Entertainment

Harrison Ford is busier than ever, talking about Indiana Jones and Star Wars – The Hollywood Reporter

As the 2023 Cannes Film Festival is halfway through, I have three main takeaways from the first half of the event:

(1) No popular movies have been shown — among them Martin Scorsese‘S Flower Moon Killer, Todd HaynesMay december And Jonathan Glazer‘S Caring area – has been widely accepted.

(2) The street umbrella vendors must be making a lot of money – the weather is bad almost every day.

(3) The most exciting and moving event to date happened on Thursday night, when Harrison Ford — arguably cinema’s greatest living legend — was greeted with a standing ovation at the Palais, marveled at the honorary Palme d’Or and moved to tears ahead of the film’s world premiere Indiana Jones and the Wheel of FateThe fifth and arguably final installment of one of the most popular film franchises of all time.

On Saturday morning, I met the 80-year-old man — who has also starred in two major TV series over the past year, as a therapist battling Parkinson’s on Apple TV+’s shrink and is the patriarch of a cattle ranch family in Montana on Paramount+’s 1923 — in a beach shack at the Hôtel du Cap-Eden-Roc for his only personal interview at the festival with a US publication. He admitted he was exhausted from celebrating until Friday night but insisted he was still in high form from Thursday night.

Congratulations on Thursday night. What does the reception from the audience and honor from the film festival mean to you?

It was a wonderful night. I cannot deny it. And I can’t deny being flattered and thinking out of the box and really happy to be here.

Do you remember the first time you went to Cannes?

No, right?

I think it might have been in 1985 for Witness, ARE NOT? I know you came back in 2014 for Mercenary Squad 3.

Oh, and there are many others in between. A couple participates Indiana Jones. [Indiana Jones and the Kingdom of the Crystal Skull premiered at the fest in 2008.] I used to be like this – I’m awake, but I woke up a little late.

When you played Han Solo for the first time in the ’70s and Deckard and Indiana Jones in the ’80s, did you ever imagine that you would ever watch those parts again?

No, it never crossed my mind. I don’t even remember if that was advocated in the old days. We didn’t do that after that. When I did it for the first time Star WarsThe only thing I object to about the contract is the sequel clause, which I didn’t sign.

Smart Negotiation Tactics!

I was too ignorant to “negotiate” that. I just run away from it.

Why?

Because I don’t want to be tied down. I want to see if one succeeds before I get locked into two more. But, again, fate intervened.

So when you go back to those parts, most recently Indiana Jones —

You mean I’ve got to do other fucking sword runner?! No, no, no, I really like it. I was once asked by someone – I thought it could be a journalist because I can’t imagine anyone else asking me this question – “Are you going to repeat every damn movie you’ve ever made? ?” [pause] I said, “Why not?”

Is going back to these places like walking back into an old pair of shoes?

No, there’s a bit of discipline to it. I’ve always felt and the people I’ve worked with have always felt that we needed to bring something new to the mix. If we’re going to do something else Indiana Jones, the essential question is, “What are we going to learn about Indiana Jones?” Because if you don’t develop the character as you develop the story, you will be out of sync. I haven’t been disappointed with any of the movies I’ve made where I’ve made it – which I can think of right now.

You say there must always be a motivation. With this Indiana JonesFor you, what was the primary reason for reviewing the story?

I always wanted a final chapter in the story. We first started thinking about it a few years ago. My ambition – all our ambition – was to come up with a story that dealt with the reality of his time because he was such a physical character. I want to see him shrunk and resurrected by whatever the plot is and by any character. And when we have a story that works for everyone, we move on.

Looking back at the beginning of your career, you were a player with a $150-a-week contract at Columbia and then a player with a $250-a-week contract at Universal. When I first interviewed you 10 years ago, you told me the reason you quit your job at Universal was because they asked you to do a lot of TV series and, “I figured I would have to grind my face before I had a chance to do the work I was doing. ambition for.”

