{"id":95511,"date":"2014-12-08T10:05:29","date_gmt":"2014-12-08T15:05:29","guid":{"rendered":"http:\/\/www.theonering.net\/torwp\/?p=95511"},"modified":"2014-12-09T06:34:06","modified_gmt":"2014-12-09T11:34:06","slug":"martin-freeman-talks-the-hobbit-the-battle-of-the-five-armies-with-theonering-net","status":"publish","type":"post","link":"https:\/\/www.theonering.net\/torwp\/2014\/12\/08\/95511-martin-freeman-talks-the-hobbit-the-battle-of-the-five-armies-with-theonering-net\/","title":{"rendered":"Martin Freeman talks ‘The Hobbit: The Battle of the Five Armies’ with TheOneRing.net"},"content":{"rendered":"

\"DDP-0047\"<\/a><\/p>\n

WELLINGTON, NEW ZEALAND \u2014 TheOneRing.net visited the set for a brief time during the final segment of filming, nearly entirely focused on the third film, “The Hobbit: The Battle of the Five Armies.” On the day of this interview Peter Jackson was putting his characters through a highly emotional scene toward the end of the film when one or more characters was in grave peril, perhaps the gravest of peril. In fact, the scene puts the grave in grave peril. <\/p>\n

But the production wasn’t filming the action sequence. The camera was on the other half of the scene so instead the camera was focused on Martin Freeman playing Bilbo Baggins watching the grave peril unfold. Freeman’s face and voice spoke volumes about what Bilbo was experiencing. As of press time, I haven’t seen the film so perhaps those who have will know what we watched or perhaps it didn’t make the final cut. Either way, it was an acting lesson from a genuine professional.<\/p>\n

The year previous I spent extensive time on set and for a myriad of reasons Freeman was the sole interview of the main cast that I failed to get so I was pleased to finally be able to sit down on set, in a tent on a sound stage and interview the guy who played the title character. There were perhaps five other reporters as well. If any of the following questions from the Q&A are bad, please blame them. A foot massage* for those who can spot the questions for TheOneRing.net (hint, it wasn’t the ones about the ring or feet.) A personal observation is that Freeman is often a thoughtful interview who doesn’t deliver canned answers but I find his words here to be particularly engaging. Sadly, the interview, while reasonable in length left us wishing for more.<\/p>\n

WARNING: Freeman uses naughty words that start with “F” and rhyme with a certain type of waterfowl. If you don’t want to read that word, don’t read this interview.<\/strong> <\/em><\/p>\n

MEDIA:<\/strong> So, Peter was describing you as “always surprising” and talked about, sort of, the multiple takes and getting all of the different colors. What is your process when you have to do six, seven, eight takes, and each one sort of comes out differently each time?<\/p>\n

\"Freeman2\"<\/a>FREEMAN:<\/strong> I don’t want to get to the end of a series of takes and think that, “Oh, I never tried that.” Because you either lost your bottle or you didn’t want to look foolish or something, you know. So I’m quite happy to sort of go through choices that may be good, bad and indifferent as long as I feel like at the end of that series of takes I’ve expressed what I wanted to express. <\/p>\n

It’s partly that, and partly boredom threshold. You know, because I have a pretty low boredom threshold and I see no point in if you’ve done, you know, when you get the direction that’s perfect. Perfect, do exactly the same thing again. Why? I mean, if it was perfect. Why? If they can’t– If everything was fine, I don’t want to do it again.<\/p>\n

MEDIA:<\/strong> (Two speakers overlap) Can you tell the bad and the indifferent ones when you’re in the middle of them?<\/p>\n

FREEMAN:<\/strong> No, I don’t think so. I guess that’s the hard thing, is your own quality control. I would like to think of– I hope my own quality control is quite good, but it’s not always. It’s the truth of it. There’s sometimes that you do things where you think, “I think that was probably really good.” And then you look back and you think, “No, it wasn’t that great.” And then something else where the director prefers it to your own taste, and you go, “Well, yeah. I can see why they did.” <\/p>\n

