hugo Weav­ing is valen­tine

SFX - - Mortal engines -

What was your ini­tial im­pres­sion of Valen­tine?

the char­ac­ter in­cor­po­rates a great kind of broad spec­trum of hu­man­ity. He’s set up as be­ing a hero, in a way. But, he kind of trav­els to an­other place. So, it’s partly con­ceal­ing cer­tain things from the au­di­ence. you have to make a psy­cho­log­i­cal sense of that for your­self as an ac­tor and make the char­ac­ter real.

What is Valen­tine’s world view?

Valen­tine is some­one who can re­ally see that trac­tion­ism is dead. they are in dire trou­ble. they have star­va­tion prob­lems. Valen­tine ac­tu­ally doesn’t be­lieve in trac­tion­ism or Lon­don. If we see him as a rev­o­lu­tion­ary, as some­one who is try­ing to push the bound­aries and try­ing to change the whole par­a­digm, then that’s more in­ter­est­ing. that’s what I’ve been do­ing.

Can you tease about the fi­nal show­down be­tween Valen­tine and Hester?

you’re in a cli­mac­tic point in the film where Lon­don is charg­ing to­wards this war and Valen­tine’s try­ing to get away. Hester’s try­ing to stop him. She’s teth­ered his air­ship to Lon­don. He’s try­ing to cut the rope. She has a gun on him. there’s a war about to erupt. Within the scene, Valen­tine starts to talk her down, and then starts to take her back into her child­hood. then, within that scene, we go into a flashback where she sees Valen­tine 15 years be­fore with her mother. It’s ac­tu­ally a lov­ing sit­u­a­tion. So, the scene trav­els in­ter­nally into her brain. It’s this mes­mer­iz­ing thing within this crazy world go­ing on.

Bryan Cairns

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