It was my understanding, or it was my instinct, at the time. And thus, the growth of my carpentry. [Editor’s note: Ford bided his time doing carpentry. Among his jobs was building an elaborate entrance for Francis Ford Coppola’s office at Goldwyn Studios. One day, George Lucas, who had already directed him in American Graffiti, walked in with Richard Dreyfuss, who was being considered for Star Wars. Shortly thereafter, Ford was asked to read opposite the other actors who were being considered, which he did for two weeks before being offered the part of Han Solo.]

I made that quote just because attitudes towards television – including yours – have clearly changed a lot since then.

It’s not just attitude. That was the intention of TV. I don’t have the authority to judge how things are going because it’s flooding in too much right now. There are problematic aspects to it, like we’re facing a strike —

But the idea that in a year you’ll be part of two TV series, both of which you’ve subscribed to since then, is pretty impressive. For you, what is the appeal of television today?

The quality of the writing is what attracts me. That is undeniable.

How do you feel about the amount of work it requires and the speed of it all?

I love it. I love the fast speed. I like its cooperation. I love the people I’m working with. And I love the damn material. Can we drop the word “damn” this time instead of putting it in the title? [Editor’s note: Ford is jokingly referencing the recent THR cover story about him entitled, “Harrison Ford: I Know Who the F*** I Am.”]

What do you think your life would be like if you didn’t find acting?

I would be a miserable carpenter.

When you sign with Columbia, they want you to change your name. Have you ever considered any alternatives?

Yes, I did. Kurt’s love affair.

Serious?

Correct. It was the most ridiculous thing I could think of to say to them. And they said as usual, “Get out of here.” That “damn” word you can print is not a headline. (laugh)

You have been a part of so many box office successes. What would you least expect to happen to the extent that it did?

Of course, Star Wars. But I thinhk Star Wars will come job. I don’t know much about science fiction and I’m not necessarily a huge fan — I have nothing against it, I just don’t know it well and I’ve never thought much of it — but I then yes. I know about fairy tales because I have children so I can smell the fairy tale. Immature youth, wise old warrior, beautiful princess. I know that I [as Han Solo] necessary intelligence. That’s pepper. So I identified the potential for success in it. At least it will put my kids to sleep.

Who in your life has taught you the most?

Yes, my wife [actress Calista Flockhart] still teaching me. I haven’t graduated from any of the courses I’ve signed up for, so use any available wisdom. I don’t know, sometimes it takes me a while to digest things.

If you could regain your identity for one day, what would you do?

Well, no one will find out. You will not publish something about it the next day. That I can tell you.

You said you really enjoy working with younger talent, like Phoebe Waller-Bridge from destiny dial and Jason Segal from shrink. What do you learn from them, and what do they most want to learn from you?

That is a good question. You save the hard ones for the end, right? I do not know. I don’t listen carefully when they want something from me because I don’t feel that I should give advice to anyone.

Why not?

Because everyone does it differently. The only piece of advice I can imagine of any value is, “Why are you asking me? You have to figure this out for yourself. Any answer that doesn’t come from you is not enough. Don’t imitate someone else’s success, or try or think there’s any value in it, because everyone has to achieve their own process and find their own path. And if you start trying to follow others, you will lose track each time.

No one for you is a northern star?

Everybody. If dolly grip has the next big good idea, that’s where I’m going. Because [a set] It’s a great atmosphere where everyone matters and everyone contributes. And any good idea can fall from the sky.

You mentioned that the main reason for going back to the Indiana Jones part was to see him in his old age and how he handled things differently than he did when he was younger. What is the most important thing? Friend wouldn’t know when you were young that you know now?

This is a reference to Phil Stutts: Constantly moving. Forward movement. Do not stop. Don’t just stand by and watch your own accident. “Nothing to see people. Keep moving.”

Interview has been lightly edited for clarity and brevity.




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