Narnia Fans » New York City

Here it is, the interview that many of you have been waiting for. Prince Caspian himself, Ben Barnes. He walked into the room and really ran the place. A totally cool and laid back guy, he was really easy to talk to. After the interview, Ben got a sword. One of the toy, Caspian swords, that makes a noise when you swing it. The first thing that he did when he got it: he swung it at my neck. He was very excited to finally have a sword, and whenever he walked around, he was swinging it, so that it would make the awesome slashing sounds.

Paul Martin: Hi!

Reporter: Hello, gorgeous!

(laughter)

Ben Barnes: (laughs) Dang! This is gonna be fun!

Paul Martin: How you doing? Paul Martin, NarniaFans.com

Ben Barnes: Ben, nice to meet you. How are you?

Paul Martin: Good, nice to meet you.

Ben Barnes: Narnia fansite, huh, that’s cool.

Reporter: So, how exciting was it for you to get this part to be Prince Caspian?

Ben Barnes: Um… do you know, I can’t even describe that, that evening I found out. I told them to ring me anytime that they made their decision. Just ring me either way, I’ve gotta know either way, and it was about four a.m. London time when they called me, and I was just ran around the house, screaming. I can’t explain to you the thrill of the first, you know, lead… Hollywood… big film.. and particularly when it’s something that you’ve grown up reading and you don’t get many moments like that.

Reporter: It is quite big though… the pressure on you alone must have been quite a bit. At what point did that hit you, the size and scope of the movie as a project?

Ben Barnes: I don’t know. I rented the first movie when I was auditioning, and I thought ‘these are big, aren’t they?’ Cause I remember watching the BBC series and finding it just charming and lovely and I, you know, I was eight, and it’s magic and it’s real. And then you watch it back, and you go ‘It’s just a dwarf in a mouse suit. It’s just a… that’s not an effect! That’s not a mouse, that’s a dude!’ And I brought that up with Warwick, cause it was him in the original series. You know, and I watched a few minutes of it when we were shooting this, and I just, you just think it’s lost… you can’t watch too much of it because it’s like all those things. It’s like when you rewatch old He-Man episodes and you realize they’re just using the same frame over and over again, and you don’t want it to lose it’s magic. Kids today don’t know how good they’ve got it, I mean, I was completely overwhelmed by the way it looked last night. I mean, I wondered what Andrew’s been doing since September and now I know.

Reporter: Was it easy for you to watch it as just a movie and enjoy it…

Ben Barnes: No.

Reporter: …or were you picking at everything you did?

Ben Barnes: I wasn’t picking, I found it very hard to form any sort of thoughts about anything as I was watching it. But I was… I might as well have been watching it on my own. I mean, I was totally engaged in it. I remember watching the first ten minutes of it and sort of sitting with my feet up on the seat, thinking, you know, as Glozelle moves towards the wardrobe that I’ve hidden in, with the secret passage… feeling tense. And then realizing that I knew that I’m not in there, so there’s no reason for me to be. And I kind of felt a little bit like that all the way through. I felt like I wasn’t quite sure what was gonna happen next, even though I’ve already shot it, because a lot of the lines, even the dialog had changed for the animated characters. They changed a lot of the dialog from the original script, you know, Eddie Izzard, one of my comic heroes, I’ve seen him so many times on stage. And he’d obviously just gone in there and thought, ‘well it’d be funny if I did this, and how about this way’ and I can just imagine him doing it. And it was great to sit down and see what is essentially a year of your life condensed into two and a half hours of relentless action and emotion and all that good stuff. What was the question?

(laughter)

Reporter: It think you got it, about could you just watch it and enjoy it as a film, that was the question.

Ben Barnes: Right, yeah. I mean, no I think is the short answer to that. I mean, I need to see it again to be able to relax a little bit. I was feeling kinda sick before it. Because it’s been such a long time.. ‘what did I do? Did I know how to act then?’

Reporters: (talking over each other) Ben did you — How did–

Ben Barnes: Wait, uh disfu– (laughter)

Reporter: Was..

Ben Barnes: I didsu– (laughter)

Reporter: Was it tough to get used to the choppier style of acting as opposed to the stage, where you are a character all this time?

Ben Barnes: Yeah, yeah. It is, it’s a different skill entirely. On stage you have two and a half hours to go through a two and a half hour journey. And this is seven months to go through a two and a half hour journey. So you have to kind of syke yourself up for each individual moment. And I think, actually, the main enemy there is that you can syke yourself up too much for one particular moment, because it’s the only moment you have to make sure of that day. And so it’s the most important thing in the world to you at that moment and it actually might not be that important a moment. And I think you have to remember that it’s part of this whole through line, and there are moments where it has to ease off, and you can’t be too intense and earnest about it all the time. But I think it’s probably something that takes years to get used to the difference and be able to kind of flit between the two, and obviously most of my experiences on the stage. I’m kind of looking forward to doing more in the film world and seeing how I get on.

Reporter: I can imagine how excited you were to get the role, but I’m sure there was a lot of stress as well, having to make the decision to leave History Boys as well. Could you talk about that?

Ben Barnes: Yes. It was a very difficult period for me, actually. Much more difficult than I kind of let on at the time, I think. You know, it’d always been my dream to work on The National Theatre. (England’s Royal National Theatre). If you’re British and an actor, and you’re ten years old, and you’re going to The National Theatre with your parents; that’s the pinacle of all acting, really. And then I got this job, and I’ve been on the tour with them for six months and I was in the west end, and it was this amazing play by this brilliant British playwright, Alan Bennett. And then it just so happens that a few weeks before the end, you get this opportunity to work on C.S. Lewis, another great British thing, in a film context, which you haven’t really done. I had only done two films before and it was just unfortunate that both those, sort of, dreams came true in the same year. And that sounds like an awful, conceited thing to say, you know, ‘whoa is me, two of my lifelong dreams have come true in the same year.’ But actually, it was a difficult time, because I consider myself to be quite a loyal guy, and it was tough for me to leave earlier than I wanted to. And I hoped it would work out, but it didn’t quite.

