#you can pull off Great remakes like theyre doing in re now but to me visually thats just another Style and the og still has its own charm

[venterry]

constantly reminded that majority of people will look at older animation/3d models and immediately deem it ugly & unwatchable while it doesnt even register to me. i'll see old 3d animations and just straight up accept thats how they look, it can even be charming to me idk it just ends up feeling stale in a way when everyone demands hyper realistic graphics & lifelike animations for everything. wheres the fun in everything being the same

[toby-stephens]

MAY 2018 : TOBY NEWS

‘LOST IN SPACE’:

By May 16th, it was pretty much confirmed there would be a Season 2 of ‘Lost in Space’, confirmed on 20th by Netflix twitter.

‘SUMMER OF ROCKETS’:

Also confirmed was a new BBC 2 cold war drama, ‘Summer of Rockets’ to star Toby alongside Keeley Hawes, Linus Roache & Timothy Spall.

This six-part series is set in the UK during the Cold War period of the late 1950s, a time when the UK, like much of the world, was dealing with the threat of international espionage and nuclear armageddon.

Filming has begun in and around London and Oxford, and it will be screened sometime in 2019.

The story will be Poliakoffs personal insight into this period and is set against the backdrop of Britain testing its first hydrogen bomb.

Executive Producer Helen Flint, a long-time collaborator with Poliakoff on productions such as Close To The Enemy, Shooting The Past and Perfect Strangers, said:

This piece set in 1958, is hinged at the pivotal point of world history where the past and future are pulling in equal strength and human beings, young and old have little control over the eventual outcome.

IN TOBY’S OWN WORDS:

On “Lost in Space”:

“I think they have been very respectful to the original series, but they smashed it out in their own way.  The thing is, one cant’ be overly reverential to these things because otherwise, you’re just remaking exactly what was already made very well.”

“I think John’s just trying to find his place within this family now. The idea is that he was confronted with the situation of his family going away and him never seeing them again unless he went along. Now that he’s come along for this ride, he’s trying to find his way back into the family, how to relate to his family, how to relate to Maureen, and how to work things out.”

“In my case, why I think it is fun and why I think it works is there’s something timeless about the original idea. The Swiss Family Robinson, obviously, is the original idea of a family in jeopardy. It follows the trials of that family, but also the emotional trials of how they overcome their problems and their weaknesses, because they have to confront them and overcome them.”

“That was then taken into ‘Lost in Space’. In the first iteration of that what worked is that you’re looking at a regular family and their problems, but in this extraordinary situation. It’s hundreds of light years away from earth in a space ship and on a planet, but they’re having the same regular, everyday problems of any other family. The irony of that is that dynamic is really fun. What we’ve done is we’ve updated it, so rather than it being this pristine, apple pie, American family, its a modern family with all of its dysfunctions.”

“We know every family has dysfunctions. There is no ideal, pristine family, and the Robinsons are one of those families. Just a normal family that everybody can relate to, but it’s in this extreme situation and you still get the ironies of watching a family deal with each other and their own problems in the way every family does that you can relate to, but in this extraordinary back drop of being on a planet thousands of light years away. I think that that trend still works and its fun.”

“The only reason to do something again is if you feel that you can say something to a new generation of people and you can do it in a totally individual way. You’re just taking the kernel of the original idea and re-doing it, but for now.”

“We can’t replicate what was done in the original show. It just wouldn’t work now. The tone of it is very different although it still retains some of the fun aspects of it, the comic stuff that goes on there, the light touch. I don’t think we could repeat what that show became.”

“I think the original pilot episode is much more akin to what we’re doing. As the series went on, it became if you’ll forgive this phrase campier and campier. It was almost like a sitcom, but in space. I just don’t think that that would work now. So, we’ve made it into something that is lots more for todays generation.”

“I think it’s really great that they did a gender swap. It’s actually a genius stroke because you cannot replicate what was done with that character in the original series. But Parker Posey is such an individual performer. She brings to it her own sense of wackiness and fun.”

