來自http://globalnews.ca/news/735617/benedict-cumberbatch-set-to-make-a-splash-at-toronto-film-fest/ 的訊息
BC分別以三部電影入選參加今年的多倫多影展
12 Years a Slave 為奴12年
August: Osage County 八月:奧色治郡
The Fifth Estate 第5階層
12 Years a Slave和August: Osage County都是配角之外，其中August: Osage County因為有Meryl Streep也成為一大熱門
唯一真正主演的The Fifth Estate BC在片中飾演維基創辦人Julian Assange，再次讓人見證BC的實力(就我個人的感覺而言，BC還是太過嚴肅，沒有完全的將Julian Assange說話時的調調掌握好...)
多倫多影展乾脆直接辦BC的主題就好了...
這樣多乾脆啊!
與Sherlock Holmes對談在ONEMAN
在OTE電視”Sherlock”系列雅典首映會之前，我利用一點時間和Benedict Cumberbatch 還有"福爾摩斯"的製作人- Sue Vertue，與他們兩位做了一次交談。
Thodoris Dimitropoulos,，20 小時前
預訂你的夏天假期！直到6月 30 日
並不是人們口中所謂的英雄，也並不是像其他人一樣的個性，”Sherlock”的情節並不是無休止的，但是三集90分鐘的時間。在一般情況下，就如同看一部電影或是週三周賽季。
這個新的SHERLOCK生活在現在。
新媒體的存在是永久性的。郵件、 谷歌地圖、 高音喇叭，博客，演變成為今日的亞瑟 · 柯南道爾爵士，著名的文學英雄的DNA在這個現代版，但核心人物仍忠於傳統。
Benedict和製片人：Sue Vertue（這和在著名喜劇“憨豆先生”偉大的“冤家成雙對”，還有Steven Moffat）出席由OTE電視在Philothei劇院舉辦系列第一集的活動。
OTE電視頻道將在下週一播出“Sherlock”第一季，我們談到二者的本質中他是屬於哪一方，Sherlock，一個有著瘋狂領先的線上粉絲團，是不是激發下一個系列的關係，以及在每個崗位上的事情。
你是如何参與這部"Sherlock"的?
Sue：隨著Steven Moffat，他是我的丈夫，和Mark Gatiss的。在通往加的夫的火車上，他們一直在討論著“Doctor Who”之外，討論他們可以做些什麼的事情，因為他們做了“Doctor Who”。而這個Sherlock Holmes總是在談論著。有人問，在什麼時候會有人能夠做出一個現代版的版本，應該是那些吧。Steven回家說，他告訴那些在一直討論和支持他的人，，他能做到這一點。
當時就是以最簡單的場景，就只是做了一些介紹，BBC看了之後決定並通過同意買下這部。(PILOT-試演版)
Steven Moffat參與“Doctor Who”，這是一個非常古老的劇集，以他替Doctor Who做了一個現代版本的“哲理”，那當然，“Sherlock”會是什麼? 而他就是這麼善於重塑現代觀眾觀點的。
Benedict：他們崇拜這個原始資料。崇拜伴隨著巨大的創造力，裝飾性的寫作、與偉大喜劇，他們深度的合作關係並知道如何在同一時間寫出劇本。是一個刺激的組合，有一個可以處理與保護的東西，但不是會因為這樣就過度小心。因為你也可以這樣-
[電話聲響起]
記者： 哦，我讓來接。
Benedict： 可能是Steven。
記者： 讓我來問問他 ！
您第一次接觸福爾摩斯是什麼時候？
Thy(Steven): 你說和他嗎？[看著Cumberbatch]
跟隨文學，是最好的 ！
Sue： [笑] 我是一個不會浸沉在書本裡面的那種人，Benedict他已經讀比我的更多。
Benedict： 我看了全部系列的書。
甚至之前的?順序是？
Cumberbatch：Diladiiii......(譯:Benny考慮時所發出的聲音)哎，最早讀的書啊...可是我沒有那樣崇拜某本書或是一些懷舊的回憶。我從未有作為一個孩子應該擁有的熱情只是一般。我不是從書中知道關於"指環"所有故事的人。巧合的是我曾經讀過"霍比特人"然後我也讀過一些的福爾摩斯。
我記得我看過在上世紀80年代Jeremy Brett所演出的系列一些情節，或多或少他對我產生了某些影響力，但是當我接下這個有點瘋狂的角色時，我將自己的表演倒過來，而不是去模仿另一個版本，我藉由通過閱讀書籍得到字面的精髓，夢幻般的字元模式，因為寫作的人是Dr. Watson，不管是誰在說誰，我也注意到了很多東西。當然也明白福爾摩斯的性格，他的大氣，生理的上的喜怒無常，停不下來的頭腦，持續不停精神動作和他的一些在某物品的慣性依賴，也知道這東西對自己的傷害，苦笑，失眠的症狀，一些令人不快的舉動，還有那可愛的一面。
我對它做了很多的觀察，所以，這結果是完美的。
在這之前我記得Jeremy Brett來我家裡的時候我還很小，我的母親對我說的。她是一名演員，她認識他。
所以，我會說，我有更多的連結來自我的母親，儘管我們演出同樣的故事。
談到Brett的版本，既然有那麼多版本的福爾摩斯 — —
Sue：我像70年代的嗎？
Benedict：我覺得Robert Downey Jr是 75年的?就是年紀大的意思吧，這是在金氏記錄的定義，這並不是我想說的所謂的標記。他(Moffat)告訴我，你必須要是最像精神病人般形象的樣子。
有這麼多版本，你怎麼把它轉化變成自己的方式？
Benedict:就像哈姆雷特，即簡單地去信任，我會說，不同的演員，他們也帶來了新的東西，像一些不同的場合或是時間。無論他們在我身上看到的是什麼。在不同的背景下，也是因為這故事設定在現在的這個時空。
如果(這部劇)沒有成功，也表示你之後也不會有工作，你有沒有什麼樣具體的方式。
Benedict:沒有。
Sue：但是你也不能害怕，不是嗎？
Benedict：是的!所以你一定要先確定要什麼樣表演和腳本，然後作出最後決定屬於你的系列，並且由Steven和Mark他們來主導。也由Paul McGuigan建立起的視覺風格，這是他的專長。當然，還有其餘的演員，大家一起玩。Martin...和...和... [搖動，抬起頭，笑道]Martin，基本上是這樣。絕對是其他系列中不會有的！ [笑]
對不起，我在度假。
Benedict：是的。你必須無所畏懼，要充滿創造力，加一些你喜歡的劇情。
Sue：他們多了很多工作的場景，我們可以地想像原來的故事有多簡單，多好。
在這6個故事當中，哪一個是最困難的？
Sue:可能是"巴斯克維爾的獵犬"？一隻被人標記的"狗"?
Benedict：這是一個非常不太簡單的故事，因為有點黑暗 。
Sue:別說那麼多![笑]
Benedict:這也是福爾摩斯三分之二不在場的故事，然後簡單地出現在停屍間，他說“gioyyy choyyyy”(GGYY?)。
Sue：就是不關你的事，也可以稱為一個"福爾摩斯"系列！
Benedict：是的!沒有。這故事從一開始就與Watson有關。有點恐怖以及純哥特式的東西 ！它是一條可怕的狗......我不知道的...某個故事之一。
在這系列中有什麼的嗎？隨著每季三集
Sue:製作嗎?嗯？是的，最初我是想每小時更新一次。但我們的試拍，我喜歡他們這樣，所以他們意識到這可能會是最大的挑戰與製作。所以我們繼續這樣。看起來是三個小時一樣，因為我們可以實現給演員的其他的可用性。我假設 BBC 或許想知道一些，如果我們可以做更多。但他們需要找個地方甚至為這三個到四個月。
有沒有什麼不必要的情節。我的意思是，像是“Elementary”，就用了一種不同的方法來製作。
Benedict:是的。
但是，你能超越他們這幾個季嗎...
Sue:是的。
Benedict：分秒必爭，我想。我們建立起了屬於我們自己的神話，並展開了整個故事，這種方式是更比他們豐富
Sue:又何必去回避和很"難看病的"第四集(譯:這裡可能指的是CBS兩出和醫院有關的劇-越到後面越難看)總是很難能夠接下去。
Benedict:是的!對的。你說的對!這不是一定的程式，所以我非常感激。不只是因為它的設定一年只有9個月。我們可以自由地做別的東西。但也因為它意味著品質較為放心。當然，不是絕對保證，有一個元素......若要做出這個東西，在你做的時間裡也要有一個更大的重點。
你知道的。
我們都很驚訝觀眾這麼快就聚集起來，而且很狂熱，方法是?
Sue：太嚇人了是吧。
Benedict:[看著笑]“解釋一下吧！”
是的請解釋一下 ！
Benedict:我們不能。但它絕對是一個字，這絕對是一個性格的象徵，說明我們使用一些更現代的元素，和現在的粉絲們如何發展如此迅速，都與光速或與互聯網的連接有關，那個晚上我們在英國的BBC做了首映。
可以說有使用了一些社交媒體，他有博客，不再使用日記，還有一些直接在我們現在使用技術的方式。設定在一個和類似於你用什麼和影迷的之間。至於存在的藝術，就是大概是因為每一次都只有三個故事情節和每次都有時間的差距，所以我能說什麼...........無聊，所以這些奇怪的......我看過的一些福爾摩斯有關的創作作品。你說OK，不錯，這一年半的時間裡，從無到有！[笑]因為，我們明白我們有非常有才華的影迷。我們真的很感動。
那麼 tumblr 是-
Benedict:由於Sherlock Holmes?
是的，你是否和Tom Hiddleston或是搖滾明星那樣在空間分享自己的事情嗎?[笑]
Benedict:是的......對不起，但你知道......這個世界。
Sue:我們認為我們只是小小、美好的，讓人喜歡的系列......
Benedict: 是的!正是因為這樣英雄般的觀念。但我只能解釋說，這種理論的那一刻是什麼。做為具有與對社會有影響的媒體。可以說明影迷也是正在使用和他同樣正在使用的相同工具。因此有了更大、直接和迅速的迴響。這個 'OMG LOL' 激情的順序，所有的情感...所有的感覺，我應該說是相當的，對吧？
是的，是的，所有的感覺
Benedict:我覺得有意義的是，人們圍繞這個人物上的話題。這是太棒了。我也愛影迷只要等待新的情節，在星期天晚上的電視上，我希望與新的情節直到 2013 年年底。我想要什麼。一個沒有電腦和網路的訪問，以及那些人系列中希望我穿什麼樣的衣服用什麼樣的新圍巾。我希望大家都去享受它。和不同世代的人不是嗎？還有他們的子孫在老奶奶旁邊坐在看著這一系列。
Sue：這麼好，當它在英國首播。人們說，這是主要的事情，看到十幾歲的孩子。你知道，一家人坐在一起看電視。第一次由於是“Doctor Who”的情況。
Benedict:是的，對於世界一片黑暗 ，複雜的審美，而且還有我愛的兒童，我喜歡這個。你已經得到不同的幾代人對你的另眼看待，所以你知道你正在做正確的事情。也在其餘的忠實的讀者裡頭產生了共鳴。替在為自己的孩子讀故事，這樣的節奏，甚至有些孩子們是第一次讀到。隨著觀眾去書店買書。如果有在讀柯南道爾爵士的書的話，我們對於做我們現在在做的工作，我感到非常高興。
Sherlock帶來的一些成效
Benedict:我的母親說，這角色已經變得有點不耐煩！我猜她是正確的，福爾摩斯總是匆匆。有時，在毀滅性的程度上。但我想，以他的焦點，他專注於細節的方式，有紀律。有時候，我覺得這個人物就像是解決縱橫字謎日的。所以我在他的精神面上所得到心靈的成長，還有磨練出來的記憶。
我得到了這些。
每次來都有新的劇本?
Benedict:我總是熱切地等待著，和Martin玩著一些類似民主投票的遊戲，就像耶誕節。因為你知道，我們作為該系列的主角不能去反對的[點頭看著手機]這些人...他說要找一個電話。[笑]
Sue:我們是都非常熱愛新的系列，是的。
Benedict:如果你認同度達到和我們所有的人一樣，我還有Martin...我們不能做出讓自己後悔的事，我很感到自豪。
我現在已經得到了福爾摩斯，“星際迷航”和托爾金...
Benedict:真是一個完美的問題 ！顯然這是設計過的東西，彼得 · 傑克遜是"福爾摩斯"的粉絲，所以電影找了我和Martin。J.J.Abrams 也是該系列的忠實粉絲。當他需要在一個人在最新的"星際迷航-駛入黑暗"演出壞人，Damon Lindelof說，"你覺得怎麼樣，和 J.J 合作如何?"我有點恐慌我不知道，是否需要一個新人在最新的系列帶來黑暗，還有誰可以。
[Cumberbatch 造就了完美的神經質，也帶來了驚訝之聲]
所以Damon說"Yes...就是他嗎?"
是的!我把這一切歸功於"Sherlock"，很感激"Sherlock"帶給我這樣的機會，因為 Joe Wright，他們看了"贖罪"[看著Sue] Steven描述了他在電影銀幕上看到一個人很像福爾摩斯，"怎麼樣"，你的意思是這傢伙嗎?我猜你從一根小樹枝看到另一根樹枝。(譯:從一個人身上看到了另外的一個人)
所以產生了另一個作用?
Benedict:是的!我去讀了劇本，然後參加試鏡，有兩個場景，但這是一個聯合的決定......
