크리스 헴스워스: 커리어 여정과 캐릭터 변신

순진한 할리우드 꿈나무에서 창의적인 위험과 다양한 역할을 받아들이기까지 크리스 헴스워스의 커리어 여정을 살펴보세요.

### 크리스 헴스워스의 커리어 여정: 순진한 열망에서 할리우드 성공으로: 크리스 헴스워스의 커리어 여정
* 🐎 헴스워스의 경력은 **'새들 클럽'에서 수의사를 연기**한 역할로 시작되었는데, 연기 경험이 전혀 없고 촬영장에서 겁을 많이 먹었음에도 불구하고 **그 역할을 맡게** 되었습니다.
* 🌌 그는 프로젝트의 중요성을 완전히 파악하지 못한 채 **J.J. 에이브럼스의 '스타트렉'에서 조지 커크 역**을 맡아 오디션에서 촬영으로 빠르게 전환했습니다.
* 🏋 헴스워스는 '스타트렉' 이후 **토르 역을 맡기까지 여러 차례 오디션**에 도전했지만 번번이 낙방하며 작품 찾기에 어려움을 겪었습니다.
* 🏎 '러쉬'에서 그는 **예측할 수 없는 카리스마 넘치는 제임스 헌트**를 연기하며 이전 역할에서 크게 벗어난 연기를 선보였습니다.
* 🔨 헴스워스는 '토르 2'에서 자신이 연기한 토르에 대한 불만족으로 인해 타이카 와이티티 감독과 긴밀히 협력하여 **'토르: 라그나로크'의 캐릭터를 창의적으로 재구성**하게 되었습니다.
* 👨 '배드 타임스 앳 더 엘 로얄'에서 헴스워스는 교묘한 사이비 종교 지도자를 연기하며 **이전 역할보다 더 어둡고 복잡한 캐릭터**를 탐구했습니다.
* 🎭 헴스워스는 자신의 경력을 되돌아보며 관객의 기대에만 집중하기보다는 **배역과의 개인적인 유대감**과 **창작 과정의 즐거움의 중요성**을 강조합니다.

- I remember sitting in
the careers advisory office in high school and being
asked what I wanted to do when I finished school, and I said, I wanna go to Hollywood. And they were like, Okay,
cool, what's your backup? And I said, I don't have one. I just had this naive obsession about it. [plucky music] Hello, I'm Chris Hemsworth, and this is the timeline of my career. I see. - Excuse me. - Who are you? - He's on you vet, Dr. Whiteside. - Where's Dr. Martin? He usually fill in for
Dr. Judy when she's away. - Dr. Martin is at a conference. Excuse me. [horse neighing] The first thing I did was
called The Saddle Club, and it was a TV show about a community of horse riding young kids. And I came in as a vet
'cause there was a horse

with an injury. I must have been 18, 19, so I dunno how I was a qualified vet at that point, but you know, creative
license and all that. And I came in and I was so
terrified, and you can see. You can hear my voice,
is kind of way up here, everything's tense, and I'm flushed red. And I just remembered that
was an out-of-body experience, that whole shoot, 'cause
I was just terrified. It's the first time I
had to speak on camera. - What happened? - Belle's sick and has just
collapsed from exhaustion. - Look, I stand by my opinion, okay? There's nothing wrong with this horse. And I remember going home
and saying to my mom, That's it, my career's over. She said, You don't really have a career to have finished yet. What are you talking about? And I said, My future career,

the one I've imagined is not gonna happen 'cause. I remember telling my mom. I said, The show gets shown in Canada and Canada's close to America, which is Hollywood. So they're gonna see it, right? Like forget the internet and all that. [laughing] It was somehow gonna cross the border. And when I go to Hollywood or LA to do an audition, they're gonna have seen that show and they're not gonna employ me based on that performance. Man, [laughing] what an outrageous, vivid imagination. [laughing] - Did a great job with Belle. - Well, now that the splinter has been removed and the area is clean and dressed, everything's set to heal. - Thanks Dr. George. - All decks, this is the captain speaking. Evacuate the ship immediately. [speaking covered by sirens and other voices] - That's George's voice.

