James D’Arcy

Institute: What was the most memorable on screen performance you saw growing up?

James: I had never seen Dustin Hoffman in anything and saw him in both Rain Man and Midnight Cowboy on the same day. That pretty much fried my brain. I just couldn’t believe it was the same actor. Or indeed that either of those parts had actors in them at all. I assumed they’d got someone autistic to play that part in Rain Man

Institute: You are currently filming Cloud Atlas – How is that going and can you tell us about your
character?

James: It’s going great. It’s hugely ambitious and I’m having a blast on it. I play 4 roles. Well, 3 actually, but one of them I play at both 30 in one story and 70 in another. Every day there’s some one who is so heavily disguised that you don’t realise that you’ve just spent 10 minutes talking to a major film star.

Institute: Do you like to rehearse a lot before shooting scenes or prefer to experiment and improvise on set?

James: That’s really the Director’s call – I like it either way. There can be real benefits to either approach.

Institute: You play Mr Zimit in The Philosophers, how did you become involved in the film?

James: Well they offered me the role and simultaneously sent pictures of the locations we would be filming in. And so having seen those, I was desperate for the script to be half good! But to my total delight, it was a complex, interesting, challenging and rather epic indie…

Institute: What has been the most challenging role to date?

James: They all present different challenges, but Sam in Screwed was certainly a stretch vocally.

Institute: Could you single out an actor or film that had a profound impact on you in the last five years?

James: I would have to say Ryan Gosling. He’s the classiest actor I’ve seen in quite some time.

Institute: What has been a stand-out out moment in your career so far?

James: The Venice Film Festival last September was pretty good. The crowd went as mad as I’ve ever heard a crowd when Madonna arrived on the red carpet…

Sixties Glamour

SIXTIES – Photographer Daniel Roché takes inspiration from The Sixties with his latest Institute beauty story. Sixties nostalgia is making itself felt this season, inspiring

Make-up artist Einat Dan delivers luscious full lashes, bright colors and the signature sweeping liner. Einat Dan is using Armani, M.A.C Cosmetis and Illamasqua London.

Darshana Congreve

Institute: You’re based in Paris. What is it you love about the city?

Darshana: We can’t really love someone without being loved in return. We have a place in Paris called  Montmartre, where you can find the spirit, you then you cross the street to Pigalle where you enter a totally different world. Low-key lanes with hidden prostitutes, guitars shops, concert halls, saying “Hello” to famous people passing in the street. If I could tell you why some people love wolves, I’ll tell why I love Paris ! A wolf will give you love if you deserve to stay alive.

Institute: What other artists are you inspired by?

Darshana: I’m inspired by women and Serge Gainsbourg.

Institute: How has your sound evolved over the years?

Darshana: As a face growing old, but my eyes stay young

Institute: What are you currently listening to?

Darshana: Even though, commercial music is a dark genius… These days, I’m listening to visionary artists like Jimi Hendrix, Radiohead or Serge Gainsbourg, to the King of Pianists, Vladimir Horowitz. I have also just discovered the gorgeous Anna Calvi. Of course I am listening to my music to.

Institute: What is the creative process when writing new material?

Darshana: One simple way I use to write a son(g) is…First, I must find a good riff. Second, I play it until it becomes a part of me. Third, I find a vocal melody that suits to the riff. After which, I switch suddenly from the riff to a chorus, in general made of four spontaneous chords, and I try to sing in one shot a simple and an effective vocal line. Without thinking. I repeat the process until I find a great chorus. Best riffs will generate best chorus. Now, It is easier to see if the concentrated form Riff/Chorus need a bridge. The bridge is between two universes then most of the time, its universe is mixed. At this point, if the rest is good, any vocals lines on the bridge’s chords will be a success. While I do it all, usually a title in two paradoxical words comes to me, in tune with the universe. It gives a main theme. Then I write the lyrics on vocals melodies. Arrangements come from that base.  Very easy to find simple ideas from now to build up the whole universe of the song. Simple technique with no secrets revealed, as hundreds others.

Institute: What are you currently reading?

Darshana: A simple book of music theory and The unbearable lightness of being of Milan Kundera.

Institute:  What can you reveal about your forthcoming album?

Darshana: The title of this album will contain the word  Sun because I hope to suspend my hell away in the infinity, I see it as a sun warming up my universe.

Institute: What can we expect from you in 2012?

Darshana: A gamble!

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