Welcome to Tom Hiddleston Online a fansite for the actor mostly know for his role in Marvel's Cinematic Universe Loki. You might also know him for his role in theater plays such as Coriolanus and Betrayal, and other films and series such as The Night Manager, War Horse, Kong: Skull Island, Crimson Peak, Only Lovers Left Alive and many more. Tom Hiddleston will be seen next on Disney's series Loki and Apple TV The Essex Serpent.
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A Very Loki Affair – Our Chat With Tom Hiddleston
by Isaac Taylor
Let’s not pretend that the Avenger’s most persistent villain and antihero isn’t the best character in the Marvel universe. Tom Hiddleston has had the great fortune of being able to play a comedic relief, while being taken absolutely seriously. While his face has become synonymous with Loki, he isn’t being typecast anytime soon.
He debuted in the movies in 2007 with Unrelated, and became a household name just four years later in 2011 when he landed his role as Loki in the first Thor movie. While Disney has been paying his bills for the past decade, he’s also found time to star in other such films like Crimson Peak and Kong: Skull Island. In 2016, he starred and was an executive producer in The Night Manager, for which he scored his first Golden Globe for best actor in a Miniseries or Television Film.
Disney knows a good thing when they see it, and now Loki has his own show. We had a chat with Hiddleston about what it takes to maintain a character for so long, how to remain faithful to the role, and what we should expect from the series.
What was your reaction when you were approached about doing a “Loki” series?
It was so exciting. I remember after Infinity War was released having a conversation with everybody at Marvel Studios. And we just put our heads together and thought, right, I’ve done six movies as Loki. And those movies really are the Thor saga. They’re all about Loki’s connection to Thor, his connection with his family. Where do we go now? What have we not done? What’s new? What’s original?
And that was the most inspiring conversation. I remember leaving it thinking, this is going to be very, very new because the character has got so much breadth and so much depth. That’s been the gift to me as an actor. Loki is almost this endlessly fascinating box of tricks where the moment you think you know him, he reveals something else. Continue reading Tom Hiddleston featured in M2 Australia Magazine
A new interview with Kevin Feige talking about Loki from Empire Magazine with a brand new image:
Between WandaVision and The Falcon And The Winter Soldier, it’s clear that Marvel’s Disney+ shows aren’t a side-attraction in the MCU – they’re fully fleshed-out stories that take on just as much narrative weight as the main movies, just with longer runtimes, episodic presentation, and the opportunity for underserved characters to have more time to shine. Next up is a franchise fan-favourite – the god of mischief himself, Tom Hiddleston’s Loki, whose anomalous ‘Loki Variant’ from Avengers: Endgame is about to get caught up in the gears of time-bureaucracy organisation, the TVA.
With a timeline-hopping plot and an alt-universe Loki at its heart, you’d be forgiven for thinking that Loki will be a largely standalone adventure away from the main events of the MCU. Not so, according to head honcho Kevin Feige. “It’s tremendously important. It perhaps will have more impact on the MCU than any of the shows thus far,” he tells Empire in the new issue. “What everybody thought about WandaVision, and was sort of true, and The Falcon And The Winter Soldier, which was sort of true, is even more sort of true for Loki.”
And just as WandaVision gave us Wanda in full Scarlet Witch garb, and The Falcon And The Winter Soldier gave us Sam Wilson as a fully-fledged Captain America, it seems that Loki might prove similarly transformative for its central character. “You want to see, after six hours or so, characters change and evolve,” hints Feige. “We don’t make these shows to not be radical, right?”
2 new videos have been released, one is an interview with Good Morning America, an interview with Andrew Freund and another is from Disney+ Hotstar Premium India, with Word Association, watch it below
And a video from E! where Tom talks “What You Need to Know About Loki, Thanks to Professor Tom Hiddleston”
(The video is not embeddable, so you need to visit their site to watch.
The God of Mischief is back for more.
Despite his death in Avengers: Infinity War, a different version of Loki (Tom Hiddleston) is ready for his close-up in his new eponymous Disney+ series. It takes him out of the Thor movies and even far out of the Avengers movies to a whole new world of saving time. We can’t yet tell you what he’s saving time from, but we can tell you why he’s helping to save it.
When the Avengers went back in time to defeat Thanos in Avengers: Endgame, they went back to the first Avengers movie, when Loki tried to take over the world. They were trying to steal the tesseract, which contained one of the all-powerful infinity stones, but then Loki got it first and disappeared. While the Avengers went back to the 1970s to try to steal it again, Loki set off on an adventure that created a new, incorrect timeline and screwed a few things up.