Reporter: Ben, did you feel that your character conveyed a specific message, and if so, what?

Ben Barnes: I’m not sure there’s… I’ve been discussing this in the other room. What I like about Caspian: it’s not too spoonfeedy. There’s not one particular moral message that kind of comes to the fore, but I think that there are good lessons in there. I mean, there’s moments where he makes mistakes and you learn about his regret of those mistakes. And there’s moments where he has to trust in other people around him, and their ideas, and learn to kind of concede. And then there’s, obviously, this sort of overarching message that believing in something that’s greater than yourself. And, you know, nature is the thing that saves the day at the end, and you know, fifty years ago when these books were written, that was a much more allegorical message. And now it’s something that looks really cool, but I think it’s there if you choose to see it. I think that Miraz – Telmarine – imagery is very strong. I mean, you’ve got all the eagles, which is a very sort-of Nazi-esque kind of look to it, but it’s only there if you really look to see it, you know, this faceless race with this ethnic accent. And it’s set during World War II, and you know, Sergio would be the first to say, he thought Miraz was kind of, that sort of Hitlerian figure. And then you look at Caspian, and his uncle has murdered his father, and has him thinking whether vengeance is the best policy, you know, which.. Pop quiz: which Shakespeare play does this remind you of? You know, so yeah, I think there’s a lot of these interesting layers, and I think there’s a lot of good, interesting moral messages about humility and all those. You know, there’s a lot of different messages in there, and they’re there if you choose to see them, and if you don’t, then there’s cool battle scenes.

Male Reporter: What are your thoughts on being sexy and a Hollywood heartthrob?

Ben Barnes: Ummm…

Male Reporter: Sorry, I have to ask.

Ben Barnes: Really, ummm… you don’t have to.. Sorry..(laughter) that was your question?

Female Reporter: Let me, take it from a woman.

Ben Barnes: Okay, you ask. (laughter)

Reporter: I saw the film last night..

Ben Barnes: Yes, yes.

Reporter: And all of the women around me, including yours truly, were swooning.

Ben Barnes: She’s much better at this than you. (laughter)

Reporter: We were like, all, is he good looking?

Ben Barnes: Yeah, now you’re embarrassing me, stop it. (laughter)

Reporter: How are you going to take it, because you’re going to get this?

Ben Barnes: I don’t know, I take it as it comes. It’s all very flattering, and still feels slightly ridiculous and surreal at the moment. You know… take it as it comes. It’s putting a smile on my face.

Reporter: Was the kiss between you and Susan, or Prince Caspian and Susan, the epitome for you?

Ben Barnes: Was it what?

Reporter: The epitome, the big thrill in the film.

Ben Barnes: No. I was worried about it, actually, if I’m being honest. Not doing it, it’s fine. You know, I’ve done screen and stage kisses in almost everything I’ve done, so that part of it is fun. But I was actually worried about it because it wasn’t in the book, and as a Narnia fan I knew it wasn’t in the book. And I thought, actually, there’s certainly one massive scene between Caspian and Susan that’s not in the movie. It will be in the deleted scenes, but it’s not in the movie. And I think it helped a lot that it wasn’t in the film. I understand why they took it out. And actually, seeing it last night was one of the things I was most relieved about, because I thought it really was something that felt very real. There’s a few glances between them, and then they go through this thing together, and they don’t really talk about anything because they’re in the midst of doing all this stuff, and then they say goodbye, and she walks away, and she thinks ‘you know what, I’m not coming back, why not?’ And it felt like a real moment, and that’s thanks to Anna and thanks to Andrew and you know, I’m just standing there, really. You know, I receive a kiss, that’s the easiest job in the world. But it did feel like something kind of quite subtle and real, and I felt the same. Well not the same, kind of relationship between Caspian and Peter, because I was worried about that being a bit too rotting stags, or whatever. But actually, it does feel very born out of the story, and born out of these situations they find themselves in, and the tragedy of losing the people in the night raid, and stuff, and it sets them really on edge. And neither of them are quite sure where they fit in this world. One was a ruler and then came back, and the other, my character, is very ambivalent about where he finds himself and he doesn’t feel he’s ready to be a king or a leader or a man yet, really. And yet he’s forced into this situation, so I think, I was very please at the subtlety and the, sort of, the adult feel of the relationships.

Reporter: How is it playing a younger person when you’re twenty-six – but you look like you’re seventeen or eighteen – to play that?

Ben Barnes: I honestly didn’t play an age, I think it’s very hard to try to play younger or older. I think you get in a world of trouble if you start trying to play an age. I think you are the age you look, and people will kind of believe it, or they won’t. And I thought it was very important for the story of our version, that Peter and Caspian seemed like similar ages, and I think they do.

Paul Martin: Now, you said before that you had never ridden a horse before, but then you said that you did. Can you sail a ship for Voyage of the Dawn Treader?

Ben Barnes: No. And, uh, but now I’ve definitely got the part, I can say whatever I want, so I CAN’T SAIL A SHIP! (laughter) AT ALL! (laughter)

Reporter: Did you get to take a sword home with you, or anything from the set?