"That is a reflection of what the original character was, but it’s very much its own thing, and I think that’s absolutely right. If you cast a man in that part, they would feel this pressure to replicate what was done in the original series, a moustache-twirling villainous kind of thing. I think it just wouldn't hold water now and it would just seem sort of arch.”

“In other words, I think what Parker Posey does is so much her own thing, and as it goes on, you realise that it’s a much more nuanced character in that there are reasons for her being the way she is. I like that you can get the fact that she is horrible and does terrible things, but at the same time, she’s a real and complex character.”

“I don’t have any interest in doing that at all. I love earth. It’s a beautiful planet, and I think, going to Mars, although it looks amazing from aerial photographs taken from orbiting satellites and things like that, and I’ve seen documentaries about it, but I think it’s a desolate, dangerous place, filled with radiation. It would be too dangerous going there, and so arduous.”

“I think that is one of the things that we show. There is a warning to this. The idea that we can trash this planet and then move on to another planet somewhere else, that there’ll be some other Goldilocks planet that we can go to, have it and trash that one, and then just keep on moving on, its crazy. We have to look after the planet were on. I’m all for space exploration, but I wouldn’t want to do it myself because I’ve got kids and a family and the idea would be terrifying to me.”

“The planet is presented to an audience initially as, ‘Oh, it’s so great. It’s got oxygen, so they can breathe. It’s similar to the Earth.’ But then as you get further and further into the drama, you realise there are more and more hostile things about this planet that are dangerous and there are reasons that there are storms with diamonds and deserts. There are astronomic reasons why this planet is like that, which then become apparent. Then they realise that they have to get off it. This isn’t somewhere where they can just set up their colony.”

“It is aspirational to me in that it’s about people trying to be better, in the best way that American shows and films sometimes do. When it doesn’t work, its because its super sentimental and glib.”

“This is about people who find themselves in jeopardy, but also they’re in jeopardy in their personal relationships, in the way that they relate to each other, and it shows how they overcome their own problems and weaknesses. They all do that in a very real way, so I think that’s aspirational.”

“Also, one of the things in watching this, the kids are so bright and so capable, especially the girls. One of the things I would like my daughter to get from this is how strong and capable the girls are, and how intelligent they are. They’ve worked really hard to be that way.”

“It would inspire me, if I was a child, to want to work hard and to want to be like that. Look, I’m not saying that TV should be life changing. It’s entertainment, but if it, along the way, inspires kids, or reflects good qualities, aspirational qualities, without lecturing people or being sentimental, I think that’s good. I think ‘Lost in Space’ does that to a certain extent, in a way that family shows should do, in a gentle kind of encouraging nurturing way, rather than patronising.”

Source: parade.com

“When I discussed it with Zack Estrin he was like, look, this is not an apple pie family. This is a family that is full of great people, but they’re damaged here. The relationship between the mother and father is dysfunctional. They’ve padded it, and it’s in disrepair and that’s part of the drama. Are they gonna be able to figure things out? How do they relate to one another? It’s an estranged father, who’s been away fighting wars and stuff like that, and he has become disconnected from his kids.”

“It’s just not very dramatically interesting to have a family thats always kind of fine. I mean, it’s dramatic enough that they’re in this life-threatening situation, but you add to the drama by saying they don't really know how to relate to one another and there’s this whole family dysfunction that they have to work out as well. And are they gonna work that out?”

“There’s something disingenuous about them being a family that’s perfect. Not only would it be dramatically boring, but it’s also just not true. We know anybody who has a family knows that it’s not perfect and that people make mistakes. But the thing is that these people, like everyone, are just trying to do better. And I think that that is something everyone can relate to, whether you’re a kid or you’re an adult.”

