Thomas William Hiddlestion alias Tom Hiddleston est un acteur britannique né le 9 février 1981 à Westminster (Londres). Il est surtout connu dans son pays d'origine pour son rôle dans la série télévisée britannique Wallander. Il a signé en 2010 un contrat pour interpréter Loki dans la version cinématographique de la bande dessinée Thor par Kenneth Branagh, avec qui il a par ailleurs collaboré dans la série Wallander. Il a repris le rôle de Loki dans le film The Avengers de Joss Whedon, sorti en 2012. Et réincarne Loki dans Thor : Le Monde des ténèbres en 2013.
Vous ne saurez pas grand chose sur moi : Je m'appelle Morgane et j'ai treize ans . Sinon je suis fan des Marvels et de tous ce qui est dans le genre fantastique/ surnaturel comme The Mortal Instruments. Sachant que j'ai treize ans (même si c'est déjà pas mal) , excusez-moi pour les fautes d'orthographes. J'essaie toujours de me corriger le mieux que possible et de parler le mieux que je peux .Je remercie tous les fans qui suivent le blog . Un fan , rien qu'un , est très important pour moi ! Ça peut paraître rien mais c'est énorme Je ne suis pas une personne faisant partie de la famille de Tom et je ne suis pas Tom .
Thomas William Hiddlestion alias Tom Hiddleston est un acteur britannique né le 9 février 1981 à Westminster (Londres). Il est le fils de Diana Patricia (née Servaes) Hiddleston et James Norman Hiddleston. Son père est de Greenock, tandis que sa mère est de Suffolk. Il a une s½ur, Emma Hiddleston qui est elle aussi actrice. Son arrière-arrière-grand-père maternel était Sir Edmund Vestey, 1st Baronet . Il a étudié dans deux écoles privées : Dragon School (Oxford) et à Eton College à Eton (près de Windsor) dans le Berkshire. Tout au long de sa scolarité, il a participé aux arts de la scène aux côtés de Eddie Redmayne et Rebecca Hall. Il est ensuite allé à la Royal Academy of Dramatic Art, où il obtient son diplôme en 2005.
Il est surtout connu dans son pays d'origine pour son rôle dans la série télévisée britannique Wallander. Il a signé en 2010 un contrat pour interpréter Loki dans la version cinématographique de la bande dessinée Thor par Kenneth Branagh, avec qui il a par ailleurs collaboré dans la série Wallander. Il a repris le rôle de Loki dans le film The Avengers de Joss Whedon, sorti en 2012. Et réincarne Loki dans Thor : Le Monde des ténèbres en 2013.
Shepperton Studios, 22 November 2012. In the packed weapons room off David Lean Drive, Total Film prepares to pick up Mjölnir. Grabbing the leather-wrapped handle of Thor's hammer with an assured grip, we struggle a bit to lift it with one hand before resorting to a double-clasp and an overly dramatic stance to hoik it skyward. On this cold, blustery day, with the wind howling round the sound stages, you could well believe that this artefact was whipping up the inclement weather. It's only a stunt prop, but it's surprisingly weighty (Chris Hemsworth uses this heftier version to help his performance, while the stuntmen prefer a lighter model for ease of movement), and feels solid, ancient, lived-in... real. Which is precisely what Marvel and new director Alan Taylor are planning to make Thor's latest outing – what executive producer Craig Kyle is hoping will be “our Empire Strikes Back... dirtier, rougher” and with real emotional clout. Now that's what we call heavy.
But why so serious? Since 2011's introduction to the God of Thunder, a lot has changed. Fellow Avenger Captain America kicked off his own franchise, Avengers Assemble and Iron Man 3 broke global box office records, and Tom Hiddleston – as silver-tongued baddie Loki – blossomed into a fan favourite. The Marvel universe has expanded, setting the stage for Guardians Of The Galaxy and Cap' 2 next year, The Avengers: Age Of Ultron (and possibly Ant Man) in 2015, and a slew of further films scheduled right up to 2021. So there's a sombre mix of expectation (to live up to Kenneth Branagh's well-received opener and Avengers' ker-ching factor) and responsibility (in moving Marvel's plan forward) resting on Thor's broad shoulders. That, and sorting out the nine realms. No pressure then...