What's happening? I got called into J.J. Abrams' office, and there was no information about what it was for. I knew it was for Star Trek, but I didn't know what character or anything. And it was basically based on an audition I had for the lead role, who Chris Pine had played 12 months prior. And I dunno how they'd sifted through it and thought, oh, he looks a bit similar, let's get him in. So I came in, he handed me the script, and I just read through the scene, that initial scene, and I did something right. I don't know. I remember not really understanding what I was a part of potentially, which was a good thing. If I had known it was gonna be the relaunching of Star Trek and become the film it became, I'm sure I would've been a lot more intimidated. But I auditioned on the Friday or had that interaction

on the Friday, and then was
shooting on the Monday. So there wasn't a whole lot
of time for me to process what it was. There's something that
happens with young actors, and you see it with children all the time; there's just such an honesty and a purity to how they perform before
anyone gets involved. And I think that a bit
about that experience and a lot of things earlier in my career when you were just exploring. There was a freedom to
that because I didn't have a lot of time to imagine
a backstory or prep. It was just sort of like,
you're in this situation, how would you react? What emotion can you pour into this? And I feel like often at times, I'm trying to get back to that space. There's a loss of that
initial sort of spontaneity that might come earlier in your career. There was talk about me doing
the film with Chris Pine at one point.

The script was sort of put together, and then it fell apart. And if J.J. Abrams called me tomorrow and said, Chris Pine and I wanna do it, I'd probably say, Yeah, let's go for it. He's gonna be named after your dad. Let's call him Jim. [inspirational music] - Jim. Okay, Jim it is. [uplifting orchestral music] - I'd shot Star Trek, and then I had about eight or nine months where I couldn't get a job. And then the film came out, and it gave me some momentum, and I had auditioned for Thor a few times, didn't get a call back. I then had the opportunity to have another call back. Star Trek had come out, Kenneth Branagh had seen it. I do think it helped in many, many ways. And I think J.J. Abrams and Kenneth had a conversation.

The initial audition I sent
or the tape was with my mum and I, and my mum was
reading as Anthony Hopkins. So I don't know, maybe it was her read that somehow influenced
or swayed the vote there. It's unwise to be in my
company right now, Brother. This was to be my day of triumph. - It'll come. - This was like a three-day period where we both got flown
out just outside of London and this beautiful farm
homestead environment. We were all in Kenneth
Branagh's pool and having a swim and talking, and Tom and I
were chatting, just going, wow, I think this is
gonna be pretty special. And there he and I were,
two young actors going, wow, this is it, this
could be our big shot. This could be our big moment. Yeah, it was really, it
did, and that's what it was. That's where it launched
both of our careers.

and I think back to that moment
and that time period a lot. Just about the uncertainty,
the unknown, the possibilities, all of it was so fresh and
exciting and wonderful. One of the most vivid
memories I have of realizing, wow, that I think this is
gonna work, was at Comic Con. And there were two or
3,000 people in the room, and they played the teaser trailer. And at the end of it, the crowd erupted, and they were on screaming
and cheering and so on. And I really, at that
moment, went, oh, wow, I think this is gonna work. There was so much effort and hard work and anxiety about what we were doing. Are the fans gonna be happy? Are people gonna see it? Are people gonna want to see this film? To get that response and
that immediate response from an audience, which, being in front of the
camera with the crew, you don't get that. If you do theater or
you're playing in a stadium.

or whatever, you feel that. We hadn't experienced that yet. Are these your chambers? - Uh, it's more of a
temporary living situation. Oh, I'm sorry, I don't
usually have guests. [cans rattling] Actually. I never have guests. - Hey, what is there? - What? - In the lake, right there? - Oh, come on. - No guys, I'm serious, right there. There, there. It looks just like my girlfriend. [girl screaming] [water splashing]
[Chris laughing] I remember understanding
what the archetype of the character was. He was the jock, essentially. And I thought, okay, cool. I know what that looks like and
I had to inhabit that space. And then there were, I think,
some improvisation there done, but also we had a script and it was more about taking direction from Drew Goddard and I think he wanted to see,
can I ask you to do X, Y, Z?

