一楼依然给缺亲

Benedict Cumberbatch sits in his trailer in full military uniform. We’re parked just over the road from London’s Turnham Green tube station, and he’s cueing up some music on his iPod. But if the setting’s a little incongruous, somehow the outfit makes perfect sense.
After his role as a stuttering cavalry major in Steven Spielberg’s War Horse, and with his crisp vowels, sharp eyes and a surname that sounds like it was made for a roll call, there’s something distinctly officer class about Benedict. He looks as natural wearing a woollen khaki tunic from the Great War as it’s probably possible to look on a glum day in west London in 2012.
We meet on the set of Parade’s End, the BBC’s epic new adaptation of Ford Madox Ford’s forgotten First World War masterpiece by Sir Tom Stoppard. Benedict, 36, plays Christopher Tietjens, a brilliant government statistician trapped in a thankless marriage to a selfish socialite. An unconsummated relationship with a suffragette brings him some happiness—until his world is overturned when he’s called to the Front.
This is a role that demands a great actor and a committed bibliophile—Ford’s novel is a dense, sometimes formidable read. But not only did Benedict, the star of BBC One’s Sherlock, work through every one of its 900 pages, he also adored it. There’s a dog-eared copy next to the fridge in his trailer when we meet.
“I was blown away by it. I still go back to it every day. Like most adaptations of books I’ve done—Tinker, Tailor, Soldier, Spy, for example—the book is the best background and bedrock for characterisation. Of course, it’s heartbreaking as well, because you read a character with as many subtle shifts as Christopher and you think, I can’t play that. But then Tom is very good at getting to the nub of it.”
Tietjens, Benedict says, is a classic stifled Edwardian. “He’s hugely repressed, but also has a massive capacity for feeling. None of it is worn on the sleeve; it’s all incredibly insular. But he has moments where he’s known to ‘let moisture flow from his eyes’, as Ford calls it, when watching a soppy play or reading books.”
It took some time for Benedict to engage with Tietjens’ stern surroundings, but once he did, he says, he “fell in love” with the period. He’s not alone. The years before, during and after the First World War have received renewed attention, with War Horse, the BBC’s adaptation of Sebastian Faulks’ Birdsong and, of course, ITV1’s Downton Abbey all offering their own takes on the time. How does Benedict explain this newfound obsession with the period?
Part of the appeal, he says, is that “there was a social structure that had to be adhered to”, from aristocrat to tenant and so on. But if that makes the former Harrow pupil sound like a raging right-winger, he’s having none of it.
“Everyone was held in their place, but what was honourable about it was that there was a duty of care from the top down. That shouldn’t be tied in with any sort of fat-faced, flatulent Cameron effort at what Toryism—horribly—is now.”
Benedict recognises that Downton itself has generated a lot of the interest in the period, too. “We’re remembering that there was a world before the First World War. We’re living in a culture now that’s revering, or having a nostalgia trip with, the beginning of the 1900s. Although Downton traded a lot on the sentiment in the last series…but we won’t talk about that series because it was, in my opinion, f*****g atrocious.”
The worry is that Parade’s End could be seen as just another drama in that mould: “There was that fear, yes. I thought, Are we pandering to a taste? But this is so much more sophisticated, so much more unusual. You rarely see a piece about this class of people that’s this accurate, funny and pointed. We’re not making some clichéd comment: ‘Oh, isn’t it awful the way there’s this upstairs-downstairs divide.’ This is about class and love, an elegy to a dying era. It’s the final mad waltz of Edwardian society into this war-game idiocy.”
“[My character] sees all that’s happening around him. He feels the unbearable pain of these interbred royal families, idiotic toffs and mind-blowingly selfish, stupid, pride-fuelled diplomats who worked on the principle that they could make treaties based on carving up lands that didn’t even belong to them in order to maintain stability and power pacts in Europe. Then they just made a complete f*****g mess of it and sent almost two entire generations to their graves.”

原址
http://www.readersdigest.co.uk/magazine/readers-digest-main/benedict-cumberbatch

其实还是有调侃的感觉吧：we won't talk about it…而且缺也没把唐顿贬得很厉害……

介只是说PE'S刚好都是事1900年，顺便聊到唐顿第二季用词不经过大脑

这事不管究竟真相是怎样的，我就想说一句话，缺，除了谈自己演过的和即将扮演的角色，少接触记者和那些的采访吧，实在闲的没事找个女朋友谈场恋爱打发时间吧，语多必失啊。

本来就是别有用心的小报借机炒作，求个关注，图个发行量的。一句话：为了钱。
了解BC的，都不会有一点怀疑。清者自清，至于唐顿那边的作为我们不清楚啥动机，但是应该也不会是恶意嘲讽。丹丹龙和BC的关系很好的，休叔也是。
至于BC的行事方式，我觉得没啥不妥。这是出名的代价，无名鼠辈说什么都没人理不是，谁来管你对错。

这本读者文摘才是原意

人红是非多啊。BC红了，他说的任何一句话媒体都会深挖硬掘，企图能拿来作文章。这是媒体的德性。不管怎样，希望BC不要被这种事情困扰。不过以后说话还是要更小心。

我缺亲铁血真汉子，嘻嘻

腐国的媒体也是这样啊

哪位有才的妹子给翻译下？刚看了一点《糖墩》，实在看不下去，没有俺的二缺呀！

最近的八卦黑缺黑得厉害。不是说他抱怨，“要搬去美国”，就是说他喷唐顿。缺真是一百张嘴都说不清，反正八卦就切最抓人眼球的部分。
因为这个我发现黑缺的人多了一些，很愤怒。

最近黑缺的怎么这么厉害····看了几篇报道下面的评论，好多骂的啊···
缺说话还是要注意点呀，自己觉得是开玩笑，一登上报纸就什么都变味了···
看到那些人的评论还是挺难过的= =

人红是非多啊！太阳报你个烂嘴巴！fucing the sun!!!!!

在神夏吧看见有人发帖说唐顿的编剧不生气了什么的，没有哪位亲有兴趣搬运一下或者是瞧瞧去？