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Jesse E

扎克伯格饰演者艾森伯格谈新片《无声抵抗》和《生态箱》

2020年05月03日

在两部片子中,他都展现了惊艳而富有张力的表演,打破了他固有的一惊一乍、神经兮兮的银幕形象。

[图片]

上:杰西·艾森伯格在乔纳森·加库波维兹的新片《无声抵抗》中扮演马歇·马叟。图片来源:COURTESY OF IFC FILMS  下:艾森伯格在科幻惊悚片《生态箱》中扮演汤姆。图片来源:COURTESY SABAN FILMS

疫情之下,杰西·艾森伯格也坐不住了。

今年36岁的演员、剧作家杰西·艾森伯格是个语速极快的人,而他饰演过的那些最出名的角色——无论是《僵尸之地》(Zombieland...

2020年05月03日

在两部片子中,他都展现了惊艳而富有张力的表演,打破了他固有的一惊一乍、神经兮兮的银幕形象。



上:杰西·艾森伯格在乔纳森·加库波维兹的新片《无声抵抗》中扮演马歇·马叟。图片来源:COURTESY OF IFC FILMS  下:艾森伯格在科幻惊悚片《生态箱》中扮演汤姆。图片来源:COURTESY SABAN FILMS

疫情之下,杰西·艾森伯格也坐不住了。

今年36岁的演员、剧作家杰西·艾森伯格是个语速极快的人,而他饰演过的那些最出名的角色——无论是《僵尸之地》(Zombieland)里胆小如鼠的男孩,还是《社交网络》(The Social Network)里雄心勃勃的Facebook创始人马克·扎克伯格,都像是被上了发条一样的神经质。

他总是耷拉着肩膀,脸上挂着似有似无的微笑,一双三角眼时而闪着极度聪明的光,时而像爬行动物一样冷血。他在银幕上的形象就像一个发条人,在好莱坞,貌似没有哪个男影星的形象像他一样,总是与神经质的角色挂钩。即便在电话里,你也能感受到,他在电影中展示出的那种压抑、疯狂的能量,绝不只是某种艺术上的表现。

不久前,《财富》杂志通过电话采访了艾森伯格,请他简要谈谈他最近的两部新片,一部是科幻惊悚片《生态箱》(Vivarium),另一部是二战题材的传记片《无声抵抗》(Resistance,这两部电影都已经在多个平台线上放映)。在采访的前几分钟里,艾森伯格就对自己焦躁不安的语气表示了道歉,并且先对记者提起了问题。特别是问了高架桥的平均高度,以及所谓“限高”到底是限多高。

“我得弄清楚怎么开一辆休旅车。”他解释道。随着新冠肺炎疫情的爆发,他和他的家人也被困在了洛杉矶。“我妻子不会开休旅车,我儿子和我们在一起,但他才3岁,所以你知道,他在这方面也帮不上忙。”

艾森伯格并不是一个在西海岸土生土长的人。他和妻子安娜·斯特劳特基本上是在纽约和美国中西部两头跑——因为她妻子就是中西部地区的人。由于航班因疫情被取消,他们打算开车去印第安那州的布卢明顿,虽然这一路要开30个小时的车,但只要他们能离开洛杉矶,艾森伯格情愿遭这个罪。

作为一个新手爸爸,加上还要应对眼下的疫情,艾森伯格的脑子里想的不只是电影。“这两部片子是在这种极特殊的环境下上映的,我虽然担心这种情况,但这并不会让我觉得自己很肤浅。”他说:“从危机的层面看,它根本不会引起人们的注意。”

虽然上映的环境不尽如人意,但《生态箱》和《无声抵抗》仍然是两部值得关注的影片,因为它们再度扩展了艾森伯格的演技的维度。在两部片子中,他都展现了惊艳而富有张力的表演,打破了他固有的一惊一乍、神经兮兮的银幕形象。

《生态箱》由罗根·费纳根执导,这是一部卡夫卡式的怪诞讽刺作品,表现了郊区生活的无聊。片中,艾森伯格和女主角伊莫珍·波茨饰演了一对正在找房子的夫妇,他们莫名其妙地困在了一个所有房子的建筑风格一模一样的小区,被迫抚养一个神秘的孩子。艾森伯格解释道:“作为一部电影,它就像一个精彩而怪诞的梦,它反映了当下很多人都存在的某种妄想症和幽闭恐惧症,尽管它是以一种更加反乌托邦的形式体现的。”


科幻惊悚片《生态箱》中,艾森伯格饰演的男主角汤姆和伊莫珍·波茨饰演的女主角杰玛被迫抚养一个神秘的婴儿。图片来源:COURTESY OF SABAN FILMS

而在另一部电影,也就是乔纳森·加库波维兹编剧和执导的新片《无声抵抗》中,艾森伯格饰演了传奇哑剧演员马歇·马叟。影片讲述了马歇·马叟早年间的一段鲜为人知的经历。二战期间,马叟曾经是法国抵抗组织的成员。为了逃避纳粹的抓捕,他在战争期间一直过着东躲西藏的日子,并且想方设法从纳粹手中救出了几千名犹太儿童。为了让这些孩子开心,也为了分散他们的注意力,他经常给孩子们表演哑剧。

艾森伯格表示:“我对《无声抵抗》很有共鸣,因为这个哑剧演员必须非常神通广大,能在那样可怕的经历中让孩子们开心起来。而我的大部分时间都用来让我3岁的孩子开心了。只要有什么事情发生,他都能感知到,而且这会让他很有压力。所以我在让他开心的过程中,也变得越来越有心得,而这正是《无声抵抗》的重点所在。”

这两部片子大概是一年半以前拍摄的,时间隔得很紧,几乎是“背靠背”。而且在这两部影片中,艾森伯格都扮演了一个不情愿的父亲的角色,虽然他坚称,自己并不是有意要扮演这种角色。但是在演绎角色的过程中,他也自然而然地代入了自己初为人父的经验。

他说:“作为一个演员,我可能从来没有像现在这样容易产生代入感。我自己也有一个孩子,我每天都要经历这种‘拔河’,他既是一个负担,但也是这个世界上最宝贵的东西。”

《生态箱》是一部更加阴暗和诡异的片子,它将养育孩子当作了一个存在主义的梦魇。艾森伯格饰演的汤姆和伊莫珍·波茨饰演的杰玛是一对夫妇,他们在找房子的过程中,误入了一个像莫比乌斯环一样永远走不出去的小区。他们的精力也逐渐被耗干了,特别是当有人把一个婴儿放在他们家门口之后。婴儿身边还放着一张纸条:“养大这个孩子,就放了你们。”很快,这个孩子长成了一个怪物(儿童时期由萨南·詹宁斯饰演,成人时期由乔纳森·艾里斯饰演),可以以人类根本做不到的方式,变化自己的声音和外形。

“他是一个儿童形态的邪恶寄生虫。”艾森伯格说。在拍摄《生态箱》之前不久,他刚刚有了自己的孩子。“在我拍这部片子的时候,我的儿子就站在片场里,那时他才一岁半。这种感觉很奇怪——我的角色认为那个孩子是一个又恶心、又邪恶的东西。所以这种感觉很奇怪也很惊悚。”

《生态箱》的导演费纳根在接受电话采访时表示,他认为将艾森伯格塑造成一个“大男子主义倾向”的人是一件很有趣的事,他习惯了掌控一切,随着他失去了自由,他也就愈发被激怒了。在影片中,随着汤姆对那个孩子的怒火日益增加,他甚至上升到了肢体暴力的程度。但这一幕,他却演绎得很不容易。

费纳根回忆道:“杰西(艾森伯格)得把萨南抱起来,然后把他摔在地上,我们为那场戏准备了一个很大的缓冲垫。一开始,杰西摔得太轻了。连萨南自己都说:‘杰西,把我摔得重一点。’意思是要让杰西对他再暴力一些。但杰西的儿子也在那里,所以,我觉得他是想树立一个和蔼体贴的父亲形象。”

与《生态箱》相比,《无声抵抗》以一种更人性化、更乐观主义的方式表现了一个父亲的形象。《生态箱》中的汤姆是逐渐陷入仇恨和绝望之中的,而《无声抵抗》中的马叟却是措手不及地承担了父亲的责任。虽然这是电影独特的风格和立意使然,但艾森伯格表示,他也认真思考过,不同的外部环境,是如何塑造了这两个角色截然相反的性格的。

他解释道:“《生态箱》发生在一个超现实主义的世界里,它几乎把人物的生命都吸走了,所以那里有一种绝望感。由于《生态箱》的角色是很孤独的,所以他们变得很沮丧,丧失了所有的意义感。而在《无声抵抗》中,马叟有一种意义感,因为他是被需要的。这让他在这场危机中有了一种目标和希望。作为一个孩子的父亲,在当前的这场危机中,我也感到了这种意义感,觉得自己没有理由自私或放纵。”

对艾森伯格来说,《无声抵抗》从很多方面都让他产生了代入感。艾森伯格自己就成长在一个世俗化的犹太家庭里,他的亲人中也有人死于纳粹的屠刀,他的祖辈曾经生活在离马叟所在的城市只有几小时路程的地方,他至今有一个表亲住在波兰。另外,他的母亲就曾是一位小丑演员。

艾森伯格的童年是在新泽西州的东布伦斯维克度过的,在他小时候,他的母亲经常用“伯纳比妮”的艺名,在生日派对上或者是在医院里为病人进行小丑表演。艾森伯格回忆道:“我母亲过去经常化和马叟一样的妆,直到我后来看了马叟的电影,我才知道,我的母亲受了他很大的启发。她在成长的过程中一直很崇拜他。她甚至看过几场马叟的现场演出。而我从小是看着她化着马叟的妆长大的。但是直到我开始拍摄这部电影,我才明白了这一切。”


《无声抵抗》的导演加库波维兹在接受电话采访时表示,他之所以让艾森伯格主演这部片子,一定程度上也是由于艾森伯格在现实生活中的成长背景,并称这是一个“他天生适合扮演的角色”。加库波维兹是一位委内瑞拉裔导演,他最出名的作品是2005年的《暴力特快》(Secuestro Express)。而马叟作为一名伟大的艺术家,最令他感动之处,就是他为了追求更大的善,而放弃了人性中更自我的一面。

加库波维兹评价道:“让杰西这样的人来演这个角色,最好的一点,就在于他很擅长扮演那种纠结的、阴暗的、让你很容易去‘恨’他的角色。但这个角色从很多方面恰恰相反,马叟的人性是很伟大的,但他总是在与自己善的一面做斗争,总是试图逃避去做一个英雄,好让自己可以做一个艺术家。”

为了进入角色,艾森伯格首先要学习马叟的哑剧表演风格,不过这个过程可能并没有其他演员学起来那么难。“对我来说,我母亲的工作在某种程度上已经向我灌输了抽象表演的风格。我的表演是很写实的。电影表演一般都是写实性的表演,而且我的表现也是很写实的。但是马叟是一个抽象表演的大师,他的目标是要唤起人们的一种感觉。”

为了准备这个角色,艾森伯格花了9个月的时间,跟随哑剧演员洛林·埃里克·萨尔姆学习哑剧。萨尔姆是马叟生前的学生(马叟于2007年去世),曾经跟随马叟学习过很多年。受马叟作品的启发,他们一起编排了很多动作,特别是根据艾森伯格的节奏作了一些调整。同时艾森伯格也经常向母亲取经。

“有时候,我觉得自己的表演很傻,她就会告诉我,她从来没有觉得自己的表演很傻。她装扮成一个小丑的样子,但她表演的对象,却是那些情况最糟糕的孩子,他们将她视作一道生命线,视作一个快乐的源泉。你可能会说,这是一种愚蠢的、简单的表演风格。但从某种角度上看,它是更有价值的,也是更被需要的。”

在拍摄片中最令人难忘的一幕时,艾森伯格还将他的母亲带到了片场——那是战争结束时,马叟在纽伦堡为乔治·巴顿将军的部队表演。“我化着她曾经化过的妆,在纽伦堡为这些军队表演。这真是一种奇妙的联系。”

在《无声抵抗》的另一幕中,马叟为一群刚从纳粹集中营被秘密转移到一座法国城堡中的犹太孤儿表演了哑剧。当孩子们看到他的表演时,他们的疲惫一扫而空,取而代之的是一种天真的快乐。加库波维兹回忆道,在拍摄这一幕的过程中,艾森伯格完全迷失了自我。

“杰西后来告诉我,当他站在这些孩子们面前时,他完全忘记了那些小的细节,注意力全部集中在逗那些孩子笑上。”他说:“我觉得这就是马歇·马叟何以成为一名艺术家,这就是他与观众沟通的方式。孩子们是真的在笑,是真的在对他的表演做出反应,而杰西也是在对他们的反应继续做出反应。他很感动,也很高兴自己能让他们开心。如果你觉得你的艺术只是为了你自己,那么你就还没有发现它。”

在艾森伯格看来,《无声抵抗》的中心思想,就是艺术要有同理心,这也是近年来他牢牢记在心里的一个目标。“作为一名艺人,我认为我做的很多事情,都是在自我放纵,是在自恋。我有一个最好的朋友是服刑儿童的老师,而我的妻子也是一名老师,她的学生是纽约的那些在最艰难的环境中成长的孩子。所以我一直记得这一点。这部电影描绘了在最极端的环境下,你可以怎样利用你的艺术来造福他人。”

艾森伯格正急着赶往印第安纳州,在那里,他可以暂时从关于疫情的一连串令人恐慌的新闻中解脱出来,多陪陪自己的儿子。他们父子俩最爱看的动画片是《小猪佩奇》(Peppa Pig)。“我不知道它掺了什么药,但它是世界上最让人上瘾和最能让人平静的东西了。一旦我们看完了所有的剧集——它总共几千集,而且我估计我们肯定已经快看完了——我肯定要变得更有创意一点。”

艾森伯格和妻子还打算花些时间在他丈母娘经营了35年的家庭暴力庇护所里做志愿者。他说:“希望我们能在那里发挥一些价值。当你被别人需要的时候,它会给你一种希望感。至少它会提醒你,世界上还有其他人需要你。在某种程度上,这比单纯的生存更有意义。”(财富中文网)

译者:隋远洙


SOURCE


Jesse E

开房车躲新冠,卷西还有哪些古怪旅行体验

转自微信公众号:我穿墙进去

2020/04/08

我曾以旅行为主题对卷西做过一次邮件访谈。那是他的小说《吃鲷鱼让我打嗝》中文版上市不久,我从字里行间判断,卷西肯定是个深度旅行爱好者,他漫步过中国大半河山,还有国外诸多小众旅行目的地,比如庞贝、加德满都、萨拉热窝。我抛给他几十个问题,他回复我几百个句子。


采访结束那一刻,我问他,世界那一边景色如何,他回答,自己正在印第安纳州布卢明顿,“现在已是午夜,虽然没有下雨,但是街道湿漉漉的。”

以下为杰西·艾森伯格自述:(鸣谢:采访联络/张海香 翻译支持/若宣非宣)


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老实说,我这些年的旅...

转自微信公众号:我穿墙进去

2020/04/08

我曾以旅行为主题对卷西做过一次邮件访谈。那是他的小说《吃鲷鱼让我打嗝》中文版上市不久,我从字里行间判断,卷西肯定是个深度旅行爱好者,他漫步过中国大半河山,还有国外诸多小众旅行目的地,比如庞贝、加德满都、萨拉热窝。我抛给他几十个问题,他回复我几百个句子。


采访结束那一刻,我问他,世界那一边景色如何,他回答,自己正在印第安纳州布卢明顿,“现在已是午夜,虽然没有下雨,但是街道湿漉漉的。”

以下为杰西·艾森伯格自述:(鸣谢:采访联络/张海香 翻译支持/若宣非宣)

 

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老实说,我这些年的旅行相当安逸。我不像欧洲那些表亲,他们旅行是为逃难(二战中的犹太人);我也不像我岳父那样成长在难民营。我旅行,是为了认识世界。


还算幸运,我从未在旅途中经历过真正意义上的危险或悲惨的事件。记得有一次,因为大雾,航班严重延误,我在波兰西里西亚省的卡托维兹等了四天。我的妻子无奈之下只能与法航达成妥协,我们乘坐其中一趟航班离开卡托维兹。由于某些缘故,法航是当时唯一运营的航空公司。


相比起来,讽刺的是,我曾在纽约骑自行车时被一个家伙揪下来痛打,事发地距离我的住处仅仅十分钟的车程。

null
null卷西到波兰克拉斯内斯塔夫(Krasnystaw)寻亲

祖父来自波兰,哈希德派犹太人


  • 2


我生于纽约皇后区,美国最多元化的地方,哈希德派犹太人和多米尼加人的住所仅隔着一个街区。我常去看大都会棒球队的比赛。每次从曼哈顿骑车去花旗球场,感觉就好像去赴一场美式盛会而穿过了七个国家。 


皇后区有很多公寓大楼。我父亲在勒弗拉克城(Lefrak City)长大,那儿的公寓楼连成一片,直到天边,好像无数幅M.C.埃舍尔的镶嵌画拼起来的。莫名的,我每当看着这些住宅区,就会引起舒适,可能经过重新规划的空间能带给人隐匿感或者安全感吧。在中国旅行时,我也见过类似的公寓楼,没有人占有更多空间,这是一种负责任的生活方式。 


秩序赋予我平静。 

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Lefrak City

我曾经骑车穿行在纽约夜晚的街道上,感觉自己拥有整个城市,好像进入到一个私密的深处。
相比我生活过的其他城市,纽约文化融合度更高。也许这只是我的臆想,但它确实像一个熔炉。
你让我推荐到纽约旅行去哪儿玩?


