#crying uncontrollably at all the symbolism i love this series so fucking much
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okay okay okay, but we need to talk about the name etymologies of the four central characters of haikyuu!! because it is literally impossible to talk about it too much. first let's break down all the kanji in their family names!
(sidenote: all of the translations were pulled from wikitionary, so if any of the meanings are actually egregiously incorrect, pls lmk!!)
影 kage - shadow
山 yama - mountain
口 guchi - mouth
月 tsuki - moon
島 shima - island
日 hi - sun
向 nata - direction
adding a readmore because this got so much longer than i intended it to be
so some of these are talked more about in the fandom than others. i think it's practically common knowledge (if it isn't, well now you know) that the first kanji of hinata's name (日) means "sun" and the first kanji of tsukki's name (月) means "moon," and that this was done on purpose to highlight their roles in the story as foils and as a sun and moon analogy. tsukki and hinata are quite literally polar opposites in their approach to volleyball (they are, one might say, like night and day). tsukishima with his physical advantage yet reluctance to try too hard compared with hinata's overwhelming physical disadvantage and his willingness to go above and beyond, to the point that he can't even fathom how not to give 110% at all times. (there's so much more to say about this symbolism but i'll leave it there, gotta stay focused rip).
the first kanji in kageyama's name (影) meaning "shadow" i feel like most people are aware of as well, this symbolises his general mood (sorta a comparison with tsukishima too imo, darkness and the moon etc., but that's quite subtle), and again this furthers his parallel with hinata, juxtaposing light and darkness, but the kanji for yama (山) which we find in both kageyama and yamaguchi's name, means mountain, which represents both reliability and strength. this works for both kageyama and yamaguchi in different ways. from day one at karasuno, all of the team members can count on kageyama to perform, be it setting, serving, receiving, he is all around the uncontested best player on the team, and serves as the base for nearly all of their strategies. yamaguchi doesn't have the same dependability in terms of athletic performance (at the start of the series), but in a lot of ways he is a grounding force in among the first years, and in his relationship with tsukki he is very much a needed support, tsukishima depends on yamaguchi for... god for so much actually.
and then there's the second kanji in tsukishima's name (島)... meaning "island," it is very clearly meant to represent the isolation tsukki both feels and imposes on himself at the start of the series. i also think it's of note that an island is opposed to a mountain - both are large(-ish) landmasses but the mountain is connected to the rest of the land while an island is all alone...
the individual kanji all have a lot of symbolism going on but when you put some of them together, i think you get a new significance...
日向 hinata - the direction sun in shining
影山 kageyama - the dark side of the mountain
山口 yamaguchi - the mountain’s opening (or mouth maybe cave?)
月島 tsukishima - moon island
to get them out of the way, the compound meanings of tsukishima and yamaguchi don't seem very narratively significant, but i am more than open to analyses you might have that i didn't think of! :)
however hinata and kageyama seem poetic to me in a way that i don't think is accidental. i did take some liberties with the phrasing (kageyama could also be written as "the mountain's shadow"), but it doesn't change the overwhelming symbolism. the dark side of the mountain is obviously juxtaposed with the light side, but how do you create a shadow? well the sun has to shine on something... the direction of hinata's sun shining on the kageyama's mountain making the shadow... i admit i might be reaching with this one. but i like it.
initially, i had only planned to look into their family names, but after finding so much symbolism, i though why not look into their given names and boy oh boy am i glad that i did~
飛 tobi - flight, fast, high
雄 o - something large powerful and masculine (yang)
翔 sho - soar
陽 yo - alt. the sun, positive, (yang!!!!)
