Michael Fassbender

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  1. There's a famous story that Woody Allen plays the clarinet (sp?) at a bar in New York every Sunday, which is why he's too busy to attend the Oscars. :coolio: The only time I've seen him there was right after 9/11 and they had an homage to New York. He introduced the clip.

    RE: W Magazine... I have to agree with so confusing and Gemini Chica. I was about to ask if that photo was real or one of those *photoshop from tumblr* deals. It looks very strange... Like they pasted his head on someone else's body. And yeah, it's increadibly cheesy (albeit hot! :lol:). With this and the penis expert thing, I bet his friends are really taking the pi$$! :lol:
  2. That definitely won't help get rid of the perception that "Fassbender = the naked sex artist" :lol:. I also don't know how he kept such a straight serious face for the picture, because I'd be laughing throughout (out of embarrassment) if asked to pose like this, with the same "magnum/blue steel" face. It's very Fabio-esque, but on Fassbender IT TOTALLY WORKS. (I'm smitten with this picture. Can you tell? :biggrin:)
  3. I went to the "Haywire" screening at Lincoln Center earlier tonight. Fassbender was not there, only Soderbergh and Gina Carano -they had four chairs onstage initially and I got super hopeful since he must be in NY someplace but they took one away before the film even started, alas, so it was just Soderbergh and Carano and the editor of Film Comment.

    The movie is kind of a ****show. Gina Carano is lovely in person but a movie star or actress she is not, sadly. The plot *sort of* makes sense but it isn't interesting and there's no real intensity. It's very workmanlike and blah.

    Fassbender is kind of wasted, his part is not big, the character doesn't develop (maybe a little through flashback) and could kind of be played by anyone (not highest and best use of our boyfriend). he does take his shirt off which is nice but he looks really old in the film and he's super skinny (but muscley) so not exactly working the hotness on this one. Gina probably had 15-20 pounds on him which doesn't flatter either of them (I probably wear the same dress size she does so am not snarking on her weight, just saying it is noticeable next to him). There are parts of the movie that seem very realistic and it looks a little Bourne movie esque but then there are silly moments where she does dumb stagey **** like "dropping" in on Antonio Banderas and it's kind of embarrassing. Also, she wears cornrows off and on (whenever she goes really badass) and I guess she does that as an MMA fighter but cornrows 1) take awhile to do and 2) would be really hard to do on your own so it seems like something her character would not spend time on. ~it was just really sloppy like that.

    Fassbender was mentioned a few times in the Q & A - once when they retold the story of him accidentally turning to look at the vase as she is hitting him with it in the fight scene and getting clobbered (Soderbergh used that take), and once when SOderbergh was talking about how he got so many notable people to do it (not that Michael was that huge in Feb of 2010 when it was shot, but he had already made an impression on people) and Soderbergh said that the actors in the film are the types that have fun all day until they pass out. then he addded "at least Michael does". No one was really discussing Michael Douglas so that had to be Fassbender. :smile:
  4. re: mustard_stain and EJM/W layout

    (my multi-quote failed)

    Thanks, I was feeling kind of disloyal about mentioning it. I mean, I would still bang that like a screendoor in a hurricane but really? really?
  5. Watching him on Charlie Rose. He looks good. Love his grey sweater. And it's nice to see him converse with Charlie because Rose is such a straight up pro.
  6. I agree.
    Cheesy. ;)

    And I prefer the real deal , even if he is pasty.
  7. I know some people over at ONTD would beg to differ. Not that they have any idea what happened between ROC and Fassy.

    This doesn't even look like him! It's probably some model with Fassy's head pasted on.
    If it is him he should get a publicist STAT! The very last thing he needs, is to become the next Brad Pitt. Don't blow it now Fassy, you've worked too hard to get here.

  8. Thanks for the review! I'm gonna see it tonight. I think I'll lower my expectations a bit so I won't get too bored as soon as Michael's character gets shot. ;)

  9. New Interview (in InStyle UK) :smile:

    You’re a man in great demand at the moment. How do you decide which projects you accept?

    MF: Just what seems to be good... It’s that simple. Intelligently told stories. Interesting characters. And then the director.

    What was it about Haywire that ticked your boxes?

    Well, it’s Steven Soderbergh first and foremost. And there were a lot of blank spaces on the page for me to play around. So it just seemed like an interesting world and an interesting character.

    Had you heard of Gina Carano [his co-star in Haywire] before?

    No, I hadn’t. Steven told me on the phone and then I started to check out some of her fights on YouTube. And I thought, well, once again, Steven doesn’t really adhere to any set of rules. He’s always willing to try things if he has a gut instinct about somebody. He sees something and then runs with it. It’s really exciting and inspiring to be around that. So Gina was great. All my scenes are with her, bar one with Ewan McGregor.

    What went through your mind when you first saw her fights on YouTube?

