On March 4, Gary Oldman brought home the Oscar for Best Actor. And the star doesn't mince his feelings on the accolade. "I am fucking delighted," he cries. “No complaints from me."

It seems criminal this may only be a first Academy Award win for the 60-year-old actor. Gary Oldman made his mark playing extreme and often deranged characters and was, for many years, one of Hollywood's most celebrated villains. There was no-one better at giving depth to drooling psychos (The Fifth Element, True Romance) twisted cops (Leon: The Professional, Romeo is Bleeding) or manic artists (Sid and Nancy, Prick Up Your Years). But in the 1990s, the man whose very persona reflected the tough south London areas where he was raised, decided the time was right for a change, both professionally and personally. He gave up drinking, redefined himself as a skilled character actor, and found a measure of inner calm that had long eluded him.

And now, two decades on, it remains. Except now, there is a renaissance in the air, and at the dining tables of Oscar judges. Rightly so, no one could ever have imagined that Oldman would one day deliver his greatest performance as Winston Churchill, one the most important figures in British history. Sid Vicious as Winnie? Unthinkable. But in Darkest Hour, director Joe Wright’s account of Churchill’s leadership, a riveting account of Churchill’s momentous defense against German forces in WWII, Gary is brilliant in his unrecognizable performance that has critics calling it the greatest depiction of the greatest of British leaders.

Oldman’s outlook on life may have changed over the years, but his philosophy is the same: to acquaint audiences with new ideas and different perceptions. In this case, it was usually grumpy, cigar-chomping caricature of Churchill that was to be reimagined.

Looking very distinguished and chic in a dark suit and black-rimmed glasses, his hair and goatee flecked with gray, Oldman is in high spirits. Turning 60 this past March, the former renegade actor and bad boy of British cinema has scored the greatest triumph of his lauded career. He was touted to win the Oscar as far back as September when Darkest Hour first premiered at the Toronto International Film Festival, and ever since it seems as if he’s been on a well-earned victory tour in support of the film.

Today he’s full of humility, while his accent and appearance offer a curious blend of a comfortable, luxurious life that was constructed on the gritty, ruthless, unforgiving concrete of 1960s south-east London.

Ironically, Oldman almost balked at the prospect of playing Churchill, a man who will forever be inscribed in the popular imagination as a fabled orator, statesman, and politician. Deliberating over the role – and not just because of the grueling four-hour makeup and costume process that was undertaken for 48 consecutive days— Oldman had to reach into reserves of courage not plumbed for several decades.

Certainly, Oldman ranks at the top of his profession in terms of his chameleonic capacity to utterly transform and otherwise immerse himself into a wide range of screen selves. Once he decided to distance himself from his rogue’s gallery of renegades and evildoers (perhaps most notably his sniveling Lee Harvey Oswald in JFK), the working-class actor has succeeded in rebranding himself over the course of the last two decades by playing good guys.

Younger audiences are far more aware of Oldman as Commissioner Gordon in the Dark Knight trilogy, the fugitive Sirius Black in the Harry Potter films, and, most recently, as master spy George Smiley in Tinker Tailor Soldier Spy.

Last August he married his fifth wife, Gisele Schmidt, an art curator, and at this point in his life, he appears to be eager to fully exploit this renaissance period in which he finds himself. Sitting opposite Gary there is a brutal honesty in his eyes. You can sense an inner calm as well as a burning desire for artistic accomplishment. And yet, through all that, small fragments of insecurities remain.

In 2018, he intends to direct his second film. It’s been over two decades since his debut project the turbulent 1997 family drama Nil by Mouth, a semi-autobiographical account of Oldman’s working-class upbringing and life with a brutal, alcoholic father.

Born in New Cross, his father Leonard was a former sailor who worked as a welder. His mother Kathleen, who ran a boarding house for youngsters coming through the ranks at Millwall Football Club, supported the aspiring actor and sister Laila Morse – best known for her portrayal of Mo Harris in “EastEnders” – until he got his first job, in a sports shop, at the age of 16.

“London changes so quickly, and it was a very different place for me growing up there,” he says. “In a way, it’s lost a lot of that raw edge that it had, particularly around where I grew up. I’m not sure that’s such a bad thing, but the transformation has been incredible, and we will never go back to that version of the city,” Oldman says.

For Oldman, Hatcham Park Road in SE14 remains, as does the Five Bells pub where his father used to drink. Whether Leonard’s departure from the family set-up, back when Oldman was seven, influenced the future actor’s attitude towards characters and hierarchy is unclear, though he admits to being more comfortable easing into traditional leading man roles. His current profile is that of an elder statesman as opposed to his former status as a renegade actor who inspired many in his wake, Tom Hardy, Ryan Gosling, and Michael Fassbender included.

When asked to comment on the legacy he has left for a rising generation of actors, Oldman has been characteristically modest about his influential standing as a latter-day Brando or Dean.

“I don’t really look at old work,” Oldman said. “Occasionally there’s a role you played, you didn’t really give it much of a second thought, and then someone says it meant something to them. I saw you in that, and that’s when I wanted to become an actor! I’m always flattered and mystified,” Oldman says.

“With the roles that are more emotionally physical, they might be great characters and great scenes to play, but I would always have a cloud over my day. You get to the set; you do makeup, then you’re in the trailer waiting for that knock on the door: They’re ready for you on set, and you get there and hope that the reserves are full - whether you need rage or tears or whatever it is,” Oldman says.

STRIPLV: Becoming Winston Churchill, how would you describe that journey?

OLDMAN: A joy, and a torture. Equal measure [laughs]. I mean, no, the process was an arduous journey to get into him, finding all those moving pieces and putting him together but when you did, what a joy. What a pure joy! But it’s a joy to me with every role I’ve played; I like to call them my strange friends [laughs]. There’s a climatic resonance after long preparation and a fraught, challenging odyssey you suddenly find yourself standing in front of the mirror, seeing the character looking back at you. And to see Winston looking at me, not just within the magic of cosmetic trickery or posturing, to locate the spirit and breathe life into that and see it with your two eyes is really extraordinary.

STRIPLV: Did you go full method?

OLDMAN: I don’t go fully to the other side, but I feel like it was Winston Churchill channeling me. Ben Mendelsohn said it’s like there’s this membrane of Winston there all the time. And my wife said to me, which I loved, “I go to sleep with Winston Churchill, and I wake up with Gary.”

STRIPLV: When was the moment where you felt like you truly got him?