我建议去唐人街,纽约最有趣的存在,文化氛围浓,可信度高,没那么商业化,而且遍地美食。它好像是一块与城市其他区域相隔离的小世界,节奏、气息,甚至连人行道都很特别。穿梭于其中的人们,风格各异,有些人完全西化,讲英语、穿西装,而多数人则讲中文,服饰与西方人大异其趣。唐人街就在我家附近,我喜欢靠近这种独特。


向中国读者推荐任何中餐馆都显得有点傻,你们肯定比我知道得更多。


中国美食,我最爱火锅。以前,纽约有一家非常棒的火锅店,如果时间允许,我通常每周去吃一到两次,但是有一天它突然神秘地停业了。火锅的魅力在于,一些通常吃起来很美味的食物,在火锅里却不再那么诱人;相反,一些平时不太好吃的食物(比如豆腐皮),在滚烫、隆隆作响的辣汤中则会变成美味。 

  • 3


2005年,我来过中国。那时候,我妻子因为换工作,有两个月假期。于是,我们计划了一场旅行,从北京到拉萨,贯穿中国,然后前往尼泊尔加德满都。 
行程开始,我没有任何期待,这样做有好处——我被后来所见到的一切震撼到了。 
在北京,我们住的酒店房间很小,忘了名字,在平常巷陌。难忘的是,从首都机场驾车前往酒店的路上,我看着窗外高大、锐利的大树,想着,哦,这些树属于中国,我来到了中国。 

记忆无声,但它具化了以往抽象的概念。树,就在那儿长着,它们是真实的,在异国他乡,而我当时就在那里。


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中国之行满满45天。在广西,阳朔的风景让我叹为观止;在云南,我住在当地的纳西族人家,攀登虎跳峡,登山的路惊险而壮观,沿着悬崖前行,脚边就是深渊。

我妻子也喜欢阳朔,还喜欢在虎跳峡徒步,在成都吃川菜,在北京逛胡同。她性格外向,每日早出晚归,乐此不疲地寻找新鲜事物。她是高中教师,善于和孩子们打交道,而我更擅长于观察。在国外旅行,语言不通,她却和在美国一样待人热情,当地居民也喜欢她。我觉得自己很幸福,很幸运。


中国日益强大,所以中国的新闻频繁出现在美国媒体上。我知道,中国的运作模式与世界上每个国家都不同。它人口众多、幅员辽阔、文化多样——不论过去还是现在,中国都是一个独特的存在。它的与众不同吸引着我。


我太喜欢中国了,它让我想起纽约皇后区——我的出生地,一个人来人往、现代化、快速而有趣的地方。

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  • 4


我曾经天真地以为,美国就是全世界,直到我出门远行。 
那时我二十岁左右。在委瑞内拉,时局动荡,出发前我并不知情,只了解当时乌戈·查韦斯正在竞选。在整个委瑞内拉,墙上的涂鸦都写着“Vota No”(不投票)或者”Vota Si“(投票)。空气中弥漫着紧张的气息,我感到自己必须阅读历史才能了解所发生的一切,所以我读了玻利瓦尔的书以及拉丁美洲的历史,全面了解查韦斯选举的影响。 


奥里诺科河三角洲的人们向我称赞查韦斯,因为他将美国石油公司逐出境外;加拉加斯的教授则带我到他的私家车中谈话,因为他害怕当众抱怨查韦斯会惹祸上身。 

null委内瑞拉奥里诺科河

一只独木舟划过


那是我第一次离开家,简直大开眼界。我在美国城市长大,从未目睹过穷困,在城市四周围绕着里约一样的贫民窟,对此我很不安。 
人应该庆幸自己生长在一个相对稳定的国家。 
与政治彼此平行的是委瑞内拉难以言喻的美景。我在安赫尔瀑布(世界上最高的瀑布)旁边搭吊床过夜,在加拉加斯大萨瓦纳地区探秘。相比于我以前所经历的一切,委内瑞拉之行对我的人生观改变甚多。 
当我从委瑞内拉回到纽约,惊叹纽约城的富裕。奥里诺科河三角洲的乡下地区,加拉加斯的郊区——在这些地区度过几周之后,再反观纽约,尽管我的前半生都在此建构,但那一刻,以往我所熟悉的一切,都突然变得陌生。 

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null委内瑞拉安赫尔瀑布

5


看到贫穷,我会不安,时常想起以前去过的地方:在柬埔寨,我见过一个女孩用盆当船,穿梭在不同的渔村进行乞讨;在危地马拉,鞭炮让孩子们感到害怕,他们纷纷逃离。 
现在,尽我所能,给我旅行的国家带去一点帮助,因为不是哪里的人都有机会富有和成功。 
 
动画片《里约大冒险》宣传期间,剧组赶到圣玛尔塔彩色贫民窟,那儿刚刚遭受山体滑坡。特雷索伯利斯有一个类似红十字会的组织,他们提供食物以及供给,我们尽力做些辅助。 

在旅途中做公益,我很期待,也很适应,这超越了旅行本身。我能帮助别人,也更容易融入当地生活。
在尼泊尔旅行,恰值叛乱。民众乐意将他们的真实想法分享给我,比如当地政府的勒索与腐败。我爱这种参与感。我能联系所在地的议员,与他探讨一些事件,并且鼓励民众捐款,帮助弱势群体。我还以此为素材,写了一部有关移民美国的尼泊尔人的戏剧《恃宠而骄》(The Spoils)。


对我来说,这样的旅行更有意义。 

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有关尼泊尔移民的戏剧《恃宠而骄》(The Spoils)中文版剧本即将由人民文学出版社出版


  • 6

我算周游过世界吧,乘巴士穿越西伯利亚,坐滑翔伞俯瞰巴西里约,在萨拉热窝拍电影间隙驾车游览巴尔干,还有我和妻子登上危地马拉的火山口。热闹有时,空旷有时,热闹时就去和当地人聊天,吸收更多知识,空旷时就去享受冥想与安静。


话说我还没去过印度呢。印度地域辽阔,我需要规划几周的时间,和中国旅行差不多。我的朋友昆瑙·内亚(Kunal Nayyar,印裔英籍演员,《生活大爆炸》里的Raj)告诉我,可以住他家,在广阔的土地上了解那些美丽与混乱。

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昆瑙·内亚,在戏剧《恃宠而骄》中与卷西搭档

旅行出发很容易,你的所有必需品都在手机上,不是吗?小说、手电筒、相机、旅行指南,这些曾经是必需品。现在,你所需要的只是带一瓶水和一部手机。

对我,一个常常陷入焦虑的人来说,途中要考虑的事情就太多了——我会生病吗?能赶上火车吗?我用仅知的单词和刚刚那个人说话,声音有点高,表达非常荒谬,这会冒犯到对方吗?
但是,每当回到家,我会主动消化这段经历,回顾置身陌生之地的感触,体会旅程给予我的价值,有时会把它们写进作品。


比如庞贝古城,《吃鲷鱼让我打嗝》里写过。我去过庞贝,死亡被保存与陈列,令人震惊。写喜剧时,很重要的一点在于找到每个人都能认同的文化主题,而且这个主题没有被滥用。庞贝是一个典型的历史奇点,适合幽默故事,因为每个人对庞贝所知道的内容几乎相同。如果针对罗马开一个玩笑则会很难,因为对于那里的文化,人们的认知存在着偏差。


由于存在认知偏差,我们对这个世界的理解都大不相同,例如幸福、成功。


在我看来,真正的幸福是只有在回顾过往时才意识到拥有的。幸福是行动,而不是得到。成功是有能力做一件令自己高兴的事,同时它也能够帮助到他人。

这些领悟,是旅行教会我的。

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卷西与妻子Anna Strout登上危地马拉火山

Jesse E

The mime of his life!

Jesse Eisenberg on playing Marcel Marceau in Resistance.

Stephen Applebaum speaks to the Hollywood star about director Jonathan Jakubowicz's latest film exploring the wartime heroics of the French-Jewish artist.

June 18, 2020

[图片]

Jesse Eisenberg was nothing less than “shocked” when he compared...

Jesse Eisenberg on playing Marcel Marceau in Resistance.

Stephen Applebaum speaks to the Hollywood star about director Jonathan Jakubowicz's latest film exploring the wartime heroics of the French-Jewish artist.

June 18, 2020



Jesse Eisenberg was nothing less than “shocked” when he compared pictures of himself and the famous French mime artist Marcel Marceau, because their alikeness was “too uncanny”.

Digging further, he discovered that Marceau’s father came from a town in Poland “an-hour-and-a-half” from where his own family originated.

“So,” he tells me by phone from New York, “we must have very similar genetics.”

There was more. His mother used to be a party clown and was “over the moon” when she heard he had landed the lead role in writer-director Jonathan Jakubowicz’s latest project, Resistance, which explores the wartime story of Marceau, who was Jewish.

“She said, ‘I looked like Marceau!’ She’d painted her face to look like him her whole career and I had never put that together.”


Playing a Jewish lead might have made Eisenberg think twice at a time in the past when he was concerned about becoming “boxed in”.

“I have certain characteristics that come across as particularly Jewish,” he says, “and when you’re in a movie, whatever characteristics you have, irrespective of your attempt to hide them, emerge, because it’s an incredibly intimate medium.”

Although he has played some identifiably Jewish characters – most notably Mark Zuckerberg in The Social Network, and a Chasid in Holy Rollers – he says that when he was starting out, he’d be sent scripts with parts that were “coded as Jewish, like the thin virgin who’s the punchline or something. I just hated those things”, he spits.

“To me they were not only stupid roles, but a bit offensive, from a cultural perspective. So, I guess I was more hesitant to play explicitly Jewish roles; I thought it would be limiting as an actor.”

That was then. Today, “we’re in a wonderful place in our culture,” declares Eisenberg.

“I’m in a similar place in my own psyche, which is we don’t have to be in denial.

“We can depict different cultures in the media, which is respectful to the culture and empowering. Those kinds of tropes that I would say were stuck in 90s comedies are not accepted in the culture anymore as funny or entertaining. And thank God.”


Marceau’s story, as told in Resistance, is one of empowerment. Jakubowicz’s focus is not just on Marceau as a blossoming artist, but as a Jew who helped hundreds of Jewish children escape from Nazi-occupied France.

This was key for Eisenberg. He refers to Schindler’s List as an important film in his education about the Shoah, but while that was “a great movie” made by a Jewish film-maker – Steven Spielberg – its hero was a “rich, tall, attractive German businessman who finds it in his heart to save these emaciated victims”.

“It humanises Jewish people,” he says, “but it doesn’t empower them.”

Resistance, on the other hand, creates a Jewish saviour who is “heroic on his own terms”, using ways that are “artistic, clever, fantastic” to outwit the Nazis.

Mime, Marceau tells children under his protection, is about making that which is invisible visible and, likewise, that which is visible invisible.

It appeals to the imagination of performer and audience alike and is shown as something simultaneously sophisticated and childlike.

Did Eisenberg, now a father of a three-year-old son, with wife Anna Strout, have a strong imaginative life as a boy?

“I was funny, but incredibly quiet and very shy, and I hated any kind of social gatherings,” he says. “I didn’t go to any birthday parties or anything. I probably had a strong imagination, but it came from a place of feeling really on the outside of normal life.

“I always just knew: ‘Once I’m an adult, I’m going to be home free, but this is just torment.’ I hated being a child. So yeah, I developed a rich imagination. But it certainly wasn’t something that was winning friends at that age.”


In Resistance, Marceau uses his art to break through the children’s trauma and, momentarily, pull them out of their grief. There’s a lovely scene where he playfully interacts with the youngsters and something real and magical seems to be happening between them. It was a special moment, Eisenberg confirms.

“You can imagine, after spending seven months learning the same routine over and over in my bedroom alone, to perform for these kids was just so illuminating.

“It made me realise, if this scene happened in real life, the joy it must have brought Marcel Marceau, who spent his fledgling career performing in dive bars for unappreciative adults. I could imagine this just gave him purpose for his work in a completely new way.”

That purpose is evident in a scene shot in Congress Hall in Nuremberg. In this vast, unfinished arena for Nazi rallies, Marceau/Eisenberg gives a transportive, elegiacal performance for US troops, that silently combines pathos with anger. I ask him how he felt as a Jew in that space.

“It was amazing just to go in there, let alone perform there,” he says.

“But, more broadly, it was a real, unusual and wonderful victory that this hall was to be completed when the destruction of the Jewish people was completed, and not only did both of those things not happen, but here we are performing a movie inside it about a Jewish hero.

“If the Nazis are alive somewhere, or looking down, I can imagine nothing as discouraging as the image of movie cameras rolling on that scene, in that building.”


SOURCE

Jesse E

Jesse Eisenberg:High resistance

June 18, 2020 10:25


"The history of Jewish people is just so endlessly fascinating," the Hollywood star tells the JC. "If you don’t end up exploring it, it would be a surprise."

[图片]

When the Covid-19 pandemic struck, actor-playwright Jesse Eisenberg was in Los Angeles...

June 18, 2020 10:25


"The history of Jewish people is just so endlessly fascinating," the Hollywood star tells the JC. "If you don’t end up exploring it, it would be a surprise."


When the Covid-19 pandemic struck, actor-playwright Jesse Eisenberg was in Los Angeles for work. Rather than usher his family — wife, Anna Strout, and their 3½ year-old son Banner — towards the nearest airport, they rented an RV and drove to Indiana. “We live half the year in southern Indiana,” Eisenberg explains, when he calls me from a peaceful-sounding park in Bloomington in late May. 

For the 36 -year-old, famed for his Oscar-nominated role as the Machiavellian Facebook founder Mark Zuckerberg in The Social Network, the motorhome was the ideal mode of transport to help isolate himself and his family. But ever since he arrived in Indiana, he hasn’t been hunkering down in his house to avoid the virus. Instead, he’s been spending four hours a day working at a domestic violence shelter, where his mother-in-law was an executive.

A shelter for women and children fleeing violence at home, an issue that’s become even more prevalent in lockdown, Middle Way House was losing volunteers during the pandemic and Eisenberg wanted to help. It’s typical of his socially conscious side, putting something back at a time when the coronavirus hasn’t drastically affected his work. “For me, oftentimes, I will find myself with months off at a time —it’s just the nature of my job.” 

The only major issue is his upcoming directorial debut, When You Finish Saving the World, which has been put on hold. Starring Julianne Moore —and produced by the Oscar-winning actress Emma Stone, a friend and frequent co-star — the script is based on an audiobook that Eisenberg has written, about three differently-aged characters, that’s due out this month. He seems sanguine about the delays. “We’ll just start up anytime we’re allowed.”

Certainly, Indiana feels like a safe haven compared to New York, where he lives for the other half of every year. Back there, his best friend’s father died of coronavirus during the lockdown, making it all seem very real. “It’s not really abstract for us.” Eisenberg had also been sick with a fever that lasted three days after returning from a trip to France. “I assumed I had it,” he says. “When a test for antibodies opened up, I took it and I tested negative.”

In the past, Eisenberg has endured illnesses of a very different kind. Growing up in New York, he struggled with anxiety disorder. He’s also been in therapy to combat other mental health issues — Obsessive Compulsive Disorder, separation anxiety and depression among them. Becoming a father provided a welcome distraction, he says. “Because I spent the first 30 years worrying about things that were invisible, and now I get to worry about something that’s visible.”

Children are also at the heart of his latest film, Resistance. Eisenberg plays Marcel Marceau, the famous French mime artist who, during World War Two, was at the beginning of a career that saw him perform for sixty years. What is less known is that Marceau — whose father died in Auschwitz — joined the French Jewish Resistance, helping to save hundreds of youngsters from the Nazis. 


When Eisenberg discovered that Marceau was similarly Jewish and had family from the same part of southeast Poland as he did, he was hooked. “There were so many aspects of it that were so relevant to me,” he says. Like Marceau, Eisenberg’s extended family suffered, although some were lucky. “My cousin who survived, who still lives in Poland, she was taken in by a teacher who was Catholic and was hidden in a basement for years.”

All the way through the shoot, Eisenberg was hearing remarkable stories of everyday heroism. “I had this bodyguard, Jan, who was six foot seven — a humungous man. He told me over lunch one day that his grandfather ended up saving all these Jewish people because he ran the power station in town. And he knew that the Nazis would never arrest him because they had to keep the power running. So he knew that he had the opportunity to save people.”

With a father who went from driving a cab to teaching sociology, Eisenberg was raised in a secular Jewish household in East Brunswick, New York. But, I wonder, when did he first become aware of the atrocities of World War Two? “It was probably through the Jewish school that I went to,” he says. “At some point, they mentioned the Holocaust, and probably half the kids in class didn’t know what it was.”  

He remembers getting the Holocaust confused in his mind with the Ku Klux Klan. “I thought they were the same thing. And I remember just ducking under the windows at the front of the house for months, worried that somebody would be burning a cross on our lawn. It’s funny the way kids’ minds work…you conflate your fears and then put yourself at the centre of the world. I thought I was going to be targeted.”

Even so, these childish fears took on a more ominous edge when Eisenberg was making Resistance back in October 2018. Coincidentally, “there were multiple acts of antisemitism,” he notes, notably the horrifying massacre at the Tree of Life synagogue in Pittsburgh, when 11 people were killed and six  wounded. His wife’s temple in Indianapolis was also defaced with swastikas and a bomb was planted, that, thankfully, didn’t go off. It’s a stark reminder that such hatred isn’t confined to the Nazi era. 