    "This is gonna be fun!" You know, she’s really quite interesting Gina. I really liked her a lot. She’s brave as an actress as well. She was ballsy and open to adapting on the spot. Just really game. But she’s really sweet, that’s the thing. She’s lethal, but she’s really sweet and quite a shy person actually. So there’s a great paradox there, which I guess is really interesting for directors. She’s got a vulnerability but also a real steeliness.

    Was your fight scene with her as brutal to shoot as it is to watch?

    She can handle herself, that’s for sure. I mean, there were a few bruises by the end of the two days. It was two days we had to film and they were two full days. I’ve worked with the guys from 87/11 before, the stunt team. So I was comfortable with them, they knew me and knew my capabilities. So we were able to do the whole fight sequence ourselves.

    So it was carefully planned out?

    It was all about making the fights exciting to watch, with a certain style to them – but a realism to them, a messiness, that you really just grab whatever’s at hand, whatever you can use as a weapon. Then there’s the sell of it. It looks really violent, but the classic thing when you’re doing fight sequences, the person who’s getting thrown is doing the leading and the person who’s grabbing someone’s hair, they’re doing the following. So you just try and make it look frenetic and violent, when actually you’re just looking out for each other and making sure nobody gets hurt. Because you’ve got to do it over two days and you’ve got to keep repeating it, there’s no point getting all gung-ho and losing control. I don’t like do fight sequences with people who lose control. It’s not a comfortable place to be and that’s when people get hurt.

    Did it help that Gina is a trained fighter?

    The fact that Gina is a very physical person and she’s got great command over her body, it made her the perfect partner – because then you can really push things and know that she’s capable. That helped an awful lot. Then you can really make it look messy. And she was actually saying, "Drive me into the television. But really hard." I was like, "Gina, this is acting, yeah?"

    Do you get accidentally caught by any of her punches?

    Erm... There’s a breakaway vase that she smashes across my head. And I kind of made a bit of a balls there. The stunt guy was like, "Okay, when she picks up the vase, keep your head straight. Don’t look at it, because it’s coming right for your head." Of course, what did I do? I looked at it. I had a brain-fart or something, started looking at the vase. Next thing I know, the vase hit me in the face and everything just went like one of those cameras, you know? Pop! Whiiiiiiir! Everything went bright! Next thing I knew I was up and over the table. So that was funny.

    After Inglourious Basterds and X-Men: First Class, this is the third time you’ve played a special agent of sorts. Is Haywire really another covert audition for Bond?

    We’re sort of talked about it before, funnily enough, both in X-Men and Haywire. Both Matthew and Steven made references to James Bond. It was the look they were looking for: spies, espionage, this sort of thing. And I do think with Haywire, especially the scenes I’m in, there is something of an old-school 60s or 70s espionage film. I always felt that when we were doing it. But it certainly wasn’t something that I was seeking out. It just happened to be, that was the material and that was the job.

    You appeared in five movies released around 2011. Are there strains to doing so many films?

    Yeah, you know, that’s why I’m not doing anything right now. I finished up on Prometheus end of July and I haven’t done anything since because I figured it was time for me to take a rest and reflect before I decide what I’m going to do next. It just so happened that the opportunities were too good to turn down. But I have pulled on the reins now a little bit. I’m going to stop now and at the moment I’ve got nothing planned for next year apart from working with Steve again in May.

    Do you find it difficult to shake off some of your tougher roles at the end of day?

    At times it is. But that’s part of it. I do, I exorcise that side of the work. It’s important for me to be able to leave work at work. For various reasons. Number one, you’re just not going to be great company if you’re meeting other people... "Oh, here goes Mike again, talking about his characters." You know? Nobody wants to hear that. The thing is, what you do on the day, you do on the day. And if you haven’t left it on the floor at the end of the day, it doesn’t matter how much you’re going to mull on it later that night, it’s done. You’ve got to concentrate on the next day.

    Was it like that with Shame?

    I mean, I was living pretty closely with Brandon [his character], I reckon, for a five-week shoot and a three-week prep going into it. I was with him day and night. When I wasn’t shooting, I was at home working on the script. But it’s only eight weeks. It’s two months of the year. It’s just that for that period of time, you give yourself up to it.

    How does it compare working with Soderbergh and Steve McQueen?

    They’re very different people. The thing I can tell you that’s similar about them is that they both work very fast. Soderbergh moves very fast, he shoots himself, he lights himself. There’s a speed to his work, which I enjoy. On Haywire, we moved at a fast pace. And definitely Steve as well. We shot Shame in 25 days. They’re both very collaborative, very open to suggestion. They both have a confidence in themselves that then permeates the crew. They both have a good sense of humour. And they’re not afraid of mistakes, because within the mistakes you find some of the most interesting moments. So there was a tremendous focus, of course, but there’s a freedom within the boundaries. You’re free to stretch and take it where you want to go. That’s very liberating and it gives you a lot of confidence.

    Has anyone ever given you a great piece of advice that’s really stuck with you?