“It's the same pressure you deal with on any film,” Chris Hemsworth shrugs good-naturedly when we catch him between scenes in full Thor garb with Natalie Portman in Asgard's Hall of Science. “You want to do good work and make a film that people go to see and hopefully enjoy. The Avengers only helps us in that sense. It was received so well and seen by such a huge audience that hopefully they'll come and see our film.” The 30-year-old Aussie certainly knows something about expectation having been cast as one of Marvel's most beloved characters. “Before Thor came out there was huge speculation. There you are playing a character who's existed for more years than you've been on this earth, so people do know more about it than you! It's a tough one to walk into. But you've got to make it your own.”
Wise words for the team tasked with following that film, as well as the events of Avengers Assemble (The Dark World kicks off a year after the Loki showdown in Manhattan). After the fish-out-of-water and coming-of-age scene-setting of the origin film (brattish Thor is banished from his realm to Earth by his father, Odin; falls in love with a scientist, Jane; discovers his adopted brother, Loki, is a duplicitous villain; and learns humility while protecting his kingdom), Marvel decided to up the ante. Having been through the emotional turmoil of fighting his brother alongside Cap'n America, Hulk, Iron Man, Black Widow and Hawkeye, Thor returns to an Asgard at war – battered, grittier, bleaker – and facing an even more nefarious foe. With Branagh moving onto other franchises (he was filming Jack Ryan during the Dark World's shoot), Thor needed a new director to take him to very dark places. What about someone routinely used to blood, guts, death and dirt on the smaller screen?
“I was in Belfast filming Game Of Thrones when I got the call,” Alan Taylor recalls, sitting down for a moment on a sound stage after a morning of zooming around the Shepperton lot on his micro scooter. “I thought they had dialled the wrong number or thought I was a dfferent guy! Turns out Game Of Thrones was a calling card for this movie.” With his experience on The Sopranos, Mad Men, and GOT, Taylor got excited about the prospect of grounding Thor – putting him in serious jeopardy and literally taking the shine off his world.
“It made it easier to say yes, because the cast was wonderful. But the main difference I have [from Branagh's approach] is really to do with look and tone. Things look really dirty. The first Thor was quite shiny and it was a very conscious, smart choice. When I came in, I wanted to get more of a sense of the Norse mythology: the Viking quality, the texture and weight of the history. He's a superhero, but he's been around for thousands of years. His dad is God, so there's quite a lot of [macho grunting] to that stuff!”
Quietly-spoken, contemplative and no blind cheerleader for the 'brand' (“Sometimes I'm aware it's frustrating,” he admits of the creative process, “and sometimes I'm aware of its fecundity and how it does work.”), Taylor knew that taking on Thor also meant the tricky feat of fitting into the wider Marvel narrative. “I spoke to other directors in the Marvel world – Shane Black, Joss Whedon and Jon Favreau. They all said the process is very similar on all the movies. The good thing about it is that it's an interesting place to work, despite being a huge corporation owned by an even huger one. It winds up being a fairly intimate process – basically the director and [Marvel's President of Production] Kevin Feige in a room. Yeah, there is arm-wrestling but at least you're looking in the eye of the person you're arm-wrestling,” he laughs. That arm-wrestling? Not, in fact, over the widely reported running time (“No truth at all!”), but over the hiring of a composer (“I'd always wanted to work with Carter Burwell but Marvel had a different opinion – that was the darkest hour where we had creative differences.”)
As a TV director used to following a fixed script, this gig would also mean adapting to a more collaborative and in-flux process. “When I started this thing, Avengers Assemble hadn't come out and Iron Man 3 hadn't made a billion dollars so the universe was changing as we added ourselves to it, which is daunting in some ways but also exciting to have the momentum. Halfway through shooting, someone at Disney proposed the title The Dark World and that really seemed to confirm the movie we were making and label our tonal intention. So we are the dark chapter, but I think we're doing the right balancing act of remaining within the tone of Marvel – this has to advance that character's story but it also has to fit in because every few years all the characters have to join the party and be in Avengers movies.”
