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.
I hope you enjoy you stay and have fun!
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
‘WandaVision,’ ‘Falcon and Winter Soldier’ and ‘Loki’ Stars on Missing Tom Hiddleston’s Lectures and Who Texts Kevin Feige the Most
Being a superhero in the Marvel Cinematic Universe equips its stars with unique powers both on-screen and off.
“We all have a number sign above our heads when we make independent films [for] whether or not we can sell them internationally to help get financing,” says Elizabeth Olsen. “If we want to do that, it does allow us to be able to do that. So, I think that’s a great benefit to being a part of such a huge international franchise.”
Olsen first appeared as Wanda Maximoff, aka the Scarlet Witch, in Marvel Studios’ “Avengers: Age of Ultron” in 2015 before going onto such films as “Captain America: Civil War” and “Avengers: Endgame.” In-between she worked on indies including “Ingrid Goes West” and the television series “Sorry for Your Loss” for Facebook Watch. This past television season, though, she brought her big-screen superhero to Disney Plus, headlining “WandaVision” alongside Paul Bettany.
The ability to flit between platforms at all can be special for actors, but to do so with the same character is a testament to the power of the MCU. And Olsen and Bettany were only the first to move from film to TV under the Marvel Studios banner. Soon they were followed by Anthony Mackie and Sebastian Stan in “The Falcon and the Winter Soldier” and Tom Hiddleston in “Loki,” all of whom are taking part in a special panel at Variety’s Virtual TV Fest.
Despite the long and wide travels these performers take on with their Marvel roles, they are usually kept in the dark about the fates of their characters. After 2011’s “Captain America: The First Avenger,” Stan was not sure if he would be in another Marvel movie — until he got a call from a friend at San Diego Comic-Con, who told him that his character was in the title of the next film that had just been announced.
Stan and Mackie found out about “The Falcon and the Winter Soldier” in a similarly surprising way. The two were separately called to Los Angeles for meetings and ended up crossing paths in the hotel lobby.
“I had an idea of what was cooking, but I didn’t think it was going to be a TV show,” Mackie says of bumping into Stan. Initially, he admits, he was “horrified” by the idea of taking his character to Disney Plus.
“I was very afraid and very disappointed when I heard it was going to be a TV show because I didn’t think we could take the scope of what we had just done in all these movies and then put it on TV and it would work,” he says. “I didn’t want to be the first failed entity of Marvel. You have all this amazing stuff and then this one thing sucks and it just happens to be me. … I thought it was going to be like Batman and Robin — the original one — where it was like, ‘Pow! Bing!’”
It wasn’t until the production on the show started that Mackie says he understood they were maintaining the cinematic scope — and that he would be able to reconnect with all his MCU compatriots.
“When you become a part of the Marvel franchise, it’s almost like summer camp,” he says. “So when you show up to set, it’s everybody and you never miss a beat. Some people have kids, some people bought a car, some people did this, so it’s like you going back to seeing all your same friends over and over.”
As soon as production starts, however, each performer also must carry highly classified secrets. “I tell everyone in my personal life, and I tell no one in the press,” Olsen says, noting you have to have people you can trust.
Having so much information about where the franchise goes makes these actors experts on the material. Continuity can get complicated in a television series that has to serve as a bridge between films, especially if there are new crew members who are not as steeped in the story. That is how Hiddleston found himself hosting a multi-hour symposium on the set of “Loki.”
“There was a whiteboard, I’m afraid,” Hiddleston says. “I said to Kate Herron, our director, ‘Would it be helpful if I gave everybody all the information at the same time?’ And Kate and Kevin Wright, our producer, were like, ‘That’s a brilliant idea.’ Shamefully, it then became a Loki lecture.”
Since each of these shots were shot on the same studio lot in Atlanta, word about the Loki lectures got out to the other actors — who were crestfallen that they couldn’t attend themselves.
“They made us work,” says Mackie. “They scheduled one of our biggest scenes so we could not sneak out and crash the Tom Hiddleston symposium.”
None of these actors take their part in the MCU lightly, though.
“These films mean so much to so many people and that is a privilege,” Hiddleston says.
Perhaps the biggest privilege, it turns out, is who gets to interact the most with Marvel Studios chief Kevin Feige — a topic of significant interest to all of the panelists.
“How many times during your shoot did you talk to Kevin Feige, Tom?” Mackie asks Hiddleston.
“A couple of times,” Hiddleston replies. “Because of the pandemic, he was in touch about the shutdown.”
At this point, Stan jumps in. “He’s only asking because Anthony was calling him every Friday night,” Stan says.
Olsen then weighs in and calls out her own co-star. “Paul texts Kevin every other day,” she says.
“I was booking this trip to Greece and I had to know how much I could spend!” Bettany retorts.
Tom Hiddleston, Owen Wilson, Sophia Di Martino and Kevin Feige surprised fans with the first TWO episodes of Marvel Studios’ #Loki at the Global Fan Event. The Original Series is now streaming on @DisneyPlus. pic.twitter.com/GgkfCVUOzG
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.
Tom is still on the promo trail for his new movie, phew, and the past few days was in Tokyo promoting. Himself, Brie and Samuel appeared on a Japanese TV Show.
I have added screencaps to the gallery of the brief appearance and below you can also see recorded videos from Twitter. One of his fashion team, specifically grooming, also posted a picture on Instagram.
Staff at Tom Hiddleston Online work very hard to bring you the best content in regards to Tom and his career. Donations are always gratefully received. Running a site costs money for domain renewals, hosts, images, magazines, films. If you can donate, it’d be very appreciated.
This is Tom Hiddleston's official, verified Twitter account. Please be aware that any other accounts claiming to be Tom are fake.
Tweets by twhiddleston
Website name: Tom Hiddleston Online Website URL: www.tom-hiddleston.com Owner: Annie Previous owner: Gabby, Jenna and Jess Contact:Email | Form Social Accounts:Twitter Established: June 2011
Tom Hiddleston Online is an unofficial fan site and has no affiliation with Tom Hiddleston, his management, representatives, family or friends in any way. All trademarks and copyrighted materials on this site are the property of their respective owners. The intent of this website is not to infringe on any copyrights, but rather to serve as a resource for fans of Tom Hiddleston and admirers of his work. Please contact us if you have any questions or concerns.
Tom Hiddleston Online (tom-hiddleston.com) is 100% unofficial. The site is run by fans, for fans. All original text and graphics belong to Tom Hiddleston Online, unless stated otherwise. All photographs, scans, screencaps etc belong to their original owners. This site is non-profit, and all content posted on this site is used, to the best of our knowledge, under Fair Use copyright laws. The intent of this site is not to infringe on any copyrights, but rather to serve as a resource for fans of Tom Hiddleston and admirers of her work. Content is intended for visitors' personal use only. Please contact us if you have any questions or concerns, or if you would like something removed.
Privacy & Cookies Policy
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.