fifth Estate, 12 Years a Slave, Little Favour,</i> the National Theatre’s 50th anniversary celebration (broadcast in the U.S. as part of NT Live), and the trailer for <i>August: Osage County</i>. These pivotal roles in his career illustrate that no matter when they were recorded or where they took place, whether they were part of a larger ensemble cast or a starring role, Benedict Cumberbatch is truly one of his generation’s best actors. Even among those who noted, as several movie critics have, that <i>The Fifth Estate</i> did not perform as well as expected, Cumberbatch performed superbly. His performances in recently released films prove that this year’s Britannia award was no fluke, and this autumn’s range of roles appealed to an equally wide range of Cumberbatch fans.<br />
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<b>Different Skills for Different Roles</b><br />
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Comparing <i>Frankenstein</i> and <i>The Fifth Estate</i> is truly the apples-and-oranges of comparisons, but think of them as equally important but opposite ends of a scale “measuring” physicality. Although some critics seem to think both productions were “monstrous” (a positive for <i>Frankenstein,</i> not so much for <i>Fifth Estate</i>), they illustrate oppositions in the requirements of a role and Cumberbatch’s performance to meet these requirements. In <i>Frankenstein</i>, as the Creature, Cumberbatch is a miracle of movement. He crawls, bounds, leaps in the air, stretches, and sinuously moves his body around the circular stage. Those who have read <i>Benedict Cumberbatch, in Transition</i> know that the Creature is one of my favorite Cumberbatch roles because of the actor’s physicality and dramatic intensity. Seeing <i>Frankenstein</i> on Halloween was especially key to my enjoyment of the holiday this year. I already knew the performance and the story intimately, at least from an audience perspective, but on the drive home from Vero Beach I thought about the connections among humankind, God, that which we create, and our responsibilities for our acts of creation. That Cumberbatch’s performance still made me think of connections among life, death, eternity, and immortality says a lot about a production that, to date, I have seen more than 20 times. <br />
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As WikiLeak’s Julian Assange in <i>The Fifth Estate,</i> Cumberbatch’s is an interesting performance for a completely different reason. I see this as a physically confined role, the opposite of the physically demanding, movement-liberating role of the Creature. Although in <i>Hawking,</i> Cumberbatch was often confined to a wheelchair and had to brilliantly convey Hawking’s emotions within a delimited range of motion, in <i>The Fifth Estate</i>, the actor’s movements are instead constrained by the script. In fact, many critics complained that the story became boring because so often the lead characters were shown only typing on a keyboard, looking at a screen, or, like the audience, watching instant messages scroll. The “action” in <i>The Fifth Estate</i> is intellectual, analyzing the conflicts inherent in determining what should be leaked, when, and by whom. The “chase” is often electronic, as WikiLeaks is shut down, pops up on mirror sites, or releases incendiary information. Cumberbatch’s non-computer activity involves walking, public speaking, or staring moodily at the landscape. (Perhaps his character’s most impressive physical quirk is opening a bottle with his teeth.) The actor’s hands often are either stuffed in pockets or speedily keying information onto a laptop. Because the actor had to rely on subtle facial expression and body language instead of dramatic gestures or displays of physical strength, this performance shows how good Cumberbatch can be on film even when the performance relies more heavily on dialogue and minute variations in body language. The character’s smiles, for instance, tell a lot about his mood and thoughts. When not suffering fools well, Cumberbatch-as-Assange’s tight smile is a mask of forced civility, but when he comes on to a beautiful woman, the smile becomes genuinely animated before turning predatory. Cumberbatch always has an expressive face, but in <i>The Fifth Estate,</i> his body language and line interpretation are even more important in getting the audience to understand Assange. <br />
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In <i>12 Years a Slave</i>, Cumberbatch’s role is one of many in a highly anticipated, highly scrutinized drama that many critics have named Best Picture of the Year long before awards season rolls around. In this large ensemble cast, Cumberbatch’s character stands out as a “good man,” even though he is a slave owner who plays a pivotal role in lead character Platt’s future torture. In period garb once more, Cumberbatch and his dialect convincingly portray Southern U.S. plantation owner Ford. The actor makes Ford’s moral contradictions obvious to the audience, which makes the character all the more troubling to watch. As a Christian, Ford feels compelled to read the Bible to his slaves on Sunday and, in a moment of what many slaveholders would call “weakness,” listens to Platt’s engineering advice and praises the slave when he proves his idea is sound. However, for all the “humane” treatment of his slaves, Ford is still a man with debts and must make a profit from his plantation.<br />
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Perhaps what is important to his career is not so much this performance, which, as expected, is note (or accent) perfect, but the fact that Cumberbatch is featured in such an important film. His inclusion in this cast indicates his growing importance in the film industry. Although a small role in <i>12 Years a Slave</i> will not erase Hollywood’s memory about <i>The Fifth Estate</i>’s poor box office, the film flopped commercially, as many critics also pointed out, because of script problems, not Cumberbatch’s performance. As a fan, I am more impressed that Cumberbatch accepts roles that pique his interest and offer him something new or different to play, even if that role ultimately is not a box office hit. It is unfortunate that Cumberbatch’s first lead in a major motion picture, one that kicked off the Toronto International Film Festival, received so much negative press. <br />
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<b>It’s Not the Length, but What You Do With It</b><br />
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Two noteworthy performances fit into the “good things come in small packages” category: Wallace in <i>Little Favour</i> and Rosencrantz in an NT Live scene from <i>Rosencrantz and Guildenstern Are Dead.</i><br />
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Indie short <i>Little Favor</i> provides another starring role for Cumberbatch. (The amount of his screen time is greater in this 26-minute film than in some full-length features now in theaters.) What is striking about this role is that Wallace is the entry character for the audience. [Often, as in <i>Sherlock,</i> for example, another character (in this case, John Watson) is the “everyman” who provides insights into the plot or other characters. In <i>The Fifth Estate</i> Daniel Berg leads audiences to the first glimpse of Julian Assange. However, in <i>Little Favour,</i> Cumberbatch not only plays a lead role and is onscreen the most time, but he also is the character the audience follows.] Ultimately, the audience’s “fate” is the same as Wallace’s—to the surprise of both. Crowd funders who supported the making of <i>Little Favour</i> are rewarded with a shocking (and shockingly well-made) short film. I expected Cumberbatch to be good in this indie, but what pleases me more is that he still is not only willing to act in one, especially a short film, but to personally back it and use his considerable celebrity to help get the film made. Coming off <i>Star Trek</i> publicity, Cumberbatch immediately filmed and helped promote <i>Little Favour,</i> not a project every rising star would take on, even for good friends wanting to make the movie.<br />
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Of the many Cumberbatch roles seen on screen in Florida during October and November, two originally took place on the stage of the National Theatre. During the National Theatre’s 50th anniversary gala, Cumberbatch tackled a short scene from Tom Stoppard’s <i> Rosencrantz and Guildenstern Are Dead</i>. The scene allowed Cumberbatch to show off his comedic timing in hitting the right beats to get a laugh from the audience. Although he was only on stage a few minutes during the multi-hour showcase, what was more important to me, as one who documents his performances, was to see him join fellow thespians of his generation on the National Theatre’s stage for the curtain call. Actors from the most recent plays took a bow first, with the progression continuing to actors starring in plays a decade ago, then two decades past, until the audience finally honored those who first performed in the National Theatre 50 years ago. Not only was Cumberbatch applauded for his role during the prestigious anniversary production (and resulting NT Live broadcasts worldwide), but he is being lauded as much for his stage performances as those on television or film. This production/broadcast also reminds audiences and critics that Cumberbatch’s career is not going to be that of the typical “Hollywood” star. Not only have some of his most memorable roles to date been on stage, but he seems eager to return, perhaps as early as next year.<br />
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<b>He’s Everywhere This Season</b><br />
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Even when I went to the cinema to see a movie that does not star or include Benedict Cumberbatch in its ensemble cast, I was made aware of yet another of his projects coming to a screen near me in the next few weeks. A longer trailer for <i>August: Osage County</i> played before <i>Philomena</i> during the Thanksgiving holiday. I haven’t decided whether it is fortunate for Cumberbatch’s role as Little Charles Aiken to be shown so fully in a trailer. His total screen time in the movie is far less than that of many A-listers, such as Meryl Streep or Julia Roberts, but his “trailer time” is disproportionately greater. Audiences can hear Little Charles’ noticeable Oklahoma accent, see that this sensitive soul is willing to cry in public, and wish to hug him for that shy, endearing smile. <br />
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Moviegoers who heard or read bad reviews about <i>The Fifth Estate</i> or worried about watching the brutality of <i>12 Years a Slave</i> and stayed home may go see <i>August: Osage County</i>. This may be the first time that many U.S. moviegoers will see Cumberbatch in a key role—and know who he is before they go to the theater. Audiences may have found Cumberbatch’s performance memorable in <i>War Horse,</i> for example, but, unless they were already <i>Sherlock</i> fans, few in the U.S. holiday crowds were likely to know his name back then, much less to go to the movie simply because he was in it. Cumberbatch’s higher media profile—including U.S. interviews on talk shows like <i>Katie</i> (in October) and <i>Jimmy Kimmel Live</i> (in December), as well as his appearance at the recent <i>The Hobbit: Desolation of Smaug</i> LA premiere and in all those <i>Hobbit</i> trailers—pretty much guarantees greater recognition among a wider audience by the end of this year. Having two roles in much-hyped holiday films <i>Hobbit</i> (December 13 in the U.S.) and <i>August: Osage County</i> (opening on Christmas Day in the U.S.) will only add to his international fame.<br />
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Although it is easy to joke that Benedict Cumberbatch may have provided something for everyone during the latter months of 2013, from the intellectualized <i>The Fifth Estate</i> to the star-powered adaptation of <i>August: Osage County,</i> many of these films (<i>12 Years a Slave, Fifth Estate, August: Osage County</i>) are rated R and theoretically limit the audience to adults, which, granted, is a large portion of his fan base. Under-18 fans who came to Cumberbatch because of <i>Sherlock</i> primarily can look forward to <i>The Hobbit: Desolation of Smaug</i> (as well as the return of their favorite consulting detective in early 2014). Additionally, because in the U.S. NT Live broadcasts are limited to one-time screenings in a few venues per state, many Cumberbatch fans have to travel miles if they want to see one of the recorded stage performances. I am fortunate to be able to drive 3 to 5 hours to see NT Live broadcasts. If my conversations with audience members before and after <i>Frankenstein</i> and the National Theatre’s anniversary celebration are anything to go by, many new Cumberbatch fans have been made through these broadcasts. (People who attend NT Live screenings may not be film aficionados or may not be aware of PBS’s <i>Sherlock</i>.) If Cumberbatch is not truly providing something for everyone, simply because not everyone can easily view his most recent work, at least he is showing his range of professional interests and skills. <br />
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These six performances released in October and November (as well as trailers promoting holiday films and TV series) illustrate that Cumberbatch is an actor who will not limit himself to “either/or” acting challenges: to roles in mainstream films <i>or</i> indies, leads <i>or</i> supporting roles, theatre <i>or</i> film (<i>or</i> television). His is the actor’s quest to stretch himself as a performer, sometimes quite literally, and to take on characters who might not be fashionable or easy to like but are thought-provoking and illuminating. Perhaps that diversity is what Benedict Cumberbatch can uniquely offer the entertainment industry.<br />
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Lynnette Porter is the author of <i>Benedict Cumberbatch, In Transition: An Unauthorised Performance Biography,</i> available through <a href="http://mxpublishing.com/product/9781780924366">MX Publishing</a>, <a href="http://www.amazon.com/Benedict-Cumberbatch-Transition-Unauthorised-Performance/dp/1780924364/ref=sr_1_1?s=books&ie=UTF8&qid=1386533606&sr=1-1&keywords=benedict+cumberbatch+in+transition">Amazon US</a> and <a href="http://www.amazon.co.uk/Benedict-Cumberbatch-Transition-Unauthorised-Performance/dp/1780924364/ref=sr_1_2?s=books&ie=UTF8&qid=1386533673&sr=1-2&keywords=benedict+cumberbatch">Amazon UK</a>, among other booksellers and book sites.Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com2tag:blogger.com,1999:blog-4044196434896582491.post-38062412525394282852013-11-30T11:58:00.002-05:002013-11-30T12:06:06.237-05:00Cancer, Survivorship, and the Power of FilmEven when life seems incredibly dark, I find refuge in film’s remarkable power of storytelling and revel in sharing movies with a beloved storyteller, my brother, Bart.<br />
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Cancer doesn’t discriminate, but it does seem to enjoy being hosted by some families more than others. Three grandparents and my father died with cancer. My brother is terminally ill—his second round with colon cancer, but this time it’s Stage IV. Bart has a remarkable vitality of spirit and a strong faith, and so the upcoming holidays are just another season among many that we’ve shared. <br />
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“The cancer is mine, but the tragedy is theirs,” terminally ill James tells the audience of <i>Third Star</i>, the movie a bottle of pinot grigio and I probably shouldn’t have watched on the evening after the phone call to tell me that Bart’s cancer had returned. It doesn’t help that I’m far more of a Miles—who is too busy working to be a caregiver but demolished in his own way by grief—than faithful helper, Davy. I don’t handle tragedy well. I easily deal with the logistics of making appointments or arrangements, managing flights and visits, and, some of the time at least, being a good long distance listener. But I still cringe in fear at facing the prospect of being the lone survivor of my childhood family of four. As the older sibling, I should still be able to protect my little brother.<br />
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Bart not only has known me longer than anyone else on the planet, but he knows me best. We share memories of a Hoosier childhood filled with pop culture references. We know what it’s like to house a book in our head and struggle to bring it to life on our laptop.<br />
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But Bart is a storyteller, and, around chemo and its side effects, his work schedule, and a loving household made hectic with three generations living together, he still writes. He is impatient to make tangible his latest story, but he also painstakingly returns to early chapters to smooth the rough places and polish the words. One way or another, this novel will be published.<br />
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Blessed are the storytellers, for they show us both truth and hope through their talent with words and ideas. Bart is a gifted writer, and fiction is his specialty. By day, his job requires his writing to be factual and technical. Off the clock, however, his creativity comes out to play.<br />
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Although writing fiction is not my gift (if you’ve ever read my dialogue, you understand that well), I can illuminate and guide, explain not only <i>what</i> is key to a film or a performance but <i>why</i> it is significant. Unlike Bart, whose health has become a catalyst for further creativity, his cancer ate away at my interest in writing.<br />
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In the past few months, people I know well and those who only know me from my writing have asked why I haven’t been publishing online as frequently. It’s nice to know that people read what I’ve written, but my answer has been “I’m not in the mood.” Writing something new seemed rather pointless, when I considered the Meaning of Life and my top-priority relationship with my brother. Nothing much mattered beyond the day-to-day needs of my students and my conversations with Bart. When I should’ve been helping him, he instead helped me to start getting back to myself—by returning me to our mutual love of story, especially those on film.<br />
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In October, Bart and I watched <i>Star Trek: Into Darkness</i> together. We’d seen it individually during the summer, of course, and discussed it thoroughly in our Sunday afternoon phone marathons, but we hadn’t seen it <i>together.</i> Curled in our loungers in the living room, we transported onto the <i>Enterprise</i> for a few hours and returned to being just Bart and Lynnette—two long-time <i>Star Trek</i> geeks who have seen every movie together . . . and gone to cons and listened to Nimoy and met <i>Next Gen</i> and classic <i>Trek</i> cast members. When I worked at an Ohio radio station years ago, Bart sometimes drove to visit. Once I knew he was in range, I switched from adult contemporary to Nimoy’s or Shatner’s Greatest Hits, which partly explains why my career in radio was rather short lived. Sharing a movie with Bart, and making plans to see <i>The Hobbit: The Desolation of Smaug</i> in December, was an important part of our most recent visit.<br />
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Since then, films, more than ever, have become a way of coping. When I go to a cinema, I’ve forced myself to leave the house—as if not going out just because Bart often can’t is a reasonable “punishment” for being healthy and free from chemo pumps and 17 daily medications. When I see a movie, I escape from worrying about what might happen tomorrow. And specifically when <i>I</i> watch a film, I know that someday I’ll feel like writing about it again. In October and November, I became notorious for taking notes during multiple screenings of <i>The Fifth Estate</i> or the <i>Doctor Who</i> 50th anniversary special—and someday I’ll incorporate what I noticed, and applauded or questioned, into my ongoing book projects.<br />
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Going to a movie also connects me to other people and reminds me that we all face death but what is more important is how we embrace life. I haven’t felt like being around my friends as often as usual, because all that’s on my mind is Cancer. It doesn’t make me the most scintillating companion. Nonetheless, I need to remind myself that life goes on, and all around me are people with their own tragedies and joys. Talking with strangers connected by interest in film helps.<br />
