INT: Ian McKellen
Sir Ian McKellen is a consummate performer, an actorís actor. Having been into acting from a very young age, he is one of the few thespians left who is classically trained. And while stage might be his first love, he is showing up on the big screen more and more, starring in two big summer films this year alone. And you might think that being in two high profile movies may weather this seasoned gentleman, but quite the contrary, heís still all about the craft of acting.
I sat down with the man who has become a household name with such loved characters as Gandalf and Magneto (not to mention my favorite role, that of the wicked ex-Nazi in Bryan Singerís APT PUPIL!), to talk about his upcoming films THE DA VINCI CODE and X-MEN: THE LAST STAND, working with new to X-Men director Brett Ratner and his return to the stage.
you read The Da Vinci Code prior to making the film?
you read it since?
close does your portrayal of Sir Leigh Teabing mirror the book?
The book is a bit short on character.† The plot is what keeps you turning the page.† Itís that you get to know more about the characters, as it would happen in some novels, but you get more of what theyíre interested in, the code, everything to do with Leonardo and Jesus and Mary.† And actually, the description of Leigh Teabing makes me an inappropriate casting; heís small and round and rubicund and white hair, I think balding and a jolly man, while Iím rather gaunt and narrow.
Ron Howard didnít care and I donít think Dan Brown (the author of the
novel) did, because the only description you get of Leigh Teabing is when
you first meet him and thereafter his size is forgotten, of course he is on
crutches, or sticks in our case, not crutches.†
So that was of interest, but I thought he was a really interesting
man and there was lots for me to delve about in.†
How did he get his polio for example?†
What was his relationship with his wife?†
And weíve filled in a whole back story and if youíre looking, you
can see it because the house is full of different clues as to his past life
and has nothing to do with the plot really.
character has been described as the sphinx of the story and a puppet master,
can you tell us more?
Well, you see, Iím in a bit of a bind here, because am I to reveal what my character actually is, because if I do that, then one of the excitements of the film is gone.† He just seems to be someone who is hugely enthusiastic about the business of Jesus and Mary.† And he is indeed, but his interest is so intense that it encourages him to do things that perhaps he shouldnít do and I wouldnít want to go any further then that.
is it like to be apart of a film that has so much speculation, news stories,
and all the overall fascination with the book?†
Have you ever experienced anything like it before?
Yes I have Lord of the Rings, fifty times, a hundred times bigger then Da Vinci Code.† Millions around the world, over all the generations, they were much, much moreÖand a book which for them was central to their lives.† It wasnít just an exciting read; it was a book that they read twenty times in some cases.† They were very, very interested in the movie, very disturbed, was it going to be the movie of their book or was it going to be Peter Jacksonís book.† I think with Da Vinci Code, I doubt if people have read it more then once.† Itís not that sort of book, you understand, it as you go along and having understood it itís like a crossword; after youíve done a crossword, you donít rub it out and do it all over again, do you?† (Smiles)† I donít know.† You go to another one.† But of course thereís immense interest, but itís not the same sort of interest as you got with Tolkien, where it was almost like filming the bible to some people.
What do you think of the reaction by the Catholic Church to the actual film, as opposed to the book which had already sold millions of copies?
I noticed that.† Probably a bit of snobbery in there somewhere, that the people who go and see movies, there minds arenít quite as finely attuned as people who actually read the book, is that what the Vaticanís thinking?† Therefore they have to be protected?† Well, I donít approve of censorship, I donít approve of having lists of things that you canít see.† The only good thing about it is of course, once you publish a list of things you canít look at or canít read, it makes people want to do exactly what you donít want them to do.† So I think on the whole those elements in the Catholic Church that are kept quiet, like doing the right thing, just accept this is a fictional thriller.