Ben Barnes: Do you know what? I asked for a sword, I still haven’t got it. WHERE’S MY SWORD? (laughter) They said they would give me a sword, but I really wanted one. I got one of, you know, Edmund’s torch. I’ve got one of those.

Reporter: You’re gonna need one to beat the women off. (laughter)

Ben Barnes: (laughter) Ha ha! I love her!

(laughter)

Reporter: Can you tell us about one of your most embarrassing moments on set? Were there any?

Ben Barnes: Do you know what, there were a couple. My very first day on the actual set, I wasn’t shooting anything, I was doing a costume and make-up test. I’m sure William has told you this already, because he’s kind of proud of it. I had hair extensions in, they were trying a wig as well, they weren’t quite sure which to go for, so I had the hair extensions and the wig, and this fake tan, and I had the costume on for the first time, and I had spent two hours. They were trying to get it right for when we started filming, because then you can’t change it. And I was standing there, waiting for them to come back from set, and I could see Andrew’s car coming towards us to come and sort of check me out and we were discussing it. I was a little nervous, I had only met him like twice before, and Will comes up to me as a joke, and pretends to throw orange juice in my face. But instead of pretending, he squeezed the thing, and it goes *sshhshshshhhh* all over me. (laughter) And I’m like ‘you little..’ and I start, and he just runs. (laughter) Will is really fast. So he’s just gone. And I’m just standing there, surrounded by these poor people who spent ages dressing me up and making me up and doing the hair, and they’re all surrounding me, just going *mouths dropped open*. (laughter) You know, their mouths agape, and Will’s run off, and Andrew’s come up, and we have to go in and get changed again, so that was really embarrassing. But one they really set me up on was, you know the scene at the beginning, where the professor wakes me up and he puts his hand on my mouth and I go, ‘Oh, it’s you, five more minutes.’ You know, that bit. Andrew came in and he goes ‘Okay, that was good, we got it, we just want to change a little something with the lights. We just gotta turn up just slightly, do exactly the same thing Ben, same thing.’ And I was like, ‘Okay.’ And I go back to sleep. You’re kind of vulnerable in this position, I realize now, when you’re asleep with your eyes shut. And instead of Dr. Cornelius, I feel these lips on my lips, and I’m like, ‘if this, if I open my eyes, and this is the professor, I’m gonna be furious.’ (laughter) So I open my eyes, and it was the director’s assistant, who’s quite good looking, so it was okay. (laughter) I’m sure it will be on the extras.

Reporter: Did you ever get Will back?

Ben Barnes: Did I ever get Will back? No. Well, not in so many words, but ther was continual banter every time I would draw my sword. I’d be like ‘Oh, so.. how long is your sword, Will? Big as that?’ And he’d be like ‘no, it’s not.’ So, I had the biggest one, so I was one up on him there.

Reporter: Speaking of that, are the action scenes all just work, or can you have a little fun when you’re doing that, too?

Ben Barnes: Umm, half and half. I really enjoy choreographing them and rehearsing them, and when you actually get to do them, actually, it’s four o’clock in the morning, and it’s raining and you’ve got pathetic tennis elbow and it can be quite grueling. But really satisfying when eight guys come at you and you’re just like: ‘one, two, three, four, five, six, seven, and done.’ (laughter) And you can’t lose because you’re in the next movie.

Female Reporter: Are you dating anyone?

Ben Barnes: No.

Male Reporter: Is there a follow-up question to that? (laughter)

Female Reporter: No.

Ben Barnes: Thank you, everyone!

Reporters: Thank you!

Paul Martin: Thank you very much!

Ben Barnes: Cheers.

Paul Martin: Awesome job in the movie.

Ben Barnes: Thanks

Paul Martin: (hands Ben a NarniaFans.com card) Here’s my website.

Ben Barnes: Cool, these are the real, the real real fans.

Paul Martin: The real deal. They’re gonna love it!

Ben Barnes: Oh, good! Thank you very much!

Up next in the series, we’re going to talk about the exhibit that was on display upstairs from the interviews. It’s right on time, as the exhibit opens this weekend! Stay tuned!

This is the fifth interview in the NYC Prince Caspian series. In this interview, we have producer Mark Johnson talking about the challenges that they faced with bringing Prince Caspian to the screen. He spoke of the difference between the filming of The Lion, the Witch and the Wardrobe, and Prince Caspian, and the possibility of combining Caspian with Dawn Treader.

Mark Johnson: Who have you already talked to?

Paul Martin: Almost everybody

Mark Johnson: So, you all saw the movie last night?

Paul Martin: Yes, very much enjoyed it.

Mark Johnson: Oh, good, perfect.

Reporter: Tell me about the challenges going into a second one. The first is always hard because there are no expectations, but now you have so many expectations. What are those challenges?

Mark Johnson: You know, the first one we were so mindful of the readership, the loyal readership to The Lion, the Witch and the Wardrobe, and didn’t think we could make a lot of changes. Because we almost felt that the audience was sort of daring us to make a movie that was faithful to the book. I’ve done a lot of movies based on books, from The Natural to Donnie Brasco to My Dog Skip to The Notebook, and a lot of them: we’ve made big changes. We made big changes to The Notebook and The Natural, for instance. The Lion, the Witch and the Wardrobe we just didn’t feel that we could do it. And we were very, I felt, very faithful to it, and that’s what the audience told us. Even to the degree they’d say things like ‘gosh it was so great that you were so true to the book, loved the scene in the frozen waterfall,’ which of course is not in the book, but it just felt that it was in there. On this one, two things: one, we felt that we had the trust of the audience, that they knew that we were not trying to bastardize the books in any way. And we also felt that Prince Caspian the book didn’t really lend itself to a movie. Didn’t lay out as a movie. We were really perplexed. Andrew and I talked, briefly, about possibly combining it with The Voyage of the Dawn Treader. So we made some structural changes and elaborated on some things that are in the book. But I think we’re still very faithful to the characters, the journey of the characters, and to the themes of loss of faith and regaining faith that are in the book. But the readership is so strongly loyal and these books are so vivid in so many people’s minds that you just have to be careful about not playing around with them.