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Standing in line outside the Enzian for an early screening of <i>12 Years a Slave</i> brought me into discussions with fellow film buffs and historians. Seeing <i>Cloudy with a Chance of Meatballs 2</i> from a child’s perspective (and hearing my friend’s daughter giggle next to me) gave me permission to laugh, too. On an afternoon when I couldn’t stand to be at home yet didn’t have the motivation to write, I drove three hours south to see—yet again—the NT Live broadcast of <i>Frankenstein</i> and ended up having a lovely conversation about theatre, Shelley, and Benedict Cumberbatch’s performance with a half dozen women attending the matinee. A few weeks later I drove even farther to watch the NT Live’s 50th anniversary performances and, while waiting out the monsoon so I could go to my car, was pulled into a conversation about favorite scenes. I enjoyed introducing my film class to some of my favorite shorts--<i>Dog Eat Dog</i>, the Guerrier brothers’ <i>The Wizard</i> and <i>Cleaning Up</i>, and <i>Little Favour</i>--and seeing my students' reactions. Next week, for our final class meeting, we’ll “bond” over a movie—this time going to see one together at a local cinema. When I went holiday shopping this week, I picked up the extended edition of <i>The Hobbit: An Unexpected Journey</i>. My brother and I liked Tolkien first, but our shared admiration of <i>Sherlock</i> adds a new dimension to our enjoyment of Martin Freeman’s Bilbo. Bart and I want to watch the first movie together again before we see the sequel. Given his determination and upbeat attitude, I’m confident that we’ll find a way to see it at the cinema.<br />
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Movies are an integral part of my life—and my brother’s. He introduces me to b&w classics from the ‘30s on and shares his research about actors. I forced him to listen to more about <i>LotR</i> than he could possibly ever want to know. We learned from the commentaries of Fritz the Nite Owl and the MST3K 'bots. When I play <i>Butch Cassidy and the Sundance Kid</i> in my film class, I remember three consecutive nights in the mid-‘70s when Bart and I watched it in an art house cinema a few blocks from where our dad grew up. So perhaps it’s natural for me to find a way to express my emotions by finding a corollary to a movie character’s, or to turn to film as often as to a friend. <br />
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Writing and film are "immortal," and by feeling connected to storytellers past or current, and to one storyteller in particular, I am reminded that each of our life stories is important--moving, remarkable, unique--even though the stories inevitably come to a conclusion. I wouldn't revise mine, even this autumn, when I begin to see the back cover looming behind pages or sense the credits approaching. I do, however, want more chapters or sequels with my brother. <br />
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Unlike Bart, who’ll spend part of this weekend diligently writing a new chapter, I’m still trying to find my way back to the keyboard for long stretches of time. But I am in the mood for a movie, and <i>Philomena</i> has a matinee only a few blocks from home.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com1tag:blogger.com,1999:blog-4044196434896582491.post-21029189410377018842013-11-04T07:06:00.000-05:002013-11-04T07:41:16.385-05:00A Quick Review of Little Favour<b>Please note that this review contains information about plot and performance. If you want no details about either, CONSIDER THIS REVIEW SPOILERY AND DON’T READ IT. I have not revealed anything that I believe will diminish your enjoyment of <i>Little Favour</i>, but if you prefer having no knowledge of a film before you see it—please wait to read this review until you’ve seen the film.</b><br />
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At 26 and a half minutes, nearly 3 and a half of them credits, <i>Little Favour</i> may be a short, but it’s big on packing action—and symbolism—into a few scenes. A first viewing reveals the violent, shocking plot details, but a second look shows the careful way that plot has been developed, shot by shot, line by line. That “second look” makes the film far more intriguing and proves that writer/director Patrick Victor Monroe not only has a suspenseful story to tell, but, more important, knows how to frame it with specific shots that, on second viewing, unveil a deeper meaning to dialogue or a lingering close-up. This layering makes <i>Little Favour</i> far more than another example of Benedict Cumberbatch’s acting skill or testament to his popularity. (The film received immediate, overwhelming support from Cumberbatch fans, who contributed £86,240 last spring so that it could be made. True to Cumberbatch’s recorded promise to funders, the money was well spent by first-time filmmaker Monroe.)<br />
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Like any good short film, <i>Little Favour</i> prompts its audience to ask questions and want to see more. Just what is the “favour” that Wallace, known as Ace (Cumberbatch), owes old friend James (Colin Salmon)? What is the history between them, and why, as so many old friends do, did they become estranged? When James calls in the debt, he surprises Ace with a request--to look after his little girl, Lilah (Paris Winter Monroe, a talented young actor making her film debut). Of course, the cliché is that this job is not as easy as it sounds.<br />
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Monroe gets good performances from his actors but also reveals more about these characters from the shots he chooses. Even wardrobe tells part of the story. In the opening scenes, emotionally compressed Ace walks stiffly next to the much looser limbed, more confident James. Ace’s wardrobe--a form-fitting, tightly zipped leather jacket--matches his tense demeanor; he keeps his hands stuffed into pockets as he warily walks into an unknown situation. That James and Ace are opposites is clearly delineated in a silhouetted profile shot of the pair standing in front of a brick wall, separated by the visual line of a girder. Once Ace goes into action, however, the now-famous image of Cumberbatch-as-Ace, stripped to undershirt, shows his apparently natural state as a fighter.<br />
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The camera angles ably direct the audience’s attention to important details. Monroe relies on close-ups of expressions (through which James and Ace hold an entire conversation) or frequent rack focus shifts between points of view, for example. In a few places—such as intercut images reminding the audience of Ace’s promise to James—the editing seems a bit heavy handed, but overall the film easily holds audience attention, and its style keeps the story moving briskly.<br />
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By the time the lengthy credits roll and the film’s many supporters are duly thanked, viewers are aware that there’s a much deeper story yet to tell (especially for those who have not read the Indiegogo plot synopsis that reveals more backstory). Here’s hoping that SunnyMarch, including the trio of actor/producer Cumberbatch, executive producer Adam Ackland, and writer/director Monroe (who, with Will Hensel, even composes the original music), either turns <i>Little Favour</i> into a full-length feature or gets busy with another transfixing tale.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-19664412342620950872013-10-14T07:34:00.001-04:002013-10-14T07:34:36.261-04:00Benedict Cumberbatch and the Fairy Tale of the SwedArt BandEntrepreneur Margareta Lidskog is no stranger to Hollywood events, and her line of bracelets/leather bands now graces the wrists of the entertainment industry elite. But when Benedict Cumberbatch was frequently seen wearing a silver “Swedish band . . . my friend gave me ages ago . . . for good luck,” her business – and by extension, the popularity of traditional Lapland artists who make this culture-based art – gained new fashion stardom and a fandom of their own.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOiXp_rMU7H7qJUPzOk6o2NnHqZkhpFye8yby8tV-G0cFv9e2kYtiIwAw8jkp9rakNgysqL83FBjnVr8hVm4hVZCSysqkIdr6q-VYtiJ_VbJUlLndG5vNaUwnPA1goqQsG5QMr3yfzG94/s1600/Lidskog+at+the+SwedArt+table.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOiXp_rMU7H7qJUPzOk6o2NnHqZkhpFye8yby8tV-G0cFv9e2kYtiIwAw8jkp9rakNgysqL83FBjnVr8hVm4hVZCSysqkIdr6q-VYtiJ_VbJUlLndG5vNaUwnPA1goqQsG5QMr3yfzG94/s400/Lidskog+at+the+SwedArt+table.jpg" /></a></div><br />
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In many ways, Margareta Lidskog’s success story seems like a modern fairy tale. In the past few months, her business, SwedArt, has exploded in online popularity and, consequently, international sales. Her inadvertent benefactor is rising international star, Benedict Cumberbatch – the man recently touted as the Toronto International Film Festival’s “It” man starring in opening gala <i>The Fifth Estate</i> (as well as two other highly anticipated films) and the forthcoming recipient of BAFTA Los Angeles’ Britannia award as British Artist of the Year. When Cumberbatch was frequently photographed wearing what he described to a reporter as a "Swedish band, <a href="http://www.dailyrecord.co.uk/entertainment/movies/movie-news/benedict-cumberbatch-playing-wikileaks-whistleblower-2273229">a silver band</a> my friend gave me ages ago, which is for good luck,” his fan base took notice. Fan sites like <a href="http://cumberbatchweb.tumblr.com/post/56770220660/competition-is-now-closed-competition-win">Cumberbatchweb</a> discussed the actor’s fashion statement. Fans began asking what he was wearing on his wrist and, more important for Lidskog’s business, where they could get one. Word traveled rapidly throughout fandom about the small company specializing in unique, wearable cultural art.<br />
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Lidskog and her friends/partners in Lapland collaborate regularly and design jewelry together. The business side of her creative company, including jaunts to Hollywood, takes up most of Lidskog’s time these days, especially since the flood of Cumberbatch-inspired orders. To assist her, in the past two years she has trained an “invaluable young lady who lives near the Arctic Circle,” but “designing new styles is [still] something I love doing. We are a small team, and we work very well together.”<br />
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These Sami artists follow traditional methods to craft each handmade piece, adding, for example, silver beads or swirled patterns of pewter thread to the vegetable-tanned reindeer leather. (Lidskog reminds me that reindeer are not an endangered species, and “everything from the animal is traditionally used for different purposes.” She also has used alternate materials for bracelets requested by vegans.) Lidskog takes online orders of items listed in her <a href="http://www.swedart.com/">catalog</a>, but the B12 Sami band in black leather is the one that Cumberbatch’s fans, now called the CumberCollective, want to wear. From her home base in Boston, Lidskog makes bracelets as often as time permits and forwards some orders to the artists back in Sweden. <br />
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Making jewelry is more than the Lapland artisans’ livelihood; their art makes its wearers aware of the historic significance of the friendship band and the culture it represents. Lidskog includes a printed history with each purchase. This document explains that the “indigenous Sami (Laplanders) have lived in northern Sweden, Norway, Finland and the Kola Peninsula of Russia for 10,000 years” and today “17,000 Sami live in Sweden but only 3,000 still have reindeer herding as their livelihood . . . . Skilled Sami artisans have been embroidering with spun pewter wires on reindeer leather and textile for hundreds of years.”<br />
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During the past few years, Lidskog has begun introducing Sami jewelry to Hollywood through gift lounges preceding important industry ceremonies. She notes that “there are gift lounges prior to all the major film festivals and all the major award events in a bunch of countries. Some are held over three days and others just one day. After my company did the Emmys in 2010, I have kept getting invitations” to showcase the jewelry line around the world--“places like Dubai, Paris, Cannes, Toronto, and Los Angeles.” Although larger companies with bigger budgets for promotions can more easily afford to send representatives to far-flung festivals, SwedArt, like many companies represented in gift lounges, is smaller, “and organizers like to present new, cool, up-and-coming, and unique products from small companies.”<br />
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Such industry-related gatherings are “held by many different companies, often started by people who have been in the entertainment industry for years and are well connected with actors, producers, agents, stylists, and media. Some have worked with events planning for celebs for a while or are still doing that as well. Without connections, it´s probably hard to attract the right kinds of celebs, because agents only want their clients seen at the best organized and best publicized events.”<br />
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To date, Lidskog has accepted two U.S. invitations to gift lounges scheduled before major awards shows--the Golden Globes and Emmys. These occasions are often “exclusive in the sense that only nominees, presenters, well-known stylists, and top media [are invited].” Often a charity element is attached to the gift lounge, “so we were required to gift a certain number of products to charity. I think the organizers of by-invitation-only gift lounges often invite around 500,” although fewer may RSVP to attend, and some famous guests may simply show up.<br />
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As might be expected, gift giving to celebrities can become expensive. The hierarchy within gift lounges begins at the low end with a company’s product being included in a gift bag. Lidskog explains that, in the events in which she has participated, the organizers suggested that a business send at least 100 products, “plus pay a few thousand dollars, [but] there is no personal representation” accompanying the merchandise. The next higher level of product placement “is usually a table presentation, but no company representation is allowed.” From there, the next levels include both a table and one or more representatives. Tables “with a rep or owner present often start at $5,000. After that, it´s a bigger space [and] several reps, and it can cost $15,000 to $40,000 for a big sponsor.”<br />
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Lidskog managed to negotiate down the fees so that having a table and two representatives would be affordable for her small business. She learned that it helps to have a unique, highly coveted product to display, because organizers may consider negotiating prices if they really want to include something new and cool. She also had help from her two children, who work within the Los Angeles entertainment industry. <br />
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“When A-listers arrived at my table, I would whip out a more exclusive bracelet from my extensive collection of over 100 different styles. I had a nice assortment displayed on my table, but those were teasers and for display mostly for media and stylists. I was able to stay within my budget for how much I gave away, and I was proud of that. My kids were a big help because they were excellent at guiding me about how ‘big’ the celebrity approaching my table was so I could prepare for their visit to my table.” Lidskog admits that “I´m terrible at remembering names and who was in what movie or show,” and her children’s assistance was much appreciated.<br />
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When one of the famous approached Lidskog’s table, “an escort introduced the guest to me”. Usually that escort was carrying “a huge bag that was filling up with swag. Some [guests] even came with their own cameramen, and I was interviewed on camera several times.” Being close to the stars comes with rules, however, and Lidskog could not ask a Hollywood heartthrob for a phone number. “At the Emmy event, we were strictly forbidden to ask the nominees and presenters for their contact info, but we were encouraged to ask media reps and stylists for their business cards.” Photo ops, on the other hand, were expected. “Each event had three to five professional photographers covering the tables to make sure at least one photo was taken of each guest with the product. We were not guaranteed to get a photo of each guest with our product, but I did, and I was happy about that. The guests are very well aware of the fact that our payback and purpose is to get their photo with our product.”<br />
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Lidskog found that the majority of famous people wanting to check out the jewelry were “easy to chat with” and “friendly and relaxed. Some wanted us to be in the picture as well, and there were many laughs. If a celeb or important guest said something I could use later for marketing purposes, I asked my assistant to write it down.”<br />
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Publicizing SwedArt is key to her job, but Lidskog simply gets a kick out of seeing guests enjoy the jewelry. A benefit of these bracelets/bands is that they can be custom sized, and Lidskog loves “meeting people with tiny or huge wrists, because they always have trouble finding bracelets to fit their wrists. I love seeing their happy faces when I tell them I can custom make any size and that I might even have their size in stock. At the Emmy event, the smile of talented Quinton Aaron, from the movie <i>The Blind Side</i>, was priceless when I placed an XXL bracelet around his wrist that was a perfect fit.”<br />
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Candy Spelling also “said she loved” the bracelet she received. “She asked very sweetly if she should hold up her hand so that my SwedArt sign would be visible in the picture”. Such encounters not only are good for business but create lasting memories. Lidskog says she fondly recalls that meeting “every time I take my grandkids to the playground near Bel Air,” a few minutes away from the house where Spelling used to live. (Another “pretty special” memory is “a kiss on the check” from “charming and handsome” Eric Roberts.)<br />
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Among the company’s famous clientele is Sheryl Crow, who Lidskog met before a concert six years ago. Crow bought several bracelets, which she can be seen wearing on tour. Look closely on television and in movies, too, for more SwedArt. Lidskog “designed custom pieces for Drea de Matteo, worn in <i>Desperate Housewives</i>,” and Rachel McAdams wears SwedArt in <i>The Vow</i>.<br />
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Then the CumberCollective arrived. “For a small company like mine, I felt that I had been very lucky to be able to have that many celebs wear SwedArt jewelry already. . . . And then along comes Benedict Cumberbatch,” and his fans “are even more excited” and appreciative of the bands.<br />
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Before this year’s Emmys, Lidskog considered sending Sami bracelets with a friend who would be working with gift bags in the hope that Emmy-nominated Cumberbatch might visit the gift lounge and learn more about the band he has so elegantly, if unexpectedly made more famous. She decided against relying on serendipity and learned later that Cumberbatch did not make it to this year’s ceremony because he is filming <i>The Imitation Game</i> in England. Nevertheless, Lidskog would like for Cumberbatch to know more about the band he so often has worn in public and contacted the actor’s London agency to present a thank-you gift of additional styles of Sami art.<br />
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Despite meeting A-listers and knowing they wear her bracelets/bands at home as well as in public or on screen, Lidskog is humble when discussing her business. “My company is just me, a couple of Swedish artisan friends, and my husband helping out”. Nevertheless, she estimates she has sold “thousands of bracelets to more 30 countries, maybe even close to 40 now. Orders are coming in on my computer around the clock, seven days a week. Right now, it´s a lot of ‘Benedict Cumberbatch’ bracelet/band orders,” but the business also benefits from repeat customers pleased with their initial purchase. <br />
