Colin Firth plays Bill Haydon, a high-ranking British intelligence officer who may or may not be a compromised
NEW YORK - A very tweedy Colin Firth is just about to exit a Manhattan hotel suite when he's reminded of another story.
Decked out in a huntsman-style outfit in shades of beige, the Oscar-winning British actor has already regaled his audience with several tales.
But he stops in his tracks when Laurence Olivier's name is mentioned at the conclusion of an interview promoting the thriller, Tinker, Tailor, Soldier, Spy, which opens Dec. 16 in Toronto, Montreal and Vancouver.
Firth worked with the legendary actor -- "one of the last things he did on screen, really" -- in the miniseries, Lost Empires, in 1986. And he still savours the experience.
"He was very practical in his approach, and utterly fearless," recalls the 51-year-old of Olivier back then. "He didn't care how things sounded or what he did, and he tried everything."
Anecdotal details followed, but Firth caught himself minutes into his dissertation, politely concluded his thoughts, and left the room, hoping to stay on schedule.
Before the affable raconteur had his Olivier moment, he had a few things to say about the Tomas Alfredson film version of John le Carre's classic novel, Tinker, Tailor, Soldier, Spy.
In the movie set in the 1970s Cold War era, Gary Oldman plays British secret agent George Smiley, who has been abruptly retired from the British agency, then assigned to quietly investigate the cabal that forced him out. That includes Firth's Bill Haydon, a high-ranking British intelligence officer who may or may not be a compromised man.
Firth says Oldman and the rest of the British cast understood what they were up against in making the movie. In 1979, the celebrated le Carre novel was transformed into an acclaimed BBC series starring Alec Guinness as Smiley.
Comparisons would be inevitable, but that didn't bother Firth; he couldn't wait to take on the challenge.
"I would've played any part in this," said Firth. "It's partly because the project as a whole appeals to me, and the whole ensemble aura of it appeals to me. Even if you only get a nibble at them, if you like, all the characters are interesting enough to have a film made of each of them."
Swedish director Alfredson, who won praise for his moody vampire movie, Let the Right One, says Firth knows how to reveal the "perfect combination of charm and conceit" without giving too much away.
"It's important for Haydon to be difficult to read," says Alfredson of Firth's character.
"Haydon has his own affectation," says Firth. "There are a lot of agency protocols, but I think he has his rakish thing, so we give him the three-piece (suit) and tweeds, which make him freer, perhaps, and more of a man in the country."
Image aside, Firth, Oldman and the rest also adjusted to the fact that both le Carre's novel and the BBC miniseries are very complex.
"One of the frightening things about taking on an adaptation of this book is that it's dense," said Firth. "There's a lot of information that's conveyed through complex dialogue, and a lot of detail."
The difficult task was to pare it down while maintaining the essence of the intrigue. "It's amazing to me how well that worked."
And the driving force is Oldman's Smiley, said Firth. "Gary is such a magnetic actor by doing so little."
Besides that, he is sure of one thing after his Tinker, Tailor, Soldier, Spy experience: "I would be a terrible spy," he said. "It's because subterfuge, duplicity and guessing other people's motives are all the job that you have to do, all while being fairly unflinching while facing the barrel of a gun. Most actors are not that."
Certainly, the former Royal Shakespeare Company actor has found his proper place, although he's not inclined to be a theatre snob.
"In the theatre, you get to experience what a rehearsal can be," he says. "Films don't really have them. You can't do it exhaustively the way that you can in the theatre. And in film, if you rehearse too much, you're likely to get into that dead zone and get stuck there."
Firth has avoided that zone. He's been consistently praised since breaking out with his portrayal of Mr. Darcy in 1995's made-for-TV movie from Britain, Pride and Prejudice.
Co-starring movie parts in 1996's The English Patient and 1998's Shakespeare in Love earned him recognition in North America, solidified by his Mark Darcy performance in Bridget Jones's Diary and the 2004 sequel.
His co-starring role in the 2008 mainstream musical Mamma Mia! was followed by his Oscar-nominated performance in 2009's A Single Man and his Oscar-winning portrayal of King George VI in The King's Speech.
When Firth is asked about the effect his Academy Award has had on his life, he's terse for the first time in the conversation.
"Not much has changed, really," he says, shrugging, "just more scripts I don't want to do."
Opens Toronto, Vancouver and Montreal Friday, Dec. 16.