Can you follow those instructions? Da, da, dah, and are you collaborative and whatever? And I just hit it off with him in the room, and we had a great discussion about the character, about why this individual may be this way, what's his experiences, et cetera. And we tried the scene in a number of different ways, and just an incredible storyteller. One of my favorite writers at the time, just you could see the creativity pouring outta him, the excitement he has about the world, the excitement he had about this character, and the places we were gonna explore. The enthusiasm, I remember very vividly. It struck me about him, and I thought this guy's gonna, he's gonna be a lot of fun, and he certainly knows where his creative compass is pointing. [laughing] I'm coming back with cops and choppers and large fucking guns, and those things are gonna pay. For Jules.

[dramatic music] [rock music] [nurse speaking indistinctly] - Hello, I think the
racetrack telephoned ahead that I was coming. Hunt, James Hunt. I really wanted to work with Ron Howard. I started to do some
research about the world and this character, and
immediately just fell in love with it. I think Ron Howard's first response was, Oh, the guy from 'Thor'. He's not right. And which was understandable because I was 220 pounds in that film, and for a race car driver, I needed to be probably 185 pounds. By the time I had done this tape, I had lost a bit of weight,
but knew I could lose more. I think he said something about the accent and the charisma, and the
cheekiness came through. And then that was kind
of the guiding light for the character for me. There was a sort of a youthfulness to him, which I had to tap into and stick with.

It's great because it's about
the unpredictable nature. I think that's the most exciting
stuff to watch on screen. It's often the most
exciting characteristics that someone can have in real
life where you interact with. It's exciting to watch. You don't know what they're gonna do next, there's something very
spontaneous and fun about that. And yeah, I guess that's
what I meant by not being able to pin him down in
one sentence because he was many different things
on many different days. And that, again, just allowed
us to have a very rich, layered character that wasn't
two-dimensional or expected. - [Man] What are you talking about? You did it! - Did what? - Jesus, you crazy bastard. You came third, you got the points. You're champion of the world. - [Announcer] James Hunt. - As first mate? - Mm hm. - Mr. Mason, you promised
me command of a ship

after my last voyage when I
brought you back 1,500 barrels, do you remember? You gave me your word. I think because Rush was
something I was so proud of, and he'd been able to pull
out a performance of me that I hadn't done elsewhere, I wanted that opportunity again
because of the collaboration. And when I handed in the
script and his response was, Wow, I love it, I'd love to do it. Obviously and off we went. Someone of his level and
talent and experience sees something in it, then let's go for it. And again, very different
world, very different character than I had inhabited before. That's what it's about. It's about kind of pushing yourself in these different
directions, taking risks, not repeating the same
thing over and over. And this was a vehicle for that. I think that the real,
kind of final ingredient that was right between action and cut.

or right before action is Ron,
will throw me an idea or ask a question of me, and I don't
have to answer it right there. I'll just roll camera
and I allow that to come to the surface of the
interpretation of the character. And that's all great directors. They ask questions of you
to force you to think deeper and look at it in a different
way, as opposed to saying, this is the answer, this is what it is. Because then you're kind of
puppeteering to an extent, or you're trying to hit
someone else's target as opposed to it being
a truthful expression of your own experience. - It's clear that full disclosure
will have ramifications, terrible ramifications,
for the whole industry, that a whale brought down the Essex. - But it's the truth. [crowd cheering]
[Hulk screaming] Hey, hey! We know each other. He's a friend from work. I wasn't stoked with what
I'd done in Thor 2.

I was a little disappointed
in what I'd done. I didn't think I grew
the character in any way. I didn't think I showed an audience something unexpected and different. And then when Ragnarok came along, out of my own frustration
of what I had done. And this is not on any
other director or anyone; this was my own performance. I really wanted to break the mold. And I said this to Taika,
and I think the conversation we had was, I said, I'm
really bored of Thor. And he said, Yeah, I'm
really bored of Thor, too. And then we decided not to be bored, and any time that feeling came into play, we'd go in a different direction. And so we just dismantled the character. We wanted to have him be a
little more unpredictable. We wanted him to be in a
different set of circumstances than he'd been in before, and also have the humor come through.