蛍 kei - derived from firefly
忠 tadashi - loyal, devoted, faithful
where do i even begin i legit have tears in my eyes okay, first things first, kei has always been my favourite name in all of haikyuu, i just like how it sounds, i think it's so pretty, and in looking up the meaning of the kanji i've grown to love it even more. as a masculine name, 蛍 is pretty rare, it's more commonly used for female names and the most common reading isn't kei it's hotaru. i like that tsukishima has a relatively unique first name, but what really gets me is the etymology. the kanji 蛍 is the same kanji for firefly, and when the kei pronunciation is used, it means fluorescent. i absolutely love this for tsukishima, because we are being given two different messages with his family name and his given name. on the one hand, his family name would have us believe that tsukki is like the moon, only able to be seen at night and only capable of reflecting the lights of others, but his given name tells us that, while it might be a soft glow, tsukki does have a light of his own, he is in fact able to shine by himself.
compared to 蛍, 忠 is a much more common given name, meaning loyal or devoted. i think sometimes people misunderstand the dynamics between tsukishima and yamaguchi, so please don't take this as me saying something i'm not, but tadashi really is loyal to kei in a very special way, and this is clearly something that furudate wanted to highlight, as this is not the only time he's made reference or used symbolism for tadashi's loyalty to kei. i do think that this devotion extends past tsukki too, and tadashi's loyalty is another part of what makes him such an important part of karasuno (and eventual team captain).
now. for the big ones. i really hope people are still reading because i saved the best for last just because i know i'll collapse into a puddle of tears once i finish typing this section out
if you look at tobio and shouyou's names individually, they do fit them very well; 飛 (tobi) being the kanji for flight ties kags to the sport of volleyball, and the alt meaning of height i think references how high he is going to aim for and eventually reach, and 雄 (o) symbolising something powerful and masculine i think does fit kags' vibe. likewise, 翔 (sho) forshadows hinata's jumping abilities and his bird-like nature, and 陽 (yo), a kanji that has sooo many potential meanings, among which are sun and positivity, further underscores hinata's sun symbolism and his optimistic outlook. astute readers might have already noticed, the first kanji of tobio's name (飛) and the first kanji of shouyou's name (翔) have very similar meanings, one might even go as far to say that they are synonyms. both kags and hinata learn to fly at karasuno together, and they both aspire to the same upwards trajectory, literally in the game for hinata, and figuratively in their careers as pro volleyball players, and this similarity is underscored by the similarity in the meanings of the first kanji of their given name. but the kicker, the last kanji of their given names, 雄 (o) and 陽 (yo) not only sound similar, but they both are kanji that can be used to write yang as is yang, the opposite of yin! shouyou and tobio's names are literally synonyms of one another!! for all the differences apparent in their family names, their given names are literally the same name just a different font and i absolutely love it so much, because we spend so much time talking about how different hinata and kageyama are but part of the reason that they click and clash the way that they do is that they are so similar to one another in ways that they aren't like anyone else, it's what makes their rivalry and their partnership as strong as they are and it's so so so important to remember that these boys are always on the same wavelength!! clearly we're meant to think like this, since furudate chose these as their names...
one last little note, it might be hard to tell if (like me) you aren't used to reading caligraphy, but the same kanji in tobio's name is the kanji on karasuno's banner: 飛
so just in case there was any doubt as to where tobio belongs. his name is literally on karasuno's banner i can't i can't i can't
#thank you for coming to my ted talk#crying uncontrollably at all the symbolism i love this series so fucking much#haikyuu#hinata shouyou#kageyama tobio#tsukishima kei#yamaguchi tadashi#kagehina#tsukkiyama
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I would love to hear your thoughts about the fucked-up turtle (Terapagos)
"Now let's talk about the turtle. Can we talk about the turtle please, Mac? I've been dying to talk about the turtle with you all day."
Ok so. Short Answer Re: Thoughts About Terapagos:
WHAT THE FUCK. WHAT THE FUCK. WHAT THE FUCK. WHY DID IT DO THAT. WHY DID THEY [GAMEFREAK] DO THAT.
