Chiwetel Ejiofor Talks Maleficent: Mistress of Evil With FlickDirect

Automatically transcribed; may contain errors.

hello Judith Raymer here with flick direct and I'm sitting here with chouet log4 today for the new film Maleficent thank you for joining us today I want to start off with the wings just the wings because I wanted my own when I was watching the film how cumbersome was it imagine part of CGI but that's part of it was actual yes very helpful to have the wings that I had on remove shooting just because they were actually a kind of guide for what the roof wings the the width of the wings in the resting position you know which is still quite big so it would be able to you'd be able to judge how far you could stand away from everybody and when you were turning whether your wings my place would hit anybody and all of this sort of stuff so that was quite that was quite useful you know not incredibly comfortable but useful have you ever had a costume requirement like that that was that imposing costume that you know the first full test I had was five hours so I haven't had a costume that was that sort of involved or kind of makeup and you know hair and makeup that is that kind of full-on great I mean I love going into the going down the rabbit hole into this kind of very sort of mystical fantasy realism yeah Mordo the master of the mystic art well that's true how do you feel about the possibility of other worlds or dimensions and creatures that might inhabit them I mean I have I've seen no evidence of it myself I do I'm sure hundred percent convinced but until then you know I'm gonna have to make do with this with this reality that we have you have an amazing array of characters and roles that you have embodied film television theater do you find it challenging to to bring something to make each character fresh and original or do you find it essential to bring a piece of all the characters you've had before does that I think it's always a combination you know which is one um you know I just think there are so many different stories and so many different ways of looking at stories really and and between every it's interesting because between every part that I play you know I life happens as well you know and you and you definitely integrate all of those things into the next part you play and so as a as a person you know what my hope is that I'm always learning I'm always on a kind of adventure myself you know and that I can somehow integrate that into every character so the characters can never really stay the same in the way that I interpret them because because hopefully I'm also evolving is there a role or a production that you haven't had a chance to delve into that you've kind of looked to having the opportunity to do so the type of character of production well I've been very fortunate in my working life you know to be able to have had the opportunity just to look at it a very large sort of array of different of different characters and different genres and different sort of styles and the work and so I guess what I'm hoping for is that for that to continue you know and to carry on exploring all of these sort of different characters in these different ways it's seen maybe it's just me but I felt like there was some political and societal relevance in the film that we have do were you keen on that when you took curtain the wrong person yeah no I definitely felt like that the the story is geared towards young people obviously and and all of their energy and vibrancy of the story and all of the kind of fantasy and and the fairy tale quality of the story just like in the first one but as in the first the first one as well you know there is there are these themes and these very kind of important themes about identity about family about community integration and segregation and all of those things that we deal with in the world as as adults but but also in this in this wonderful package you know in this wonderful fairytale thank you so much for taking the time to speak with us thank you [Music]