原文开头
For Bettany, at the heart of the drama is the idea that “Salieri realises that Mozart has a direct phone line to God. It is so painful to him. Now Salieri is at war with God.” To play the lofty notion, Bettany found his own way in. “I’m quite a material human being and I can’t quite attach myself to the idea of God,” he explains. “So, in my head I made it about a father and two sons.” The Salieri-Mozart conflict was intensified by having a great scene partner in Sharpe. …
摘自《帝国》(Empire)2026年1月刊。仅引用开头一小段供了解文章,版权归原刊所有,全文请阅读原刊。