Long Answer Re: Thoughts About Terapagos [SPOILERS FOR THE SCARVIO DLC naturally. i havent seen Horizons so i dont rly know whats goin on with this little guy in the anime, just what we've got in the games]:
When the last little batch of new Pokemon in Indigo Disk leaked, about 12 hours or so-ish before the DLC dropped, I was at dinner with my bestie and we were looking at our phones like we were reading breaking world news. And I was looking at this tiny ass png of Terapagos's full Tera (Stellar) form.
And I immediately blurted out "holy SHIT it's turtles all the way down."
If you're not familiar with the phrase, check out its wikipedia page; here it's most relevant as a saying thrown around with regards to the philosophical concept of infinite regress, i.e. a series of elements (or questions begging an explanation) that that goes on infinitely with each member producing the next. So let's say the world rests on the back of a giant turtle--well, then, what does that turtle stand on to keep it from falling into the void? Why, another, bigger turtle, of course! But what about that turtle? Well, you're not gonna believe this, but it's turtles all the way down.
And here's the other thing about infinite regress: it's a logical fallacy, it's circular reasoning--honestly it's a little bit of a cousin to the "which came first?" chicken and egg argument. The question in these cases never truly gets answered, it just goes on and on forever. Bigger turtles on top of even bigger turtles.
It's a paradox. :)
So Stellar Terapagos, just look at that thing. Even its dex entries talk about how it looks like a planet, how it resembles "the world as the ancients saw it"--it's very much not only trying to evoke the World Turtle concept, but the symbolism of a classic paradoxical saying. So we've already got that going on with it, that already makes me bonkers. AND THAT'S JUST THE SURFACE LEVEL.
Cuz when we look at how Terapagos behaves, things start to go from "well isnt this guy a little weird" to "oh. oh this thing is kind of fucked up and terrifying, hello, what the hell is wrong with it" REAL FAST. Its two most stressed features we see in Indigo Disk are A.) its crystalline nature and how its the progenitor of Terastalization, but also B.) it is ferociously powerful and borderline uncontrollable. It's violent. It bursts out of a Master Ball and almost kills Kieran for daring to try and control it. Heath's illustration of its Stellar form in the Scarlet/Violet Book looks so otherworldly and almost cosmically horrifying. It has Weird Fucking Powers the game does NOT elaborate on (but I will; see more below.)
And also, hey, yeah, its Stellar Form looks like a stack of world turtles, but why the FUCK does its Terastal form also look like a goddamn dream catcher.
Personally I've been a big fan of the 'imagination theory' re: the Professors and the Paradox Pokemon and Area Zero, and folks have been arguing that Indigo Disk debunks that, but honestly I feel like we're loitering around some untold explanation that's even more bizarre. Terapagos is at least on some level tied to dreams and existentialism, and I really feel like there's more to Tera Crystals and Terapagos's relationship with them than what we've been told. Hell, its cry is even the noise we hear all game when we Terastalize our Pokemon, which produces its own myriad of questions (Are the Crystals some degree of alive? The Tera Crowns all do have Terapago's little turtle head at their base, too--does Terapagos physically or spiritually connect with a Terastalizing Pokemon? And what about that weird crystalizing the AI Professor does during its big boss fight? MUCH TO THINK ABOUT.)
Oh, speaking of Crystals--yeah. I can't NOT talk about the Indigo Disk Crystal Pool Postgame Secret when talking about Terapagos. ONE MORE SPOILER WARNING FOR THAT--SERIOUSLY GO TO THE CRYSTAL POOL AFTER GETTING THE DLC CREDITS. IT WILL BLAST YOU TO BITS. anyway.
Yeah so that's what I mean with Why Did It [Terapagos] Do That. The fact that you dont even need to have it in your party for the postgame Crystal Pool cutscene to trigger and for Terapagos to just pop out of the PC boxes on its own accord and warp space and time (and maybe even reality itself) to irreversible consequence, implying once again some great and uncontrollable power within this beast. Crazy Ass Moments in Pokemon History for CERTAIN.
