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Ciao Robert! Benvenuto a Sydney. Dicci un po’, cosa ha suscitato il tuo interesse per il film?
'Ho pensato che la sceneggiatura fosse molto rada e diretta. Addirittura anche l’aspetto della pagina era differente, anche il formato della stessa era diverso. Non c'erano le virgole! Ho pensato fosse molto originale, il mio agente mi ha detto che era un'offerta, e io ero del tipo "Davvero? Non ho mai ricevuto offerte tanto dettagliate! "E poi lui ha detto " Oh no, ti ho mandato l'e-mail sbagliata, in tanti stanno facendo audizioni per questo." [Ride]. '
Come descriveresti il tuo personaggio, Rey?
'Lui è molto ... dipendente. Tutti quelli che gli stanno intorno pensano ci sia qualcosa di sbagliato in lui, che sia un po’ demente in qualche modo, e così lui non riesce davvero a stabilire se lo sia o meno'.
Quali sfide hai dovuto affrontare per portare Rey in vita?
'Principalmente i vestiti. Sembra ridicolo, ma è stata la parte più importante. Abbiamo valutato diversi jeans prima di giungere a quello giusto. E una volta trovati i jeans adatti e le scarpe da ginnastica,che erano un po’ grandi, il tutto ha iniziato a prendere forma.'
Riuscirai sicuramente a descriverci questa impressione. Quanto è importante la moda e i costumi nel film? E’ qualcosa su cui ci si concentra veramente?
'E’ molto importante per me! E' strano però; ho avuto un look molto specifico in The Rover, tutto scelto attentamente fino ai colori della maglietta. Abbiamo fatto alcuni test video, e sembra strano, ma, quando si hanno gli abiti giusti, improvvisamente ti sembra di camminare anche diversamente.'
Qual è stata la scena più difficile da girare? Ci sono molti effetti grafici, e momenti caratterizzanti.
'La scena più difficile, e questa probabilmente è una piccola chicca, è stata quella nella quale dovevo saltare sulla mia gamba , con tre ragazzi che controllavano il mio salto, probabilmente la mia più grande scena del film. Non sapevo quanto complicata sarebbe stata la messa a punto.'
Cosa pensi renda il cinema australiano unico?
'Negli ultimi anni, è diventato improvvisamente un genere unico. Non so come lo sia diventato. E’ una motivazione da ricercare, forse dovuto al cinema estero. Penso viga una fiducia cinematografica che non esiste altrove. In Australia, c'è una sorta di vitalità. Una vitalità arcigna.'
Hi Robert! Welcome to Sydney. Tell us, what piqued your interest in the film?
‘I thought the script was so sparse and direct. It even looked different on the page, like the formatting was different. There were no commas! I thought it was so original, and my agent told me it was an offer, and I was like “Really? I never get offered stuffed like this!” And then he was like… “Oh no, I sent you the wrong email, everyone’s auditioning for this.” [laughs].’
How would you describe your character, Rey?
‘He’s very… dependent. He’s been told by everyone around him that there’s something wrong with him, that he’s kind of deficient in some way, and it’s not really established whether he is or he isn’t.’
What were some of the challenges in bringing Rey to life?
‘Mainly the costume! It sounds ridiculous but that was the most important part. As soon as I got the right pair of jeans – we went through, like, a million pairs of jeans! – And once we found the right jeans for him to plod around him, and sneakers that were slightly too big, [it all came together].’
Can definitely relate to that feeling! How important is fashion and costume is to a movie? Is it something you really focused on?
‘It’s massive for me! It’s weird though; I had such a specific look in [The Rover] – down to the colours of the t-shirt. We did a few screen tests and [when you have the right clothes] you suddenly walk different.’
What was the hardest scene to shoot? There are so many graphic, confronting moments.
‘My hardest scene – and this is probably a bit of a giveaway – but I had to have a pipe up my leg, with three guys controlling my pump, and that was probably my biggest scene in the movie. I didn’t know how complicated it would be with the set up.’
What do you think makes Australian film unique?
'For the last few years, it suddenly became such a unique genre. I don’t know what it is! There’s something about it being so isolated – I think it feels very foreign. I think there’s a confidence in the filmmaking that doesn’t exist elsewhere. In Australia, there’s kind of vitality to it. A grim vitality.'
‘I thought the script was so sparse and direct. It even looked different on the page, like the formatting was different. There were no commas! I thought it was so original, and my agent told me it was an offer, and I was like “Really? I never get offered stuffed like this!” And then he was like… “Oh no, I sent you the wrong email, everyone’s auditioning for this.” [laughs].’
How would you describe your character, Rey?
‘He’s very… dependent. He’s been told by everyone around him that there’s something wrong with him, that he’s kind of deficient in some way, and it’s not really established whether he is or he isn’t.’
What were some of the challenges in bringing Rey to life?
‘Mainly the costume! It sounds ridiculous but that was the most important part. As soon as I got the right pair of jeans – we went through, like, a million pairs of jeans! – And once we found the right jeans for him to plod around him, and sneakers that were slightly too big, [it all came together].’
Can definitely relate to that feeling! How important is fashion and costume is to a movie? Is it something you really focused on?
‘It’s massive for me! It’s weird though; I had such a specific look in [The Rover] – down to the colours of the t-shirt. We did a few screen tests and [when you have the right clothes] you suddenly walk different.’
What was the hardest scene to shoot? There are so many graphic, confronting moments.
‘My hardest scene – and this is probably a bit of a giveaway – but I had to have a pipe up my leg, with three guys controlling my pump, and that was probably my biggest scene in the movie. I didn’t know how complicated it would be with the set up.’
What do you think makes Australian film unique?
'For the last few years, it suddenly became such a unique genre. I don’t know what it is! There’s something about it being so isolated – I think it feels very foreign. I think there’s a confidence in the filmmaking that doesn’t exist elsewhere. In Australia, there’s kind of vitality to it. A grim vitality.'
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