So, not always best in the middle of it, but I do sort of trust feelings. And I do trust an instinct and I think if instinctually you feel the take went very well, and in the middle of the take you know you’re– You either know you’re in it or not. And that’s always true. If that feels good. And I do tend to trust that feeling. Because I think, other ones may have been good but I know that would’ve definitely been a contender because I was really there, you know.<\/p>\n

<\/p>\n

\"HBT3-bs-343122.DNG\"<\/a>MEDIA:<\/strong> As you get a little closer to the end of this journey, how are you feeling about it? Like, how’s it been different from what you expected? Surprising?<\/p>\n

FREEMAN:<\/strong> I knew it was going to be epic! And it is epic. It’s still epic. I knew it’d be tiring and I knew it’d be exhilarating and hard sometimes. And yes, it’s been all those things, really. I think expecting the unexpected is quite a good idea and so I wasn’t thinking, “I think it’s going to be like this.” I was just open to however it’s going to be. <\/p>\n

The main thing is you just know that you’re going to be doing this character for a long time. Much longer than you are doing most characters, and certainly on films. So it’s just bedding down for that, really, and getting your head down, doing the work, doing what’s necessary for that. And trying to keep a line through it all. Which obviously is not only my lookout, there are other people looking out for that as well. About where your character goes, you know. But yeah, I think that’s the main challenge, really. And I knew that. I don’t want to sound disappointed if I say it hasn’t surprised. I mean, I don’t know.<\/p>\n

The scale of it is always still surprising. You know, I come on set and go, “Oh, look. It’s another amazing set.” Another incredible set that will be used for twelve minutes. And then never again. So, yeah. But, no. The main thing that I try to prepare myself with was not to be too prepared. If that doesn’t sound too odd an answer.<\/p>\n

MEDIA:<\/strong> Besides the physical journey Bilbo went on, it seems to be quite an emotional thing as well. Is it taking quite a toll on him? I mean, when you get to that head space is he a damaged kind of guy?<\/p>\n

\"bilbo<\/a>FREEMAN:<\/strong> I think by this time he’s definitely altered, yeah. That’s part of the thing of keeping the line on who he is, because it’s playing, the fact that he’s definitely not the same person he was when he left Bag End, but at the same time he has to be. <\/p>\n

That’s a conversation that Pete and I have sometimes, when I want to sort of push it over there or push it over there and he says, “Yeah, yeah. But he’s still got to be the same person.” Do you know what I mean? And of course he is. People don’t literally change into another person, but I think combat and war does definitely things to people, you know.<\/p>\n

And even though this is a heightened fairytale, you have to ground it in some kind of relatable truth. We’re not making “The Hurt Locker” or whatever, but I think unless the stakes are high, and unless the stakes are relatively real, then why should people care? That’s what I liked about The Rings films, because that pain all seemed to be there for real. <\/p>\n

It’s doing that, but also keeping his lightness as well. And keeping his, I guess his sense of humor throughout it all. And his sense of trying to get perspective on what he is going through, because when you’re going through stuff in the moment, you\u2019re not thinking about how it’s changing you. And he’s not thinking about how it’s changing him, but it’s definitely– By the time we get to this stuff, he’s definitely altered, if not completely changed.<\/p>\n

MEDIA:<\/strong> Peter was talking a little bit about the influence of the ring at this point. That it has a draw, from the first film. But by this point, Sauron’s growing in power, the ring is growing in power and it is having an effect on Bilbo. How is that affected you by movie three at this stage?<\/p>\n

FREEMAN:<\/strong> Well, you know, when I did a bit yesterday where I had to take the ring off and come to tell Thorin to get out of here. And yeah, I think it does have– It’s like, it’s just unpleasant. It’s unpleasant to be in ring world for Bilbo, because it’s just like a massive white noise headache, I think. That’s what I’m sort of seeing it as. Like just someone punching you in the head for five minutes, and it’s just, you want to get out of it and it\u2019s a relief to get out of it.<\/p>\n

So, it doesn’t have a sort of delicious kind of feeling of, “Oh, this could be nice.” It’s like, “Fuck, it’s unpleasant,” I think. So, in a way, it’s even more– It’s a double heroism, if you like, of Bilbo’s to kind of put the ring on to come up and to give him this news, because he’s, yes he’s invisible, so he’s got an advantage but it’s also really unpl– He’s not getting a freebie. He’s having to really pay for it. So I would say, this point for him is just difficult, it’s a schlep. Yeah, it’s not nice, putting the ring on.<\/p>\n