And the thing that makes me most insane, thinking about Terapagos twisting time to allow you to meet the Professor, the Real Live Professor, to swap notes with them so to speak, the way it facilitates all of that, is the position it now puts the player and Scarvio itself in. If the Professor's research rests on the back of a white book given to them by a child, then what does the research of that white book rest upon? Ah, well, the expedition of Area Zero spurred forth by the fallout of the Professor's research. And what did THAT research rest upon, again...?
Turtles. The whole way down. Chickens and eggs and a paradox you're now responsible for. At the hands of a Normal Type Pokemon that tried to kill a 14 year old.
Terapagos scares the shit out of me. I love it so much. Why Did They Make It Like That <3
#asks#anonymous#terapagos#pokemon scarlet and violet#pokemon chattering#pokemon#pokemon spoilers#scarvio#scarvio spoilers#scarlet and violet dlc#indigo disk#indigo disk spoilers#long post /#HAD A LOT TO SAY ABOUT THIS TURTLE SORRY. IT'S RENT FREE IN MY HEAD
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Edge of Darkness
From the Marines to the Emmys to the most powerful cultural force in the galaxy, for ADAM DRIVER, finding his path has been a long, hard battle. Now, for STAR WARS: THE LAST JEDI, in a role he never imagined could be so complex, the brooding face of millennial angst faces his toughest fight yet. Spoiler alert!
—British GQ, December 2017
His face shrouded beneath a hood, Adam Driver strides toward me. Shoulders hunched, fists jammed into jean pockets, he lets out a low whisper, “Hi. I’m Adam.”
The mixed messages – simultaneously worrying he’ll be recognised and that he won’t – hang in the air awkwardly as Driver surveys our spot, a near-empty New York City café. Neither fear is well-founded; there is no flock of fans to notice him and yet there is no mistaking the actor, his grey hoodie notwithstanding.
“I try to disguise things, but it just doesn’t really work for me,” Driver says, shedding the sweatshirt. “I honestly just look the way I look and it’s difficult to blend in because I’m tall and I look strange. I shouldn’t put a judgment on it.”
Others have judged his appearance more favourably. Driver has been dubbed a “cure for the cookie-cutter leading man” and “a millennial sex symbol”. Which may or may not be a compliment. Although few phrases are as loaded as “unconventionally attractive”, it’s as if those two words were combined expressly to describe Driver. Exaggerated ears; hooded, slanted eyes; long nose with a boxer’s bridge; broad mouth and lips – his disparate features coalesce into a surprisingly appealing whole.
“I guess I never think about it like ‘I am a leading man’ or ‘I am a sex symbol.’ It’s strange to hear that stuff. I don’t think I could have imagined it,” says Driver. Yet, there was his visage on Gap billboard ads; in American Vogue with a black-horned ram slung across his shoulders; in a close-up at the Emmy Awards, where he was nominated for Best Supporting Actor three years in a row for his part in HBO’s Girls; and cast eternally in plastic as a Kylo Ren action figure for Star Wars: The Force Awakens – masked and unmasked versions available. (“Not bad,” he says of the likeness, “but my head and face are a lot bigger.”) Passers-by who once stopped him to ask, “How could you do that to Hannah?” in reference to the bad-boy behaviour of Driver’s character in Lena Dunham’s runaway-success television series, now ask, “How could you do that to Han Solo?”
“It’s a lot,” Driver says, “every part of my life. If we rewound to ten years ago, I would not have said that this is what my life would be.
“And now this music,” he waves his hands at the piano composition streaming through the café like pretentious Musack, “is making that sound so emotional. It isn’t helping, you know?”
Far from angry, the brooding face of millennial angst is smirking. At 33, Adam Driver’s signature intensity hasn’t wavered, but interest in being a tortured artist has. He’s aware of his tendencies – toward anxiety, analysis and absolutism – and is taking steps to temper them. Still, it’s a struggle, seeing good fortune as anything but a cause for self-flagellation.