So this dark chapter then... Apart from re-tooling costumes and sets to make them grubbier and more realistic; filming on location in natural light in Iceland, Greenwich and Bourne Wood to bring veracity to the nine realms; and going for a tone described as “magical but tangible” – what the hell is going to go down?
By way of an answer, Craig Kyle spirits TF to the so-called 'War Room' in the production offices (labelled 'The Mighty Thursday Mourning: Asgard Productions II') for a sneaky look at a sizzle reel (Loki imprisoned, mud-splattered mega-fights, blank-faced armies) and walls of gorgeous concept art. The heartache heading Thor's way is three-fold: from outside forces in the shape of Malekith (Christopher Eccleston), leader of the dark elves who was banished by Thor's grandfather 5,000 years ago; from closer to home, as Thor is forced to form a shaky alliance with bad brother-from-another-mother Loki; and in the shape of woman trouble as Jane (Natalie Portman) returns to his life wanting to know why he hasn't called.
“Thor's world is colliding with Earth so there's fun to be had with where his responsibilities lie,” Hemsworth says of the Thunder God's increased burdens. “But this delves into the bigger universe, outside of what happened on Earth with Avengers.”
Ah yes, what happened with Avengers, when Loki got an army together, caused a ruckus and became one of Marvel's most adored anti-heroes. “When I met Alan, he asked me how I thought I could do Loki again without repeating myself,” Tom Hiddleston recalls over lunch, “and I remembered talking with Kevin Feige when we were on the Avengers promotional tour. I said, 'OK, you've seen Thor and Loki be antagonistic for two films now. It would be amazing to see them fight side by side. I've been the bad guy now twice, so I can't be again, or otherwise I shouldn't be in the film. So we have to find a new role for me to play.”
The solution: add a new big bad to the mix – to muddy the moral waters (is Loki now repentant or manipulative?), increase the peril (Malekith suicide bombs his ship in Odin's palace as a calling card) and bring what Eccleston calls “fresh meat” to the franchise. Taylor had originally cast Mads Mikkelsen as the vengeful Malekith but scheduling and character tweaking – whether Malekith's second-in-command, Algrim/Kurse, would be in the film or not (he is) – meant he went off to do TV's Hannibal. From here, it was a short step to former Doctor Who star Eccleston – as Taylor had been hoping for a chance to work with him for several years.
“Finding a way to be a villain in these movies is a really tricky thing,” Taylor admits. “Chris has been very articulate and useful. There's a default position which is very easy, you cackle madly and laugh! I think we've done a lot of work to make Malekith a three-dimensional character who has an understandable back-story and a motive for what he's doing.” That meant designing a credible look for Malekith (“We weren't tied to what you see in the comics for Malekith, who looks like a harlequin from a rock opera circa 1972”) and inventing a language for his elven race. “Created by a very talented man,” Eccleston notes wryly, “but I'm not sure he's absolutely a people person that knows the language has to be spoken! So bringing it to life in a short space of time created some tension, but I think that is a supreme example of Alan trying to ground actors in reality. In an odd way, it may provide these villainous guys some pathos; it may just humanise them.”
With hours in prosthetics, freezing scenes in a deserted area of Iceland and a new language to contend with, Eccleston may have had the toughest job of the cast, admits Taylor. “There are portions in making all of these movies where you suddenly realise this is ridiculous: 'I'm wearing a rubber suit and I'm speaking Elven!' But if you do it with conviction, hopefully you can be full on, and he gave it his all.”
Of course, while Malekith is the obvious baddie and blatant in his machinations (see facing page for more), the fans still want their Loki fix; still want to see him challenging Thor and being a celestial pain in the arse. “Loki has a lot to answer for from before Avengers,” Craig Kyle notes as he gives TF a tour of the huge and intricate Odin's palace set, which took a team of more than 600 people 20 weeks to build. “In The Dark World, he's been put in jail in Asgard. He's not in control anymore – he's a prisoner – and he has to deal with his relationship with Thor. It's hit a wall now where there's no turning back.”