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In addition, the celebrity factor plays a role: “I do know for a fact that many of my customers are impressed, intrigued, and even feel part of the excitement around my participating and being able to tell stories about the celebs I met in Hollywood and Beverly Hills. I love sharing stories”. Still, much of the company’s success can be attributed to “the passion and pride I feel for my bracelets and the ‘journey’. Even people who have never seen or heard about these tribal bracelets will often buy one after they have stopped at my table at a show, listened to me talk about their interesting origin, and heard me explain why so many celebrities shown [on my] posters wear SwedArt.”<br />
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Like most fairy tales, this story has a happy ending for everyone. Fans from Pac-Asia, North America, and Europe now sport matching bands that are becoming a tangible symbol of their fondness for Cumberbatch. Their wrist art also marks them as fans of SwedArt--and supporters of artists thousands of miles away. <br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-40738582764432140672013-09-29T17:50:00.000-04:002013-09-29T17:50:40.087-04:00It's Elementary, Sherlock: U.S. and U.K. Interpretations of the Popular Mr. Holmes, Plus Writing NewsLots of new Sherlock Holmes- or Benedict Cumberbatch-related writing news:<br />
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On Saturday, October 5, I'll talk about Sherlock Holmes and John/Joan Watson during the Popular Culture Association in the South's conference in Savannah, GA. Entitled "It's <i>Elementary, Sherlock</i>: U.S. and U.K. Interpretations of the Popular Mr. Holmes," my Saturday morning presentation illustrates the very different approaches to Holmes and Watson taken by, respectively, the BBC and CBS. (I might even have a few things to say about the season premiere of <i>Elementary</i>, filmed in London, and #setlock rumors for <i>Sherlock </i>S3, so I probably should issue a spoiler alert at the beginning of the discussion.) If you're planning to attend PCAS, I hope you'll come to the lucky 13th session (13.3 Television Sights and Sounds), where I'll be a panelist. To give you a better idea of my topic, here's the conference abstract:<br />
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Since 2010, the BBC’s hit television series <i>Sherlock </i>has intrigued audiences and accumulated numerous awards for the series as well as its lead actors, Benedict Cumberbatch (Sherlock Holmes) and Martin Freeman (John Watson). This modern adaptation emphasizes Sherlock’s bromance with John almost as often as it twists Sir Arthur Conan Doyle’s canon into interesting new stories. Although <i>Sherlock </i>became a cult favorite on PBS, U.S. producers approached <i>Sherlock</i>’s creators to discuss developing an American version of the British hit. When that approach failed, CBS went ahead to modernize its own Sherlock Holmes adaptation, <i>Elementary</i>, which debuted in 2012. In part to legally separate itself from the BBC’s series, <i>Elementary</i>’s Holmes (played by Jonny Lee Miller) is a former New Scotland Yard consultant now living in New York City following a stint in drug rehab; Joan Watson (Lucy Liu) begins the series as his sober companion. <i>Elementary </i>primarily emphasizes Holmes’ addictive personality and his passionate mood swings. The series fits well with CBS’ preference for <i>CSI</i>-styled detectives and hour-long police procedurals, whereas <i>Sherlock </i>builds movie-length story arcs that often involve a growing personal threat to its title character (e.g., that posed by Moriarty, S1-2). <i>Sherlock </i>underscores the detective’s “otherness,” but <i>Elementary </i>often strives to make Holmes seem more “normal.” As viewed through the lens of very different cultural expectations for a modern Sherlock Holmes, <i>Sherlock </i>and <i>Elementary </i>say a great deal about their creators and audiences and our expectations for a modern Sherlock Holmes adaptation. <br />
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I'm thrilled that author/editor Carlen Lavigne allowed me to develop a much more in-depth look at both <i>Sherlock </i>and <i>Elementary </i>in a chapter for her new book, <i>Remake Television: Reboot, Re-use, Recycle,</i> which will be published by Lexington Books. In my chapter, "Smart, Sexy, and Technologically Savvy: (Re)Making Sherlock Holmes as a 21st-Century Superstar," I cover not only character development in and comparisons between characters in <i>Sherlock </i>and <i>Elementary</i>, but I also draw comparisons between Cumberbatch's and Miller's portrayals and that of Jeremy Brett in the popular Granada series.<br />
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And, while mentioning Miller and Cumberbatch, I'll introduce the article recently published in the scholarly journal, <i>Studies in Popular Culture</i> (35.2, Spring 2013, pp. 1-21). "It's Alive! National Theatre Live's <i>Frankenstein</i>" offers my analysis of the phenomenon of NT Live's famous broadcasts of <i>Frankenstein</i>, starring Cumberbatch and Miller. I consider whether a recorded theatrical presentation broadcast to cinemas worldwide can ever meet the definition of "film" (even as a recording) or whether it always will remain a unique hybrid of live theatrical and filmed performance. For those who want to read the article but aren't members of the Popular Culture Association, just be patient a few months longer. Back issues "come alive" online for public viewing, and--ever self-promotional--I'll be sure to post the link when it's available.<br />
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I've had some good news this week about future presentations/publications.<br />
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"Khan Games: Benedict Cumberbatch and <i>Star Trek: Into Darkness</i>" will be my presentation at the Popular Culture Association's annual conference, which will be held in Chicago in April 2014. Not only do I enjoy researching Cumberbatch-as-Khan, but now I <i>have</i> to read IDW's Khan comic book series that starts in October. Life as a researcher/writer is difficult....I guess I'll also have to review how many fan sites include the Cumberbatch shower .gif--you know the one. The text of my presentation most likely will become a book chapter during the next year.<br />
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Finally, I can't quite announce officially but will say that it looks very promising that my next academic book will be about Vincent Van Gogh. And you thought I only write about television, film, literature, and actors.<br />
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In the name of full disclosure, I should probably mention that I'm fond of "Vincent and the Doctor." And there's Benedict Cumberbatch's lovely performance in <i>Painted with Words</i>....However, the Van Gogh book is the result of a glorious trip to the Netherlands and Belgium this summer and my research at the Van Gogh Museum in Amsterdam in particular. (Remember my FB posts featuring chocolate hedgehogs and wheat fields blowing in the breeze? All research.)<br />
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Now I merely have to find time after teaching and developing a new course about film/television adaptations from literature (<i>The Hobbit? Sherlock? Elementary? Tinker, Tailor, Soldier, Spy?</i>) to take the books and papers from inside my head and get them onto my laptop--and eventually to you.Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-66123205691103812942013-08-22T10:03:00.001-04:002013-08-22T10:06:37.476-04:00Playing Politics: Benedict Cumberbatch and the Actor’s Role in Political DebateDo an actor’s political concerns warrant media publicity? More important, do an actor’s comments have an impact on the way the public thinks—or the government reacts?<br />
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In the past few days, photos surfaced from the <i>Sherlock </i>set showing Benedict Cumberbatch holding up signs to the paparazzi. That alone is an interesting act that seems to have burgeoned into both an effective way to get information to the global media and to “interact” with the media without talking with them (and increasing the possibility of being misquoted or badgered into saying more than Cumberbatch intended). A <i>Wales Online</i> <a href="http://www.walesonline.co.uk/whats-on/film-tv/benedict-cumberbatch-martin-freeman-new-5745746">article</a> first reported the actor, head down, in a dark hoodie and shades, holding a white sheet of paper with a political message in front of his face. The photo wasn’t the focus of the article about <i>Sherlock</i>’s latest filming around Cardiff; in fact, the headline emphasized a new cast addition and featured several upbeat photos of Martin Freeman and Amanda Abbington. Nevertheless, as you might expect, media quickly picked up on the Cumberbatch photo and the message clutched in his hand: “Go photograph Egypt and show the world something important.”<br />
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Within four days, approximately 50 news outlets around the world had republished the photo and commentary, and websites had received thousands of hits each. Some comments regarding the photo were positive, praising Cumberbatch for wanting to focus on an increasingly volatile situation in Egypt and underscoring why he is many fans’ favorite celebrity and justifiably the “thinking woman’s crumpet.” <br />
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An <i>Esquire</i> <a href="http://www.esquire.com/blogs/politics/celebrities-and-social-responsibility-081913">blog</a> on August 19 summarized the potential of using celebrity for political awareness. Lt. Col. Robert Bateman wrote about Cumberbatch’s Egypt sign: “Yes, it is a futile gesture. Holding up a sign? . . . But, what if ALL celebrities started doing this? . . . What if all of the stars, hounded by the dogs of photography, started blocking their image and holding up signs about what is really important in the news? . . . There is no shortage of topics that matter more. And I suspect, being humans before they were celebrities, some of those [actors mentioned in this blog] might agree, regardless of their PR apparatus. . . . That would renew my faith in the nation that I defend--if her stars, her glitterati and her icons set the people of Egypt before themselves. But perhaps, maybe, possibly, those public figures that make their living by being public, can earn their acclaim by doing something that is right. Redirect social attention to places and people that need this attention.”<br />
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Others, however, raised questions about the propriety of an actor (in this case, Cumberbatch, who has been the focus of media criticism for his words in the past) stating his politics, especially when such a famous man knows that the paparazzi waiting for him to emerge from his trailer will photograph his every move once he stepped outside. On August 19, <a href="http://www.nowmagazine.co.uk/blogs/now-says/547175/i-love-benedict-cumberbatch-but-he-s-wrong-to-pick-on-the-paps"><i>Now Daily</i></a> asked, “What gives <i>Sherlock </i>star Benedict Cumberbatch the right to take the moral high ground?” The article questioned why Cumberbatch should trivialize the photographers’ jobs and added “one could argue that his job isn't exactly doing much to change the world either.”<br />
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Both writers note that one man’s—even sought-after Benedict Cumberbatch’s—words or the rather passive action of holding up a sign may not change anything. However, Cumberbatch’s recent “sign posts” are far more than most of us do, whether we are celebrities or actors or people seeing the photos online. Cumberbatch occasionally explains during interviews that he admires the careers of Brad Pitt or George Clooney. Perhaps part of that admiration and desire to emulate their success and film-making power is also respect for these stars’ political actions, whether overseas (e.g., Darfur) or at home (e.g., post-Katrina New Orleans). Even Clooney’s direct action of smuggling cameras into refugee camps in an effort to show the world what’s really going on in Darfur failed to generate the public outcry or intervention the actor had hoped for. (See a 2010 <a href="http://www.foxnews.com/entertainment/2010/09/02/george-clooney-says-darfur-involvement-greatest-failure-life/">article</a> for more Clooney comments about his “greatest failure.”) Pitt’s innovative, affordable housing development has not had quite the impact on residents that he (and some vocal residents with whom I’ve spoken) envisioned. (See a 2013 <a href="http://www.newrepublic.com/article/112620/brad-pitts-make-it-right-houses-drag-new-orleans">article</a> for more information about the New Orleans homes.) Nevertheless, actors—no more, no less than anyone else—have the freedom-of-speech right and moral obligation to stand up for causes in which they believe. They may be no more successful than any of us non-celebs, but they surely will get more publicity for their political activism.<br />
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After the initial success of the Egypt note, Cumberbatch followed up with a four-page note concerning a political issue closer to (geographically, his) home. On August 21, <i><a href="http://metro.co.uk/2013/08/21/sherlock-star-benedict-cumberbatch-questions-decision-to-detain-david-miranda-3933173/">Metro</a></i> published a photo of Cumberbatch, dressed in Sherlock’s trademark form-fitting suit and his own shades as he prepared to film more scenes. He stood out in the open, holding up a page at a time and, in the <i>Metro </i>photo, almost seems to be smirking in the sun as the media photograph his message. It is a very different look from the presentation of the Egypt sign. This time, too, the media—such as the <i>Metro </i>article—focused solely on Cumberbatch’s political statements and his “silent protest” against the government’s decision to detain the partner of a <i>Guardian </i>journalist under anti-terror laws. The four pages illustrated “Questions we have a right to ask in a democracy – [David] Cameron, Theresa May, GCHQ, teachers, parents, each other . . . Hard drives smashed, journalists detained at airports. Democracy? Schedule 7 Prior restraint – is this erosion of civil liberties winning the war on terror? What do they not want you to know? And how did they get to know it? Does the exposure of their techniques cause a threat to our security or does it just cause them embarrassment?”<br />
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Whereas video from Egypt has been on most global television news for weeks and Cumberbatch’s fans were at least somewhat aware of what is going on (or at least being reported) in that country, they collectively may not have been as aware of David Miranda’s detention without arrest over the weekend. Now they are more likely to follow this news story and its political implications.<br />
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Again, the signs ask questions without Cumberbatch positing any answers, but the tone and phrasing of the questions indicate the actor’s political disquiet about the journalist’s detention and surrender of personal property. Cumberbatch would hardly put himself in an increasingly prominent media position to state a political message if he didn’t believe in what he is doing. <br />
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Given the intense interest in his first message, Cumberbatch expanded his delivery style and message content for the next political photo op. This isn’t a criticism—it is merely an observation that Cumberbatch now understands exactly how much media attention his political views will garner and chose to use the same forum to further ask thought-provoking, perhaps action-promoting questions. It will be interesting to see where, publicly politically, he goes from here.<br />
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A very cynical interpretation is that the escalation of printed messages has garnered Mr. Cumberbatch more publicity even during a month when his name is seldom out of the media for a day. Furthermore, it has won over, I suspect, the majority of his fans who have a new reason for adoring him. It further establishes him as a “thinker” aware of world issues. Shortly before the first of three films in which he has a role premieres at the Toronto International Film Festival—with the Cumberbatch-starring “WikiLeaks movie” <i>The Fifth Estate</i> having the honor as the gala opening film on September 5—such alignment between actor and political awareness, especially when the topic concerns journalists tangentially linked with an information “leaker,” can possibly be used to help promote the film. It certainly gives TIFF’s journalists more to ask during press conferences with the actor.<br />
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However, waving aside cynicism or pragmatism about the effect Cumberbatch’s printed words will have on his career or the promotion of a film, I think that the actor’s recent time-saving method of discourse works. His message is succinct and not easily misquoted. It gets just as much international attention as his spoken words, with far fewer potentially negative consequences for the actor. (Once he committed to holding up those signs, he put himself out there for critical evaluation by the media, public, and huge fanbase.) We have a pretty good idea what Benedict Cumberbatch thinks about the paparazzi waiting outside his door or flocking to <i>Sherlock </i>filming locations. We can’t know the depth of Cumberbatch’s concern about Egypt, Schedule 7, or David Miranda because even a four-page note large enough for the media to photograph doesn’t allow details, analysis, or answers. We can infer that, after so much publicity about the Egypt comment, Cumberbatch is savvy enough to use his celebrity to bring up something timely and provocative. <br />
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Most important, though--he made us think, forcing our attention to his Sharpie-scrawled words. Fans who weren’t aware of these political issues might at least learn more about them. Perhaps education of the fan-masses is a valuable outcome of a favorite actor’s politics, however effective or ineffective Cumberbatch’s recent flurry of messages may be in getting politicians, much less nations, to change course. Cumberbatch may have reached in particular young <i>Sherlock </i>fans who avidly follow him, and their awareness of recent political developments may have more of a long-term personal impact than the <i>Esquire </i>or <i>Now Daily</i> writers, anyone who questions an actor’s political clout, or even Cumberbatch himself can imagine.<br />
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Oddly enough, when the actor is mute and relying on written messages, he has the loudest voice of all.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com3tag:blogger.com,1999:blog-4044196434896582491.post-63272265939286476982013-07-15T11:05:00.000-04:002013-07-15T11:05:41.178-04:00<b>Script, Performance, and Authorial License: Alan Dean Foster’s Novelization of <i>Star Trek: Into Darkness</i> </b><br />
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<b>MANY MAJOR SPOILERS FOR ANYONE WHO HAS NOT SEEN <i>STAR TREK: INTO DARKNESS</b><br />
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Alan Dean Foster’s novelization of <i>Star Trek: Into Darkness</i> gives readers insights into the film’s script, the actors’ performance, and the author’s own development of iconic characters. In particular, this novelization offers a slightly different interpretation of Khan even from the screen version—one much closer to Benedict Cumberbatch’s description of his role during the many press interviews surrounding the film’s many international premieres.<br />
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As Foster mentioned in an <a href="http://www.startrek.com/article/exclusive-interview-stid-novelization-author-alan-dean-foster-part-1">interview</a>, he wrote this novelization at a time when e-publishing permits changes to be made nearly to the last minute before official publication, which gave him the ability to merge the script and information gleaned during filming and post-production with his own take on the story. In particular, characters could be significantly expanded in print—a film audience usually isn’t privy to a character’s innermost thoughts or interior monologue. <br />
