Ты и я
Премьера в России 03-02-2011
О фильме Бобер/The Beaver
Премьера в России 28-07-2011
О фильме Смурфики/The Smurfs
Премьера в России 11-08-2011
О фильме Ночь страха/Fright Night
Премьера в России 22-09-2011
О фильме Как сумасшедший/Like Crazy
Мировая премьера 22-01-2011
О фильме Зимняя королева/The Winter Queen
Подготовка к съёмкам
О фильме Звездный путь- Сиквел/Untitled Star Trek Sequel
Премьера в России 28-06-2012
О фильме Не оставляй попыток/Keep Coming Back
О фильме Странный Томас/Odd Thomas
При своих русских корнях он стопроцентный американец. И, как называют его американские кинокритики, надежда Голливуда.
«Я далек от идеи американской мечты и не испытываю никакого трепета перед «фабрикой грез».
Двадцатилетний Антон Ельчин – состоявшийся актер с внушительным багажом картин за плечами. Сын русских фигуристов-эмигрантов больше известен в Америке, где живет всю свою жизнь. Если российский зритель только-только привыкает узнавать его в лицо, то в Голливуде он признан самым ярким молодым актером по версии Hollywood Life. На «фабрике грез» свой талант Ельчин демонстрирует с 11 лет – начиная со съемок в сериале «Скорая помощь» и фильме «Сердца в Атлантиде». После премьеры культового «Терминатор: Да придет спаситель», где Антон сыграл Кайла Риза, отца Джона Коннора, и популярного в Америке «Звездного пути», где воплотил собирательный образ русского гения Павла Чехова, для него началась череда промо-туров и телевизионных шоу по всему миру. В апреле Ельчин приезжал в Москву на премьеру фильма «Звездный путь», но тогда нам не удалось взять у него интервью – слишком уж Антон был занят. Зато на прошлой неделе мы позвонили ему домой в Лос-Анджелес, и, несмотря на 11-часовую разницу во времени, у нас получился очень живой разговор. «Доброе утро! Давай по-русски?» – все-таки удивительно, когда так говорит голливудская знаменитость.
– Антон, ты снимался в фильме «Альфа Дог» и сериале «Доктор Хафф», но стал по-настоящему знаменит после выхода таких блокбастеров как «Терминатор: Да придет спаситель» и «Звездный путь». Как на тебя подействовала известность? Ты ощущаешь себя настоящей голливудской звездой с райдером и прочими атрибутами?
– Я очень люблю свою работу, мне нравится играть, и только этим заняты все мои мысли. Я далек от идеи американской мечты и не испытываю никакого трепета перед «фабрикой грез». Мне нравится, что съемки в этих фильмах позволили мне в последнее время много путешествовать, я представлял картины в Москве и Токио, смотрел города, общался с людьми.
– Кстати, тут кто-то из кинокритиков ошибочно предположил, что ты один из неучтенных внуков Бориса Ельцина. Когда знакомишься, вспоминают о первом российском президенте?
– Да, бывало такое, особенно, когда недослышат или в написании напутают. Но что в России – удивлен, я думал, тут умеют читать по-русски.
– Я слышала, что ты пошел в детстве на актерские курсы для того, чтобы преодолеть застенчивость. Помогло?
– Да, это действительно так, друг родителей – русский актер – посоветовал им отдать меня на актерские курсы, чтобы я раскрепостился. Разница между мной 9-летним и мной 20-летним огромная, но в каких-то ситуациях я по-прежнему очень стеснителен.
– Тем не менее, прочтя сценарий нового «Терминатора», ты настоял на том, чтобы характер Кайла Риза был существенно изменен. Изначально он был прописан как слабый человек, ты убедил режиссера МакДжи, что он должен быть агрессивен и зол. Ты всегда добиваешься своего?
– Что касается фильмов, то я считаю частью своей актерской профессии тщательнейшую проработку роли. Я с детства фанат «Терминатора», и для меня большая честь играть в его продолжении. Перед тем как сниматься, я специально пересмотрел его много раз. Я считаю, мы должны были уважать тех героев, которых создали до нас. Человек, выживший после мировой катастрофы, параноик, цепляющийся за жизнь только потому, что должен присматривать за девочкой, не может быть слабым, для меня всегда важно поддерживать линию, делать историю крепкой и правдоподобной. Я привык раскладывать роль по полочкам и вкладывать в нее душу.