“The Thor/Loki relationship is interesting,” says Hiddleston. “And [Marvel] has decided to put more of it in. There's even more to play with, more to extend it and more to make it deeper, darker and more fun. I am the God of Mischief: I'm still mischieveous, I'm still the trickster.”
Feeling mischievous ourselves, TF turns the conversation to rumours that in the original script [SPOILER ALERT] Loki was destined to die, but fan adoration has prompted a rethink and a decision to boost his screen-time. “Do you want this chorizo?' is Hiddleston's response, suddenly preoccupied with his lunch. “I can't say!” he beseeches when pressed. Needless to say. Hemsworth isn't spilling the lunchtime beans, either. “There's certainly some... The larger conflict...Er... I'm trying to give you an answer and make sure I'm still employed on the next one!”
Specifics may be hard to come by but everyone is agreed that – brace yourself – death will be coming to Asgard. “Well, I do spend a lot of time killing off beloved people,” Taylor laughs. “I've not had as much blow-back from anything as I did for murdering Ned Stark [in Game Of Thrones]. Before that I'd killed Julius Caesar in Rome and Christopher Moltisanti in The Sopranos and it's amazing to watch the level of investment that people have. It's a sweet pain, if you will, because they loathe that wrenching emotional experience. In our case we have some beloved characters and it's going to hurt to see them suffer and die.”
Though he's still chasing his chorizo around the plate, Hiddleston will admit the bets have to be raised to give audiences a satisfying emotional wallop. “There have to be high stakes – that's what drama is founded on.” Portman is equally adamant that loss needs to be part of any film striving to be grittier. “Definitely this one is darker and the stakes are higher. Like life, it's always changing and there's always something new and terrifying happening.”
But not so terrifying as to alienate the younger part of Thor's core audience – no GOT-style red weddings here. “I hope to bring my five- and seven-year-olds, so I like the idea there's certain good manners, but that being said, it meant a lot to me to feel the battles were dirty and grounded and epic,” says Taylor. “One trick we've learned is that if you don't have red blood, you can do it – and Loki is partly from Jötunheimr, so you can get away with things there. And if you're killing an alien you can do all kinds of stuff!”
But as the saying goes, 'the night is darkest before the dawn' and hot on the heels of darkness comes Marvel's trademark fun. Be assured, Thor: The Dark World isn't all strife and sorrow. “In all the Marvel films there's always a lot of humour,” says Portman, wrapped up against the howling wind with a North Face puffer jacket over her regal Asgard robes, on a break from filming a tender scene with Hemsworth in front of the world tree. “It can get dark and it can get bad, but it's always done with a touch of the light side, too.”
Much of that lightness can be found in Thor's sparky relationship with human scientist Jane. Last seen having a snog at the end of Thor – with him promising to return for her – their romance hasn't exactly been plain-sailing. While she's been working on her astrophysic research and waiting, he's been otherwise occupied. “He's been busy!” Hemsworth quips. “He's been at work saving the universe!” So there's going to be delicious tension when the pair reunite. “It doesn't turn into a dark, twisted drama – 'Why didn't you call me? Where were you? I'm lost without you.' We get things back on track and get on with it.” And that means Jane getting the tour of Asgard and speaking for the audience when she utters a stunned 'woah!' at the otherworldly sights.
Taylor didn't just commit that playfulness to screen – he blasted quirky music (including the theme from The Persuaders!) on set during shooting. “What he was very cleverly saying was, 'This is supposed to be fun.' He introduced a note of levity into all the machismo and the tech-heavy vibe that surrounds a film like this,” says Eccleston. “It was very deft and very fun and very appreciated.”