OLDMAN: Somewhere along the way, I can’t quite pinpoint when during the year of preparing myself, but I found Winston. I found his cherubic musicality, somewhere through the research, the transformation, I saw beyond the curmudgeon shuffling round in his slippers, pulling on his pipe, born in a bad mood. I watched footage of him for a year, longer, and I found the childlike light within. I found the sparkle and the twinkle in the eye.  The 60-year old man who skipped around like a 20-year-old, a man more than half his age. Skipping around. It’s far from known. Once I found that energy, it never felt like I was trying. A lot of the shooting of the film, I honestly can’t remember, because it became so unconsciously natural to me and freeing. It’s when I could feel him close by, in my blood and DNA.

STRIPLV: To turn into Winston, how long would that take each day?

OLDMAN: Three hours and 15 minutes, give or take. And then to get into costume, you were looking at four hours in total. And this was 48 consecutive days! Forty-eight consecutive days, getting up at 1:30 a.m. to be ready for the rest of the cast and crew by 6 a.m. Whom I’ll add, never saw me as Gary throughout the entire shoot, just as Winston.

STRIPLV: How was that?

OLDMAN: Well when we were done by the end of the day, these were 10, 12 hour days, they’d all be done and go home. And I have to stay for an hour behind getting it all taken off. So realistically, it was probably an 18 hour day altogether for two months, and I got a little worried whether I could keep this going because it required a lot of stamina.

STRIPLV: What were you wearing to create Winston’s bulk and did you try to put the weight on first?

OLDMAN: It was basically a fat suit. (Laughs) There’s not really any other way of describing it, other than a fat suit. And I’ll tell you why I wore a fat suit and didn’t go all De Niro Raging Bull; I’m 60 years old. I’m too old, and not able to pile on 70 pounds or whatever it would take to present Churchill as he was, with the neck and the jowls, it’s not good for your health. Out it whatever way you want, it’s for the realistic intention of the performance. I’m not putting my health at risk. (Laughs) You’re at the age where your liver, your kidneys are vulnerable; they can’t undergo severe stress like that. But Kazuhiro Tsuji was my savior.  We’d known each other for 20 odd years when I was supposed to do Planet of the Apes for Tim Burton, but that didn’t happen. But I worked with Kazu on that; I had an ape head made up, I was going to be an ape and his work with me, with Men in Black, with The Nutty Professor; he was the only one who could help me do this. The problem was, he was retired. So it took a lot of flattery and compliments and more flattery and a lot of begging and pleading— lots of pleading— and he eventually came round.

STRIPLV: Did you feel like this job and all the makeup et cetera was more than you could chew?

OLDMAN: I will tell you honestly, I loved it. I loved every minute. I was gripped by the process, seeing Winston born on my form, it was breath-taking. An hour into the process, I could see glimpses of him staring at me. And I’m going to say, and it may make no sense to an outside observer, but with the fat suit, with the padding, the make-up, the prosthetics, I’ve never felt freer in a character. Isn’t that weird? I find immersing yourself in that guise, very liberating.


OLDMAN: It’s like listening to yourself on a tape recorder; no one likes to hear that. I don’t like to see myself, I’m very used to that, and it pleases me no end to not recognize that form, to not know who I’m looking at. To not know that’s me. It’s a hard one to explain, but I gave my best attempt. Probably all part of why I got into acting in the first place, that love in the theater of transforming into another person. It’s marvelous. I’ve always enjoyed being another character instead of being myself.

STRIPLV: Why’s that?

OLDMAN: I’ve always had an issue with how my appearance, how I look, my presence. A lot of actors feel the same; it’s why many of us do what we do.

STRIPLV: Is there a reason why?

OLDMAN: Nothing in particular, perhaps it’s a remnant of playground teasing. Just an uncomfortableness.

STRIPLV: Did you ever think, why did I accept this job?

OLDMAN: I think that was the big fat pink elephant in the room. How was I going to pull this off? Aside from the mountain of portraying one of the most important figures in British history, arguably the greatest mythologized, who’s ever lived, how was I going to achieve this? I wanted to say no. I mulled over it, a lot of pensive soul searching. Once that seed was planted, I had to say yes. This was once in a lifetime; I would never get a chance like this again. I listened to some of his speeches, over and over, learning the gravitas of his timbre. And then I recorded myself on my iPhone giving it a try. There was something there. Something worked. And it was really my wife Gisele who said to me, this was the clincher. “Are you really going to give up this opportunity to say those words? You’ll always regret it.”

STRIPLV: It’s difficult to imagine Gary Oldman scared.

OLDMAN: Lately, I think fear has become the central core of my own process in accepting any work and perennial concern that I won’t be able to do it. What can I say? I’m an actor who’s overwhelmingly insecure. (Laughs)

STRIPLV: Why is that?

OLDMAN: On the whole, I’m incredibly blessed, very fortuitously in my line of work and I will never say other. But with the ups, big ups like this movie, this moment, there has been work that I had to do for just the check because I was raising my boys by myself, I was a single dad. I had to be there for them. I couldn’t be leaving for months at a time to shoot in Romania or South Africa, so I had to say no. I was a dad who needed to be a present dad. So that’s what I did, I took jobs that meant I could be at home for the school run, to be there to pay the mortgage. Maybe not my finest moments but I had responsibility over anything else.

STRIPLV: So, do you have regrets over certain movie roles?

OLDMAN: Absolutely no regrets. Never. What’s the point in regrets? It’s a waste of time.





By Jack Wellington

With the current toxic political climate in America, The Post couldn’t be more relevant. A sharp, fast-paced retelling of the Pentagon Papers and the dilemma faced by those at the Washington Post, including editor Ben Bradlee and publisher, Kay Graham, it’s a simple reiteration of the Trump administration’s constant assault on the press – or as the president keenly likes to refer to it “fake news.”

Star Tom Hanks, who plays Bradlee in the film, agrees with the stark relevance.

“It’s as simple as making a movie based in 1971; we may as well be making a movie about what’s happening right now. All this time goes on, and nothing really changes.”

As Bradlee, Hanks delivers another tour de

force performance as a newsman pushed to the edge. As a movie star and two-time Oscar-winner, he’s a tried and trusted brand. One of the biggest box office draws in history, his image and views are all part of a carefully constructed business, one he’s not necessarily willing to tarnish by outwardly bashing the Trump administration.

But an ever-savvy media presence, the 61-year-old knows how to land a silent punch.

And in an interesting chat, the star delivers his withering take on the current presidency without getting his hands dirty-like only a true pro knows how.

Friendly and warm, Hanks discusses the freedom of the press, the cornerstone of democracy and why the truth is a powerful entity.

He also chats with us about working with Meryl Streep for the first time, the role of women in Hollywood and why he has finally turned his back on technology.