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Of course, I chose to study Benedict Cumberbatch’s portrayal of John Harrison/Khan, but Foster also gave him special treatment in the novel. As Cumberbatch restated during publicity for <i>Star Trek</i> (but perhaps said best in the <a href="http://www.rollingstone.com/movies/news/q-a-benedict-cumberbatch-on-star-trek-sherlock-and-julian-assange-20130515"><i>Rolling Stone</i> interview</a>), “one man’s terrorist is another man’s freedom fighter.” Putting his character in a more favorable light, the actor noted that “The care he has for his people, his crew and his family is a complete parallel to Kirk.”<br />
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In his novel, Foster expanded upon this idea, not only in descriptions that go beyond script direction or elements of Cumberbatch’s performance. At eight separate points in the novel (I can share page numbers if you’re as obsessive as I am with documentation), the author referred to Harrison/Khan as a savior, whether his actions save a child or a Captain. Harrison/Khan’s “gifts,” ranging from extra firepower to the ability for cellular regeneration, are also mentioned several times. This language balances the portrayal of the story’s villain (although I’ll still quibble that a certain Admiral is actually more villainous). Instead of making Khan only a bad guy, the novelization supports Cumberbatch’s performance that Khan is capable of doing great harm, but he also can use his considerable learned skills, as well as his genetically enhanced body, to save others.<br />
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Not all characters accept Khan’s beneficence at face value, however. Both Spock and McCoy caution Kirk about Khan’s possible motivation for saving Enterprise crew members [i.e., McCoy: “If he saved your lives, he did so because he saw something in it for him” (p. 162); Spock: “A man like Khan does nothing without a reason” (p. 221)]. Foster followed the script in providing these warnings, but he repeated <i>savior, save,</i> and <i>gift </i>to remind readers that Khan is not a one-dimensional villain.<br />
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Harrison/Khan may seem godlike by deciding who lives or dies by his hand (or blood), but Foster emphasized that his actions are decidedly driven by love of his own crew and desire to be reunited with them, just as Cumberbatch discussed in the <i>Rolling Stone</i> interview. The novel, much more than the film, explains the Spock-Khan chess match late in the film that determines where Khan’s crew ends up. The author’s license to explain actions and motivations in greater detail is a benefit to Khan’s character development. Once the <i>Enterprise </i>is (temporarily) safe, McCoy’s page-length speech elaborates on Khan’s decision to beam his crew aboard the appropriately named USS <i>Vengeance.</i> This monologue provides a great deal of insight into Khan’s reasoning, actions, and time frame for decision making, all which would have slowed the movie’s pace as it built momentum toward the final fights. In the novelization, Khan errs primarily because he is in a hurry; in the film, this mastermind seems suddenly stupid in underestimating Spock. Although I can’t condone Khan’s violence—he is, after all, efficiently ruthless in getting what he wants—I appreciate Foster’s ability to layer Khan’s characterization in print as much as Cumberbatch layered it on screen. <br />
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Foster, as readers might expect from such a masterful author, excels at precise word choice. Although Spock’s voice also is emphasized during key scenes when he must be in command or exceptionally emotional, Khan’s is the voice “heard” most forcefully throughout the novel. As in the memorable trailer that introduced audiences to Cumberbatch’s character, readers “hear” his voice before they read a physical description. What Cumberbatch termed Khan’s “scalpel precision” of thought and speech is personified through Foster’s careful selection of descriptors, with verbs like <i>snarl </i>and <i>roar </i>and tones that, at different emotional high points in a scene, are <i>pitying, condescending, firm, sharp, relentless, matter-of-fact, unshakably confident</i>. As Foster illustrated through a crew member’s dialogue, “Listen to him too long, and he’ll have you believing anything.”<br />
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Foster’s novelization underscores the nuances that make Cumberbatch’s portrayal of a summer blockbuster villain more than just the typical psycho or megalomaniac. Throughout the novel and film Khan is a man with a plan, one that only hints at the depths of his focus and determination to mold the world according his personal vision. This character could have been one note, but, especially by highlighting Khan’s vocal qualities in this novelization, the author referenced Cumberbatch’s alluring voice, which is key in bringing audiences or Captains under Khan's spell. <br />
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What is particularly interesting about this novelization is its close connection not only to the finished film but to specific aspects of an actor’s performance, most notably Cumberbatch’s. This novel is the first book (not script) to incorporate Cumberbatch’s performance in the text’s discussion of the way a character sounds or behaves. Although <i>Sherlock </i>scripters probably write more toward the specific talents of Cumberbatch or Martin Freeman in series three than they did in the pilot, Cumberbatch’s previous roles on film, television, or stage were written long before casting. The novelization was written simultaneously with the film’s production/post-production, and specific aspects of Cumberbatch in the role of Khan, from physical appearance [“His face was narrow, his eyes remarkably penetrating” (p. 36)] to performance [“the tear that ran down his right cheek” (p. 93)], have been included. Wherever the character of Khan goes next in the Trekverse, this novelization clearly blends Cumberbatch’s performance with the scripted characterization, as well as Foster’s own insight into the character. In fact, given Foster’s description of writing a novelization as “work for hire,” far fewer of his original ideas make it into this type of writing than in one of his original works. Thus, Cumberbatch’s performance gains even more weight as a source for this print “adaptation” of the film.<br />
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Certainly Khan’s physical appearance mirrors Cumberbatch-as-Khan in the recent teaser <a href="http://www.geeksofdoom.com/2013/07/15/khans-origins-to-be-revealed-in-idws-upcoming-star-trek-khan-miniseries">cover</a> of IDW’s forthcoming (in October) six-issue comic book series. <i>Star Trek: Khan</i> should provide more than a rebooted backstory for this character—it also may rely more than a little on Cumberbatch’s interpretation from <i>Into Darkness</i>. If so, Cumberbatch will have more of a direct influence on the rebooted Khan, on screen or in print, than he may have imagined when he first signed on to play one of the most interesting <i>Star Trek</i> characters of all time. <br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-2983359217007071802013-06-02T08:10:00.004-04:002013-06-02T08:20:40.781-04:00<b>That Voice: Benedict Cumberbatch’s New Voiceover Roles</b><br />
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Think of “that voice”—the one you recognize immediately because it belongs to a famous television or film actor who is now explaining why you should buy a product or believe in a cause. You Pavlovianly respond to the richness and sheer pleasure of the sound. In the U.S., Morgan Freeman is one of the top film actors whose voice is sought for a memorable voiceover. If he tells me I need a new Visa card or explains why penguins migrate, I listen—and, more important, I remember that he was the one who informed me. <br />
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In an article about voice acting, <a href="http://www.voiceoverxtra.com/article.htm?id=f4mh85ni">Dan Hurst</a> explained why Freeman’s voice is so popular with marketing execs and casting agents as well as audiences: it is unique, comfortable, and confident. It also has that “park bench” quality—as if you and your buddy Morgan were sitting together on a park bench while he explained something important. You trust him; he sounds friendly and approachable.<br />
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Cumberbatch has the first three “Morgan Freeman qualities”. His voice, especially in the deeper ranges often used in his narrations, resonates with authority. It’s confident; Cumberbatch sounds like he knows what he’s talking about, whether the topic is scientific theory or dog food. Fans may also associate him with his intelligent, informative interview style, a plus for a voiceover actor trying to gain an audience’s attention. Cumberbatch’s natural enthusiasm for new ideas or experiences provides that “comfort” level Hurst describes; if this actor seems genuinely interested in a subject, listeners will be, too. However, I don’t know that Cumberbatch’s voice has a “park bench” quality, given his previous voiceover work and recent high-profile roles in <i>Sherlock</i> and <i>Star Trek: Into Darkness</i> or his upcoming role as Smaug in <i>The Hobbit</i>. These characters do not exude a “buddy” quality or suggest the easy warmth of a friendly Morgan Freeman.<br />
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What Cumberbatch offers, however, is what I call “dark chocolate.” It is rich, deep, and seductive. It’s alluring and compelling. Addictive. His “let the games begin” conclusion to the BBC’s introduction of the Summer Olympics made me want to watch simply because that voice implied Intrigue. It suggested competition, hard-won triumph, and even danger. That voice has a quality other actors lack—it can be informative or persuasive but hint at delightful darkness. That doesn’t mean that his voiceovers are sinister—they simply offer another potential layer of meaning, when appropriate, to pull in listeners.<br />
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When Cumberbatch acts a role, rather than serves as a narrator, for example, his voice becomes whatever the character requires. Martin Crieff sounds distinctly different from Islington. That’s why I look forward to meeting his character in a new animated series, <a href="http://www.yorkregion.com/news-story/3251518-stouffville-filmmaker-s-leap-of-faith-pays-dividends/">Poppy’s Fields</a>, which was announced this week. I’m curious what this character will sound like, what his accent may be, how he emphasizes words or finds the humor in a line. I’m also interested in a <a href="http://www.patheos.com/blogs/lookingcloser/2013/06/want-to-go-to-jerusalem-with-benedict-cumberbatch/#disqus_thread">travel-doc</a> to Jerusalem, also revealed this week, because, with it, Cumberbatch adds yet another narrator credit to his already-long resume of non-acting vocal roles. I enjoy the actor’s voice as much as that of one of his characters.<br />
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Such work adds to the breadth of his career and, quite efficiently, allows him to fill in possible break times between television or film projects. No matter what else Cumberbatch decides to pursue, voiceover work can always be part of his long-lived career. Because his name is seldom out of entertainment news this summer, the Cumberbatch-associated projects announced this week likely will reap a much bigger, more diverse audience. It's a win-win-win, for actor, project, and audience.<br />
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I smiled when I read one post to the Benedict Cumberbatch In Transition Facebook page: “Just tell us about his voice.” Certainly that’s not the extent of this actor’s entertainment or educational value, but, within our popular culture that often extols primarily the visual, That Voice is a very good reason to simply sit back and listen.<br />
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<i>Benedict Cumberbatch, In Transition</i> is available through <a href="http://www.amazon.com/Benedict-Cumberbatch-actor-Transition-Unauthorised/dp/1780924364/ref=sr_1_fkmr0_1?ie=UTF8&qid=1370174121&sr=8-1-fkmr0&keywords=Lynnette+Porter+Benedict+Cumberbatch">Amazon US</a> and <a href="http://www.amazon.co.uk/Benedict-Cumberbatch-Transition-Unauthorised-Performance/dp/1780924364/ref=sr_1_1?s=books&ie=UTF8&qid=1370174197&sr=1-1&keywords=benedict+cumberbatch">Amazon UK</a>.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com2tag:blogger.com,1999:blog-4044196434896582491.post-25084450480721076772013-05-21T12:22:00.000-04:002013-05-21T12:50:55.209-04:00Benedict Cumberbatch’s Performance Shines through “Darkness”<b>SPOILERS for <i>Star Trek: Into Darkness</i>—If you don’t want to be spoiled about plot and character developments, please don’t read this week’s blog. </b><br />
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Although I’ll probably write more about <i>Star Trek: Into Darkness,</i> if not here, then for conferences or journals, this time I’m focusing only on Benedict Cumberbatch’s performance. After seeing the film more than once in the U.S., with a vastly different crowd each time, I was pleased but not surprised that Cumberbatch’s name is the one most mentioned when the movie is over.<br />
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When I first saw the IMAX 3D version last Wednesday (the first U.S. screening for the public), I had a long wait from the moment we were allowed into the theater until the show started more than an hour later. Naturally, with hundreds of friendly Trekkers/Trekkies in the same place, we were bound to start talking to each other. In my row alone were fans from the U.K. and Australia—perhaps not surprising when our IMAX venue is located at Universal City Walk in Orlando. “I’m not here for Benedict Cumberbatch. I’m a long-time Trekkie,” one woman confided after our hellos. “But I want to see what he does in this movie.” Her friend said, “I’m a Cumberbabe,” then added, “although I guess we’re now supposed to be part of the Collective. Sounds kinda like the Borg, though.” Could work, I thought—another <i>Star Trek</i> reference.<br />
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On the way out of the theater the next time I saw <i>Star Trek </i>on an IMAX screen (a few days later), my friends enthused about Cumberbatch all the way down the stairs to the lobby. Words like “creepy” and “perfect villain” matched the general group assessment that Mr. Cumberbatch is very, very good in this role. There’s something about watching his expression on a screen stories high and hearing that voice surrounding us in the dark that makes an IMAX-sized impression.<br />
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In <i>Benedict Cumberbatch: In Transition,</i> I comment that, although <i>Star Trek</i> certainly would gain the actor a much larger global audience—and, more important, a mainstream audience of blockbuster-lovers worldwide—it likely won’t earn him an Academy Award. SF or fantasy movies don’t tend to receive Oscars for acting or directing, or as best picture, no matter how much money they make at the box office or how much media attention they generate. (<i>Return of the King,</i> with best picture and directing Oscars among its 11, is a big exception in Academy history.) That type of recognition may come with Cumberbatch’s work in other films out later this year, closer to nomination time. Of course, only hindsight will tell where <i>Star Trek</i> ultimately ranks in his list of career-changing films. For now, <i>Star Trek</i> (including its media publicity) is doing a great job of showcasing Cumberbatch (whose name truly does take up the width of the screen credits), but the role is only garnering so much attention because Cumberbatch did his job well first.<br />
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The role Cumberbatch was given to play is vastly different from the one scripted for Ricardo Montalban in the 1982 <i>Wrath of Khan</i>. That character sought to avenge the death of his wife and beloved friends, exiled by Kirk to what became a barren planet and then abandoned. Khan's motive was simple: revenge. He had a very personal grudge against Kirk. The “superman” of genetic engineering awakened in theaters in 2013 has much more of a motivational problem; he becomes a terrorist working against the Federation, presumably because his crew is being held hostage and sabotaging the Feds after he has been “fired” by them is his best way to free his friends.<br />
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Cumberbatch “Khans” us into believing that rather awkward backstory and assumes the role of a prime villain (even though Admiral Marcus is really the evil mastermind catalyst behind much of the plot). What does Cumberbatch do that’s so effective? Consider Khan's eyes, emotional range (which, for the movie’s “heavy,” is surprisingly wide and deep), physical grace and power, and voice.<br />
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When Kirk angrily addresses the incarcerated Khan, Cumberbatch lets the moment build before his response. It’s not a long pause by any means, but he drags his eyes slowly up Kirk until he makes unblinking eye contact. Instead of Kirk being in charge of his prisoner, Khan assesses Kirk and decides best how to talk with him. It’s subtle, but it works beautifully to illustrate that Khan is hardly incapacitated. One critic called Cumberbatch’s eyes serpent-like—and there is a mesmerizing quality to his gaze. Without moving, Cumberbatch-as-Khan exudes menace—he seems all-seeing.<br />
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Did you notice how many men tear up in this movie? Best teardrop still goes to Spock. (I could hear the splash!) However, most villains never show the emotional “weakness” of shedding even the quietest tears, and, if they do, their emotion is highly suspect because, well, they’re villains. They’re supposed to lie to us. When Khan gets emotional about his crew, he turns his back to his captors, but the audience can clearly see his eyes fill. A single drop overflows down his cheek. Khan seems truly moved by the loss of his crew, his “family.” The believability of every other action he takes in the movie rests on this teardrop. If we believe he genuinely loves his crew and will do anything to get them back, then we accept Khan’s motive for everything from destroying swaths of major cities to surrendering to Kirk to manipulating others to get what he wants. Khan can become a multidimensional character only if we accept that he is more than just a bad guy who mindlessly seeks the Federation’s destruction.<br />
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Cumberbatch sells that scene. It’s quiet. It seems real, even if it manipulates our perception of Khan. It makes him human, not just a killing machine.<br />
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When Khan takes over Marcus' ship, he again could seem way over the top with avenging anger, but--although looking every inch the Big Bad as he crushes skulls--Cumberbatch never trips over that fine line into silliness. He does look manic when he turns kamikaze—but the emotion still is grounded in the story's reality (well, as much reality as a summer blockbuster is going to give us). All that emotional control in scenes where Khan sits quietly (and with perfect posture) just explodes when there is no reason for him to rein in his emotions. <br />
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Speaking of explosions (and in this movie there are many), I was especially impressed with Khan’s (or rather Cumberbatch’s, and in some scenes his stunt double’s) graceful movement and sheer physical power. I love the sweeping motions and dancer's grace as Khan fires weapons to wipe out a Klingon patrol. (That doesn’t seem like a civilized sentiment to write, but I like the battle choreography.) Better yet, on Marcus’ ship, Khan knows the meaning of stealth—he alertly, quietly progresses toward the bridge, but when he encounters a security force, he immediately, violently dispatches them. Those moves made me truly fear Khan. He switches into machine mode and efficiently disposes of anyone in his way—there seems no way to stop such a vicious attack. <br />