<\/p>\n

\"THE<\/a>MEDIA:<\/strong> Is it more so, do you think than from the first film? Or has it always been the same?<\/p>\n

FREEMAN:<\/strong> I don’t know, well, because there are not actually that many times he’s put it on. So… Which is a fair question, actually. Because you kind of think, “Oh, how many times has he put–” It’s not that often. And I think it’s always with reticence. <\/p>\n

Probably, if anything like anything the first time you go through something unpleasant is unpleasant and surprising and scary, I guess the second time at least you’re forewarned. But yeah, it’s still quite a bit sickening for him to put it on, though.<\/p>\n

MEDIA:<\/strong> Do you think you’ll be sad saying goodbye to this character?<\/p>\n

FREEMAN:<\/strong> I’m a deeply, deeply unsentimental person as far as stuff like that is concerned. I’m very sentimental about other things, but I’m never ever sorry to leave a job. Ever. <\/p>\n

Partly because, while I still have that experience and partly because recording has been invented and if I ever miss it I can, you know, play it. Please God, you know. I mean, I know that sound facetious, but it’s really true. You can play the record or play the DVD or whatever it is you want to play, thankfully. No, I won’t be. I hope I’ll be proud of it. And I’ll be happy to, really happy to have done it. But no, I’m always wanting to see what the next thing is, genuinely. <\/p>\n

There will be things about it that you will miss, there will be people and experiences that you kind of think, “Oh, that was– It’s a shame I’ll never have that particular one again.” But, honestly that’s kind of like on every job. It’s like that on every job. This is slightly different I guess, because it’s longer, but in that way nature find its own way. The longer it is the more you want to finish it, you know what I mean? Because you know, the longer something is, the more you’ve had time to get annoyed at people. I’m talking about them on me, actually.<\/p>\n

So, no. I’m surprisingly unsentimental about that stuff, because I’m really a big softy about some other things. But not really about leaving work, no. Because I always want the next thing. You know what I mean. That sounds sharky, and it, you know– I don’t– But it’s–<\/p>\n

(Prepare yourself for these questions readers; I almost left them out.)<\/em><\/p>\n

MEDIA:<\/strong> Are you ever sad about leaving the feet?<\/p>\n

\"Freeman1\"<\/a>FREEMAN:<\/strong> Fuck no. No, really, no. No, this is the greatest acting of my life, tolerating the feet.<\/p>\n

MEDIA:<\/strong> Well, so anything that we’d be surprised to know? Because I was just watching you scratch, and sort of seeing how far up that goes. What would you want to tell us about this whole thing there?<\/p>\n

FREEMAN:<\/strong> Yeah, mate, well I do not– I mean, I could tell you anything. I don’t know what you’re allowed to tell other people. They go up to there. They–<\/p>\n

MEDIA:<\/strong> A bit like stockings?<\/p>\n

FREEMAN:<\/strong> They are like stockings. They’re like rubber stockings, they take about eight minutes to put on with the help of two lovely ladies. <\/p>\n

And it’s a lot quicker a process than it was on Rings, where I think they were soldered up to there, for about forty-five minutes. But these are really quick, they think about optimum efficiency and comfort. They’re not really uncomfortable. But, you know, I’m asked a lot, will I miss them. Do I bring any home. No. No. No, no.<\/p>\n

HANDLER:<\/strong> Martin, you’ve got about five minutes before you’re on E. Are you okay to… Okay. <\/p>\n

(E means that he had to go to sound stage E to shoot, probably with the second unit or the he had already tolerated us interrupting his work day enough!)<\/em><\/p>\n

FREEMAN:<\/strong> Yeah, couple more questions. Yeah, cool.<\/p>\n

<\/p>\n

\"Bilbo<\/a>MEDIA:<\/strong> You’ve seen yourself in the first movie, in character and yet you’re still acting. How does that affect what you do?<\/p>\n