If we did rewind ten years, we’d see why. Driver was a Gordian knot of clenched intensity. Enrolled at New York’s Juilliard performing arts school, he was so aggressive that his comments made fellow students cry. Every morning he would have six eggs for breakfast, then run five miles to the school from his home in Queens. He would eat a whole chicken for lunch and, during his day at the prestigious drama school, perform random feats, such as 1,000 push-ups.
“That must’ve been an obnoxious thing to be around,” he says, shaking his head. “I was trying to make it as extreme for myself as possible. Now it just makes me so tired and annoyed.”
I’ve met Driver in a peaceful, leafy corner of the Brooklyn Heights neighbourhood that he and his wife, Joanne Tucker, call home. It’s a square precinct full of baby strollers that belies the borough’s hipster cred. “I like sleepy, quiet places,” Driver explains, “because my job is very loud.” Right now he’s savouring a respite from work, the first in a five-year sprint to stardom and even letting himself idle a little. Driver, who has made a career of ill-at-ease eccentricity, is starting to feel comfortable in his own skin.
He genuinely enjoyed himself on the set of Star Wars: The Last Jedi, which will be released in cinemas this December. “The first one was all ‘You can’t fuck it up,’ you know? There was a lot more hanging out this time,” Driver says. “Then there are just practical things, like I have a lightsaber. That’s fun.”
Whatever the outcome of the larger battle between good and evil, the Resistance and the First Order, never underestimate the power of Driver’s light side. ”I had heard about Adam’s intensity before I worked with him, but he’s also really fun and funny,” says Rian Johnson, The Last Jedi’s director.
There was one emotionally charged scene that they shot over and over. “Every time the guy holding the clapper marked each take, Adam just starts trying to steal his shoe,” Johnson recalls. “It was hilarious. And then Adam goes straight into it with all the intensity of Kylo Ren. He just added a sense of play that made the process really click.”
Neither Johnson nor Driver can say what the scene was about or who else was in it. They are acutely aware of the cone of silence that surrounds the Star Wars films, suitably enough, like a force field. “There’s probably something in my contract, I don’t know – but it’s kind of unbelievable that no one has told me, ‘Don’t say anything,’” Driver explains. “It’s just implicitly understood.”
With plot points guarded like state secrets, even the tiniest perceived leak sets off an online feeding frenzy. Internet scribes grab at every quote, often misreading them. “You have to clarify truthful things you’ve said that people read these false things into,” Driver says. “It can be frustrating.”
After several years of sidestepping spoilers, Driver is practised at the art of obfuscation. His evasive manoeuvres are near perfect.
On whether he enjoyed acting opposite Daisy Ridley, who plays Rey: “That’s hard to answer. I mean, people assume that we’d spend time with each other. Maybe our characters see each other in the movie?”
On whether he had scenes with Carrie Fisher: “It’s hard to answer without being vague.”
On whether the lightsaber scar on his face, which came courtesy of Rey in The Force Awakens, was moved for the new film: “I noticed a lot of things.”
On whether Kylo Ren’s story has a happy ending: “Not saying yes or no. But continue.”
On whether Han Solo might have known Kylo Ren would kill him: “That’s interesting.”
On whether he appears with his mask off: “Yes, I can answer that. You’ll see it off in the new trailer, so I’m not giving anything away!”
Other times, Driver playfully embraces the absurdity of it all. “I can’t say anything, but what if I signal you,” he jokes. “If I just start sneezing uncontrollably…” He fakes a loud achoo and exclaims, “Bingo! Harrison Ford’s ghost returns!”
When I ask him about Kylo Ren’s mysterious order of Dark Side disciples, the Knights of Ren, he waxes whimsical. “We can talk about them. Peter, Paul, John… No, I was thinking of The Beatles. Except wait – there’s Peter. He was too ambitious on the tambourine. Now you know: the last Knight of Ren is Ringo Starr!”