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I like the man’s moves, but I also appreciate his coiled stillness. Again, in the brig scene, Khan awaits the result of a private conversation between Kirk and Spock. Holding his arm, from which a blood sample has just been taken, Khan watches and waits. When it becomes apparent Kirk is going to talk with him, Khan immediately drops the “weak” stance of holding his arm and instead holds his arms slightly out to his sides. The pose emphasizes his bulk and indicates that he is ready for anything. Even such slight, deliberate movement illustrates the thought behind the performance.<br />
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And then there’s the voice, almost a character unto itself. I was impressed with the dark “slithery” quality of Cumberbatch’s delivery—it sounded seductively evil. (I listened to the radio play of <i>Neverwhere</i> a few months ago, and Cumberbatch’s Islington gave me chills because of a similar vocal quality for that character.) One of my favorite <i>Into Darkness</i> lines is “Captain,” a one-word mocking rebuke after Kirk attempts to smash Khan into submission on Kronos. Even two syllables can be nuanced.<br />
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Mesmerizing, beguilingly voiced, chilling—Khan compels me to follow him on screen, which is another reason why I continue to follow the career of the captivating Benedict Cumberbatch. <br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com1tag:blogger.com,1999:blog-4044196434896582491.post-24387347165543366252013-05-11T02:58:00.003-04:002013-05-11T02:58:32.160-04:00Fast and Furious with FallonAs an addendum to yesterday's commentary about Benedict Cumberbatch's interviews on talk shows, I’m posting just a few thoughts about this morning's interview with Jimmy Fallon (<i>Late Night with Jimmy Fallon</i>). As far as informative interviews go, the content wasn't the best ever, and the pace was so fast that the audience might not remember details about what was said. So--content-wise, average. However, from a media persona perspective, Cumberbatch was entertaining and more than kept up with Fallon during their mutual fan-fest.<br />
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To introduce Cumberbatch to the audience, Fallon mentioned the award nominations that U.S. viewers are more likely to recognize (Golden Globe and Emmy), but he also praised <i>Sherlock </i>at two points in the show, linking the actor with two key projects that American audiences should see. Fallon excelled in elevating Cumberbatch's energy and being so enthusiastic about the actor's work that Cumberbatch seemed empowered. The whole "Who can you impersonate?" game could have led to disaster, because Cumberbatch briefly seemed at a loss for an explanation, repeating his words before launching into a description of a spontaneous impressions game he and Martin Freeman play on set. I wish this moment had smoothly led to more examples of Cumberbatch's mimicry, but at least the guest turned the tables on the host, who then couldn't think of a way to impersonate Hilary Clinton (tough one) or Miss Piggy (at least he tried). The five-minute interview (with <i>Star Trek</i> clip) left little time for long answers or involved stories (although the Harrison Ford anecdote was a winner), but Cumberbatch and Fallon still covered quite a few topics as they ping-ponged words back and forth. Cumberbatch seemed to be with “his people”—Fallon as his greatest fan—and accepted the applause and effusive praise graciously. The nervous mannerisms were still there (at one point upstaging the camera's view of his face), but Cumberbatch seemed to be having fun and was incredibly animated in this interview.<br />
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What is interesting is the variety of "Cumbarbatches" U.S. audiences met in just a few days. Of the U.S. television interviews to promote <i>Star Trek</i> this week, Letterman created the most awkward scenarios, which resulted in the weakest “performance,” the <i>Today </i>show only briefly spotlighted Cumberbatch’s film role but presented a well-spoken, confident actor, and Fallon encouraged the hyperactive playmate not everyone in the audience may have yet met. If audiences seeing all three interviews were interested in continuity or had to describe their impression of Cumberbatch based only on these shows, they might have difficulty coming up with a unified conclusion about who he really is (at least in public). On the other hand, the actor showed that he could handle wildly divergent interview styles and present himself differently to each show’s individual audience demographic. It will be interesting to see if, during future promotional appearances, he will present a single “persona,” no matter who conducts the interview or what he is asked, or if Cumberbatch will surprise us with his reactions and responses. Funny, fun, frenetic—a good reason to be watching Fallon and Cumberbatch late night Friday/very early Saturday morning.<br />
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The best interview this week—albeit in another medium—is Caitlin Moran’s substantial and well-written article in the <i>Times </i>(full article by subscription <a href="http://www.thetimes.co.uk/tto/magazine/article3758102.ece">here</a> but already available in its entirety on other sites). I enjoy Moran’s books and articles; I admire her style and outlook on life. The new interview is yet another excellent conversation, this time with Cumberbatch and his parents. Moran's word choice is so descriptive that I could "see" the family home and practically sit down to Sunday dinner. For pure enjoyment, Moran's interview is well worth a couple of reads this weekend. It allows Cumberbatch to express himself in depth and to have more control over the way he will be perceived in the media during this incredibly busy time.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com2tag:blogger.com,1999:blog-4044196434896582491.post-3080138244152769582013-05-10T12:01:00.001-04:002013-05-10T12:42:55.880-04:00The Road to Stardom is Paved with Talk ShowsWe can’t know an actor by his public appearances, on a red carpet or through a television interview, but the images and sound bites left behind do a lot to track changes in an actor’s public persona and audience expectations for the way stars should act. <br />
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Benedict Cumberbatch was talking to the <i><a href="http://www.entertainmentwise.com/news/114160/Sherlocks-Benedict-Cumberbatch-Understands-Why-People-Are-Obsessed-With-His-Personal-Life ">Huffington Post UK</a></i> about his privacy in light of so much media attention when he commented that “You can't control perceptions any more.” The intense interest in everything he does, whether in front of the camera or behind closed doors, results in dozens of online and in-print articles every day, especially during the double whammy of <i>Sherlock </i>filming and national premieres of <i>Star Trek: Into Darkness</i>.<br />
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In the U.S., Cumberbatch has previously been in the entertainment news, ranging from media reports (like those in <i>Variety </i>or <i>The Hollywood Reporter</i>) that tout his heavy work load or television interviews most often broadcast from red carpets or seen on cable networks like MTV or E!. But then came <i>Star Trek</i>. <br />
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Although many (most?) Cumberbatch fans had already found a way to watch the actor on <i>The Graham Norton Show</i> recorded soon after the London <i>Star Trek</i> premiere, the episode was first broadcast in the U.S. on BBC America on May 9, which proved to be the start of a very busy few days for talk show-following American fans. In addition to <i>Graham Norton,</i> Cumberbatch fielded questions on NBC’s <i>Today </i>(in the 10-11 a.m. EDT time slot, outside the viewing time of many 9-to-5ers) and CBS’ <i>Late Show with David Letterman</i> and will do so later on May 10 on NBC’s <i>Late Night with Jimmy Fallon</i>—three top shows reaching a wide demographic in different time slots. <a href="http://tvbythenumbers.zap2it.com/2013/05/02/late-night-tv-ratings-for-april-22-26-2013/180681/">Ratings</a> published for the week of April 22-26, the latest I could find by the time of this blog, showed that Letterman averaged 2.8 million viewers during that time period, and Fallon was watched by 1.7 million, especially impressive in the latter case because he won the late late time slot in all measured demographics (18- to 34-year-olds, 18-49, and 25-54, men and women).<br />
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What does that mean for Cumberbatch? He made it to mainstream U.S. entertainment media that reached millions of potential moviegoers (and new fans) within the span of a couple of brief television appearances. Many U.S. viewers likely had never seen or heard of him before those talk show appearances. Whereas the BBC America audience should already include more <i>Sherlock </i>or Cumberbatch fans, it also is more of a niche cable audience. NBC and CBS are network “biggies” with a wider broadcast area; most homes in the U.S. with televisions can see these networks on basic cable. Add to that the later viewings, such as full online episodes of the <a href="http://www.latenightwithjimmyfallon.com/episode-guide/">Fallon show</a> (not to mention YouTube and media or fan website videos), and Cumberbatch potentially will reach the widest audience ever to see his interviews.<br />
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Now the important questions regarding his celebrity and fast-track to film stardom: What do viewers perceive or learn from watching these talk-show interviews? Although those interviewed on television can’t control the show’s content or the host’s approach to the interview, actors can largely control their performance and, in Cumberbatch’s case, he can introduce himself as he wants the American public to see him. His wardrobe, demeanor, and body language are just as important as his words.<br />
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Please note that the following comments aren’t critical of Benedict Cumberbatch. He is doing exactly what he should do to develop his image during this transitional stage of his career and smoothly enter what he jokes he has been warned about—a <a href="http://www.entertainmentwise.com/news/114160/Sherlocks-Benedict-Cumberbatch-Understands-Why-People-Are-Obsessed-With-His-Personal-Life">career “blast off”</a> after <i>Star Trek.</i> <br />
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<b><i>The Graham Norton Show</i> and <i>Today</i></b><br />
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Cumberbatch’s appearance on <i>The Graham Norton Show</i> is a good indicator of the Cumberbatch-as-budding-movie-star persona. Immaculate in a dark suit, the actor looked formal and professional, his demeanor relaxed to the point that, late in the show, he lounged (well, as much as someone with such wonderful posture can slouch). When Norton teased him about the name of his fans, he “acted” embarrassed with obvious mannerisms at the term “Cumberbitches” and suggested an alternative: “The Cumber Collective.” He’s made similar comments (and told the neutron cream story) before, but during much of the show he gave the expected responses—all safe, little to nothing new (depending on the fan's prior knowledge).<br />
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During one segment, Norton asked fans how far they had traveled just to be in the audience. When a few who traveled hours by bus or plane just to see Cumberbatch identified themselves, the actor bounded up the studio stairs to briefly hug and kiss cheeks—a move guaranteed to endear him to fans. It also encouraged fellow <i>Star Trek</i> actor Chris Pine to do the same for those “Pine Nuts” who came a long way just to see him. The fan activity seemed unscripted, spontaneous fun, but it also reinforced the image of Cumberbatch as a man who publicly thanks his fans for their support. <i>The Graham Norton Show</i> also provided an opportunity for Cumberbatch to initiate an interaction with fans in a controlled environment (i.e., he wasn’t going to get mobbed on camera). That’s not a cynical comment—it’s a reality of Cumberbatch’s new level of fame that he must walk the proverbial tightrope of communicating directly with fans without putting himself or others in a dangerous position. Recent comparisons have been made between Cumberbatch or <i>Sherlock </i>fans and Beatlemania, as ever-growing crowds await his arrival, whether on location shoots or for an interview.<br />
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Cumberbatch’s humorous, self-deprecating anecdotes about working on <i>Star Trek,</i> which most fans have heard before, are safe, funny stories new audiences can remember (and the media can repeat). They provide brief insights into behind-the-scenes antics, and they show that Cumberbatch has a sense of humor, including about himself, and is not as all-knowing as Sherlock or <i>Star Trek</i>’s evil mastermind. In personality, the actor seems more like one of us, or like a friend we’d like to have. Unlike some television interviews, in which the actor displayed a few nervous mannerisms (e.g., the thigh rub/pat, hand-brush over his head), with Norton the actor’s speaking pace was conversationally slower, his tone evenly warm and inviting, his gestures far more controlled. In short, Cumberbatch came across as friendly, humble, humorous, and appreciative—everything the public could want from one of its stars, especially one now representing British actors (perhaps even the U.K.) in global media. <br />
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It was an excellent appearance, but it also made me a bit sad because it lacked the spark of something unexpected or “natural” happening between host and interviewee. Even when Cumberbatch was prompted to show how he could make even an innocuous teaser sound threatening, he showed off his talent for improv and a good cold reading while being a good sport. It was entertaining, but I enjoy listening to this actor talk because he is thoughtful and expressive, sometimes taking a long time to answer questions, sometimes getting so caught up in explaining a role or project that he stumbles over a word or rushes through sentences in his enthusiasm. He might fidget, depending on what is happening in the interview. I like a less polished, more free flowing interview that seems a bit riskier or spontaneous.<br />
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Granted, talk-show appearances may always be simply another performance, but Cumberbatch's previous interviews (or lengthier Q&As about films or plays) often gave at least the illusion (and I hope the reality) that audiences see more of the actor than the celebrity or star. Now that Cumberbatch faces more media every day and, in the past few years, has learned some hard lessons about the nature of celebrity, he is doing very well in developing a professional persona for the world’s broadcast media—but such personas can become bland because they become what the public expects to see. I enjoyed seeing London premiere photos emphasizing Cumberbatch's huge grin as he posed on the red carpet. (I doubt I’ve seen so many photos published in which he is smiling so widely that he looks fit to literally burst with happiness.) I liked reading that he cried when overhearing a cast member’s praise. Those expressions of emotion aren’t typically shown or discussed in the press about long-time movie stars. They still are a bit unexpected and different than the usual red carpet stories.<br />
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On May 10, Cumberbatch’s brief appearance on <i>Today </i>was again polished and relaxed. Dressed more casually than on <i>Graham Norton</i> or <i>Letterman</i>, Cumberbatch seemed more laid back. His sound bite-sized answers in the brief couple of minutes allotted to his interview gave audiences 1) the neutron cream story, 2) brief identification with a key role in <i>Star Trek</i>, but more important and almost a throwaway line, and 3) mention of his roles as scientists Hawking and Heisenberg. Now, to some fans who want Sherlock included in that list, Cumberbatch’s unprompted comment is sure to rankle. However, from a career standpoint, within about 90 seconds, the actor did a few great things to introduce himself to a potentially new, mainstream U.S. audience (a different crowd at 10 a.m. than at 12:30 a.m.): He mentioned two roles that Americans just getting to know him may not have seen or even known about; he was succinct, well spoken, well dressed, confident, still humble, and sexily deeper voiced. This is the persona that his PR team will want to emphasize Cumberbatch’s star power.<br />
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<b><i>Late Night with David Letterman</b></i><br />
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Very early on May 10 I posted on Facebook my conclusion that Cumberbatch’s “performance” with Letterman was sweetly endearing. I praised Letterman for complimenting the actor after watching a brief <i>Star Trek</i> clip (“No offense to the rest of the cast, but you really don’t need much more than you.”) Then I headed to bed, figuring that I’d check fan and critical response a few hours later. Not surprising, within a few hours the Cumbernews provided a mix of reviews—with one website giving the interview a 2 (I assume 1 isn’t first place). Others talked about Cumberbatch’s nervousness or possible tiredness, the otters, and Letterman’s confusion between <i>Star Wars</i> and <i>Star Trek</i>. Cumberbatch received fashion kudos for his personal style when he arrived at the Ed Sullivan theatre more than for his formal attire (that London red carpet look), which became a topic of discussion during the interview.<br />
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Of these three interviews within 24 hours on U.S. television, the ones from <i>The Graham Norton Show</i> and <i>Today </i>are by far the better as far as development of that movie star persona. Cumberbatch looked suave, confident, yet still reachable from those reach-out-and-hug moments with fans or his perfectly timed responses to <i>Today</i>’s questions. His voice was lower and sexier, and he looked like a man in charge of his destiny, reaping the public benefits of some very hard work.<br />
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However, I prefer the Letterman interview because it presented a self-effacing yet still confident actor who was thrown into some unexpectedly silly situations (such as a bogus <i>Star Trek</i> clip, after a too-long session with the otter photos) but who gamely dealt with whatever the host did.<br />
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Letterman often is silly, which results in some awkward moments, but he always brings the interview back on track. (Note how he slyly got laughs from Jack Hanna’s explanations or answers but yet introduced animal facts when Hanna didn’t and kept the show rolling along.) When Cumberbatch answered questions rapid fire or surfed the changing conversational currents, his voice was higher, his speaking rate faster, and his syllables sometimes bouncy as he repeated a word or stuttered a bit through sentences. He fidgeted a lot more—rubbing his thigh, scratching the back of his neck, clasping his hands. Only when he talked about his role as John Harrison did he slip into “interview-speak” with smoothly delivered lines used in press junkets (e.g., “One man’s terrorist is another man’s freedom fighter.”) He poked gentle fun at himself with a story about an early audition and, after receiving that amazing compliment from Letterman, looked down frequently. He noted that he couldn’t do high kicks like the actor in the cheesy fake <i>ST</i> clip preceding the real clip proving his command of a scene if not of the <i>Enterprise</i>. “No, you’re fine,” Letterman corrected. And Cumberbatch was—he came across as more jittery than on Norton's show but more genuine. He looked pleased about <i>Star Trek</i> but humble about his talent. He went with whatever Letterman asked or showed him, even if such an interview gave him fewer opportunities to plug his work or let the late-night audience get to know him on his own terms.<br />
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With Letterman, Cumberbatch’s “Britishness” was also on display—he admitted he “overdressed” for the occasion “in honor of” Letterman, and his audition story was about playing James Bond. When first introduced, he quietly asked the host where he should sit and later to which monitor to direct his attention. He looked like a Letterman newbie (which he was). Those aren’t criticisms, but they separate Cumberbatch from the glib, flamboyant, often supremely outgoing (usually American) guests sitting in the interview chair. Some people might find that reason for concern, but I found it refreshing and endearing—a term I seem to be overusing in response to Cumberbatch’s <i>Star Trek</i> interviews. He was different than most actors promoting a movie and, like he does with his acting, kept me wondering what he would do or say. He was interesting to watch.<br />