In Loki, he’s been captured by the Time Variance Authority, an organization that oversees the sacred timeline, which is the way that things are supposed to happen. The Avengers were supposed to go back in time, but Loki was not supposed to steal the tesseract, which means he’s a variant on the timeline.
Variants are supposed to be erased, but in exchange for that not happening, Loki is teaming up with Mobius (Owen Wilson), an agent of the TVA, to help deal with an even bigger threat.
You can imagine that it’s a complicated story, and if any of the participants weren’t already huge fans of the MCU, they might have required a bit of backstory to help fill them in. Enter Professor Tom Hiddleston, foremost expert on the character he’s played for 10 years. He put together what came to be called “the Loki lectures” to help the cast and crew get on his level. Wilson, an MCU newbie, tells E! News that the lectures were “very helpful” as he prepared to play a guy who is essentially a Loki expert.
“If I had more Tom Hiddleston,” he says, “I would have done better in school.”
Since we could not attend Loki School, we asked Hiddleston to give us the gist of his thesis to help us prepare for the series, and he even set the scene. He explained that the series really delves into “what makes Loki Loki” and he realized that all of the production department heads had a lot of questions. Director Kate Herron, a Loki superfan, suggested they collect everybody together to give them a little Loki lesson.
“The memory now fills me with embarrassment, but I had the crew in a room and I had a little white board and a little screen, and there were some clips,” Hiddleston recalls. “I found myself coming up with phrases trying to help people understand who I thought Loki was.”
It sounds like even Hiddleston made some discoveries along the way as he picked the character apart to get to the root of the chaos.
“There’s some fun things that came out of it, like that the source of his humility comes from his hubris,” he explains. “Like he has this overinflated sense of his own importance, [and it’s like] a pattern of hubris, and then humiliation. He thinks he’s really high status, and then he’s kind of revealed to be quite low status. All the things that he appears to be on the outside are actually defenses for things that are more turbulent on the inside. So his wit and his charm and his charisma are just really his kind of armor.”
Underneath it all, Loki is just full of “vulnerability and damage and fragmentation.”
“I think if you had him as a roommate, he would be intensely annoying, because chaos isn’t easy,” Hiddleston explains. “Nine times out of 10, I think Loki’s chaos is something that’s unhelpful, but very occasionally, it’s the only thing that’s necessary.”
He says that he also found himself surprised by the character and his journey over the course of this series, in which the other characters “basically offer a confronting mirror to Loki, and his old tricks don’t work anymore.”
“He’s challenged to come up with something new, which I think is a really interesting place to start,” Hiddleston says. “I hope the audience will be surprised by the end.”
New interview from The Guardian with as Coriolanus is going to be shown on National Live Theater channel on Youtube, read the interview below.
As Josie Rourke’s Donmar production of Shakespeare’s tragedy is streamed for National Theatre at Home, its star recalls the thrilling intimacy, the brutal fights – and the cold shower
Coriolanus is a play that’s more respected than revered. Why does it have a rather difficult reputation?
Coriolanus is relentless, brutal, savage and serious, but that’s why I find it interesting. Shakespeare sets the play in ancient Rome: a far older place than the Rome more familiar to us – of Julius Caesar or Antony and Cleopatra or the later Empire. This Rome is wild. A city-state wrestling with its identity. An early Rome of famine, war and tyranny.
In the central character, Caius Martius Coriolanus, Shakespeare shows how the power of unchecked rage corrodes, dehumanises and ultimately destroys its subject. I’ve read that some find Martius a hard character to like, or to relate to – less effective at evoking an audience’s sympathy than Hamlet, Romeo, Juliet, Rosalind, Othello or Lear. Yet there is a perverse integrity and purity to be found in his obstinacy and honour, which sits alongside his arrogance and contempt.
The play’s poetry is raw and visceral, quite different from the elegance, beauty, clarity and charm found elsewhere in Shakespeare’s work. The warmth and delight to be found in his comedies are absent here. But the unstinting seriousness and intensity of the play is what makes it fascinating.
How well did you know the play?
I didn’t know it well. I had seen an early screening of Ralph Fiennes’s terrific film adaptation at the Toronto film festival in September of 2011. I was fascinated by the visceral intensity of the play: the power, hubris, and force of the title character; its lasting political resonance; and the immediacy and profundity of the familial relationships, particularly between mother and son – Volumnia and Martius – which struck me as perhaps the most intense and psychologically complex presentation of that bond I had come across in Shakespeare.
