"I like to cast actors I admire, one's that are talented. Each one will bring something new to the part. This play has been done thousands of times and now certain characters are too familiar"
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Branagh is basically admitting the quiet terror of inheriting a classic: the audience arrives with preloaded expectations, and the characters can feel like museum pieces. His solution is disarmingly practical, almost anti-theoretical: hire actors he genuinely admires. Not because star power sells (though it does), but because admiration is a creative bet. When you cast someone for talent rather than type, you’re trusting their specificity to break the glaze of familiarity.
The line about “each one will bring something new” sounds like a polite platitude until you notice what he’s really pushing against: the tyranny of canonical roles. Hamlet, Iago, Beatrice - these aren’t just parts; they’re cultural receipts. People remember the last great performance, the famous line readings, the “correct” rhythm. Branagh’s subtext is that tradition can become a form of laziness, where everyone reenacts the idea of a character instead of rediscovering a human being.
There’s also a sly defense of celebrity casting here. Branagh, a film-and-stage bridge figure, understands that “familiar” cuts both ways: audiences know the play too well, but they also recognize faces. If you’re going to trade in recognition, make it productive. Use a performer’s quirks, intelligence, and modern energy to estrange the overly-known, to make an old role feel newly risky. In his hands, reverence isn’t the point; friction is.
The line about “each one will bring something new” sounds like a polite platitude until you notice what he’s really pushing against: the tyranny of canonical roles. Hamlet, Iago, Beatrice - these aren’t just parts; they’re cultural receipts. People remember the last great performance, the famous line readings, the “correct” rhythm. Branagh’s subtext is that tradition can become a form of laziness, where everyone reenacts the idea of a character instead of rediscovering a human being.
There’s also a sly defense of celebrity casting here. Branagh, a film-and-stage bridge figure, understands that “familiar” cuts both ways: audiences know the play too well, but they also recognize faces. If you’re going to trade in recognition, make it productive. Use a performer’s quirks, intelligence, and modern energy to estrange the overly-known, to make an old role feel newly risky. In his hands, reverence isn’t the point; friction is.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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