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Not everyone will dissect these appearances, but, in light of Cumberbatch’s rise to fame, they emphasize that transitional period I keep harping on. The man sitting next to Dave on Thursday night seemed much younger and more eager than the man who chatted with Graham Norton or Billy Bush. If I hadn’t been aware of his long CV of excellent roles, I would’ve been intrigued by the menace and focus of the villain in the <i>ST</i> clip contrasted with the talkative but self-deprecating guy who looked down almost as often as he made direct eye contact with Dave, the one who (when Letterman called him a “kid” and said he didn’t know the actor’s age) immediately affirmed that he still is a kid (pause . . . “at heart”). The difference between the man on the couch and the villain on the screen would make me want to know more about the actor—and that, really more than promoting <i>ST</i>, is what the Letterman appearance was all about.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com6tag:blogger.com,1999:blog-4044196434896582491.post-69926068538280314362013-05-07T14:19:00.001-04:002013-05-07T14:19:05.700-04:00Potential Spoilers Based on the May 7 Blog--Read this short section only if you have read the long May 7 Sherlock-John blog<b>S P O I L E R A L E R T</b> This post should only be read if you choose to possibly be spoiled regarding upcoming <i>Sherlock</i> episodes and after you've read the long May 7 blog about Sherlock and John.<br />
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Although the team of Gatiss and Moffat have provided fans with a single keyword preview of each episode in the third season/series, some readers may not want to know about them, even if they have been bandied about fandom for months. Also, since filming on series/season three began, photos and media reports suggesting plot and character developments in season/series three have been published in mainstream entertainment news as well as on fan sites. (#setlock anyone?) However, if you’ve avoided that type of information, please stop reading here. I’m trying to be as vague as possible while still adding a few comments about issues raised in the results.<br />
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<b>B E G I N N I N G O F D E L I B E R A T E L Y V A G U E B U T <br />
P O T E N T I A L L Y S P O I L E R Y C O M M E N T S</b><br />
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Fans who follow #setlock may know a lot about the first two episodes (but the series’ creators also likely have many more surprises in store that were unable to be glimpsed during location filming). Those who know the one-word descriptor the creators’ provided for the second episode might have certain fears or expectations about this episode in particular. It seems less likely, in light of these revelations, that fans’ “wish list” for John and Sherlock will be fulfilled, at least in the way that much of fan fiction (and there are some excellent reunion or relationship stories out there) envisions as the optimal series’ direction. Because Gatiss and Moffat are on record numerous times as saying that the John-Sherlock friendship is a love story and basically the reason for Sherlock Holmes stories’ longevity, I would hope that the friendship aspects of the series would continue as long as episodes are made. What will be interesting to see (and possibly to record in another survey) is how fans respond to the changing nature of this friendship and the introduction of another cast member. <br />
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The survey also generated fan requests for more women in the series, with the emphasis in most comments on Mrs. Hudson, Molly Hooper, Irene Adler, or Sally Donovan. However, within the survey’s context of fan comments, the inclusion of more female characters or characters of color is requested in order to reflect the diversity of modern London. It is not a specific request for female love interests. Whether women brought into the series primarily for this purpose would be construed as a potential threat to the Sherlock-John friendship (or to fans’ perceptions of Johnlock) or whether such female characters would be perceived as playing “stereotypical” roles (e.g., sex objects) for women on television would be interesting to discern. Again, fan comments regarding possible developments in upcoming episodes may be worth studying, from an academic standpoint, because of diversity, sex roles, gender roles, canon v. fanon, or other issues arising from changes to the series over time.<br />
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Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-12962400550591435922013-05-07T14:08:00.001-04:002013-05-07T14:20:51.021-04:00What Fans Think about Sherlock (and John!)What do fans think about the BBC’s <i>Sherlock</i>—in particular, its characters and actors? What do they want to see in the third batch of episodes? I asked those questions of online <i>Sherlock </i>fandom in July 2012, within weeks of <i>Sherlock</i>’s season two broadcast in the U.S. but more than half a year after its seasonal debut in the U.K. Thanks again to those of you who responded to my lengthy survey!<br />
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Shortly after the survey was closed, I posted a brief tally of demographic and multiple-choice answers. In the months since, I’ve incorporated the answers to questions or comments about Benedict Cumberbatch in my book, <i>Benedict Cumberbatch, In Transition,</i> and provided more statistical data in articles submitted to other publishers. Today, while we wait for filming of the third episode in the third season/series to begin and look forward to three more <i>Sherlock </i>“movies” possibly arriving late in 2013 or early 2014, I want to share survey participants’ comments about the series in general, the actors and characters they play, and a wish list of changes that, if these fans were writing <i>Sherlock </i>scripts, would guide upcoming episodes. (Although I’m a <i>Sherlock </i>fan, I put on my “objective reporter” hat when documenting survey results and blogging about them, so I use “they” for fans instead of “you” or “we.”)<br />
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<b>What is the most important reason you like <i>Sherlock</i>?</b><br />
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Of the 565 people who took the survey, 18.6 per cent (105 fans) stated that the well-written scripts are their primary reason for watching. Another 16.1 per cent (91) like the Sherlock-John relationship best, 14.5 per cent (82) tune in to see high-quality acting performances, and 13.1 per cent (74) enjoy the modernization of this adaptation. Other reasons include the following: 7.6 per cent (43) like the production quality of episodes, 4.6 per cent (26) are fans of one or more actors, 3.2 per cent (18) enjoy the mystery plots or the detective genre, 0.4 per cent (2) like the U.K. (primarily London) settings, and 0.2 per cent (1) prefers television series imported from the U.K. As other results later showed, <i>Sherlock </i>is often perceived as worthwhile television entertainment because it is a “package deal”—well-written and –acted, with excellent production values. The series’ succeeds because it excels in all areas, even the ones (like plot) that fans like to debate and unravel with an eye both to continuity and canon.<br />
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Finally, 2.5 per cent (14) chose to specify their reason for watching <i>Sherlock </i>after selecting the “other” multiple-choice option. These fans stated they could not limit themselves to one definitive answer. Two lengthier responses are typical of the theme running through the write-in comments: “More than one of the reasons above. High quality of acting, script, filming, design, costumes etc., etc. Also the wonderful chemistry between the actors, the friendship, the humor and just how exciting and engaging it all is” and “I am an old school Conan Doyle Sherlock Holmes fan (since I was 11) and I love the way Gatiss & Moffat, Cumberbatch & Freeman have made it brilliant and wonderful again.” Other respondents praised <i>Sherlock </i>as an “intelligent show.” One added a comment about the series being family viewing: “Both my teenage daughter & I enjoy watching it together.” The rest of the responses were variations of “all of the above” or “Can’t it be all?” Fans enjoy this series on many levels: for its value as television entertainment, as a higher-quality television production compared to other series, or even as a catalyst for bonding with family, friends, or other fans. <br />
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<b>How is <i>Sherlock </i>different from the other television series you also like?</b><br />
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As is typical in surveys inviting participants to write unique answers, sometimes the responses aren’t usable. Although all respondents were required to write something in the text boxes provided for open-ended questions in order to submit the survey, not all responses to this or other open-ended questions or “other” options were usable as survey results. Some people inserted only a character, such as an asterisk or a question mark, or wrote “no answer” or “N/A” instead of complete phrases or sentences. In this situation, percentages are based on the number of usable answers. For example, although all 565 participants had to write some type of answer, if only 330 responses were evaluated as usable, then the percentage is based on 330.<br />
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Answers to this open-ended question were carefully read to ensure that I (and other readers working with me) understood the comments correctly in order to categorize them; we also double-checked answers to make sure we agreed which responses were defined as “usable.” This question resulted in 330 usable responses grouped similar types of responses into these categories: <br />
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25.7 per cent (85) <b>High-quality writing</b>, with specific comments about the scripts, dialogue, and on-screen information such as Sherlock’s texts <br />
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15.7 per cent (52) <b>Acting </b><br />
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13.6 per cent (45) <b>Directing, cinematography, filming quality, special effects, music, etc.</b> “Movie quality” was mentioned five times within other comments about the series’ production quality.<br />
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10.6 per cent (35) <b>More intellectually challenging or stimulating plot twists</b> that hold fans’ attention. This category includes comments about the series’ story content (i.e., topics, subject matter) and episodes’ pace, not specifically about the quality of scripts.<br />
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9.3 per cent (31) <b>Sherlock Holmes stories’ characters/modernisation</b> of beloved literary characters/familiarity with literary canon. The modernisation of characters these fans already love was mentioned in the majority of responses, but having Sherlock Holmes as the series’ lead character also was listed six times.<br />
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5.4 per cent (18) <b>Length and number of episodes</b>. Fans prefer fewer but longer episodes, although they dislike long hiatuses between groups of episodes.<br />
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4.5 per cent (15) <b>Cultural differences</b> between British and U.S. or other countries’ programs<br />
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3.6 per cent (12) <b>Preference for mystery/crime/detective genre</b><br />
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3.3 per cent (11) <b>Different genre</b> than that I typically watch: fantasy or science fiction (5), supernatural (2), comedies (2), or <i>police </i>(original emphasis, 2)<br />
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2.4 per cent (8) <b>Similarity</b> (not the difference emphasized in the survey question)between <i>Sherlock </i>and other television series that these respondents also like: House (2), Doctor Who (also from showrunner Moffat; 1), NCIS (1), “intelligent shows” (1), or “other detective shows” (1)<br />
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2.1 per cent (7) <b>Casting of favorite actors</b>. Within these responses, Cumberbatch was specifically mentioned three times, and the chemistry between Freeman and Cumberbatch twice.<br />
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1.5 per cent (5) <b>Fandom</b>, which was praised for its “huge fanbase,” “lots of fan fiction,” “homoerotic tension played up by fandom,” and “as a way to enter Sherlockiana”<br />
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0.9 per cent (3) <b>Series’ creators Moffat and Gatiss,</b> who “love & know the Series,” are “brilliant in adapting the series,” or are “genius.”<br />
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0.9 per cent (3) <b>Settings/locations</b>, with London specifically listed twice<br />
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The following four responses illustrate fan appreciation of <i>Sherlock </i>that goes beyond simple enjoyment of the series as entertainment. <i>Sherlock </i>fans understand the variety of tasks and number of people working on a production behind the scenes to create a single episode; respondents repeatedly mention that they watch episodes more than once and pay attention to details. They analyze not only the stories but the way these stories are told. That fans think of Sherlock as a complete package, with high-quality work at every stage of an episode’s development, is indicated in these representative comments:<br />
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“The writers truly deliver the goods. Transforming Arthur Conan Doyle's stories into the modern era is a truly clever and remarkable idea. They, as well as the pre-production team, love to squeeze in a lot of hidden details which one might miss in the first viewing, and so it is very fun to watch it again and gain something new from the episode. The cinematographic techniques are fun and interactive; the direction and acting are first-rate, and the post-production is innovative. I know of no other show that can compare with all this talent.”<br />
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“The production quality, the writing, the direction and the acting are all of such excellent quality. I would particularly emphasize the production as being of movie-like quality.”<br />
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“It is basically much more like a movie. Writing style, cinematography, plots and so on bring a depth and a weight to it that most other series lack.”<br />
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“The obvious love and respect the creators have for the original stories and characters, and for Arthur Conan Doyle, shines through, making this the most heartfelt Holmes series I've ever seen.”<br />
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These messages’ content, structure, and word choice show that the respondents took care in writing precisely and in greater detail than might be expected in a long survey that required several written responses. Furthermore, the syntax and word choice indicate that these fans are likely well educated and easily able to express themselves effectively in writing. Although not all responses to this survey question were so long or well phrased, about half of all usable responses were equally effusive.<br />
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The following question about the way(s) <i>Sherlock </i>could be improved resulted in three types of responses: 1) the series does not need to be changed, 2) more episodes should be made and broadcast more frequently, and 3) episodes should include specific plot elements that at least some fans want to see. The 502 usable responses to this question were approximately equally divided among these three categories. Typical answers in the “does not need to be changed” category include “It is already perfect,” “Just keep doing what they are doing,” and “I don’t see how it could be better.” Typical entries about improving episodes are “It would be great if we had a series every year instead of every year and a half, but I understand production restraints,” “Coming out more quickly,” and “More episodes more often.”<br />
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The greatest variety among responses involves specific interests in a character or scenario. These responses could not be grouped more specifically than a wide-ranging “plot elements that at least some fans want to see” category. For example, a few fans would like to see changes made to Molly Hooper: “Maybe if there was more Sherlolly” or “Molly to be less simpering.” Others wrote they wanted to see more of Mrs. Hudson or Lestrade. However, the majority of responses in this category suggest changes in the way the Sherlock-John relationship is portrayed. Respondents asked for more “Johnlock,” “John and Sherlock snogging,” or “gayness,” but at least a few fans explained more precisely what they would like to see in forthcoming episodes:<br />
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“Sherlock and John need to have a frank discussion about how they love each other, but don't want to have sex. I don't like how John keeps saying ‘people will talk’ as if it's a running joke, when their relationship is clearly more nuanced than that.”<br />
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“More domestic John and Sherlock. I think their friendship/bromance/pseudo-romance/pre-relationship-ness is what makes the show so wonderful. I think some of the best scenes from series one and two are when Sherlock and John are just in 221b being flatmates.”<br />
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<b>To avoid making potentially spoilery comments about this section, I've written a vaguely worded response to this section as a separate blog post, labeled Potential Spoilers Based on the May 7 Blog. If you want to read my comments, please read this separate post after you finish today's blog. Thanks!</b><br />
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<b>What else would fans change?</b><br />
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The series is not above criticism, despite a high number of responses indicating that fans are happy with what they have been seeing. A few respondents suggested greater diversity, from casting to character development:<br />
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“It could be less ridiculously white in the modern era. Irene Adler, for instance, could easily have been portrayed by Freema Agyeman or Gemma Chan (these are just examples).”<br />
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“More female characters—because there were many in the stories. Along with that, this series takes place in modern London; there shouldn't be an excuse for the lack of female presence. Molly Hooper received more dialogue in the second series, which was wonderful because the show made a point to show she mattered, but <i>Sherlock </i>needs to add more to the females that are already there so they are not just there at the expense of the male characters. Less shamming and using them just as villains—especially Sally Donovan.”<br />
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Other fans criticized “plot holes” or complexity in episodes like “A Scandal in Belgravia” that was difficult for some viewers to follow. Three fans wanted the less frequently adapted Conan Doyle stories to become the basis of plots, rather than stories involving Moriarty or Adler, “which everyone knows.” Finally, four respondents wanted to see more—quite literally—of Cumberbatch. One wrote in all capital letters “MORE BENEDICT!!!” and another suggested more nudity for the lead actor. <br />
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Such diversity within a category makes it almost meaningless statistically, but the variety of comments shows the many ways in which individual fans relate to <i>Sherlock </i>and want to see aspects of the series reflect their preferences. In some ways, such as a call for more Johnlock, fans would like to see the official television series become more like the fan fiction thriving on many slash or gen forums and web sites. Despite fans’ wide-ranging responses to this question about change, the majority of respondents indicated that they like <i>Sherlock </i>as it is, want to see more episodes, and look forward to enjoying the next group of three episodes.<br />