Dan Brown may claim more of it, I think the facts in Da Vinci Code may well
be challengeable, but maybe the truths are not, maybe heís onto something
about the nature of institutions which has been as grounded and as powerful
as long as the Catholic Church has, maybe it isnít quite the organization
it seems to be from the outside.† Maybe
there are secrets and that would be a truth about an organization like the
Catholic Church thatís probably incontrovertible.
But the facts, the details of his criticism, I am happy to believe
have all been made up.
you think that the book, which is a work of fiction, has been somewhat
misunderstood by itís detractors?
while I was reading it, I was nodding away thinking, yeah, thatís right, I
bet, umm, I bet thatís right.† (Laughs)†
I can understand why people are exercised by the effect that the book
might have, but I think most people who have read the book just praise it
for being a rattling good yarn.† And
thatís what the movie will be.
you talk a little bit about working with Ron Howard on this film?
Well you know better then I do, I mean youíve been watching him for years, heís like that, heís absolutely like that.† Heís as enthusiastic as a kid about it all, heís nervous, he canít quite believe I think his luck, that heís allowed to play with the grown ups, I mean I get that feeling from it.† And he is super efficient, so when he tells you, when he first talks to you I want you to film on this day and you will end on that day, thatís the way it works out.† Heís brilliant and having been an actor himself of course, heís very sympathetic to the problems of acting and can often see things another director wouldnít, cause as an actor he can see whatís going on.
He and Tom got on extremely well and that was important, you felt there was sort of twin leaders.† And Akiva Goldsman (the screenwriter), very unusual being there the whole time.† He and Ron, you felt at times, were directing it together; I mean they were puzzling over problems together.† Everything was shared, it was all very open and I hadnít expected that and we rehearsed for about two weeks in Paris and which is a wonder where getting, you know, a bit unnerving to suddenly find your working with Tom Hanks.† And actually around the table with him like we did for four, five weeks and heard what heís got to say and have him listen to what youíve got to say, then things relax.† And Ron was very good in that way.
Was Director Bryan Singer a major influence in doing the original X-Men and what was it like doing the third film without him?
Well he had, no more than I, known about X-Men until a friend showed him and introduced him to X-Men and he got, as I did, very excited about the idea of the story.† So we were all not alarmed, but interested in what new direction Brett Ratnerís arrival would take the films.† And there was no worry, because Brett was so in love with the first two films that he wanted to make a third that looked as though it had been directed by Bryan Singer.† His own words, so weíll see whether heís achieved that or not.† I think the plot is a lot more interesting then the previous two, so itís sure to be at least as exciting and Magneto gets to do an awful lot in this film, which he didnít in the second one, so I very happy about it.† So itís not going to be a change of direction, itís not like Tim Burton is suddenly coming in and doing his stuff.† Brett Ratner is doing basically what Bryan did.
with Bryan having already directed you previously in Apt Pupil, was the fact
that he was directing a major influence for you even taking the role in the
Yes, well it always is with me, I mean itís never just the part, itís whoís going to direct it and how well is the part written and all sorts of things.† But I had to take this on trust, cause I didnít know Brett and I didnít know much of his work either, but I was pretty well committed to doing the film before hand.† He arrived very late in the day, eight weeks before we started shooting and very, very, very difficult job and I felt very sorry for him really, cause you need eight months to prepare a movie like this.† I only finished doing - I did the last bit of voicing of Magneto two days ago.
thing that always comes up about Brett is his enthusiasm, how does that
manifest itself on set and set the tone?
Well, you canít be a good director unless you can hold a good party, is what I think.† Because at good party, youíve got a group of people who youíve specifically brought together because you think theyíll get on, and your job is to make them get on.† Your job is not to have a good time, itís to make sure they have a good time.† You treat each of them differently, you make sure theyíve got the right drink in their hand, you say the right words of encouragement, you introduce people, youíre the facilitator.† And thatís what Brett is brilliant at, absolutely.
