Tag: Interviews

Tom Hiddleston Says He’s a ‘Temporary Torchbearer’ Playing Loki

Tom Hiddleston Says He’s a ‘Temporary Torchbearer’ Playing Loki

New interview with Tom from today at Royal Television Society panel discussion for Loki.

Tom Hiddleston has said he sees himself as a “temporary torchbearer” when it comes to playing Marvel’s god of chaos.

Hiddleston made the comments in a panel discussion about Disney Plus’ original series “Loki” on Wednesday evening hosted by the Royal Television Society. Hiddleston was joined on stage in London, U.K. by his co-star Sophia Di Martino, who plays Sylvie, series writer Michael Waldron and director Kate Herron [who appeared via Zoom.]

“I’m a temporary torchbearer,” Hiddleston said of sharing the character with Di Martino as well as Richard E. Grant and an alligator — all of whom play Loki variants — in the series. “I’ve always thought that. It’s a great role. It’s an archetype, the trickster god, the agent of chaos. I’m just here interpreting that for the time being. Loki has been here for centuries and will be here for centuries more and I’m just stepping into that silhouette for now.”

His comments come as the first tranche of Marvel Cinematic Universe faces — including Robert Downey Jr. and Chris Evans — hang up their superhero suits following the release of “Avengers: Endgame” in 2019.

Hiddleston, who has now been playing Loki for over a decade, explained that he was drawn to making the eponymous limited series due to the show’s themes of identity and acceptance. “This idea of somehow the [Time Variance Authority] confronting Loki with the shape-shifting nature of his identity and asking him ‘Who are you?’ I found it a new avenue to explore with this character I’ve been playing for a while,” Hiddleston said. “It felt original. It didn’t feel like we were repeating.”

“Loki,” which centers around time travel, even touches on more erudite topics such as philosophy and psychology. “Michael [Waldron] and I were having breakfast a couple of years ago when [he’d] written that first pilot and found ourselves talking about psychoanalytic theory and repetition compulsion and [the question of] can you ever change?” Hiddleston recalled. “Is it possible for people to change? Even if you do will people accept that you’ve changed? Is it possible to know yourself entirely?”

“And then Owen [Wilson] came and was so forensic about examining all of that stuff, and then we realized we were in a police detective thriller. When I was cast as Loki however many years ago, I never thought this character is a detective. But he is here.”

In a wide-ranging talk, Hiddleston, Di Martino, Waldron and Herron discussed various aspects of the series, which will be returning for a second season. “You’ve got to test the fences,” Waldron, who has also written the forthcoming “Doctor Strange in the Multiverse of Madness,” said of some of the show’s wackier elements (such as the afore-mentioned Loki alligator).

“With [Marvel Studios president] Kevin Feige, you get to see how far you can go,” Waldron explained. “So you write in Sylvie soccer kicking an armadillo with a laser mounted on its back and they tell you ‘OK, that’s too much. I like the mind invasion but maybe pull back on the laser armadillo.’”

Waldron also revealed that “Loki’s” dialogue-heavy structure was “me testing the fences. That could have easily been another laser armadillo situation.”

He recalled turning in a 15-page dialogue scene between Loki and Mobius for the pilot episode with the expectation he’d eventually cut it down. “And instead the response came back, ‘Can this be longer?’” Waldron said. “And so then I got excited.”

In Waldron’s eyes, the extended dialogue made sense for the character. “One of Loki’s superpowers is his ability to talk his way out of any situation, talk his way into any situation. You want to watch Superman fly, so I wanted to watch Loki talk.”

“And so because this was a show — because we had six hours — that was the most exciting thing to me,” Waldron said. “We get to take a villain from an action movie franchise and have these dialogue-heavy scenes that feel like prestige television.”

The extended dialogues and long takes (“I love a long take,” Herron admitted) also gave the actors the sense they were acting in a theater at points. “Owen actually turned to me at one point said, ‘This feels like a play,’” Hiddleston recalled.

The scale of the show presented a challenge, however. “It was like making almost three Marvel movies just because we were filming so many hours of content at the same time,” Herron said. “I think I just didn’t think about it in terms of the massive scale and just tried to tackle it day by day, just because it was such a mammoth task to get it done.”

Di Martino had recently given birth when she embarked on the shoot, which required her to relocate (with her family) across the Atlantic, so she said it took some time to grapple with the enormity of the job. “There was a lot going on,” said Di Martino. “I think I didn’t really come to terms with it. I just sort of ignored it for as long as possible and just treated it like any other job.”

“And then there’s a moment where you’re on the stage in the studio with, you know, Gugu [Mbatha-Raw] and Tom, and we’re doing this huge fight scene,” Di Martino recalled. “And there was a moment towards the end of filming where I was like, ‘Shit. I’m doing a Marvel show.’ I think it took a while to sink in.”

Source: Variety

Tom Hiddleston featured in M2 Australia Magazine

Tom Hiddleston featured in M2 Australia Magazine

Tom is featured in the July/August issue M2 Australia Magazine, with a brand new interview and photoshoot!

Tom Hiddleston in M2 Australia July August 2021

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

Variety’s Virtual TV Fest – Full Panel

Variety’s Virtual TV Fest – Full Panel

Variety hosted a panel on the Virtual TV Fest with Tom Hiddleston, Elizabeth Olsen, Paul Bethany, Anthony Mackie and Sebastian Stan. Watch the full panel below:

Here’s the article from Variety

‘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.

More Interviews and Press Junkets (Compilation)

More Interviews and Press Junkets (Compilation)

Here are more interviews and press junkets to promote Loki:

Tom on Jimmy Kimmel Live (Video + Screen Captures)

Tom on Jimmy Kimmel Live (Video + Screen Captures)

Last Tuesday, Tom virtually attended an interview with Jimmy Kimmel, here are the video and screen captures:

Also, a picture from his stylist:

Tom Hiddleston on Coriolanus: ‘There was nowhere to hide – that’s exciting’

Tom Hiddleston on Coriolanus: ‘There was nowhere to hide – that’s exciting’

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.

[Video] Buzzfeed Interviews Thor Ragnarok Cast

[Video] Buzzfeed Interviews Thor Ragnarok Cast

Buzzfeed posted an extremely funny Q&A session with the Thor: Ragnarok cast, and Tom was paired with Jeff Goldblum which made for a great video!

You can watch the video below:


Thor: Ragnarok Premiere Interviews

Thor: Ragnarok Premiere Interviews

While on the red carpet for Thor: Ragnarok, Tom did a few interviews. Watch them below.


[Thor: Ragnarok] Tom On the Transformation Of Loki

[Thor: Ragnarok] Tom On the Transformation Of Loki

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.

Read more of the story at Collider’s website.

[Screencaps] Tom Appears on V Live

After his appearance on the Japanese TV show, Tom then did an interview on V Live.