– После съемок фильма «Сердца в Атлантиде» Энтони Хопкинс был настолько впечатлен твоей игрой, что подарил книгу Станиславского с надписью «Тебе это уже не надо». Тем не менее эта книга оказалась полезна?
– Я получил ее в подарок, будучи совсем ребенком, с тех пор я возвращаюсь к ней вновь и вновь. Можно сказать, это моя настольная книга.
– В интервью ты несколько раз говорил, что мечтал побывать на своей родине в Санкт-Петербурге, тебе это удалось осуществить?
– Да, в 2007 году я снимался в российско-американском фильме You and I (рабочее название «В поисках t.A.T.u.») с Мишей Бартон. Сценарий раз шесть менялся, фильм выходил не очень, но у меня была другая цель – я согласился на эту работу, чтобы побывать в России. Съемки проходили в Москве, Ярославле и Лос-Анджелесе, но я отлучился на несколько дней – побывал на своей родине. Посетил улицу Кораблестроителей, где жил до шести месяцев, подружился со своим дядей, съездил на могилу бабушки с дедушкой. Надо сказать, что Петербург – выдающейся красоты город. Но, честно говоря, мне больше понравилась Москва. Она больше отражает русский характер и русскую историю со всеми ее вторжениями, кризисными моментами и перестройками. Санкт-Петербург – более спокойный европейский город, который мог бы находиться в Германии или Франции. Москва же, мне кажется, больше отражает русскую сущность. Хотя что-то я увлекся; пожалуй, россиянам виднее.
– Тебе нравятся такие девушки, как Сара Коннор? В «Терминаторе» предполагается, что она – твоя возлюбленная.
– С такими ручищами, накачанными мускулами? Шучу. Нравятся. Я вообще считаю любовную историю в «Терминаторе» очень интересной, она выходит за рамки физиологического притяжения мужчины и женщины. Тут больше духовного смысла. Для Сары это было предопределение, и она полюбила того, кого должна была полюбить. Эта женщина даст фору многим мужчинам; мне симпатичен этот выбор. А вообще мне нравятся все женщины, и такие сильные, как Сара, – не исключение.
– У тебя, должно быть, нет отбоя от поклонниц – помимо того что ты актер, ты еще и музыкант. Я видела кусочек выступления твоей группы The Hammer-heads – оно проходит в лучших традициях sex, drugs and rock’n’roll.
– О, я был бы весьма доволен, если бы действительно от поклонниц не было отбоя. Но девушки на меня почему-то не вешаются. На концертах я получаю эмоциональную разрядку, не более того. А к чему ты сейчас ведешь?
– Хорошо, спрошу прямо. У тебя есть девушка?
– Сейчас нет.
– Ты в поиске?
– Ну когда у парня нет девушки, что бы он ни говорил, он все равно находится в поиске. Я абсолютно свободен.
– ОК. Скажи, пожалуйста, ты живешь с родителями? Кто твои соседи?
– Да, я живу с родителями. В Америке давно прошли те времена, когда соседи приходили знакомиться друг с другом. Я понятия не имею, кто мои соседи. Я живу обычной жизнью, знаете, в LA не только знаменитости, но и инженеры, посудомойщики, электрики, продавцы... Бывает, я встречу кого-то из знакомых актеров на заправке, мы перекинемся парой слов и разъезжаемся.
– Кто помогает тебе в принятии решений? У тебя есть агент или ты советуешься с родителями?
– У меня есть целая команда – агенты, менеджеры, пресс-атташе, всем я даю читать сценарии, они ведут переговоры. И мнение родителей тоже спрашиваю. Но последнее слово, разумеется, за мной. Я могу быть ни с кем не согласен и поступить по-своему.
– У тебя сейчас перерыв в работе, чем ты занимаешься?
– Читаю сценарии, выступаю вместе со своей группой в клубах, очень часто просто сижу дома, люблю ходить в маленькие кинотеатры – ну, знаете, это чисто американское развлечение. А еще раздаю интервью (смеется), вот как сейчас.
Anton Yelchin walks into Paris’s Hotel Plaza Athenee wearing a larger-than-life hat, which almost dwarfs the diminutive actor who features in of two of this summer’s biggest blockbusters. Think Star Trek and Terminator Salvation and the upcoming New York, I Love You.
Purchased in Palm Springs, the hat turns out to be a Stetson, a brand as well known among hat aficionados as these franchises are to film fanatics. But the style is distinctly Yelchin’s own.