Reporter: Did you ever run into any licensing problems using the books? Or how does that work?

Mark Johnson: No, because the C.S. Lewis Estate works sort of hand in hand with us. And, in fact, Douglas Gresham, who is C.S. Lewis’ stepson, is a co-producer of the film with us. So they’re very involved. And they read all of the scripts and are involved in casting and luckily, we have a wonderful partnership with them and we like working with them a lot.

Reporter: You also have a partnership with Walden Media, with the travelling show with the costumes, and what have you. Why did you see a need to keep this going?

Mark Johnson: I’m not involved in that. I know that there’s, right now, a sort of exhibit, I think at Disney World. I’ve never been to it, but I’ve seen what it is. It’s supposed to be as much promoting the books as the movies. And the world of Narnia. And, as it turns out, these movies will be.. in a perfect world every two years we’ll have one out there. So it also keeps them alive.

Reporter: Were you surprised by how much money the first one made? Because there’s a good movie, and there’s a great movie, and then you go beyond into the stratosphere. How surprising was that for you?

Mark Johnson: I know.. I know.. It’s always surprising. People said ‘Oh, you must have seen it coming.’ You didn’t really. That’s a lot of money. We did three quarters of a billion dollars worldwide box office, you know, and we were successful everywhere. You can’t and I can’t take it for granted on this one. People said ‘Oh, of course you’re gonna do fine, you’re a sequel to a successful movie.’ I don’t think that’s true, and there are examples of movies that weren’t that successful. You still have to make a good movie. That kind of money is pretty staggering. But then again, I just heard that Iron Man did thirty-eight million dollars yesterday, so it’s sort of like… numbers.. it’s all sort of relative. You know… who knows. Most of the films I’ve produced have been successful, but nothing on that level. Rain Man did probably about four hundred million worldwide, or something like that, but most of them are much more modest than that. So all of a sudden to happen to do one in those numbers is both exhilarating and a little scary.

Reporter: Do you have a Narnia jet?

Mark Johnson: (laughter) Well, my yacht says The S.S. Narnia. No, there’s no yacht. No, a lot of people share in the success of it. For me, I’ve never done a movie like that. I would see some of those big fantasy effects films, and say ‘how do they do that? how do you do a second unit and a third unit, and visual effects where you have a character talking to a two-inch mouse which is really just a tennis ball on a wire that somebody’s moving around like that, you know. And so I just wanted to do it. And then I just fell in love with the world of Narnia. And what’s great about the franchise is that each book is so different from the one that preceded it and the one that follows it.

Reporter: You mentioned all the things you have to deal with, the CG effects and everything. How important is it to have somebody like Andrew who knows all that stuff?

Mark Johnson: Well, it’s remarkable, because often a director will be involved in a big visual effects film, and he or she will say to the visual effects supervisor: ‘can I do this?’ or ‘can I do that?’ Andrew knows those answers better than anybody. He has a great team around him, but he knows those answers. So that he is invaluable. And yet at the same time, I was telling somebody earlier, the most important thing is that you not… it’s all about characters. It’s all about characters in the story. And so the effects can be great, and the locations are great, but at the end of the day, those are the side-dishes. So what you have to keep mindful of, when you’re looking at dailies there on the set, is ‘do I really care? Is this moment coming across?’ Because it’s so easy to get distracted and say ‘oh good, that explosion went off beautifully there, and the camera moved like this and that.’ But it’s really in the face of an actor and whether or not that actor shows, or can somehow give you the feeling.. the sensation that you want out of him or her.

Reporter: I have no doubt this film will do well, but it is coming out in a summer that is ridiculously overloaded with potential blockbusters. The first movie came out over Christmas. Was there any kind of hesitency to release it in the summer? Especially like this one?

Mark Johnson: Well the first movie made sense for Christmas, and not just the snow. Father Christmas and all of that. It was very much a Christmas film. We were told at the time we were gonna get stomped by King Kong. And we ended up taking care of the big ape. Ironically, the only place in the world that King Kong did better than The Lion, the Witch and the Wardrobe is in New Zealand. Which.. Andrew Adamson is from New Zealand, as is Peter Jackson, so I don’t think Andrew took it well. (laughter) But, you know, it’s ideally, I think the adage, or what people want to believe, is that successful movies beget successful movies, so people start going to the movies again, and yeah. It’s really scary. I look at Iron Man is going to do over a hundred million dollars this weekend, and next weekend is Speed Racer. The next weekend is us. The next weekend is Indiana Jones. And there’s The Dark Knight, and a bunch of really good movies coming out there. So hopefully we’ll stick around. There’s no doubt that Indiana Jones will be number one movie of Memorial Day. So we’ll see. It is scary.

Reporter: Because you mentioned the worldwide success of the films, do you notice more of a fervency in the fanbase in England as opposed to the United States? Or is it pretty common across the board?