FREEMAN:<\/strong> Yeah, fair point. I honestly don’t know and I guess the answer is I hope it doesn\u2019t. <\/p>\n

I hope that you can find ways that you can learn the helpful stuff and the good things and the things that could actually steer you into a better position and forget everything else. I mean, I don’t know that it’s possible, actually. To not be affected. <\/p>\n

There were things that I did that I saw that annoyed me about what I did and I’d rather not do. But then I think, “Fuck it, that’s Bilbo.” That’s kind of what it is. That’s the part. And I think like anything else, normally you finish the job by now. So I haven’t got the time to rectify that or to get tired of my own decision making. But in this you have definitely got time to bore yourself. So the danger is like seeing a film the size of The Hobbit is like going to read all your reviews, while you’re still doing a play.<\/p>\n

It’s a very silly idea. And obviously there’s no way of avoiding seeing The Hobbit, and of course I was curious and I wanted to see it and I’m very glad I saw it. But in a way it can– I don’t know how helpful it is. Yeah. So in answer to your question, I don’t really know if it changes or effects things. I mean, obviously I hope not. Because that’s why you don’t read your reviews, because if it’s good then you play the good stuff and if it’s bad then you just try and make up for it in unhelpful ways, so… <\/p>\n

\"IMAX<\/a>But of course, watching yourself in a film like that, you cannot watch it neutrally, of course. You can’t watch it as an audience member, you are just you. Invested in hating some things and being proud of some things.<\/p>\n

When I’m in the midst of it, and I think I speak for all of us, the first film is of no relevance. It’s like it hasn’t come out. Because we’re just back on the shop floor doing the slog, and as you see these are long fucking days.<\/p>\n

There aren’t many opportunities to go, “Jesus! That was a good film!” “I was so good.” So it is, and thank God. So you’re just with the cold face trying to make today happen. So, in that sense, it’s quite good. This a real leveler. Because work is work. Whatever the size of the job is, you are always just trying to so the same thing, which is get the day shot.<\/p>\n

MEDIA:<\/strong> Working with Peter over such a great length of time, what were your thoughts about him at first blush as you started working with him? It would’ve been sort of the fun revelations as you’ve had time to, you know, deepen and refine your relationship together.<\/p>\n

FREEMAN:<\/strong> He’s fun, and he’s got a very mischievous side to him, I think. He’s very unpretentious. He’s very cluttered in his direction. He won’t try and bamboozle you or himself with weird illusions or reference points. He’s kind of– He wants you to sort of do it like this, you know. And to try it like that. So, he’s very straightforward, which is a good thing, really. <\/p>\n

He likes a laugh. he keeps his head down, really. He’s got so much to do, that you don’t really have a lot of hanging out time. On set or off set, he’s just completely, excuse me, embroiled in this. More so than anybody else. I mean, I’m fairly embroiled in it, but he’s more embroiled in it that I am, because he’s editing three films in his head as well.<\/p>\n

\"_Hobbit_<\/a>Yeah, how’s it changed? It hasn’t changed that much. It hasn’t changed that much, actually. Because I still wouldn’t claim to know him particularly well. Not really well. It’s not a hanging out kind of thing. I know his working methods now. I know his working methods with me, and he knows mine with him. But that would change from film to film as well, because the way I work on this isn’t the way I work on everything, because inevitably that changes depending on the dynamic of the people you’re with.<\/p>\n

I don’t know, I like him. I liked him when I first met him. When I first met him for another job, he seemed like a very decent human being to me. And I think he is. I’m always pleased that he has tried to stay like a man instead of a sort of demigod or something like that. Which is certainly how some people, I think, either view him or want him to be because their admiration is so great for him. <\/p>\n

But I think he’s quite good at batting that off and just scraping everything away and just saying, “Well, I’m doing my job and I’d like you to do yours.” And that doesn’t seem to be a pretension with him. That seems like a genuine thing. I would guess he’s not really changed much since he was making films in his twenties. You know, that’s my guess.<\/p>\n

FREEMAN:<\/strong> Thank you, folks. Thank you.<\/p>\n


\n* If you won the foot massage, go tell your mom, she will be the one awarding your prize.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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