“It is actually a cowboy hat,” he explains, “but I flipped it down because I didn’t want to look like,” he pauses, “W”.
He is funny. And Yelchin clearly isn’t afraid to express his opinions, either in jest, when it comes to George W Bush, or in earnest when it comes to the roles he plays. He is also deadly serious about his work (being the son of two Russian athletes clearly paid off), which may be why Brett Ratner (X-Men: The Last Stand) chose him to star in his short film on romance, New York, I Love You, an anthology of films by 11 directors including Jian Wen and Shekhar Kapur, which will be released in October.
At all of 20 years old, Yelchin hadn’t even been born when the Star Trek and Terminator franchises were launched, in 1966 and 1984 respectively, but that didn’t stop him going back to explore hundreds of hours of past materials and lobbying his directors with the resulting suggestions.
“I did a breakdown of [his Terminator character] Kyle Reese and pitched it to the director, McG, and said: ‘Here is who I think this guy is. This needs to be in the script’, ” he explains. “I filled his voicemail with messages and I would get text messages back saying, ‘I agree with you’. It is a nice environment to work in where you feel you have a voice and it really frees you up to experiment.”
In Star Trek, meanwhile, Yelchin’s Russian roots came in handy in playing the Russian brain and the Enterprise’s navigator, Pavel Chekov.
“They are both very different characters, different sets, different environments that I found myself in, so they were both interesting in their individual ways,” says Yelchin.
Born in Leningrad, now known as St Petersburg, to a pair of professional figure-skaters, Yelchin moved to the US when he was six months old and began attending acting classes while at school in Los Angeles. He made his debut, aged 10, playing Robbie Edelstein in ER and landed his breakthrough film a year later, starring opposite Anthony Hopkins as a fatherless adolescent in Hearts in Atlantis. He went on to appear with Robin Williams in the 2004 film House of D and has played in many films and TV series since, including Nick Cassavetes’ 2006 film Alpha Dog in which he plays a runaway in the real-life story about one of the FBI’s youngest most-wanted men ever, Jesse James Hollywood.
Yelchin enjoys working on both independent films and action-filled blockbusters. “In the best sort of spectacle action movies, character comes first and that’s why you buy the action,” he says. “I got lucky with these two because there was a lot of character work to be done. Terminator was challenging and interesting and definitely there was a lot of work to do, which is great because we don’t often expect to go into these movies and have challenging work to do. But I was lucky with Star Trek as well because it was the same thing. There was this whole other character to work with – different… totally different, different physicality, more joyous and light, but the same idea. They were both challenging.”
Yelchin’s future projects should include the actor William H Macy’s directorial debut, Keep Coming Back. The film is a coming-of-age tale set in the Deep South. “They are trying to figure out when they are going to shoot that,” he says. “It would be nice to go back to smaller films.”
He recently completed the romance Memoirs of a Teenage Amnesiac, in which he co-stars with Emma Roberts. The film was based on the book of the same name by Gabrielle Zevin. He has also reportedly signed on to do the next two Star Trek films.
“I think that being in two films like this helps you to do other work,” he says. “There are actors that I really admire, actors that can do both. I think that you can do it. As long as you stick to finding interesting characters and believing in them, you can do that.”
Although he has worked consistently since he was 10, down time between films, he confesses, is always hard to adjust to.
“It is a weird transition period unless you have a job right away when you can start working again,” he says.
“When you don’t, you start feeling like you have to get back into your life and adjust to not being with the people you just spent months with and the people that you have come to care about and that have become your friends.
“You have to adjust to not working really hard and not having a definite purpose to your life. I feel like every time I am on set, there is a goal, there is an objective and there is a life to be lived. Then, when I’m not working, I wake up at noon and guess I will go and read, watch a movie, play music.
“I probably watch even more movies when I’m working. I still watch a lot when I’m not working, but you end up having a rhythm and a pace you are moving at. It is very fulfilling when you are working. When you are not, you try to do something that gives you some sort of fulfilment but it is never quite the same between films. I realise you just have to take it easy or you get really upset.” http://www.thenational.ae/apps....007
Интервью с Антоном с Санденса Sundance Interview: Anton Yelchin Returns To Indies For Like Crazy Like Crazy wasn't just the first big film that everybody at Sundance seemed to fall in love with, but one of the festival's first big acquisitions, going to Paramount for $4 million in the first few days of the festival. The low-key and emotional romance stars Anton Yelchin and Felicity Jones as two college students who fall hard for each other, only to be separated by geography and all the other complications that come up when you're in love but with your whole life in front of you.