Hanks lives in LA with wife Rita Wilson. They share two children, Chet, 28 and Truman, 22. He also has two older kids, Colin, 41, and Elizabeth, 35, from his first marriage to Samantha Lewes.

STRIPLV: So you met Ben Bradlee. What was he really like?

HANKS: I met Ben and (wife) Sally for drinks, for cocktails and dinner with Nora Ephron and he’s exactly as you see him up there. Succinct, precise. Scintillating. There was no such thing as a casual conversation with him. It was exactly like his work, like his memoirs. He was genuinely sincerely interested in everything. And he was the quintessential, quote unquote newsman who loved the job and loved and lived for the business, and for the truth. His job was to find the truth, to put it out there and let people decide. Simple and clear. I remember meeting him; he said to me, “Tom, I always said, you gotta make sure what you put on the front page is the truth. Because if it isn’t, you’re going to be tasting it for a long time. And it doesn’t taste nice.” That had a powerful resonation. His passion for the truth, to go deep and discover the truth hidden deep underground in these secret vaults, putting it out there and on the record. The truth is what makes us great, the access to the truth, which is at the cornerstone of our democracy. The Nixon administration tried to alter the first amendment, the first point put down on paper by the founding fathers, and that’s monkeying around with our constitution.

STRIPLV: The liberal drive-by media is riddled with fake news. What’s your take on it?

HANKS: What the current administration is doing is maybe subtler than what happened to The Washington Post back then, because if they were to attempt to shut down, if they were to attempt to silence an organization today, it would be total consternation. What the current administration is doing is far more insidious in its assault. It’s putting the idea out there, that these are not the truths, and diluting the waters. It’s muddying the waters by delegitimizing the truth, and this is why when telling the truth in this form, there cannot be a sliver of question, a sliver of doubt. It has to be concrete and entirely encased. Because if not, it gives those opportunity to cease upon that and run with it. So journalism has to get it right. Because if you get it right, you can’t argue with, you can have a different opinion, but you can’t argue with it. The difference now is lies, and marketing and falsehoods exist side-by-side with the truth, promoting the adage, you can’t believe everything you read. And that is true beyond doubt. But there are also many things you must believe; you have to believe. There’s a lot of lies out there, that’s nothing new, there’s always been fake news, but the truth stands tall. And standing in the way of that truth being published and disseminated to a wider audience, which is a violation of democracy, that’s the center of this story.

STRIPLV: The timeliness of this movie is uncanny, the battle between government and press.

HANKS: It’s always going to be topical, isn’t it? With every administration, there is always a gauntlet laid down between Congress and the media; that will never change. It’s a constant tug of war. Obama experienced it, so did Bush, so did Clinton, now the current. (Laughs) There’s this push and pull between church and state. And yes, right now the press is under siege. We’re in the middle of a period in history where reason is being pummelled in a colossal assault never witnessed before. But the truth in its purest form is a powerful entity. This movie is timely not only in politicians lying and concealing the truth in order to curry favor, but also the position of women fighting for their position in the workforce. Issues that could not be more in the forefront of our public and individual consciousness.

STRIPLV: Did it allow you to reflect on the earlier stage of your career, when the fight for women’s rights in the workplace was beginning to intensify and how that reflects on today’s battle? And how can things finally change in Hollywood?

HANKS: I’m coming at it from a different angle, where there’s my own perspective on it because I have had many brilliant, direct, no bullshit bosses in Penny Marshall, Amy Pascal, Nora Ephron, Stacey Snider. I’ve had the good fortune of working for these women who have given me my break in my career, who have steered my trajectory. But simply put, there needs to be more women in these positions of power based on their meritocracy. When that happens, it will shift and displace the current imbalance and disorder plaguing industries. Parity at the top will change that. There’s a lot to be said, a lot of hope and optimism pinned on the millennial generation. From my personal experience in my own home, they are the generation who have grown up with an intentioned adherence and awareness of equality and moving forward; I see how their attitude will shape the state of the world and society for the better. I believe their generation interprets events, the events of today very differently from older people.

STRIPLV: Speaking of women in power, Meryl Streep, how the hell is this the first time you are both working together?

HANKS: It’s because I can’t sing or dance. If I could, we would have done Mamma Mia. I auditioned but was coldly turned away.

STRIPLV: Were you really?

HANKS: No. (Laughs) But you clarified that. (Laughs)

STRIPLV: I read you said she was “high maintenance.”

HANKS: I stand by that! What a nightmare. (Laughs) I’m not going to say diva but, draw your own conclusion. What I learned from working with the greatest talent ever committed to celluloid is she does it just like everyone else. She carries trepidation, nervousness about how it’s all going to work. She actually chastised me for not forewarning her that Steven doesn’t do rehearsals. And inherently chasing an undiscovered timbre within the script, sitting down with her to do that, I learned Ms. Streep does it like everybody else does and unlike anybody else can. What am I saying, she is the greatest actor, her work stands for itself. Nobody can touch her. The intimidation factor is real. I half thought I thought trumpets would announce her arrival every day. Little let down if I’m honest. (Laughs)

STRIPLV: Has this film made you see the media in a different light or how you absorb your news?

HANKS: It didn’t but then I recently altered how I receive my news by turning away from digital and relying solely on print. I need tangible, physical copy in my hands because only then can I hone my attention on something pinpoint.

STRIPLV: Why, when it’s the “way of the future” and all that?

HANKS: Well I had every app, every news update bombarding my phone, my computer, and they are constant. And because of the volume coming at me, I never read more than headlines, more than a quick scan. And therefore, missing the point, missing so much. So The New York Times, cover to cover, every morning. It used to be my morning ritual, technology interfered, and now, I have thankfully gone back. It works for me. I would prefer to be more informed about particular news events, fully informed, rather than knowing about everything but having a shallow understanding.




By Brittany Santos

When Alicia Vikander began her journey to gaining four kilos of pure muscle and becoming Lara Croft, good pal, and fellow Swede, Alexander Skarsgard was her ‘gymspiration.’ “I told my trainer I wanted to look like Alexander in Tarzan,” she giggles cheerfully. “He was my end goal.”

The pap shots of Vikander, alongside new husband Michael Fassbender, on a boat in Ibiza reveal her abs of steel, clearly showing the Oscar winner achieved her end goal. But will that be enough to please loyal fans of the Tomb
universe, many resolutely loyal to Angelina Jolie’s previous efforts as the video game vixen? Vikander appears optimistic, and breathtakingly stunning as always.

