Mr Dance was at the opening night of Orlando at the Garrick Theatre
at the Women speaking, Tastemaker award
from the past
Charles Dance is the number one rule of acting well
We interviewed the British actor, protagonist together with Alessandro Borghi of The Hanging Sun , broadcast on Sky and available in streaming on NOW
The Hanging Sun, Francesco Carrozzini's film produced by Sky Studios, Cattleya and Greenland, broadcast on December 12 at 21:45 on Sky Cinema Uno and available for streaming on NOW, is a rather classic noir, which plays with the colors of landscape and the rhythm of the story, and which relies – in more than one moment – on its actors. The story comes from Midnight Sun by Jo Nesbø (published in Italy by Einaudi); the screenplay is written by Stefano Bises. The protagonist, played by Alessandro Borghi, is a man on the run who tries to hide in a small village. Often everything is reduced to a theatrical dimension, made up of dense exchanges and dialogues. Charles Dance, who lends his face to a preacher, is particularly at ease with him. He uses his voice like a hammer and his gaze – subtle, brilliant and seductive – like a fishhook. He recognizes his ability to create with a gesture and his wisdom, as a seasoned actor, in ordering the lines by lightly pinching the vowels and consonants. In certain sequences, he manages to switch from a darker, almost prophetic tone to a more tense and broken one, like an insecure man. One moment before him he looks like a lion ready to bite his prey, the next, a fisherman lost on the high seas. “I hadn't read Nesbø's book, and I knew absolutely nothing about it,” he confesses. “I only got it back when my agent sent me the script.”
And what did he think?
I found it interesting. Apart from the story, I was also intrigued by the cast of the film. I knew Francesco Carrozzini, because – like everyone else – I knew her mother, Franca Sozzani: I saw the documentary that she dedicated to her. And I knew Alessandro Borghi and his work, and for me he is an extraordinary actor, a star. And then there was Scandinavia.
Is it a place you like?
That part of the world has something unique. Special. I know little about Sweden, but Norway, for me, is incredibly photogenic. And if you're lucky enough to work with a cinematographer like Nicolai Brüel every shot is fantastic: an example of pure beauty.
You mentioned Buggys earlier. What was it like working with him?
I knew him, as I told you. I knew he had limited experience. But he grew up in a world full of cameras and lenses, and directors and photographers. He is an extraordinarily intelligent and sweet man. When we first met, I trusted my gut.
And what did her instinct tell her?
That Francesco was forthright and honest. I made myself available to him. This is your film, I told him, and I'll do everything I can to bring the words of the script to life. Francis has never been dictatorial. We were all very free and we were able to have our say. There was a collaborative atmosphere on set – and that's how it should be. Of course, there are exceptions: if you're surrounded by geniuses, you just do whatever they tell you. But there aren't many people like that out there.
How difficult is it to build a relationship of trust with a director and how important is it for the success of a film?
Trust is everything in this business. In a sense, you are forced to trust the director. You have no real choice. Or rather, yes: you have a choice, you can not make the film. But when you decide to accept a part, you do it knowingly. A film doesn't belong to the single actor, it belongs to the director, it's his way of saying something, of telling a story.
Yesterday I spoke to Alessandro Borghi; he told me that working with her was a pleasure, a chance to admire her grace and her talent.
He's very nice of her, and it's absolutely mutual. I too spent a lot of time looking at it. He's a resourceful actor, perfect for the camera. To act in a film, you have to follow some rules. One of them is: the less you do, the better.
What do you mean?
Some actors, and it goes without saying, are better than others. I often happen to look at myself and criticize myself harshly. In my opinion, the best of all is Isabelle Huppert. Sometimes, in certain scenes, his face and her body remain completely still; she doesn't even move a muscle. Yet in her gaze you see her intention and recognize a clear thought. And it's amazing. I don't know how he does it. Maybe she's just a talent. Looking at Alessandro, I thought about it: he has an extraordinary face and extremely expressive eyes. I understood when he listened to me and watched me. Both in and out of character. Working with him was a pleasure. I don't know what direction his career will take, but I hope, and I mean it honestly, that I can meet him again.
How would you describe your role in The Hanging Sun ?
What I play is a deeply religious and unpleasant man. I've never been religious, I don't have time for that kind of thing. I can't live with the idea of a closed, restricted community, and with this fear of being damned and of not being able to make mistakes because it is constantly being judged. For people like my character, God is fierce and dark and dangerous. And also for this reason I don't like him as an individual. But I tried to figure it out: it's always important to do this. People like him are victims of the context in which they grow up and of their parents, they are unable to appreciate what they have. In his case, a daughter and the love that led to his birth.
