The very first press video for Moonwalkers with Robert Sheehan and Rupert Grint has been released today courtesy of KTNV. Watch the lovely lads together again in the interview below:
In addition to our last [birthday] post, we have a new interview and gorgeous photoshoot released today to share with you! (What a lovely surprise for his fans on his birthday!) In Issue 22 of Fault Magazine, Robert discusses his new upcoming film Jet Trash.
Irish actor Robert Sheehan brings an air of tragedy to every part that he plays. Now he’s touching new grounds and has taken on the role of auteur as well as actor in his upcoming production ‘Jet Trash.’ Prior to that, you’ve seen him deliver compelling and dynamic performance in ‘The Road Within,’ where he plays a young man with Tourette’s syndrome, proving his versatility once more. His latest release,
‘The Messenger,’ sees Sheehan as a wayward character, a bit homeless looking, who shows up at people’s funerals and talks to dead people. There wasn’t too much debate on who else would’ve been a more suitable fit. After going back into theatre for ‘The Wars Of The Roses,’ we caught up with the Irish actor and it’s safe to say that his excitable, charming, yet compelling, and substantial characters aren’t a far cry from the real deal.
Now you’ve taken on the role of auteur as well as actor in ‘Jet Trash.’ This was your first time producing and building something from the ground up. How was the whole process for you?
All in all, it’s been about a two and a half year experience. Andy Brunskill, who’s the main producer, came to my agent with a treatment of about 15 pages and said ‘Would Rob like to come on as an actor but also as a producer?’ And for over six to 12 months we commissioned a writer to do the script, who was actually the writer of the book that ‘Jet Trash’ is based on. Initially, we weren’t too happy with it and had to transform it into a more complex body of work. That was a brilliant experience because it was the director, Charlie, and myself sitting in my kitchen until five or six in the morning, managing sections of the script. Afterwards, we all went out to film in India for five weeks and had this sort of chaotic experience. It was something that we’ve been developing and growing for a year and a half and all of a sudden, we had all these people helping us make it. It wasn’t without it’s chaos but it was a really joyous experience.
Photography: Joseph Sinclair
Styling: Krishan Parmar
Since you were so heavily involved in it, did you manage to keep any sort of objectivity?
I don’t think so, no. The only way you can improve it, particularly in post-production is to keep watching different manifestations of it, take notes, see what bits stuck with you most and then fight for those bits. I was in LA, so I was watching cuts of the film digitally, taking notes and then comparing the notes to the last thing. I was trying my best to have objectivity, but, by definition, you can’t because you’re so close to it. You feel loyal to bits that might not entirely work. But you get better at it; you learn to kill your smaller babies in order to save the bigger babies.
Of all the roles that you’ve played, which one do you reckon was the one that you could relate to most?
I think in my early 20s, I was more like the character Lee in ‘Jet Trash.’ Not as selfish as him, but I was always trying to be the life and soul of the party and absolutely craved human company. But I was a decent kind of person who was doing stuff kind of hair-brained. I’ve mellowed out to some extent in my old age.
What’s your FAULT?
My biggest fault is the ability to forget everything that’s not in front of my face. If someone’s not getting me to focus, it just goes clean out of my head.
Find the whole interview and photoshoot exclusively inside FAULT 22. [Order]
by Oisin Vince Coulter and Sorcha Gannon | tn2magazine.ie
TN2: How do you like London?
ROB: I love London. I’ve lived there for the best part of five years. Well, I mean before I started the Shakespeare thing I was in Los Angeles for a year, standing around, doing a little bit of work. I did a couple of films out there, but then came back to do this Shakespeare thing and in all truth, kinda came back and just sort of breathed, sort of exhaled: ‘I feel closer to home again’.
In all seriousness, it’s funny; LA can seem so utterly foreign, you know. I’ve been out there and back so many times and then went and actually lived there but it seems more foreign now than it does when I first went there. I suppose it’s just lost a bit of its pizazz, but London just continues to gain pizazz – and, to do Shakespeare in London is incredibly meaningful, under the lovely Trevor Nunn.
Is this your first Shakespeare performance? And you’re the villain?
It is, and I am the villain. We’re sort of thrown in at the deep end in many ways, because we had nine weeks to rehearse all three plays, a Shakespeare adaptation of Henry VI parts one, two and three, and Richard III, all of which are mammoth plays in themselves.
So Peter Hall and John Barton back in the 60s took it upon themselves to adapt those four plays into this daylong trilogy that you could start at 11AM and power through right to 11 o’clock at night.
How did you maintain your stamina for that? …a lot of caffeine?
You know what, during rehearsals I didn’t have any caffeine, because when you’re relying on something like that – false energy – can let you down at the best of times, or sort of bring you on this roller coaster of energy which isn’t good either. I try and eat as much as I possibly can, and that requires getting home wrecked after a day and making a packed lunch, and making a sort of a supper, and food for the next day.
Especially on trilogy days – which happened on a Thursday and a Saturday – we’d all come in with big boxes of pasta. I’m a skinny guy anyway, but I’ve lost weight doing this thing because the Richard in our sort-of-adaptation is incredibly agile. There’s loads and loads of sword fights, snarling and biting and crying and sweating, and by the end of it I’m just a shadow of my former self.