On this particular mid-September day, the internet is abuzz with new speculation that Ridley’s character, Rey, is the daughter of Princess Leia (also Kylo Ren’s mother). This theory would take any romantic tension between her and Driver’s Kylo Ren into the realm of incest – territory that the first Star Wars
trilogy explored with a kiss between Mark Hamill’s Luke Skywalker and Carrie Fisher’s Leia.
“Yeah, my uncle and my mum made out,” Driver says, with a laugh. “Which Mark still talks about. He’s like, ‘Luke kissed his sister. How could he do that?’ I guess he hasn’t seen Game Of Thrones, you know?”
The Last Jedi marks the final film in Fisher’s storied career. Like the rest of the cast, Driver was shaken by the actress’ death last December at age 60. “It’s hard to talk about it without saying generic things,” he says. “Like, ‘It’s shocking,’ but it was. Or ‘It’s incredibly sad,’ which it is. I mean, it is all of those things.”
Driver brightens as he recalls Fisher’s wit on display at Comic-Con before the release of The Force Awakens. “The whole cast was downstairs in a conference room, talking through what’s supposed to happen at this big event. She was like, ‘Just pretend you’re down to earth. People love that shit.’” Driver pauses for a moment then laughs. “So now I pretend I’m down to earth and you know what? People really do love that shit. They eat it up.”
The image of Driver that people have consumed is not so much down to earth as intense and uncompromising, the all-or-nothing avatar of millennial manhood named Adam Sackler, Driver’s character in Girls. Ever since Driver landed the part, originally a cameo called simply “Handsome Carpenter”, the notion he really was that id-driven artist has, like the life of another charismatic carpenter, been taken as gospel.
In the public consciousness, Driver’s backstory is as extreme as his alter ego’s: a Midwestern misfit enlists in the Marines after 9/11, then studies acting at Juilliard – and finds he’s an outlier in both worlds. The truth is both less and more dramatic.
Born in San Diego, California, Driver is the son of a preacher. When his parents divorced, Driver moved with his mother back to her native Mishawaka, Indiana, where she was soon remarried to a Baptist minister. As a teenager, Driver was a poor student who dabbled in pyromania, trainspotting and climbing radio towers. A fan of the film Fight Club, Driver started one with some friends. “Just seeing the angst, I thought it would be a good idea to emulate it.“
Acting offered Driver a way out of the tiny town he called a shithole. “I applied to Juilliard when I was graduating high school and didn’t get in, so I was like ‘Well, fuck it. I won’t go to college, then.’” Instead, he set off for Hollywood and what he thought would be overnight stardom. “I’d always heard the stories of people striking out and finding success,” he says. “Why not me?” The dream lasted as long as his hand-me-down 1990 Lincoln Town Car did. After it broke down outside Amarillo, Texas, the repairs cost Driver nearly all the money he’d saved. When he finally limped into Los Angeles, Driver spent two nights in youth hostels. The only agent he signed with was a real estate agency, which took him for the rest of his savings. Having landed neither an apartment nor an acting gig, Driver arrived back in Indiana a week after leaving.
Following the 11 September attacks, Driver did not, as some retellings suggest, march down to the recruiting station. Instead, he enlisted in the Marines several months later. “My stepfather pushed me into it a little bit, which was good – I was grateful for it,” Driver says. “It followed an argument where he was like, ‘You’re not doing anything!’ I’d gotten this brochure in the mail. He was like, ‘Why don’t you just join?’ I was like, ‘No, I’m not going to join the Marines.’ Then I thought about it more. I had this sense of patriotism and wanted to get involved. I also had no prospects. I was living in the back of my parents’ house, working as a telemarketer.”
From the start, Driver’s time in uniform had a profound effect on him and his worldview. “The patriotism, the idea of country, doesn’t go away necessarily, it just turns into something else,” he says, reverently. “Not a big, sweeping idea, but this group of people you’re serving with, and that becomes your world, and it becomes sacred.”