“It doesn’t linger in the past as much as kind of occasionally seep out in the present,” Eisenberg says. But does he have any idea why antisemitism has been rearing its ugly head in the US? “It’s like anything else...when antisemitism is present so are other kind of tribal hatreds. It doesn’t usually rise up exclusively, especially in a country as diverse as America. So obviously everybody in our country — but around the world too — is experiencing a kind of tribal suspicion and so that’s never been good for Jews.”

It’s not the first time Eisenberg has tackled his Jewish roots. His debut off-Broadway play The Revisionist saw him co-star with Vanessa Redgrave, who played a character inspired by his aforementioned cousin. “Like any person who’s in the arts, your imagination runs out and you have to start mining your own past for stories,” he says. “But the history of Jewish people is just so endlessly fascinating. If you don’t end up exploring it, it would be a surprise.”

He’s less enamoured by Holy Rollers, the 2010 movie based on a true story in which he played an Orthodox Jew who gets involved in a drug-smuggling operation. “I don’t know if I’d be as comfortable doing that movie now, because at the time, there was really not a feeling of antisemitism in the air, or that it was part of like public discourse. And now it does feel that way. And so that movie was quite critical of this sect of Jews and kind of showed this in a way uglier side, in terms of what they were doing.”

In Eisenberg’s eyes, a film like Resistance “seems far more suited to the moment, a celebration of this heroic act”. It also gave him a chance to pay tribute to his mother, Amy, who worked as a clown at children’s parties when Eisenberg was growing up — yet another oddly personal connection he had to Marceau’s life. “I’m the son of a birthday party clown,” he shrugs. “My mother used to wake up early and paint her face like Marceau and go out and perform for children for a living.” 

To become Marceau, Eisenberg “lucked out”, spending months working with Lorin Eric Salm, a former student of Marceau’s in Paris who had also devoted time to chronicle the man’s life. “I just had this incredible two-pronged education of the practical application of mine and learning the movements as well as this kind of academic approach to learning about Marceau’s life and the history of mime.” He also worked with an improvisational mime artist from Prague.
I ask if Eisenberg’s mother’s time as a clown inspired his move into acting, which began professionally with 2002’s sublime Roger Dodger. At least in an “unconscious way”, he replies, it helped him take a job seriously that can be seen as frivolous. “That’s really quite helpful, especially for somebody like me — quite an analytical person who would [try to] second-guess myself.” It’s perhaps why some of Eisenberg’s more charming turns — including Woody Allen’s To Rome With Love and Café Society — have come in the comic arena.

For all his introspective qualities, Eisenberg can play the supremely confident type too — the Man of Steel’s nemesis Lex Luthor in Batman v Superman: Dawn of Justice and the slick David Copperfield-like illusionist in Now You See Me and its sequel. “I would love to go back,” he says, when I tell him there’s talk of a third in that series. “I loved the character I got to play. I mean he’s the world’s most confident magician so as a nervous performer like me it was the most ideal experience.” Somehow, those nerves don’t seem so apparent now.


SOURCE

Jesse E

Jewish Actor Jesse Eisenberg Reflects on Playing French Resistance Fighter, His Family’s Holocaust History

JUNE 12, 2020 1:28 PM

by Shiryn Ghermezian

Jewish actor Jesse Eisenberg opened up recently about the family he lost in the Holocaust and his personal connection to his latest film role, in which...

Jewish Actor Jesse Eisenberg Reflects on Playing French Resistance Fighter, His Family’s Holocaust History

JUNE 12, 2020 1:28 PM

by Shiryn Ghermezian

Jewish actor Jesse Eisenberg opened up recently about the family he lost in the Holocaust and his personal connection to his latest film role, in which he plays a central figure in the French resistance against the Nazis.

In the film “Resistance,” Eisenberg, 36, takes on the lead role of Marcel Marceau, a French mime artist who put his career on hold to rescue Jewish children from the Nazis during World War II. Born as Marcel Mangel, he began aiding the rescue efforts when he was 15, just a few years older than many of the children whom he saved. His own father was murdered at Auschwitz.

“My family comes from a part of Poland that is very close to where Marceau’s father came from in south-eastern Poland, so in some ways, it felt like I was playing somebody who, were I born with the same genetic makeup but 70 years earlier, I would be him,” said the actor in an interview with The Australian Jewish News.

Einseberg’s mother was a former professional clown, something he was able to reflect on when he played Marceau, he explained.

“The Social Network” actor also said he’s been practicing mime with his son. He recalled, “Before my child could speak I was rehearsing for this movie and performing mime for him. It transcended conversations that we would have had if he were older and could speak, and so there was something that was really unusually powerful and effective about using mime in dialogue with somebody who at the time couldn’t speak.”

Marceau initially used his talents as a mime for performance, but later realized he could also help lift the spirits of bereaved children. His process of finding a deeper meaning in his work resembled Eisenberg’s own path.

He told The Australian Jewish News, “I have tried to reconcile how the art that I am interested in can be of service to other people since I started acting and writing when I was 18 years old. I think a lot of artists struggle with this feeling — a lot of artists tend to be empathetic people and it’s sometimes why they were drawn to their work in the first place — and yet when you get wrapped up in the day to day business of it, you lose track of how your work can be of service to other people.”

He elaborated in an interview with Digital Spy, saying, “I started as a young man doing my writing and acting and my little plays. And then I met my wife, she kind of pulled me into a life of trying to use my artistry to benefit other people. And of course, I entered like Marcel — reluctantly — and then discovered that it doesn’t compromise your work. So for me, the story was incredibly personal…[It] spoke to me very specifically as somebody who is an artist, who’s constantly trying to reconcile the preciousness with which I treat my own artistry and helping others.”

“Resistance” filmed in Germany, and Eisenberg, along with his son, visited the site of the former Dachau concentration camp. At the site, the actor would meet with people affected by the war and spend time with the film’s German crew members who would tell family stories “some of which were really amazing about families that helped people survive the war — and some stories that they were ashamed to have in their family,” Eisenberg noted.

Discussing his own family’s connection to the Holocaust, Eisenberg said, “I became obsessed with my family’s history during the war when I was 19 years old. I would see my aunt every week — she died last year at 106 … She was born in Poland and then when she was about nine she came to America … I became really fascinated and it was interesting for me as an American teenager to have some connection to something that was so much more historically relevant than my own life. Doing this movie connected me that much more to that period of time.”


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Jesse Eisenberg on playing mime artist Marceau in "Resistance"

From Saturday Morning, 9:36 am on 13 June 2020 

Actor Jesse Eisenberg is best known for his portrayal of Facebook founder Mark Zuckerberg in the 2010 movie The Social Network.

In his latest role he's playing Marcel...

Jesse Eisenberg on playing mime artist Marceau in "Resistance"

From Saturday Morning, 9:36 am on 13 June 2020 

Actor Jesse Eisenberg is best known for his portrayal of Facebook founder Mark Zuckerberg in the 2010 movie The Social Network.

In his latest role he's playing Marcel Marceau in a little-known episode of the mime artist's life story: a daring attempt to rescue 120 Jewish orphans from the Nazis in the Second World War.

Resistance opened in New Zealand cinemas on Thursday 11 June.


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He spoke to Kim Hill from Bloomington, Indiana, where he's currently helping out at his mother's domestic violence shelter.

"We knew once the students started going home, they were going to lose volunteers and we love Bloomington," he says.

The film is personal to Eisenberg, whose Polish family were survivors and victims of World War II. 

"When I learned about my family's story of survival, my first thought was that this must be the most unbelievable story throughout all of human civilisation. And then, you read other people's stories of survival and you have the exact same feeling about those stories.

"It occurred to me that if a Jewish person survives the war in Europe, it usually requires some sort of miracle, some kind of unbelievable situation, and a hero - someone who is risking their lives to save them.

"And so, this story Resistance."

Eisenberg says his father's family left Poland in 1918, but the rest of the family remained. Most were shot in a Jewish cemetery apart from his cousin, a young girl, who was taken in by a Catholic family.

He wrote a play about the story where he plays a fictional version of himself as an entitled American meeting visiting her and coming to terms with his privileged life and her trauma.

One of the things that drew Eisenberg to Resistance was that it portrays a strong Jewish resistance, rather than just showing Jews as victims.

"What this movie does so well is that it empowers Jews, but not in a false way - it doesn't imply certain movie tropes onto the Jewish characters - it takes what it is that they do well; artistry, humour, cleverness, it celebrates those things and shows how they can be weapons of war or tools for being a saviour.

"It celebrates all the things I love about Jewish culture but in the context of a heroic story."


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Jesse Eisenberg on Snyder Cut fans, Jewish storytelling, and the one thing he looks for in a role

"I'm happy to indulge in sadness."


BY GABRIELLA GEISINGER

12/06/2020

[图片]

Jesse Eisenberg, in a red baseball cap and big, round glasses, is settling down against a tree, a swathe of green...

Jesse Eisenberg on Snyder Cut fans, Jewish storytelling, and the one thing he looks for in a role

"I'm happy to indulge in sadness."


BY GABRIELLA GEISINGER

12/06/2020



Jesse Eisenberg, in a red baseball cap and big, round glasses, is settling down against a tree, a swathe of green behind him on the tiny iPhone camera. "Sorry, I'm just in a park because I couldn't be in the house."

That his first words are an apology feel indicative of something. The second thing he does is ask how my family is doing, and ten minutes pass talking about one of many things in common: New York City's West Village.

It sets the tone for the conversation, in which he asks nearly as many questions as he answers. "Did you go to that restaurant across the street? That Italian restaurant. What was that place called? Malatesta? It's the best place in New York."

But Jesse isn't in New York and, even if he were, it's not like anyone's going to Malatesta right now. He's in Indiana with his wife Anna and their son.



"We rented an RV and drove here, so we were quarantined."

Jesse and his family came down to volunteer at a women's shelter previously run by his late mother-in-law. Coming to those in need is something that Jesse learned from his wife.

"She keeps telling me to, you know, shut up and humble myself, and use what it is that I do to help somebody other than myself."

Helping others is the tenet of the film which brought about this conversation. Jesse Eisenberg's new movie Résistance tells the true story of Marcel Marceau, the legendary mime artist, who was also a pivotal figure in the French resistance against Nazi invasion.

Though there is a difference between being a Jew now and then, for an actor who puts so much of himself into a role, one has to wonder what it's like to inhabit a character with whom you have a fundamental thing in common.

It's a question that causes him to pause his distinct scatter-gun verbal style, before explaining: "When I started researching Marcel Marceau, I discovered that he and his family come from a very, very similar area to where my family comes from in South-Eastern Poland.

"He's a guy who, as a young man, got into the arts and took himself very seriously, and then kind of became somebody who had to reconcile with helping others while doing his art. It's the exact trajectory of my life."

"And I lost family during the war like Marceau, obviously, and I'm sure like you too."

Jesse explains: "My family comes from a similar part of Poland. I started as a young man doing my writing and acting and my little plays. And then I met my wife, she kind of pulled me into a life of trying to use my artistry to benefit other people.

"And of course, I entered like Marcel – reluctantly – and then discovered that it doesn't compromise your work. So for me, the story was incredibly personal.

"And I lost family during the war, like Marceau obviously, and I'm sure like you too. I don't know. What is your background, your Jewish background?" His question runs so fluid to his story, that there isn't time to plan a rebuff manoeuvre.

I tell him about my late father, who fought in the Pacific theatre in World War II (he became a parent much later). "Oh, how ironic," he says, that Jewish humour that some might misunderstand striking a loud chord.

Jesse talks about his son, who was one-and-a-half years old when Jesse took him to visit Dachau Concentration Camp: "I thought, he's too young to be able to even sense that this is a place of terror.

"He slithered down from me as I was carrying him around where the barracks once were, and he was running around the overgrown area and he was laughing and giggling. And I had to chase him; the more I chased him, the more he was laughing.

"I was, like, initially horrified, because I thought we were disrespecting these hallowed grounds. But then I saw somebody kind of smiling and looking at my baby and smiling.

"It occurred to me that this was exactly the way that history needs to right itself, you know? That these horrors happened, and, of course, they're still happening around the world for different groups of people.

"And the correction is not just to mourn, but the correction is to carry on, and for a place where my son's ancestors – where they tried to exterminate my son's ancestors – for him to be running around and laughing... it's really a kind of form of, you know, history righting itself."

In Résistance, Marceau "comes to the conclusion that if the best way for them to resist is not just to pick one Nazi off at a time, dangerously on the streets of France, but actually to try to save as many kids as they possibly can."

"It just summed up that exact theme to me so perfectly – that the true way to win is just to survive."

 

"So he says the best way… you know, if you truly want to resist, the best way to resist is to survive. When I was watching my son run around overgrown barracks of Dachau, it just summed up that exact theme to me so perfectly – that the true way to win is just to survive.

"And yeah, so the movie spoke to me in so many wonderful ways, even more so than just being about Jews surviving the war, which my family did. It was more just about very – it spoke to me very specifically as somebody who is an artist, who's constantly trying to reconcile the preciousness with which I treat my own artistry and helping others."


As timely as his words are, they're more prescient than anything; our conversation took place before George Floyd's death at the hands of police, which pushed the Black Lives Matter movement further to the forefront. The truth of racism and violence has existed for centuries.

That his words feel applicable now is an example of something else Jesse confronts in his work. "Vivarium was written as a reaction to the housing crisis in 2009 in Ireland," he explains. "And yet it's coming out now, 11 years later, during a pandemic where everyone's stuck at home.

"Movies are perceived not at the time that they're written, but they're going to always be filtered by the time the audience sees them."

"It just reminds me that movies are perceived not at the time that they're written, but they're going to always be filtered by the time the audience sees them – and you will not be able to avoid that, no matter how hard you try to make something that is speaking to the moment."

Zeitgeist-y as ever, there's no way to speak to Jesse and not ask about the Snyder Cut, about which he's "very happy" for Zack. But there is something troubling about an audience wielding such great power, especially when the motives of groups can often be rooted in bigotry. 

He acquiesces it's a valid criticism, but is hesitant, it seems, to put a finer point on it. "Well, always, audiences have been dictating what people are making. But this is just kind of much more immediate, kind of pre-emptive."

Justice League and Batman V Superman, with all their muchness, are a far cry from his upcoming project in pre-production that he wrote and is directing. He describes the project as "pretty intimate", and it's hard not to think of the variety of roles Jesse has taken, from sprawling blockbusters to intimate indies, but the size of a film doesn't really matter to him. "I never know the scope and scale [of a movie] until we show up, and you realise that somebody’s been building a set for the last six months.

"As an actor, your job doesn't really change. So you can't ever take that kind of stuff into consideration because it doesn't really have a big effect on you."

Which begs the question, what does he take into consideration?

"I just want to do a role that feels like it could exist outside of the movie.

"90% of– if you were an actor, you'd quickly realise that 90% of the roles you're either auditioning for, or are asked to play if you're lucky enough to get sent movies, are just kind of characters that move the plot forward.

"And so even leading roles, a lot of time they're kind of just pawns for a larger story. So I just look for roles that I can play that feel like they can exist outside the world of the movie.

"To me, that means my imagination will run wild, and I could, you know, have a kind of creative experience that transcends what the audience might see."

When there's a lack of these kinds of roles, Jesse writes them for himself. But in the case of Marcel Marceau, it's a role which certainly lives outside the story Résistance tells.

It's hard to imagine stepping away from such a transcendental experience, especially one which is so evocative of personal and ancestral trauma.

"I'm happy to indulge in sadness. I find that it's a kind of enlightening experience."

"As you know from being part of the same culture I'm from, I'm happy to indulge in sadness. I find that it's a kind of enlightening experience, and so doing a movie like Résistance where every day you're kind of immersed in the world of pain – you know, I can't speak to other cultures as well as our culture, but we have never used that as an opportunity for self-destruction.

"We have only used that as an opportunity to grow, and to think, and to be creative, and to try to figure out ways for things like that to never happen again.


"And so after doing a movie like Résistance, it kind of opens me up to the sensitivity of, let's say, kind of modern instances of anti-Semitism, but probably even more specifically to modern instances of people being treated in similar ways around the world who don't have the same agency that I have."

As the conversation draws to a close, he asks after my mom and her work (by now he knows her profession, too). "I'd offer to bring her some food, but yeah, I'm not in New York," he says, and I actually believe that he would.


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One-on-one with Hollywood star Jesse Eisenberg

Known for his performances in The Social Network and Zombieland, Jesse Eisenberg speaks to The AJN about his latest role in World War II biopic, Resistance.

By SOPHIE DEUTSCH

June 11, 2020, 12:00 am

[图片]

FOR Jesse Eisenberg, his lead role in the new movie Resistance was not solely a professional...

Known for his performances in The Social Network and Zombieland, Jesse Eisenberg speaks to The AJN about his latest role in World War II biopic, Resistance.

By SOPHIE DEUTSCH

June 11, 2020, 12:00 am



FOR Jesse Eisenberg, his lead role in the new movie Resistance was not solely a professional endeavour, but one imbued with personal meaning.

“My family comes from a part of Poland that is very close to where Marceau’s father came from in south-eastern Poland, so in some ways, it felt like I was playing somebody who, were I born with the same genetic makeup but 70 years earlier, I would be him,” said the 36-year old Hollywood actor, known for his previous roles including as co-founder of Facebook, Mark Zuckerberg in The Social Network, and later starring in Woody Allen’s Café Society and To Rome with Love.

Directed by Jonathan Jakubowicz, Resistance – a World War II revolutionary tale of courage and hope in Nazi-occupied France – stars Eisenberg as then aspiring mime artist, Marcel Marceau.

Born as Marcel Mangel (he later adopted the name Marceau), Marcel worked to save Jewish children during the Holocaust, before rising to international fame as a professional mime.

