Ian McKellen & Patrick Stewart | Interview pt. 5 | TimesTalks

Ian McKellen & Patrick Stewart | Interview pt. 5 | TimesTalks


mmm on 1 on from 1 14 choosing these these plays god oh was first in London about four years ago and then deciding to do in no man’s land
here with that what what sort of informed
that and inform what why did you want to do these
characters in these plays in with each other we had a wonderful
experience doing gato in England it its have been I opening I had not long
before that read Peter Bowles autobiography unbeatable was the
original pazzo in the original London production and he
described how when they came back after the interval they would find the theater half-empty
or more because people would have just gone left
water out and we toured Britain for eight weeks and then
we have long run in London and there was never a
seat to be had for any performance and so many those audiences will very
very young and I think I recall one banging seat in the whole 22 weeks we were doing that a and it’s been a wonderful experience
to see how what was considered an impossibly difficult challenging play has now become so accessible audiences but I’d said I’d always want to do no
man’s land sharing a dressing buddy and washing
work I knew he was Spooner I thought well i’ll settle for hers
which is the other room wonderful role and some I I I kinda wore him down about is he resisted and for the reasons the word
about about surge on and so forth but them um Sean gotta see and I said
Sean I want you to direct it you directed gotta he got us into dressing room other
theater in Milton Keynes where in was on tour in the production
directed by Sean another production and we did a reading play non it we lofty I we left all boy helpless yes and I could see that it was
that way I mean ice with the lobby and being won over that it was so the role his role was so funny and
the play itself was so brilliantly funny I’m and the and them at that point wrong I think said
well look there’s something we could do here we’d
always wanted to bring order to New York and then there was another production by optimum years ago our plans I’m well really they were abandoned until it
seemed possible that enough time gone by we might have a shot
at doing it here and doing both plays alternating them for each week and two days in the week
when you can see both plays if you want to and I do think it will be
a fascinating experience and we are also the producers in terms
of we we organize the production with Stuart Thompson who is an authentic
prieta tandem her I and and we have also ourselves invested woo I I think it’s fairly unique what we’re
doing it is you’ve got a great producer with strip
but you’ve also made a great decision to keep a little ticket prices low with Jess
rare for broadway’s thirty dollars from yes that it does yeah great bird add that you’re not that dumb the light from
the stage as it does here just spills over onto the front door I
the half in half out to catch I think so
well you only paid thirty dollars you lucky bugger I %uh the is a small to blow up in their
faces as their realize they’re about to have a a
bargain that’s very important is now that in the same that the globe there to
say production very low prices course you have low price the and though there’s a bus a go to the
theater and can afford by the big prices and get the prime
seats well-run yeah we should pay for those because
we’re hoping to subsidize that the people who can’t afford bout XR in our if you’re if you’re on don’t have
ships there’s a subsidized by local authority
or on I’m a government authorities really do from minute it is in the UK than you
have to find ways around it but the commercials it’s a %uh maybe but the
point is it was not that it is commercial right
that’s the last consideration on about course if people don’t come
into your show you’ll be discouraged from ever doing so
good a London doesn’t turn people into stars
quite the same way that hollywood in america does and sometimes feder sizes them even I’m when
you when you were becoming have big here how how excited are how nerve-wracking was that for the viewer
to you did you sir block that out so the the celebrity part of america om catch up about mmm Star Trek we were a
syndicated televisions we with the first first-run
syndicated series have from and although we had huge audience in great
numbers we always had a feeling so far as
hollywood is concerned that because you know there is a
hierarchy in hollywood I’d always imagine there wouldn’t be that you know this is the great
democracy and everybody would be equal retain true I worker and and I’ve found that being in a syndicated science fiction television series process quite low on a ladder of prestige in hollywood arm and euro we in all the seven years that we doing the
series we got one creative nomination um which was from the first year the Screen Actors Guild