How important is the voice to an actor?
Quanto la faccia e il corpo. È una parte di te. In Inghilterra, siamo abbastanza fortunati da lavorare molto in teatro prima di ritrovarci davanti a una camera. Per il mio personaggio, che è un predicatore, la voce è tutto.
Speaking of theatre: does that type of preparation always represent a good basis from which to start for a new role?
I guess yes. It's not something I've thought about much. If I had to choose between cinema and theater, I would choose cinema. First of all, because it's perfect for my biological clock: I like to wake up early and go to sleep not too late. And then I love the atmosphere of the sets.
Che tipo di atmosfera è?
The days are always long, and everyone ends up getting to know everyone. When you're working in a particular location, and the trucks and campers arrive, it's almost like being in a circus. And that's something I love. And I love all the mechanics of cinema in the same way: what a camera does, its language, the lenses that can be used.
What about the theatre? What kind of experience does it give?
In the theater you have the opportunity to work with excellent, timeless writers like Shakespeare. It is not the same thing in TV and in the cinema. Only sometimes you get a good script. And you have to make a personal commitment. When you perform in the theater, if an evening goes particularly well, you feel it: and you are very happy. But when it goes wrong, you want to disappear.
She is a big photography enthusiast.
There is one thing, and I mentioned it before, called the language of the room. It has to do first of all with the composition of the image. And it is an aspect that concerns both cinema and photography. This language takes shape according to the lenses that are used, and each lens does a different thing with light. Hollywood's golden days are over and we know it. At that time, a cinematographer was concerned with lighting the actors in the right way, to bring out their best profile. Today, there are no more cinematographers like that. Partly for the budget, partly for the confusion that has arisen between cinema and television. There's no time, and so the cinematographers are forced to light the set as best they can. I am fascinated by these processes,
Before turning to acting, he studied graphic design. Why did you decide to change career?
Adolescence, for me, was a rather difficult period. When I was younger, I stuttered. I can't tell you why. Towards the age of 18, I began to express myself without problems. But when I stuttered, I felt extremely insecure. I didn't want to be the center of attention. But I loved art. That's why I chose graphic design. Just at that time, I found myself, and I approached the college theater company I attended. A friend of mine then introduced me to two extraordinary men. I couldn't afford to go to drama school after three years of graphic design, so I studied with them. We met at least a couple of times every week. During the day, I worked. I also worked as a bricklayer. Thanks to these two men, I learned everything there was to know
Ricorda il suo primo ingaggio?
Of course. In the theatre, in the middle of summer. I acted for sixteen weeks straight. This way, you are immediately familiar with the technique and the size of the stage. As soon as I started that job, I felt at home: I had finally found my people.
Dopo Il trono di spade, ha preso parte anche a The Sandman. C'è qualcosa di particolare nel fantasy che l’attira?
Actually, I love to work. Sometimes, I take my time choosing the next role: I study the story, the cast, the directors. I evaluate the script. I can decide to stay still for a year. But I'm lucky, and I know it, to be doing the job I love. Many people are not in the same position as me: they work to survive. For this reason, if I refuse too many offers, I feel guilty.
Have you ever thought about directing a film?
I already did it a few years ago. It was a small film based on a short story by William J. Locke called Ladies in Lavender. I had the opportunity to involve two champions such as Judi Dench and Maggie Smith. And it went well: it didn't change the history of cinema, but it went well. I've been trying to budget for other films for years now. But it's not easy, especially when it comes to independent projects.
What does being an actor mean to you?
Being able to feel complete. I am aware of my responsibilities towards writers; I know I have to commit myself to give life to the words entrusted to me. And I always hope to do my best. Maybe I didn't answer his question, I don't know. To be honest, I have no idea what to say to her.
Weeks ago, I rewatched The Crown . And one of the most beautiful scenes remains the one where she plays Kipling. Is he a poetry lover?
Yup.
What do you like?
I like its simplicity. I like the ability of poets to say so many things with one line. A writer, to express the same concepts, needs pages and pages. And then I like the rhythm of the poem. Music is part of everyone's life in one way or another. If you work with words and appreciate music, being able to put them together is a joy. And it's extremely satisfying. Even at my age, I'm still a romantic. And in poetry you find things you can't find anywhere else.
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