(via hulksmashes)
Ahhhh, the smolder!
There is too much obstructing him on this cover - what were they thinking?!
Also, he has a Christian Bale-thing going on here on GQ Italia, no?
happy new year
Michael Fassbender GQ Cover Magazine Contest
So I have an extra GQ of Michael’s cover so I thought it would be fun to do a little contest!
So I’m going to pick a winner on December 14th using a random generator.
- Only reblogging will count
- Reblog as much as you’d like
- Must Be Following FassbendertheGinger
On December 14th I will announce and message the winner! Since I need to send it off on the 16th, I will need a fast reply.
Have fun!
Michael Fassbender - GQ photographed by Nathaniel Goldeberg, December 2011
David Cronenberg, who directed Fassbender as Carl Jung in this year’s A Dangerous Method, says that the actor so effectively lost himself in the part that at the Venice Film Festival, “nobody recognized him until we introduced him to the audience.” Both men were pleased by this. Shape-shifting, Cronenberg said, is a rare and fantastic skill for an actor to have: “The more a chameleon you can be, the better off you are.”
“Michael’s got a working-class attitude, in a good way,” says Cronenberg, and Fassbender’s approach does contain an element of manual labor. To prepare for a role, he’ll read a screenplay as many as 300 times in daily shifts of seven hours. What he first seeks in a project is literary merit: “I like a story that is challenging to me as a reader, and therefore as an audience, and therefore as a player.” Which often translates into parts he can disappear into.
Shame, the latest of these feats, begins with the actor naked and laid out on post-sex bedsheets like a strip of raw bacon. This is the actor’s second collaboration with Britain’s Steve McQueen, who directed him in 2008’s Hunger. For that film, Fassbender dropped forty pounds to play the IRA prisoner Bobby Sands, and Shame demands similar physical sacrifices. His every crease and follicle is on view as the compulsively oversexed Brandon, who lives in a cashmere-lined world of luxury and self-loathing. (Think Patrick Bateman in a minor key.) Fassbender cannily plays Brandon as if he were a cyborg trying to imitate human behavior: His reaction times are off, his stares inappropriate, his bearing frozen. When asked how he readied himself for the film’s many nude scenes, he is characteristically proletarian: “You feel awkward and mortified, but you get on with it. I’m not easily embarrassed.”
