这篇访谈信息量很大，而且非常有趣。

Though you wouldn't know it from his patient demeanor, Max Irons is tired. The 27-year-old actor has just finished his run as Stephen Bellamy in Beau Willimon's play Farragut North in London. "He never comes off stage," he explains. "It was killer, but it was great."
Now Irons is in New York for a few days to see his girlfriend and do press for his finale of his Starz miniseries, The White Queen. "I've only known her for five months or so," says Irons of his girlfriend.
"This is the first time I've been here with her. I met all of her friends in one go last night." Was it intimidating? "It was, but then within 10 minutes I thought, ‘No, they're good people,' which is nice," he confides.

While The White Queen will air its season finale this weekend, Irons' work for the year is far from done. The actor recently wrapped an adaptation of Laura Wade's play Posh with Sam Claflin, Douglas Booth, Holliday Grainger, Jessica Brown Findlay, Natalie Dormer, and Freddie Fox.
Next, Irons will head to Ukraine to film The Devil's Harvest, followed by Keys to the Street, a Ruth Rendell book adapted by Christopher Nolan and costarring Gemma Arterton and Tim Roth (a man Irons dubs "a fucking legend").

EMMA BROWN: The White Queen moves very quickly. I thought the entire series would cover a few years at most and then within the first few episodes, you already have all of these children.
MAX IRONS: Tell me about it. Towards the end, one of them was older than I was in real life. Edward was a very fertile young man.
BROWN: Edward seems quite forgiving.
IRONS: He was incredibly forgiving. His brother and his best friend and his advisor tried to kill him and then he had them back to court, invited them back. But then again, it's the same old thing. Allegiances are so important to maintain, because without them you'd be nothing.

BROWN: Do you think it's more self-serving than it is brotherly love?
IRONS: No, I think there was a bit of brotherly love, but I think everything has a motive when you're king. It's all about maintaining that power—securing that power—and I think Edward was very skillful at doing that.
I think he was a great king. Opinions are split, if you look at what he's done and written about him. I think he was a modernizer who was a new thinker. The things he intended to do—unify the country, expand it all from coast to coast—were very modern and radical in those days.
Also, the fact that he married who he did and that he managed to deal with the consequences and ramifications of that marriage and stay on the throne until the day he died, that shows skill.

BROWN: Can you tell me a little bit about Posh? Whom do you play?
IRONS: I play Miles, who was played by Kit Harington [in the original play]. It follows two new initiates—Alistair played by Sam Claflin and Miles played by myself—into this world of the Riot Club, a fictitious take on the Bullingdon Club. They're a nasty bunch of people. The Riot Club's sole purpose is to celebrate wealth, elitism, hedonism, and excess—just random acts of destruction and chauvinism, which is interesting because our Prime Minister, our Chancellor of the Exchequer, the Mayor of London were are a part of this club.
If you think back to the riots we had in London a couple of years ago, they threw the book at these kids who trashed up a few shop windows, stole a few pairs of sneakers. They sent them to jail for three years, branded them publicly, and I quote, as "mindless hooligans." And you think, Well you were doing the same thing at a more discerning age, being afforded every privilege in life, you to have the ability to pay for the damage you caused, so hopefully, even hopefully, it will ignite that debate. Because if they ever get asked about their time in the Bullingdon Club, all they every say is, "Oh, I was young." Well, they were young—they were younger and less educated and less privileged and less fortunate in every way, and you branded them for life.

BROWN: Does it still exist?
IRONS: The Bullingdon Club—yeah, they were recently photographed out in Zambia drinking champagne and shooting.
BROWN: How wonderful. Is the club co-ed yet or is it still all male?
IRONS: Oh no, it's all male. Bullingdon would never go co-ed. I'm not going to give anything away, but there are a couple of girls involved in our story and it doesn't end well for anyone.
BROWN: Have you ever met Kit Harington?
IRONS: Yes, I have. I think he's so nice. In fact, when I met Kit Harington first, he was pretty much feeling how I'm feeling today—at a photo shoot and you've had no sleep. He was just a really nice, English, down-to-earth guy. No pretense, nothing.