With a dark purple shirt hiding the fruits of her gym effort - although she claims it’s more or less gone - the actress is understated, yet glamorous. Her light chocolate locks hang loosely past her shoulders while her dewy olive complexion and dark oval eyes cut a dazzling effect. She’s warm and chatty, but a glacial underlay is always present. And ever consistent, she remains steadfastly rooted in her desire to keep married life and all its details firmly under wraps. When it comes to Lara however, Vikander is entirely forthcoming, especially regarding her nerves for the upcoming big bucks epic which could make, or break, her fledgling superstar career. But the 29-year-old is keen to distance her version from the Jolie vehicle, claiming her origin story is an entirely untapped chapter in Croft’s life and will set the new movie on a different plane from its predecessors.

In a fun chat, Vikander talks about her reluctance to sign on and why Jolie is an inspiration. She also chats working out, Wonder
, plans to direct, feminism, her Oscar and social media.

STRIPLV: Your career keeps gathering momentum with the Oscar for The Danish Girl, your Bourne film, and Light Between the Oceans. Now you’re starring in Tomb Raider. Playing Lara Croft, she’s one of the first feminist icons in video games and then Hollywood movies, to have an action franchise revolve around this bad ass; I assume a large part of the appeal for you?

VIKANDER: Yes, absolutely. I played the games with friends of my parents’ children, on their PlayStation and then grew up watching Angelina in the movies. You know, we know that video games are a very male-dominated world to have a female protagonist in this way was so intriguing to me.

STRIPLV: Is it important to you to play strong-minded and determined women?

VIKANDER:  If possible, yes. I feel drawn to characters who have a lot of willpower and spirit, and I like to be able to go on a journey with them. The most important thing is to find a good project and make a film that you will enjoy being part of and create something that the audience will enjoy.

STRIPLV: Taking this on, were you concerned or are you still concerned by the comparisons with Angelina?

VIKANDER: I could never compete with what Angelina did. She’s perfect! She made her into an icon because she is an icon. But this is our different interpretation; we’re focused on the reboot of the game, which came out a few years ago. It’s the origin story; we’re not trying to copy or reinvent what she did.

STRIPLV: Explain how that works here?

VIKANDER: Based on [the] reboot game which came out four years ago, it’s an examination of how she becomes who she was to become, how she morphs into the Tomb Raider, so we see Lara at a very different part of her life. At this moment, she’s trying to understand who she is and what path to take and you get to learn how and why she goes on to become this icon. She’s the action hero, or she will become this action hero, but also a very relatable young girl who’s ordinary in so 

many ways. She’s living in East London at the beginning, living her life and just trying to find her place on her way to her destiny. She still has the same fire and drive and spirit but without all the experience under her belt. (Laughs)

STRIPLV: Surely you were hesitant?

VIKANDER: You know, I was skeptical when they first spoke to me about it because why would you want to tinker with something already done. It’s done. Even when I told my mum about the movie, she immediately said, “Oh that’s the Angelina Jolie movie, yeah she was great.”

STRIPLV: What changed your mind?

VIKANDER: I met Roar and the producers and got a very concrete sense of what they were after and what they planned to do based on the new game which I had never played before; I had only played the older version. And getting to play the newer game, I realized there was this untold story to tell which separates it from the previous movies and that spoke to me. And that was it really.

STRIPLV: Do you like the idea of playing a very physical role in a big action film like this?

VIKANDER: Yes. I’ve always been such a big fan of these kinds of action and adventure movies, and I had been a big fan of the video game of Lara Croft, too. When I was a teenager, I would always watch the Indiana Jones movies and then, of course, it was such a thrill to be playing in the Jason Bourne film even though my character didn’t get to do action scenes herself. So playing Lara Croft is something I would never have dreamed of doing. But that’s how incredible and unpredictable this business can be.

STRIPLV: Did you meet with Angelina?

VIKANDER: I haven’t, but I’m an admirer of her and her career. I’m inspired what she has achieved, and if I could do half of what she’s done, I would be so happy. Her path, she did a lot of varied, really complex character studies in these fantastic independents and moved on to these big blockbusters and is now making her own movies, producing and directing. She’s an inspiration to me and so many working in this industry.

STRIPLV: You’ve just produced Euphoria. Are you planning on directing?

VIKANDER: I don’t know. I like the idea of it, but the reality is entirely different, and it really would have to be the right story that I felt passionately connected to.

STRIPLV: What obstacles did you encounter while producing?

VIKANDER: Producing Euphoria was such a daunting challenge, but I was surprised how natural and quickly it came to me. I felt very comfortable in that role and I also liked being involved from the ground floor up. Sometimes as an actor, you can come onto a movie a week before they start shooting and you’re very detached and removed from the inception. Whereas here, I was there from the beginning, witness to this birth of a wonderful project. The entire journey was an education. Each task as a producer was a first for me, and there were the inevitable bumps along the way, it’s a learning curve that you appreciate and assimilate.

STRIPLV: Did you ever dream that one day, you’d be headlining a huge action blockbuster like this?

VIKANDER: I love going to the movies, it’s one of my passions, actually going to the movies and staring up at the screen. There’s a magic to it. And much of that enchantment comes from movies like Indiana Jones and The Mummy, real cavalier hero adventures. I must have seen The Mummy 20 times by now, and just dreaming one day being that hero; I’ve always wanted to be that.

STRIPLV: The training, how awful was it?

VIKANDER: Not awful at all. (Laughs) I learned more about physicality than I ever realized and I’m shocked how my body reacted to this training and lifestyle.

STRIPLV: Have you kept up the regime?

VIKANDER: No, it’s slipped a little by the wayside. Six days a week in the gym, a couple of hours a day— that is very grueling and rigorous. Without my amazing trainer, Magnus, I don’t have the discipline to do it on my own.

STRIPLV: But you’re quite used to it from your days as a dancer. Did that help at all?

VIKANDER: It’s a different world. But that’s a big reason why I wanted to do something like this, I’ve been after a role with high endurance physicality, and it doesn’t get more physical than Lara.

STRIPLV: What was the specific training?

VIKANDER: A lot of weights, lots of lifting. A combination of boxing, MMA, climbing and lots of high interval training.

STRIPLV: All the fun stuff!

VIKANDER: Yes, all the fun stuff.

STRIPLV: And you can lift your own weight now, can’t you?

VIKANDER: I never thought that would be possible. I’m not sure if I can do it now, but that was a very empowering moment.

STRIPLV: Wonder Woman was the biggest hit of the year and a huge step for women in the industry.

VIKANDER: I went to see that while we were shooting, and I think to see the opening sequence with all women in this amazing fight scene, I was blown away 

by the idea that I don’t think I had ever seen that before, which I was sort of taken aback by that revelation.

STRIPLV: Tulip Fever saw you play another period piece. Do you enjoy these kinds of historical dramas?