    I think Donnie Wahlberg told me, ‘Remember the three Ps.’ It was actually quite cool. We were doing Band Of Brothers and I had a small scene and he came up to me afterwards and said, “Well done in that scene. That scene could’ve ended up on the cutting room floor and you handled it well.” He said, “Just remember the three Ps. Patience, perseverance, practice.” I think that’s right. It’d be terrible if the piece of advice that was given to me I can’t even remember! But yeah, that was a nice bit of encouragement. I wouldn’t be in this position now if people hadn’t helped me. You need help, you know what I mean? You need somebody to give you a break or a piece of advice.

    Do you feel like you’ve learned a lot in the last few years?

    Along the way, you learn certain things, like you learn to look after your money! In terms of putting it away and not spending it. I remember back in those days, when I was in Band Of Brothers, there was a lot of spending going on. Because tomorrow you’re going to get another job. But you never know what’s around the corner tomorrow. Keep an eye on your finances.

    Are there certain actors who inspire you?

    Yeah, for me, it’s always been the usual suspects. Of course, Brando at the top and De Niro, Pacino, Gene Hackman, John Cazale, Robert Mitchum, Montgomery Clift. You know, Daniel Day-Lewis, Sean Penn, Paddy Considine... There’s many really.

    Was there a film that really impacted on you when you were younger?

    I remember Mean Streets really affected me really strongly. And also Taxi Driver. And The Godfather, most definitely.

    What do you think you might have been if not an actor?

    Journalist I thought actually at one point. That probably would have been the direction I would have gone into. I was kind of interested in war journalism, you know. I was 17 when I realised that I wanted to do acting and that was what I was going go for as a career. But around that time I was thinking journalism, hoping to get enough points to get into college in Dublin.

    What can you tell us about your newest movie Prometheus?

    It’s the must-see film of 2012! I play the humanoid android. The first thing that struck me was a good script. Really intelligent script. A real thriller. Real anticipation. The first alien had that. The atmosphere was thick. You knew that something was going to happen. Which is very rare that you can read that in a script. And also, Ridley Scott is the master. He’s amazing. Really something else to watch him work. His attention to detail. And also his mischievousness, his playfulness. And again, no idea is stupid for him. He’ll let you bring it to the floor and have a go at it. I really, really enjoyed working with him. And of course the cast.
    Christopher Plummer.jpg Christian Bale.jpg Ted Bundy.jpg Kevin Kline.jpg Kate Middleton.jpg Michael Fassbender & Benedict Cumberbatch.jpg
  11. ONTD/Tumblr is quite populated with passionate, stubborn youngsters more than other sites, I notice. Jesus, I don't know why some are rabidly convinced that there is no other way to think other than "if a RO motion is filed, it must be true; why would anyone joke around with this". I think some underestimate human behaviour and fickleness. Not only is absolutely incongruous with everything he's said and done before and after the timeline, but it seems 100% of people who have interacted with him, not only say good things about him, but really good things, while independently so, people who know of her (not distressed Fassbender apologists, I might add) say she's ****ing bonkers for the longest time. It doesn't take a bright light to put two and two and say "kamikaze PR hit, anyone"? There's a million different solid arguments in favour of the guy, and at the end of the day, his rep is still tainted. That's sad. He does need to get a publicist one of these days, not so much to groom his image and brand, but to be able to shut down residual **** like that, or the perception thereof.


    so confusing, even if you thought it was subpar, how was the feel of the movie? I saw Contagion the other day, and I think I just really like the Soderbergh filming style, editing, choice of music that is also prevalent in his older work. If it has that same trademark atmosphere in Haywire, but adapted for a blaxploitation-like actioner, I'll go for it.

  12. That story screams BS Michael is a sweetheart he would never do something like that and ROC has been known for spreading lies around after being dumped by exes. It was a desperate attempt to destroy his career before it gets even bigger, Chris Brown's career was doomed after what he did to Rihanna that same year, she probably thought she could also play a victim and crash and burn his career as payback for being dumped [like the crap she is]. If there was any truth to the allegations she wouldn't have withdrawn her petition in its entirety and a judge would have taken it more seriously.

    There was even an article published about her shady past at the time:

    [Exposed: the sordid past of the 'erotic model' who says Michael Fassbender beat her up, Killarney star is the SECOND man accused by Leasi Andrews of drunken attack on her.]

    You should read this article/study about alcoholism and violence: http://www.guardian.co.uk/science/2005/jul/21/thisweekssciencequestions
  13. Hey, did anyone get to check out Charlie Rose yesterday night by any chance? Missed it, curious to know if he fared well.
  14. It was good. Intelligent conversation and very insightful.
  15. Michael's mom is seeing Shame this week (or has already seen it)

    From eonline We also imagine that ticket sales for Shame - the indie drama that shows Fassbender playing golf naked a lot - also got a nice bump.But is it any surprise that Fassbender’s mom has yet to see the film? “She’s going to see it this week,” Fassy told me at the Globes.“She knows all about it,” Fassbender says. “I gave her enough warning - and my dad did, too." And so did George Clooney.
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