The film is directed by 27-year-old Drake Doremus, who had a film at Sundance just last year with Douchebag and brought his same independent, improv-influenced style to Like Crazy, even though he was working with experienced Hollywood actors this time around. I had the chance to talk to both actors on Monday, just hours after the new broke that Like Crazy would be a major studio release. Yesterday I brought you my conversation with Felicity Jones, and now below you can read my interview with her co-star Anton Yelchin.
Yelchin is a far more familiar face to moviegoers thanks to roles in Star Trek and Terminator: Salvation, but as he says himself, you may not necessarily recognize him from film to film. The slight actor put on 20 pounds for Like Crazy to play Jacob, a mild-mannered college student who falls hard for the more passionate and impulsive Anna, but who is forced to stand up for himself when their relationship is challenged by a host of outside influences. I talked to Yelchin about his chameleonic career switching between big-budget studio movies and independent films, how he used his own relationship experience to create Jacob, and, yes, a little bit about Star Trek 2-- basically, he's just as excited for that movie as you probably are. Check it out below, and look for Like Crazy in theaters later this year.
You've had your experience making studio movies, and this movie is very small, it doesn't feel like a studio movie at all. But it's been picked up for distribution by Paramount. What's it going to take for mainstream audiences to open themselves up to this? Everyone I've talked to at Sundance has been able to relate to it in some way. It's about the honesty. It's really honest about what it feels like in those first moments, and what it feels like when it goes away, and what it feels like to try and get that back. They're young, but everyone relates to that feeling as long as it's done honestly. Regardless of whether it's improvised or a huge production or an intimate relationship film, people just relate if it's honest.
You guys had to bring a lot of yourselves into these characters, and as an actor a lot of times you get to remove yourself from the character. What kind of challenge was that for you? I don't know. It's more about you never get away from yourself, because you're constantly in a character you relate to and commit to. So long as you're with that character you try to love them as much as possible and understand them as much as possible. For me, I'm nowhere near as understanding of myself or willing to be sympathetic to myself as I am to a character, because that's my job.
Was that harder or easier on something like this, where you're putting so much of yourself in it? It was challenging because you have to find the parameters of where you can come from. We'd do takes and think, "Oh, it's more of myself than Jacob," and we'd have to go back. Drake was so great-- "Tone down the you and bring him back." We both knew who Jacob was.
Felicity wrote the notebooks and poems we see Anna give Jacob in the film-- did you build the chair? Did you build furniture? No, the chair is this guy Dakota, who is great. But he's largely what I based the character off of, because he's this fascinating human being. He was talking about how his creating chairs and furniture design is a search for permanence in an absolutely impermanent environment. I was like, fuck that's what we're making a movie about! But the notebooks-- one thing I'm embarrassed about is my shitty designs for furniture. Those are all my drawings.
Did you and Drake and Felicity talk about your own past relationships when building these characters? We talked about all sorts of things. It was so committed to these people. My experience has not been like Jacob's, but I've had these experiences-- when you're an actor you're all over the place. You want to know what someone else is doing because where they are it's 6 p.m. and where you are it's 1 in the morning, and you know they're going to go out. And that desire to want to trust somebody and yet that fear. I get it.
Is there anything specifically you're hoping will happen for your career in the wake of this movie? Moving on to being a leading man? I just like to do different things. Star Trek and Terminator came out a month apart, they may as well be two different actors. They look nothing alike. You wouldn't recognize me. It's not me, it's them. And that's what I love. I came to this movie and, I'm a skinny dude, and I wanted to put on 20 pounds and have a gut.
Did you put on weight? Yeah, I'm skinny-- I'm like 145. I put on like 20 pounds. It's funny, it's just changing things. I want things to be characters and not me. Why would I want to play me?
Star Trek 2 is still a theoretical thing, but do you like knowing that's coming, that there's another guaranteed big movie to make? I guess. It's mostly the fact that I"ll get to work with this people again. It's just those people, come together and maybe make another cool movie.