Decked out in a huntsman-style outfit in shades of beige, the Oscar-winning British actor has already regaled his audience with several tales.
But he stops in his tracks when Laurence Olivier's name is mentioned at the conclusion of an interview promoting the thriller, Tinker, Tailor, Soldier, Spy, which opens Dec. 16 in Toronto, Montreal and Vancouver.
Firth worked with the legendary actor -- "one of the last things he did on screen, really" -- in the miniseries, Lost Empires, in 1986. And he still savours the experience.
"He was very practical in his approach, and utterly fearless," recalls the 51-year-old of Olivier back then. "He didn't care how things sounded or what he did, and he tried everything."
Anecdotal details followed, but Firth caught himself minutes into his dissertation, politely concluded his thoughts, and left the room, hoping to stay on schedule.
Before the affable raconteur had his Olivier moment, he had a few things to say about the Tomas Alfredson film version of John le Carre's classic novel, Tinker, Tailor, Soldier, Spy.
In the movie set in the 1970s Cold War era, Gary Oldman plays British secret agent George Smiley, who has been abruptly retired from the British agency, then assigned to quietly investigate the cabal that forced him out. That includes Firth's Bill Haydon, a high-ranking British intelligence officer who may or may not be a compromised man.
Firth says Oldman and the rest of the British cast understood what they were up against in making the movie. In 1979, the celebrated le Carre novel was transformed into an acclaimed BBC series starring Alec Guinness as Smiley.
Comparisons would be inevitable, but that didn't bother Firth; he couldn't wait to take on the challenge.
"I would've played any part in this," said Firth. "It's partly because the project as a whole appeals to me, and the whole ensemble aura of it appeals to me. Even if you only get a nibble at them, if you like, all the characters are interesting enough to have a film made of each of them."
Swedish director Alfredson, who won praise for his moody vampire movie, Let the Right One, says Firth knows how to reveal the "perfect combination of charm and conceit" without giving too much away.
"It's important for Haydon to be difficult to read," says Alfredson of Firth's character.
"Haydon has his own affectation," says Firth. "There are a lot of agency protocols, but I think he has his rakish thing, so we give him the three-piece (suit) and tweeds, which make him freer, perhaps, and more of a man in the country."
Image aside, Firth, Oldman and the rest also adjusted to the fact that both le Carre's novel and the BBC miniseries are very complex.
"One of the frightening things about taking on an adaptation of this book is that it's dense," said Firth. "There's a lot of information that's conveyed through complex dialogue, and a lot of detail."
The difficult task was to pare it down while maintaining the essence of the intrigue. "It's amazing to me how well that worked."
And the driving force is Oldman's Smiley, said Firth. "Gary is such a magnetic actor by doing so little."
Besides that, he is sure of one thing after his Tinker, Tailor, Soldier, Spy experience: "I would be a terrible spy," he said. "It's because subterfuge, duplicity and guessing other people's motives are all the job that you have to do, all while being fairly unflinching while facing the barrel of a gun. Most actors are not that."
Certainly, the former Royal Shakespeare Company actor has found his proper place, although he's not inclined to be a theatre snob.
"In the theatre, you get to experience what a rehearsal can be," he says. "Films don't really have them. You can't do it exhaustively the way that you can in the theatre. And in film, if you rehearse too much, you're likely to get into that dead zone and get stuck there."
Firth has avoided that zone. He's been consistently praised since breaking out with his portrayal of Mr. Darcy in 1995's made-for-TV movie from Britain, Pride and Prejudice.
Co-starring movie parts in 1996's The English Patient and 1998's Shakespeare in Love earned him recognition in North America, solidified by his Mark Darcy performance in Bridget Jones's Diary and the 2004 sequel.
His co-starring role in the 2008 mainstream musical Mamma Mia! was followed by his Oscar-nominated performance in 2009's A Single Man and his Oscar-winning portrayal of King George VI in The King's Speech.
When Firth is asked about the effect his Academy Award has had on his life, he's terse for the first time in the conversation.
"Not much has changed, really," he says, shrugging, "just more scripts I don't want to do."
Opens Toronto, Vancouver and Montreal Friday, Dec. 16.
Read more: http://www.canada.com/entertainment/movie-guide/Colin+Firth+would+make+terrible/5866441/story.html#ixzz1gu5mNRnZ
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