New York-twenty-six years later, to play a pair of well-intense Dimwits on the big screen with Kinu Reeves, Alex Winter finds himself near the same man on the broadway, who plays another set of sweet, lower-out-wave people.
The two actors had different trajectors over the years, as they had closed the “Bill and Ted” movie franchise – in which he became a skilled Indie director in winter – but he remains close and is rusting for the existence forum’s work “Waiting for Godot”.
Winter says, “This equality is not on any of us.” “We are unavoidably bills and teds. So there is going to be an aspect because who are this.”
The playwright Samuel Backet’s work is two functions of artificial anticipation, a drama that is filled with the Wadevilian High Zinc, which rapidly enhanced the frustration by the mask. Two Trump named Astragen and Vladimir are waiting for the arrival of mysterious title character. But will he ever show?
Some of the largest stars have formed a team to play the roles of Astragon and Vladimir, including Sam Waterston and Austin Pendulton, Jeffrey Rush and Mel Gibson, Robin Williams and Steve Martin, Ian McClen and Patric Stewart, Nathan Lane and Bill Irvin and Bill Irvin and John Leguisamo.
Astragen is hysterically dense and slightly more combative than Vladimir, which is a hand -rotating, contemplative, more sweet nature. They make each other happy. They argue whether to hang themselves or not. They eat turnip.
When Reeves came with the idea of ​​reunioning with winter for drama, neither the actor knew which part was right for him. He met in a hotel room in New York for several days, reading plays with director Jamie Lloyd.
One day, Reavs played Astragen; The next day he swapped. “Until the third day, it was clear who was. It only looked clear to us, including Jamie,” Winter says, who landed on Vladimir. “I think it’s right by nature.”
Over the years, there are several ways to catch the tone of “Waiting for Godot”, bending into the Wadeville with a popular approach, turning two trump into laurel and hardy types.
Instead of being inspired by the real life of the Backet, the winter and reeves were not attracted. “Keenu and I were very interested in fulfilling these characters in a ground way, which means that absurdity did not allow humanity to move beyond humanity.”
Winter explains that Backet worked for French resistance during World War II, and he and his soon -to -his wife had to run into rural France for his life when the Nazis discovered their cells.
“Vladimir and Astragen are originally on Samuel Backet and his wife run,” he says. “He dreamed of living in a ditch in French rural areas and eating root vegetables and sleeping in a scaffold in a barn with grass.”
Winter coincided with this decline of a new film at the same time he returns to Broadway, “Adultthud”, a dark comedy that he directed by Josh Gad and Kaya Scodlero.
It is about a pair of siblings who search for a body in their mother’s house and this revelation should be scrambled not to destroy their family. Under the comedy, it examines generational sins and modern family stress.
Winter Alfred was inspired by Hichcock’s “Shadow of a Doubt” and Luis Buenuel’s “Los Olvidados”. “This is a very serious subtract with a very light, more distant surface,” they say. This kind also describes films “Waiting for Godot” and “Bill and Ted”.
Winter and Reavs first met as “Bill and Ted’s Excellent Adventure” as 20-Samethings in the late 80s. Reeves became a blockbuster action star of franchisees like “The Matrix” and “John Vik”, while Winter became an actor, director and documentary from films like “Zappa”.
Winter and Reeves became close friends during the audition process for “Bill and Ted’s excellent adventure” because they had the same taste in literature and theater. They both grew up on the east coast with artistic, cultured parents and shared the love of playing bass, motorcycles, shopenhayars and kirkegard.
The winter was trained in a variety of physical movements and in the “Bill and TED”, the marriage of materiality and language was loved. “Backet is clearly the grandfather of combining physical and oral,” he says.
And under funny lines – “Be excellent for each other” and “Party, friends!” – There were deep ideas about existence, death and destiny, such as in the second film when both Duds challenged death to play board games.
“Godot” is not a disagreement in the way where it togles between a kind of levy and deep, deep fear, “they say. “We are adequately moving to pursue all those things clearly.”
The director, Lloyd, says there are similarities between “Bill and Ted” and Backet and both actors have easily infected based on their 40 -year friendship.
“I was immediately killed how comfortable they could be with comedic rhythm and did not stress them to make it funny, or stress to make it funny, because their chemistry is so immediate,” they say. “This is easy for them.”
This may be the beginning of Broadway of Reavs, but Winter is an experienced. From the age of 13 to 18, he was in “King and I” with Yul Brierar and then in “Peter Pan” with Sandy Duncan.
Winter says, “This is like ‘Godot’, as I think the time is bent.” “It’s not like an indifferent journey. I really feel that I am backstage again. It’s very strange.”
At one point, Reavs suggested that they play Astragon and Vladimir every night, but the winter set it straight. He knew how difficult it could be.
“I was on broadway through my high school years, literally two shows back to back, eight shows for a week. And I knew it would be a deep program and it would probably be very rigid to try it.”
He called “Waiting for Godot” like a dramatic counterpart to climb Mount Everest. The switching roles will be like “Stacking Everest on top of Everest”.
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