VIKANDER: I love exploring different times. It’s exciting to do the research and understand how people behaved in different ways and there were different sets of rules governing their behavior. You try to put yourself in the position of a woman in past times whose world was much more restricted, and you try to imagine how you would feel and how you might want to rebel against those limitations. It’s very fascinating.

STRIPLV: Do you become very philosophical or caught up in the lives of a woman like Sophia or other women characters like the one you played in The Light Between the Oceans?

VIKANDER: I become very invested in my characters, and I try very hard to understand their emotional world and their psychology. What’s interesting for me is being able to push myself and get outside of my comfort zone. It may seem strange, but I usually look for roles which scare me and make me worry about whether I can really pull it off. I feel that the more I challenge myself, the more I will evolve as an actor and as an individual.

STRIPLV: How do you view the evolution taking over Hollywood?

VIKANDER: Society is changing for the better, and as long as the conversation continues and continues to continue, positive change will come from that. We cannot accept the norm for what it’s perceived to be. Diversity is the key to telling all stories and where is diversity without women also telling those stories? And I want to actively be involved and do whatever I can in my power to working with incredibly talented women, propelling this shift.

STRIPLV: It’s nearly two years since you won your Oscar but I know you left it behind in LA the day after. Firstly, how could you do that and have you been reunited?

VIKANDER: Well yes, it’s nice, we’re reunited now after a long-distance relationship. It’s tough. (Laughs) Because I was working so much, I envisioned it getting lost with all the travel and it’s also really heavy, there’s no way I could drag it around. So I thought it was a safer option to leave it with my friend’s daughter who I knew would be so careful and caring of him. She was always sending me updates and messages, lots of Facetiming, letting me know he was OK, so that was sweet.

STRIPLV: So your Oscar’s with you in London now? Is it on the mantelpiece?

VIKANDER: I still haven’t decided where he’s going to go. He’s quite eye-catching, you need the right spot.

STRIPLV: You’ve said in the past how you were looking to take some time off, but it doesn’t seem like you’re going to be able to do that?

VIKANDER: I don’t think so. Even after the Oscars (where she won for best-supporting actress for The Danish Girl) I had to rush back and go back to work on the Bourne film.  But I still find time here and there where I can turn off my phone and disappear for a while and do yoga and enjoy my time away from the movies. And when I wanted to take several months off I got a call from Wim Wenders (for his new film, Submergence, with James McAvoy) and how was I going to say no to a legendary director like that?

STRIPLV: Do you have any fear when to comes to the added pressure of becoming a major star?

VIKANDER: When you’re working, you never think about any of that. And when I have some free time, I spend it with friends and family I’ve known for many years, and I never feel strange or as if people are treating me differently.

STRIPLV: What’s the oddest thing about traveling so much?

VIKANDER: Once I had a Skype dinner with my friends. We each decided to buy a bottle of wine and cook something for ourselves and then sit at a table and Skype each other. The whole thing started as a joke, but it actually worked. We had such a good time that when it was over, we thought we would all go out for a drink together until of course we quickly realized that we were in different parts of the world. But it was a great night anyway!

STRIPLV: Alicia, you’ve been traveling and working virtually non-stop the last several years. Does it ever seem like a dream?

VIKANDER: Sometimes, but it’s one of those beautiful dreams that keeps unfolding. I love the work that I’m doing, and it’s hard to say no to all these projects that are coming my way because you remember how hard you fought to reach this point. There’s also this fear inside you that tomorrow it’s all going to be over which is something that probably stays with you as an actor your entire life. It’s the nature of the job. And I will always have moments when I’m nervous about how audiences react to my work. It keeps me focused.

STRIPLV: Do you still get nervous when beginning a new film?

VIKANDER: Not as much as before. I remember when I was starting to work on The Danish Girl and Eddie (Redmayne) would keep telling me: “Oh, sit down and relax.” This really made me feel so much more at ease that I could finally bring to the camera the level of performance I wanted to give. I always place very high 

expectations on myself.

STRIPLV: You mention Facetiming, but I know you’re not a fan of social media. Has that changed?

VIKANDER: No, not at all. I’m not interested in it; I stay in touch with my friends and family, so I fail to see the need, at least in my life.

STRIPLV: Did you ever have any accounts?

VIKANDER: I did have Facebook, which I used for a while but my interest sort of waned. And I did have Instagram, but I didn’t like the idea of posting pictures every day, there’s a pressure there to post good ones and I lost interest. I’m just not good with it. And I like privacy; I like keeping things to myself.

STRIPLV: Do you think it will be difficult to keep your private life with Michael Fassbender from receiving too much attention?

VIKANDER: It’s something that I’ve chosen not to speak about, and I think that is the best way to deal with it. He’s an amazing actor and the rest I want to keep private.

STRIPLV: Do your parents also still play a big role in your life?

VIKANDER: We’re very close. They know me very well, and I have a lot of confidence in their opinions. It was my father who called me and convinced me to do The Danish Girl because he said it was the best script he had ever read.

STRIPLV: You’ve become close to fashion designer Nicholas Ghesquiere. Do you consider yourself a fashionista?

VIKANDER: I love to wear designer clothes on special occasions and I’m very interested in design and the sheer beauty and art that goes into fashion. But at home, I’m much more comfortable sitting around in my pajamas.

STRIPLV: Your parents separated when you were very young. Obviously, you’ve stayed close to both of them?

VIKANDER: Yes. They’re both very important in my life, and I always maintained a close relationship with my father. He was the one who convinced me to play in A Royal Affair (the 2012 Danish film which won a Best Foreign Film Oscar nomination) because he loved the story so much. It meant that I had to study Danish for eight weeks, but I saw that as a great challenge, and I’m glad that I did it.

STRIPLV: Was it difficult to grow up with two sets of families?

VIKANDER: No, because there was always so much love in each house. I always felt a sense of security and support from both my parents. I never saw them living together, so I grew up thinking that this was the normal situation that they were apart.

STRIPLV: You grew up first wanting to become a ballet dancer. Was acting a natural transition for you?

VIKANDER: After working in Swedish TV I went to study law and I was very interested in becoming a producer. But then I had the chance to do this very important Swedish film, Pure, and that changed everything. After that, I thought that acting was something I loved doing and that I would probably be able to earn my living that way.

STRIPLV: It’s amazing to look back at how far you’ve come since you initially started out wanting to become a dancer growing up in Sweden. What are your memories when it comes to dancing?