“One of the things that I really love about the show is that it’s aspirational. This family, they are, they’re people who are trying to be better and do good and to survive. And so it’s very, in many ways I think its a very cognitive show. And all these relationships in the end, while they’re complicated they are part of this. And we need that kind of, I think we need the kind of show like that because theres a lot of really depressing shows out there, which are fantastic and amazing, but they’re really depressing. And this is one has a really positive message and a kind of affirming message.”

“To be able to do what they wanted to do with this show, to kind of make it as magical to kids now as it was when it originally came out in 1965  it takes an organisation like Netflix that can throw enough money at it to achieve that. The kind of wonder and the kind of adventure. The scale of the adventure that they’re going for.”

“I think what I really loved about it was the kids are really intelligent. If I was a kid watching this I would go, I want to be as intelligent and as capable as that child. Im gonna work harder in school. Im gonna really try and work hard at math. That’s great as well. So I like that, the fact that the kids, to some extent, end up helping out the adults. Its a nice dynamic.”

“The kids need that adventure and the fun. But then the grown-ups who are watching the show need to care about these people as well and enjoy the show on a different level. So we were kind of like, that part of the show is for the grown-ups. For them to relate to these people and to identify with them. To go, I know what thats like. I know how difficult that can be sometimes."

“I really love working with Molly. We actually had a lot of dialogue early on, both together and with Zack Estrin, about just figuring out exactly what their relationship was. Because when we were talking, we were both like, This marriage has to seem real to people; otherwise people just aren’t gonna care.”

Source: indiewire.com

“One of the relationships I though was really quite clever is not between Will and the robot, but between John and the robot. The fact is the son chooses the company and protection of the robot above his own father.”

Source: thetimes.co.uk

“If it’s going to be a family show, then the families have to recognise themselves through the screen. We had to present normal families, and modern families are all complicated.”

Source:  dailynewsegypt.com

“There's this sort of thing of, ‘Oh, why are they together on this thing if they’re separated?’ It’s like, If you don’t take me with you, I’ll never see my family again. So theres that reason for him being there”

Source: io9.gizmodo.com

“They sent me the script and I was dubious, at first. I said, ‘Lost in Space’? They’re reviving that?! They tried to do that with the film, and it didn’t work. And then, I read the script and I actually liked it. The thing I liked most was that they were pitching it at such a great level. It was sophisticated enough for adults to watch and really get something out of it, and yet it had this fantastic adventure quality. What I really liked about it is that the kids are intelligent and its aspirational. If I were a kid watching this, I’d be like, I want to be that bright and that capable. And it doesn’t get ridiculous. They pitched it at the right level. And I felt that Maureen and John were real people. I like the way that they were written and I liked the fact that it was a relationship in trouble. They’re trying to figure out how to get along and how to deal with not only this extreme situation that they’re in, with extreme jeopardy and the terror of that, but also figuring out how to work things out between themselves. Thats what sold me on it. They seemed to be a family that people can relate to because its not some apple pie family that just doesn’t exist. They’re fallible human beings, who are trying to be better.”

“Like most kids, they’re all completely different from one another, and they have different strengths and weakness, just like normal kids in a family. It’s about how you cope with that. All of those different dynamics that happen seemed real to me, they're just in these extraordinary circumstances.”

“It’s brilliant! It’s one of the reasons that I love doing what I do. You can do something so entirely different, not only in its context, but also in its whole feel. I had done ‘Black Sails' for four years and it was a really tough journey for me. I know it sounds slightly pretentious, but I really was wrung out, by the end, by the whole experience. It was an amazing experience, but Ive never worked that hard, in my life. There were long days with extreme conditions, filming in South Africa, and you had to go from massive physical set pieces to doing intense dialogue scenes. You’d go from one extreme, of being beaten up physically, to another extreme, of being beaten up mentally. So, when this came along and I started doing it, it was a relief to me. With ‘Black Sails’, Flints journey and options were narrowing down and it was inevitable, what was going to happen to him. With ‘Lost in Space’, it seems to be opening out. Its about people trying to survive and trying to be better people and fighting to be alive. Flint had a death wish. After four years, that was really dark. It’s just a really nice juxtaposition to ‘Black Sails’, which I miss, enormously, but it felt like I was on holiday with ‘Lost in Space’. Although, like any job, ‘Lost in Space’ had its own pressures, but they weren't the same pressures that I experienced on ‘Black Sails’.

