00:03Amigos de Diario de las Américas, me encuentro con Adrian Lester, quien da vida al Capitán
00:07Adam Spencer en Mutiny, la nueva película de acción de Lions Game.
00:18Adrian, your character functions as a ticking clock, because you can either help Cole Reed's
00:25character or not. Every time you appear on the screen with a few lines of dialogue, you
00:31generate a lot of tension. How did you approach building your character?
00:37Firstly, reading the script and then imagining what the film would be like if my character
00:43wasn't there, if you can get your head around that. And then everything I think that's missing
00:50from the film, if my character was removed, becomes in a way my job description for what
00:56I have to bring to the movie when I'm on screen. So the gravitas, the presence, the fact that
01:04there's consequences for the people when we arrive. Also, we don't know a lot about the
01:11character, Cole Reed's character, in the film. And you learn that as I and my team find out
01:17about that and learn that. Then we make our assumptions as to what his intentions are and
01:23adjust our approach accordingly. So there's always this cut back to the ship to find out
01:29what's going on before you cut back to the danger, then you cut back to, and as you said,
01:32it's a ticking clock, it swings like a pendulum. And it's a device that's well used, but I think
01:37it works.
01:38Got the Intel package on Cole Reed. Born and raised in London. Father was a cop, grandfather
01:44was a cop. The film was shot in the UK and Malta. Were your scenes also filmed on a boat
01:51or on a set?
01:52It was on a boat in Malta. So we were out at sea, which was lovely.
01:59Whoa. And do you have motion sickness or something like that?
02:03No, they checked. They said, are you okay in a small cabin on a boat? Will you be all right?
02:09And I loved it. And I even went down to a little cabin where we were supposed to sit in
02:15between takes
02:16and things in between shots. And we had a bit of choppy water that we had to wait out. And
02:22so you're
02:22in this tiny cabin while the ship is doing this. And I saved this. I thought, this is great. I
02:29can
02:29actually handle this. This is fine.
02:31Investigating a human trafficking operation. So why'd he leave the UK?
02:37File goes cold.
02:38What did you bring your character that wasn't in the script in first place?
02:44Um, a more of a sense of protocol on deck. We looked into that and made sure that the way
02:50we spoke
02:50to each other and the way the officers behaved physically around me had that sense of, um, uh,
02:55protocol. Um, and just changing the odd line here and there just to make sure that things made
03:02more sense for us as actors. And so we, we, we got that done and, um, and then carried on
03:09shooting.
03:09The director was always open to a different angle or a different look or a different, um,
03:15way of doing things. He just wanted us to, you know, make sure we believed it and that it was
03:19real.
03:19It's okay. I'm here to help. I'm coming back for everybody.
03:25Mucini is a film that plays with ambiguity. We have prejudice. We have loyalties. We have
03:33a lot of things going on and also touches a delicate issues like human trafficking.
03:39What would you like the people to take away from it?
03:42Uh, well, at first we want them to be entertained. That's the main thing.
03:45Um, but having their awareness raised, but by this, uh, film about the difficult subject
03:54of trafficking and to understand that it is, it is, um, something that happens. It's not, um,
04:01it's not a pie in the sky idea. It's not invented. It's, it's real. And it's, uh, a lot of
04:05people get
04:06caught up in it. Um, that is also a good thing. And if you have something that is a serious
04:12subject,
04:12you don't always have to raise the serious subject on the news or in documentaries,
04:17you can do it as part of a narrative. Even if that narrative is entertaining,
04:21as long as it respects the subject matter itself, then it can be a part of it. And I'm,
04:25I'm glad to say that this was the case.
04:33You have extremely diverse acting background from classical theater to Hollywood thriller series
04:40and stuff. What do you enjoy the most? Like being in a theater and also being in a screen?
04:49That's kind of happening right now because, um, uh, I have to get to the theater in a few minutes
04:55to go
04:56and to go and do Cyrano de Bergerac in the West End in London, um, which is where I am.
05:02And so,
05:03uh, I am, I have done some screen work and I am at the moment doing some theater work.
05:09Um, I like the juggle. I like the way you get stretched. I like that as an actor, you can't,
05:14um, settle your, your, your skillset has to stay, um, toned and ready for ready for the work
05:21and the complexity of emotions that I get to play on, on stage that I don't have one favorite.
05:27When I do something on screen, it's frozen and it's there forever. But when I do something on
05:32stage, that's when emotional conveyance, complexity, dexterity of physical craft,
05:38that's when that all gets worked. I don't get to work all of that stuff to the heart,
05:43to its height on screen. I only get to do that eight shows a week,
05:48night after night on stage. And so I have to do both.
05:54We're about to be short on time. Make sure that Cole Reed doesn't get off that ship alive.
06:00Go and watch Mutiny in theaters. It's a wild ride. It's fantastic. The stunts are great. The story's
06:07great. And you get, uh, you get a bang for your buck. It's great.
