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marie..
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CITAZIONEHolliday Grainger is a 21st-century woman playing a notorious 16th-century femme fatale in The Borgias. As the Emmy Award-winning costume epic ends its blood-soaked, sex-drenched second season June 17, Grainger is visibly relaxed on a chilly but bright California afternoon.
The laughs come easily — none of the emotion-choked tragedy of 16th-century Rome, at least not on this day — but when she talks, it’s a shock. There’s none of the cultured accent of the English stage. Her street accent is pure hardscrabble Manchester, the voice of a working-class girl who’s done right by her talent, her acting ability and her passion for novelist-filmmaker Neil Jordan’s script.
Jordan, the Academy Award-winning screenwriter of The Crying Game and director of Ondine and the upcoming Byzantium, has written nearly every word of The Borgias’ two seasons so far, and directed several key episodes. Grainger was, by her own admission, as green as they come when she was thrown into scenes with Jeremy Irons and Montreal native François Arnaud for the first time.
Irons was professional, patient and generous, Grainger says, and when she acted her first scenes with Arnaud, something clicked — it was as if she were walking on air.
“I find him quite easy to act with, actually, because we seem instinctively to be in the same moment together,” Grainger says. “It’s quite lovely, actually, because we’re not scared to chance failure together. With some actors it’s, ‘Don’t do that! Do this.’”
Grainger was intimidated by Irons at first, but any qualms vanished the moment they performed their first scene together. Irons put her at ease immediately.
“That was important for me because this past season, season two, we have a lot of scenes where Lucrezia is standing up for herself, against him. She’s so emotionally scarred at that point, from her last marriage. It makes Lucrezia stronger. She has had to suffer to reach that point in her life, and now she’s becoming her own person.
“As an actor, it’s very freeing working with Jeremy because he’s full of suggestions, but in an encouraging way. He’s open to ideas. He will give you suggestions, but I love that. We’ll do a take and then it’s, ‘Okay, we’ll do it my way.’ And then we’ll do another take, where I do something different. He’s very open, very accepting. It’s fun, because we pal around, try different things.
“It works well for our on-screen relationship, too, because it’s a political relationship as well as a father-daughter relationship. I like that kind of context, because it makes each scene very different.”
The Borgias, in Jordan’s hands, is full of brio, flair and something approaching Shakespearean tragedy, filmed in sumptuous style, with modern-day Budapest filling in for 16th-century Rome.
The Borgias has earned ratings success, too, won a pair of Emmys — including one for London, Ont., composer Trevor Morris — and is destined for a third season with Showtime, with a fourth on the drawing board.
Grainger says the seasons will show a gradual change in Lucrezia. She was an innocent to start but this past season she worked with a “darker palette.”
“By the time we reach her third marriage, she’s a patron of the arts, she’s completely into her political machinations. I’ve been just itching to play that side of her.”
Grainger thought the emotional scenes would be toughest to play —Lucrezia’s being heartbroken, for example, over the sight of the broken, battered body of her first, arguably only true love, murdered by one of her brothers.
“Those scenes weren’t the toughest, though,” she says. “They’re the easiest to get into, actually, because you’ve got something you can really get your teeth into. That’s where, as an actor, you really show devotion.”
Grainger herself is still a homebody at heart.
“Nothing has changed in my day-to-day life. My life is still my real life. I still live with my mother in Manchester and hang out with my mates. Nothing’s changed, really, apart from the fact that I have had an amazing last year of opportunities. I have a hard time believing it’s happening to me sometimes, flying out to Budapest from London, then flying here — it’s been wonderful.”
Grainger never went to acting school. She came to the profession “through a friend of my mom’s,” and feels more comfortable in front of a camera than standing under a spotlight.
“I’m so terrified of being on the stage.”
The Borgias, she says, has been “a godsend” in more ways than one.
“Just from my heart, I have loved it; I want it to go on forever. I love the show, I love the people, I love Budapest. I like the whole lifestyle there. It’s like the whole experience of life distilled into this one city, with one foot in the Old World and the other in the new age. I just love it.
“And I so much enjoy tackling Lucrezia’s emotions, as she’s getting stronger. As much as I like that she’s becoming more human, I love and am really looking forward to exploring her darker, deeper, more evil side.”
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xcusemymonkey.
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CITAZIONE“And I so much enjoy tackling Lucrezia’s emotions, as she’s getting stronger. As much as I like that she’s becoming more human, I love and am really looking forward to exploring her darker, deeper, more evil side.”
Non so perché ma quando ne parla lei mi piace quasi, poi vedo le puntate e mi passa tutto l'entusiasmo.. -
marie..
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E' anche un amore perché mette quasi le mani avanti, l'anno scorso era tutta del tipo "Non è affatto cattiva, ho letto le biografie!" . -
xcusemymonkey.
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ahahahahahah, il problema è Jordan.
E' sempre e solo lui..
the borgias ITALIA { cortegiania } // il primo forum sui borgia e la renaissance 
the borgias - the borgias cast
Ottawa Citizen: Blood-Soaked, Sex-Drenched Success (Holly interview)
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