Do you like it enough to seek out other big-budget movies as well? Yeah sure-- it's fun to make. There's Hollywood movies that are so fun to be in. Shit blows up, and you look around, like-- this is Hollywood. We shot on Paramount stages and you look at the tablets and it says Dial M for Murder was shot here, or Psycho. This is so epic. I love movies.
Quint's Weekend of Interviews begins with Anton Yelchin discussing The Beaver and Fright Night! Published on: Mar 26, 2011 9:20:11 PM CDT
Ahoy, squirts! Quint here. I’m dubbing today and tomorrow Quint’s Weekend of Interviews. I will be catching up on some Sundance and SXSW interviews and just laying it on AICN like the interviews are napalm and AICN is the man in the black pajamas.
So, first up is a SXSW interview I did with young Anton Yelchin for The Beaver, the morning after its premiere screening. You may have already read my quite good interview with Jodie Foster about this particular film, but if you haven’t what’s keeping you?
I remember liking Yelchin in the Stephen King adaptation Hearts In Atlantis, but it wasn’t until a little show called Huff premiered that I really began taking notice of this kid.
From Alpha Dog to Charlie Bartlett and even Terminator: Salvation he continues to impress. His interpretation of Kyle Reese was spot on and if McG had centered the movie on Kyle’s story instead of John Connor’s it would have been a far more successful movie, I think.
In The Beaver, Yelchin plays Mel Gibson’s rebellious son, a teenager with a particular talent for finding everybody else’s voice except his own. He uses this talent to make cash writing essays for his fellow students, all the while obsessively trying to distance himself from his father.
Hope you guys enjoy the chat. We cover The Beaver topics, like working with Jodie Foster, Jennifer Lawrence and Mel Gibson, and we also touch upon some Fright Night stuff, too.
Quint: Did you watch The Beaver last night with the audience? Anton Yelchin: Yeah I did. I hadn’t seen it before.
Quint: Oh really? What are your impressions? Anton Yelchin: I really enjoyed it. I loved seeing it color corrected and on film. I think it was 35mm, so…
Quint: Yeah, not digital. Anton Yelchin: I really enjoyed seeing it and I thought Mel [Gibson]’s performance was just so good. I just thought it was so, so good.
Quint: Yeah, me too. As crucial as your character’s relationship with Mel’s character is you share relatively few scenes, but that’s kind of what is needed to make the relationship work. Anton Yelchin: Sure. I mean that’s the point, they both avoid each other. Even though Walter is avoiding everything, Porter is really making a conscious effort to avoid the one man that he really actually needs to face you know?
Quint: There’s a quicksand like aspect to your character, Porter, because the more he struggles against the similarities to his father, the more similar to his father he becomes. Anton Yelchin: Exactly.
Quint: Is that something that intrigued you about the script when you first read it? Anton Yelchin: That’s what I think is so tragic about this guy. He locks himself away in this prison of self-destruction. They are both clearly self-destructive and Porter inflicts physical and emotional pain upon himself to try and isolate himself from everybody, like an island or whatever, in hopes that it will save him, but what it does is it just makes him more and more depressed, then he meets Norah (Jennifer Lawrence) and she opens him up a bit and that’s where it just crumbles. It makes things worse and worse for him. I just found it really tragic, like this guy that’s just so full of sadness and fear and misery. He’s really just a miserable guy and yeah, I found it very intriguing.
Quint: But also in an even sadder way, his one great talent is being anybody else and he’s being anybody else because he can’t be himself. Anton Yelchin: Yeah and that’s the thing. I think he is so afraid of who he really is and it’s funny, because as the audience you get to see who he is. You get to see where he can be, like how he is with Norah. You get to see that. His fear, in his own mind is that he’s always like his father and so it’s like incredible self-loathing for that potential similarity to Walter and it’s so tragic, because they both… The talents that they have, like Walter is obviously an extremely talented man, but they use those talents and ingenuity to destroy themselves, to lock themselves away, to hurt themselves, to isolate themselves like you said.
Quint: I just talked to Jodie and she was saying that you were on the top of her list from very early on, that she read some people and she auditioned some people, but that she met with you and she knew immediately that she wanted you in the project. Can you talk a little bit about the process of you coming on board? Anton Yelchin: Yeah, I read the script. I had a meeting with Jodie where we sat and talked and I think that week or maybe the next week I read with her. It was pretty simple and Jodie is a really straightforward person. She doesn’t BS anybody. She’s very honest and straightforward and I respect her incredibly for it amongst other things you know, obviously.