“His relationship with the kids,  that was a wonderful journey for me, as an actor. I really enjoyed playing that. As the season progresses, the robot becomes this surrogate father and protector for Will, who’s physically frightened. The irony is that Will has this father who is very brave, and who’s gone off on done all of this fighting in war, and he’s very capable, himself, but he’s nervous and frightened. So, the robot becomes very protective of him, but at the same time, threatens John. His son has to go to a robot to get what he should be giving him, and thats painful for him. The realisation that he's missed out on an enormous amount of his kids childhood and not being there for them, and trying to make up for that and connect with them again, is a very moving thing to play.”

“Initially, John is very distrustful of the robot. It’s a real problem because you need the robot in this extreme situation, since he seems to be able to help you, but at the same time, what is this thing goes berserk? You just don’t know what he's going to do. And as the show goes on, you realise that there are more reasons for him to distrust this thing. The whole thing is a great journey. All of that is really fun to play.”

“The biggest learn for me, that I’ve never had to do before, was doing all of that spaceship acting, sitting in the pilots chair and knowing what all the buttons do. That was such fun. While you’re doing it, you’re going, What am I doing?!, and then you have to remember what you used the buttons for, the next time. Being on a spaceship, throwing yourself around, I had a blast. You have to pinch yourself, once in awhile, and go, What am I doing?!”

“Yeah, the spacesuit was pretty uncomfortable, I have to say. One of the things I most enjoyed about the shoot, because it was so refreshing to me, was working with the kids. One becomes a bit jaded. Its easy to fall into saying, Oh, this spacesuit is so uncomfortable! But when Max Jenkins is jumping around going, This spacesuit is so cool!, it’s so refreshing. It’s so refreshing to be around that enthusiasm. It’s infectious. It was so great having the kids around because it just made you realise how lucky we were to be doing what we were doing.”

“We had a little bit of rehearsal time, but it was just a little bit. Max is such an easy kid to get to know. He’s just so open, and his parents are adorable. We couldn’t have lucked out more with the children that we got because they’re really great kids. They’re really open, really friendly, really open to having a great time, and up for learning. That just makes things so much easier. Im assuming that things can go very differently. We were incredibly lucky. All of us just really got on well and working with them seemed very natural. There didn’t seem to be any process that we had to go through. It just happened very quickly.”

“Molly and I spent a lot of time with Zack Estrin, talking about their relationship. If this isn’t a real relationship and a real family than nobody is going to care. The relationship has to be real without being depressing or sentimental. It has to be something that people can relate to. Especially because this is a family show, grown ups have to watch this, so it has to be sophisticated, as well as incredibly fun for the kids. We need grown ups and parents to be able to relate to Maureen and John and their problems and aspirations. What made it really great fun for me was working with Molly because she’s such a great actress, and we have that back and forth, both on screen and off. Their relationship feels like these are real people. Whats kind of funny is that the romance of the whole thing is really them. They’re the romantic couple. You want them to figure it out because they’re good people. If we’re lucky enough to go again, it will be interesting to see where they take John in Season 2. The other thing that I really enjoyed was working with Max and exploring that relationship, which to me is very real. I spent a lot of time away from my family, filming in South Africa, so I knew what it was like, being away from your family for a long time and feeling slightly out of place when you come back into it and trying to figure things out. I could really relate to that relationship, between John and Will. My son is about the same age as Max, but maybe a bit younger.”