Bryanís not very good at that, Iíve never been to a party at Bryanís, I dread to think what it would be like.† Bryan is much more internal and self obsessed and neurotic and that comes out doesnít it, in the films he makes.† Itís part of what he does.† Brettís a party animal; Brett wants everyone to have a good time.† But thatís a very, very good atmosphere for a movie of this sort, where there are long , long waits, you know, like things are being set up, where the scenes arenít that intense, you canít get really lost in the dialogue of an X-Men movie.† So itís very good to have the leader keeping everyoneís spiritís up and thatís what he does.
you say it was a happier shoot then the last two?
itís just different.† Who knows
what it would have been like with Bryan this time because we all know what
weíre doing, weíve done it now for three films, it wasnít new
territory, it was plain sailing really and it probably would have been if
Bryan had been directing this time.
the X-Men being considered a metaphor for any persecuted minorities, what
kind of reaction have you gotten from places like the gay community?
Well less then I would have hoped actually.† I mean certainly Marvel says that the demographic for the comics is young blacks, young Jews, and young gays, they respond most to the idea of mutantcy.† They, more then most teenagers, feel that, are taught to believe that they are mutants.† So when you get a story like this one, in which a cure is found, a cure for being black, a cure for being gay, a cure for being a mutant, it comes right home.† But actually in the circles I move in, the gays have never heard of X-Men, I think itís more an American phenomenon then British and maybe younger then the crowd that I mix with.† Itís not just an adventure story, to a lot of people who see it.
There is a scene in the film where Magneto is throwing cars off the Golden Gate BridgeÖ
that what I was doing, I never quite knew. (Laughs)
much are you able to get into a major scene like that one?
They just have to tell you what itís going to be like, what it is youíre doing.† There is a lot of the filming which is of that sort; you have to take it on trust.
do you think about Fox developing a Magneto prequel?
Iím not surprised, thatís of course what the comics have been doing for
years, they been having prequels and sequels and changing the plot.†
Going back to the past and it would be an obvious thing to do, to
have a young Magneto story.
would you like to see play you?
Well, I will be playing the part. (Smiles)† The first time that Patrick Stewart and I appear in this film, we appear to be twenty-five years younger then we are and thatís been done by a technology never used in filming before, which involves no make-up, no special effects whatsoever, we just go into the studio and do the scene as is.† And then they morph our faces onto photographs of ourselves twenty-five years ago and they we are.† It can take any shaped person and they can slim you down, they can build you up, you can bring out your shoulders, change the color or style of your hair.
they removed so many wrinkles from my face, I looked so young, that Brett
Ratner said go put a few wrinkles back, itís looking ridiculous.†
So it would mean that I could play myself at twenty-five easily, as
long as I could keep myself sounding young.†
Thatís the big story of this movie; that stars realize that they
donít have to have face lifts anymore, at least as far as their work is
concerned.† Itís astonishing;
itís like airbrushing, but for the moving picture.
is it true that the stage production of King Lear your next project?
Lear? (Correcting my pronunciation) Lear. (Smiles)† Thereís a wonderful actor Ralph Richardson, who is no longer with us, who played many parts in his life, both stage and film and he said to a friend of mine ďyou know one day walking along, the sun is in the sky and not a cloud to be seen and the birds are tweet, tweet tweeting.† Iím feeling well, thereís nothing wrong, IímÖoh, you found youíve got your foot caught in a Lear.Ē† And thatís what Iíve done, Iíve got my foot caught in a Lear and I donít know what Iím gonna do, I think Iím gonna have to play him.† So Iím taking a year off now to get ready, itís a big part, itís like climbing Everest, Iíve got to get into training.† Learn the lines and find out what itís all about.
where will this be?
In Stratford in the UK, where theyíre doing the whole of Shakespeareís plays this year. Seven plays will be done, some will be visiting companies, F. Murray Abraham is doing The Merchant of Venice for example, but some will be done by the company itself and ours is the last play to be done.† And then weíll tour, weíll come to the States and Australia and India, I hope.† And then you can all come to my funeral.† (Smiles)