I had a great relationship
with Taika, and we had a great sense of humor and banter with us. And I thought, let's make sure
we cram that into this space. And the character he played
of Korg then was there. So it was kind of a lot of
it was him and I improvising, and him and I as our most
truthful version of ourselves. - Allow me to introduce myself. My name is Korg. I'm kind
of like the leader in here. I'm made of rocks, as you can see, but don't let that intimidate you. You don't need to be afraid,
unless you're made of scissors. [Korg giggling] - Sometimes it doesn't work. You have to keep kind of
reigning yourself in and bring it back to the truth of
the moment and what is it? Does this serve the greater story, not just this individual
gag or this individual joke? And that's a real trapping
I find with improvisation.

especially in this sort
of comedic space is you just get caught in sort
of doing skits [chuckling], and they can be really funny,
and everyone can laugh on set, and then you watch it in
its entirety with the film, and you go, oh, it's funny,
but what are we saying? What's the purpose? What emotion is it driving ultimately? And you have to take risks; you don't know that as you're doing it. And some of it works, some of it doesn't, but I find it incredibly freeing. I find you're able to
shake out all the creases, and it just becomes a lot
more fluid than when there's a back and forth between you,
especially when it works, when you and other actors
are in sync, and there is this beautiful sort of bat
and ball game occurring. But I just love playing the character. I love the journey I've been on with him, not only as Thor, but just my life.

The two have been side by
side for 10, 11 years now, and have both crossed over
into each other's world from time to time. Being able to work with Taika again. I dunno that I would've done another one if Taika hadn't said
yes. He was gonna do it. And he had written this beautiful
script, which was a wacky, crazy, romantic comedy set in space, and that I hadn't seen before. And I thought, cool,
I have a way into this, and it sounds like a lot of fun. - You're Banner's friend. - I'm not Banner's friend, I prefer you. - Banner's friend. - I don't even like Banner. I'm into numbers and science and stuff. So I'm guessing you're Father Flynn, which makes the dead guy,
Laramie Seymour Sullivan. And you, Miss, must be Darlene Sweet, hm? That was a really interesting one.

I think I said yes to that before I'd even read the script, based on my relationship to Drew Goddard and my love of his storytelling. There was a lot of danger and unpredictable nature to the character, but a very twisted individual too. And trying to dissect that and understand, well, okay, how does he get to this place? What are the experiences that have come before? And what is it that he's trying to achieve? What is it based on? And then so much of that guy was ego. Everything was sort of sexualized, and everything was about control and dominance, and very awful traits. Amazing script and dialogue that we were able to use and chew into, and everything he was doing was about intimidation. And he's trying to dissect information, but is very manipulative, and it was kind of fun. I'd like to think I speak to everyone on the set. We were kind of laughing in between takes going,

This guy is a narcissistic creep. It was just. This is what's fun about
playing characters. You get to dress up as an
individual and do some strange and odd things, which
don't hold consequence. And he was sick and twisted and so on, but there wasn't anything that
went too far into the realm of something that I might
have carried home with me. I think the energy of the character, I would carry a bit with me. There was a sort of frenetic,
sort of unsettling vibe to him, which I definitely would have to shake out at the end of a day. And even when running
the lines and rehearsing, it was like, oh, there's a
real twisted tension here, which was interesting to tap into. I was shooting in Vancouver
and my wife was back in Australia, so she didn't
have to look at me too often, which was probably a
good thing. [laughing] - Really?

Where's a girl like you get all this kind of money from, huh? - I earned it, singing. [Chris chuckling] - Yeah, she seems nice. - You like that word, but no, I mean, how attractive is she? - Why, Steve? Can't see for yourself? - Heather, can you shut up, please? I'm asking Jeff. Jeff, how's she looking? - Come on. - On a scale of one to 10? The appeal was something
I hadn't done before, a world I hadn't been a part of. And this script was new
and fresh and unique, and I saw a way into the individual that I don't think
initially was on the page. I saw something else there. I saw a very manipulative
charisma that he would use to his advantage to move
the pieces of the puzzle on the chessboard to achieve
whatever he wanted to achieve. And he was sort of a mastermind of that.

Highly intelligent, but inability to really feel empathy. I think, but also enough intelligence to understand he might be missing that component in his emotional makeup. And that was really fun to play with because it made for a very dangerous character. You're not sure what he's gonna do next, and he's doing it with a smile. I wanted there to be an intrigue with the character and an interest, but also a danger. And it was very much like a play and very refreshing for me coming off either Extraction, full of action, or Thor, full of action and special effects and so on and big, heavy costumes. This was like casual sort of outfit, just you and the actor or the actress and the crew and that was it. It was a very collaborative, family setting. I think I was, for a lot of the films I've done, trying to work out what an audience wanted and do they wanna see me in this or that?