“Interestingly, I would say that he creates the strongest bond with his son. He works out a lot of stuff with Maureen, but the greatest distance he covers is with Will. The last four episodes are really lovely, for me. John is also a slow burn. You don’t really get to know him that well, for awhile. It takes awhile to figure out his agenda, and whats going on between him and Maureen. It takes a long time to figure him out, but once you see what he’s trying to do, the last four or five episodes are really nice. It really is a journey for him. He does things wrong, but it’s because he’s clumsy. He doesn’t quite get it right and he misjudges things a bit. He’s too tough because he’s used to giving orders to people. Hes an army guy, so it’s all about training and execution for him. He has to relearn what empathy is, and how to deal with these kids without being this grumpy soldier.”

“Yeah, my kids did come, a couple of times, and they got on really well with Max, Mina and Taylor. And Mollys son came to set. It was really nice. It felt like a very family-oriented show, and they all hung out together. It was a really nice feeling and very relaxed.”

“Molly and I were quite adamant that the stakes had to be real and the threats had to be real. As an actor, the only thing you have is your instinct and your imagination. Those are the two main tools that you use. I didn’t really enjoy putting myself in that situation, where you are the person and your kids are under threat, but you had to give it that intensity. Of course, if it was real, I probably would have died. I would have had a nervous breakdown within an hour, but these characters can manage it. Obviously, one has to imagine what that would be like.”

Source: collider.com

“I was seven years old when ‘Star Wars’ came out. That just kind of blew my head off. ‘2001’, ‘Blade Runner’. All of these, all of the stuff like that. This is the one genre I completely expected to be in.”

“The character of Captain Flint, who I was playing, was a very nihilistic character that was on this kind of tragic course toward death. So to get something so polar opposite was really fun. It just sort of ended up being the perfect antidote to having done something like ‘Black Sails’.”

Source:  indiewire.com

"The thing I admire in John is that he is somebody who knows that he has got it wrong, and he's trying to put it right. Not only for his relationship with his wife, but individually, his relationships with his children. He's trying to not only save their lives, but he's also trying to do the right thing. And I think that's what I really like about this series, is that it's something that is aspirational without being sentimental. It's about people trying to be better people and trying to do the right thing."

"I think that that's something we kind of need right now, because the world is really depressing at the moment, and things are really frightening. You watch TV and a lot of it is really depressing--and brilliant--but pretty much depressing. And I think what's nice is you can get lost in the adventure of this, but also these are people who are trying to be better. And I think there's something uplifting about watching that."

Source: gamespot.com

"Will is quite insecure, his confidence is not great”

Source:  digital spy.com

On inequality in Hollywood:

"I think the movements are great. I am a parent of two girls and I have a wife who is very passionate, and I want a change for them, my wife and for all our friends”.

"I can only sympathise with and support the movement. Change needs to happen and it is mad that it has taken so long”

"It is a correction. It is really needed at the moment. Being a parent of two young girls, I am really excited about a show that has two young girls who are represented as incredibly capable, strong, smart, and sassy.”

"It is really great that there is a show which is showing that. I am excited for my kids to watch that and excited for the whole generation of kids to watch those characters and aspire to be like that.”

"There are moments which are light. Also, what is fun is that it is taking the domestic situation essentially and putting it in space.  So, there are these situations that occur and every parent or child will recognise... They have either been through that or seen them. But it is this extraordinary situation where they are million of years away from Earth which makes it different.”

Source: business-standard.com

On ‘Summer of Rockets’:

“It’s great to be working with Stephen Poliakoff again after such a long time. I loved working with him on ‘Perfect Strangers’; he’s such a unique and original voice in British television. It’s also good to be filming something back home in the UK for the BBC. It’s been a while.”

Source: deadline.com

OTHERS ON TOBY:

Maxwell: “I’ll never forget going up on top of the glacier. My scenes with Toby where we were walking in the snow, weren’t green-screen we were on a real glacier! We had to take a one-hour and 45-minute ride on a snowmobile to get there.”

“It was cold but sunny, and Toby didn’t think of getting sun protection. The following day, he had sunburn above his eyes and under his nose, and the glass of the space suit charred half his face.”

Source: entertainment.inquirer.net