nomination the our technical side that was was continually nominated for
Emmys and Golden Globes but never for the creative side and we
often forget it was because that we were actually not really taken
seriously um I forgot your question this I he was
about %uh the way the other way that hollywood makes people
into stars and and well that was something oh yes well then I came here
to Brooklyn to it to Broadway I’m sorry I live in
Brooklyn came here to Broadway with my one-man show Christmas Carol I’m and hide I’ve been hauling it around
colleges and campuses and Southern California for a couple years do and each year doing something
different with it first time I I had papers in my hand and i was
reading that means Srinivasan at this and finally I learnt
is and I’m a a a one run tempt tempt him in terror
trials could never produce some broadway before
wanted to they took a gamble on bring me to Broadway one man in a suit in 40 pieces of
furniture and then nothing else at all and Madras lighting plot and um that first performance at the Eugene
O’Neill Theatre um I I was don’t sure what was the first thing that was going to
happen to me on a Broadway stage I was gonna throw up I was so frightened and all sought reckoned films and meant nothing because I was so terrified all I’ve not giving up my best here in New
Yorkers Broadway for English actors Broadway does have a
special excitement to it there is a community
here yeah in the on the Broadway stage which
there is not in the same way in London I’m alright
mention these are a couple personal fanboy
questions are that the had to do you ever do you
ever miss playing jump to cart no I go I don’t miss playing him arm I E I love that character he I admired him that was one of the nice things about being him
um butts you know we was supposed to be a
failure as writer Ian said white what you write
seven years I was told by everybody I knew in hollywood without
exception don’t worry about signing a six-year
contract you’ll be lucky to make it through the first season you cannot revive an iconic series
everybody said that Ryan and so towards the end it yes it its I wanted to be. branching out and doing things that were
min more diverse yep yeah but the films were great great for yeah when the last movie the it struggled a bit at the at the box
office and then it was sort of did it feel for the fans it certainly
felt over the that part of the next generation that but for
fit was raised because he didn’t actually lose money no just it just didn’t make as much as
my other sister and and paramount I can’t remember who
it was at paramount who said this but they said the fact is your show is suffering from
franchise fatigue right and it was a pity because a.m. John Logan terrific screenwriter I great screenwriter and wonderful
playwright right to his play Red was extraordinary I’m and he had written that reminds and he had an idea for another movie which would have he and brent Spiner
between them that would bring together all love the living figures from the Star Trek mom history in one but its yeah its it’s a gonna motoring somewhere in the back
room up and I I it’s I’ve Logan cell phone number so berta I he and how much I am how much %uh
Gandalf his you how much them as Peter Jackson much of them as
Tolkien new somehow grasped a get your arms around
that question number some possible well as it came as I was
to go to CS Lewis’s I’m lectures you man who wrote The Lion
the Witch and the Wardrobe or talking courses at Oxford so another the good fortune to meet but I’d recognize the type and pipe smoking 3d englishman with shoots brain and and
and an interest in the world and language expression so across tokens in orders characters but
he’s is particularly inside gone or or was it was that the question I
don’t know about to its why I guess yeah is them from and I’m very fond of gambling so is the world yeah up 0 it them

16 thoughts on “Ian McKellen & Patrick Stewart | Interview pt. 5 | TimesTalks

  1. Watched Waiting for Godot yesterday. Got goosebumpps induced by awesomeness. Such phenomenal actors! Going for No Man's Land tonight. If you are in the NYC area, do watch. Tickets really are reasonably priced by Broadway standards.

  2. Watched this from the very beginning.  Can't believe the past hour or however long is over already, seemed like a 10 minute interview.  These two (amazing) actors… Wow.. I could listen to them talk all day.  The end was priceless when Sir Patrick said, "So is the world…"  Referring to Sir Ian being "very fond of 'Gandi,'" and Sir Ian reached over to grab Sir Patrick's hand in appreciation.  Awesome.  *These two should have their own show or podcast!!  Love them BOTH!*

  3. My only complaint about this interview is the audience. It's like they laugh at every damn thing they say. One word like a serious "What?" and woman are dying in the background -_-

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