You’ve been called a sex symbol. What was it like playing a physically impaired person?
Trevor – Sir Trev – very much wanted to encourage and accentuate the kind of youthful sort of exuberant Richard. Very much charismatic, very much a child when you first meet him in the second play of Henry IV and then you watch him experience the death of his father and go through all these really harrowing things. You know, at the beginning of Richard III he’s sort of going “What the fuck am I going to do now?” So he decides to just kind of turn everything upside down again.
So there was this sort of cheeky, young, brash thing that Trevor was constantly bringing out. So as an example, there was points when even when I’ve won my first sword fight I kind of do this great big like jump in the air, like a kid. It’s just really un-Shakespearean, un-Richard-like and really irreverent, that was very accentuated. As far as the deformity, I’m sort of hunched, my bodies kind of twisted into this chaotic thing, my arm is withered across my body. I’ve got a built up shoe on one leg for a limp, and a brace all up this leg. It’s very tough on the lower back.
You really became a big name as a result of your TV work: Misfits in the UK, Love/Hate in Ireland. Would you consider going back to TV?
I have no qualms! There’s no exclusivity when it comes to platform, if there’s a good televisual project or a film project, you just sort of have to take it as it comes and usually the stuff that is worth being in requires a lot of fighting for, and the stuff that kinda comes your way is usually the stuff that could be seen as unambitious. It’s only once in a blue moon that the stuff that’s really great is also the stuff they really want you for; it’s so very rare.
You kinda have to keep singing for your supper. And that can come in all forms! The next few things: I’m doing this movie that I’ve talked about a few times, called the Statistical Probability of Love at First Sight, which is kinda an exploration of the science of love and attachment, basically. It’s about this young girl, she’s like 19, and she’s flying back to London to her dad’s second wedding, and her family was torn apart by the fact that her dad left her mum, and she has a lot of resentment.
And then she meets this young man in the airport who is a psych-major at Yale, this English guy, who very much believes the same thing and they sort of talk about how love is insanity, and the wreckage it leaves in it’s wake. But also while they are talking about this they’re starting to feel attachment throughout the whole thing. So it’s a very science-proofed love story. That was directed by a guy called Dustin Lance Black who directed a few films but he’s more known for writing – he wrote Milk, J Edgar – he’s quite politicised – so this is something completely unpolitical for him as well.
What Irish actors and directors are you interested or inspired by at the moment?
At the moment, Irish actors, Michael Fassbender, Cillian Murphy are definitely my two guys at the moment. Although, you know, I saw Colin Farrell in the Lobster last night and he was fantastic and he’s so very un-Colin Farrell, he was great in that, definitely.
by Larry Heath | theaureview.com
AU: You’re currently preparing for performances in London as Richard III in The Wars of the Roses – how is everything going in the leadup to that? It’s only one of Shakespeare’s longest plays… must be a walk in the park! *laughs*
ROB: *Laughs* Yes! It’s going to reasonably well so far. We kicked it off with a couple of previews of the first play (Henry VI) and then we stopped to do rehearsals for the second play, Edward IV. So we just finished the technical rehearsals for that. And that one is the one with the most wars. So it was a gigantic collaborative effort that was akin to pulling teeth in its logistical challenges. So Monday evening is our dress rehearsal with an audience, so I think our director, our captain, is going to get up on stage before the show and say, “Terribly sorry, but could you bare with us please? This is the first dress rehearsal and we’ve gone completely down to the wire on it!”
So Richard III (the third play of the trilogy) has gone completely out of my brain already. So I’m sure we’ll get to him sometime at the end of next week.
How long have you been preparing for this production?
We started rehearsals about 10 weeks ago, so we’ve had roughly about 3 weeks per play. You’d think that would be enough time to get our shit in order, but the fact of the matter is, logistically the thing is such a monster, that once you get into the theatre itself there are a whole set of different challenges to overcome. All the dramatic stuff and all the feelings you’ve been carrying for nine weeks kind of go out the window *laughs* in exchange for the panic of standing side of stage and “am I going on next?”. But it’s been one of the most incredibly physical jobs of my entire life, it really has.
As you said, there’s a lot of wars.
Loads of wars, loads of battles, loads of trying not to poke someone’s eyes out with a swords, while looking like you are trying to poke their eyes out at the same time. Which can be very tricky.
It could be described as “Shakepeare’s Game of Thrones… well at least that’s how this production is being promoted… so if you were to join the cast of Game of Thrones, how would you want your character to die?
Didn’t they introduce a supernatural dragon element to the show?
The certainly did! Though it took about ten seasons before you actually got to see them.
I think I’d like to be eaten by a dragon. In a glorious St. George versus the dragon kind of way.
Would there be a shot of them ripping your body in two? Get really graphic?
Yeah exactly. A noble fight. Me with a shield and sword. You know if there’s dragon’s knocking around, you don’t want to be killed by a man. *laughs*. You want to be taking out in the middle of the night by some angry Queen. I’m not entirely familiar with Game of Thrones, but we do have dragons in The Wars of the Roses *laughs*. So if anyone is interested in flying over from Australia, then please do come, because there are dragons.
There’s no dragons. I’m lying.