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The irony is that Plummer has always been reluctant to allow his stage performances to be captured on film, other than archival footage. "I don't like it because it's always so cold. There's a barrier between you and the audience, which the screen always puts up, and so it loses a lot of its immediacy generally. So I don't approve really of just filming a play just straight on as it is." Instead, both "The Tempest" and "Barrymore" are more than just point-a-camera-at-the-stage recordings. In Shakespeare's play, which Plummer calls the Bard's most cinematic, the cameras swoop about the stage, creating close-ups and long shots. In "Barrymore," which was filmed over seven days in and around the Elgin Theater in Toronto, director and adapter Erik Canuel used an empty theater for some scenes and filmed others in alleyways. Plummer says the piece got more laughs in front of a live audience, but becomes more emotional on screen. For both, the actor is pleased, even if he wishes he had more time on each. "I think film does the play justice in both cases.
'Barrymore' is more filmic, but some of the magic does come through very well in
'The Tempest.'" As for his own magic, Plummer hopes it keeps flowing. He laughs at all the celebrations and accolades he's lately accepting. "I think that's because I'm getting old. They're sort of saying,
'Oh, we better give it to him now, otherwise he'll drop dead.' There's a sort of guilt thing, I think." ___ Online:
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