VIKANDER: I trained as a ballerina until I was injured and had to have surgery on my foot and I still have problems with my foot and my back today. But I never had the kind of commitment I would have needed to become a professional dancer. My mother was an actress and when I started getting serious about acting, I did so without knowing whether I would ever even get the chance to work outside of Sweden. My dream was to go on stage at the Royal Theatre in Stockholm and try to earn a living working in Swedish films. I was very realistic when it came to my ambitions. But then I saw (fellow Swedish actress) Noomi Rapace play in The Girl with the Dragon Tattoo which had international success and opened doors for her, and that was when I started thinking that it might be possible to have a career abroad. I moved to London and I worked very hard on practicing my English because I knew that being able to speak the language without an accent would be my biggest challenge competing against other actors in the US and the UK. I’ve worked with some very good English teachers over the last several years, and I still feel I can improve.

STRIPLV: How badly do you miss your life in your native Sweden?

VIKANDER: Sweden will always be a huge part of me. But you know the funny thing? You only start to appreciate your cultural heritage when you’re traveling, and you’ve left your country, which is what happened to me. I’m very glad to have this wonderful opportunity to live and work in so many different cities and see things from a different perspective, but I still feel very close to my country and that special feeling you have for your own culture. That will never change.

STRIPLV: Do you look forward to going back to Sweden whenever you get the chance?

VIKANDER: Yes, but it’s been very hard because I’ve been working so much. I sometimes get homesick for my family and friends but when you’re traveling so much and living in hotel rooms your life becomes very different. I would still love 

to go and spend some time on these beautiful islands that we have in Sweden. It’s very peaceful there.

STRIPLV: What’s the most difficult aspect of your life in the film business?

VIKANDER: It’s being out of touch with my friends and family for long periods of time. It’s almost impossible to plan getting together because you never know exactly where you’re going to be because new projects are constantly popping up and you’re often shooting in different parts of the world. I’ve spent the last four or five years living out of three suitcases and going from one hotel to another. But that’s also what makes this life exciting because you don’t know what lies ahead for you.

STRIPLV: You have an advantage in that your English is excellent.

VIKANDER: Thank you!  Being able to speak English very well is definitely the most important thing if you want to be able to work internationally. When I did Anna Karenina, I worked very hard on trying to get my accent right. That was a very important step for me because all the work and effort I put into perfecting my English enabled me to keep working in American or British films and it’s like the whole world has opened up to me now and given me a career outside of Sweden.

STRIPLV: You’ve become a fashion icon of late. Designers seem to be rushing to offer you fabulous outfits for every event?

VIKANDER: I love fashion, and for me, these designer outfits are works of art. When you look at the stitching and the attention to detail you can see the handwork that goes into it, the workmanship is incredible. I never had that much money to buy myself clothes like that, and now that I’m able to wear these beautiful outfits it’s unbelievable.

STRIPLV: Do you try to dress very chic when you’re not attending big events?

VIKANDER: (Laughs) I’m starting to pay more attention. But usually, I’m a jeans and T-shirt girl during the day. I’m trying to shop around more for myself and look for interesting pieces whenever I get the chance.

STRIPLV: Do you ever feel like you’re caught up in some strange whirlwind that is taking hold of you?

VIKANDER: It does feel like there’s momentum of its own. It’s a lot of fun, though, and I don’t want it to stop, at least not now! (Laughs)




By Louis Jackman

Michelle Williams is so ridiculously likable. Today, promoting her latest role in All the Money in the World— a movie now more famous for its behind-the-scenes action rather than the story itself— is ebullient and charming manner. 

And her response to such accolades is typical of the gorgeous star.

“Yes, I appreciate it and am so grateful. Especially because my daughter gets so excited for me.”

The circumstances surrounding All the Money in the World is a movie in itself.

Shot last year, Williams plays Gail Getty, the mother of John Paul, kidnapped in Italy and held ransom for $17 million. John Paul’s grandfather, oil baron J.Paul Getty, refused to pay, citing the safety of his 14 other grandkids who would be targeted if he met their demands.

The movie was scheduled for a January release, to coincide with award season. And then came the accusations of sexual harassment and misconduct against Kevin Spacey, who originally played the role of J. Paul Getty one after the other.

The fate of the movie looked bleak. No studio wanted to be associated with the disgraced star. But rather than admit defeat, director Ridley Scott, mere weeks before release, hired Christopher Plummer as a replacement for Getty and assembled all the cast and crew for nine stressful days of reshoots.

The press guffawed at such flagrancy by Scott. But by some stroke of genius, he completed his changes in less than two weeks, erasing Spacey’s performance.

And now, Williams along with Plummer and Scott were nominated for Golden Globes for their astonishing work. 

Forthcoming about her experiences where others may cautiously tread, Michelle is open and caring while discussing the movie’s tremendous journey. She chats about nearly losing the movie and her joy at getting a second chance and why she could never watch Spacey’s performance. 

She waxes lyrically of Scott’s genius filmmaking skills and why the reshoots are a gesture to the bravery of the victims of harassment and abuse. And the star also chats about her optimistic feelings for Hollywood and society after the Weinstein scandal and her hopes for her child’s future. 

Williams lives in Brooklyn with, Matilda, 12, her daughter with the late actor, Heath Ledger.

STRIPLV: So this whole journey is like a movie itself – talk to me about your feelings when you get the call after the accusations had come out about Kevin Spacey, the movie is going to be shelved. And then, salvation! Talk to me about those feelings.

WILLIAMS: To be able to go back and rewrite the story was a gift I could never have dreamt of. It’s about the work, and dedication and passion of so many people and Ridley had the utmost respect for each and everybody who worked on this movie and for the incredible work they produced.  He couldn’t, wouldn’t let any of our efforts disappear and be forgotten, he wanted to change the ending of the story for all of us. And only he could take on a logistical nightmare like this and come out the other side (Laughs). If it weren’t for his bravery and compassion and respect, we would, you and I would not be talking today. The experience working on this was love, and if we weren’t talking today about a movie filled with so much love, that would’ve made me so sad.

STRIPLV: How did you feel when you though the movie would disappear?

WILLIAMS: I was really sad. I was sad for everyone involved and the loss of their work. But I was sad for myself. A job that I was excited about, a huge movie with Ridley Scott, I was getting to work with THE Ridley Scott. You know he is one of the foremost filmmakers where women have been central and focal. He doesn’t see the gender or ethnicity of a character, he sees a story, and he says, “I want to tell it.” Here, he sees the story about a woman, a mother in this horrible situation, trying to find a solution in a man’s world. He saw this story and said, that’s what I want to do next. That to me says not only is he a tremendous director and storyteller but a great, brilliant, fantastic human. There can be a lacking of that on sets, and I’ve been on many (Laughs). So to get that chance to work with him, I was excited and then it was gone. Poof, like that, just gone. I was heartsick, truly. And then, this plan gets hatched, completely unprecedented, never done before. I was so relieved and thankful.