What drew you to Coriolanus as a character?
I was fascinated by the evolution of Martius/Coriolanus as a character through the play. His arc is purely tragic. He begins the play as Rome’s most courageous warrior, is quickly celebrated as its most fearsome defender, then garlanded by the Senate and selected for the highest political office.
His clarity of focus, fearlessness and ferocity of spirit, all qualities that make him a great soldier, undo him as a politician. His honesty and pride forbid him from disguising his contempt for the people of Rome, whom he deems weak, cowardly and fickle in their loyalties and affections. He cannot lie. “His heart’s his mouth / What his breast forges that his tongue must vent.” He becomes a tyrant, branded a traitor, an enemy of the people: an uncontained vessel of blistering rage. He is banished, changed “from man to dragon”. Joining forces with his sworn enemy, Aufidius, he plots revenge against Rome: “There is no more mercy in him than there is milk in a male tiger.” And then finally, at the very end, as he watches his own mother, wife and son kneel at his feet and beg for his mercy, he reveals – beneath the hardened exterior of contempt – a tenderness and vulnerability not seen before.
That shift, from splenetic warrior to merciless “dragon” to “boy of tears”, fascinated me – and the fact that his intransigence, valour and vulnerability all seem to be located in, and released by, his complex attachment to his mother.
How does this play about politics and people resonate in today’s society?
The play raises the question as to how much power should reside in the hands of any individual: a question that will never go out of date. “What is the city but the people?” cries the people’s tribune, Sicinius (in our production, brilliantly played by Helen Schlesinger). The people must have their voices. And, beneath that, I think the play also raises another complex question as to what degree any individual can withstand the intensity of idealisation and demonisation that comes with the mantle of unmoderated leadership or extraordinary responsibility.
It’s a physical role – how did you prepare for it with fight director Richard Ryan?
Josie Rourke and I knew it was important to the clarity of the play that Martius be credibly presented as a physical presence. As a warrior, we are told, he “struck Corioles like a planet”. Big boots to fill. Hadley Fraser, who plays Aufidius, and I began working with Richard Ryan three months before we started full rehearsals on the text of the play. The fight between Martius and Aufidius is a huge opportunity to explore their mutual obsession (“He is a lion that I am proud to hunt”).
We also hoped there would be something thrilling about presenting it at such close quarters in the confined space of the Donmar. We wanted to create a moment of combat that was visceral, brutal and relentless. We knew it would require skill, safety and endless practice. The fight choreography became something we drilled, every day. Hadley was amazing. So committed, so disciplined. It created a real bond of trust between us.
You previously starred in Othello at the Donmar. What’s special about that space?
The Donmar is one of the most intimate spaces in London. I must have seen at least a hundred productions there over the last 20 years, and as an audience member it always feels like a thrill and a privilege to feel so close to the action. There’s a forensic clarity to the space: the audience are so close that they see every movement, every look. For actors, there’s nowhere to hide. That’s exciting.
It’s what makes the Donmar special: the closeness, the proximity. Hard to imagine in the wake of Covid-19. Theatres everywhere need all the support they can get. But that’s what’s encouraging about National Theatre at Home. It’s keeping theatre going, but it’s also a reminder that the sector will need real support to stay alive: from the government and from us, the people who love and cherish it.
There is a rather bloody shower scene – what are your memories of that moment?
I remember that the water was extremely cold. But I was always grateful, because the preceding 20 minutes – scurrying up ladders, down fire escapes, into quick changes and sword fights – had been so physically intense that the cold water felt like a great relief. Martius says to Cominius just moments beforehand: “I will go wash / And when my face is fair you shall perceive / Whether I blush or no.” So I washed.
The scene did have a thematic significance. So much of the play, and the poetry of the play, is loaded with references and characters who are obsessed by the body of Martius as an object: how much blood he has shed for his city; how many scars he bears as emblems of his service. His mother, Volumnia (?in our production played with such power and clarity by Deborah Findlay), says in a preceding scene that blood “more becomes a man than gilt his trophy”. Later, during the process of his election to the consulship, to the highest office, Martius is obliged by tradition to go out into the marketplace and display his wounds, in a bid to court public approval; to win the people’s voices. Martius refuses, in contempt for both practice and people.