Sue:是的，它的確是一個過渡時期，BBC準備了的三個主角名字，即使你身邊有某人具體的考慮。我們都沒有去用。簡單地說，這將是福爾摩斯。
還有最後的問題想問一下
Sue：誰是未來的博士不會告訴你的！[笑]
可惜 ！但對於"冤家成雙對"我想問，這是我最喜歡的喜劇。然後你還記得什麼嗎？
Sue：哦，是我最後一次在雅典看到希臘的“冤家成雙對”時，他們做了，是我以前從未見過的。但你知道什麼是真棒？無論母親打母親的“冤家成雙對”還有我的性格。 [看著Cumberbatch。]
benedict:我的母親有演過這部"冤家成雙對"
Sue：是的，她的母親蘇珊是benedict的母親。這是我們第一次見面，是不是？
benedict:是的，在錄音室。然後遇見了他們所有人。奇怪的某個時候，對吧!
完
Benedict Cumberbatch – 怎能不爱他
By Caitlin Moran, The Times, 11 May 2013
[译者按：Caitlin Moran一直是我很喜欢的专栏作者。她在时代报每周有三个专栏——周六杂志专栏，电视评论和明星见闻。她言语风趣，观察入微，写的文贴近生活，引人入胜。推荐她的专栏精选作品集《Moranthology》，里面两篇通篇提到Sherlock，尤其是Benedict。]
他在电视上是一个快节奏的夏洛克•福尔摩斯，现在又以《星际迷航》征服了好莱坞。且看Caitlin Moran去他父母家吃午餐能发现什么。
我不知道你记不记得，去年夏天一段时间——在奥林匹克结束后，选秀节目未知因素X Factor开始前——有这么一段奇怪的潮流，大家都喜欢找Benedict Cumberbatch的茬，因为他“过于上流社会”。
无论Cumberbatch多少次试图解释说他“只是中产阶级，真的”，一个小九九总是一次次被引用：哈罗教育+六个音节的上流名字 = 一个坐拥城池的男人。甚至有一系列的八卦专栏特地来讨论他的上流因子，美其名曰“上流到美国去”或者“可怜的上流社会男孩”。
貌似这股潮流的基本假设是Cumberbatch是一个半吊子的年轻王子——净会偷走一些重要角色比如神探夏洛克里的Sherlock Holmes，队列之末里极端压抑的地主Christopher Tietjens，说的好像这些角色本来应该属于工薪阶级的演员比如Danny Dyer或者Shane Richie，并且为他们无限惋惜。
当然，跟所有类似的谣传一样，来的快去的也快。其中有那么一部分的原因估计是因为他将在星际迷航里出演重要角色，从而将成为近十年来最成功的英国演员之一。
我坐在记程车后面一边翻看关于Cumberbatch的剪报一边回忆这些事情。
“都是些什么乱七八糟的垃圾，”我默默在心里说。“这整件所谓上流社会的事。全是混账话。这个世界真他妈搞笑。”
那是一个美丽的周日下午。我应邀来到Cumberbatch格洛斯特郡的父母家里做客。星际之暗黑时代就快开始，这是他唯一可以接受采访的时间。于是我做出牺牲，坐了火车来到斯温顿。
记程车把我在住宅区放下。
“就这里。”司机说。
我从车里钻出来，眼前不远处是一所宏大的，蜜色的豪宅，和门前修葺得一丝不苟的平整草地。在停车坪停着一辆伦敦标志性黑色出租车，和一辆银色的古董劳斯莱斯。
昨天晚上，Benedict问过我要不要来接火车站接我。他说他有一辆非常非常好的车。
我盯着眼前价值不菲的车，在心中对自己说：“是，你还真有，不是么？你有一对呢。”
于是我捧着一大束鲜花，提着一瓶好酒，踢哒着走上车道。我对准信箱口大喊：“你好！我从伦敦来！我来郊外度假的，一不小心就来到这里了！”
一片寂静。我围着这豪宅转了两圈，实在太大了，我居然找不到前门。
我决定去问下邻居，怎么样才可以潜入这个Cumberbatch庄园。
我朝着旁边一户小屋走去。
Benedict Cumberbatch站在这小小别墅前门口，穿着一双旧旧的蓝色灯心绒拖鞋，饶有兴趣地看着我一步步穿过种满了风信子的草地。
“你在Kate Moss家那边干吗来？”他问道，用一种很和善的口吻。
啊。Kate Moss。工薪阶层出身的国际名模。那豪宅是她的家。
这被指称为“上流社会”的Cumberbatch一家，正相反，住在隔壁小农舍里，上楼三个小房间，下楼三个小房间。所有目之所及之处都堆满了书，照片，或者是猫头鹰。
“请进，请进，”Benedict一边说一边微微侧头钻进矮门。哪怕穿着拖鞋，他也有一米八，显然不是适合这个17世纪的老别墅的身高。“谢谢你赶过来。”
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吉尼斯世界记录暂时没有这个名录，但是Benedict Cumberbatch绝对可以入选“最快窜红的艺人”。
2010年7月25号，晚上8点59分，Cumberbatch还是一个虽然在业界被交口称赞，然而在坊间默默无闻的演员。他在《霍金传奇》中扮演霍金，《凡高传记》中扮演凡高。如果你是个负责选角的导演，或者剧作家，你会很乐意接听他的电话。但是除此之外，Cumberbatch的生活可谓波澜不惊。
当晚9点，《神探夏洛克》播出。到9点20分的时候，他的名字在推特上面成为世界性话题，背后是一群自动自发的歇斯底里的观众——粉丝群立时三刻诞生并且一发不可收拾。
他的福尔摩斯是那种一期一会的机缘。由神秘博士的Steven Moffat和绅士联盟的Mark Gatiss创作，这个版本的夏洛克神秘，刺激，有着如同神赐的魅力。他破门而入，直奔主题，然后90分钟内一刻不停。他第一个镜头是拿着马鞭抽打尸体。下一幕里他兴致高昂得在推理上飞跃，就好像超人冲向天空。
终于来了一个连环杀手，他叫道，兴奋不可名状。“最爱这类——总能让人有所期待。”
这还不算，黑色卷发逗留在额角，Cumberbatch的夏洛克带着一种简直不属于这个世界的吸引力。仿佛不见阳光般的苍白外表下，他把滔滔不绝的长篇独白演绎得跟像帕格尼尼的小提琴独奏一样地眩目，捎带着Nick Cave酷酷的哥特风范。这个版本的福尔摩斯简直有着摇滚明星的魅力。
当然，这种魅力转移到了Cumberbatch本尊身上。一周未结束，他的私生活已经遍布八卦小报。他穿过的那件1,700英镑的Belstaff大衣成了需要轮侯的热卖品。当第二季在英国伦敦电影学院首映的时候，粉丝们从早上六点开始在冷风中排队等候。当他到场的时候，尖叫声震耳欲聋。到那时，他的照片已经遍布英国所有主流杂志报刊。斯皮尔伯格指名要他演《战马》，而他正在拍摄好莱坞大片《锅匠，裁缝，士兵，间谍》。
再看看他的各项提名——BAFTA英国电影电视学院奖，Olivier奥利威剧院奖，Emmy美国艾米奖，Golden Globe金球奖——他赢得了半数以上。一种惊人的爆发力，对于一个只有36岁的演员来说。现在呢，霍比特，星际，好莱坞。
眼下呢，午餐。
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Ventham-Carlton-Cumberbatches一家极为好客。
Benedict的父亲Timothy跟我说的第一句话是：“要不要来一大杯酒？”他刚从花园里进来，膝上还沾着泥土。他给我倒了一大杯高度金酒，正适合一个如此舒适的周日。
Benedict的母亲Wanda，哪怕在忙碌地烹饪周日烧烤，也挡不住她四射的明艳光芒。我相信如果她眨动睫毛，整个房间都会为之颤动，降为瓦砾。
Benedict拥有二代才华。Google找出了Wanda Ventham和Timothy Carlton (本名Timothy Carlton Cumberbatch) 在《神秘博士》，《继续攀登开伯尔》，《红花侠客》，《圣人》里的剧照。
跟Benedict的自称为Cumberbitches的粉丝为他做的网站一样，Wanda和Timothy也有过这样的关注，来自于上一个年代。
“Wanda Ventham是不是一个美丽性感，引人注目的美女？绝对的。”有人这么写道。另有人这样形容Timothy在《红花侠客》里的形象，“穿着欲望的绿色外套”（Green coat of sex）。
Timothy 和Wanda在厨房里穿梭着准备午餐。Wanda跟老公调笑，就好像他是一个年轻适龄的对象一样，哪怕他坐下的时候会不由自主地哼一声。光看着就很感动。Benedict趁机带我到处看。如果我们不是为了消磨时间的话，可能不用一分钟就能转完。实在是太小了。
当然Benedict是一个改不了的话唠，于是总共花了20多分钟。
“他们在我12岁的时候买了这套房子，”他说，“看，这是我，在哈罗的第一天。”
他指着一张图，图中一个看上去礼貌谦和的小男生，戴着一个大大的水手帽蹦蹦跳跳去学校。
“太上流。”我说。
“太上流。”他笑了。
整个楼梯都挂满了他儿时的照片。Benedict跑着。Benedict小婴儿蹒跚走路，10岁的Benedict，泛白的金发，偏瘦，穿这小小泳裤，在雅典的一个海边岩滩上。还有一张，照片中Wanda扯下他的泳裤亲吻他的小屁股。
“那是我妈妈亲我的屁股的照片。”他点头说。
那时候他正在学吹小号。他说他的嘴型变成现在的样子都是拜它所赐。
“吹小号能吹伤嘴，”他满不在乎地解释说，“当初就是因为这个。”他用手指按了按他饱满的下唇。“我有一张小号嘴。”
我们参观了他的卧室，不大，有点花哨。在一张印花棉布罩着的桌上放着一个小瓷壶，盖子上用花体写着“我觉得聪明可爱”。
我问他这是不是他每天早上对自己的肯定。“唔，我是觉得我很可爱。”他一本正经地回答。这时候他妈妈上楼来，用一种母亲的特权打断我们的闲聊。她对着我着急地说：“你能不能。。。给他找个姑娘？”她问。“你一定能给他介绍一个姑娘。在伦敦一定有合适的。我想要孙儿。拜托了，帮我儿子找个姑娘。”
非常有趣——眼睁睁看着Sherlock Holmes因为单身而被母亲斥责。尤其是在我们站着的周围全部是Wanda四处收集的猫头鹰标本（“妈妈迷猫头鹰”）。所有的猫头鹰都用跟他妈妈一样的敏锐目光盯着他看。
“我还好啦。”他求饶——身体语言就像一个笨拙的少年。
“我等不及了。”她回答，很坚定的语气。“找个女朋友。好了，可以开饭了。要不要再来一杯？”
Wanda跟她收集的猫头鹰一样，是一个喜欢讲话的人。午餐吃了很长时间，期间她讲了不少趣闻轶事——包括某天Benedict带着她和Timothy去看《星际》拍摄。
“。。。然后他们重拍了一次又一次，”Wanda用她的雕花玻璃般动听的淑女口音说着，一边把布丁放到每个人盘子里，“一遍又一遍重来。花了一整天的时间。就是为了把Ben弄到这个该死的宇宙飞船里去。一次我跟他们说，‘你知道，我拍UFO [70年代Gerry Anderson导演的科幻系列]，连拍三次我就到月球上了！”
Benedict的父母从来不是真的想要他们的独生子成为一个演员。他们很清楚以此为生会有多么不稳定。这就是为什么他们那么辛苦赚钱供他去哈罗读书，为了给他一个“正当的教育”。他明显需要足够事情做——哪怕还是小婴孩的时候，Wanda形容Benedict“是个小旋风——从来没有停下来的时候。
“我新陈代谢很快。”他说。
“他皮包骨头！”Wanda继续说道。“我们真的有喂饱他，真的。”
“他们担心我甲状腺有问题。我经常到了学校门口已经浑身汗透，因为我会跑着去上学。我从来不停下慢慢来。”|
然而，显然从很早的时候就开始，只有一件事情能够分散他的注意力。
“我就是一个人家眼里的沙子。喜欢显摆，”他边说边加了一点酒。“不是故意很坏的那种，就是爱捣乱。他们想看我能不能把所有的过剩精力都投入到好的方面，而不是尽用些傻傻的配音来破坏课堂秩序。”
于是他拿到了他人生的第一个角色，在校园剧场制作的《仲夏夜之梦》里。
“我想我们所有人都记得Benedict的 Bottom。”Timothy说，言若有憾的表情配合得恰到好处。
“因为这个我拿到了《半个六便士》！”Benedict大叫。“我演了安，亚瑟•开普斯逆来顺受的妻子！”[译者按：《半个六便士》是英国Tommy Steele写的出名的歌舞喜剧。Benedict提到这部剧，估计是因为《仲夏夜之梦》里说Bottom因为人不在，每天都会损失六个便士。在伊利莎白时代，六便士相当于一天的人工。]
他说着说着开口便唱起《半个六便士》里面安的那首“我一个字都不信”——一个36岁的男人装成他10岁的自己，表演一个由24岁的女明星Julia Foster演红的角色。实在太精彩了：搞笑，愤世嫉俗。他一边跳舞一边由房间一面晃到另外一面。
他父母还以为演戏只是儿子的一个爱好，直到Wanda带他去看爸爸Timothy在伦敦西剧院的演出。
他们就那么站在剧院舞台边厢看演出，Benedict突然开始大声说：“我想上台，我想上台！”他几乎失去控制。
“我们不得不阻止他冲上台，”Wanda边清理盘子边说。
“但是为什么不呢？”他问道，表情略带恳求地看着我。“哪个孩子不会想那么做？你见过后台吗？所有的那些布景，每个后面都有自己那一幕的名称，最下方都有负重来固定。站在边厢，你能看到这所有的道具。但是当你走上舞台的时候，你走进一个真实的世界，所有的观众都在看着同一个现实。这多么令人惊叹。”
之后还有更多的酒，第二道烤肉，然后是甜点，然后是第二道甜点。Benedict拾起盘子里剩下的一块牛蒡——“我不能再吃了。我正在进行五比二节食。必须的，为了《神探夏洛克》。”[译者按：5:2节食就是说每周两天低卡节食，五天正常饮食。]
再然后，在我本来计划离开的一个小时以后，红酒喝得头晕脚软的我跟他一起走进另外一个房间去正式开始采访。
采访Benedict是这样子的：有点儿像采访一个瀑布。虽然得不到任何问题的确切答案，但看上去堪称一绝。他没有故意忽略或者回避你的问题——绝对不是。那是没完没了的，热切的渴望倾诉。你听到一个关于被海葵蛰到小弟弟的故事，一口气还没有结束的时候，他已经转到讨论第一次进入哈罗图书馆的紧张：“因而我这样想，我可能一辈子都不可能读完第一个书架上的书——更不用说第一个大厅里的，再不用说尼玛一整个图书馆。我总是在想法子自我提高——想了解所有关于葡萄酒的知识，然后能够告诉你各种不同的鸟鸣声，还有去探索我周围的世界。”
