A Quote by Mark Pellegrino
You can't get any more evil than Iago or Richard III. Those guys are bad.
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You get Don King's point of view in what is almost a Shakespearean, classical technique. He comes across almost like a lovable rogue, like Iago in 'Othello' or Richard III. He's doing all these bad things, but I kind of like him. It's like 'Pulp Fiction': Everybody's a bad guy, yet you like them.
Francis Underwood was entirely based on Richard III. When Michael Dobbs wrote 'House of Cards' in the original British series, Richard III is what he based the character on.
The 16th-century theatre witnessed the particularly English manifestation of 'the history play.' There can be no doubt that Shakespeare's presentations of 'Henry V' and 'Richard III' have been incalculably more influential than any more sober historical study.
Bill Burr, Freddy Soto, Joe Rogan, Tom Segura... those people influenced me a lot more than any of the older guys like Richard Pryor.
Richard III is not likeable. Macbeth is not likeable. Hamlet is not likeable. And yet you can't take your eyes off them. I'm far more interested in that than I am in any sort of likeability.
Shakespeare villains were extraordinary. Macbeth, Iago, Richard III... They're so richly layered that a British actor would find it almost impossible to create a two-dimensional villain, if he's explored in his early years or continues to explore his Shakespearean heritage. You can almost not judge them, if they're played really well.
We lie to ourselves and try to escape that bitter reality by saying that the world is divided into good guys and bad guys, and that we're the good guys. We condemn people as evil to reassure us that we're not like them. If there's to be any hope of preventing these things from happening again, we have to look at the reality. That any act of evil in our history was committed by human beings like us. That, very often, we're all implicated in it.
When I read 'Paradise Lost,' or 'Richard III,' it is clear that Milton and Shakespeare took real pleasure and satisfaction from creating these epitomes of evil.
If you're a classical actor, every Shakespearean part you play, you then say, 'McKellen did it this way,' and, 'Jacobi did it this way.' There's a whole list of Oliviers and people, whether you play Hamlet or Richard II or Richard III, any of those roles. And I found that a bit when I did 'La Cage.' It didn't bother me one bit.
Richard Nixon was an evil man - evil in a way that only those who believe in the physical reality of the Devil can understand it. He was utterly without ethics or morals or any bedrock sense of decency.
You don't just have to see superhero movies. Ultimately, those movies are westerns - superheroes are good guys fighting bad guys in a landscape. In westerns, that divide couldn't be any more clear, but the only superpower you have is that you're a quicker shot than the other guy.
'Richard III' is a really difficult play to film - it's involved, often obscure. I felt it absolutely necessary to do more simplification than I've ever done before.
A couple of clues came my way of what I might be getting myself into when I sat down with a number of actors who had played Richard III in the past. And I was hoping of course, that one of them or all of them were gonna give me the magic key, the secret way in to play Richard III but none of them did that.But every one of them did say the following, "Be careful."
I think any time you bring those guys in, one with a lot of playoff experience, with rings - those guys won - guys in the locker room gravitate towards those guys. Those guys have been there, so there's a lot that they can teach the guys.
My role 14 years ago in Richard III - that was the first time I played a bad guy and learned a lot about it - they have all the fun!
Movies, I don't really get the bad guys. In theater, I get more bad guys. Both audiences and directors are more willing... to allow people to stretch. In movies, you do one thing, and then that's their reference.
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