Mark Johnson: I think it’s pretty common across the board. You know what’s interesting: New Zealand, when we did The Lion, the Witch and the Wardrobe, all of our crew members had read it as children. C.S. Lewis was one of the staples. It’s not quite as across the board in the U.S. But in England and Australia and New Zealand, everybody has read those. And I don’t know if that’s true of just fantasy books in general. And a lot of people have said to me over the past six months, ‘aren’t you worried that fantasy films are falling apart?’ And there are a couple of movies that they could point to. And I always think that those movies just didn’t have the characters, and consequently the heart, that hopefully we have. Because at the end of the day, in The Lion, the Witch and the Wardrobe, the scene that’s most important to me is not the big battles, and flying this and talking lions. It’s really Lucy meeting Mr. Tumnus, and you say that’s sort of the heart and soul of the movie and that’s why the movie works.

Reporter: Andrew said that he had signed on to produce the next one, too. Will you still be a producer, and how do you feel about the next director?

Mark Johnson: Well I think that the perfect person to direct the next movie would be Andrew. And Andrew’s not going to do it. So you say, alright, who’s the perfect person after Andrew? And Michael Apted is a director I admire a lot and he’s very strong with performances and consequently story. And I think The Voyage of the Dawn Treader is a perfect movie for him to be doing. And, I think, it’s not that he hasn’t done big visual effects films – he did a James Bond film – but I’m excited about that. And of course Andrew will still be involved. One of the smartest things they did on Harry Potter was have Alfonso Cuarón direct the third one, and in many ways he was not a likely candidate; he had just done Y tu mamá también. He and I had done A Little Princess together, so I knew that he would be perfect for that, but I’m not sure that the world did.

Reporter: What was it about Ben Barnes that fit the role of Prince Caspian?

Mark Johnson: I think it’s…in a strange way you needed to buy him more, as a character who wasn’t sure of himself – who didn’t think he was a prince or a king – than, when at the end of the film, when he becomes that person. In many ways, the key moment is when Aslan says ‘rise kings and queens of Narnia’ and the four Pevensies get up and Caspian stays down, and he says, ‘all of you’ and Caspian says ‘I do not think I am ready.’ I like that Caspian, and that’s what we needed in it. We didn’t need just a good-looking, heroic, self confident young man, but a man who was, I guess, vulnerable. And we saw hundreds and hundreds of actors for that part. And Andrew had originally thought that the Telmarines would be this pirate race, so he liked the idea that they had a Mediterranean accent. Spanish, Italian, French – somewhere in there. So we saw a lot of boys and young men from Spain, Mexico, Italy and it was hard. You need the character, you need the physicality, you need the vulnerability, you need the ability to play that accent. And then, also, in some cases, also be able to speak English well.

Reporter: With the success of the first movie being so huge, was there ever any danger of this one having too much money available to you?

Mark Johnson: Well, that’s an interesting.. there’s never enough money, no matter what you do. I executive produced a film called Ballast that won the Sundance Best Director award, this year, and we did it for nine hundred thousand dollars, and there wasn’t enough money there, and all of a sudden you’re doing a movie that’s seemingly hundreds of millions of dollars and there’s never enough money. But the beauty of making films and not having enough money, from a producer’s standpoint, is that it forces you to be resourceful and inventive, as opposed to, ‘okay, we’ll just sort of throw money at the problem.’ And yet, when you are in this world and you are creating characters, believable characters, it just unfortunately costs a lot of money. There are people who do it, you know, people I’m constantly trying to learn from. I’ve become good friends with Guillermo del Toro because Pan’s Labyrinth was made for a lot less money, and it’s visual effects were pretty remarkable. But, you know, Aslan has to be completely believable. If you don’t believe that’s a real lion, I guess until Liam Neeson’s voice comes out of his mouth, then we’ve failed.

Reporter: At the end, I was getting ready to scream, because ‘Where’s Aslan?’ You guys were really able to milk it, and keep the movie exciting to the very end! Because I was looking for this lion to come.

Mark Johnson: I know… I know… I’m really pleased to hear that. It’s in the book. It’s a hard one, because Lucy’s sister and brothers may be dying in the middle of a battle, and yet she’s having a conversation in a field, you know, with Aslan. And yet, he comes in and wakes the trees and saves the day.

Reporter: Thank you!

Mark Johnson: Thanks everyone, and so long!

Up next, the final interview in the series, before we move onto the next day in the NYC Prince Caspian series. Look for the interview with Ben Barnes, Prince Caspian himself, soon!

Sci-Fi Pulse has finally posted their red carpet interview video for Prince Caspian. In that, Douglas Gresham mentions a bit about what they’re doing with the production order for the Narnia films. From what he says, it looks like the production will continue as the books were published.

This is the smartest way to do it. Narnia purists will tell you that the only way to read the books for the first time is the original publication order. That’s what I tell anyone to do, that has not read them yet to do.

Anyway, on the red carpet in New York, Douglas Gresham says:

We still have five books to do. I’m working right now on pre-production on The Voyage of the Dawn Treader, and I’m already starting discussions on The Silver Chair; and we’re just toying with the idea of doing The Horse and His Boy after that. So we are thinking ahead.

This doesn’t confirm it solidly, but it does show a bit more of what they’re planning. That’ll just leave The Magician’s Nephew and The Last Battle to close out the series.

Watch the video on Sci-Fi Pulse. There’s a great part where Georgie Henley meets Liam Neeson. Priceless!

We’re getting to the home stretch of the interview series from Day 2. This one features Anna Popplewell, who played the role of Susan Pevensie in both Narnia films, and Peter Dinklage, who played the role of Trumpkin. There are some spoilers in this interview, so if you’re still avoiding those, then tread carefully. Otherwise, have fun. It was another great interview. At the end, learn who is next in the interview series.

All of us: Hi!