I've now just tried to simplify it and go: does this speak to me in some way? Do I have something to
say as this character? And will it be an enjoyable
experience, and one that if I'm gonna be away from
my family and my kids, it better be worth it and
just keep it in that space, not get too caught up in the
larger orchestration of it. Because then it takes it away
from the creative journey, and I think some of the
purity is lost in that sense. So just keep it simple.

Chris Hemsworth Breaks Down His Career, from 'Thor' to 'Spiderhead' | Vanity Fair

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크리스 헴스워스의 할리우드 진출 여정

크리스 헴스워스는 할리우드 진출에 대한 순진한 집착과 자신이 어떻게 발견될지에 대한 생생한 상상력을 가지고 있었습니다.

첫 TV 출연 이후 두려움을 느끼고 자신의 커리어가 끝났다고 생각했지만, 당시에는 이 영화의 중요성을 충분히 이해하지 못했던 그는 결국 스타트렉의 재개봉 오디션 기회를 얻게 됩니다.

크리스 헴스워스의 초기 연기 경력 및 주요 성과

크리스 헴스워스는 초기 연기 경험의 자발성과 솔직함, 그리고 그 느낌을 되찾고 싶다는 열망에 대해 회고합니다.

그의 경력은 스타트렉에서의 역할로 크게 향상되었고, 이는 토르에서 획기적인 기회로 이어졌습니다.

이 배우는 코믹콘에서 관객들의 뜨거운 반응 속에서 토르의 성공 가능성을 깨달은 순간을 생생하게 기억하고 있습니다.

다재다능한 배우의 협업 프로세스

이 배우는 배역의 운동선수 원형을 구현하고 즉흥적인 기술을 선보이며 감독과의 협업을 통해 캐릭터를 구축했다고 회상합니다.

또한 예측할 수 없고 즉흥적인 캐릭터를 스크린에서 연기할 때의 즐거움을 강조하며 색다른 영화 역할을 위한 자신의 변신에 대해 이야기합니다.

론 하워드와 함께 작업한 배우의 경험과 피드백 및 자체 연구를 바탕으로 캐릭터를 구체화하는 과정도 강조합니다.

영화 속 캐릭터 진화의 동기 부여

영화 "러쉬"의 콜라보레이션에서 볼 수 있듯이 배우들은 자신의 한계를 뛰어넘고 같은 연기를 반복하지 않으려고 노력합니다.

성장과 예측 불가능성에 대한 열망은 '라그나로크'에서 토르 캐릭터의 변신으로 이어져 틀을 깨고 더 많은 유머를 불러일으켰습니다.

이 과정에는 감독과의 긴밀한 관계와 즉흥성에 중점을 두어 캐릭터와 스토리에 충실하고자 하는 목표가 포함되었습니다.

크리스 헴스워스가 말하는 다양한 캐릭터 연기의 자유로움

크리스 헴스워스는 다양하고 도전적인 캐릭터를 연기하는 것이 놀랍도록 자유롭고 유동적이라고 생각합니다.

그는 위험을 감수하는 것의 중요성과 뒤틀리고 예측할 수 없는 인물을 스크린에 구현하는 기쁨을 강조합니다.

그는 강렬한 역할을 연기하면서도 하루가 끝나면 캐릭터와 자신을 분리할 수 있는 능력을 높이 평가하며, 그 경험이 흥미롭고 재미있다고 말합니다.

새로운 캐릭터 발견하기: 독특한 관점

이 배우는 교묘한 카리스마와 공감 능력이 부족하지만 위험한 음모를 품고 있는 캐릭터를 신선하고 독특한 각도로 접근했습니다.

이 역할은 액션으로 가득 찬 그의 이전 영화에서 신선한 변화를 가져왔으며, 보다 협력적이고 가족 중심의 작업 환경을 제공했습니다.

접근 방식을 단순화한 그는 이제 역할이 자신에게 맞는지, 즐거운 경험을 제공하는지에 초점을 맞추고 있습니다.