In the shower scene, Josie wanted the audience to be able to see the wounds that he refuses to show the people later on, but we also wanted to suggest the reality of what those scars have cost him privately. We wanted to show him wincing, in deep pain: that these wounds and scars are not some highly prized commodity, but that beneath the exterior of the warrior-machine, idealised far beyond his sense of his own worth, is a human being who
It’s an intense performance, in a three-hour play. How did you unwind after the show?
My first thought is that I was always unbelievably hungry. Thankfully, Covent Garden is not short of places to buy a hamburger. I will always be grateful to all of them.
How did you modify your performance for the NT Live filming?
The whole production for NT Live was very much the same as it was every night during our 12-week run. Naturally, as a company, we couldn’t help but be aware of cameras on all sides, especially in a space like the Donmar. We were all so grateful that the National Theatre Live team had come over the river to the Donmar. I always hoped the broadcast would capture the headlong intensity of the whole thing. The play opens with a riot, and does not stop.
What have you been watching during lockdown?
I was gripped, moved and inspired by The Last Dance, the documentary series about Michael Jordan and the Chicago Bulls in the mid-90s (Steve Kerr!). Normal People for its two extraordinary central performances from Paul Mescal and Daisy Edgar-Jones. I’ve rewatched old tennis matches, which somehow I have found very comforting: in particular, the 2014 Djokovic/Federer Wimbledon final. And – because we all need cheering up – Dirty Dancing.
Check out this interesting interview with Tom, posted by Collider, discussing coming back to the Marvel universe as Loki after a hiatus, and the evolution of the character.
At the end of Thor: The Dark World, Loki’s got everything he ever wanted. How has it gone for him since?
You’ll have to wait and see. That question is answered in this film, so I’m loath to tell you because I think it’s surprising and fun. But yeah, you’re right. He finished Thor: The Dark World on the throne and it’s taken awhile for anyone to catch on…
Has Loki changed at all?
Yes, but that’s in his nature. He’s a mercurial spirit, and the minute you try to define him, he changes shape. Events in Ragnarok do try and inspire him to change forever… The Goddess of Death shows up, and the stakes are high for everybody, so Loki, perhaps more than ever, is challenged to define himself in the face of that threat.
Magnolia Picture has acquired U.S. rights to “High-Rise”, Tom’s latest motion picture. The news was released exclusively by Variety, and you can read their article below.
Magnolia Picture has acquired U.S. rights to “High-Rise,” a darkly comic look at social castes that had its world premiere at this year’s Toronto Film Festival.
It plans to release the picture in 2016 through its genre arm, Magnet Releasing. Magnet has a history of working with “High-Rise” director Ben Wheatley, having previously handled the rollout of his first film, “Down Terrace.”
“I’m very excited about working with Magnet again,” said Wheatley. “They have the brains and the balls to handle the crazy beast that is ‘High-Rise.’”
“High-Rise” has a top-shelf cast that includes Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans and Elizabeth Moss. It documents the outbreak of class warfare in a giant residential apartment block following a series of power outages. J.G. Ballard’s 1975 sci-fi novel of the same name inspired the film, and “High-Rise’s” heavy dose of sex and savagery made it one of the buzzier titles at Toronto. Wheatley has a cult of fans for his previous films, such as “Sightseers” and “A Field in England,” that were hailed for their transgressive energy.
High-Rise is featured on April issue of Empire Magazine, featuring the first official promotional image with Tom on it.
There are many reasons to look forward to High-Rise. It’s the latest, and possibly craziest, film to date from Ben Wheatley – and when you consider that he’s directed Kill List, Sightseers and A Field In England, that’s saying something. An adaptation of the J.G. Ballard novel about the disintegration of the denizens of a London tower block in 1975, it promises to be challenging, evocative, violent, deranged, darkly funny, bewildering and gripping.
And then, if all that isn’t enough, there’s its astonishing cast, including Jeremy Irons, Sienna Miller, Elisabeth Moss, James Purefoy, Reece Shearsmith and, as polar opposites whose paths will fatefully cross as everything falls apart, Luke Evans and Tom Hiddleston.
You can read the full feature in the scans added at our gallery.
Our gallery has been updated with scans from the February issues of the magazines Empire & Total Film, which feature articles about the film “Crimson Peak”. Thanks to Luciana, from tom-hiddleston.org, for sending them our way!
The latest issue of the american magazine Entertainment Weekly features Tom and “Only Lovers Left Alive”. Thanks to my friend Claudia, our gallery has been updated with high quality scans from it. I hope you like them!
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