Recruited by his politically active cousin Georges Loinger (played by Géza Röhrig), Marceau began aiding the rescue effort at 15 years of age, when he was only a few years older than many of the children whom he helped.

“Marcel talked about it infrequently and with the kind of humility that is striking,” said Eisenberg, speaking to The AJN by phone from southern Indiana where he and his family are currently based. They typically split their time between Indiana and New York.

“I don’t know what to attribute his humility to – whether he didn’t want to distract from his career as an artist, or he probably felt, like a lot of people, a certain amount of survivor’s guilt. I know that my family who survived the war in America felt a great amount of survivor’s guilt.”


Eisenberg’s Polish ancestry is one of many similarities connecting him with Marceau. Resistance also granted Eisenberg the opportunity to reflect on his mother’s artistic output as a former professional clown.

“When I became an actor in more serious movies and plays, I imagine that I could have taken the work that my mother did maybe less seriously, as a less sophisticated form of performance, but that would be an incorrect assessment to make,” said Eisenberg.

“My mother performed at birthday parties for children and took as much joy as anybody in a Shakespearean play, and took as much satisfaction from her craft [as] I think somebody who was doing something more sophisticated would be taking in it.

“The joy that she brought others through her creativity is an equivalent, if different, joy to something we might hold in higher esteem. I think what Marcel struggles with throughout the movie is wanting to be taken very seriously. He is very upset when someone refers to him as a clown, but the more honest assessment he would make in a moment of candour would be that he likes nothing more than bringing joy to these children, and that his greatest, most pure artistry is during those moments.”


The beneficiary of his mother’s artistic skill, Eisenberg has been practising mime with the next generation.

“Before my child could speak I was rehearsing for this movie and performing mime for him,” he said.

“It transcended conversations that we would have had if he were older and could speak, and so there was something that was really unusually powerful and effective about using mime in dialogue with somebody who at the time couldn’t speak.”

THE power of speech can often rally support for a cause or instil hope, but Eisenberg’s performance conveys how mime – the silent art – can be just as compelling.


In Resistance, Marceau initially uses mime purely for performance before discovering how his talent can fulfil a deeper purpose, allowing him to brighten the spirits of bereaved children.

“Marcel starts out as an indulgent young performer who is petulant and who thinks the most important things in the world are his performances. Over the course of performing for these kids, he realises what his art can do,” Eisenberg commented.

“Marcel was so worried that performing for kids would somehow degrade his craft, and I think what he discovers in the movie is that it is actually what forms his craft … When we first meet him, Marcel is performing in a dive bar and no one is paying attention. It’s joyless. And then when he is performing for the kids it brings out a reason for performing.”

In some ways, Marceau’s process of deriving meaning from his acting has mirrored Eisenberg’s own journey.


Eisenberg tells that his wife, Anna Strout, works with 100 underserved schools in arts education, and his best friend teaches in schools for struggling students. Eisenberg assists on both fronts.

“I have tried to reconcile how the art that I am interested in can be of service to other people since I started acting and writing when I was 18 years old,” he said.

“I think a lot of artists struggle with this feeling – a lot of artists tend to be empathetic people and it’s sometimes why they were drawn to their work in the first place – and yet when you get wrapped up in the day to day business of it, you lose track of how your work can be of service to other people.”

IN an early pivotal scene in Resistance, Marceau is alerted to the plight of Jewish orphans.

As he witnesses a group arrive by bus following Kristallnacht, the scene marks the beginning of Marceau’s transformation from a self-invested artist to a heroic figure concerned with alleviating the suffering of children under his protection.


The scene is all the more affecting when placed within a contemporary context.

“The day before we filmed that impactful scene the Tree of Life [Synagogue] shooting happened in Pittsburgh,” shared Eisenberg.

“On the one hand, it felt like we were doing a historical piece about a bygone time and thank God it’s over, and on the other hand we felt this is a disease that doesn’t ever seem to be eradicated.”

Filming in Germany offered additional insight that hit close to home.

“On weekends we were going to Dachau concentration camp and meeting with people affected by the war or even spending time with German crew who were working on the movie and would tell me the stories of their families – some of which were really amazing about families that helped people survive the war – and some stories that they were ashamed to have in their family,” he commented.

Reflecting on his own family’s involvement in the Holocaust, Eisenberg remarked, “I became obsessed with my family’s history during the war when I was 19 years old. I would see my aunt every week – she died last year at 106 … She was born in Poland and then when she was about nine she came to America … I became really fascinated and it was interesting for me as an American teenager to have some connection to something that was so much more historically relevant than my own life. Doing this movie connected me that much more to that period of time.”


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Jesse Eisenberg talks masculinity, cults and The Art of Self-Defense

2019/7/19

Jesse Eisenberg spoke with FanSided about his role as Casey in new film, The Art of Self-Defense and its look at masculinity.

This interview contains spoilers for The Art of Self-Defense.

Jesse Eisenberg plays meek protagonist...

Jesse Eisenberg talks masculinity, cults and The Art of Self-Defense

2019/7/19

Jesse Eisenberg spoke with FanSided about his role as Casey in new film, The Art of Self-Defense and its look at masculinity.

This interview contains spoilers for The Art of Self-Defense.

Jesse Eisenberg plays meek protagonist Casey in dark comedy film, The Art of Self-Defense. In an interview with FanSided, Eisenberg spoke about how the movie’s script was one he simply couldn’t put down. One of the few times in his career where he started rolling a picture the very next month after first read.

The star actor also mentioned how films typically take around two years to come together, so it was an amazing experience. Eisenberg spoke about the film’s take on masculinity, Casey’s unlikely journey, and one unpredictable, memorable ending.

FanSided.com (Nir Regev): I felt The Art of Self-Defense had some Taxi Driver elements in it from the perspective of the lost male in current society. Though this film is meant as a dark comedy, to me it was more of a drama. Author Ben Brooks once described you as an alternative role model for males in The Telegraph. How do you feel about your portrayal in this film?

Jesse Eisenberg: Yeah, I view the movie a little bit like what you’re saying and there’s a satirical element to it… But it’s also very earnest in its portrayal of both, aggressive men and very timid men. My character at the beginning is kind of a timid person to the extreme. I mean, he can’t even speak. He can’t say a word to his colleagues. He can’t even stand up for himself when he’s being insulted in a language that he knows how to speak.

So yeah, the character [Case] is timid into the extreme. But he’s so eager to be part of a group. He’s so eager to become a man and have some kind of masculine element to his personality, that he turns into a disgusting, horrible, aggressive guy.

Instead of just having a conversation with somebody at work, he punches them in the face like there’s no in-between for him. So, yes in a way, I think you’re exactly right that it’s the kind of film that can be viewed as a drama. A dramatic story about what happens to kind of ignored people in our society if they become radicalized. But I think the elements of it at least to me are funny [smiles] It probably depends on who you see the movie with.

There have been audiences that treat the film like it’s this raucous comedy. Other audiences treat it like it’s this kind of contemplative commentary on masculinity. It depends on the frame of mind you’re in. I think the movie is so good and so interesting that it can be viewed in both ways.

It’s interesting you mentioned masculinity. When I got the synopsis for this film, it was presented against aspects of masculinity. However, the eventual lead “masculine” villain Sensei empowers Casey for much of the film. It’s not until he’s breaking arms and burning evidence of a suicide that the viewer comprehends how cruel he is.

This seemed a bit like leftist commentary on extreme masculinity. Yet, Casey disposes of Sensei with a gun he originally ordered to protect himself post-mugging. This could simultaneously be interpreted a bit right wing in today’s climate. Was there any intended political angle?

Well, I think the movie is not political. Riley [Stearns] grew up in Texas, the son of a police officer. So he does not come from you know, kind of a liberal East Coast world. I don’t think the movie has any kind of political perspective. The only thing that it’s talking about that’s like culturally substantive is what it means to be a man in society. My character is grappling with that question.

When my character is confident, he comes across like a disgusting brute. And when he is timid, he comes across as a person who can’t even say one word to a colleague. The movie uses these kind of extreme, blunt versions of people to make a point about the absurdity of masculinity. But I don’t think it’s doing it from a political perspective or even critical of masculine people.

I think it’s just displaying all of this stuff as absurd. And audiences tend to walk away with whatever it is that was on their mind, prior to going into it. You know, if you’re predisposed to thinking of masculine men as ridiculous in terms that they have big dogs, listen to heavy metal music, and beat people up to show strength… You’re going to walk away thinking, that’s absurd. If you go into it thinking that timid men are ridiculous, you’ll probably also think that. The movie is equal opportunity in its absurd-ism.

There was a section in The Art of Self-Defense where Casey has a yellow belt and wants to wear it all the time. I know actors who say when makeup is applied to show an injury, they can really get into character. Did you feel the same way about Casey wearing the yellow belt?

Yeah, I remember being a kid and wanting a yellow belt because I was a white belt when I was like eight years old and taking karate classes. The yellow belt was this aspirational thing even though it’s like the lowest of the colors. So when I got to wear the yellow belt in the movie, it did feel empowering.

All the scenes where Casey, my character, is wearing his yellow belt are more confident scenes. Therefore, I just naturally associated it with being more confident, just because the scenes I was performing when I’m training are the more confident scenes.

Do you feel there really is something to the way a language sounds, that German sounds harsher than French and all that. Obviously, to a native speaker it’s just their language. How different is it to outsiders?

Yeah, I studied Russian in college and French for a movie, and I think there really is something to it. I would say there are some words that sound a little harsher in Russian. That sound a little less contemplative than French sounds to me, just as an American, as an outsider. In The Art of Self-Defense, my character decides he has to learn German in order to be masculine. We showed the movie last week in Munich and everybody was laughing.

I think if you just heard the same sentence in all three languages, you might walk away with that same feeling. But I just think it speaks again to the absurdity of masculinity thinking that there’s a language that’s more masculine than the other languages. That there’s a dog that’s more masculine than the other dogs. There’s some music… It uses these ideas and examples to make fun of these reductive ideas.

There’s a quote from The Dark Knight, “You either die a hero, or you live long enough to see yourself become the villain.” In The Art of Self-Defense, when Casey is riding with the motorcycle gang, he ends up killing a guy. Do you feel Casey has become a villain at that point in some way?

Yeah, I guess the movie can kind of speak to what happens to people who are so eager to belong, that they end up doing horrible things. I wouldn’t call him a villain because in a way he’s like a member of a cult. A lot of times, I imagine if these people were able to step back and relive their lives, they wouldn’t do that. Whereas the cult leader would probably do the same thing. So no, I think Casey as an innocent casualty of this sociopath’s plan.

Did you study any cults to prepare for the role?

Well, like everybody else, I just find it so fascinating. You can’t stop reading about it like the NXIVM cult. I mean it’s in a quiet street in Albany, New York. It’s just so shocking that this kind of thing could exist. As an outsider, you’re fascinated by the psychology behind it. When I first read this movie The Art of Self-Defense, I knew that Riley [Stearns] had made one other film and it was about cults.

So when I was filtering through it, I read it thinking it’s about cults. I mean The Art of Self-Defense is about this young guy who is eager to fit in and finds a manipulative, crazy scam artist. So you can look at it as a movie about a cult.

Were you expecting Casey “to get the girl” when you first read the script? It seemed there was some chemistry between Casey and Anna in the car conversation scene… But it surprisingly didn’t happen in the end.

This entire movie is a series of unexpected things. I think like 35 minutes into the movie, there is some violence that you are surprised by. The audience is always shocked by it because the movie is in a way set up to be like a formulaic sports movie. Which is that there is a kind of weak protagonist who gets attacked, decides to sign up for self-defense class, and it’s set up to make you feel like he’s going to get his confidence through sport… And that’s not what happens at all.

His confidence is actually disgusting and brutish and the sport is actually this kind of bastardization of karate. And so, when I’m reading the story and Casey has a relationship with this woman in the class, I didn’t know what to expect. But I know that everything that I think is going to happen is not. There’s unexpected turns everywhere.

Do you feel that you prepared for this role differently than you normally would?

Yeah, because it’s such an unusual style. I spent a month with Riley [Stearns] asking him if my character is supposed to speak like a normal person or not. He said yes, I’m not presenting normal people with realistic sounding voices and behavior. It’s a stylized movie.

So I went over every line with him. I said, ‘This is the way I plan on saying it, is this correct?’ I mean, I’ve never done it before because normally everything’s pretty self-explanatory. If it’s a naturalistic movie, the character speaks like a normal person. But this movie was so stylized and I loved doing it so much. I just wanted to make absolutely sure that what I was doing is correct.

What kind of research was done about the dark underbelly of martial arts presented in The Art of Self-Defense? I thought it was interesting because typically martial arts is depicted as this pure, virtuous kind of thing in movies.

Yeah, Riley [Stearns] said that he found some videos online where people were beating each other up. He was initially really shocked because he does Jujutsu himself. I think he was just pulled in out of shock. When he started writing this movie, I think it just naturally came out of him. I don’t know if this kind of world of underground violence really exists at all… Like it does in the movie. But certainly people do glorify beating each other up and such.

What made you choose this film originally?

Well, my hesitation was when in the first ten pages I thought, ‘Oh, this is just a typical comedy about a guy who is this helpless protagonist who gets strength from a sport,’ which I wasn’t really interested in. But I decided to continue reading past ten pages because I thought the dialogue was really funny. Normally, by ten pages you know as an actor this isn’t for me, put it down. It was so funny, I just wanted to keep reading it anyway.

What I realized actually, is it’s a completely different movie than I expected. I think it’s a really brilliant commentary and satire on masculinity. By the time I finished the script, I wrote to Riley [Stearns] the next day saying, ‘When can we start?’ The next month we were in Kentucky filming. It usually never happens that way! New movies really take like two years to kind of link them together, to get the money together, and to get their actors. We were in there in like a month. It was amazing!

Was that you in the motorcycle scenes or a stunt double?

Sometimes! I was on the back of it. If I was on the front, that would not be me. [laughs] I have a stunt double named Ryan Mooney who does that stuff.


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Jesse Eisenberg Learned "Imperfect" Karate for 'The Art of Self-Defense'

By Eric Francisco on July 14, 2019

In most big-budget action movies, there are months of training and prep with dozens of professional stunt performers ready to pull off amazing feats on camera. None of that happened...

Jesse Eisenberg Learned "Imperfect" Karate for 'The Art of Self-Defense'

By Eric Francisco on July 14, 2019

In most big-budget action movies, there are months of training and prep with dozens of professional stunt performers ready to pull off amazing feats on camera. None of that happened for The Art of Self-Defense. Instead, it was just three weeks of a “karate school,” inside a New York gym until the cameras rolled.

A low-budget dark comedy set in a neighborhood McDojo, director Riley Stearns (himself a purple belt in jiu-jitsu) paints a satirical portrait of toxic masculinity in the story of Casey, played by Jesse Eisenberg, who signs up for a karate class after a brutal assault. He is quickly inspired to grow past white belt and achieve a yellow belt, and maybe all the colors — green, purple, blue, red, brown, and finally, black — until fate takes a decidedly grim turn.

Alongside co-stars Imogen Poots and Alessandro Nivola, Eisenberg endured real karate training under accomplished martial artist and stunt coordinator Mindy Kelly, whose credits include Alita: Battle Angel and Marvel’s Daredevil series. Other scenes were choreographed by the director, whose own knowledge in the grappling arts is featured in the film.

“It was a new experience, and I guess that much more inspiring because it was such an unfamiliar experience,” Eisenberg tells Inverse.

Eisenberg, known for movies like 2010’s The Social Network and 2009’s Zombieland, hadn’t studied karate since the ‘90s when he was a kid in suburban New Jersey, where martial arts dojos line up strip malls.

“It wasn’t for me,” he says, “I realized if I’m never going to get those more colorful belts then this is not worth it. I never progressed past white.”

Which is why Eisenberg found training for The Art of Self-Defense a wild, albeit brief ride. Eisenberg, with Poots, prepped in a sweaty boxing gym in New York City, “a place I might have passed a million times and would never have stepped foot in,” the actor jokes. “By doing this movie I had to go in every day for three weeks, smelling of sweat and testosterone, two things my body doesn’t produce.”

Alessandro Nivola, who plays “Sensei,” began training just three days before production began. But he was ready. Says Eisenberg, “Alessandro came to do this movie straight from another movie where he had to play a Mossad agent, so he was in peak physical condition.”

Training was supervised by Mindy Kelly, a champion martial artist with black belts in kenpo and taekwondo. She’s worked alongside some of Hollywood’s biggest stars, including Lady Gaga and Childish Gambino. Kelly was The Art of Self-Defense’s one-woman army.

“I was the entire stunts team, aside from doubles for scenes,” Kelly tells Inverse. In collaboration with the director, she sought a true “realism” in martial arts than even Jason Bourne and John Wick.

“We very much wanted it to [actually] be Jesse and not the back of his head,” says Kelly. “The imperfection is what makes anything interesting. I wanted to story-tell through movement, I consider movement an extension of one’s psyche. Riley created a world so grounded in a gritty reality [it] provided us the perfect platform to work with the actors.”

While the actors have all trained in martial arts for previous movies — Eisenberg learned Filipino Martial Arts when making 2015’s American Ultra — Kelly and Stearns had something different in mind.

“I call it movie fu,” says Kelly, “It’s the art of selling action without hurting somebody. What people do in a real fight doesn’t sell on camera.”

Using padding and her own iPhone camera, Kelly showed the actors what their “missed” hits look like onscreen. “I choreograph to enhance somebody. It’s what looks good on them or what they’re comfortable with.”