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Actors and Characters</b><br />
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The survey asked two questions about characters: Of these <i>Sherlock </i>characters, which is your favorite in series/season one or two? and Why is this character your favorite in series/season one or two? The former is a multiple-choice question with the characters’ names in alphabetical order by first word, as automatically ordered by the survey software: Anderson, Greg Lestrade, Henry Knight, Irene Adler, Jim Moriarty, John Watson, Molly Hooper, Mrs. Hudson, Mycroft Holmes, Sally Donovan, and Sherlock Holmes, plus an “other” text box. <br />
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A higher number/percentage of responses to the multiple-choice character question might be expected to favor first Sherlock, then John. The results are as expected for the two lead characters: 56.6 per cent (320) selected Sherlock Holmes as their favorite character, and 23.0 per cent (130) chose John Watson. <br />
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After these characters, the percentages drop considerably: 7.6 per cent (43) Jim Moriarty, 3.4 per cent (19) Molly Hooper, 3.0 per cent (17) Mycroft Holmes, 2.5 per cent (14) Greg Lestrade, 1.2 per cent (7) Mrs. Hudson, 1.1 per cent (6) Irene Adler, and 0.2 per cent (1) each for Sally Donovan and Henry Knight. These percentages also reflect a character’s amount of screen time and role development, or, as is the case with Adler and Knight, significant character development but only in one episode. The more time on screen and prominence of the character, the more likely respondents were to choose that character as “favorite.”<br />
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Sherlock and John’s friendship, plus the chemistry of Benedict Cumberbatch and Martin Freeman, created, in many fans’ minds, an inseparable Sherlock-John entity (not, in this case, referring to “Johnlock”). The “other” responses are comments like “I can’t choose Sherlock without John” and “John and Sherlock go together,” as well as “I love them all equally” or “Please don’t make me choose.”<br />
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The second question about characters resulted in a variety of “essay” answers that I later grouped by similar content: 40.2 per cent (227) described the character’s personality (e.g., “intelligent,” “evilly genius,” “everyman”) as the primary reason for being a fan’s favorite; 25.1 per cent (142) like a character because of the way an actor portrays him or her; 14.7 per cent (83) like the way a character has been written (e.g., dialogue, backstory, emotional development across episodes); 10.3 per cent (58) prefer this modernization of the character; and 9.7 per cent (55) relate to a specific character (i.e., Molly, John, or Sherlock).<br />
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In a similar pairing of questions about respondents’ favorite actor (again stipulating that only one actor could be chosen) and the reason for choosing this actor, the main cast all received votes as fans’ favorite. Cumberbatch was chosen most often (65.6 per cent; 365). As the actor playing the titular character and someone with a high media profile in mid-2012 (the time frame for the survey), Cumberbatch might be expected to be listed as favorite actor most often. Also, this actor has a greater number of fan sites on which to post or otherwise pass along the link. <br />
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Freeman was listed as favorite actor by 18.2 per cent (103), Andrew Scott (Jim Moriarty) was favored by 9.0 per cent (51), and Mark Gatiss (Mycroft Holmes) by 2.7 per cent (15). These four actors had more screen time and more prominent roles than the other actors listed in this question. The following regular cast members, as well as one-episode guest actors Russell Tovey (Henry Knight) and Lara Pulver (Irene Adler), were listed as at least one respondent’s favorite: Rupert Graves (Greg Lestrade; 1.4 per cent, 8), Pulver (1.1 per cent, 6); Tovey or Louise Brealey (Molly Hooper; 0.7 per cent, 4); Vinette Robinson (Sally Donovan; 0.4 per cent, 2); and Una Stubbs (Mrs. Hudson; 0.2 per cent, 1). The “other actor” category was used by 1.1 per cent (6) to list groups of favorites, primarily Cumberbatch and Freeman but also “Cumberbatch Freeman Gatiss Graves Stubbs.” Sherlock fans may have had to state a favorite for this survey, but they are very loyal to the entire cast, including guest actors.<br />
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The descriptors provided in the follow-up question asking for the reason(s) why an actor was chosen as favorite indicate again how <i>Sherlock </i>actors are viewed as talented professionals in a series that elevates their art, even though each of them also received comments about their sex appeal or personality. These comments were much more difficult to categorize, because each respondent provided more than one reason. Fans’ discussion of Freeman’s work provides a typical example of the range of comments received in answer to the follow-up question:<br />
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Martin Freeman<br />
<br />
• <i>About his acting</i>: “broke my heart,” “from the very first scene he’s brilliant,” “can’t imagine anyone else in the role,” “made me cry,” “believable,” “emotionally compelling”<br />
<br />
• <i>About physical appearance</i>: “adorable,” “likable face,” “good looking,” “easy on the eye,” “handsome,” “my hedgehog” (a reference to an online series of photographs comparing Freeman to a hedgehog)<br />
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• <i>About his personality</i>: “funny in interviews” [the quotation “I won a (expletive) BAFTA” from an appearance on <i>The Graham Norton Show</i> was mentioned three times], “made from kittens, jam, and rage,” “lovely, honest guy”<br />
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• <i>About the actor’s body of work</i>: four references to <i>The Office</i> and <i>The Hobbit</i><br />
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• <i>About the respondent’s love for or appreciation of the actor</i>: “I fancy him,” “I just love him”<br />
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Fewer comments were made about Gatiss (“he’s very smart,” “he’s funny”), Scott (“he’s such a nice guy in person”), and Graves (“loved him since <i>A Room with a View</i>”). Pulver and Brealey were described as “sweet,” “sexy,” or “seductive.” Some respondents additionally commented that, although they appreciated an actor, they especially like him or her in <i>Sherlock</i>.<br />
<br />
The number of comments reflects the percentage/number of respondents choosing an actor as favorite; Cumberbatch received the majority of comments indicating why he is a fan favorite, with the second greatest number of comments about Freeman. <br />
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What may be most notable about these fan responses is <i>Sherlock </i>fans’ interest in the actors as much as the series. Results indicate fans’ loyalty to the entire cast and shared appreciation of the series as a whole. A television series often creates one star, or one actor receives all the attention, but, even considering Cumberbatch’s and Freeman’s incredible fame not only through <i>Sherlock </i>but high-profile film roles, fans positively review and make a point to mention all cast members, the creative team behind the series, and the production values. Although these fans generally enjoy the series as it is and have few suggestions to change it, they offered some contextually significant criticisms to broaden the series’ appeal by casting more people of color and making women’s roles more prominent, for example. These fans are devoted to the actors and the characters they play, but they show a special fondness for Cumberbatch/Sherlock and Freeman/John individually but, equally important, together. <br />
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<b>On another, but related subject: The Fan/Scholar and Studies in Popular Culture and Celebrity</b><br />
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These results are hardly the proverbial “earth shattering” news that can be attributed to results from some public surveys or scientific questionnaires. They also aren’t the stuff of online polls of the day or instant results. So why bother if the results don’t turn up anything shocking or surprising or provide immediate entertainment value?<br />
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A survey should be like an experiment—with an established method of inquiry and a plan in the researcher’s mind. However, great care should be taken so that the results will not be skewed but will be as objectively gathered as possible. Surveys should be created to gather data, and sometimes the results only reinforce what other sources have indicated. That doesn’t mean that the act of experimentation or the results gathered are insignificant. Documenting popular culture and recording what fans think of, in this case, television are important to understanding more about our interests at this particular time and the significance of a specific piece of art (such as Sherlock) in popular culture, now, as well as over time. Whether the results are reported in books, journals, or blogs (and mine have or will be published in all three), the process of asking questions, gathering data, and interpreting results is worthwhile and helps fans, readers, academics, critics, historians, etc., not only see a work of art from a different perspective but to provide a record for the future of what was important, interesting, trendsetting, or commonplace in our popular culture.<br />
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The term “fan/scholar” is often used to describe people who enjoy an aspect of popular culture but also learn as much as possible about it, analyze its significance (which is different from reporting facts or the latest news), and document trends (perhaps for posterity). I consider myself a fan/scholar of some very specific aspects of popular culture. If you’ve read any of my (single- or co-authored) books, including those about <i>LOST, Battlestar Galactica, Doctor Who, Torchwood, The Hobbit,</i> or <i>The Lord of the Rings,</i> as well as <i>Sherlock,</i> then you know the kind of critical interpretation, analysis, documentation, or commentary about a person’s, film’s, book’s, or television series’ significance to popular culture that I write.<br />
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In <i>Benedict Cumberbatch, In Transition,</i> I take the same approach to an actor’s career, by dissecting a performance, commenting on its place within popular culture, and explaining what career milestones say about our fascination with celebrity. My writing style and type of information are different from what fans might read in an entertainment magazine or newspaper or on a fan site. All of these formats of published information can be enlightening and enjoyable to read, but each has a separate purpose. My method is a combination of reporting but primarily interpreting, to write about not only what but why that’s important or how that reveals something about our culture as much as the person involved.<br />
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In the next week or two, I’ll be posting blogs that, I hope, provide a few insights into the ways that Benedict Cumberbatch’s appearances on talk shows, to promote <i>Star Trek: Into Darkness,</i> illustrate this stage of his career and the nature of celebrity. I won’t report what he says so much as how his words or actions signal a new phase to his development as a film star and why his appearances say as much about our expectations of celebrities as they do about the actor. After <i>Star Trek: Into Darkness</i> has had its opening weekend in the U.S., I’ll post my review of Benedict Cumberbatch’s performance and its likely place in his evolving career, as well as his significance to the <i>Star Trek</i> franchise—not a typical type of review, but one that fits well with a performance biography.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-75524548448296391772013-04-20T18:19:00.000-04:002013-04-20T18:51:48.887-04:00Benedict Cumberbatch, the Cover ImageFinding just the right photograph of Benedict Cumberbatch for a book cover is trickier than I expected. I thought the job would be fun (it was) and relatively simple. After all, the subject is certainly interesting to look at, and thousands of images saturate the Internet. The problem in choosing a single cover image that, to me, summarizes the book’s content turned out to be the very reason why I chose to write this performance biography in the first place—Benedict Cumberbatch can embody a range of characters.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUU8HMADZw_6TYpdYlHIL3znhspJ-ob9IM5prxnkvonUqx-IU9NqiMW1cfk0Hnu_OEhrarOBoTkovKOXcuY4OulhW9iRlKrgcjFG-tADbl6gTRSGfHnZq5pCuvKy83hqCgm7nav0dRkZo/s1600/BenedictCumberbatchInTransitionCoverImage.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUU8HMADZw_6TYpdYlHIL3znhspJ-ob9IM5prxnkvonUqx-IU9NqiMW1cfk0Hnu_OEhrarOBoTkovKOXcuY4OulhW9iRlKrgcjFG-tADbl6gTRSGfHnZq5pCuvKy83hqCgm7nav0dRkZo/s320/BenedictCumberbatchInTransitionCoverImage.jpg" /></a><br />
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When the talented Mr. Cumberbatch is photographed while filming a role, he often looks like the character we’ll see him portray on television or film. Sometimes he has “Sherlock hair” or the very dark locks to match the apparently equally dark John Harrison shown in <i>Star Trek</i> trailers. Sometimes he changes his physique to match a character’s body type. Chameleon-like, his appearance varies with the role, although that shift is merely window dressing for the in-depth characters he brings to life. Although, for example, I may be one of the few who really liked Peter Guillam’s blond fringe, a head shot of the actor around the time of <i>Tinker Tailor Soldier Spy</i> illustrates only one role among many in an already impressive back catalogue and doesn’t encompass the range of characters or media analyzed in the book.<br />
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So . . . I wanted a photograph that, to me, seemed to represent the actor, not a character. Photographer Gareth Cattermole’s image does that. It’s straightforward—an attractive, well-dressed man on the red carpet. It’s classy—what one of my friends dubbed “classic glamour.” The expression is thoughtful—and Mr. Cumberbatch’s insights into acting or specific roles are the basis of much of my commentary in the book.<br />
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A quotation attributed to photojournalist Henri Cartier-Bresson suggests yet another reason why I kept coming back to this image. “There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative. Oop! The Moment! Once you miss it, it is gone forever.” Many red-carpet photographs capture a pose guaranteed to emphasize an actor’s best features or stylish wardrobe. They highlight wide smiles and high-energy performances before fans. They often illustrate an actor playing a character audiences expect to see on the red carpet—someone flirty, funny, outrageous, or controversial. In the moment immortalized in the image that will become part of my book’s cover, Benedict Cumberbatch seems to be taking in this red-carpet experience without being overwhelmed by it. If I were writing a story about the photograph and knew nothing of this actor’s career, I’d get the impression that here is someone greatly in demand (note the crowd and long lens of a camera in the background) who graciously accepts the attention given him but does not court it. The shot doesn’t seem like a typical red-carpet photograph. It’s different, just like this actor, and, I think, just like my book about his performances.<br />
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com2tag:blogger.com,1999:blog-4044196434896582491.post-10685573936712699842013-04-15T17:38:00.000-04:002013-04-15T18:00:30.402-04:00Benedict Cumberbatch, In Transition: An Unauthorised Performance BiographyBenedict Cumberbatch is an extraordinarily talented actor who shares so many insights into the nature of acting and, inadvertently, into the international obsession with celebrity, that his impressive and expansive body of work should be studied in order to greater appreciate it. On June 10, MX Publishing is scheduled to release my most recent book, <i> <a href="http://www.amazon.co.uk/Benedict-Cumberbatch-Transition-Unauthorised-Performance/dp/1780924364/ref=sr_1_1?ie=UTF8&qid=1366056710&sr=8-1&keywords=Lynnette+Porter%2C+Benedict+Cumberbatch">Benedict Cumberbatch, In Transition: An Unauthorised Performance Biography</a></i>. This one takes me in a new direction – celebrity studies – but also returns me to familiar territory – analysis of television and film. <br><br>
Of course, when writing about Benedict Cumberbatch, I also had to discuss his performances in theatre and radio, plus a host of one-time events, like readings or voiceovers. New fans or people just beginning to appreciate Cumberbatch’s talent after they see <i>Sherlock</i> (which, by the way, has its own hefty section in the book) or <i>Star Trek: Into Darkness,</i> or possibly one of his many other film roles yet to arrive this year, can use the book as a guide to the actor’s vast back catalog. <i>Why</i> his performances are worth watching and his interpretation of roles mesmerizing and <i>how</i> he develops characters are integral to several chapters that trace his rise to stardom. Fans who are familiar with these many roles may take away something new from the analysis of specific scenes or the discussion of the way each role figures in Cumberbatch’s celebrity or star status. <br><br>
<i>Star</i> and <i>celebrity</i> are different aspects of his career. <i>Sherlock</i> certainly has helped Cumberbatch achieve television stardom in the U.K. and made more viewers around the world aware of him. Winning an Olivier award for <i>Frankenstein</i> and bringing more people into the theatre – whether the National in London or cinemas worldwide screening NT Live – ensured his stardom on the stage. How an actor achieves star status in one medium or, in this actor’s case, several media, is discussed in the book, as well as what it takes to become a star at home or abroad, within one nation or internationally. In addition to Cumberbatch’s star power, his role as celebrity has become more prominent as fans and the media take an ever-greater interest in everything he does or says. <br><br>
Readers looking for a tell-all book or a typical biography are going to be disappointed. Although the first chapter is more biographical than any other, the majority of the book is a thorough exploration of roles, documentation of one highly talented man’s career development, and discussion of Cumberbatch’s often-atypical route to stardom. That all sounds very academic, doesn’t it? <img src="http://www.runemasterstudios.com/graemlins/images/smile.gif"><br><br>
I approached this book seriously – and throughout more than two years, I’ve watched or listened to every television episode, film, radio drama (or comedy), advertisement, interview, theatrical performance, Q&A session, etc., I could find, many of them the lone copies of performances stored in London archives. I’ve read more than that, and I’ve talked with directors, actors, extras, and lots of fans. I’ve done a great deal of research, and I think that comes through in the chapters (as well as endnotes and a lengthy bibliography). But taking the subject seriously and doing my homework don’t mean that the book is boring. As if I could make Benedict Cumberbatch less than interesting or entertaining! There should be something new for every fan (and I count myself in your number), whether it’s a fresh interview, very old newspaper clipping, or different interpretation of a performance. <br><br>
If you check out the book’s Amazon UK listing, you can read the official description. The comm prof side of me is unhappy that the template doesn’t allow italics or the best spacing, for example, but I hope you’ll understand what this book is all about. I’ll not-so-humbly post the cover design all over social media as soon as it’s ready. Let’s just say I’ve been having a very good time looking for just the right image. Ah, research. More soon . . . .