然而如你所见，也如同他母亲痛惜的那样，他其实就是一团无穷的精力——他停不下来。这就是为什么他能够扮演那些伟大的，非凡显著的角色：凡高，霍金和福尔摩斯；《队列之末》的数学天才；霍比特中的那条龙；舞台上的扮演造物主的疯狂科学家还有他的怪物。在不久的将来，汉姆雷特，阿桑奇，披头四经纪人布莱恩•依斯坦。
因为我们已经延迟了，Benedict试图规划出一个新的安排。他第二天早上7点就要到布鲁斯托去拍第三季的《神探夏洛克》。他拿起剧本翻看，很努力地想在不剧透的情况下让我看看他的工作量。
“这一幕有40页那么长。这是个40页的推理，”他说，“基本上就是长篇大论。而我必须在睡觉前背过所有的。”
指着墙上的用各种鸟的图案代替数字做成的挂钟，他说，“因此我们必须结束在”——他仔细看了一眼——“苍头燕雀过后半点钟，可以吗？”
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眼看我们已经沉溺在过去的时光中了，因为四周随处可见的照片，我们决定停留在过去。
午餐时候已经聊到了哈罗，Benedict离开父母在伦敦肯辛顿区的顶楼公寓去寄宿的学校。“正当肯辛顿开始走下坡路的时候；藏污纳垢，诺丁汉还有骚乱。一个两室一厅的公寓，才两千镑——连壁纸都跟那时候没有分别。”
当他进去哈罗以后，他有没有发觉自己挺聪明？
“也没有很聪明。不是离谱的那种。反应还算机敏——我学东西很快。尤其模仿别人。”问他有没有被欺负过？“没有。因为。。。”他小心翼翼地选择用辞，“我这一生中父母都完全毫无保留地爱我。因此我感到对世界有信心。不是觉得有资格。而是。。。我觉得我可以步入这个世界。去探索它。”
他怀念他的学生时代——“我真的很爱那段时光。各种活动和娱乐。。。我交了一批一辈子的朋友。写信回家的时候，我说，‘我无比开心’，我真的是这么想的。”
第一次，也是唯一的一次，有人想要欺负他，感觉非常陌生而危险。——“他让我感觉到没有安全感和畏缩，而我真的只是想自信一点，开开心心而已。”——彻底暴怒的Cumberbatch把他抵到墙上，直到对方结结巴巴地求饶。
他继续扮演班上的小丑——不是跟很多未来的表演艺术家一样为了防止被欺侮，他奇妙的出发点不过是令人窝心地想得到年幼的孩子们的认同和敬意。“如果你能叫他们笑，小孩子就会听话地上床睡觉或者刷牙，”他回忆道，表情带着一丝天真。
唯一美中不足的是他的外表：“我很迟才发育，”他说，“很迟很迟，15，16，还是17的时候。”他很担心，甚至去看医生。“18岁之前的我还是个孩子，其实。但是男校的好处是你可以不必说实话。男女混校的话你就必须得拉着你的女朋友在人前晃荡。我在女生面前有点Hugh Grant的感觉。‘老天，天哪，额，你介不介意我，唔，碰一下，哦，那个？哎呀，我感觉有点晕。’我不是怪我父母，但是我不会送我的孩子们去男校或者女校。我宁愿有经验。去他的成绩单。我现在是‘我终于明白女孩子是怎么一回事了——但她们人呢？’”
他的初吻“是在水下。玛莉。我才11岁。史上最湿的嘴唇。我想那应该是我的初吻。除非我在那之前已经在哪个坑爹的舞台剧里面亲过某个男孩了——这简直毁了我所有关于第一个异性吸引的亨博特式的邪念。[Humbert Humbert是名著《萝莉塔》里面的恋童癖，有点像Atonement里面他的角色Paul Marshall。]
哈罗的最后一年，他接触了“大麻，女孩，和音乐”，“有点不爱读书”，代价是失去了去剑桥牛津读大学的机会。他停学一年，在一个香料商那里工作了六个月，赚了足够的钱，跑到西藏去教英语。[关于缺去的是西藏还是喜马拉雅山脚的巴基斯坦小镇，不同的采访给出不同的结论。本文按照Caitlin采访原文翻译。]
在香料商那里，他学会了品味“明快的柑橘——香柠檬，香根草。”
有次，重感冒的他服务了Richard E. Grant[演员，剧作家，导演]。就在他为Richard礼物包装的时候，他惊恐地眼睁睁看着自己的一滴鼻涕落进了客人的布伦海姆香膏里。——这简直是2013年最佳戏剧化趣闻。
一个月后，他到了印度，看到虔诚的侯死者在恒河边游行，听着他们乞求被焚烧后水葬的祷告。
“空气中弥漫着一种味道。这个古老的传统一点都不令人着迷。你呼吸的都是被焚烧过的尸体。能尝出来，在你嘴里。”
他差点死在了印度：“我得了高山症。在山上迷路了。那是一趟可笑可怜的探险——有点不幸的预兆。我们的准备严重不足。我只有。。。妈妈给我织的另外一条围巾 和。。。一小块芝士。”
下山的时候他的肺里积水，他的医生朋友警告他，说他可能得了动脉瘤，Cumberbatch产生了强烈的幻觉。“我梦见星星变成了闪电。”
他记起这一段的时候十分兴奋。突然，满房间都是急促的鸟鸣声。
Cumberbatch瞄了一眼墙上的钟。
“该死。该死。这已经过了苍头燕雀半点了。如果我们等到猫头鹰，我今晚也不用去布里斯托了。”
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“但是你没有死，”我轻快地提醒他，“因为你好好的在这里呢。告诉我，你过去三年有没有感觉很不现实。你知道，从2010年7月开始一切都变了。”
他真的有仔细考虑这个问题。他想了大概一分钟，大概是一天之内他保持安静最长的时间。
“金球奖的时候，”他最终开口了。“Meryl Streep过来跟我说话：‘我的天哪，我们是你的粉丝呢。我们好喜欢你的神探夏洛克。你到底怎么演出来的？’还有，Ted Danson，他说，‘天，是夏洛克本人！’”
Benedict说着模仿了下跟Sam Malone和Mrs Kramer之间的一段偶遇，两位都为他激动地尖叫，让他觉得有点不知所措。“还有，George Clooney给我建议该如何处理突然成名的困扰。”他张开双臂，象征过去三年的时光。
之后的星途一帆风顺，包括好莱坞。2012年秋，他跟Streep，Julie Roberts, Juliette Lewis和Sam Shepard拍摄了新片《八月的奥赛奇》。
他这样形容跟Streep演对手戏。“她的角色是一个食道癌患者，老烟枪，镇定剂瘾君子，行为举止表现得像个可怕的母系社会的翼龙。我们当中没有一个可以跟她比拟。一个都没有。在对戏的时候我们都曾经在不同时候过去跟她讲，‘很抱歉，我无法在你周围演戏因为。。。我没法不去盯住你看。我们都想看你表演。’”
拍摄的时候正值美国大选。他掏出他的iPhone来，给我看Roberts和Streep摆出她们自己的“是的我们可以”选举海报。当结果公布，Obama再次当选，他们都对着电视兴奋地大叫。
他和Streep是最后两个起身的，在俄克拉何马的万豪酒店。“我们互相击拳庆祝他获胜”。
他犹豫了一分钟。
当粉丝不再针锋相对的时候，Cumberbatch还是非常感激他的粉丝们。
他不愿意叫她们“Cumberbitches”——用一种令人心疼的谦虚，他提出“Cumberwomen” or “Cumbergirls”。
“不是我太守礼，我只是不会想让你们成为我的bitches。我觉得这种称呼把女权主义这几年的努力打回了好几步。你们是。。。Cumberpeople。”
最近呢，Cumberbatch的各种专署粉丝网站都在讨论新一季的《神探夏洛克》——尤其是自从Cumberbatch被拍到在拍摄现场做出一个神秘的三角手势。大家对这个手势蕴含的意义的猜测层出不穷。听到这个，Cumberbatch看上去有点汗颜——然后他开始笑出声来。
“你知道吗，我就是在捣乱而已。这个手势是Alt-J乐团的主唱在表演Tessellate（油管链接：http://www.youtube.com/watch?v=MPH89HIBLiw）的时候做的一个手势。我喜欢那个乐队。但是，”他为自己辩驳，“我记得Brett Anderson [英国山羊皮Suede乐队主唱]曾经说过，‘表演不就是为了让神秘感更加强烈一点吗？’不是吗？如果你把不错的毛衣拆掉，就会发现只有一团毛线是很无趣的。”
差不对该走了。我还有一个问题留到了最后。我有一个非常棒的主意。我想看看传说中的“毛衣”。
“来吧。”我说。
“啥？”他问，有点糊涂了。
“来点表演。”我说。“来演上一段戏吧。”
看上去非常乐意被当做Cumberbatch牌点唱机，他弹起来站好。
“你想我演什么？”他问，用他特有的看上去即兴奋又有点为难的热切表情。今天本来是唯一的休假。
“就演。。。那个《星际》里的坏蛋吧。”我的模棱两可一定听上去很不专业。“谁知道他叫什么，那么普通的，半点都没有银河系感觉的名字。西蒙。”
“约翰•哈瑞森，”他有点埋怨地说。
之后的事情真是难以想像。我们在一个小小的，桃红色的房间里——Benedict的发丝几乎擦到低矮的房梁。透过窗户，你能看到他的爸爸，跪在花园里，微风轻拂过他身边的洋水仙。这是世界上最安全，最正常的房间。整栋房子还残留着午餐的香味。
然而当Benedict开始他的对白的时候，你看得见斯皮尔伯格在他身上看到的东西，看得见斯特里普在他身上看到的东，看得见斯德帕在他身上看到的东西。你能看到他如何凭借《神夏》一举成名，能看到他如何在只有两天时间准备的情况下征服了《队列之末》。这个高大，随意，神游天际的大孩子突然间聚焦——超亮的聚光灯下，他变成了另外一个人。
穿着牛仔裤和拖鞋，套着他旧旧的T恤，现在的他看上去像是一个徘徊在整个银河系边际的孤独的灵魂，变得如此痴狂。他脸上的温柔消失了。他的面部表情变得高度紧张。他是一个想要毁掉地球的恐怖分子。哪怕他台词说到一半笑场了，他也立刻重新入戏，甚至更加猛烈——在这段对白终结之后，还能感觉到那种冰冷的，静止的憎恨。
时间仿佛停顿了。我应该鼓掌的。
“再来一个，”我对着他扬了下酒杯。“演。。。那条龙。”
史矛革，《霍比特人》里面的。他不再说什么。只是开始特意的呼吸。像龙一样的呼吸。一条龙，在自己的洞里面呼吸着的声音。他的脖颈渐渐伸长，他的手张开，好像生出了脚爪。我都录下来了。我要放给你们听。前所未见，令人惊叹。
就是它了。那个每个演员都终其一生追求的，却很少人到达过的境界。完全的，辉煌的，忘却自我。
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五月二号，周四。伦敦莱斯特广场：《星际迷航之暗黑时代》首映
在一个阳光绚烂的午后，一切都那么完美。莱斯特广场被改头换面成一个《星际》的音乐节。震耳欲聋的音乐振奋着人心。有人已经住在帐篷里等了一个晚上，为得就是在红毯边占好有利位置。到处都是模仿Spock的假耳朵。一个男人带着他自己的进取号——一个玻璃纤维的硬壳做成的成人大小的三轮车。是我见到过最疯狂，同时也是最值得敬佩的东西。
剧组到场，一个接一个，在人群狂热的尖叫中踏上红毯。Chris Pine的柯克舰长，Zachary Quinto的瓦肯星人斯博克。跟每个首映一样的有节奏的喊叫，小心循环的微笑，和孜孜不倦的闪光灯。
但是当Benedict最后一个到达的时候，现场观众的反应完全不同。尖叫声简直到了一个新的高度——比起来“一世代One Direction”的现场演唱会不过是渐渐远去的海鸥的啼叫而已。如此的骚动让保安人员异常紧张，只听他们大喊：“好了，女士们，冷静，”不自觉自己的声音都略带恐慌。
我站在一个来自布特尔的女士身边。她在帐篷里待了一个晚上，手捧着她费劲心思画的进取号全体人员画像。她想把画给导演J.J.Abrams看。她被兴奋的人群挤住，几乎喘不动气。终于她大失所望，转身挤出人群。
“这些人根本不是来看《星际》的，”她说，恨恨地扫了一眼激动的粉丝们。“他们根本不知道什么是《星际》。他们就是为他而来而已。”她厌恶地朝Cumberbatch的方向戳了一拇指。
在红地毯上，Cumberbatch显得有点点慌乱——在酒店里，着急找不到袖扣和领带，现在要面对眼前疯狂的人群。一个女孩不住挥舞手中的海报，上面大字写着“Benedict ——我有了，孩子是你的”一个勇敢无畏的开场白。他的造型师不停地坚持要他把卷发抹平。他并没有。头顶上60平方的巨型海报上只有他，没有别的任何人。每个人都在叫着他的名字。非常标准的发音，不是什么搞笑的“Bendybum Cumbycatch”。
“恩，这太疯狂了，”他一边很通情达理地说，一边为一个穿着柯克舰长的制服尖叫的女孩签名。
*********************************************************
凌晨3点，切尔西：Aqua酒店首映派对
今天是很长的一天。听说名人如Sean Penn都到场了。Benedict周围一直围着一圈人，带着渐增的醉意告诉他，从此以后他的人生都将改变。他听着，面带微笑不置可否，抿着手中的伏特加。凌晨三时，他切换到到迪士哥策略：“现在我打算。。。不再用文字表达我的想法了。”他说着，表情很严肃。他滑进舞池，跟随着80年代的经典旋律开始跳舞，就在那耀眼的镭射灯下面。
*********************************************************
访谈结束，坐在即将出发的火车上，我收到了Benedict发来的一条短信。
“还有那么多没有谈到的事情呢！”他叹息。“辛普森，明年纽约之行，冰岛。。。我见识了红尘白浪，曾翻山越岭，浮游沧海，我一生并没有虚度，我奋发努力，饰演了一段段人生。就算明天这一切都不再，我也了无遗憾。我非常幸运，我太清楚不过。我真的算是拥有过五千个精彩的人生。”
[全篇翻译完，待整理]
原文高清扫描戳http://vdisk.weibo.com/s/BI7tz
英文原文：
He was an all-action Sherlock Holmes for TV and now he’s conquering Hollywood in Star Trek. Caitlin Moran joins the actor at his parents’ home for Sunday lunch
I don’t know if you remember, but some time last summer – between the end of the Olympics and the return of The X Factor – it briefly became the thing to have a go at Benedict Cumberbatch for being “a posho”.