While Kelly took care of the action when the characters are standing up, Stearns, who wrote the story of The Art of Self-Defense based on his own journey into martial arts, choreographed when the action hit the floor.

“I’ve been training in jiu jitsu for six years,” he says. After finishing his 2014 film Faults, Stearns found inspiration for his next film in the grappling arts. “I was like, why wasn’t I setting something in the world of martial arts? I started thinking what that movie might be like, and not something you’d seen before. Introducing my own thoughts and fears on masculinity, who I was as a man, and expectations that society had for us.”

Stearns found jiu-jitsu as a closeted fan of MMA. “I used to watch UFC and change the channel when someone would walk in. I didn’t feel like the right kind of guy, because only jocks or dudes appreciated the violence. I still don’t like violence, but I think it has a place in art.”

The director took to jiu-jitsu when he noticed fighters using it to outmaneuver opponents. While many martial arts styles emphasize striking force, jiu-jitsu is founded on leverage and technique. “I wanted to learn how to submit someone and not get struck in the process.”

When a gym opened near Stearns, it took three years for him to walk in. “Just like Jessie in the movie, [I was] feeling, What if I don’t belong? What if I’m not man enough? Finally, I walked through those doors and felt a sense of belonging.”

Now a purple belt, Stearns incorporated jiu-jitsu through Imogen Poots’ Anna, a brown belt who teaches submissions to kids and uses it in the film’s violent “night classes.”

“We did have a purple belt that was Imogen’s stunt double who was a jiu-jitsu practitioner as well. Between her and me we did the ground stuff and Mindy did the stand up fight stuff,” says Stearns. “Everyone had a double but I tried not to use the doubles as much as possible.”

Is The Art of Self-Defense a “martial arts movie”? Stearns doesn’t avoid the term, but believes his film is fundamentally different than what you’d see from Jet Li. “There’s martial arts scenes, but it’s not about that,” he says. “John Wick is action. You go for the spectacle. For me, being a small indie film, I knew we’re on a different level. You play play to your strengths.”

“It’s not trying to be flashy or cool,” says Eisenberg. “Self-defense is not something that should be used for violence. It can be an art form which means it can have different manifestations in the way art has different interpretations.”


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CS Interview: Jesse Eisenberg On Vivarium & Resistance

MARCH 27, 2020

[图片]

In Vivarium, on their search for the perfect home, Gemma (Imogen Poots) and Tom (Jesse Eisenberg) visit a new house in a labyrinthine suburban neighbourhood. When they attempt to leave, each road mysteriously takes...

CS Interview: Jesse Eisenberg On Vivarium & Resistance

MARCH 27, 2020


In Vivarium, on their search for the perfect home, Gemma (Imogen Poots) and Tom (Jesse Eisenberg) visit a new house in a labyrinthine suburban neighbourhood. When they attempt to leave, each road mysteriously takes them back to where they started, leading them on a mind-bending trip, trapped in a surreal nightmare.

The film stars Oscar nominee Jesse Eisenberg (The Social Network), Imogen Poots (Black Christmas) Jonathan Aris (Radioactive), Danielle Ryan (Professionals), Senan Jennings (Royally Ever After), and Eanna Hardwicke (Normal People).

Vivarium is directed by Lorcan Finnegan (Without Name, Foxes) who co-wrote the screenplay with Garret Shanley (Without Name, Self-Assembly). Fantastic Films’ Brendan McCarthy and John McDonnell produced in association with Lovely Productions, in co-production with Belgium’s Frakas Productions and Denmark’s Pingpong Film. XYZ executive produced the film.

Based on the inspiring true story, Resistance follows the revolutionary tale of a selfless act that would forever change countless lives. Before he was the world-famous mime Marcel Marceau, he was Marcel Mangel, an aspiring Jewish actor who joined the French Resistance to save the lives of thousands of children orphaned at the hands of the Nazis. Jesse Eisenberg stars in this compelling drama about a group of unsung heroes who put themselves in harm’s way to rise above hatred and oppression during World War II.

As a young man growing up in Nazi-occupied Europe, Marcel has no intention of getting involved in the war – his pursuits include impersonating Charlie Chaplin in burlesque clubs, painting backdrops for his plays, and antagonizing his obstinate father. His life is thrown into upheaval when he is recruited into the French Resistance, putting his acting skills to the ultimate test in teaching orphaned Jewish children how to survive in the horrifying reality of the Holocaust.

The film stars Oscar nominees Jesse Eisenberg (The Social Network) as Marcel Marceau and Ed Harris (Westworld) as George S. Patton along with Edgar Ramirez (American Crime Story) as Sigmund, Clémence Poésy (Harry Potter films) as Emma, Matthias Schweighöfer as Klaus Barbie, Géza Röhrig (Son of Saul) as Georges Loinger and Bella Ramsey (Game of Thrones) as Elsbeth.

Resistance is written and directed by Venezuelan filmmaker Jonathan Jakubowicz (Hands of Stone). The film is produced by Claudine Jakubowicz and Carlos Garcia de Paredes, who worked together for Hands of Stone. Marcel Marceau’s oldest son Baptiste has reportedly been closely involved with the research for the film and will executive produce. Dan Maag, Thorsten Schumacher, Carlos García de Paredes, Patrick Zorer, Jonathan Jakubowicz, Stephanie Schettler-Köhler, Matthias Schweighöfer, Marco Beckmann, and Lars Sylvest are also set as producers.

Eisenberg, having been born in Queens, New York, raised in East Brunswick, New Jersey in a Jewish household, found a lot of “strange coincidences” about the project when receiving the script for Resistance, including his own familial ties to the story itself.

“I grew up as the son of a clown, my mom used to paint her face like Marceau and entertain kids at birthday parties and hospitals and schools,” Eisenberg recalled. “So, from a young age, I’ve kind of been exposed to at least the aesthetic of mime and certainly clowning. And then, I lost a lot of family during the war in an area very close to Marceau’s family, and so, that had kind of special meaning for me, to be able to do a story about that period. I have survivors in my family, and so, it just overlapped with my life in so many different ways.”

Despite having fun playing more ham-worthy or bad-natured characters such as Lex Luthor or Mark Zuckerberg, Eisenberg loved getting to take on the role of Marceau, who he likes to think of as “this reluctant hero.”

“He starts the movie as a kind of fledgling performer doing one-man shows, and he’s asked to entertain kids, which he feels is beneath him as an artist,” Eisenberg described. “What he comes to appreciate is that he can perform for kids without compromising his work, and then ultimately grows into this hero, where he ends up risking his life to save these children in a way that I think means that I think in a way that prior to that experience, he’d never imagine that he’d wind up doing.”

With the various important themes in the movie, from the wrongful discrimination of people to learning how to sacrifice for what matters, Eisenberg thinks the most important thing he took away from the film that he hopes audiences get as well is “being able to reconcile doing what it is that you like to do and using it to benefit other people.”

“I mean, here’s this guy who was an artist who thinks of himself in these very serious terms, and yet, he finds a way to use his work to benefit other people in a way that is completely selfless,” Eisenberg said. “I think about that as somebody who is in the arts and somebody who, I consider a lot of what I do to be pretty indulgent, and yet I married somebody who was an activist and a teacher, who grew up volunteering in her mother’s domestic violence shelter and works in the poorest schools in New York. For me, it’s always been a struggle to kind of reconcile the kind of self-serving part of what I do with the really benevolent work that my wife does. This movie I think speaks to that negotiation so beautifully, about how you can do something that might feel self-indulgent, but if you shift part of it, it can become a really benevolent and wonderful thing for others.”

When it came to Vivarium, Eisenberg found himself loving the Twilight Zone and Black Mirror quality to the project, describing it as an “abstracted” and “surreal version” of both the hit sci-fi series.

“It felt like a more kind of art film version of a kind of Black Mirror, where it was not as didactic about the dangers of technology or modernity, but really was more of a fever dream,” Eisenberg said. “It’d be the kind of nightmare you’d have the day before you get married or buy a house or have a child, the kind of abstracted manifestation of our unconscious fears, the fears that we all have about making commitments to things, and how we are pursuing them seemingly by choice, but underneath it, have this terrifying, foreboding sense of permanence or mortality or claustrophobia.”

The Oscar-nominated star found the subtle exploration of the housing crisis in the film as a fascinating socioeconomic theme to touch upon, especially given writer/director Lorcan Finnegan’s personal history with the subject in his home country of Ireland.

“The movie was inspired by the housing crisis, where people were kind of increasingly desperate to find houses, and therefore had to kind of, let’s say go further and further out of where they’re working or where they want to live,” Eisenberg explained. “In this movie, at least, the character’s desperation to buy a house becomes their undoing. I think it was kind of addressing the dangers that come with an increasingly desperate desire to be a part of the middle class life, and succumbing to the pressures that exist in society of having the perfect house and family and marriage and children, I think it was intended to speak to those fears. I think what it’ll speak to now, because it’s coming out now during this crisis is that the kind of claustrophobia you feel being so isolated. The characters are living in this suburban town and are surrounded by literally no one. They knock on the doors of the neighbors and no one’s there. They walk outside and no one’s there. They hear the echo of their own voice and they’re stuck with this child who’s becoming increasingly stir crazy. In a different way, I’m with my three-year-old and we’re trying to make it across country together, and he’s becoming increasingly stir crazy and we’re becoming increasingly claustrophobic. I think that’s probably a very typical experience right now.”

Prior to working together on Vivarium, Eisenberg and Poots worked together on the well-received drama Solitary Man in 2009 and last year’s acclaimed dark comedy The Art of Self-Defense and in coming into the film enjoyed getting to work alongside her once again, calling her a “great actress” who enjoys “experimenting with different tones” in the same way he does.

“The last movie we did together was this brilliant movie, The Art of Self-Defense, where the tone was this kind of very strange literal flat affectation and unusual performance style,” Eisenberg recalled. “And Vivarium is a very naturalistic performance style, but in a far more surreal universe. And she just understands those things in such an instinctive way, and similar to me, I think really enjoys doing that. You know, as opposed to kind of doing just a more naturalistic kind of performance style one after another.”

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In Vivarium, Jesse Eisenberg and Imogen Poots find home isn't what they expect

MAY 9 2020

[图片]

The prospect of interviewing Jesse Eisenberg was a little unsettling.

Eisenberg, whose movie credits include The Social Network, has occasionally come across as awkward, even hostile during interviews....

In Vivarium, Jesse Eisenberg and Imogen Poots find home isn't what they expect

MAY 9 2020


The prospect of interviewing Jesse Eisenberg was a little unsettling.

Eisenberg, whose movie credits include The Social Network, has occasionally come across as awkward, even hostile during interviews.

In fairness, what could seem like difficult behaviour could be dry humour or an off day (we all have those, and for performers, being asked the same questions over and over again must take its toll).

When Eisenberg rang, he couldn't have been more prompt, polite or pleasant. He seemed intrigued by the fact that although he was calling at night from the US, it was 11am the following day here.

He even thanked me twice for talking to him, at the beginning and end of the interview.

Eisenberg was discussing the film Vivarium, in which the suburban dream of owning a home turns into a nightmare.

But the problem isn't a financial one. It's far, far stranger than that.


Since a vivarium is an enclosed area to keep animals for study or research, the title provides a clue as to what's going on, though it probably will not be what you think.

Young couple Tom and Gemma (played by Jesse Eisenberg and Imogen Poots, respectively) are taken by a real estate agent to a housing development called Yonder.

It's strange and silent and apparently unpopulated and all the houses and all the streets appear to be identical. The agent surreptitiously abandons them while they are walking through house Number 9.

Tom and Gemma attempt to drive out of Yonder but somehow always come back at Number 9. When their car runs out of fuel they decide to spend the night in the house. Food and other necessities mysteriously appear, and then a box arrives with a baby and a note: "Raise the child and be released."

And things get weirder from there.

Vivarium was directed by Lorcan Finnegan and written by Garret Shanley, with the story being devised by both. Eisenberg says, "I thought it was a brilliant fever dream of a movie."

For him, "It's about all of the worst unconscious fears of moving into the next stage of your life we make."

There's the fear of moving in with a partner, the fear of having a child and of how that child will turn out and the fear of becoming mired in debt.

"It takes all those fears and turns them up to 10."

While he acknowledges the situation depicted in the movie is fantasy, the underlying fears it depicts - of life, of suburbia, of family - are real. It's not literal, he says, but "more like evocative, a Salvador Dali evocation".

The surreal story could, he says, also be read as a critique of "the evils of suburbia".

Eisenberg is a successful Hollywood actor. Other than the intellectual stimulation, Vivarium doesn't have any direct resonances for him - "I don't feel the same fears my character has".

He says, "I do think the themes are so artfully done," - and he can relate to the ideas about unconscious fears and regretting bad decisions.

He seems to be coping well with the COVD-19 restrictions.

"We're in the Midwest of America - Indiana," the actor says.

"We're doing OK, pretty well."

The "we" here refers to himself, his wife Anna Strout and their young son Banner. But rather than simply binge-watching Netflix or learning to make sourdough, Eisenberg has been helping others during the confinement period.

"I work with a a local shelter for victims of domestic violence," he says.

Eisenberg, who has made donations to and spearheaded fundraising for the shelter, is also contributing in a more hands-on way.

"I've been there every other day volunteering."

The shelter, where his mother-in-law is executive director, had been understaffed because a lot of the student volunteers from college town Bloomington, where it's located, had returned to their homes.

Eisenberg is one of at least 10 executive producers named on Vivarium but he says the credit is "purely nominal".

Putting the film together was complicated - it's a Belgian-Danish-Irish co-production that was filmed in Belgium and Ireland - and having Eisenberg and Poots, who also made The Art of Self Defense and Solitary Man together, didn't hurt. She approached him to act with her in Vivarium. Given their series of offbeat collaborations, it's not surprising Eisenberg says, "I've gotten to really like her."

Eisenberg says, "It's important to try different things" since even a successful actor has a few months off a year: without down time and other interests, he says, "you go crazy".

And try different things he certainly has, both as a film actor and in other creative endeavours. As well as film acting, Eisenberg has written stories for The New Yorker and McSweeney's, acted on stage numerous times and written several plays.

His next project obviously had to be postponed.

"I was supposed to be in Bosnia to direct something," he says.

That "something" is a movie he wrote, When You Finish Saving the World, a mother/son story starring Julianne Moore and Finn Wolfhard that's based on Eisenberg's Audible piece of the same name.

But, as Eisenberg says, coronavirus is "the collective focus right now", even if people and countries are dealing with it in different ways. And one of the ways he is dealing with it is by helping others.


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Uncover the Forgotten Wartime Heroism of Marcel Marceau in Resistance

Jesse Eisenberg and UT student-turned-filmmaker Jonathan Jakubowicz find strength in silence

BY RICHARD WHITTAKER, FRI., MAY 15, 2020

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In strife, we find ourselves. That's the story of Resistance, which sees two men revealed...

Uncover the Forgotten Wartime Heroism of Marcel Marceau in Resistance

Jesse Eisenberg and UT student-turned-filmmaker Jonathan Jakubowicz find strength in silence

BY RICHARD WHITTAKER, FRI., MAY 15, 2020


In strife, we find ourselves. That's the story of Resistance, which sees two men revealed in the crucible of war. On one side was Nazi war criminal Klaus Barbie, a monster empowered by the Third Reich. His polar opposite – and the true center of Jonathan Jakubowicz's Resistance – was Marcel Marceau. The famous French mime, whose iconic white-faced creation Bip the Clown captivated generations, was a member of the French Jewish Resistance. Yet, rather than picking up a gun, Marceau smuggled hundreds of orphaned Jewish children across the border into Switzerland, using his art to help distract and calm the children. Jakubowicz said, "That's what makes him the greatest mime of all time."

On May 17, the Austin Jewish Film Festival will hold a free webinar with Jakubowicz and Jesse Eisenberg, who plays the mime and wartime hero who saved lives through unconventional means. It will be a virtual homecoming for Jakubowicz, a former UT-Austin student from Venezuela whose debut feature, Secuestro Express, was executive-produced by local creative force Elizabeth Avellán.

The event comes at a time when we are all thinking more than ever about those that Jakubowicz called "civilian heroes," a sentiment Eisenberg echoed. "Three months ago I don't think we necessarily would be able to predict who would be the heroes of this moment. We wouldn't have thought that the person who works at the grocery store is going to be risking their lives to keep some semblance of society afloat. We wouldn't have thought that the pizza delivery guy is going to be somebody who is risking their health for a social benefit." Similarly, he said, "You wouldn't have thought the mime is going to be able to be a hero. Only in retrospect do you go, of course there are going to be kids who are orphaned who are going to require not only a guardian figure, but somebody who keeps them entertained, and gives them a semblance of normalcy."

When developing the script, Jakubowicz knew that he needed an actor who could provide "a physical performance that goes beyond the script, that takes the goal of going beyond entertaining and moving people through unexpected ways." By happenstance, he learned that Eisenberg's mother had been a children's party clown while the actor was growing up, and the pieces all fit together. "By midway through the script, I was basically writing it for him."

That's why Eisenberg got a most unusual pitch packet from Jakubowicz. He recalled, "I received the movie script, which is typical to receive, and a side-by-side picture of Marcel Marceau and me, which is atypical." He was caught off guard by the physical similarity, and also by the shared history: Their families were from the same part of Poland and had left as part of the Jewish diaspora – the Eisenbergs to New York, the Mengels (Marceau's real name) to Strasbourg. And then, of course, there was his family connection to clowning.

