Kenneth Branagh
Kenneth Branagh
Sir Kenneth Charles Branagh is a Northern Irish actor, director, producer, and screenwriter. Branagh trained at the Royal Academy of Dramatic Art in London. He has directed or starred in several film adaptations of William Shakespeare's plays, including Henry V, Much Ado About Nothing, Othello, Hamlet, Love's Labour's Lost, and As You Like It...
NationalityIrish
ProfessionDirector
Date of Birth10 December 1960
CityBelfast, Northern Ireland
CountryIreland
Sir Derek Jacobi has been an inspiration to so many actors and audiences throughout his brilliant career. To see him in Shakespeare is an event in itself.
Shakespeare is rhythmic; he is musical in the sense that he likes poetry, and he's musical because he constantly refers to settings where there's singing and dancing.
It's funny to be in rooms where you were originally referred to as 'The Shakespeare Guy' and to suddenly be in the position where you're 'The Blockbuster Guy.' That's a pretty unusual turnabout, I must say.
I think that short films often contain an originality, a creative freedom, an energy and an invention that is inspiring and entertaining. I think they are, as Shakespeare put it, a good deed in a naughty world.
I think that Shakespeare himself raided fairy tales and chronicle writers, and he always looked to people who worked in the mythic genres, whether it was folk tales or popular novels.
I do think that, for instance, we've been very lucky to have theatrical careers and be associated with Shakespeare which sometimes gives you a kind of bogus kudos.
One of the problems with Shakespeare is that you can never give him a ring.
My parents are the reason I wanted to make Shakespeare available to ordinary people.
I think that music is crucially important in Shakespeare - and, clearly, was an important part of the Elizabethan theatre. And, it's always been something that was a profound element of the experience of Shakespeare that I have been drawn to - and interpreters have, as well.
I think people half know it but don't know it, you know? I think when you see the whole thing, there's just such a slew of new things there. You see them in a different light.
We wanted to do something that was a little closer to our own century and yet also was a world in which you could believe that people spoke in a slightly different way.
What I've found about 'Cinderella' is that what it provokes in an audience is really extraordinary. It appears to be a deceptively simple tale, but I've heard nothing but people drawing all different things out of it.
'Thor' has got several big battles in it, a reckless, headstrong young hero who has to confront his past and deal with a complicated relationship with his father, it has lots of savage Europeans hacking each other to death at various points, and all of this sounded very much like 'Henry V.'
The records - what little we know about Shakespeare, including the records of the plays in his playhouse - were often the story of how quickly they came off if they didn't work. They had to move on. They were absolutely led by box office.