Going into the Marines, Driver had a seemingly straightforward goal: “I’m going to be a man.” But rather than reinforce clichéd concepts of masculinity, military service put the lie to them. “You have to put implicit trust in the people to your left and right, and when they demonstrate that they’re looking out for you, that their own safety is secondary to yours, then all that kind of guy shit goes away and there is no ego,” Driver says. “There is no posturing, no need to say how much of a man you are, whatever that even means. You prove it with your actions.”
When Driver was not allowed to deploy to the Middle East with his unit, after suffering a broken sternum in a mountain biking accident, he was despondent. Although he fought to stay on active duty, Driver ultimately received a medical discharge.
He decided to apply to Juilliard again and this time got in. The transition from the Marine Corps to a New York City drama programme was jarring. During Driver’s second year, in an effort to bridge his past and present vocations, he launched a non-profit called Arts In The Armed Forces with his then-girlfriend, now wife, Tucker. Driver was able to carry a discipline and teamwork into his studies, but it didn’t stop him from feeling he’d gone soft. “I was like, ‘What am I doing? I’m wearing pyjamas doing acting exercises where I’m giving birth to myself or being a plant or moving around in jelly,’” he says. “Then again, even now, I’m like, ‘What am I doing?’”
After a brief fallow period after graduating from Juilliard, Driver says he learned to hate everyone in the audition room. He didn’t like TV and almost skipped his audition for Girls entirely. Instead, he dazzled the show’s creator, Lena Dunham, and the one-episode part Driver had read for was expanded into a central one. In audition after audition, Driver made a similar impression on a series of noted directors. Even before Girls aired, Steven Spielberg cast him in Lincoln, in which he played a telegraph operator opposite Daniel Day-Lewis. “He was very nice to me,” Driver says of the legendary method actor. “He would still talk in character, but very nice.”
In particular, Driver’s unusual, instinctive style made him a favourite of indie filmmakers. He landed meaty roles in the Coen brothers’ Inside Llewyn Davis and a series of films by writer-director Noah Baumbach: Frances Ha, While We’re Young and The Meyerowitz Stories (New And Selected). He played the lead in Jim Jarmusch’s Paterson and shared top billing in Steven Soderbergh’s heist comedy Logan Lucky. When Martin Scorsese was finally able to make his passion project, Silence, after two decades, he sought out Driver. Similarly, Driver recently wrapped shooting on The Man Who Killed Don Quixote, which Terry Gilliam had been trying to make for 17 years.
And yet nothing Driver had done remotely prepared him for Star Wars. He had grown up a fan of the original trilogy, but had little faith in outsized film franchises. “I’m leery of big movies – a lot of them sacrifice character for spectacle,” he says. “When they’re bad, it pisses me off – you can just tell it’s made by a bunch of executives somewhere.”
Despite his initial trepidation, the complicated nature of Kylo Ren put Driver’s concerns to rest. “It was all about story and character and playing someone who doesn’t have it all together. Making him as human as possible seemed dangerous and exciting to me.”
Driver was drawn to an idea that JJ Abrams, who wrote and directed The Force Awakens, had. The man behind the mask was not a man at all, but rather a young person struggling to come of age. “I remember the initial conversations about having things ‘skinned’,” Driver recalls, “peeling away layers to evolve into other people, and the person Kylo’s pretending to be on the outside is not who he is. He’s a vulnerable kid who doesn’t know where to put his energy, but when he puts his mask on, suddenly, he’s playing a role. JJ had that idea initially and I think Rian took it to the next level.”
Driver is on a roll now, discussing what excites him: character and narrative and cinematic influences. The original Star Wars was an homage to Akira Kurosawa’s 1958 film The Hidden Fortress, he says, and the link lives on in the new trilogy, in which concealed identities drive the narrative. Then he lets it slip. “You have, also, the hidden identity of this princess who’s hiding who she really is so she can survive and Kylo Ren and her hiding behind these artifices,” Driver says, apparently dropping a massive revelation about Rey’s royal origins.