However many times Cumberbatch tried to explain that he was “just middle class, really”, a sum kept being done, over and over: “Harrow education” + “called ‘Benedict Cumberbatch’” = “A man who wipes his bum on castles”. There was a series of catty columns about it, with headlines like “Posh off to America” and “Poor posh boy”.
The underlying presumption seemed to be that Cumberbatch was some dilettante princeling – stealing roles such as Sherlock Holmes in Sherlock, and the painfully repressed landowner Christopher Tietjens in Tom Stoppard’s Parade’s End, that would otherwise have gone to working-class actors such as Danny Dyer, or Shane Richie from EastEnders, and that this was all a great pity.
Of course, as with all these things, it blew over quite quickly – not least because it was superseded by the news that Cumberbatch had been cast in the new Star Trek movie, and was, therefore, about to become one of the most successful British actors of the past ten years. But I am reminded of it all today, in the back of a cab, leafing through a pile of cuttings on Cumberbatch.
“What a load of balls that was,” I muse. “The whole posh thing. What a load of old balls. What a funny old world.”
It’s a beautiful Sunday afternoon, and I have been invited to lunch with Cumberbatch at his parents’ house in Gloucestershire. Star Trek Into Darkness is now about to open and this is the only day he has free to talk. I have made the great sacrifice and taken a train to Swindon.
The cab driver drops me outside the house.
“Here you go,” he says.
I climb out of the car, and stare at a gigantic, honey-coloured mansion, with immaculately tended lawns. Parked in the driveway are a black London taxi and a vintage silver Rolls-Royce.
Last night, Benedict had offered to pick me up from the station, saying he has a “loooooooooovely car”.
“Yes – you have, haven’t you, Benedict?” I think to myself, staring. “You’ve got a lovely pair.”
I crunch up the drive, carrying a massive bunch of flowers and a bottle of wine, and shout through the letter box.
“Hello! I’m from London! I’ve come on holiday, to the countryside, by accident!”
Silence. I circle the house. The place is so big, I can’t work out where the front door is.
I decide to go to ask a neighbour for advice on how to penetrate the Cumberbatch estate.
I head towards a nearby crofter’s cottage.
Benedict Cumberbatch is standing in the doorway of the tiny cottage, in a pair of knackered navy corduroy slippers, watching my progress across the lawn – lavishly strewn with hyacinths – with some curiosity.
“What were you doing at Kate Moss’s house?” he asks, mildly.
Ah. Kate Moss. The working-class girl from Croydon made good. That mansion is her house.
The “posh” Cumberbatches, by way of contrast, live next door: three small rooms downstairs, three small rooms upstairs. Every available surface is covered in books, family photographs or owls.
“Come in, come in,” Benedict says – tilting his head slightly to get through the low door. Even in slippers, he’s 6ft, and not built for a 17th-century cottage. “Thank you for coming.”
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The Guinness Book of World Records does not yet carry this category, but Benedict Cumberbatch is in the running for the “Fastest Ascent to Fame Ever Recorded”.
At 8.59pm on July 25, 2010, Cumberbatch was merely a well-regarded actor who had played – to enthusiastic reviews, but little public notice – Stephen Hawking in Hawking, and Van Gogh in Van Gogh: Painted With Words. If you were a casting director, or a writer, you would be delighted to take his call; but otherwise, Cumberbatch lived a life unburdened by excess attention.
Sherlock began broadcasting at 9pm. By 9.20pm, his name was trending worldwide on Twitter. A trending fuelled by a mass outbreak of spontaneous hysteria – the fandom was instant and visceral.
His Holmes was one of those once-in-a-generation big entrances – written by Doctor Who’s Steven Moffat and The League of Gentlemen’s Mark Gatiss, this Sherlock was fast, dark and insanely charismatic – he kicked the door in, off its hinges, and didn’t stop for the next 90 minutes. His first scene had him thrashing a corpse with a whip. The second had him making illative leaps in much the same way Superman flies. Looping, and high.
We’ve got ourselves a serial killer, he cried at one point, at full gallop. “Love those – there’s always something to look forward to.”
On top of this, with his blond hair newly dyed black, and lolling across his forehead, Cumberbatch’s appearance took on an otherworldly hotness. Pale enough to have never seen sunlight, when he launched into his bullet-train monologues, he did it with the intensity of Paganini; or Nick Cave, with one black boot up on the monitor. There was a definite rock-star element to this Holmes.
And, so, by transference, to Cumberbatch. By the end of the week, his private life was tabloid fodder. The coat he wore – a £1,000 Belstaff – a waiting-list bestseller. When the second series of Sherlock premiered at the British Film Institute in London a year later, fans queued outside from 6am, in the bitter cold. When he arrived, they screamed. By then, he’d been on the cover of pretty much every major magazine in Britain, Spielberg had signed him up for War Horse, and he was shooting Tinker Tailor Soldier Spy.
Looking down his subsequent list of nominations – Bafta, Olivier, Emmy, Golden Globe – he’s won more than half of the awards he’s been up for: 18 vs 16, an astonishing strike rate for someone who is still only 36. And now, The Hobbit and Star Trek. And now, Hollywood.
And now: lunch.
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The Ventham-Carlton-Cumberbatches are an incredibly hospitable crew.
Benedict’s father Timothy’s first words, on coming in from the garden – earth still on his knees – are, “Would you like a large drink?” He pours a cripplingly strong gin, which is exactly the right thing to do.
Benedict’s mother, Wanda, meanwhile, manages to combine “cooking a Sunday roast” with “emitting the background radiation of someone scorchingly hot in the Sixties, and who could still clearly reduce a room to rubble now, if she flashed her eyes”.
Benedict is second-generation pretendy: Google reveals Wanda Ventham or Timothy Carlton (birth name Timothy Carlton Cumberbatch) in Doctor Who, Carry On up the Khyber, The Scarlet Pimpernel, The Saint.
Just as there are, now, websites dedicated to young, swooning fan love for Benedict – written by the self-proclaimed “Cumberbitches” – so there are for Wanda and Timothy, written by the generation before.
“Is Wanda Ventham a beautiful, remarkably sensual woman? You bet!” one writes. Another describes Timothy, in The Scarlet Pimpernel, as “wearing the green coat of sex”.
As Timothy and Wanda move around each other in the kitchen, preparing lunch – Wanda still spars with her husband as if he were a young suitor, even as he sits down with an involuntary, “Ooof!” It’s rather touching to watch – Benedict takes me on a tour of the house. If we weren’t dallying, it would take less than a minute – it’s so small.
Benedict, however, is an inveterate dallier, and so it takes a good 20.
“They bought this house when I was 12,” he says. “Look. There’s me, off for my first day at Harrow.”
He points at a junk-shop painting of a young Fauntleroy type, skipping off to school in a huge sailor’s hat.
“So posh,” I say.
“So posh,” he laughs.
All up the stairs are pictures of him as a child. Benedict running, Benedict as a toddler. Benedict aged 10 – white-blond, skinny, in tiny swimming trunks, on a rocky beach in Greece. One of the pictures shows Wanda pulling his trunks down and kissing his bottom.
“That is a picture of my mother kissing my arse,” he confirms.
This was around the age he was learning to play the trumpet – the event he credits with shaping his much commented upon mouth.
“Playing a trumpet wounds you,” he explains, gleefully. “That’s how this happened.” He presses his finger into his generous lower lip. “I have trumpet mouth.”
We look around his bedroom, which is small and floral. On the chintzy dressing table is a small china pot, with “I Feel Pretty & Witty” painted on the lid, in curlicue script.
I’m just asking him if this is his morning affirmation – “Well, I do feel quite pretty,” he’s saying, thoughtfully – when his mother comes upstairs, and interrupts in the way that is the birthright of all mothers. She addresses me with some urgency: “Can you just… find him a bird?” she asks. “You must be able to find him a bird. There must be someone in London who’s suitable. I want grandchildren. Please – find my son a bird.”
It is interesting – watching Sherlock Holmes being berated by his mother for still being single. Especially as, where we are standing, we are surrounded by Wanda’s collection of stuffed barn owls (“Mum’s obsessed with owls”) who are all staring at him with pretty much the same gimlet expression as his mother.
“I’m doing all right,” he pleads – body language now that of an awkward teenager.
“I can’t wait much longer,” she rejoins, firmly. “Get a bird. Anyway, it’s time for lunch. Come and have another drink.”
Wanda is, much like her owl collection, a hoot. Over a long lunch, she tells a series of anecdotes – including about the day Benedict took her and Timothy onto the set of Star Trek Into Darkness.
“…and they did take after take,” Wanda says, in her cut-glass finishing-school accent, serving up the pudding, “reset after reset. It went on all day. Just to get Ben in this bloody spaceship. At one point, I said to them, ‘You know, when I was doing UFO [the Seventies Gerry Anderson sci-fi series] it only took me three takes to get to the Moon!’”
The Ventham-Carltons never really wanted their son to be an actor – they knew how precarious it is as a lifestyle. It’s why they scraped together the money to send him to Harrow, for a “proper education”. He certainly needed something to fill his days – even as a baby, Wanda describes Benedict as, “A whirlwind – he never stopped.”
“I had a very fast metabolism,” he says.
“He was skeletal!” Wanda continues. “And we did feed him, we really did.”
“They worried that I had a thyroid problem. I would arrive on the school steps drenched in sweat, because I would run there. I never stopped.”
However, it became obvious, early on, that only one thing provided enough distraction for him.
“I was a pain in the arse. Show-off,” he says, pouring more wine. “Not malevolent – just disruptive. They tried to see if I could put all my energy to good, rather than just disrupting yet another lesson doing a silly voice.”
He was given his first role, in a production of A Midsummer Night’s Dream.
“And we all remember Benedict’s Bottom,” Timothy says, with perfectly timed lugubriousness.
“And I got Half A Sixpence!” Benedict cries. “I played Ann, long-suffering wife of Arthur Kipps.”
He launches into I Don’t Believe a Word of It – a 36-year-old man doing an impression of his 10-year-old self, playing a role popularised by Julia Foster when she was 24. It’s actually brilliant: funny, indignant. He dances from one side of the room to another.
Still, the Ventham-Carltons could kid themselves acting might just be a hobby for him, until Wanda took him to see Timothy, who was in the West End at the time.
As they stood in the wings, watching, Benedict suddenly started saying, loudly, almost wildly: “I want to go on. I want to go on!”
“We had to stop him from running on stage,” Wanda says, clearing the plates.
“But why wouldn’t you?” he asks, appealing to me now. “What kid wouldn’t? Have you ever been backstage? All the sets, with the name of the production on the back, with weights on the bottom of them, to hold them steady. And in the wings, you see all that. But then you walk on stage – and you walk into a real world, for the people who are watching it. It’s amazing.”
There is more wine, and seconds of the roast, and pudding, and seconds of pudding. Benedict picks at leftover roast parsnips – “I’m not supposed to. I’m on the 5:2 diet. You have to, for Sherlock.”
And then, finally, an hour after I was supposed to leave, and woozy with red wine, we go into the other room, to do the interview.
Here’s what it’s like interviewing Benedict Cumberbatch: a bit like interviewing a waterfall. It won’t really answer any of your questions, but it’s fabulous to watch. It’s not that it’s trying to ignore or avoid your questions – God, no. It is endlessly, eagerly forthcoming, and shows a touching courtesy towards the whole notion of being interviewed. It will tell you a story about being stung on the penis by a sea anemone in the same breath as discussing the panic of entering the library at Harrow for the first time: “Because I thought, I probably won’t have a lifetime long enough to read the first shelf – let alone the first room, let alone the whole f***ing library. I’ve always been after the idea of betterment – to know exactly everything about that wine, and tell you about the birdsong I can hear, and to understand the world around me.”