STRIPLV: Did you have to think about it at all?

WILLIAMS: I didn’t need time to consider. This doesn’t happen and to get that miraculous pass, it was glorious. 

STRIPLV: Were you about to start working on something else, were you in the middle of something?

WILLIAMS: It was Thanksgiving, there was a certain amount of timing luck involved, and who cares, it’s just Thanksgiving. Either way, I was there and ready. It didn’t matter to me. I would’ve worked 24 hours, every day; whatever we needed to do, take my salary, I don’t want it. Use the money to do this and finish what we started and we’re all so proud of. I’m really proud. (Laughs)

But this is still only a small gesture, a small act in light of the victims and their bravery to stand up and have their voice heard. Their movements are changing society. They are and will be honored as heroes. What we did with this movie, was merely a gesture to them.

STRIPLV: Was your daughter annoyed at losing you at Thanksgiving?

WILLIAMS: I told her, you know I’ve been a little sad and down the last couple of days. Well, Captain von Trapp (Plummer’s iconic role in The Sound of Music) is coming to save the day. (Laughs) She was disappointed briefly, but she got it and said, “Go, Mom. You have to.” She knew it would make me happy and as she gets older, she wants and understands wanting that happiness for me as much as I want it for her.

STRIPLV: How many days did the reshoots take? It must have been scary stressful.

WILLIAMS: It was nine days. Nine fraught days. (Laughs) No, I’m joking, it was high energy. I don’t like stress, but I feed off stressful environment. And I reshot my scenes with Christopher as Getty, and Ridley was a sniper. He literally got in, knew exactly the shots he wanted and needed. And remarkably, turned the movie around in three days and showed it straight after.

STRIPLV: That is really unbelievable!

WILLIAMS: Yes, it is. And it’s a testament to who he is and the overwhelming respect he has for everyone. For me. I was his equal on set. Like everyone working there, we were all his equal. There is no hierarchy involved. So to ask the crew to come back, miss out on family time over the holidays, had he acted like less than a good, great man, it might have made the reshoots hard to swallow. Someone else who had treated us less than respectful, I might not have been so obliging.

STRIPLV: Was it difficult to get back into the mindset of Gail that quickly?

WILLIAMS: It wasn’t a tricky place to go back to, no. I think my characters all live inside of me in this cerebral, emotional dormant chasm I can call on at any time, and all it takes is a little meditation and clarity, and I’m there. That was my small effort going into this. Production staff had to set about securing locations again; the costume department had to dig out costumes that had been since returned to warehouses in London and Rome. Those who were working on other jobs had to concurrently do both at the same time, bouncing back and forth on flights, doing whatever they could to make this work. That’s the respect and admiration and love we have for our director; everybody stepped up.

STRIPLV: If the accusations had come out and Kevin had remained in the movie, and it was released as scheduled, how would you have felt promoting it? Because with everything you all did, it now feels so celebratory and triumphant.

WILLIAMS: I don’t think I could have watched the movie and promoted it knowing this person was being glorified on the big screen. That wouldn’t have sat right, no, it wouldn’t. 

STRIPLV: How do you feel about this wave of change in Hollywood?

WILLIAMS: I’m excited! I’m armed and ready. For so long, I’ve been saying I didn’t think, or I wasn’t sure if this toxic climate was going to ever go away or remotely change.

STRIPLV: I remember having the same conversation with you last year for Manchester and you saying that.

WILLIAMS: And I don’t think that anymore. I truly believe after these past months, it’s going to change. I think the shift is too seismic for it to be only a phase that gets eclipsed by the next media frenzy. I don’t see that. Look at where we are right now to where we were a year ago. Dare I say; it’s a positive outcome from the election. I think people have become so outraged with this abuse in authority, that’s it’s fanned the flames, and we’re saying, “stop, no more!” We saw that with the Million Women March, we saw that recently in Alabama, people are saying “enough.” This fallout of men of power, the momentum is speeding up, not slowing down and as a mother with a daughter. I’m so excited for her world and how different it will be. I have real faith and optimism in that.

STRIPLV: If you had all the money in the world, what would you do with it?

WILLIAMS: I’m so boring. Boring, dull, dull. (Laughs) I’d give it all away. I don’t want money that I haven’t worked for, worked hard for. What kind of lesson is that for my daughter? No, I’d give it all away.

STRIPLV: But you are fortunate in that you are very comfortable, more comfortable than most as a successful actress where you can spoil and make life very easy for her.

WILLIAMS: I am and in some situations, I can’t. Those are good learning curves for her. And for me. Look, I’m a parent, I love my child, and I love to spoil her when I can, or when I choose. As much as I love the look on her face, it’s also a disservice to her development, so I choose not to. It’s hard, but it’s better for her and who she is. I want her to understand the value of money; I want her to work hard and understand the struggle it takes to sustain. When I was younger, I had no worth for money; I didn’t value for it. I didn’t feel like any of my decisions were related. As I’ve gotten older, that’s changed, and I now value security and independence and freedom. That’s what I want her to take on and appreciate and understand.




BY Skye Huntington

He’s not the first former Disney alumnus to shirk off his innocent mouse ears and take on a sexy, provocative persona. And he won’t be the last. But the transformation of Nick Jonas from dimpled cheeked boy-bander to muscle-bound leading man is more staggering than most.

And now the 25-year-old hunk has the good fortune of balancing a chart-topping career with a bubbling Tinseltown presence. A minefield for some, but living the dream for Jonas. “I hope I never reach a point in my life where I have to choose. Giving up music would suck. It’s been my life, but acting is new territory for me that I love, being forced to quit either would suck.”

The “Jealous” crooner is a very busy man. There’s an upcoming album and accompanying the tour, a turn in the Jumanji revisit, Welcome to the Jungle and a villainous performance opposite Tom Holland and Daisy Ridley in Chaos Walking. And somewhere in between, he managed to write a catchy number, “Home” for the new animated feature, Ferdinand, the feature film based on the classic children’s book about a Spanish fighting bull who refuses to fight.

Exhausting just thinking about, but Nick is a shrewd customer and knows proactivity will only serve to grow his brand. This is a stretch from four years ago when, after his fraternal group disbanded for good, he worried his moment had passed, when really, it was only beginning.
Formal yet frank, he chats about the inspiration behind his new hit and why it was so personal to him. Jonas also lets us in on his fitness habits, his hopes for the Jumanji movie, his competitive nature and thoughts on future sister-in-law Sophie Turner. Jonas splits his time between LA and New York and is rumored to be dating Victoria’s Secret model, Georgia Fowler.

