Tuesday, February 23, 2016

Hugh Laurie is again “the worst person in the world” – this is The Night Manager – publico

                 


                         
                     


                         
                     

                 

 
 

Hugh Laurie, an irresistible arms dealer against Tom Hiddleston, an undercover agent nearly candidate for the post of James Bond. The Night Manager adapted for a miniseries of six episodes the first post-Cold War novel by John Le Carré a story that escaped to Hollywood and Brad Pitt and got into the hands of Susanne Bier, who decided to change the view of the series. “The traditional world of spies is very masculine, white and educated at private schools. And the world is no longer the case, “says the PUBLIC.

The Danish director, who takes home the Oscar for Best Foreign Film for In a Better World He got what he wanted. And more. “I’ve always been envious of those who had the opportunity to work with” the writing of John Le Carré, one of the most reputed spy and crime writers, explains. And “working with Tom Hiddleston and Hugh Laurie was irresistible.” Bier debuts so with an ambitious production of BBC and AMC (with EUR 27 million budget) and at a time when “the television could not be more attractive” – ​​praise the quality of screenwriters and the possibility of storytelling longer, “more complex”.

the Paramount came to have the rights to the novel the Night Manager (1993) and had plans to deliver to Sydney Pollack. Later, and already in the hands of another producer, Brad Pitt was to be one of the protagonists of the story, but the project came to be lost in the bureaucracy of Hollywood. Now is the television that receives, on debut in Portugal in AMC (Meo and Cabovisão) at 22.10 on Wednesday.

Four years after House , Laurie does six television episodes (last year entered the comedy Veep ) and returns to the screens as “the wickedest man in the world”, as you call it Bier, citing in turn one of the characters in the series. Espionage, arms trafficking, terrorism over a generic stylish 007 and lush production. “It’s incredibly relevant to today’s world and has been updated from the original: the book goes up in the 1990s and the series was placed today,” need Bier on the phone

“The. what is most shocking in all the research we did before filming the series, which was abundantly clear, “he emphasizes,” is the ease with which traffic incredibly deadly weapons. “And then there’s” the worst man in the world trafficking weapons and it does so easily, so elegant and so much fun that we all want to be in his world; despite being an incredibly evil world, “enthuses.

When Hugh Laurie knew his character, Richard Onslow Roper, in the pages of Le Carré and the script, abhorred it. But at the same time, “there is something intoxicating a person who stood beyond the limits of the law, which has [such] confidence, boldness, this kind of crazy,” he said the actor told reporters last week in Berlin Film Festival, where the show had its premiere. Gregory House was there also in thought. “I think a lot in it … I think it will stay with me until I die,” said Laurie about the character that defines the general public.

Since Tom Hiddleston, British heartthrob and Internet icon, appears to have here, as he wrote an American critic, a long hearing to replace Daniel Craig as James Bond. In the series, is a former British military, Jonathan Pine, trying to enter the world of Laurie, incidentally Roper, dangerous and alluring arms dealer. Who puts in Pine Roper way in the book “was a man named Burr – a gross man, heavy,” says John Le Carré

“But in 2015, we want it.? A white male middle-aged against another middle-aged white man and using a third white man “as a weapon asks the novelist 84 years in a letter included in the promotional material of the series. The television version, written by David Farr, then tells Angela Burr, played by Olivia Colman. A secret agent and not a secret agent. Susanne Bier is adept at change of perspective towards the diversification of the stories told in the American audiovisual. “If we do a series with the potential to have a contemporary audience targeting, we must reflect the world as it is,” he says.


                     
                 

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