But as you can already see, and as his mother has lamented, he is just an energy – he never stops. This is the force he plays into these huge, notably unusual characters: Van Gogh and Hawking and Holmes; Tietjens in Parade’s End with his genius; a dragon – Smaug – in The Hobbit; in the West End, in turn Frankenstein, then his monster. And, soon, Hamlet, and Julian Assange, and Brian Epstein, manager of the Beatles.
As we’re already late, Benedict tries to map out a schedule. He’s due on set in Bristol at 7.30am tomorrow, for the third series of Sherlock. At pains not to give away any plot, but keen to show what his workload is like, he picks up the script and flicks through it.
“This scene is 40 pages long. It’s a 40-page-long deduction,” he says. “Basically a monologue. And I have to learn it before I go to bed.”
Pointing at the clock on the wall, which has birds instead of numbers, he says, “So we have to stop at” – he stares – “half-past chaffinch. OK?”
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As we’re already in the past – surrounded by photos – we stay there.
The conversation at lunch got us as far as Harrow, where Benedict boarded – leaving his parents’ top-floor flat in Kensington, “when Kensington was run-down; smalls hanging out in the smog, riots in Notting Hill. A two-bedroom flat for £2,000 – the wallpaper the same now as it was then.”
When he got to Harrow, did he find out he was clever?
“Not that clever. Not ridiculously clever. Sharpish – I was a quick learn. A good impersonator.” Was he bullied? “No. Because…” he chooses his words carefully, “my parents loved the f***ing life out of me. So I felt confident about the world. Not… entitled. Just like… I could step into the world. Investigate it.”
He loved his school days – “I really did. Sports and outings… I made lifelong friends.
In my letters home, I wrote, ‘I am blissfully happy,’ and I really meant it.”
The first and only time someone tried to bully him, it felt so alien – “He made me feel insecure and shy, and all I wanted was to be confident and happy” – that Cumberbatch pinned him against the wall, in utter fury, and his assailant stuttered an apology.
He continued being the class clown – not, as it is with almost all future performers, to prevent bullying, but, oddly and sweetly, to get the respect and attention of younger children, instead. “You could make younger kids go to bed and brush their teeth on time if you made them laugh,” he recalls, fondly.
The only fly in Cumberbatch’s ointment was physical: “I was a very late developer,” he says. “Very late. 15, 16 – maybe even 17.” The worry was so great, he even went to the doctor. “I was a kid until I was 18, really. But the one grace of an all-boys boarding school is that you could lie about what you’d done on your holidays. Not like a mixed school, where you had to parade your girlfriend around the playground. I was a bit Hugh Grant around women. ‘Good gosh, er, do you mind if I, erm, touch, ah, it? Gosh, I feel funny now.’ I don’t hold it against my parents at all, but that’s why I would never send my kids to a single-sex school. I would have killed for experience. F*** the grades. I was all, ‘I understand what girls are now – where are they?’”
He’d already had his first kiss: “Underwater. Mary. I was 11. The wettest lips you could possibly kiss. I think that was definitely my first kiss. Unless I’d kissed a boy at school in a f***ing play – which would ruin that very erotic Humbert Humbert-like memory I have of my first female obsession.”
In his last year at Harrow he discovered “pot and girls and music”, “got a bit lazy” and forfeited his chance of Oxbridge. He took a year out – working for six months in a perfumier’s to earn the money to allow him to teach English in Tibet. At the perfumier’s, he learnt to prefer “bright citruses – bergamot, vetiver”.
Once, with a severe cold, he served Richard E. Grant and watched, with horror, as a drip from his nose “landed right on his Blenheim Bouquet as I giftwrapped it” – the most gently dandy thespian anecdote of 2013. A month later, he was in India, watching a parade of keening mourners take the dead down to the river, to be burnt.
“You taste it in the air. It’s not a charming ancient tradition. You are inhaling the smoke of a burning body. Palpable – in your mouth.”
He nearly died in India: “I got mountain sickness. Lost on a mountain. It was a pathetic expedition – Mallory-like. We were woefully under-prepared. I had simply… an extra scarf my mother had knitted me and a… piece of cheese.”
With water on his lungs, and his doctor friend warning him he was at risk of an aneurism, Cumberbatch hallucinated wildly on his way back down the mountain: “I dreamt the stars turned to lightning.”
He looks excited as he remembers this. Suddenly, violent birdsong fills the room.
Cumberbatch looks across, to the clock on the wall.
“S***. S***. It’s already half-past chaffinch. If we get to barn owl, I am never getting to Bristol tonight.”
*********************************************************
“So you didn’t die,” I remind him, briskly, “because you are here. And here is pretty odd. Tell me a story about how unreal the past three years have been. How everything has changed since July 2010.”
He thinks – for nearly a minute. The longest he’s been silent all day.
“The Golden Globes,” he says, eventually. “Meryl Streep coming up, going, ‘Oh my God, we’re such big fans. We love you as Sherlock. How do you f***ing do that s***?’ And then Ted Danson – going, ‘Oh my God, it’s f***ing Sherlock.’ ”
Benedict mimes being trapped between Sam Malone from Cheers and Mrs Kramer from Kramer vs. Kramer, both of them freaking out, with him in the middle, mind blown. “Getting advice from George Clooney, on how to handle all of… this.” He stretches his hands out, to represent the past three years.
As luck and Hollywood would have it, he then spent autumn 2012 shooting the forthcoming August: Osage County with Streep – plus Julia Roberts, Juliette Lewis and Sam Shepard.
He describes acting opposite Streep. “Her character is suffering from oesophageal cancer, smoking like a chimney, high on downers, behaving like the most monstrous matriarchal pterodactyl you can ever imagine. And none of us could act opposite her. None of us. We all, one at a time, went up to her and said, ‘I’m sorry, I can’t act around you because… I can’t stop watching you. We all want to watch you.’”
The American elections occurred while they were shooting. He gets his iPhone out, and shows shots of Roberts and Streep posing for their own “Yes We Can”-style election posters. As results came in and Obama pulled ahead, they were all screaming at the television.
Eventually, he and Streep were the last ones up, in a Marriott hotel in Oklahoma, “bumping fists when he won”.
He boggles for a minute.
When the fan polarity is reversed, Cumberbatch is graceful with his fanbase.
He refuses to call them “Cumberbitches” – mentioning, with aching courtesy, the “Cumberwomen” or “Cumbergirls” instead.
“It’s not even politeness. I won’t allow you to be my bitches. I think it sets feminism back so many notches. You are… Cumberpeople.”
Recently, Cumberbatch websites have been alight with discussion over the next series of Sherlock – particularly since Cumberbatch was photographed, on set, making a mysterious, triangular hand signal. The speculation over the meaning of this gesture has been intense. Here, Cumberbatch looks slightly guilty for a minute – then starts laughing.
“You know what? I was just being silly. That sign is just something the lead singer of Alt-J does when he plays Tessellate. I love that band. But,” he says, springing to his own defence, “I remember Brett Anderson [from Suede] saying, back in the day, ‘Isn’t the point of art to deepen the mystery a bit?’ You know? If you start to unweave the jumper, it’s boring to look at a… ball of wool.”
It’s time to go. I have one question left to ask. I have a brilliant idea. I want to look at the jumper.
“Do some now,” I say.
“What?” he asks, confused.
“Some acting,” I say. “Do some acting now.”
Sportingly willing to be a big Cumberbatch jukebox, he springs to his feet.
“What do you want me to do?” he asks, with pleasing, if baffling, eagerness. It is, after all, his one day off from work.
“Do the… baddie… in Star Trek,” I say, with unprofessional vagueness. “Whatever his incredibly normal and unintergalactic name is. Simon.”
“John Harrison,” he says, vaguely chidingly.
And it really is the most amazing thing. We’re in a tiny, peach-coloured room – the beams so low Benedict’s hair almost touches them. Through the window, you can see his dad, on his knees, in the garden, as the wind moves the narcissi. This is the safest and most normal room in the world. The house still smells of Sunday lunch.
But when Benedict starts his monologue, you see, again, what Spielberg and Streep and Stoppard see in him. You see what he does in Sherlock, and in Parade’s End, where he tore up the screen with only two days’ preparation. This big, scattershot, slightly space-cadet kid suddenly comes into focus – painful, super-bright focus – and becomes absolutely other.
In jeans and slippers and a knackered T-shirt, he now looks like someone who has been to the loneliest, outermost reaches of the galaxy, and become demented. The softness disappears from his face – the skin becomes tight. He is a terrorist who wants to destroy the Earth. Even when he giggles, for a minute, in the middle of the monologue, he pulls it back immediately, comes in even harder – ending the speech full of cold, still hate.
There is a pause, during which I probably should have applauded.
“Do another,” I say, waving my wine glass at him. “Do… the dragon.”
Smaug, from The Hobbit. He doesn’t say anything. Just starts breathing. Breathing like a dragon. The sound of a dragon, breathing in its cave – his neck lengthens, his hands reach out for invisible things, palpable talons. I have it all on tape. I will play it you. It is amazing.
It is the thing. It is the thing every actor hopes they will be, and almost never is. It is someone becoming utterly, brightly gone.
Thursday, May 2. Leicester Square: the premiere of Star Trek Into Darkness
On a perfect sunny evening, Leicester Square has essentially turned into a Star Trek Glastonbury. Music booms from the PA as the crowds mill. People have camped out overnight for a good view of the red carpet. Prosthetic Spock ears abound. One man has turned up in his own USS Enterprise – a fibreglass shell bolted to an adult-sized tricycle. It is one of the most admirably demented items I have ever seen.
The cast turn up, one by one, to roars from the crowd. Chris Pine as Kirk, Zachary Quinto as Spock. There is the usual rhythm of name-howling, carefully rotated smiles, and flashbulbs.
But when Cumberbatch arrives – last – the audience reaction is something other. The screams are another level entirely – the wild seagull ululation of One Direction gigs, and fainting. There is a surge that has security shouting, “All right, ladies, calm down,” in a slightly panicked manner.
I am next to a woman from Bootle who has camped out all night with her beautifully painted portrait of the Star Trek crew, which she wishes to present to director J.J. Abrams. She is becoming increasingly crushed, and disillusioned. In the end, she turns and tries to fight her way out of the crowd.
“These people aren’t here for Star Trek,” she says, casting a hateful eye over the gleefully calling fans. “They don’t even know what Star Trek is. They’re just here for him.” She jerks a disgusted thumb at Cumberbatch.
On the red carpet, Cumberbatch is slightly flustered – in the hotel, there was an incident with cuff links, and then a tie – but is dealing with the crowds ebulliently. One girl is waving a poster that reads, “BENEDICT – I’M PREGNANT AND IT’S YOURS” – a bold new conversation-opening technique. His stylist keeps catching his eye, saying, “Benedict – your hair,” and urging him to smooth it out of his eyes. He doesn’t. The 20 x 30ft hoarding above us that says Star Trek Into Darkness shows him, and no one else. And everyone is calling his name. Properly, too – and not “Bendybum Cumbycatch” for the lols.
“Well, this is insane,” he says, quite reasonably, as he signs an autograph for a crying girl dressed as Captain Kirk.
*********************************************************
3am, Chelsea: aftershow party at Aqua
It has been a long night. Sean Penn is apparently in here somewhere. Benedict has been at the centre of a constant circle of people telling him, in varied and increasingly slurry ways, that his life is about to change for ever. He has taken all this lightly, joyfully, and with a series of vodkas. At 3am, however, he switches into Disco Tactics: “I’m going to become… non-verbal now,” he says, owlishly. He oils onto the dancefloor, and busts a move to a series of Eighties gay anthems, right under the glitterball.
After our interview last week, I received a text from Benedict before the train had even pulled out of the station.
“All the things we didn’t talk about!” he lamented. “The Simpsons, New York at new year, Iceland… I’ve seen and swam and climbed and lived and driven and filmed. Should it all end tomorrow, I can definitely say there would be no regrets. I am very lucky, and I know it. I really have lived 5,000 times over.”
BC最新的訪問
May 18, 2013 | 6:00 a.m.
Settle in and make yourselves comfortable. Benedict Cumberbatch is taking off his tie.
Only a few minutes into an interview about his villainous turn in “Star Trek Into Darkness,” the English actor was all apologies for the distraction. But a painful pinched nerve required some tending to before he walked the red carpet at the New York premiere of J.J. Abrams’ highly anticipated sequel.
A pinched nerve in the left shoulder? Perhaps Cumberbatch has been spending too much time in the company of angry Vulcans of late?
“Ah, I see what you did there,” Cumberbatch said with a laugh. “Those who pay attention to these things will notice that’s the one that Zach grabs in the film.”
Benedict Cumberbatch. (Rick Loomis / Los Angeles Times)
Zach, of course, is Zachary Quinto, who, in reprising his role as Mr. Spock for “Into Darkness,” spends considerable time pursuing, punching and, yes, Vulcan nerve-pinching his wily foe.
Set roughly one year after the events depicted in Abrams’ 2009 “Star Trek” reboot, “Into Darkness” sees Capt. Kirk (Chris Pine), Spock and the rest of the USS Enterprise crew reunite in the face of a new enemy who turns out to be one of the most memorable villains in all of “Trek” lore.
PHOTOS: Benedict Cumberbatch’s career in pictures
The true identity of Cumberbatch’s character, who’s introduced as John Harrison, has been the subject of widespread speculation since the film headed into production. Abrams is famous for guarding the details of his projects, but “Into Darkness” took the cloak-and-dagger mystery to a new level.
As the film beams into theaters this weekend on a course toward a roughly $100-million opening, the secret is out — the twist has been revealed publicly in at least one film review, on Wikipedia and on the Internet Movie Database. Though as recently as late last week, Cumberbatch, speaking by phone from New York, was keeping mum.