Quint: And she was in TAXI DRIVER. Anton Yelchin: Yes, she’s in my favorite movie and she’s just amazing. Long story short, she is amazing. So it was a very pretty simple process.
Quint: Would the script have mattered at all to you if Jodie wanted you to be in the movie, like if you didn’t get the script or anything like that? Would you have done it just because it was her? Anton Yelchin: It’s tough. It’s like… It’s a really tough call. I mean, chances are maybe, but it’s hard because I love what I do, so I want to play characters that are interesting. There have been times when there were great actors attached to something and I just don’t find the character, like I don’t know if I can really do anything with it. Why do something with someone that is great if you can’t do something interesting with them?
Quint: Yeah, if you can’t play. Anton Yelchin: Yeah, like you would rather be able to have this great dialog with somebody about something really interesting and sort of tap that resource for as much as you can really as opposed to…
Quint: (Laughs) Just doing it to hang out with them. Anton Yelchin: Exactly.
Quint: You and Mel are both really great in the movie and one of the core aspects of your character is you have to kind of mirror his character. I’m sure a lot of that was in the script, but did you work at all with Mel to try to get some similarities down? Some maybe more subtle things like gestures? Anton Yelchin: Yeah, and I can’t remember how much of this is in the movie. I know there are several things… We sat down and were like “Okay, let’s both do this” and Jodie wanted us to list the things that would could do and then I would email her and be like “We could do this. We could do that.” So, Mel and I sat down and talked and we were like “We could do this thing” and I would come watch him, even if I wasn’t shooting, just to see little things he was doing and then I was just about watching him too and the little things he does. A lot is in his eyes and the way his eyes work and the way he has got this really fascinating intensity about him, so trying to capture that and mirror that I don’t know. So, some of it was just watching and the other part was actually sitting down.
Quint: I got to visit the set and it was really great for me, of course I grew up with ROAD WARRIOR and all of that stuff, so it was really interesting to me to watch how he worked. It surprised me how vulnerable he was and how malleable he was for Jodie. I imagined he would be like “Nope, this is what I’m going to do, because this is how I do it,” but he was just so very giving as an actor. It was really surprising to me. Anton Yelchin: Sure. I mean he’s a really fascinating man and he’s really wonderful on set and so committed to that vulnerability that you are talking about. He’s just so completely immersed in these tragic feelings.
Quint: Before we go, we also have to talk about Jennifer Lawrence, because she is great in the movie and… Anton Yelchin: And in everything else. (Laughs) She’s wonderful.
Quint: Yeah, but she needs to stop doing movies with suggestive titles, though. We need to get her away from WINTER’S BONE and THE BEAVER… Anton Yelchin: (laughs) That’s funny. Yeah, you’re right.
Quint: She needs to do something that’s just like “The Tree” or something you know? But one of the things that I really like about her casting is that there’s no denying she’s jaw-droppingly gorgeous, but the trick with her and what makes her really fascinating is that you can buy her smarts. There’s a complexity to her that kind of makes her stand apart and you see it on full display in WINTER’S BONE, where some of her beauty is even taken away. She’s made as plain as she can look, but she’s still more beautiful than most people. In The Beaver she has a role that I think might even be more difficult to pull off. She can be a cheerleader and a valedictorian and be believable as either. Can you talk a little bit about working with her and how you shaped the chemistry? Anton Yelchin: Yeah, Jenn is an extremely strong person, just really smart and really strong. I’ve been lucky enough to work with her twice now. We did this and then we did LIKE CRAZY and she’s great. She is so extremely talented and wonderful to watch and she’s great, exactly as you said, she’s extremely smart and everything comes through. She’s a very strong human being and her characters all have this kind of strength, even Sam in LIKE CRAZY is kind of a sad character where she gets broken up with and still loves this person and keeps coming back.
She still has a great amount of dignity to her. We sat down and had rehearsals with Jodie and Jenn and I hung out a bunch. Our rooms were like on the same floor, so we would just hang out and talk about work and stuff and get dinner. We sat down in rehearsals and we would just talk about the characters and where they were each coming from and what she did to him, what he does to her or how she sort of pulls him out and then when it crumbles it really sinks him even lower and then she pulls him up again. We just had a lot of talks and that’s sort of where the relationship came from. We just got a good understanding of what’s going on with these guys.
