“Not that the previous experience was bad, just that it was specific. “It was more of an antidote to the previous experience,” he said, comparing doing Broadway to shooting a big-budget Hollywood movie. Garfield’s career to date is that the decision to make his American stage debut at this time in such a demanding play was a strategic move, designed to showcase his dramatic range before being thrown into the popcorn machine with the release of “Spider-Man.” But he said the choice was instinctive. Garfield’s résumé is Peter Parker, the role he plays in this summer’s much-anticipated superhero reboot, “The Amazing Spider-Man,” opening July 3. But perhaps the ultimate split personality on Mr. His key roles have all been characters who are in some crucial way divided - between self-preservation and devotion, love and prejudice, future and past, truth and danger, friendship and betrayal. Garfield is clearly appreciative of the good fortune that has shaped his career. Intense and observant, without the slightest trace of cockiness, Mr. In the scene where they had stolen the company from him he was astonishing. “What you could see in ‘Social Network’ is Andrew’s enormous emotional equipment.
“I thought, ‘There he is,’ ” he recalled. Hoffman as Willy and Linda Emond as Linda, his wife, he was still searching for Biff when he saw “The Social Network.” Nichols said that while he had decided on Mr. Garfield played Eduardo Saverin, the most ethical building block of the nascent operation, who was shut out by his co-founders.
His international breakthrough came in 2010 in David Fincher and Aaron Sorkin’s brilliant chronicle of the birth of Facebook, “The Social Network.” Mr.
#Biff whiff serial#
In the first part of “Red Riding,” a 2009 trilogy of British television films about an intricate web of serial murders, he played a reckless Yorkshire reporter dangerously drawn into the dark world he is investigating. In the 2007 film “Boy A” he gave haunting, haunted life to a young man trying to reintegrate into society after spending his youth in prison for his role in a horrific childhood crime. “His performance has that no-brakes whiff of danger that marks out the interesting Romeos from the indifferent ones,” Lyn Gardner wrote in The Guardian. As soon as you swap spit and tears with someone, cry in each other’s arms and feel each other heaving, then you’re bound together in a very deep and personal way.”Īt 22 he was turning heads for his work in an acclaimed “Romeo and Juliet” at the Royal Exchange in Manchester. “But I think the first time we really tackled that last scene we were fine. “It’s hard to talk about because I’m still doing it,” Mr. Garfield exposes the raw ache of Biff’s solitude. As the only Loman who refuses to support Willy’s delusions, Mr. And the final confrontation, in which the tarnished golden boy tries with desperate futility to make Willy face reality, is so devastating that it’s not uncommon to hear sobs in the theater.
The play’s midpoint crescendo is a shattering encounter in a Boston hotel when Biff is awakened to his father’s weakness as he grapples with his own. In the early scenes discomfort and resentment ripple palpably through Biff. It’s a wrenching performance, exquisitely calibrated. This Broadway revival of Arthur Miller’s 1949 modern classic is nominated for seven Tony Awards, including featured actor in a play for Mr.
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