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com3tag:blogger.com,1999:blog-4044196434896582491.post-60682236442969373612013-04-13T10:50:00.000-04:002013-04-13T10:50:42.112-04:00The Incredible Lightness of Being on SabbaticalWhere have I been since my last blog in September? Wellington. Queenstown. London (twice). Santa Fe. Columbus. And many points between. <br><br>
My work: <i><a href="http://www.amazon.com/Sherlock-Holmes-21st-Century-Adaptations/dp/0786468408/ref=sr_1_1?ie=UTF8&qid=1365863553&sr=8-1&keywords=Lynnette+Porter">Sherlock Holmes for the 21st Century</a>. <a href="http://www.amazon.com/The-Doctor-Who-Franchise-Influence/dp/0786465565/ref=sr_1_9?ie=UTF8&qid=1365863553&sr=8-9&keywords=Lynnette+Porter">The</i> Doctor Who <i>Franchise</a>. <a href="http://www.amazon.com/The-Hobbits-Lives-Bilbo-Pippin/dp/1845118561/ref=sr_1_4?ie=UTF8&qid=1365863553&sr=8-4&keywords=Lynnette+Porter">The Hobbits</a>.</i> And a new book to write after the previous three were published in late 2012.<br><br>
Some favorite places: Coastlines of Ormond, Papailoa, Kaikoura. White Cliffs of Dover. Steaming Tongariro and Ruapehu. Southern Alps. New Mexican mesas. Victoria Embankment.<br><br>
Before summer ends, I hope to add to these lists of places and publications, all which trigger cascades of memories. <br><br>
Having a year to do whatever I please is a rare gift. When I concluded my teaching in May 2012, the year before me seemed incredibly long and promising—New Zealand, the U.K., and plenty of U.S. destinations awaited. Now my sabbatical is nearly over, but the past year has brought me professional pleasure and recognition (plus a great deal of work) around the world. In this long overdue update, I’ll share a few highlights from my travels and three of my favorite fandoms: <i>The Hobbit/Lord of the Rings</i> (pretty much of anything Tolkien wrote), <i>Sherlock,</i> and <i>Doctor Who.</i><br><br>
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New Zealand: Signings, Sightings, and Sunburn</b><br><br>
Wellington celebrated the arrival of <i>The Hobbit,</i> and I was there in the middle of the celebrations. My <a href="http://redcarpet-tours.com/">Red Carpet Tour</a> pulled into Wellington during premiere week. Not only did I run around town with my friends—visiting the Middle-earth market and former filming locations, taking photos of the huge Bilbo stamp on the side of the post office, waiting alongside the red carpet to see the stars (which is where I got the sunburn)—but I had a book signing for <i>The Hobbits</i>. As you can see from the photo, I signed in the shadow of a rather large Nazgul. <br><br>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRDp1PxIhzMPEXvRQKWfwf_PkljMDQ7TKQkgQHdQxonHl4iWo4ZFv8BcEOR-erBm40waQq2DN8UDTDWKcakpk2BgDOVvvEy8Q8ICObhF4zreTdotdbgZyRCS_sEJH9avRL41upQbrFS3E/s1600/Whitcoulls+signing.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRDp1PxIhzMPEXvRQKWfwf_PkljMDQ7TKQkgQHdQxonHl4iWo4ZFv8BcEOR-erBm40waQq2DN8UDTDWKcakpk2BgDOVvvEy8Q8ICObhF4zreTdotdbgZyRCS_sEJH9avRL41upQbrFS3E/s320/Whitcoulls+signing.jpg" /></a>
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New Zealand’s beauty and warmth—people as well as places—steals my heart every visit. This time I stayed a month—first with a Hobbit tour of both islands (including Hobbiton, a Hobbit lovers’ playground), then a few days in Queenstown before another week in Wellington spent exploring on my own and, better yet, being able to see <i>The Hobbit</i> at the Roxy on Miramar and spending time with actor/writer/director and all-around good guy Gregor Cameron.<br><br>
As a result of this trip, I also was invited to talk about hobbits on an <a href="http://www.abc.net.au/radionational/programs/booksandartsdaily/the-hobbit-origins-and-afterlife/4482924">Australian National Radio</a> program. So, while back at home, I “talked Tolkien” with an Oxford professor and the Melbourne-based interviewer, making this a most unusual conference call.<br><br>
This has been a good year for meeting, however briefly, people in the film industry I admire. At a <i>Hobbit </i>party in Wellington a few days before the premiere, I met Peter Jackson, as well as many of the “dwarves.” That must have been a good omen because, months later in London, I met Danny Boyle, as well as got James McAvoy’s autograph. I also talked with <i>Welcome to the Punch</i> director Eran Creevy after a BFI screening. The BFI seems to be my lucky spot—I almost literally ran into Mark Gatiss before a <i>Doctor Who</i> screening.<br><br>
<b>
Locked Away in London’s Archives</b><br><br>
London wasn’t just director or actor encounters. In 2012, I conducted research at the National Theatre archives and British Library after giving a paper at the Film and Media Conference. In 2013, I went back to the archives, often submerging myself in research for hours and only realizing it was time to stop when the archives closed. The recordings stored at Blythe House (where I watched performances of <i>Rhinoceros</i> and <i>Hedda Gabler</i> that I wouldn’t have otherwise ever been able to see) were particularly helpful. I was a bit wary of all the security—think of the opening of the original <i>Get Smart</i>—but everyone at the archives was incredibly kind and helpful. So, too, were the staff members at the National Theatre archives, BFI Reuben Library, British Library, and Westminster Reference Library, where I spent hours, sometimes day after day, listening to recordings or poring over old newspapers or theatre reviews. Then it was “home” to my flat to write about the day’s findings. I wrote more than 20,000 words in London, including book chapters and film/television columns.<br><br>
But London wasn’t all work, no plays—I saw two performances of <i>Macbeth</i>, starring the indescribably intriguing James McAvoy (I learned about acting just by watching his performances); <i>The Audience; Peter and Alice; This House; People: The Judas Kiss;</i> and <i>The Curious Incident of the Dog in the Night-Time</i>. Add to that <i>Posh, Antigone,</i> and <i>The Last of the Haussmans</i>, and 2012-13 has turned out to be a great year for theatre.<br><br>
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Celebrating Who in a Variety of Times and Spaces</b><br><br>
London is a magical place when it comes to my <i>Who </i>sightings. Captain Jack called me at my hotel—a line I’ll never tire of repeating. More precisely, I interviewed John and Carole Barrowman for my PopMatters column while we all were, for once, on the same side of the Atlantic. When I was planning my trip from home, that opportunity seemed about as likely as walking down the Strand and seeing a near life-sized cutout of the Fourth Doctor promoting an appearance by Tom Baker. He is my Doctor, and so, on a freezing morning, I joined the patient queue outside a stamp shop. Despite the sign inside reading “no individual photos today—people are freezing outside”, Mr. Baker graciously took the time to chat with each person and shake hands. Last summer I met Christopher Eccleston after a performance of <i>Antigone</i> at the National. When David Tennant asks me to lunch, the last of my <i>Doctor Who</i> fantasies will have been fulfilled. Until then, I'm very happy with my cast encounters.<br><br>
A London <i>Doctor Who</i> tour a few years back also introduced me to the wonderful guide (and now friend) Helen Thomas. Because of Helen and her amazing connections to people with tickets to BFI events, I enjoyed the celebration of the Third Doctor—complete with panels of cast and crew who worked on the episodes or restored them. From the front row, I could see Katy Manning a few feet away on stage.<br><br>
Much closer to home, Orlando—through <a href="http://www.hurricanewho.com/guests/">Hurricane Who</a>—also has been a great place for sightings. In November I met the Fifth Doctor, Peter Davison, and reconnected with so many actors, writers, and fans associated with <i>Doctor Who</i> throughout the years. Favorite memories from last year’s convention include my on-stage interviews with Caitlin Blackwood (young Amelia Pond) and off-stage chats with Caitlin and her charming mother.<br><br>
Another high point from this convention—a book signing. I may never have three books, from two publishers, released within a few months of each other, but I enjoyed chatting to fans about the objects of my fan obsession. Hobbits, Sherlock Holmes, and the Doctor seem like an odd trio of interests, but I wasn’t the only one who could spend hours discussing them individually or collectively.<br><br>
<b>What's Next</b><br><br>
By Monday I should be able to share what I think is exciting news about my latest book, the result of all those hours in the archives and many, many hours of watching or listening to films, television episodes, and radio plays. The sabbatical may be coming to a close, but my journey as a traveler and writer should continue for a long time to come.
Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-71843966549381161252012-09-29T14:16:00.001-04:002012-09-29T23:03:11.440-04:00Love Letter to NMAutumn envelopes the high desert and mountains. It tingles bare arms with a cool breeze; it tinges the aspens and cottonwoods with gold. Despite being one of the financially poorest states, New Mexico is culturally wealthy. Its gold may be in chamisa or rock formations, but it is also in the multiplicity of cultures continuing to vie for survival and stretching their roots ever deeper into the sand. I will always be an outsider to the pueblos or cathedrals or mountains or vast desert that I visit, but I feel welcome nonetheless, as if this part of the world is somehow a memory of home. <br><br>
As I walked, meandered, tasted, breathed deep, and meditated, I composed a love letter to northern New Mexico. These photos summarize the top nine reasons why someday I’ll return.<br><br>
1. The land is sacred, and Spirit is overwhelmingly present everywhere I go:<br><br>
near a monastery or cathedral<br><br>
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<br>
(St. Francis of Assisi Walking on Water statue)<br><br>
with representations of yei <br><br>
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or from within a favored place to meditate, sheltered from sun in the desert.<br><br>
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I also briefly visited a mosque atop a mesa; I glimpsed the rooftop ladders leading into kivas. The West is big enough to accommodate many beliefs.<br><br>
2. The natural world will not be ignored, even as the subject of art. The crows and ravens share their voices throughout the day,<br><br>
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a jackrabbit hides from a possible predator,<br><br>
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the flowers demand careful appreciation,<br><br>
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and a coming storm is reason to stand in awe and await the rain.<br><br>
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3. I once lived in a black-and-white world but, like Dorothy, stepped into my own colorful Oz.<br><br>
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4. After visiting Abiquiu and Plaza Blanca, I respect Georgia O’Keeffe’s artistry all the more.<br><br>
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5. Recording the landscape has been a preoccupation of artists for centuries—not only O’Keeffe, one of my favorite American artists, but also filmmakers. Standing in the creek bed where Daniel Craig tried to outrun aliens (<i>Cowboys and Aliens</i>) gave me a new perspective on Plaza Blanca, as did photographing Chimney Rock and Gates of Heaven on the ranch where Billy Crystal herded cows in <i>City Slickers</i>. I was told that, down the road about a hundred miles, Johnny Depp is filming <i>The Lone Ranger</i>. Our cinematic preoccupation with this stretch of New Mexico crosses genres and time periods but still can’t capture the essence of being surrounded by these formations and all that sky.<br><br>
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6. Even the desert provides unique tastes, from the sharp vitamin C tang of the two-pronged piñon needle or its mellower seeds (blue corn-piñon nut pancakes are a must) to the inner kernel of salt in a “salt bush,” nature provides a feast for those who know where to look. Chiles are everywhere—hanging outside groceries, celebrating “Christmas” (red and green chile on the same plate) in September, surprising tastebuds in everything from chocolate and pizza to traditional salsas.<br><br>
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7. The limitless skies offer plenty of breathing space—and the dry, clean air makes breathing worthwhile.<br><br>
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8. There is time for the solace of solitude, to sit on a garden bench in the late afternoon or to perch on the trunk of a fallen tree, the perfect picnic spot along the river. <br><br>
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9. Tenacity is paramount. The world is changing yet again. The plazas and markets remain centers of commerce, and the tourist centers herald the clash of cultures as well as the battle between the technological world and Mother Earth. In this autumn, there is a feeling of change and the uncertainty of what the future will reveal, but the desert often is a harsh place to live, and the people who have survived environmental, political, and social upheavals for thousands of years undoubtedly will find a way to persevere. They, like the trees that take hold in the most precarious places, survive in beauty.<br><br>
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Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-89719481703436913052012-09-09T14:28:00.000-04:002012-09-09T14:30:51.651-04:00Riding the Rails through Hocking ValleyFamily legend has it that my grandfather and his brother hopped a freight train to travel from Illinois to Indiana in search of work. More than eight decades later, my brother and I more casually and safely boarded the Hocking Valley Scenic Railway in eastern Ohio in search of history. Our ride was shorter and much more pleasant.
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Over the years I've enjoyed another historic train ride (in Winnipeg) and hope to take one more this year (in Santa Fe). I've traveled with Amtrak from Toledo to New York and, heading the opposite direction, to Seattle (although on that ride I was stuck outside Minot, ND, during a freak May snowstorm). I've lounged in sleeper cars and dined in the club car or a more formal dining car. I used to spend as many afternoons as my job and budget would allow riding VIA from Windsor to Toronto, where I'd indulge in theatre or hockey. Trains in my past got me where I wanted to go. Trains in my future are far more likely to be a sentimental journey.
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So, on a summer Sunday, the <a href="http://www.hvsry.org/">Hocking Valley Scenic Railway</a> became a great excuse for a family-friendly great escape along rivers and fields. We stood in the open car to feel the breeze and get closer to nature (my niece pointed out a deer darting into a cornfield). We smugly waved to cars waiting for the train to pass. We watched much of Ohio's history, from farm to brickyard, rush by us. During a stop at the local college's recreated pioneer settlement, we visited homesteads and--my favorite--the school, complete with oil lamps and slates. Then it was a short journey back to the Nelsonville station.
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Although a live historic commentary lets passengers know what we're seeing (such as the lone chimney and kiln from a once-thriving brick industry), even more informative is a conversation with the conductor, a train enthusiast who knows just about every other train route worth taking in the eastern US.
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Train travel, like most transportation today, isn't as glamorous or accessible as it was in its heyday. I miss the ambiance of the great old train stations, including my favorites Chicago (home to a climactic scene in <i>The Untouchables</i>) and Toronto (where <i>Due South</i>'s Benton Fraser fatefully encountered the dangerous Victoria). They've lost much of their historic flavor to modernization. Still, special journeys like those offered by the Hocking Valley Scenic Railway keep the trains running for enthusiasts who want to get away, if only for an afternoon.
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Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com1tag:blogger.com,1999:blog-4044196434896582491.post-14117595709290626782012-09-09T13:11:00.000-04:002012-09-09T13:11:58.616-04:00Life is Looking Up...and AroundOn a recent visit to Florida's Treasure Coast, I refused to bring any work with me and let my gaze wander away from Facebook, email, and drafts of good ideas awaiting editing. Perhaps I've reduced the natural beauty of Florida to clichés of birds, clouds, and surf, but I photographed what caught my eye on walks around Vero Beach or Sebastian Inlet. The silences surprised me most--long stretches of time broken only by the stutter-crash of that mythic big seventh wave or a hawk launching itself from dry palm fronds and crying a greeting as it ascended. And then there was a chance meeting with my first land crab, who was casually crossing a gravel road until I insisted on a photo op. The crab immediately straightened to its full height to glare at me in fighting stance, a pose for which I thanked it. Two days removed from everyday stress and I'm philosophizing that not every cloud may have a silver lining, but occasionally there's that one golden epiphany that makes everything seem all right. <br><br>
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Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0tag:blogger.com,1999:blog-4044196434896582491.post-56043119113998679002012-08-29T10:49:00.000-04:002012-08-29T10:50:10.046-04:00The Tale of a Book: Sherlock Holmes for the 21st CenturyIdeas for potential books constantly tease me, and I seldom wake up each morning without an outline for an article or a chapter nagging me. Much of the time that first coffee of the morning will convince me that either I don't have the time or experience to leap into another writing project that day, but some ideas hit hard and refuse to go away.<br><br>
So it was with my latest book "baby," <i>Sherlock Holmes for the 21st Century: Essays on New Adaptations,</i> which has just been published by McFarland. (Inserting shameless plugs for the book's <a href="http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-6840-9">McFarland</a>, <a href="http://www.amazon.com/Sherlock-Holmes-21st-Century-Adaptations/dp/0786468408/ref=sr_1_2?s=books&ie=UTF8&qid=1346248036&sr=1-2&keywords=Porter%2C+Sherlock+Holmes">Amazon</a>, and <a href="http://www.amazon.co.uk/Sherlock-Holmes-21st-Century-Adaptations/dp/0786468408/ref=sr_1_1?s=books&ie=UTF8&qid=1346248092&sr=1-1">Amazon UK</a> pages here.) I first heard of the BBC's <i>Sherlock</i> during a trip to Cardiff, when friends asked if I'd seen the series yet and then explained just how much I was missing. When PBS broadcast the episodes a few months later, I was hooked, and since then I admit I've become something of a Sherlockoholic.<br><br>
During the Popular Culture Association's conference in San Antonio a year ago April, I stalked presenters talking about any adaptation of Holmes and, in the process, learned a great deal about ACD canon. I still pity the McFarland representatives who listened to me discuss a potential book more than once during that conference and who encouraged me to submit a proposal.<br><br>
In the week after the conference, I received enough abstracts from the enthusiastic presenters I'd accosted during the conference and, by then, had developed ideas for four chapters and written an introduction for the proposal. McFarland reviewed the proposal and, after a bit of discussion and modification, approved it.<br><br>
Although I don't want to minimize the many hours that went into the making of this book--from research to writing to revising to editing to proofing to indexing--I still have to say that "Sherlock" has been my easiest book "child" so far; "he" is my lucky 13th. During my research, I took a wonderful tour of Holmes' London, thanks to Brit Movie Tours, and I talked to fan/scholars at Holmes-themed restaurants, museum exhibits, and, especially, at 221B Baker itself (the Sherlock Holmes Museum). For about a year, Sherlock Holmes has been a big part of my daily life. However, as is true of any child, I can't take full credit; I certainly couldn't have done it on my own. I can only hope this book brings enjoyment and, ideally, some insights to those who read it.<br><br>
Carlen Lavigne, Anissa Graham, Jennifer Garlen, Kayley Thomas, April Toadvine, Francesca Marinaro, Ana La Paz, Rhonda Harris Taylor, Svetlana Bochman, and I cover a wide range of topics and adaptations. The book's back cover describes the chapters as evidence why "Holmes and Watson are more popular than ever" and "destined to be with us for years to come." The adaptations we analyze include the Guy Ritchie films, BBC's <i>Sherlock</i>, the novel <i>The House of Silk</i>, and Neil Gaiman's stories, but we also discuss the nature of television and fandom, cinematic tourism, science and technology in canon and adaptations, and recent pastiches.<br><br>
So today I announce the book's release, but that doesn't release us--as writers or Holmes fans--from the spell of Sherlock. We look forward to seeing the next chapters in the Great Detective's development, and we suspect that more adaptations will give us even more to "talk about" in print.<br><br>
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Lynnette Porterhttp://www.blogger.com/profile/13214367815483305328noreply@blogger.com0