BROWN: Do you have a 10-year plan?
IRONS: No, I don't. I want to keep working. I want to step away from young adult fiction. I want to do theater periodically— Farragut North reminded me how great it is. I started out in theater. I trained in theater and then I kind of fell into film and TV. I want to work with interesting artists, talented actors, talented directors, and talented scripts. Not necessarily leading roles.
If you look at the careers of Philip Seymour Hoffmann, Paul Giamatti, Meryl Streep, none of them shot up in terms of fame or fortune or recognition, they laid a platform of good, solid work and became better and better. I know I haven't done it. I've done a couple of films, which were intended to go straight up. Thankfully they didn't. So now, I think that's what I need to do. I just need to grow as an actor.
There was recently a story out that I turned down a role in a major franchise. That's not true. I refused to audition for it. I didn't get the part. I didn't even go in because I thought that the part was just a repackaged version of the parts I played before in these young adult films—sort of moody, masculine, but sensitive and all this kind of thing. It was just a repackaged, rather dull thing. I thought, No, because I might want to quit acting if I do it. There's no sustenance there. It's acting by numbers.

BROWN: Have you ever gotten stage fright?
IRONS: No. Well, it's when you're called to do things that are just you. For example, I presented an award at the BAFTAs a few years ago. I don't know fucking why, but I did, and that was a million times more frightening than walking on stage in your boxer shorts playing a character. It just is. It's terrifying. I don't know why.
BROWN: What about auditioning?
IRONS: Auditioning is a funny one. It's all about energy. If you walk into a room and the room feels off or the people feel off, that can set you off. If the room is very small. I know which casting directors I should go to, because the place is conducive to doing a good job and the people are conducive and I know the other ones aren't, in which case I send in a tape.
BROWN: Is there anything that would make you quit acting?
IRONS: I guess if everything went tits up, having no work whatsoever, obviously you have to do something else. At the moment I don't see myself quitting, but I'm open minded about it. You know those kids on X Factor, and you see them and Simon Cowell goes, "What would you do to be a star?" "I would do everything! I'm born to do this!" I'm not one of those people. I think if something were to come up that really caught my attention in life that became what I wanted to do more than this, then yeah—do it. Fuck it.

BROWN: Do you think you're born to do anything?
IRONS: I think some people are. I don't think I am. I always wanted to be a teacher. A bit of me still wants to be a teacher.
BROWN: A drama teacher?
IRONS: No. That's the only problem. [laughs] I haven't quite figured that out. I taught kids when I was 19. I went on a gap year to Nepal. I was a sort of director. These kids were 18 to 21, so a little bit older than me, but it was brilliant. It was great.
BROWN: Was it hard to establish your authority as a director over your peers?
IRONS: It fucking was, considering I was the only white guy, tall and lanky, and didn't speak their language. It took about three months of me trying to establish myself while being thoughtful, but getting a bit of respect and establish that dynamic. But then after three months it was easy. They became my friends. It was great.

BROWN: Do you think you have a thick skin?
IRONS: Yeah, I do actually. I think you have to. There are certain things that cut right to the bone, but as an actor you have to because you get turned down for things all the time. I have a friend who was told he didn't get a job because he was too hairy. I've never heard anything that bad, but you have to get used to that sort of thing.
BROWN: Surely that's something that can be changed.
IRONS: I know! Get him a razor. It's done.
BROWN: At least give him the option: "You're too hairy, if you shave—"
IRONS: "—if you shave, we'll hire you." Yeah. I'm quite surprised the agent decided to tell him that. Or just button up your shirt and they'll never know. [laughs]
BROWN: I thought chest hair was back? What happened?
IRONS: Is it back? Is it? Well I'm fucked. I haven't got a thing. I could paint them in. Transplants.

为什么杂志拍的图要那么严肃呢？
今天是Max的生日，无论如何都要开心才对。

镇楼
图帅到爆爆爆啊，那身材！！
话说衣服的图案貌似见过国内男星穿过，不过效果你懂得~~~