Anna Popplewell: Hi!

Peter Dinklage: Hi!

Reporter: So what’d you guys think of the film, last night?

Peter Dinklage: Umm..
(laughter)

Reporter: It was your first time seeing it, right?

Peter Dinklage: Yeah, it was great. I just.. I have no perspective on it, my wheels are still turning, and I have to see it again to sort of watch it with a clearer head.

Anna Popplewell: Yeah, I feel a bit speechless about it. I was very excited and nervous to see it, and I need to see it again so that I can watch it without thinking ‘oh but this day we were here and then we were over there’ and watch it as a movie rather than making so many connections. But I was really pleased with it.. I was really excited by it.

Reporter: Peter, what was it like being welcomed into the Narnia family?

Peter Dinklage: They welcomed me with big open arms. It’s great working with a bunch of people, like these guys and Andrew and some of the producers and one of the effects people had worked on the first movie. So they already have a built in relationship that you sort of walk into, which was sort of… you get passed the meet and greet stage. A lot of the times on a movie, for an actor, you sort of meet somebody and five seconds later you’re doing a love scene with them, and it’s so disorienting and crazy but it happens. But for this movie, for people that hadn’t been a part of the first one, felt like you were walking into a whole world that had already been created. And relationships. And they really welcomed myself and Ben and anybody else who had not been on the first movie.

Reporter: I’m wondering if they kinda had any traditions set up or ways they spent their down time that might have struck you as a little odd at first.

Anna Popplewell: We’re very eccentric people.

Peter Dinklage: They’re very eccentric. They stay in one trailer together. They have these pamphlets they’re always trying to convert us to (Anna Popplewell: Yeah, it’s more of a cult, really.) some sort of cult thing: The Pevensie Way. (laughter) They would chant on lunch breaks, it was creepy, but uh… what was the question?

(laughter)

Reporter: You’re answer is good enough, thank you.

Peter Dinklage: Okay.

Reporter: Anna, Peter, are there any particular messages you wanted your character to convey?

Peter Dinklage: Wow, uh..

Anna Popplewell: I don’t know, I think… people often… I think from the first film, Susan is kind of not very likable because she’s always the one saying ‘well hold on a minute, this doesn’t make sense.’ And I think that a lot of people forget that actually, if you’re treating it at all realistically, and you’re plunged into the world of Narnia, then someone is gonna stand up and say ‘well hang on a minute.’ And she’s kept that element this time around. She’s still asking questions and posing problems, but I think she’s a lot more human this time, so I wanted people to be a little bit more sympathetic and kind of see where she’s coming from.

Reporter: She’s also a bit more of a warrior princess in this one, too!

Peter Dinklage: She kicks..

Anna Popplewell: Yeah, yeah. We were talking about the death count after we saw the movie last night, and you know it’s a PG film so you don’t see a lot of people dying and you don’t see a lot of blood, but I think I probably win the death count. I mean, Will kills a lot of people in the night raid, but they’re on his own side, so that counts negatively.

Peter Dinklage: So death count’s important to you!

Anna Popplewell: Yeah.

Peter Dinklage: Sorry..

(laughter)

Peter Dinklage: Death is.. killing is good to..

Anna Popplewell: Maybe not killing, but the whole…yeah.

Peter Dinklage: Yeah..

Anna Popplewell: Yeah

Peter Dinklage: Good.

Anna Popplewell: But, yeah, I was really… I really enjoyed being part of the action sequences this time around, because it wasn’t something I got to do last time, and it was fun to be involved in that.

Reporter: What about you, Peter, what did you feel that your role conveyed? You have a very strong character.

Peter Dinklage: Healthy cynicism. A little bit of comedy. I think in this world of wonderment and exploration, it’s important to have somebody who’s like ‘I don’t want to do that.’ You know, like ‘I want to go eat a sandwich!’ You know, just somebody who kind of.. for a Narnian it’s weird to be the character that sort of roots it in reality, cause it’s sort of an oxymoron, if you will, right. I just, sort of, love that disgruntled hero, if I can call Trumpkin a hero. Yes.(to Anna) I save you, don’t I?

(laughter)

Reporter: Anna, how was the kiss with Ben? Was there a lot of practice?

Anna Popplewell: Umm, there was no practice, whatsoever. We filmed it right at the end of the shoot, so we did it after we’d known each other for five months already. And it just felt like, okay, this is something that we’re gonna do on set.

Peter Dinklage: That’s not what Ben said. Ben was looking forward to that a long time!

(laughter)

Anna Popplewell: I thought it was gonna be really awkward and it wasn’t at all, so it was fine.

Reporter: Did you have any extra archery training on this one because of the extended battle sequences you had to be in?

Anna Popplewell: Yeah, I had some more of that. I mean, I’m not a perfect archer. I’m sure if you put something in front of me, I’d probably fire behind or something. But they make me look good with CG arrows and things. And I really enjoyed knowing how it’s done. It’s just that you then have to alter it to fit cameras under your arms and over your head and things like that. The nice thing about this movie is that it’s not just kaboom, I get to use the bow more creatively and throw arrows around.

Peter Dinklage: Alan Poppleton is our stunt coordinator, and he was the stunt coordinator on the first one as well and he worked on Lord of the Rings. He’s really really good at what he does. And he has a great team. They’re a New Zealand company. They make us look really good. I mean, all that stuff is because of them and the training they put us through.

Anna Popplewell: We’re not like real life action heroes, really.

Peter Dinklage: No. Kind of scared of that.

Anna Popplewell: Kind of ordinary.

(laughter)

Reporter: Peter, is this the most action you’ve done in a film?