“I think [being surprised by what's in a film is] a rare thing in our day and age where you have a super saturation of media over-publicizing every detail or spoilers in adverts or trailers,” he said. “That’s what it should be about, going to the movies. It shouldn’t be about ticking off a list of, ‘Yeah, I heard that was going to happen.’”
Q&A: J.J. Abrams talks ‘Into Darkness’
If anyone should understand the ephemeral nature of mysteries, it’s Cumberbatch. His portrayal of Arthur Conan Doyle’s detective in the BBC’s “Sherlock” has brought him considerable acclaim and has helped catapult him into a variety of high-profile film roles.
Benedict Cumberbatch stars in “Star Trek Into Darkness.” (Zade Rosenthal / Paramount Pictures)
Later this year he’ll appear opposite Brad Pitt and Michael Fassbender in Steve McQueen’s historical drama “12 Years a Slave”; he’ll take the screen with Julia Roberts and Meryl Streep in “August: Osage County”; and he’ll play Julian Assange in the fact-based drama “The Fifth Estate” from director Bill Condon.
He’ll also take center stage as an ancient, powerful dragon in “The Hobbit: The Desolation of Smaug,” when Peter Jackson’s second installment in his planned trilogy opens in December.
Cumberbatch said he tries to trip up expectations in “the politest ways” when choosing roles. “Into Darkness” certainly sees him wearing the mantle of action antihero more overtly than ever before, though it’s the sequences in which he attempts to manipulate Kirk and Spock with his cool intellect and seductive baritone that perhaps most directly capitalize on the actor’s signature skill set.
“Mr. Cumberbatch, pale and intense, has become the object of a global fan cult, and it’s easy to see why,” the New York Times’ A.O. Scott wrote in his review of the film. “He fuses Byronic charisma with an impatient, imperious intelligence that seems to raise the ambient I.Q. whenever he’s on screen.”
Just a few weeks after landing his part (originally offered to Benicio del Toro), Cumberbatch found himself fighting with Vulcans and Klingons, jumping through exploding glass doors on spaceships and running through the streets of Los Angeles, which stood in for the San Francisco of the future where Starfleet Headquarters is based in the film.
“There was one particular moment where I was being dragged along the floor of Playa Vista, the famous Howard Hughes studio, the birthplace of the Spruce Goose, at 60 miles per hour at 1 o’clock in the morning in a spacesuit. My character’s in control, but as an actor, the minute after I did my thing as a character I stood up and said, ‘Did everyone see that? That was amazing, can we do it again?’”
It was an interesting experience for an actor who doesn’t profess to be overly studied on “Trek” canon, though he does have a healthy respect for the creative legacy of “Star Trek” godfather Gene Roddenberry.
“‘Star Trek’ works in subtle ways,” he said. “There’re such condensed, incredibly beautifully drawn characters that are very now even though it’s a future-scape with loads of rich imaginative detail for fans to obsess over. The actual core content of the story is universal in time and place.”
Cumberbatch certainly could have a future with the franchise, though little is clear about what specific shape a third “Trek” film might take. Paramount has said Abrams will at least produce another “Trek” movie, though he’ll next direct a new “Star Wars” film that Disney intends to release in 2015.
For his part, Cumberbatch simply seems to be enjoying his newfound status as a larger-than-life Hollywood heavy. Apparently, evildoing has its own unique rewards.
“I’ve just driven past a phone booth, with my face, the poster they use of me for the film, it’s amazing,” he said. “To be in the middle of New York, a city I’ve always loved, and going to the premiere and seeing myself on a side of a phone booth, I think you’d have to be made of stone not to feel something.”
– Gina McIntyre | @LATHeroComplex
在維基百科找到有關於二缺的其他資料，今天補上來
本尼迪克特康伯巴奇（Benedict Cumberbatch，1976年7月19日），男演員，身高1.84米，生於英國倫敦，演藝觸角涉及電視、電影以及劇場。
本尼迪克特康伯巴奇在大學畢業後，於2001年展開個人演藝生涯。過去最為人熟知的作品為英國BBC電視台製作的九十分鐘電視劇《霍金》，當中他飾演英國天文物理學家史蒂芬·霍金，並拿下Golden Nymph電視作品男主角獎。2010年他以電視劇《新世紀福爾摩斯》拿下Crime Thriller Awards電視男主角獎，該劇因播出反應熱烈，2012年1月1日播出第二季，現正籌備第三季，預定於2013年1月開拍。
本尼迪克特康伯巴奇出道便參與劇場演出，至今仍在劇場活動。2004年演出《霍金》大受好評，演技備受肯定。新世紀福爾摩斯製作人Steven Moffat和Beryl Vertue表示看電影《贖罪》時決定班奈狄克·康柏拜奇是福爾摩斯唯一人選。導演史蒂芬·史匹柏未試鏡便邀請他演出2012年上映電影《戰馬》。
| 首播年份 | 劇集名稱 | 中文譯名 | 演出角色 | 電視台 | 備注 |
|---|---|---|---|---|---|
| 2002 | Fields of Gold | 金色麥田 | Jeremy | BBC | |
| 2002 | Tipping the Velvet | 輕舔絲絨 | Freddy | BBC | |
| 2002 | Silent Witness | 無聲的見證 | Warren Reid | BBC | |
| 2003 | Cambridge Spies | 劍橋風雲 | Edward Hand | BBC | |
| 2003 | Spooks | 軍情五處 | Jim North | BBC | |
| 2003 | Fortysomething | 男人四十 | Rory | ITV | |
| 2004 | Dunkirk | 敦徹爾克大撤退 | Lt. Jimmy Langley | BBC | |
| 2004 | Heartbeat | Toby Fisher | ITV | ||
| 2004 | Hawking | 霍金 | Stephen Hawking | BBC | 2005年英國學術電視獎最佳男主角提名
Monte-Carlo Television Festival(Television Films)最佳男演員獎 |
| 2005 | To the Ends of The Earth | 直到世界盡頭 | Edmund Talbot | BBC | Monte-Carlo Television Festival(Miniseries)最佳男演員獎 |
| 2005 | Broken News | Will Parker | BBC | ||
| 2005 | Nathan Barley | Robin | Channel 4 | ||
| 2007 | Stuart: A Life Backwards | 倒帶人生 | Alexander Masters | BBC, HBO | |
| 2008 | The Last Enemy | 最後的敵人 | Stephen Ezard | BBC | |
| 2009 | Marple: Murder is Easy | 瑪波小姐探案：殺人不難 | Luke Fitzwilliam | ITV | |
| 2009 | Small Island | 小島 | Bernard Bligh | BBC | |
| 2010 | Van Gogh: Painted with Words | 梵谷 | BBC | ||
| 2010 | Have I Got News For You | Guest host | BBC | ||
| 2010 | Sherlock Season 1 | 新世紀福爾摩斯 (第一季) | 夏洛克·福爾摩斯 | BBC | 2011年英國學術電視獎最佳男主角提名
ITV3 Crime Thriller Awards 最佳男演員獎 |
| 2011 | The Rattigan Enigma by Benedict Cumberbatch | 主述引導人 | BBC | ||
| 2012 | Sherlock Season 2 | 新世紀福爾摩斯 (第二季) | 夏洛克·福爾摩斯 | BBC | 2012年英國學術電視獎最佳男主角提名
2012 TV Choice Awards 最佳男演員獎 |
| 2012 | Parade's End | 隊列之末 | Christopher Tietjens | BBC, HBO |
《哈比人歷險記/霍比特人 ：意外之旅》（《魔戒/指环王》前傳1）,2012）- 索倫Necromancer（配音）、史矛革Smaug (the dragon） （配音）
《哈比人歷險記/霍比特人 ：去而復歸》（《魔戒/指环王》前傳3）,2013) - 索倫Necromancer（配音）、史矛革Smaug (the dragon） （配音）
從2001年起，康伯巴奇便在許多劇場的表演中演出眾多主要角色。他曾在以下戲院做過演出（演出細節請見表格）：
攝政公園的夏季露天劇場（Open Air Theatre, Regent's Park）、艾爾梅達劇場（Almeida Theatre）、皇家宮廷劇場（Royal Court Theatre）以及皇家國家劇院（Royal National Theater）。他曾以（海達蓋柏勒）（Hedda Gabler）這部戲裡的角色─鐵斯曼（Tesman）─獲得英國舞台劇獎項，勞倫斯奧利佛獎（相當於美國百老匯的東尼獎）的最佳配角提名。這部原本於2005年3月16日於艾爾梅達劇場上演的戲，後來在同年3月19日時轉到了倫敦西區劇院群的約克公爵劇場（Duke of York's Theatre）演出。
康柏拜奇接下來會在眾星雲集的戲碼，（孩子們的獨白）（ The Children’s Monologues）中演出。這部戲會在倫敦的舊維多利亞劇院（Old Vic Theatre）於2010年11月14日上演。由丹尼鮑伊執導，同具演出的演員包括了在2010年東尼獎獲獎的愛迪雷曼（Eddie Redmayne）、潔瑪阿特頓（Gemma Arterton）以及山繆爾衛斯特（Samuel West）。這部戲的製作公司是Dramatic Need。[12]
2011年康柏拜奇演出同樣由丹尼鮑伊執導的Frankenstein，與Jonny Lee Miller輪流飾演Frankenstein和Creature兩角，隔天交換角色演出。此劇為他贏得Critics' Circle Theatre Awards 最佳男演員獎，與Jonny Lee Miller共同贏得英國戲劇界最高榮譽Lurance Olivier最佳男演員獎及Evening Standard Theatre Awards最佳男演員獎。
| 上演年份 | 劇名 | 角色 | 演出地點 | 獎項與提名 |
|---|---|---|---|---|
| 2001 | 愛的徒勞（Love's Labour's Lost） | 斐迪南 | 攝政公園露天劇場 | |
| 仲夏夜之夢 | 迪米特立斯 | |||
| 2002 | 皆大歡喜 | 歐蘭得 | ||
| 羅密歐與茱麗葉 | 班沃利歐 | |||
| 噢，多棒的一場戰爭！（Oh, What a Lovely War! ） | ||||
| 2004 | 海上夫人 | 凌格斯川 | 艾爾梅達劇場 | |
| 2005 | 海達蓋柏勒（Hedda Gabler） | 鐵斯曼 | 艾爾梅達劇場 約克公爵劇場 |
勞倫斯奧利佛獎最佳配角提名 |
| 2006 | 調整期（Period of Adjustment） | 喬治 | 艾爾梅達劇院 | |
| 2007 | 犀牛（Rhinoceros） | 貝倫傑 | 皇家國家劇院 | |
| 縱火犯（The Arsonists） | 艾森林格 | |||
| 2008 | 城市（The City） | 克里斯 | ||
| 2010 | 舞會之後（After the Dance） | 大衛史考特福勒 | 皇家國家劇院 | |
| 2011 | Frankenstein | The Creature/Victor Frankenstein | 皇家國家劇院 | 奧利弗勞倫斯獎最佳男主角(獲獎) |
《八月：奧色治郡》改編自Tracy Letts的同名戲劇，由美劇《無恥之徒》的編劇約翰·威爾斯擔當導演，主要講述了一個遭遇創傷的家族幾代人的痛苦經歷。梅麗爾·斯特裡普在片中扮演一個吸毒成癮、脾氣暴躁的母親，丈夫不幸溺水身亡後她就成了家庭的“女暴君”；朱麗亞·羅伯茨扮演她的大女兒芭芭拉，要面對丈夫出軌的尷尬問題；而康伯巴奇在片中將飾演斯特裡普的外甥，一個內心敏感的男子。
《八月：奧色治郡》舞臺劇版本曾獲得美國戲劇托尼獎最佳話劇、最佳話劇導演、最佳話劇女主角、最佳話劇女配角、最佳話劇舞美等5項大獎，可以說電影版有著扎實的劇本底子。繼《鐵娘子》摘得奧斯卡最佳女主角之後，梅姑也有望借助這個角色瞄準2013年的頒獎季，從而繼續刷新自己的奧斯卡提名紀錄。而本次康伯巴奇的加盟，也為這部家庭倫理新片增加了不小的看點。
文轉自http://big5.xiamenair.com
是的~這部戲又有BC了，還是的醬油角色(小角色)名字叫做-'Little' Charles Aiken
我一向不太期待這種舞台轉成的電影，因為前面有太多失敗的例子
這部到是可以衝著梅姨和BC去看
下面放幾張BC在August: Osage County-八月：奥色治郡的側拍照
Parade's End
Sir Tom Stoppard's adaptation of Ford Maddox Ford's series of novels for BBC Two
《行進的目的》
湯姆·斯托帕德爵士為BBC2所作的福特·馬多克斯·福特系列小說的改編
Interview with Benedict Cumberbatch
本尼迪克特·康伯巴奇的採訪
Date: 01.08.2012
Last updated: 01.08.2012 at 13.56
Category: BBC Two; Drama
日期：2012年8月1日
最後更新：2012年8月1日13點56分
類別：BBC2；劇集
An interview with Benedict Cumberbatch, who plays Christopher Tietjens, in Sir Tom Stoppard's adaptation of Parade's End for BBC Two.
一則對在Tom Stoppard 爵士為BBC2改編的《行進的目的》中飾演Christopher Tietjens一角的BC進行的採訪
In Parade's End, Benedict Cumberbatch takes on the role of Christopher Tietjens; a blockheaded man, a man born out of his time but ultimately a hero.
