Summarize this content to 2000 words in 6 paragraphs in Arabic When Tom Burke was working on Joanna Hogg\u2019s 2019 film The Souvenir, he found himself growing increasingly irascible. He was playing Anthony, a charismatic, Oxbridge-educated civil servant with a secret heroin habit that drove him to steal from and\u00a0lie to his girlfriend. He still isn\u2019t sure whether his\u00a0darkening mood was a result of the character seeping into his subconscious or if it was entirely unrelated. \u201cI might just have been going through some sort of enormously dark, depressing patch anyway,\u201d he says, \u201cand thank God that film was there to give me something to put it into.\u201d He has wondered in the past whether Anthony was, for him, \u201cwhat Jung calls the shadow, the\u00a0unconscious personality\u201d.\u00a0Anyone who has watched Hogg\u2019s film will know that whatever was happening for Burke, it produced one of the most bewitching performances in contemporary cinema. He held horribleness and loveableness, destructiveness and creativity in one extremely beguiling man. And although \u201cthe shadow\u201d seems to bear some relevance to the intensity of what we saw on screen, it was still a performance \u2013 one that launched Burke, then 38, into an ambitious new phase of his career.\u201cI texted David Fincher as soon as The Souvenir was over and said, \u2018I think I just saw your Orson Welles,\u2019\u201d says director Steven Soderbergh (Burke was later cast in Mank, a drama about the Citizen Kane writer Herman J\u00a0Mankiewicz). \u201cHe was just incapable of being uninteresting. There are some people that can literally do\u00a0nothing and hold your attention. Tom seemed to have a kind of innate watchability that was not self-conscious, in the sense of trying to win the scene. He just\u00a0seemed to be so completely immersed in the character\u00a0that he was playing. You felt like you were eavesdropping. That\u2019s very compelling.\u201d\u00a0\u201cI was mesmerised by him,\u201d says Cate Blanchett, Burke\u2019s co-star both in Soderbergh\u2019s upcoming spy thriller Black Bag and onstage in a production of The Seagull that will open at the Barbican this month. \u201cI was desperate, yes, desperate, to work with him.\u201dToday, Burke is sitting in his publicist\u2019s office in west London, overlooked by a large black-and-white photograph of Bill Nighy walking down the street (\u201cMr Nighy\u201d, Burke calls him with a twinkle in his eye). In person he is very open in his manner, a close listener and\u00a0eloquent speaker, literary in his references and dryly\u00a0funny. \u201cI\u2019ve always thought of myself as an expressionist,\u201d he says at one point. Take his outfit: a black-and-navy striped waistcoat that he had made by the\u00a0punk-style tailors Earl of Bedlam\u00a0out of \u201ca gigantic\u00a0pair\u00a0of trousers that I saw on an\u00a0extra on The\u00a0Musketeers\u201d, an Iron Maiden T-shirt and a faux fur-trimmed coat, also made by Earl of Bedlam. He first\u00a0apologises for his outfit being \u201cquite strange\u201d, then attributes it to his early-morning flight, and eventually stands by it: \u201cIt\u2019s not that strange. It\u2019s probably the sort\u00a0of\u00a0thing I would wear.\u201dIn The Seagull, Burke will play the moody novelist Trigorin in a new production directed by German director\u00a0Thomas Ostermeier. Cate Blanchett will\u00a0play his\u00a0lover Arkadina and Emma Corrin is Nina, the\u00a0young\u00a0actress who he falls for then discards. \u201cI\u2019ve wanted to play Trigorin for a really long time,\u201d says Burke.\u00a0\u201cI think he\u2019s got a pretty busy head,\u201d which \u201cappeals to me\u00a0as an energy\u201d. He enjoys the character\u2019s complicated soul. Trigorin \u201cis sometimes cast as the villain of the piece\u201d, says Burke with a long exhalation, before deciding:\u00a0\u201cI don\u2019t feel like you get villains in Chekhov. Everyone\u2019s so complex. It\u2019s good to commit to\u00a0the dark side of it, though, as well.\u201dThere is a thread running through many of his characters. Burke is often cast to play cerebral, charismatic men who\u00a0occupy the dubious outskirts of moral decency. Likewise, in Black Bag, he will appear as a boyish, philandering secret agent in a murky plot that involves the Russians and a piece of nuclear hardware. The drama unfolds in a world of delicious townhouses with huge glass-walled extensions and unsignposted Japanese restaurants. Blanchett does a lot of slinking around in silk\u00a0pyjamas. Burke has a raucous monologue during a dinner-party scene where the guests, who all work for the secret intelligence service, have been served a drug-spiked Chana Masala that unleashes their base desires. It was a judicious piece of casting. \u201c[Tom] radiates a raw intelligence,\u201d says Soderbergh, \u201cand he\u2019s got a great voice. So I would argue\u00a0that he\u2019s best deployed when playing characters who really know how to talk.\u201dBurke grew up in a cottage in the Kent countryside. He is what Soderbergh calls \u201ca second-generation performer\u201d, the only child of actors David Burke, who played Dr Watson in The Adventures of Sherlock Holmes in the 1980s, and Anna Calder-Marshall, who played Cordelia to Laurence Olivier\u2019s King Lear (both were also RSC stalwarts and Alan Rickman was Burke\u2019s godfather). As a child, Burke struggled with severe dyslexia and was left with a scar from reconstructive surgery for a cleft lip. He was \u201cpainfully shy\u201d, he recalls, and it wasn\u2019t until his parents moved him\u00a0to a Steiner school, which uses play as a teaching medium, that he grew in confidence.\u00a0What drew him to performing as a child is the same thing that attracts him now. \u201cI think there\u2019s something about being seen\u2026 It\u2019s not being applauded. It\u2019s not just attention. It\u2019s more like being witnessed. It\u2019s something about fragility and going to a particular place and feeling that be witnessed. I\u00a0think I had a sense of that.