STRIPLV: How did you become involved with the Ferdinand soundtrack?

JONAS: Through my record label. I always wanted to write a song for a movie. And they said, well actually the director of this movie, Ferdinand, he’d like to meet with you. So we met, he told me what he was after, and I liked this process. I liked having a template of what he was after for these moments in the movie, and also telling the story in this unique way, was something I was very geared up for.

STRIPLV: What does home mean to you?

JONAS: Home will always be where I’m loved and accepted for who I am, no matter what I do and that for me will always be my family. My family is my home. And I felt that message from the movie when I saw a couple of the clips, that’s what stood out to me. And I write about in my music, what I go through and my experiences, but I rarely get the chance to write about and express my feeling for my family and here was that perfect opportunity to convey how I feel about them and what home means to me.

STRIPLV: Where is home for you?

JONAS: It’s LA, it’s New York; I have bases in both. I’m all over the place; I’ve been shooting in Montreal, I was in Hawaii and Atlanta for Jumanji, there’s a crazy amount of traveling right now, which I’m not mad at; it’s intense but amazing. But it’s nice to come back to the family fold and recharge your batteries with the ones who know you best.

STRIPLV: You were shooting Jumanji in Hawaii. How was that experience?

JONAS: It was Hawaii, which is stunning obviously, but it’s also a very tropical, hot island. We weren’t in some resort; we were in the center, the remote center which comes with its own set of challenges. Mosquitos, a lot of mosquito bites, the skeets, the centipedes, the heat. The humidity would knock you out.

STRIPLV: What can fans expect from this? What age were you when the original came out?

JONAS: I was five, and I remember being terrified. And I’m a big Robin Williams fan, total genius, what he did in that movie— well what he did in every movie— but what he did in that was incredible. So we’re trying to interpret our own version with new characters, played by Dwayne Johnson, Karen Gillan, Jack Black, Kevin Hart, such a cool cast and it’s really funny. So I think people will get a kick out of it, from an homage sense for the original fans and then new fans who’ve never heard of Jumanji.

STRIPLV: But it’s not a remake.

JONAS: It’s not a remake, which I think had a lot of people scared. We’re on a new adventure, with a video game, whereas before, it was a board game. It’s not a sequel; it’s more a continuation of the story.

STRIPLV: What was it like working with Dwayne and Jack Black together?

JONAS: I feel like it was my chance to soak up and learn from those guys. We had a lot of fun on that set, probably more fun than actual work, but those guys are on, kings of their game. Especially during some of those gnarly stunt sequences, those guys would be completely focused and on it. That’s the thing with them, with all of them, they know when to have fun, which was a lot, and then they know when to switch it to precision mode.

STRIPLV: What would Robin Williams think of this version?

JONAS: I’d like to think, I think he would like it. I can’t really say. I think he’d appreciate where we’ve gone with it and developed the story.

STRIPLV: You’re balancing these two careers, but given a choice, which would you go for?

JONAS: I feel like I’d be betraying both sides if I chose one, especially as right now, it’s completely straight down the middle.

STRIPLV: But if you had to choose?

JONAS: Honestly if I had to, I don’t know. I will say performing on stage; there’s nothing like it. You get an immediate response; it’s instant satisfaction, it feels very gratifying absorbing that energy. That’s really special to me. What I’m finding is the balancing, that’s not easy. Because you have to schedule not only the actual acting and songwriting, recording, performing but then there’s the promotion which takes up a lot of time. Next month I’m going to be doing that for both my music and Jumanji - December is going to be wild.

STRIPLV: You’re busier than ever, but when the band finished, were you worried about your future?

JONAS: I genuinely believed, at 21 years old, I was done. I had so much anxiety and no self-worth in my ability, and it wasn’t a great time for me. Thankfully it didn’t last long, I snapped myself out of the funk and pushed myself. What did I want to achieve? Where did I want to go with music, with acting? Suddenly any obstacles seemed less intimidating to overcome.

STRIPLV: Now you’re doing Chaos Walking with Tom Holland and Daisy Ridley, two of the biggest stars on the planet. That must be pretty gratifying?

JONAS: Each role, I feel like I’ve been given the opportunity to showcase more, what I’m capable of, and I’m grateful for that faith in me. You know, that cast is just so cool, Daisy, Tom, Mads Mikkelsen, Doug Liman’s directing. I haven’t seen it yet, but I’m excited about the outcome. It’s based off a series of books so it could maybe turn into something big. And my character is someone very different from what I’ve done in the past; he’s leaning more on anger and aggression, that’s new for me. I’m really not a nice guy [in this] and that’s the fun with the job, exploring a new side to myself and my acting.

STRIPLV: So you enjoy playing the bad guy? 

JONAS: Yeah, I like it, it’s fun. I’m into it. I can see the appeal (of the bad guy).

STRIPLV: You’re in incredible shape. Are you in the gym every day? Do you live there?

JONAS: Yeah, not every day, but mostly, most days. It’s not about how often you go to the gym, for me anyway; it’s about the food you eat and the amount of good sleep you get.

STRIPLV: Sleep? A workout I can get on board with. How does that work?

JONAS: Just like getting to bed at a reasonable hour before midnight. It’s so important. I would always substitute an hour of sleep over an hour in the gym, given a choice.

STRIPLV: Both you and Joe have rocking bodies, as well as successful singing careers, are you competitive?

JONAS: (Laughs) We are definitely competitive but not in what you think, not in music or the entertainment industry stuff. It’s more like, games and sports, we’ve always been that way. Because we’re close in age, we’re brothers; it comes with the territory. I’m probably not as competitive now, I used to be intensely competitive, really sore loser but doesn’t matter so much to me. I’m learning to chill. It’s just a game, get over it.

STRIPLV: So no jealousy if DNCE gets to the top of the charts or sell more records than you?

JONAS: No, there’s just love and holding each other up. I love what they’ve done.
STRIPLV: Will you collaborate?

JONAS: For sure, I ‘m a huge fan, I could see that happening. Right now, we’re all on our separate paths, it’s about support and giving advice and talking about what we have going on. Joe and I live together in LA, and it’s always nice to chill and talk about what we have going on, what we’re working on.

STRIPLV: Are you happy with Sophie Turner as your future sister-in-law?

JONAS: I’m really happy for them. She is a lovely person inside and out, and we’re really happy to welcome her to the family. Couldn’t be happier.

STRIPLV: Are you a Game of Thrones fan?

JONAS: I do love Game of Thrones, very much.

STRIPLV: Isn’t it odd being around Sansa?

JONAS: No, not at all. She’s so cool and totally awesome regular, you’d never think she was on the biggest show on the planet. Super, super sweet.

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