在《行進的目的》中，BC出演Christopher Tietjens，一個沉悶的男人。他生不逢時，但最終卻成為了一名英雄。
Says Benedict: "Parade's End is an elegy to the death throes of the Edwardian upper classes seen through the paradigm of a love triangle between Christopher, Sylvia Satterthwaite, his wife, and a young suffragette, Valentine Wannop. It takes place over a 10 year span before, during and after the First World War. The action moves from Groby in Yorkshire, the Tietjens family seat, to the corridors of power in Whitehall, the drawing rooms of high society and then from Rye to Germany and the trenches of Belgium. It is about a rapidly changing world being overtaken by politics and a war that in its appalling leadership sent eight million to their deaths and precipitated the end of Empire.
BC說：“《行進的目的》是一首獻給愛德華七世時代上層階級臨死掙扎的痛楚的哀歌，這種痛楚可以自Christopher、他的妻子Sylvia Satterthwaite和年輕的女政客Valentine Wannop之間的三角愛情關係中被看破。故事跨越一戰前、一戰中和一戰後長達十多年的時光。故事地點從Tietjens家族所在的約克郡格魯比村（英國中部小村莊，如今已是萊斯特市市區的一部分）到作為上流社會會客室的白廳權力走廊，再從拉伊鎮（英國南部海邊小鎮）到德國乃至比利時的戰壕。這是一個風起雲湧迅猛變化的時代，政治主宰一切，可怕的戰爭將八百萬個生命交付於死神並迅速促成了帝國的終結。”
"Through the four books of Ford Maddox Ford's masterpiece there is a shift from romanticism to modernism. The novel is full of daring departures from linear timelines, streams of consciousness, sudden changes of points of view and other trademarks of the modernist novel. Despite some wonderful set pieces and dialogue it's a daunting task for a dramatist. Thankfully, Sir Tom Stoppard is our greatest living dramatist and as such has performed the miraculous task of preserving the best of Ford whilst folding in his own unmistakable flare and with extraordinary ingenuity has made a fluid linear narrative out of Ford's verbose prose style. It's a wonderful marriage of style, wit, heart and intelligence between the two writers and it was a privilege to try to do justice to the character of Christopher, aided by a fine cast and lead by the brilliant director Susanna White.
“福特·馬多克斯·福特的四部曲傑作有著從浪漫主義向現代主義的轉移。小說充滿了對線性時間序列的大膽脫離、意識流、觀點的突然轉變以及現代派小說的其它標誌。儘管（小說）有著一些精彩的場景和對話，但對於一個劇作家而言，這是一份令人畏懼的工作。慶倖的是，湯姆·斯托帕德爵士是我們這個時代最偉大的劇作家。他一方面完成了保持福特精華原汁原味的非凡工作，另一方面又展現了自己特有的耀眼光芒，以卓絕的獨創性從Ford冗長的散文風格中完成了流暢而線性的敘事。這是兩位作家之間風格、機智、情感和學識的美妙結合。有優秀的演員助陣，有才華橫溢的導演蘇珊娜·懷特執導，（在這樣的情況下）嘗試公正地詮釋Christopher這個角色是我的榮幸。”
"I have such a huge affection for Christopher, more so than almost any other character I've ever played. I sympathise with his care, sense of duty and virtue, his intelligence in the face of hypocritical, self serving mediocrity, his appreciation of quality and his love for his country. He mourns a way of life that is being eroded by money, schemers and politicians, ineffectual military boobies and the carelessness of man's industrialised progress. He is a noble if accidental hero fighting for relevance, a man out of time who is struggling with political and economic injustice. That's what makes him relevant in what could be dismissed as 'merely another Toff in a period drama'.
“我是如此喜歡Christopher這個角色，甚至超過了幾乎所有我飾演過的其它角色。我體會到他的小心翼翼，他的責任感和道德感，他面對偽善而自私的中庸之輩時的智慧，他對品質的肯定和他對祖國之愛。他哀痛被金錢、陰謀家和政客、毫無建樹的戰爭傻瓜和人類工業化進程的草率所腐蝕掉的生活。他是一個高貴又有些意外成分的英雄，只為爭取適應社會。一個與那個時代格格不入的人，抗爭著政治和經濟的不公正。這使他得以在本來被作為‘僅僅是一部歷史劇裡的另一個花花公子’而摒棄掉的地方顯得作用重大。”
"The extraordinary relationship he has with his damaged, bored, dangerously privileged wife, Sylvia, is a very familiar tale of two people who intentionally or otherwise destroy each other by loving each other in the wrong way; he with a kindness and propriety which infuriates and drives her to the opposite extreme. The sexual chemistry between them and the deep mutual respect and love leads them both to hope for the ability to change each other and it is this that results in the destruction of their marriage. Christopher then meets Valentine, an extraordinary young kindred spirit and intellect who provokes him into 'gathering his thoughts' and who fells him like a lightning bolt with her boyish beauty and pluck. He is unable to do anything about his attraction to her because of his adherence to the principle of what he calls 'Parade' - the principle he expects of a man in a family of standing. But his propriety backfires, as does his attempt to right any wrongs and in combination with the enemies he makes (some of whom are Sylvia's lovers) results in him facing the reality that he is living by 'an outmoded code of conduct'. The tragic results of which make him a fool. He's bankrupted, his disgraced name attached to rumours of affairs and illegitimate children with Valentine bring about his father's death. He's without the bed or company of Sylvia and facing certain death on the western front. His decision to fight in the trenches comes from a need to will his bulk into standing up honestly in front of the guns rather than massaging the books and figures to justify all the stupidities of war that his hypocritical yes men masters at Whitehall wish him to do. He's a superior brain but an inferior soldier and having already been severely concussed on his first outing by a shell he begins to lose his intellect. He really is a tragic figure but he does find redemption in becoming an accidental hero at the front and taking Valentine as his lover if not his wife and finally severing ties with Sylvia by letting her keep Groby and Michael, her son. The 'parade' he lives his life by ends at the same time as the parade to disband the surviving volunteers ends the First World War.
“他和他那受感情受創的到傷害的、百無聊賴的、驕縱過度的妻子Sylvia之間那有種的不尋常的關係，就像是個令人熟悉的故事，是那個大家都聽說過的故事，雙方有意而為，或者說是無意的因為用錯誤的方式去愛而毀滅了對方；他的善心和禮節激怒了她，驅使她到了另一極端。他們之間情欲的吸引和深藏的相敬相愛引得他們去期望能夠改變對方，而就是這點導致了他們的婚姻的破滅。接著Christopher遇見了Valentine，一個和他一樣他家族裡的，非凡氣質才智都很非凡的年輕人，她驅使他‘理清頭緒’，以她那少年般的美和勇氣俘獲了他。他被深深的吸引但是卻不能更進一步，因為他忠於自己的原則，他把它稱作‘佇列’-他在一家之主身上所期望的那種原則。但是當他嘗試糾正錯誤，還因此到處樹敵時（其中一些是Sylvia的情人），他的彬彬有禮卻引來了惡果。他不得不面對一個現實，他的行為準則‘過時了’。這個悲劇使他成了別人眼中的傻子。他破了產，同Valentine的緋聞和私生子的流言讓他名譽掃地，他父親也因此過世了。他失去了Sylvia的陪伴，連床都沒了。他在西部前線直面死亡。他去戰壕中戰鬥的決定是出於他寧可在槍炮面前樹立他的誠信，而不願像他那些掌控白廳的虛偽的好好先生們希望的那樣，偽造記錄和資料去替戰爭的愚蠢辯護。他智力超群，卻是一個低級士兵，而且他第一次出戰就被一枚炮彈碎片擊中導致嚴重的腦震盪，智力受損。他真的是一個悲劇性的人物，但是他也的確因為在前線偶然地成為了一個英雄，由此得到了補償。雖然不能成為他的妻子，Valentine終究也跟他在一起了，而且最終他也跟Sylvia兩不相欠了，代價是讓她撫養Groby和她的兒子，Michael。他賴以生存的‘佇列’結束了，同時第一次世界大戰隨著軍隊解散倖存志願者也結束了。
Benedict continues: "On a domestic drama level it's cosmetically about a failed relationship; two people who love each other but want utterly different things from each other and end up destroying each other in the process. Christopher is killing Sylvia through kindness and tolerance, she is killing him through extravagance, infidelity and bad behaviour. What makes him heroic is the idea that he stands for what he believes in with utter transparency and to hell with the consequences of living by what he believes.
BC繼續說道：“從家庭劇的層面看，它表面上講述的是一段失敗的感情。兩個互相深愛的人卻想從彼此身上得到完全不同的東西，最終以摧毀對方收場。Christopher用善良和忍耐謀殺著Sylvia。Sylvia則用揮霍無度、不忠和行為不端折磨著他。讓他成為英雄的是他的想法：他用全然通透之心為信仰而戰，並讓由按照信仰生活所產生的後果通通都見鬼去。”
"And yet it's such an ever changing world that he ends up being foolish in a lot of situations, reduced to being a comic butt of circumstance. He is buffeted in every single direction by a changing world, which he sometimes stubbornly refuses to adapt to but sometimes just can't understand. He doesn't want to understand because it's so divorced from the pragmatism of who he is and what he's about, which is honour, serving above and below, being loyal to the past and doing your duty."
“而在這個日新月異的世界中，他在很多情況下顯得愚鈍，淪為茶餘飯後的笑柄。他遭受了這個日新月異的世界來自四面八方的衝擊，而他有時頑固地不肯變通，但有時僅僅是不能理解。他不想去理解，因為這與他腳踏實地的本性和主張大相徑庭，那就是榮譽，左右逢源，忠於過去，恪盡職守。”
And Benedict is confident the drama has huge resonance for a modern audience:
而且BC對於這部劇在現代觀眾中有極大反響很有信心。
"We're living through a time where we are fighting wars fostered by politics, admittedly not on the same scale as the First World War, but with equally tragic realities for our soldiers and their families. We are living in a world where financial and political bonds in Europe are just falling apart, we're living in time of political hypocrisy and there aren't that many really good people and Christopher is just that: a good man.
“我們正經受著這樣一個時代，我們正在打一場由政治造就的戰爭，應當承認它沒有一戰那麼大的規模，但是對於我們的士兵和他們的家庭來說有著同樣殘酷的現實。我們生活在一個金融和政治與歐洲襟帶相連的正在分崩離析的世界，我們生活在政治虛偽的時代，在這兒沒有那麼多真正的好人，而Christopher就是那樣的：一個好人。”
"His care for his country, his past his family, Michael, Sylvia, Macmaster, Groby, the land and the great cedar tree, horses and his men on the front line all lead me to love this fat, baggy bolster of a blockhead with all my heart. It's what distinguishes him from being 'yet another toff' to being quietly but truly heroic. His virtue and diligence but also the fights and principles he stands for are in many ways modern and thoroughly relevant to today, which again salvage him and the drama from being a nostalgia piece. His concern for the environment, the structure of a family, the corrupting elements of money and politics and our move away from a sustainable society into a consumer society of short term interest are all contemporary issues. Maybe they have been since the industrial revolution but we are a century on since his time and we are still fighting wars, raping the planet, living fractured family lives and living with the consequences ever more potently.
“他對祖國的關懷，他的過去，他的家庭，Michael，Sylvia，Macmaster, Groby,那片土地和高大的雪松，馬匹和他在前線的手下，都引領著我發自內心地愛上這個肥胖臃腫的榆木腦袋。這就是他有別於‘又一個花花公子’的地方，他低調卻是真正的英雄。他的美德和勤勉，鬥志以及他所代表的原則從很多方面來說是現代化的，也與今時今日休戚相關，這又把他和這部劇集從變成一部懷舊之作中挽救出來。他對環境的憂慮，家庭的構造，金錢和政治中的腐敗因素，還有我們出於短期利益而從可持續發展的社會進入到了一個消費社會，這些都是當下的問題。或許自工業**以來它們就存在，但是我們是他的時代之後的又一個世紀，而我們依然在打仗，掠奪這個星球，四分五裂的家庭依然存在，與更加嚴峻的後果共存。”
"By accident this is the second project I did last his year which has a grand metaphor and is really saying we are now going to reap what we have sown. Frankenstein was all about the idea that through electricity and the destruction of night, man creating light and darkness, we took on god like powers and then abused them like gods and we are only men. That a story about man making a man in his own image. The inversion of natural order. And whether you have belief in religion or not it's more about the fact that we've taken our resources well beyond their capability to sustain the development that our excursions into technology have needed. I think both of them are warnings. If Parade's End is more in line with man destroying man in all out war.
“這碰巧是第二項我做的持續了一整年的事，這有了當中有一種宏大的隱喻，分明在說我們是時候去收穫播種下的果實了。《弗蘭克斯坦》圍繞著電光和夜晚的毀滅這一概念，人類創造了光明和黑暗，我們從上帝那接受能量，然後像諸神一樣肆意揮霍，而我們只不過是人類。那是一個關於人類創造了一個他臆想中的人的故事。對於自然法則的違逆。不論你是否有宗教信仰，這更關乎於一個事實，那就是我們攫取了遠超探索科技所需的資源，超過了它們保持發展的能力。我覺得這兩部片子都是警示。似乎《行進的目的》更符合人類在戰爭中毀滅人類這個主題。”
Benedict was deeply affected by the images of war on the frontline, both in the novel and during filming in Belgium.