“Every survivor’s story requires some kind of miracle, and some selfless person putting their life on the line.”– Jesse Eisenberg

Eisenberg still went through months of formal training in mime. Yet, it wasn't until they got to set, and were working on one vital scene – where Marceau distracts distraught orphans through an early version of his classic routine Walking Against the Wind – that Jakubowicz saw him truly understand what he had learned. "He completely forgot about technique, and started focusing on making sure the children got what he was doing. Part of the reason the scene is so moving is that Jesse is going through the same thing that Marcel went through, which is the realization that technique is second to emotion."

It was a make-or-break scene for Eisenberg as a mime artist, because this is the moment that he has to truly entertain the kids – not just in the performance, but on the set. He'd even rehearsed a dozen back-up improvisations with one of his mime coaches, Tomsa Legierski, all pulled from Marceau's repertoire. "They were fail-safes if the kids weren't laughing," he said. "It really felt like I was using live market research. If the kids like it, then we knew that it would work in the movie. But then it has this other effect, selfishly, that I was doing the right thing. Because even if the technique was slightly off, the fact that the kids were reacting to it was so much more important."

The menace from which they were fleeing was Hauptsturmführer Klaus Barbie, dubbed the Butcher of Lyon for his acts of barbarity and played with chilling fury by Matthias Schweighöfer. That two iconic figures of the mid-20th century – the mime and the murderer – were in the same city at the same time for Eisenberg was less about the men than what the circumstances brought of them. He said, "These two guys were operating in the most heightened of ways – Barbie in the worst possible way, and Marceau in the best possible way."

Jakubowicz goes to great lengths to show them as mirror opposites, but at the same time Barbie is never a cartoon. "Nazis are so often portrayed as this alien force, or these monsters who are completely unrelatable. I think the only way we can ensure that something like this never happens again is to truly understand that these were humans. This was a nation that was completely convinced they were on the right side of history."

Ultimately, Barbie was a savage whose hideous urges were indulged, even lauded, by society. In Marceau, Jakubowicz sees someone for whom his heroic actions and his art are summed up in that one word: resistance. "The essence of miming is using the illusion that some object is offering resistance. You put your hand on a wall that doesn't exist, but the audience can see it because it is offering resistance to the hand. Is resisting fighting, or is resisting survival, or is resisting creating visual elements where nothing exists?"

For Eisenberg, the story of Marceau is not an aberration, but familiar. His lineage is filled with both survivors and victims of the Holocaust, and the difference was often a Marceau: not a larger-than-life figure, but one of those civilian heroes who uses what they have to save a stranger. He said, "Every survivor's story requires some kind of miracle, and some selfless person putting their life on the line."


Austin Chronicle: For a long time, Marcel Marceau was instantly recognizable globally. But there are three elements of this film when it comes to talking about him. First, that there are a lot of people who have forgotten about him, or never knew how important he was as a popular figure. Then there's the aspect of introducing them to this story that they may not know. But then there's a third component, that he was almost the definitional French performer, and a lot of people didn't know he was Jewish.

Jesse Eisenberg: Part of the reason that they're not fully known is that he, personally, was not interested in talking about it. I don't know why. I think I can speculate. There was a certain humility there, in not talking about this heroic thing that he did. And just extrapolating on what I know about Marceau, I think he just wanted to be seen as an artist, and not distract audiences with his personal life – which includes his work during the war.

It's also about his iconic status. His look became synonymous with mime, and there was a period in the Eighties were mime was something that was silly. It was the guy in Central Park who came up to you on a date and was an inconvenience. I think Marceau did everything he could to counteract that trope because he was such an amazing performer. So one of the things this movie does is not only show the beauty of the craft of mime, but how it was used so practically to entertain these children in the most horrific circumstances.

AC: When did you first find the story of his involvement with the Jewish resistance?

Jonathan Jakubowicz: I think the first time I heard it was probably in social media. There's this site called Open Culture that's always filled with very interesting stuff, and I remember that they mentioned that, and I had no idea either. First of all, I had no idea that Marcel Marceau was Jewish, and the notion that he was heroic in the war was unbelievable to me, and immediately felt like a movie. So I started doing research, and I realized that it wasn't really a secret. The information was there. He just didn't see himself as a hero. He always downplayed even to himself what he did.

There's a very emotional speech he gave when he received the Wallenberg Medal of Honor. He says, when you see millions of people dying around you, there's no way that you feel important because you save dozens, or even hundreds. Very late in his life, he realized he did something very important, and that's when he began to share it.

AC: That's something that's quite common, that a lot of people who were involved in World War II didn't talk about it. It's something they put behind them, so how did you get the details you did?

JJ: When I was premiering my prior film, Hands of Stone, at the Cannes Film Festival, I was able to track down Georges Loinger, who was the first cousin of Marcel Marceau and the head of the Jewish Boyscouts of France during this entire operation. He was truly at the center of it all, and he was the one who invited Marcel to join at the beginning of the movie. I was able to meet with him in Paris – he was 106 at the time – and he started telling me a lot of what you see in the film. He had a terrific brain, and he remembered everything, and it was such an incredible story that I felt there was absolutely nothing else I could do with my life. I couldn't stop until I'd finished it.

AC: You're not just depicting mime, but a particular mime artist at a very specific moment in his creative career.

JE: Luckily, I had this incredible teacher, [Mime Theater Studios instructor and choreographer] Lorin Eric Salm who was not only a student of Marceau in France, but an unofficial chronicler of Marceau's life. So I had this wonderful two-pronged education. One was the technical craft of my performance, and the other was this almost academic history of not only the mime, but the origins of Marceau's specific work, and how he changed the craft.

AC: A lot of people don't realize how formal mime is, how much training there is, and even what is and isn't considered mime.

JJ: Lorin read the script, there was a scene where Marcel got onto stilts, and he told me, "That's not miming, that's clowning."

He'd teach Jesse very specific elements that Marcel used to do, even mistakes that Marcel considered mistakes in his own technique. ... There were elements that made the discipline specific to Marcel, some of the movements and some of the philosophy behind it: Make the impossible possible, and the invisible visible. It's a philosophy that Marcel used to teach his own students. It's the definition of what he's doing onscreen in our movie, but also in every one of his performances.

JE: To your point about the specificity and dogmatism in some of these areas of mime, I was doing certain things in the movie that only Marceau would do. There was a certain way he held his fingers together – in fact, he dissuaded his students from copying this [in] particular, whether it was because he wanted to teach them a more pure form or to keep it to himself, I don't know. But there's a great history of mime and when you delve into it, it's as serious a craft as any art form.

AC: And mime, like a lot of physical theatre, is very precise, where every movement has to be measured.

JE: My mother, when I was growing up, she performed clowning for children. My dad was a social psychology professor so he was able to assess what things about clowning were scary to kids, from a sociological perspective, so my mother was able to employ those techniques. So, for example, big shoes and a fake nose were very off-putting to children, so while she was doing this very silly performance, she did it with such precision. And, similarly, Marceau was an expert in precision. I think he performed 300 nights a year, even into his older age. He was so unbelievably precise, and in a way that's deceptive to an audience. They are experiencing mime as a kind of silly, abstract art form, but behind it was the precision of Baryshnikov. And sometimes as an actor you're performing naturalistic material, but with great actors they're performing naturalism with great precision, and it comes from training and experience. The real skill set is in doing it in such a way that the audience is not aware of your training.


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Jesse Eisenberg and Anna Strout support local organization Middle Way House

BY LIZZIE KABOSKI
Published May 3, 2020 5:54 pm


[图片]

Domestic violence hotlines across the country receive over 20,000 calls daily, an average of about 15 calls every minute.

Due to COVID-19, families are isolated and victims...

Jesse Eisenberg and Anna Strout support local organization Middle Way House

BY LIZZIE KABOSKI
Published May 3, 2020 5:54 pm



Domestic violence hotlines across the country receive over 20,000 calls daily, an average of about 15 calls every minute.

Due to COVID-19, families are isolated and victims of violence are quarantined with abusers. Therefore, calls have increased and domestic violence is on the rise.

At the Middle Way House, a local organization that supports victims of intimate partner violence and human trafficking, the situation is no different.

“People are quarantined together,” Anna Strout, a program producer and volunteer at the Middle Way House said. “I was speaking with the shelter this morning, and stats show that calls are up at the shelter.”

The Middle Way House provides services to victims of intimate partner violence and human trafficking. Services Middle Way House provides include shelter, a 24-hour crisis hotline, legal advocacy, support groups, child care and job placement services to all genders.

Despite the pandemic, the shelter is still operating 365 days a year, seven days a week, 24 hours a day in a disclosed location across from the police station on 338 S. Washington St. They have two housing centers, the 30-bed New Wings Emergency Shelter for temporary crisis housing and the Rise, a transitional housing center that accommodates 28 families. 

Strout, a Bloomington native, began volunteering at the Middle Way House when she was 14 under the guidance of her late mother Toby, who served as the executive director for 30 years.

Today, Anna and her husband, actor Jesse Eisenberg, live in Bloomington and dedicate their time to working at the shelter. The couple and their 3-year-old son have been living in Bloomington for the past month after self-isolating in an RV for two weeks while traveling from Los Angeles. 

Eisenberg, who is known for his Academy Award-nominated portrayal of Mark Zuckerberg in “The Social Network,” grew up in New Jersey and had never heard of Bloomington before he met Strout. He said he’s in awe of the community-minded citizens and creativity that is present in the town.

“It felt like a well-kept secret,” he said. “Bloomington seems to be made up of some of the most civically minded, socially engaged citizenry.”

Eisenberg took his affinity for Bloomington and wrote a book for Audible that will be narrated by himself, actress Kaitlyn Dever and actor Finn Wolfhard. It takes place on the campus of IU in 2002. There are plans for a movie adaptation as well, produced by Emma Stone and starring Julianne Moore, Eisenberg, Dever and Wolfhard.

His involvement with the Middle Way House started with Strout and her mother, who he said ran the organization in a way that was egalitarian.

“I’d never seen a nonprofit work so efficiently,” Eisenberg said. “It was empowering to the community and the people who pass through the shelter.”

He has spent his time at the shelter doing more tangible tasks like painting, cleaning and disinfecting, allowing him to feel more useful.

“Sometimes I feel inadequate just doing interviews about it or just giving money,” Eisenberg said. “I want to be helpful in a more direct way.”

Eisenberg recently made a $50,000 donation to the organization after family friend Amy Schumer, comedian and actress, did the same. Strout, Eisenberg and Schumer filmed a public service announcement to raise awareness and distribute the National Domestic Violence hotline number that will be released Monday on Instagram.

Global organization GivingTuesday organized a giving day in response to COVID-19. This is in addition to the organization’s annual Giving Tuesday on Dec. 1. Strout said it's a great opportunity to support the Middle Way House and other organizations in need.

The Middle Way House is collaborating with local businesses such as the Inkwell Bakery and Cafe, Primary Inspired Eats and the People’s Cooperative Market to raise money for the organization. A portion of the proceeds will be donated to support the Middle Way House. In addition to making donations, a wish list of items that the Middle Way House needs is available on their website.

Abbey Stemler, owner of the Inkwell, began volunteering for Middle Way House while she was a student at IU. She said she felt inspired to help after listening to a podcast about the rise of domestic violence during quarantine.

“As a woman, you can empathize with how terrifying this is,” Stemler said. 

One in four women and one in 10 men experience some kind of intimate partner violence during their lifetime, according to 2015 data from the Centers for Disease Control and Protection.

Debby Herbenick, a professor at the IU School of Public Health, said that there is limited data that suggest victims are experiencing elevated rates of intimate partner violence during the pandemic.

“If you live with an aggressor and you can’t get away from them, there is a greater risk of violence,” Herbenick said. “Shelters are critical to give people the opportunity to escape, whether it’s temporary or long term.”

Middle Way House has a 24-hour crisis hotline available to those in need. They can be reached at 812-336-0846.

Advocates for the National Domestic Violence Hotline are available 24/7 at 1-800-799-SAFE (7233) in more than 200 languages. All calls are free and confidential.


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Jesse Eisenberg's mission to support domestic abuse survivors amid pandemic

By Sandra Gonzalez, CNN

Updated  May 5, 2020

(CNN)The coronavirus pandemic has closed retail shops, schools and so much more. But in Bloomington, Indiana, Middle Way House, a shelter for survivors of domestic violence...

Jesse Eisenberg's mission to support domestic abuse survivors amid pandemic

By Sandra Gonzalez, CNN

Updated  May 5, 2020

(CNN)The coronavirus pandemic has closed retail shops, schools and so much more. But in Bloomington, Indiana, Middle Way House, a shelter for survivors of domestic violence, has stayed open with help from its dedicated staff and volunteers, which includes Oscar-nominated actor Jesse Eisenberg and his wife, Anna Strout.

And the organization is not alone.

On Giving Tuesday, the holiday normally scheduled for after Thanksgiving that is being celebrated early in response to the global health crisis, Eisenberg wants to spread the word that domestic violence shelters across the country have been and remain open and are in need of support.

Eisenberg and comedian/writer Amy Schumer teamed up to narrate a public service announcement with this message in mind that was released on Tuesday.

"We just want people to know that domestic violence is on the rise and that, even during this horrible time, shelters are open and that resources are available," he said.

Eisenberg, an actor known for his roles in "The Social Network" and the "Zombieland" films, has made Middle Way House a sort of charitable home of his for many years, having been introduced to the organization by his late mother-in-law, Toby Strout, who was its executive director.

In the years since taking his first tour of the facility, Eisenberg has dedicated significant time and money to raise awareness of its vital services -- transitional housing, childcare, legal advocacy, and mental health support, to name a few -- and the issue at its core.

As the pandemic strengthened its grip on the globe and the United States, Eisenberg and his family packed up their things in Los Angeles and headed for Indiana in an RV, where they self-quarantined for two weeks before jumping into action at the shelters.

Middle Way House, like many organizations, has been in need of staffing help because its college student volunteer base largely left town when classes were canceled.

"My wife and I are very involved on a day-to-day level -- painting and cleaning and mopping. And there's a lot of sterilization to be done, as you can imagine, right now -- door knobs and elevator buttons, et cetera," he told CNN. "I married a person who is a walking saint and so she has not spent a day in her life not doing something to help those most in need. So, for her, it was kind of without hesitancy that we should come here and figure out ways to help."

As much of the country adopted stay at home orders, those who are not safe at home were of particular concern, and, ultimately, those worries were warranted. Domestic abuse hotlines in several cities reported an increase in calls and cases in early April.

"Unfortunately, there's a kind of strange asterisks to all of this, which is that in a lot of areas, calls are actually going down because, oftentimes, people who are victims feel unsafe to make those calls when they're stuck in the same room as their abuser," Eisenberg said.

The need for places like Middle Way House is greater than ever, he said, and he's not the only one who believes so.

When Eisenberg and his wife arrived in Indiana, they got word of a generous donation from Schumer.

"Our friend, the actress and writer Amy Schumer, who's just obviously a brilliant talent and also has a wonderful heart, said, 'I'm donating $50,000 to your shelter.' No questions asked," he told CNN. "It was so unbelievable."

Eisenberg and Strout matched the donation and hope people who are able find organizations that help domestic abuse victims to support in their local communities.

"Shelters are open now 24 hours a day, seven days a week, 365 days a year, even during this pandemic," he said.


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How I'm Living Now:Jesse Eisenberg, Actor-Director

6:30 AM PDT 4/22/2020 by Mia Galuppo

[图片]
The Oscar nominee is in Bloomington, Indiana, volunteering for local domestic violence shelter Middle Way House and pitching his new movie via video call with producer Emma Stone.

With production grinding to a halt in the face of the novel coronavirus...

6:30 AM PDT 4/22/2020 by Mia Galuppo


The Oscar nominee is in Bloomington, Indiana, volunteering for local domestic violence shelter Middle Way House and pitching his new movie via video call with producer Emma Stone.

With production grinding to a halt in the face of the novel coronavirus pandemic, the entertainment industry has found itself navigating uncharted territory. To offer a better sense of how, The Hollywood Reporter is running a regular series that focuses on how Hollywood's writers, actors, directors, executives and others are living and working in these challenging times.

As the shelter-in-place order came down in Los Angeles, Jesse Eisenberg, with his wife, Anna Strout, and their 3-year-old son, piled into an RV for an impromptu road trip. "It felt like the safest way to do it for us and others," says the Oscar nominee, who spent 10 days in the camper, making his way to Bloomington, Indiana, where he and Strout planned to volunteer and help with fundraising efforts for the local domestic violence shelter where his mother-in-law has long worked.

Now in Indiana, Eisenberg has also busied himself with pitching his next movie (When You Finish Saving the World, starring Julianne Moore and Finn Wolfhard) over video conference to studios and financiers with his producer Emma Stone. The multihyphenate — who stars in two new films currently on VOD: sci-fi feature Vivarium and WWII drama Resistance — spoke with THR about the "out of the blue" text he got from Amy Schumer and selling ferns.

So, what do your days look like now?

I have spent the last two weeks pitching this movie that I wrote and am directing to financiers and studios. I'd have these hourlong pitches with my producers, Emma Stone and Dave McCary, and when I was doing that, it felt like a typical workday, except for the fact that it was all on the computer. The days I'm not doing that, my wife and I are volunteering at a domestic violence shelter that my mother-in-law ran for 35 years and that we are deeply connected to.

Can you tell me about the shelter and what's going on there?

It's a very bad time for domestic violence. Because people are isolated together, domestic violence is on the rise. The tragic paradox is that calls are down at shelters because people can't get away to make calls. The shelter is called Middle Way House, and it is one of six model programs in the country. It has childcare programs, support groups, legal advocacy groups, a transitional housing unit. My wife and I are coordinating donations from local businesses, like our friends at a local bakery, Inkwell Bakery, are donating food to the shelter. And we have been doing some more unusual fundraising efforts, like a community program to buy 400 ferns. The money is going to the shelter, and it supports the greenhouse in town.