But to hear Hemsworth and Hiddleston tell it, music was not required to remind them to have a ball for their third go as sparring siblings. “I know that he makes me better, straight up,” Hemsworth enthuses of Hiddleston. “Because we have such a history – as people let alone characters – I know anything I do is received without judgement. And he knows it's the same back. It's great.” Hiddleston is equally effusive: “Chemistry is a weird, indefinable thing that people talk about in film all the time, and they really talk about it between men and women in romantic comedies, but Chris and I know we have this great chemistry. We love it, so we have a good time. Thor and Loki are characters that have exceeded our expectations in every way.” Do we detect a note of finality? With James Spader cast as the big bad and no role for Loki in Age Of Ultron, what does the future hold for the sons of Odin? “This might be the end of the line. This might be,” Hiddleston muses mysteriously.
Whatever Loki's fate, both Thor and Hemsworth's futures seem assured. As TF leaves Shepperton, it's blowing a fierce gale, autumn leaves swirling, amid winds strong enough to propel us on our way. We pass Hemsworth, nursing a cuppa on his way back to the Hall of Science sound stage, and joke that Thor's pesky Mjölnir has whipped up a storm. “For God's sake, put the hammer down, man!” we yelp. He laughs and waves back cheerily, leaning into gusts that the Met Office later confirms as freak hurricane winds of 86mph. With the care this exacting team has taken with The Dark World, he's not likely to be putting that hammer down any time soon...
FANTANSY WORLD - ALAN TAYLOR
Prior to working on Game Of Thrones, I wasn't really a fantasy guy. I think there were a lot of negative stereotypes that had encrusted around the genre, which to me made it feel stiff and remote; cold and muffled. But I think George R.R. Martin's work woke a lot of us to up to the fact that fantasy could feel urgent, human and real.
“One of the things that struck me working on the series was how much it had in common with things I'd done before. Like The Sopranos or Six Feet Under or Big Love, Game Of Thrones deals with these intense family dynamics: what it means to be the father of this person, or how you get along with your siblings. Obviously, the stakes are raised such that when you bicker with your sister, one of you might get your head chopped off! But there was a remarkably similar sense of human relationships to those other HBO shows.
“Obviously I was influenced by working on Game Of Thrones when I made Thor: The Dark World. I felt it was part of my job to make sure the battles were dirtier, and that it was more grounded in reality. But I was also conscious that, whereas on GOT I was always drawing on history, on Dark World I couldn't do that too much; it couldn't be downright medieval! What's different with this movie is that it crosses genres: it's an action movie and a superhero movie, as well as a fantasy. It's a challenge to see if all those things can live together, if they can cohere. But really, it's like any setting: beneath all these things, beneath this supercharged setting, you're still dealing with those very human experiences: what it's like to have your heart broken, how it feels when your dad's a prick...
“Humour's an interesting thing to explore in fantasy. I was never a huge The Lord Of The Rings fan and I think part of the lack of appeal was that Tolkien's world didn't seem to have much of a sense of humour. That said, Peter Jackson's movies work because they were played absolutely straight; they really believed in their own world. For me, the difference between those and Game Of Thrones is that in GOT you have these moments of absurdity. And the Marvel universe is famous for that, for taking a step back and having a laugh at itself before diving back into the story.
“I think you have to have that humour to enliven things otherwise they become stale and staid. I'd say one of the reasons why fantasies like the Thor movies are able to cross over from the hardcore fanbase to a broader audience is because they're willing to flirt with that idea of acknowledging the absurdity of what's going on. It's a tricky balance to maintain, but I think it's something that's needed.
“In terms of sustaining this current wave of fantasy, it's key that it doesn't get caught up in a bunch of lesser imitations, otherwise the wave could pass very quickly. It's not enough just to have dragons and castles. The audience is very sophisticated and they can tell when something doesn't feel fresh and real.
“I think a lot of people had previously written off fantasy and failed to connect it to some of its previous iterations. But now we have shows like Game Of Thrones, we've seen what kind of level we can reach.Y Plenty of times I've heard people say, 'I'm not a fan of fantasy, but...' Hopefully what that means is that we've opened a door where all kinds of great new things can come rushing in.”