Peter Dinklage: Yeah, I guess so, right? Yeah. I’ve done a lot of emotional action but..(laughter) alright, I’m gonna stop now. (laughter) Sorry. What’s wrong with me? I can’t help it!

Anna Popplewell: It’s the coffee, Peter.

Peter Dinklage: It’s the coffee. I’ve had a lot of coffee. But, yeah, definitely.But it’s fun. When you get a sword and a bow and arrow, and you’re in armor you, it really helps with the make-believe. It really does a lot of the work for you. It really puts you into that world.

Reporter: Anna, you’re studying at Oxford now?

Anna Popplewell: Yes.

Reporter: So, how difficult is it for you to be acting and juggling your education?

Anna Popplewell: Well, I should be writing an essay right now, so actually I should.. (gestures for the door) (laughter) No, it’s, I’ve been doing bits and pieces since I was about seven on sets and things, so it’s always been part of the routine for me, studying in the evenings or during lunch or whenever I can. And I’ve always been really determined about juggling the two, and I think if it’s something that you want to do, you manage it. So while I’m in Oxford, I’m doing lots of student drama and when I’m not, I hope to do some stuff in the holidays, and I’m just gonna see how it goes and try and keep both up for as long as possible.

Reporter: Do you have any upcoming dramas at Oxford?

Anna Popplewell: I’m doing Spring Awakening in a couple of weeks. Not the musical version, because I just can’t sing for toffee, but the play.

Reporter: So your major is drama?

Anna Popplewell: I’m actually studying English literature.

Peter Dinklage: Sing for toffee? I like that.

Anna Popplewell: British expression.

Peter Dinklage: Sing for toffee.

Anna Popplewell: Can’t sing for toffee.

Peter Dinklage: I’m gonna use that with an American accent.

Anna Popplewell: If somebody offered me toffee, then could not sing.

Peter Dinklage: I can’t sing for toffee.

Reporter: Peter, do red heads have more fun?

Peter Dinklage: Do red heads have more.. oh Trumpkin’s a red head, right! (laughter) I’m like ‘Hello, back there! Let me think, what magazine do you work for?’ (laughter) Yeah.. apparently. Although Trumpkin is losing his red hair, isn’t he? He needs to go to Red Hair Club for Men. (laughter) Yeah, that was fun. That was all yak hair and human hair. Somewhere on a mountain top, there’s a very cold yak, because of my make-up. But I made sure the yak was treated properly. Yeah, it’s fun. It’s a little toasty in the hot weather of Eastern Europe.

Anna Popplewell: Pete was amazing. You know, in a battle scene I have a leather bodice on, and bits of chain mail and stuff.

Peter Dinklage: You had a corset though, you could breathe!

Anna Popplewell: Yeah. And I feel uncomfortable, and I look at Pete and he has a yak on his face. (laughter) And he’s still smiling.

Peter Dinklage: Some days, I was smiling.

Anna Popplewell: Occasionally.

Peter Dinklage: Yeah, Occasionally I’d smile.

Anna Popplewell: Yeah, every now and then.

Reporter: What was it like working with Ben?

Peter Dinklage: Ben’s great. I have a new friend. He’s really funny. We have a very similar sense of humor and that’s always important and I loved his performance last night in the film. Movie acting’s tricky. I think with a lot of it, you can’t tell. I mean, I’ve worked with some great actors, and when you’re doing scenes with them, you sort of can’t tell if they’re acting. You can’t see their greatness, really, and then you see it on screen and it’s amazing. I think Ben has that quality and he made the eight months much easier. I think he has a great career ahead of him.

Reporter: Peter, you’re a star in your own right.

Peter Dinklage: Thank you.

Reporter: James McAvoy’s career really soared after Narnia. Do you have great expectations after this film?

Peter Dinklage: Uh.. yeah.. I mean. You know, expectation is a funny thing. I enjoy working. As an actor I think you’re lucky if you’re working, so you just sort of surround yourself with good people and good scripts and hopefully it will pay off. And apparently I’m doing the next one. I can say that because our producer announced it at comic-con last week, so I’m looking forward to that.

Paul Martin: So you worked with Warwick Davis a little bit.

Peter Dinklage: I did.

Paul Martin: Would you like to work with him again?

Peter Dinklage: Sure! If the opportunity arises, yeah. I don’t think we had enough in this film, so I’d love to work with him again. Yeah. Definitely. He’s a very good actor and very experienced with the make-up. I mean, that was sort of one of my first times in that heavy make-up, and Warwick has done so much of that work. He’s an old pro. So, yeah, he’s a good guy.

Reporter: Other than the Narnia projects, are there any other projects that’re coming up that you’re working on?

Peter Dinklage: Yeah, I’m gonna do a play over the summer. A Chekov play.

Reporter: On Broadway?

Peter Dinklage: No, summer theater, upstate New York. Then I’m doing about three or four independent films here and in Los Angeles, before the next Narnia.

Reporter: Did you audition for Narnia or not?

Peter Dinklage: No, I met with Andrew Adamson out in L.A. and I wasn’t actually completely sold on doing it until I met Andrew. I really loved the first movie, but I was a little wary of my involvement and my character because I hadn’t read the script yet. I had read the book. But meeting Andrew changed my mind. He brought me into the animation department where they were already storyboarding the whole movie on computers, and I saw that they had used my face as a reference for Trumpkin. And there I was all over the walls, and running with a bow and arrow on a computer. I was like, ‘That’s me as a video game! Hmm! I guess I can’t say no! I guess I gotta make their jobs easier!’ (laughter) But, not, that was interesting, but it was really meeting Andrew. He’s such a creative force and such a nice person in a great way. You know, cause you meet nice people all the time, but they are nice to sort of just to be a people pleaser. And Andrew’s just genuinely nice, and so talented and creative, so I couldn’t turn that down.