Perhaps he’s unconcerned and Rey’s parentage is less dramatic than imagined by fans, who posited that her father is Luke then trumpeted that her mother is Leia. Or it could be that, in passionately holding forth, Driver is simply unaware he’s revealed anything, much less a major spoiler. In any case, he doesn’t skip a beat. “The things that made it personal to me,” Driver continues, “I’ll keep to myself, but I think everybody can relate to the idea of almost being betrayed.
“Wow, this music is killing me.”
As the café’s latest piano piece reaches its crescendo, I ask Driver if he tapped into his own experiences with his dad and stepfather and he reverts to evasive manoeuvres.
“I may leave that one. I have strong convictions about not talking about family, for many reasons,” Driver says. “It’s not as if the answers for Kylo are found in my relationships with my parents.”
In The Last Jedi, director Rian Johnson saw Driver go light years beyond his own experience. “Adam was always pushing the context of the character,” Johnson says. “He’s put in this unhealthy environment and goes through the worst of youth, the selfishness and volatility, he’s representing that side of adolescence.”
Of course, these days immaturity and insecurity are no strangers to power. “It makes complete sense how juvenile he can be,” Driver says of Ren, who prefers lightsabers over Twitter for his tantrums. “You can see that with our leadership and politics. You have world leaders who you imagine – or hope or pray – are living by kind of a higher code of ethics. But it really all comes down to them feeling wronged or unloved or wanting validation.”
Even more topical and even more touchy was the decision to play Kylo Ren like a radicalised extremist. “We talked about terrorism a lot,” Driver says of his early conversations with Abrams and Johnson about his character. “You have young and deeply committed people with one-sided education who think in absolutes. That is more dangerous than being evil. Kylo thinks what he is doing is entirely right, and that, in my mind, is the scariest part.”
The demagoguery drives him to the most famous film patricide in galactic history, as Kylo Ren kills Han Solo in the shocking denouement of The Force Awakens. “When I watched the premiere, I felt sick to my stomach,” Driver recalls. “The people behind me, when the scroll started, were like ‘Oh my god. Oh my god. It’s happening.’ Immediately, I thought I was going to puke. I was holding my wife’s hand, and she’s like, ‘You’re really cold. Are you OK?’ Because I just knew what was coming – I kill Harrison – and I didn’t know how this audience of 2,000 people was going to respond to it, you know?”
One person in the crowd who appreciated that scene was Han Solo himself. “We were sitting on this catwalk in between takes,” Driver recalls, “and Harrison was like, ‘Look what we get to do. Just look what we get to do.’ Meaning, look at how lucky we are that this is our job, you know? To see someone at that point in his career still get excited like that hit me. It’s like, ‘Oh, right. I need to take this in more.’”
As if on cue, a couple stop and introduce themselves. “I love everything you’ve ever done,” the wife says. “Everything.”
“Thanks a million. Yeah. Hi, I’m Adam.”
As fan encounters go, it is respectful and pleasant, but not even a whimper of what will soon follow come the release of The Last Jedi.
For all the ways in which he’s made peace with his success, Driver, who is almost pathologically private by nature, remains uncomfortable with notoriety. “I’m not in the world the same way I was before,” Driver says. “It’s completely changed my life. My anonymity is gone. But who I am as a person is the exact same. I think. Or, I hope.”
Soon after, we exit the café, as Driver is heading home for some quiet time. He stops in front of a bicycle locked to a fence. “It only looks bourgeois-hipster because of the saddle,” Driver says, adding that he’s only just added the leather Brooks seat. “I bought the bike for $200 back when I was at Juilliard,” Driver says. “Besides the seat, it’s the same crappy bike I’ve had for forever.”
Driver pulls his hoodie up over his head and as he starts pedalling off turns back to me. “Remember,” he says. “Pretend you’re down to earth. People love that shit. Right?”
The Last Jedi is out on 15 December.
#this is the ENTIRE THING#gah its so long#this took forever#adam driver#interview#gq#kylo ren#ben solo#star wars#the last jedi#the force awakens#long post
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