When we got here on the first day, my wife and I got a text message from Amy Schumer, who is a new friend of ours, saying that she would be donating $50,000 to the shelter. This was just out of the blue, but I know she supports issues around domestic violence. I am going to match it, but we are also going to try to build a campaign to encourage people to look out for their local domestic violence shelters.

I know you traveled by RV to get to Indiana. How did that come about? Had you traveled this way before?

So we rented an RV in Los Angeles and dropped it off in Indianapolis. We have driven cross-country a lot, but we thought it would be prudent to isolate in an RV instead of stopping at hotels. It was a pretty surreal journey in that we were driving through an empty country. We didn't do a lot of tourism, obviously, but we would drive through major cities that would be empty, and we'd see the old theaters in town that would say something like "Stay strong, Wichita" or "We miss you, Topeka." So it was this simultaneously eerie and really heartening trip.

Any favorites?

Probably Albuquerque. I had actually never been to the American Southwest. And then Lawerence, Kansas, because I love college towns. We are in one right now, Bloomington. I think college towns are just the best place on earth because they attract the most interesting people to one area, based around one thing: academia.

How was it traveling with your 3-year-old?

Because of my job and my wife's work — she works at different nonprofits and teaches in New York City at a nonprofit — he spent the first few years of his life traveling. Whether or not he is adapting to our crazy lives or we just happened to get a kid who is comfortable with it, he has never been happier. He loves being on the road; it's interesting to him. And Peppa Pig drives in a camper van, so he feels like he is in a Peppa Pig episode.

What's been the easiest adjustment so far? And the hardest?

I don't have any consistency in my life to begin with. I haven't gone to an office for work since I was a 20-year-old intern, so I often find myself in periods not so dissimilar to this where I don't have anywhere in particular to go during the day. So the easiest transition is that I have been through a lot of periods like this before, and the hardest thing is feeling like I want to be more helpful and can't. That sounds like a kind of obnoxious answer, "The hardest thing is that I want to help," but I just want to be useful.

What are you watching, reading, playing or listening to as a reprieve?

The Irishman has taken us a week because we don't have that much time after we put the baby to bed and the movie is, like, 16 hours long. The movie we watched last night, which was just the best movie I have seen in a long time, was Never Rarely Sometimes Always. My wife is an activist for the kind of rights that are addressed in that movie, and, living in the Midwest, that spoke quite specifically to her. I just loved that movie.

When I am New York City, I ride a bike every day so I get in my podcasts on the move. Now I listen to them doing house chores. In five years, I don't think I have missed an episode of The Gist, which is from Slate, and then I listen to one called Hidden Brain from NPR and Today, Explained from Vox. In terms of reading, I just finished a friend's book called The Biggest Bluff by Maria Konnikova.

Are you dusting off any old hobbies or finding new ones?

Like everyone, we have been doing so much cooking. We live in New York City, so it's usually cheaper and more efficient to eat out, and we have so many options. My wife is a good cook, and I am trying. Last night, I tried to make cookies, but they just came out as this disgusting, flat mess. At least you see what is going into your food, so in some ways it feels healthy — or you feel the pangs of guilt when you put something in that is not good for you or your son. Whereas when you eat at a restaurant, you have the same food and feel none of the shame.

Getting back to work, how was it pitching a movie over video conferencing? Have you been able to work on other projects during this time?

It was 1 million times better than I would have expected. We would have had to drive around to 20 different offices and studios, and this way we did them all over two days. We ended up in the best possible situation for us. But, of course, the irony is that we never know when it can possibly get made.

I was supposed to be in Bosnia now. I was directing and acting and writing this episode for Modern Love, and I thought it would be so cool to set it in Bosnia. Then the pandemic started to shut things down, and I thought, "Oh my [episode] will be the first thing to go." And it wasn't the first to go, but maybe the second. We are still waiting on that, so I am looking at when America will open up but also Bosnia.

And I was in Los Angeles [before Indiana] because I was supposed to record Kaitlyn Dever for an audio book I wrote. I recorded six hours and Finn Wolfhard recorded six hours, and Kaitlyn was the final third of the book, and we just missed the window. If L.A. shut down two days later, we would have been done. So we are stuck in limbo for a while. But I can't say I am frustrated because how can you possibly be aware of what is going on in the world and still be frustrated?

What's atop your to-do list once this is all over?

I want my mother to see my son. That's the main thing I keep thinking: I want my mother to see my son. I'm not dreaming about a bagel or a slice of pizza; I just don't think in those terms at any point. I'm really a very simple person. I wear the same thing every day, and I tend to not leave the house if I'm not working. I eat everything blended up like, I don't know, a toothless animal. [Laughs.] So my life is not that changed. But I think about the joy that comes when my mom gets to see my baby.

This interview has been edited and condensed for clarity.


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Jesse Eisenberg | 电影是我痛苦的根源

英文原文采访

转自微信公众号:DAZED OFFICIAL

Jesse Eisenberg在主演新片《生态箱》上映之际,和Dazed聊了聊他的语速问题、这部存在主义科幻电影的预见性,以及犹太家庭对困难的下意识复归:“我对自己的事业很焦虑,但只有在拍电影的时候才这样。如果一切顺利,反而会为此责怪自己。”


如果要问对Jesse Eisenberg的印象,肯定会有语速飞快这一点。这位36岁的美国演员最初在《鱿鱼和鲸》、《震撼性教育》和《冒险乐园》等喜剧电影里,以暴躁、健谈的青少年形象声名鹊起,随着年龄渐增,又继续在《社交网络》、《双重人格》以及评价很低的《猛于炮火》中扮演喋喋不休的马达嘴。...

英文原文采访

转自微信公众号:DAZED OFFICIAL

Jesse Eisenberg在主演新片《生态箱》上映之际,和Dazed聊了聊他的语速问题、这部存在主义科幻电影的预见性,以及犹太家庭对困难的下意识复归:“我对自己的事业很焦虑,但只有在拍电影的时候才这样。如果一切顺利,反而会为此责怪自己。”


如果要问对Jesse Eisenberg的印象,肯定会有语速飞快这一点。这位36岁的美国演员最初在《鱿鱼和鲸》、《震撼性教育》和《冒险乐园》等喜剧电影里,以暴躁、健谈的青少年形象声名鹊起,随着年龄渐增,又继续在《社交网络》、《双重人格》以及评价很低的《猛于炮火》中扮演喋喋不休的马达嘴。


总而言之,Eisenberg目前出演的39部电影中,有37部他都语速超快。“有时候导演会要求我把语速放慢,”Eisenberg飞快地说道,“这么说的还有我的妻子、孩子、朋友,甚至叫出租车时遇到的陌生人。”

Eisenberg出演角色里只有两个语速比较慢,在Kelly Reichardt导演的生态恐怖片《夜色行动》中扮演的沉思者,以及Lorcan Finnegan的存在主义科幻电影《生态箱》中的男主角。Finnegan这部批判郊区生活的作品围绕一对想要买房的夫妻Tom(Eisenberg饰演)和Gemma(Imogen Poots饰演)展开,他们跟随房屋中介来到了一个叫做“远方(Yonder)”的新开发住宅区。“远方”的风景毫无灵魂,平原上相似的房屋一排排矗立,就像大富翁游戏的现实版本,而且还成为了家庭矛盾的催化剂。


房屋中介不知去向,Tom和Gemma没办法离开“远方”小区。他们沿着道路行驶,兜兜转转,不断经过一模一样、无人居住的房屋——最后总会停在九号房门口。暮色渐近,别无选择,他们只能在这个设施齐全的监狱里过夜,被困在这座田园诗般的房子里,几乎像是没有尽头。随着凄凉的叙事的展开,Tom变得越来越虚弱,直到几乎一言不发——Eisenberg耗尽了他的超能力。

当我在二月底与Eisenberg会面时,他在SOHO区一家酒店的大堂里高声招呼我,并且带我去……或者说尝试带我去了他的房间。就像《生态箱》的主人公一样,由于当时在研究房间钥匙的Eisenberg忘记怎么走,我们在酒店迷宫般的、大同小异的走廊里迷路了,不得不搭乘了两次电梯。“这太令人不安了,”他咕哝道,“这不会让人感到不安吗?”我知道,这是Jesse Eisenberg特色之一:他喜欢采访记者。在我们到达他的房间之前,他问了我大约20个问题。我住在伦敦哪儿?我听有声读物吗?我买衬衫的时候,上面就有咖啡渍了吗?


另一个Jesse Eisenberg特色是,他语速飞快,并且倾向于在说话时不断修正说法,仿佛是为了避免他人打断。“在这部电影里我是一个新手父母的形象,”他解释说。“不同于现实中我早有孩子,在电影里我是一个新手父亲,没有丝毫育儿经验的父亲。如果你因为孩子而焦虑,或者对生孩子有焦虑,你可以把这部电影看作是最坏的情况。电影里的小孩表现出了可怕的俄狄浦斯情结,试图弑父娶母,而且还是寄生恶魔。”

尽管在采访时我们都没有意识到这一点,但《生态箱》对于因新冠病毒导致的出行限制有着惊人的预见:Tom和Gemma可以在空旷的道路上走来走去,呼吸新鲜空气,但他们无事可做,也无处可去;由于没有邻居,这是最大程度的社会隔离。当这对夫妇在隔离中崩溃时,电影提出了一个令人沮丧的问题:在这种反社会性的状况下,人们可以生存多久?为什么要穿衣服,甚至早上为什么要醒来?至少,在他们的反乌托邦中,没有证据表明(英国首相)鲍里斯(Boris Johnson)真实存在。


除去这个偶然性的话题,《生态箱》是部十分神秘的片子,本质上是一场墨迹测验。一个婴儿出现在台阶上,旁边有一行字:养大孩子,才能离开“远方”。但是这个男孩实际上是一个怪物,就像一个出现异常的电子宠物,这一刻很可爱,下一刻又扭曲了它的头骨。Gemma的直觉反应是照顾、养育这个可能非人的孩子,而Tom提议把它饿死。

“我把这部电影看作是一次狂想,反映了我们对于做出承诺的焦虑。你买了一座房子,担心自己会因为债务,或者屈服于郊区的便利而永远被束缚在这个房子里,这部电影反映了我们对于成长和遵循‘传统’的种种恐惧。”

由于我和小孩只有过一次接触,就是告诉他们不要站在自动扶梯错误的一边,所以不太感同身受。实际上,我起初认为,与Garret Shanley联合创作了这个剧本的Finnegan,是在批判白人特权。后来我读了导演阐述后才明白,Finnegan的灵感来自爱尔兰的住房危机。那么,Eisenberg,身为一个纽约人,肯定是猜不到剧本的这条灵感线索吧?

“当然猜不到。不过有一点很有趣,就是你刚才从非白人的视角来解读这部电影。我解读任何事物的视角都是,‘它说了什么关于犹太的东西?’。我没有考虑太多白人特权的问题,而是想到我的家人来到美国,对于融入美国文化的强烈需求。”Eisenberg的父母都是学者,追求着他们想象中完美的美式中产生活。“这种追求像幽灵一样困扰着他们,因为他们讨厌住在郊区,而且养育孩子的压力很大。”

“我们都活在自己的视角里,你是从种族和阶级的角度看待问题的,而我是从融入郊区文化的焦虑这一角度来思考,两个都很正当。”

Eisenberg从16岁开始就一直在演戏,当时他与安妮·海瑟薇一同出演了22集的福克斯情景喜剧《爱的初体验》。在被迫和Michael Cera进行比较的时期,他的角色大多是年轻版的电影制作人,《鱿鱼和鲸》和《冒险乐园》的主人公是电影导演Noah Baumbach和Greg Mottola的隐秘写照。而在他最新的两部电影《生态箱》和《自卫的艺术》中,Eisenberg塑造了更为抽象的人物形象。

“刚开始拍电影的时候,我一直在演温柔、单纯的角色,实在有点厌倦,就开始只选择那些自信的、有点坏的人物形象。我有时候会写剧本,关于自己的生活,里面有本我的出现——通常是偏执狂,但会是自己最坏、最无知的部分。我大概花了六个月来写剧本,又用了五个月的时间表演出来,后来就开始对《双重人格》这样的超现实电影感兴趣。”


2013年,Eisenberg和Mia Wasikowska一起出演了电影《双重人格》。Eisenberg在影片中扮演了两个主要角色,一个是懦弱的老好人,另一个则是风流成性的恶霸。“《双重人格》是目前最令我兴奋的经历,因为很自由。我需要表演一个不正常的人,因此不需要有自我意识,也不需要进行自我批评,不必用任何标准来衡量自己的行为。”

我请求Eisenberg用一种礼貌的方式,告诉这部电影的编导Richard Ayoade,放弃制作糟糕的竞猜节目,回到电影制作领域吧。“我明天要去他家,肯定会拿到独家新闻!Richard是我一生中遇到的最聪明、最有趣的人。但你是英国人,有英国口音,所以也许不会被诡辩左右。”

几个月前上映的《自卫的艺术》延续了《双重人格》的严肃脉络。再次与Imogen Poots联袂主演的Eisenberg,在影片中扮演了一个学空手道的人,并被卷入了荒谬的、极端暴力的邪教组织。“他是一个比较怪异的人,”Eisenberg解释说,“把一个不具有人类思维逻辑的人表现出来,是一件非常有意思的事情。但如果表演得不到位,调性就会变成校园电影。”

在拍摄结束后,Poots把《生态箱》剧本寄给Eisenberg。“本质上来说,我在《生态箱》里扮演了一个很大男子主义的角色。他不是我喜欢的那种行为古怪的主人公,但是非常有趣。”

Eisenberg曾发表过类似的评价,当他在《蝙蝠侠大战超人》中饰演Lex Luthor时。与其说他把Comic-Con描述成了某种形式的种族灭绝(后来因此道歉),不如说他描述的是进入平行宇宙的渴望。不过,甭管超级英雄提供了多少加盟费用,这位演员在经济上并无困难。那么重要的是不是要脚踏实地,确保像《生态箱》这样的电影主题仍然可以与他产生共鸣?

“不是这样的,我一直试图过得脚踏实地,感受正常的、人之为人的体验,”他说,“我住在纽约的一个小公寓里,什么都没有,几乎不买任何东西,也没有车,过着低调的生活。把钱捐给慈善机构,下周要为岳母的家庭暴力庇护所做一个活动。我最好的朋友是一位老师,为以前被监禁的孩子们服务,我去过他的学校。我和那些比我过得更艰难的人在一起,或者说,密切接触。”

“我这样做不是为了拍电影,说什么去了解普通人的心态。富兰克林·罗斯福是一位富有的人,也是非常慷慨的总统。与人本体验相关的,除了贫穷,或者说不富裕,还有很多其它方式。”

Eisenberg提到,他的父母买了鹦鹉和很多其他的奇异宠物,来避免被郊区便捷的生活方式束缚。“在所有文明里面,犹太人要么是少数群体,要么是与当地文化格格不入,要么会被驱逐出去。只有一些短暂的时期,犹太人可以被接纳并且融入到当地文化之中,包括德国的二十世纪20年代,当然最后证明这只是一个诡计。但是在过去的50年中,美国的犹太人得以融入美国文化、赚钱、获得权力并成为社会主流群体。其中有一种情怀,不是所有的犹太人都会有,但是我的家人确实是有的,就是会怀念那段艰难时期。”

“我的父母已经60多岁了,但他们还得起来遛狗。鸟儿在夜里尖叫,猫也因为生病在沙发上撒尿,所以沙发一点都不能坐。他们下意识地让自己的生活变得困难,这样才能感受到已经深刻烙印在基因里的那种感觉。我想我也一样,我对自己的事业很焦虑,但只有在拍电影的时候才这样。如果一切顺利,反倒会为此责怪自己。”

Eisenberg以前曾直言不讳地谈到过他的心理健康问题。由于焦虑和抑郁,他休学了一年。艺术,尤其是写作,被证明是他的救星。十几岁到二十多岁时,他就把剧本卖给了各大制片厂,“电影是表达自己的一个出口。”他停顿了一下,“是我所有痛苦的根源。”所以他的焦虑是否类似于音乐家那样,以悲伤为灵感写歌?“不是那么马基雅维利主义,如果我有这种焦虑或抑郁,那么无论我在表演或是写作什么,它都会表现出来,这是无意识的。就我了解的患有抑郁症的艺术家而言,没有任何一位会有意识地利用它”。

我提到了自己有关新闻工作的焦虑——跟他相比,他接受到的审视,获得的反馈意见比我要多得多。“感觉完全一样,”他说。“但我的焦虑不在文字,而是关于我的脸。”他描述了人们听到自己的声音回放时的不适。“记住这种感觉,这就是我看自己出演的电影时的感受,所以现在不看了。”

由于Eisenberg语速很快,采访他30分钟,相当于采访其他人一个小时。我们交谈的话题,包括他有关一个名为《紧张的旅人》的剧本想法(“我在亚洲背包旅行了三个月……自己总是想太多”),一度规划过的《冒险乐园》衍生系列(“喜剧通常源于愤世嫉俗和虚无主义,但Greg Motolla是出于一种纯真的感觉”),我们对喜剧演员Todd Barry共同的热爱(“我一直在和他聊天,他的群众巡回演出特别精彩”),以及他最新一次试镜(制片人花了30分钟或者更少的时间,试图看出他和Aziz Ansari之间是否有那种化学反应——“就像《飘》里面那些浪漫的人物一样”)。

除了《生态箱》,Eisenberg还有一些即将上映的电影,从犯罪惊悚片《狂野的印第安人》到《无声的抵抗》中的Marcelle Marceau,不一而足。他同时提到了一些尚未公开的项目,其中包括与Motolla的再度合作、一部距离拍摄仅剩几天的神秘黑色电影以及一本他为Audible写的有声读物。

当我们逃离Eisenberg的生态箱式酒店房间时,话题又回到Todd Barry身上。Eisenberg为Barry的游记写了前言:“谢谢你来到哈蒂斯堡,这是一本会令人捧腹大笑的书。这位喜剧大师承认,他只记得糟糕的演出——如果Barry忘记了某次巡演,那就意味着那次巡演非常成功”。那Eisenberg关于接受采访的回忆,也会是这样吗?