無論是在小說中還是在比利時拍攝這部作品時，BC都深深地受到了戰爭前線景象的影響。
"We visited Ypres and that whole part of Western Front and I thought I'm seeing something universal. I can now imagine seeing, as a soldier in trenches, the vastness of the sky, because the land is so flat so unvaried. Then when I got into the trench that we created for Parade's End with one of those tin hats on, I realised you're standing basically in a grave, a six foot hole, you're that near to death anyway. Everything above you is exploding and anything over the edge is death. With the tin trench helmet on you hardly see any sky. It becomes as thin as a letterbox and what sky there is just exploding. It is quite extraordinary. Just the hardship of it all, the clutter of being a soldier; big woollen coats that kept you warm if it was dry and cold but boil you in any sun and just weighed you down if it was wet and cold. The practicality of just moving around was hard enough and you're supposed to be a fighting machine, keep charge of a company in a rat run. Let alone the daily routine of keeping order, making sure men's kit is clean, maintaining sanitation and a working order to people's lives in that ridiculous landscape but to actually have to fight… I can't tell you how it brought that home. Just getting up the side of the trenches is hard but going up a ladder knowing you are walking into gunfire goes against every instinct of what it is to be a human being or feel alive. I think they must have had a lot of rum."
“我們參觀了伊普爾（注：比利時的一所城市，一戰時這裡發生了著名的伊普爾戰役）以及整條西線（注：西線從荷蘭，比利時，盧森堡一直延伸到法國東南部邊境線，主要戰場是在比利時和法國東北部），而我覺得我看見了其中的共同點。我現在依然能夠想像自己是一個身處戰壕的士兵，能夠看見無垠的天空，因為土地是如此的單調沒有層次。之後當我帶著鋼盔走入那個《行進的目的》劇組所特別建造的戰壕時，我意識到，實際上你是站在一個墳墓裡，在一個六英尺高的洞裡，你是如此的靠近死亡。所有在你頭頂上的事物都在爆炸，而任何在戰壕邊界外的事物屬於死神。帶著鋼盔的時候你幾乎看不見天空，它變得像信箱的口子一樣窄小，而天空的所在之處正在爆炸。這實在是太不尋常了。僅僅是當一個士兵就有一大堆破事；厚實的羊毛外套能在乾燥寒冷的天氣裡為你保暖，但是只要有點陽光你就熱的好像要沸騰起來，或者在又濕又冷的天氣裡拖垮你。要動起來就已經夠難的了，而你還要成為一個戰鬥機器，要帶領一群人走小路繞道而行。還沒算上白天維持秩序的例行公事，保證大家的裝備是乾淨的，保持衛生，還要在那種荒謬的環境下，讓大家的生活正常運轉。並且還當真需要打仗……我沒法告訴你要如何把這些想明白。僅僅是從戰壕站起來就很困難，而且明知道要面對槍林彈雨，還得爬上梯子，這違背了人類的求生本能。我想他們一定喝了很多酒來壯膽。
And one series of events rippled with the emotional weight of the experience.
而一系列的事件又使這段經歷中的情感因素泛起漣漪
"There was one ghostly incident I encountered. I felt like I was carrying an awful lot of stuff around when I was in Flanders and I think that was partly due to tapping into it and trying to understand the fear, the loss and the horror of war, the sheer power of the disruption.
“我遇到了一件很靈異的事情。當我在佛蘭德的時候，我覺得像是背負著許多東西。我覺得有部分原因是由於深入了這個角色並且嘗試理解那種害怕，失落以及對戰爭的恐懼，理解破壞所擁有的絕然的力量。
"I was next to someone, they woke up and asked me a question and when I answered they screamed and said they had seen me sat up on edge of my bed but when I spoke they saw I was lying down next to them. They looked back and the figure turned round and half its face was missing and it was in a First World War uniform. It was a clear image then dissolved into light. I believe in energy and carrying things around but I'm not sure.
“當時我在另一個人的旁邊，他們醒來問了我一個問題，而當我回答時，他們開始尖叫。他們說看見我坐在床邊，但當我開始講話時，他們看見我是躺在他們身邊的。當他們再抬頭看時，那個影子轉過身來，一半的面容消失不見，而另一半卻穿著一戰的軍裝。這是個很清楚的畫面然後就在燈光下消散了。我相信能量能夠攜帶事物，但是我對此並不肯定。
"Then two days later, back in Belgium filming a scene where someone was being exploded over the top of me, bounced off me and fell to the ground – a German soldier with half his face missing. An odd correlation."
“然後在兩天之後，回到比利時拍攝一場有人在我頭上被炸飛的戲，他彈到了我身上然後就摔到了地上——一個少了半邊面容的德國士兵。一個莫名的巧合。”
缺的新戲-Parade's End(對列之末)決定由BBC 2台來播出了
昨天就放出了部份預告，雖然是和其他戲劇混在一起...
看到了預告，讓我開始期待這部缺的新戲
定於今年9月BBC 2台播出
第一次世界大戰的背景下的愛情，激情，殘酷和悲劇故事。
本尼迪克特‧康伯巴奇，魯伯特·埃弗里特，麗蓓嘉‧霍爾，凱瑞·穆雷根和米蘭達·理查森 ， 演出動盪年期間-貴族Christopher Tietjens的與他的社會名流的妻子Sylvia ，和他的參政情人-Valentine的事困擾三人的關係的故事於1911年，直到第一次世界大戰結束。
缺終於登上esquire了
而且是以5/27BAFTA頒獎典禮上的造型
我說esquire你們終於開竅了啊...
雖然，這次缺的穿著並不沒有覺得哪裡特別的讓人眼球一亮的地方，更覺得與其注重花樣不如乾脆就注重細節來得重要，
總之我很滿意他這次在BAFTA的打扮。
缺你要更加油...不要再亂搭了
http://www.esquire.co.uk/2012/05/style-moment-of-the-week-perfecting-the-award-show-look/
Style Moment of The Week | Perfecting The Award Show Look
Men’s style at award shows has always been a game of inches instead of miles so it’s only fair of us to point out when someone manages to perfect every inch of their style. And, at Sunday’s Television Baftas, Benedict Cumberbatch did just that.
頒獎禮上男人們的穿著總是重細節而輕整體。所以公平點來說，只有每個細節都精緻無比的人才會入我們的法眼。周日的BAFTA上，Benedict Cumberbatch顯然就是這麼個已經精緻到極致的男人.
Most men at the show got it wrong in one way or another. There’s not enough space to list everything but common offences included: too small suits, too big suits, half undone ties (nothing worse than preplanned nonchalance) and, worst of all, bad shoes – we’re looking at you Keith Lemon and Alan Carr.
這個頒獎禮上的大部分男人總是不是這裡不行就是那裡不好。篇幅不夠，不能一一細數，先抓幾個典型：衣服太小，衣服太大，打了一半的領帶（還有比刻意裝酷更糟的麼？？），最糟的，一雙渣鞋 -- 別四處張望Keith Lemon and Alan Carr，在說你倆呢.
The man commonly known as Sherlock, however, avoided those pitfalls, teaming a perfectly tailored suit with a good pair of shoes and a slither of a Mad Men style pocket square. Perfectionists might say his time is a 1/4 inch undone but let’s not throw the baby out with the bath water.
這位常為人津津樂道的夏洛克此次全無缺點，身著剪裁合身的套裝，一雙好鞋，隱現《廣告狂人》風格的口袋花。完美主義者會說領帶歪了1/4", 但是，大家不要這麼吹毛求疵好不好。
The pocket square is the important part of this outfit. A well tailored suit is essential but it’s always the little things that elevate an outfit. Mad Men has gotten a bad rap lately, having become synonymous with any grey suit ever made but there’s still little tips worth taking from Draper & Co.
口袋花是服裝的重要組成部分。服裝剪裁合身固然重要，但細節才是成敗關鍵。《廣告狂人》最近身背"惡名"，變成了任何灰套裝的代名詞，但還是借鑒了Draper & Co的。
What can we take from this? The devil’s in the details – and never is that more apparent than at an event where everyone has to wear the same outfit. And get some good shoes, we all notice them.
從中我們學到了點什麼呢？細節決定成敗，尤其是在大家都穿的差不多的晚會上。
弄雙好鞋，我們都盯著看呢。
5/23號缺去參加了Men in Black III’的首映禮
不用多說...大家想照片一定多
錯...這次還真不多，不到20張
下面上圖~
合照的女生是和缺合作過的Alice Eve，是缺的朋友(真的純朋友)
最近刷爆TUMBLR的dashboard就是泳裝缺啦~~
有厚胸肌有6塊腹肌，但是原本的細腰不見了...T_T
其實還挺有健康美的
廢話不說上圖!
因為圖很多我就用了版型的方式來放圖
觀看歡歡~~
附上一張p成救生員的缺
還沒到5月以benny為主題的紛紛出現，還有美國的PBS要上演"SHERLOCK"2了
台灣的PBS已經演完了...他能來宣傳多好
4月底消失近一個月的benny也出現了!吃肥的benny!
為Star Trek 2的電影版增胖了，benny說"我胖了兩個碼"
之前清瘦的樣子暫時是看不到了...
5月拍完這部就又要開始減重了，不然等年底拍SHERLOCK series 3 時，那二表哥的衣服肯定穿不下...
我剛看到這些照片時真的差點認不出來...
這次的Jaguar 新車廣告不再只聞其聲不見其人了
終於看到二缺本人拍攝的廣告
而且這次的Jaguar 新車廣告既如一往
加上二缺的詮釋很舒服很紳士很迷人的
Jaguar Alive ads 2012
最近下載到"wreckers"這部二缺演怨夫的電影
真的是怨夫啊...
因為他演的角色除了精神有缺陷之外，還是個沒有生育能力而且還被自己老婆帶綠帽....
真的是太慘了!
電影一開始出現先出現演員名字，當出現二缺的名字時我就趕緊拍下來
出現這名字時我真的被感動到了....
今天在油管終於看到鍋匠中文的預告
而且缺的出現鏡頭硬是比我看過的英國版和美國版多了一點
真是太給力了
1.12 VOGUE US有關Benedit的採訪
今年1月份就買到了
忘了將這本掃瞄上來放
報導內容不外乎為VOGUE介紹這位來自英國的演員
其中順便介紹他在電影-TINKER TAILOR SOLDIER SPY(鍋匠、裁縫、士兵、間諜-台灣翻譯:諜影行動 上映日期2012.3.30)
中他演出的角色PETER GUILLEM
再來就是提到他演出的BBC 1的SHERLOCK，這個角色讓大家不愛都很難
因為這本在美國出刊時他正在接演BBC和HBO合作的一戰背景的PARADE'S END(列隊之末) 也一同介紹
2012.2.27當全世界所有的Benedict Cumberbatch粉都在引頸期盼他能走上84屆Oscar獎的紅毯時，
我們這位先生居然去了Oscar獎的前PARTY和典禮後的Vanity Fair PARTY喝酒去了..........
連紅毯也沒走..... = =
OMG...
當所有人都在嘆氣，而且在Tumblr上還有人做圖抗議
身為GQ編輯的NC粉 Mr Andy Morris，當然不可能就這樣放棄，硬是找了一張二缺試裝照登上了GQ~~~
http://www．gq-magazine.co.uk/style/articles/2012-02/29/benedict-cumberbatch-spencer-hart-oscars
真是值得膜拜啊... Andy桑
網址:http://news.mtime.com/pix/2012/02/24/187214.html
這標題下得真好-只為你的雙眼(FOR YOUR EYES ONLY)
文的內容寫得還不錯，但是還有犯了一個錯誤...暱稱"卷福"
整篇文整體來講其實都OK的，壞就壞在這個地方...
以下是全部內容
时光网讯 英国BBC剧版的《神探夏洛克》惊艳无数中国剧迷，精良的制作和娴熟的技术让很多只看电影的观众也为之着迷。从此很多中国粉丝心中记住了这样的一个非常绕口的名字，“本尼迪克特·康伯巴奇(Benedict Cumberbatch)”为了方便称呼更为亲近讨巧，他还有一个很萌的昵称“卷福”。
这位现年36岁的英国男演员目前正处在事业的上升期，领衔主演的《福尔摩斯》全球大热、参演的斯皮尔伯格巨制《战马》口碑爆棚全球热映还有年底将于观众见面的新剧《行进的目的》。在成功的光环之下他倒是一如很多英国绅士一样处之淡然，正是这份不动声色的气质让其风靡一时。时光为你精选了2011年这位炙手可热的英国男演员的个人写真，画面里不苟言笑的他只是为了你的双眼而存在。
"卷福"那句...讓我覺得很無語
現在想起今年的台北電影節好不容易有Benedict的電影
之前在內地或英國的網站看到介紹就很期待這部Benedict的電影
我忘了還有Third Star主題曲-FOLLOW YOU DOWN TO THE RED OAK TREE MV，趕緊補上來~~~
這是首很符合這部電影氛圍的主題曲，淡淡的哀愁再加上部份的電影畫面
當時看到這MV眼淚就掉下來了...那種苦苦的感覺久久不散(另外一部就是荷蘭電影-陪妳到最後 那個讓我大哭啊)
真的推薦給大家!
差點無緣是因為正準備去買票去看這部電影時...
我的身體就出問題，進了醫院又開了刀...將副甲狀腺拿掉醫生說如果不拿掉我會有危險!當時我的狀況極糟、很虛弱!因為副甲狀腺亢進引發我體內一連串的衰竭，到現在我都不太清楚我身體真的恢復了嗎?
因為出院後有稍微胖一點，打這篇文時身體又持續一直瘦下來...我一直都有在吃飯亂喝飲料啊 XD(話癆...廢話一堆)
當我覺得可能和這部電影無緣時...
竟然又有了消息!真TMD的讓我想哭啊...
內容的話...我還沒看完，暫時無法分享。
看了前半段，抓了部份圖做了動畫，可惜畫質很差...我修圖修到看不下去!! 不然不會只有這一小段...
仰頭望天這一段真的美極了~~~
等DVD出來後也要買回來好好的珍藏。
在好久沒有做GIF動畫之下，想來動手做做看，於是抓著幾張圖要做
但是在太久沒有製作之後 我果然有點生疏去了
還好有PhotoScape這個軟體...做起來真的很好看又漂亮!
我還是愛二表哥的啊 因為他只愛花生一人