\u201dAfter studying at the National Youth Theatre, and a few months at dance school studying contemporary and ballet (which have stayed with him: \u201cWhen I really admire performances they\u2019re very in their body,\u201d he says), he did some TV roles then went on to drama school. \u201cI didn\u2019t have the easiest time at Rada,\u201d he recalls. \u201cI felt very lost for most of it. I remember thinking: there must be some sort of unified theory of how this all ties together. And I\u00a0think that way madness lies.\u201dAn encounter with Jacobean theatre one term got him into gear, with Webster\u2019s The White Devil. \u201cIt was like being given a kind of delicious feast after being on a diet of brown rice and water,\u201d says Burke. He decided \u201cto let\u00a0myself do whatever I want to do\u201d, which allowed him \u201cto reclaim my imagination\u201d.After drama school he began a steady stream of TV and theatre work, including the thriller series State of Play and a production of Macbeth at the Almeida. But he felt a bit at sea in his career during his 20s. The TV work picked up \u2013 he played the philandering Dolokhov in the\u00a0BBC\u2019s War & Peace and Princess Margaret\u2019s lover in The Crown \u2013 but significant leading roles evaded him. At\u00a0one point he was turned down for a big TV part because he was told his face wasn\u2019t right. Playing Cormoran Strike in the BBC\u2019s adaptation of JK Rowling\u2019s crime novels took him closer to being a household name. It was being cast in\u00a0The Souvenir, in his early 30s, that finally exposed the depth of his talent.\u201cTom has a charisma that Anthony had too,\u201d Hogg says in an email of what she saw in him. What she admired in his acting was \u201ca lack of vanity, fearlessness and also questioning \u2013 the kind of questioning that comes out of genuine curiosity rather than fear\u201d.Burke does not adhere to a particular technique when approaching roles, but instead has an arsenal of methods. \u201cI was doing a lot of Meisner on Furiosa of all things,\u201d he says at one point, referring to the technique that encourages actors to focus on the bodies of the other people around them rather than thinking about their own thoughts and feelings. The Souvenir was very method-based. In preparation for The Seagull, he has been saving images of\u00a0novelist Karl Ove Knausgaard, who he thinks has \u201csomething of Trigorin\u201d about him. \u201cEvery job feels very different,\u201d he says of his approach. \u201cI don\u2019t think I ever settled on one thing or another.\u201dBurke has the \u201cjoy of performing that just makes\u00a0the\u00a0whole thing more fun\u201d, says Soderbergh. \u201cThere\u2019s no\u00a0sense of him only having a certain amount of\u00a0gas in the\u00a0tank. His attitude is: I love doing this. I\u2019ll do\u00a0it\u00a0all day.\u00a0I\u2019m here to act.\u201dHis commitment and enthusiasm are evidenced in the\u00a0photographs in these pages, for which he is styled as\u00a0different stock characters. Despite running on two hours\u2019 sleep (he is filming the Amazon Prime series Blade Runner 2099, about which he can\u2019t share details, and got up to\u00a0take a 6am flight), Burke threw himself into the personas and \u201creally got on board\u201d, says photographer Toby Coulson. True to his attraction to darker characters, Burke had the idea of twisting the romantic-lead look, for which he held a bunch of flowers, with the suggestion of misbehaviour. \u201cHe had this idea that he would be suspicious,\u201d Coulson says, \u201clike if he had the flowers he had done something wrong\u201d (Coulson encouraged him to take \u201cthe smiley route\u201d).\u00a0Burke has described himself as having \u201cworkaholic\u201d tendencies in the past. But now he says he\u00a0tries to be \u201cstubborn about things like sleep\u201d, and to make time to\u00a0read and walk: around London (\u201cI\u2019m a fl\u00e2neur,\u201d he says,\u00a0gently mocking himself) and the countryside, where\u00a0he recently moved.\u00a0Theatre for him is a space that \u201cis different from everything else in the week\u201d. He recalls the first time he experienced Catholic Mass at his aunt\u2019s funeral, after his own Church of England upbringing. \u201cI was like, \u2018I like this. This is different.\u2019 I love that mixture of theatre when it has a scale to it and then then the liveness is happening within that.\u201d It goes back to what he learnt from the Jacobeans: \u201cDecadence! I think decadence is a vital ingredient in art, no matter what you\u2019re doing.\u201d \u00a0The Seagull is at the Barbican from 26\u00a0February to 5 April, barbican.org.uk; Black Bag is in UK cinemas from 14 MarchGrooming, Ami Fujita using Nars. Set\u00a0design, Clarisse d\u2019Arcimoles. Photographer\u2019s assistant, Ollo Weglin. Stylist\u2019s\u00a0assistant, Susie Lethbridge<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic When Tom Burke was working on Joanna Hogg\u2019s 2019 film The Souvenir, he found himself growing increasingly irascible. He was playing Anthony, a charismatic, Oxbridge-educated civil servant with a secret heroin habit that drove him to steal from and\u00a0lie to his girlfriend. He still<\/p>\n","protected":false},"author":1,"featured_media":212225,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-212224","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/212224","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=212224"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/212224\/revisions"}],"predecessor-version":[{"id":212226,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/212224\/revisions\/212226"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/212225"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=212224"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=212224"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=212224"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}