“是的,”他笑着说,“这很可能说明了我的个性。我对自己有一定的期望,会牢记那些痛苦的事情。”他会读任何关于《生态箱》的评论吗?“影评不是给表演电影的人看的。有位伟大的女演员Laura Linney,她说,‘我不想别人告诉我,我该怎么做。’我也是这样认为。”


Jesse E

SFA·人物 | 杰西·艾森伯格:内向的力量

转自 微信公众号:上海电影资料馆

3月25日

内向的人尽管不常说话,但他们脑海中很可能风驰电掣一般诞生了很多的想法。


“人们说我经常扮演害羞的角色,这事对我来说挺自然的。”杰西·艾森伯格说自己本身的性格就这样,所以扮演那些内向的角色,对他来说更容易理解。过去他总是徘徊在这类角色之间,也不曾觉得这是限制了戏路。杰西认为,演员无法控制自己因什么而出名,所以没有必要追随大众的喜好。于是我们就看到了,去年重回《丧尸乐园2》的他,今年却在从未接触过的历史片里演了主角。


追求奇特


任何时候,续集的诞生与原班人马的回归是最容易引人感叹的...

转自 微信公众号:上海电影资料馆

3月25日

内向的人尽管不常说话,但他们脑海中很可能风驰电掣一般诞生了很多的想法。


“人们说我经常扮演害羞的角色,这事对我来说挺自然的。”杰西·艾森伯格说自己本身的性格就这样,所以扮演那些内向的角色,对他来说更容易理解。过去他总是徘徊在这类角色之间,也不曾觉得这是限制了戏路。杰西认为,演员无法控制自己因什么而出名,所以没有必要追随大众的喜好。于是我们就看到了,去年重回《丧尸乐园2》的他,今年却在从未接触过的历史片里演了主角。


 

追求奇特


任何时候,续集的诞生与原班人马的回归是最容易引人感叹的。《丧尸乐园2》的上映距离第一部过去了十年,在这十年里,几位主演都有了至少一部人生代表作。像艾玛·斯通因为《鸟人》证明了自己的演技,随后又凭借《爱乐之城》获得第89届奥斯卡金像奖最佳女主角奖,杰西·艾森伯格则与《社交网络》的名气相伴相随了好多年。但他坦诚地表示不希望自己爬得太快太高,更不会对奖项过分依恋,反倒是会担心自己成为这部作品里出错最多的一环。


杰西觉得真正的好演员应该花很多精力去思考故事,琢磨演技,“这是一个追求艺术的过程,也是成功的唯一途径。在电影圈成名的概率和中彩票差不多,有些我认识的很厉害的演员,可能就是每周在小剧场里给200个观众演出而已,很少能得到在电影里表演的机会。”


所以杰西·艾森伯格总是格外认真地对待表演这件事,并且追求奇特又充满灵感的剧本,“拍电影的时候,你自己首先要有热情,有兴奋感,不然就无法为角色投注情感。”《自卫的艺术》就是一部散发着古怪气息的电影,对于胆小懦弱的凯西·戴维斯来说,加入柔道训练学校是一次反常的全新经历。


在一次近乎夺取其性命的抢劫后,凯西发现自己始终出于创伤的迷雾中,无法走出。于是他试图学习自卫防御术,防止自己再次莫名遭受攻击。在跟随神秘的柔道老师学习的过程中,凯西却被慢慢卷入卡夫卡式的场景里。杰西说自己在读剧本的时候以为它是个纯粹的喜剧,但电影其实很黑暗,它不断探讨所谓的男子气概有多荒谬,本性善良的主角通过触碰自己心里的愤怒,才勉强激出阳刚之气。


从幽默到严肃,《自卫的艺术》的故事与架构显然不同于主流影片,这也致使很多观众在看完之后,对这部影片产生了说不上来的情感。它好像无法归类在任何一个自己喜爱的电影类型之下,但又特别对自己胃口。


这是杰西·艾森伯格想要的效果,他曾经说:“我想每个演员对自己出演的电影都会这样想,这是一部非常好的电影,会青史留名。但当电影真的上映之后,观众会告诉你不是这样的,没有这部电影,历史也很丰富。我不知道我有什么影响,也不知道其他人会被什么吸引,但我从来不思考这些问题。”杰西总是选择性地思考一些更为实际的问题。


 

当台词不再是表演重点


2016年,杰西·艾森伯格加入了《蝙蝠侠大战超人:正义黎明》这一极具话题争议性的电影,扮演拥有惊人财富与智慧的莱克斯·卢瑟。莱克斯不但构筑了一个体量极大的计划,也通过各种手段引发超人与蝙蝠侠反目。他无惧法律,也不论道德,他认为人们所有的不认同,都来自他们的落后。


在莱克斯的眼里,没人跟得上他的速度与高度。在这部电影中,杰西依旧语速惊人,并且保持着“孤独”的状态,看似与之前的角色有共同点,但他们的职业与能力却是天差地别的。当被问及他是否会在未来的DC电影中继续扮演莱克斯·卢瑟时,杰西表示有极大的兴趣,“每个项目都需要很长时间才能完成,它们都在以创造性的方式实现。”


如果说莱克斯·卢瑟这个角色与杰西·艾森伯格过去的银幕形象有些出入的话,新片《无声的抵抗》里的马塞尔·马索就差得更大了。电影聚焦传奇法国哑剧艺术家马塞尔·马索在二战时期的传奇经历,换句话说,观众可能更多时候是看杰西“演”,而不是“说”。


杰西在采访中对这个年代久远的故事做了大致的说明:“马塞尔有点像一个初出茅庐的演员,起初他只是在一个小剧院里表演独角戏。他是查理·卓别林的忠实粉丝,梦想着能主演无声电影。然后,当战争爆发后,他被要求为孩子们表演,为他们带来欢乐。一开始他是不情愿的,后来他不仅喜欢在他们面前表演,还意识到可以运用哑剧的形式拯救他们。在那样可怕的全球事件的背景下,这是一个非常惊人的故事。”


历史记录下了马塞尔·马索的壮举,他假装告诉孩子们,他要带他们去阿尔卑斯山度假,并且会把他们带到瑞士的安全地带。被哑剧吸引的孩子们天真地相信了马塞尔的谎言,在逃亡过程中,孩子们始终保持安静,乖巧地观看哑剧,从而避免了被发现的危险。


2001年,当人们为这件事赞扬马塞尔,他却谦虚地说道:“我在战争时期做的这些事情,非常微不足道,与那些在危难中牺牲的英雄身上发生的事情相比,只是一小部分。”巴黎解放后,马塞尔以小丑比普的形象在一家酒馆的舞台上首次亮相,“比普是另一个自我,他在一个充满不公、美丽且脆弱的世界里,孤身奋战。”


当年,他梦想成为著名的哑剧演员,孩子们是他的第一批观众。日后,他凭借自己的热爱与坚持,让哑剧在艺术界的地位日益提高,并且在77岁那年才进行最后的告别演出。“当角色跳脱出剧本,他能否在现实生活中真实存在?”这是杰西·艾森伯格选角时首要考虑的基本要求。而《无声的抵抗》里的马塞尔·马索,估计是他近期饰演的角色里,最毋庸置疑、最能打动人的存在了。



Jesse E

Jesse Eisenberg: 'We can use what it is that we do well to help others.'

Published 8:04 a.m. ET March 23, 2020

A young couple finds themselves trapped at home, isolated from the rest of the world as paranoia and tension rise.

We're talking about the premise of the new Jesse Eisenberg movie —...

Jesse Eisenberg: 'We can use what it is that we do well to help others.'

Published 8:04 a.m. ET March 23, 2020

A young couple finds themselves trapped at home, isolated from the rest of the world as paranoia and tension rise.

We're talking about the premise of the new Jesse Eisenberg movie — although these circumstances should sound familiar to all of us living through the global coronoavirus pandemic.

"Vivarium" is a sci-fi thriller about a couple experiencing a surreally intense form of social isolation as a routine house-hunting trip locks them into a labyrinthine nightmare.


“It’s so strange," said Eisenberg. "I mean, you make a movie, typically inspired by something that’s occurring in present day, and then the movie comes out a year and a half later and is filtered through whatever is happening in culture at the time which, of course, you can’t foresee when you’re making the movie."

In the case of "Vivarium," co-starring Imogen Poots, director Lorcan Finnegan and writer Garret Shanley were inspired by the recent housing crisis in Ireland, according to Eisenberg. 

"Of course now it’s coming out internationally during a global pandemic where people are isolating in their houses and also panicking about an invisible threat," Eisenberg said. "And in some ways, the movie is more directly relevant to the current experience than it was to the experience that inspired it."

Movie theaters across America are closing in response to the coronavirus outbreak, but both "Vivarium" and "Resistance," another new Eisenberg vehicle, will arrive on video-on-demand and digital services on Friday.


“My background as an actor and a writer is in theater, and so I do dread the future of the medium I like the most, which is that you should perform live for people and that there’s an audience tightly sitting together, watching," said Eisenberg. "So that’s more unnerving than anything else in terms of the future of performing.

"But I guess I have two movies coming out the same day that were both scheduled to be in theaters as well but will probably a find a bigger audience now that they are coming out at times where we’re kind of forced to stay home.”

In a way, "Resistance" serves as a compelling counterpoint to "Vivarium." The historical saga stars the "Social Network" Oscar nominee as a pre-fame Marcel Marceau, chronicling the future famed mime's work saving the lives of Jewish orphans as part of the French Resistance during World War II.

“It’s kind of a more uplifting antidote to ‘Vivarium’ in the sense that (Marceau) is using his art to entertain kids in a dire situation where they have to literally quarantine themselves from the worst threat of all,” Eisenberg said.

The father of a 3-year-old son, Eisenberg said "Resistance" shows how art can be used in a selfless, benevolent way.

“The character I play begins the movie as a kind of self-important artist who kind of becomes a reluctant hero and then devotes his life in the most dangerous of circumstances to saving children," Eisenberg said. "For me, it makes me kind of question the value of performing and how it can be best utilized, especially during a crisis."

Eisenberg also had a personal connection to Marceau's story. The actor grew up in East Brunswick, his mother working as a Marceau-inspired clown who would entertain hospitalized children. Eisenberg and Marceau's families also hail from the same area of Poland, and both families lost members in the war.

“For me the story, almost irrespective of him becoming this world famous mime, is really about how we can use what it is that we do well to help others. If you’re a famous artist, how can you use that to the benefit of others, especially during traumatic times?”

"Vivarium," 97 minutes, rated R, a Saban Films release and "Resistance," 120 minutes, rated R, will be released through video-on-demand and digital outlets and to select theaters on Friday, March 27.

SOURCE

Jesse E

Jesse Eisenberg on 'Resistance,' 'Social Network' and the Snyder Cut of 'Justice League'

Published:April 10, 2020


On film, Jesse Eisenberg has survived a zombie apocalypse.

So even though he has been well-prepared to go into isolation thanks to his starring role in the Zombieland film franchise...

Jesse Eisenberg on 'Resistance,' 'Social Network' and the Snyder Cut of 'Justice League'

Published:April 10, 2020


On film, Jesse Eisenberg has survived a zombie apocalypse.

So even though he has been well-prepared to go into isolation thanks to his starring role in the Zombieland film franchise, he can’t help but think that the global coronavirus pandemic, which has shuttered North America, is “surreal and strange.”

The 36-year-old Oscar-nominated actor has been open in speaking about his issues with anxiety but on the phone from Bloomington, Ind., where he lives part-time with his wife and three-year-old son, he’s unusually calm.

Eisenberg asks about the food situation in Toronto. When I tell him there are lineups outside grocery stores, he seems surprised.

“Really?” he replies. “Every day? We’re in Indiana and it hasn’t hit so hard here yet but it appears like it might start to get bad here soon.”

With movie theatres closed for the foreseeable future, Eisenberg has seen his two most recent films, the sci-fi thriller Vivarium and the World War II drama Resistance, being released on demand.

In the latter, Eisenberg plays legendary mime Marcel Marceau, who helped save orphaned Jewish children during the World War II.

He is hopeful both titles will give people at home some much-needed entertainment while they spend their time indoors. But he sees Resistance as making a necessary social commentary on the rise of anti-Semitism worldwide.

“Hatred will never go away,” he muses softly, “but likewise stories about it will never go away.”

Below, Eisenberg opens up on playing the world’s most famous mime, reflects on the 10th anniversary of The Social Network and addresses the release of the fabled cut of director Zack Snyder’s Justice League.

There have been many stories about World War II and the many brave people who displayed acts of heroism. How did Marcel Marceau’s story stand apart for you?

It’s the story of a Jewish hero. If you think about the most popular World War II movie, it’s probably Schindler’s List, which is the story of a wealthy German businessman gaining a conscience and saving these Jewish victims from the Holocaust. What was special about Resistance is it is about a Jewish hero. As a Jewish man, this was a story of one of our own.

People hear the name Marcel Marceau and, of course, know him as an entertainer. Were you aware of his heroic deeds saving children from the Nazis?

I didn’t know much about Marcel Marceau and certainly I didn’t know about his heroic actions during the war. A lot of people don’t know about Marceau’s work because he didn’t really talk about it that much. But I have family who survived the war and most people who know any stories of survival during World War II know that it took a miracle and some unbelievable acts of bravery.

Did you feel it was timely for this story because of the world we’re living in right now?
There has been a rise in anti-Semitic incidents. The temple my wife grew up visiting was vandalized and there was an undetonated bomb outside of it. So it did seem relevant, not to compare vandalism in Indiana to World War II. But certainly the seeds of hatred are being planed and still growing, and those seeds of hatred are directed against anyone who is deemed an “other,” not just Jews. So movies like this will always be made and stories like this will always have value.

Starting with Solitary Man in 2009, you’ve gotten roles with more weight. How do you see the trajectory of your career?

I’ve been very fortunate. I’ve been asked to play roles in movies that I never would have thought of for myself. But I’ve been able to take advantage of being in the public eye to branch out into other areas that wouldn’t have been as welcoming if I wasn’t in movies. I have a book coming out on Audible. I was just about to direct a TV show in Bosnia. I’m supposed to direct a movie in the fall (with Julianne Moore and Finn Wolfhard). So I feel very lucky. But I think I’ve taken appropriate advantage of the opportunities I’ve been given.

The Social Network turns 10 this year. Are you surprised at the longevity of that film and would you play Mark Zuckerberg again?

Anytime you work on something, you have this feeling that it’s amazing and it’s singular and people will watch it for 10 years. Of course, 99% of the time that doesn’t happen but it’s nice when something is loved in the same way by an audience. In terms of doing that role again, look, I’ve done sequels to movies and my background is in theatre and I’m happy doing the same show 200 times. I never get bored of doing something I liked, so yes, of course, I would consider playing him again.

A lot of your colleagues from Justice League have spoken out about wanting to see the alternate Snyder Cut getting an official release. Where do you stand on that?

I’m not sure because I don’t watch anything I’ve been in, and I haven’t seen either Batman v Superman or Justice League. I know that I had a smaller part in one of them but I get pretty uncomfortable watching myself. So I’m not aware of a Snyder Cut. I’m not part of — I don’t even know what to call it — the movement. I like Zack Snyder and I worked with him for a while just by virtue of these movies taking so long to film. I love his style and aesthetic and if there’s a movie he wanted to see released, I’m sure it would be great.

The ending of Justice League teased the return of your Lex Luthor. Do you still hope to come back and play him again?

I love that part but I don’t know what they’re doing with any of the movies. Playing him was the kind of thing you get to do in acting class in high school and never get to do in a movie.

Everyone is home right now, so what shows are you binging?

The problem is I have a three-year-old. Well, it’s not a problem, it’s a real joy. But it’s a problem for my recommendations because all he wants to watch is Peppa Pig. So I’ve seen maybe 4,000 episodes of Peppa Pig in the last two weeks. I’m the worst person to give any kind of recommendations. Unless, of course, you have a three-year-old — in which case, watch Peppa Pig because it seems to be endlessly entertaining. There’s also so many episodes that you can almost not reach the bottom, although we may have.

What’s the best advice you ever got?

It was from Bob Odenkirk. When I was about 18 years old, I started writing these movie scripts and I got one to him when I was 21 and he told me, very bluntly, that I was doing the exact wrong thing. He said, ‘I know you. You’re a sensitive, thoughtful guy. Why are you writing these ridiculous comedy scripts? Write something from your heart.’ He went on to criticize the script that I had sent him and, when I was 21, I was heartbroken. But he changed the course of my creative trajectory more than anyone else. I ended up writing these plays and I’ve had success as a playwright. So that was the best advice I ever got. I often think that the best advice anyone ever gets is incredibly painful at first because it confirms the thing they were most worried about but it’s ultimately very helpful.

Resistance and Vivarium are available on demand now


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