Quint: It’s kind of a give and take with the characters though. That’s kind of why I like the relationship is that for as much as she pulls you out, it’s just as equally important for you to make her realize what’s special about her too. Anton Yelchin: Sure and I think Porter subconsciously does to her what he wants to have happen to him and he’s doing that with everybody. He’s giving everybody a voice except for himself, but yeah I mean in a kind of insensitive, but ultimately positively constructive, even though it’s in an insensitive way, gets her to see things that she has blocked out and as you said she returns the favor.
Quint: So what’s next for you? What do you have on your plate? Are you off to do anything? You have LIKE CRAZY you mentioned. Do you know when that one comes out? Anton Yelchin: That comes out in the Fall I think and then I’m starting this movie, ODD THOMAS, in May and then LIKE CRAZY comes out in the fall and FRIGHT NIGHT comes out, I think, in August.
Quint: That’s cool. I’m curious about that one. Of course, I’m a kid of the 80’s, so I love the original. Can you talk a little bit about the tone? I don’t know if you are a fan of the original… Anton Yelchin: I love the original. It’s awesome.
Quint: That’s good to know. Was that kind of the vibe on set? “Let’s try to do something in that vein?” I don’t think anybody wants a shot for shot remake, but… Anton Yelchin: This one is definitely not as campy. There are definitely self-conscious things about it, but the other one is literally like (Rainer Werner) Fassbinder without that much anger. The humor isn’t as mean, you know? So, yeah. This was definitely less campy and more of a… I think it’s really, hopefully, going to be scary. Sitting in 2010 watching FRIGHT NIGHT is not scary, but I can imagine like in 1984 or 1985 (it was). The effects are awesome. They are gruesome and…
Quint: And as campy as the movie is, it’s still goes for the horror. It’s kind of like AN AMERICAN WEREWOLF IN LONDON, which as funny as the comedy is in that, they weren’t fucking around when they designed that werewolf. Anton Yelchin: Seriously.
Quint: And the same thing with the vampires in Fright Night. Anton Yelchin: Cronenberg does that a lot where it’s like really self-conscious and really creepy, but also kind of funny and weird. It’s different, but you know what I mean. Like the VIDEODROME stuff is like so weird and uncomfortable and then so is THE FLY.
I think this one is definitely, I hope, going to be pretty violent and scary and funny at times. The cast is so great and I think Colin [Farrell] is an awesome vampire.
Quint: That was pretty inspired casting. Anton Yelchin: Yeah, he’s awesome. He really is really, really awesome and he just possesses that quality of being an intense sexual predator, which the original was all about and he really inhabited that original… The thing that Chris Sarandon brought to it. In this one, I think it’s just jacked up more and like I said a little less campy, but…
Quint: Do you think they are going to go for an R rating? Anton Yelchin: I don’t know.
Quint: Probably not. Anton Yelchin: We definitely… Chris [Mintz-Plasse] and I definitely…
Quint: Being scary doesn’t depend on the rating, just the gore. Anton Yelchin: I think it’s just about the amount of “fucks” you have in a movie. I think we were allowed like two or three or something. I know Chris and I took every opportunity we could.
Quint: (Laughs) Awesome man, well thanks so much for your time; I really appreciate it. Anton Yelchin: Yeah, of course.
Anton and his Fright Night co-star Christopher Mintz-Plasse headed into the CBB house to hand out a ticket to a screening of the new horror flick, also starring Irish beefcake Farrell.
Speaking exclusively to Metro.co.uk, Anton described the zany twins as 'very cool'.
He said: 'Meeting them was nice. They and the other housemates seemed a bit stir-crazy and wired. But Jedward were nice; both of them were really cool. Everyone in there was great to me and Chris.'
Despite singing the praises of his housemates, 22-year-old Anton confessed that he would never appear on the show himself.
'I probably wouldn’t do Big Brother myself, or something like Dancing With The Stars. I just wouldn’t want to do that stuff. It doesn't sound like it would be very fun.
'I was shocked when I found out they couldn't even have a book in there [the Big Brother House]. I was like "What? You can't read?". They can't even have a newspaper.'
The Star Trek star also praised his Fright Night fellow actor David Tennant for his role as a failed Las Vegas occult act - although he confesses he hasn't seen him Doctor Who.
'I haven’t seen Doctor Who but I'm sure he's good in it' he said, 'David’s great in Fright Night, and he's a lovely man. It was a blast to watch him act, and create his character. It was just so much fun.'