Reporter: Well you mentioned reading the book. When you have a movie that’s based on such a beloved book, do you feel the need to immerse yourself in it, or is the script enough to get you through it?

Peter Dinklage: The script and the director is enough for me. I mean, that’s all you have when you say yes to a movie, or no to a movie. You don’t know who you’re going to be working with. You don’t know what egos you’re going to be working with at that point. So, yeah, it’s all decisions that I make as an actor are all based on meeting the director. I have to meet the director before I say yes. And the script. Although I didn’t read the script for this, I just met Andrew, and that was enough. And seeing all the storyboarding and everything. And obviously the first film.

Reporter: Peter, it’s me back here again.

Peter Dinklage: Hello! (laughter) I’m ready for your sauciness. (laughter) Are you listening to music while we do this? (referring to her headphones) (laughter) What are you doing? (laughter)

Reporter: Listening to my audio.

Peter Dinklage: Are you with these people? (laughter) No, I’m just kidding.

Reporter: You have a serious persona, but yet you are funny in the movie. Was that scripted or did you improv at all, your lines?

Peter Dinklage: No. I didn’t improv anything. I mean, we had tweaked stuff a little bit, I guess, on set. And Andrew was always very willing to change things dialog-wise for everybody, if they weren’t working. Sometimes words on a page are different than words being spoken by an actor in the environment you are in. So that’s just common sense to sort of change things, and if you’re working with a really good director, who is luckily also – we’re lucky to have Andrew as one of the writers of the movie as well – you don’t have to call L.A. and get approval, Andrew just goes ’sure, alright, yeah, let’s change it, because you’re right.’ So that’s always nice. But improving, no. It was more about tweaking some dialog and mutually agreeing upon it.

Reporter: Anna, your character is not in the next one, and we talked with William about it and he actually seems ready to kind of move on, just like his character, move on and he’s learned all he can from this movie and he’s ready to move on. Do you have the same kind of feeling or are you kinda sad to see your end?

Anna Popplewell: I mean I think Will and I were both sad, you know, on the last days on set. This has been a big, long journey for both of us, purely in the amount of time that it’s taken up. let alone what has happened. But at the same time, I don’t think that I would gain a lot, or that audiences would gain a lot from me playing the same character seven times for seven months at a time. And so, I’m sad to go, but I’m happy to move on. I finished shooting in September, August/September, and I started Oxford in October and I’ve just been reading and playing and doing plays and things like that ever since. And having a great time, really.

Reporter: What do your friends think of you as like a movie star, or as a film star?

Anna Popplewell: I don’t think my friends really think of me as a movie star. (laughter)

Peter Dinklage: Friends are like that, aren’t they. (laughter) I guess that’s why they’re friends.

Anna Popplewell: Yeah! Well, I mean, the people I’m friending with are very cool about it, and not particularly interested in it really. I mean, I’m sure they’ll see the film, but they’re not sitting around.. uh..

Peter Dinklage: I think we both have friends who are outside of the business, which is very healthy sometimes.

Anna Popplewell: Exactly.

Peter Dinklage: Who are just like: ‘I don’t care.’ (laughter)

Anna Popplewell: Yeah, I mean, I don’t walk down the street in London with huge sunglasses and a sign saying ‘look at me, I was in Narnia.’ (laughter) I lead a pretty regular life.

Reporters: Thank you!

Peter Dinklage: Thank you guys!

Anna Popplewell: Thank you!

Reporter: What are some stuff that you indulge in or splurge on, like…

Anna Popplewell: Indulge in…um… I don’t know, really.

Reporter: Shoes, bags, music, make-up.

Anna Popplewell: All the normal stuff, really.

Peter Dinklage: With her? Books.

Anna Popplewell: Yeah, a lot of books, DVDs, that kind of thing.

Reporter: Favorite book?

Anna Popplewell: Oh, it changes all the time. At the moment, I’m really into Henry James.

Reporters: Thank you!

Coming up next in the day, producer Mark Johnson. Beyond him is the final interview in the series: Ben Barnes. Stay tuned!

The second interview of the day was William Moseley and Georgie Henley, Peter and Lucy, respectively. As you’ll see in the interview, they’re an absolute joy to talk to, and both very smart. Very intelligent, and well equipped with unrehearsed answers. They’re very down to earth and were absolutely awesome to hang out with.

Georgie Henley: Good Morning, everybody!

Paul Martin: Hi!

Georgie Henley: Hi!

Paul Martin: How are you?

Georgie Henley: I’m good, how are you?

Paul Martin: Not bad, I very much enjoyed the movie!

Georgie Henley: Thank you!

Paul Martin (to William): I was two rows ahead of you.

William Moseley: Oh, you were, that’s right.

Reporter: How was it for both of you coming back to Narnia?

William Moseley: You know, coming back to Narnia, it was a completely different experience. The first one I really auditioned, auditioned, auditioned and finally we got out to New Zealand and worked. For this one, Andrew said to me at the beginning, your character’s going to be very very different, you know, he’s not going to be the nice, selfless character he was in the first film. So I thought, well I’d love to, you know, work on that and so here in New York I worked with Sheila Gray, an acting coach out here, and I really got in touch with a lot of the darker, deeper stuff in my character and also in myself. So when I go on I could really perform and give everything I had to this role and also the film’s a lot more physical, obviously, so I worked with a boxing trainer here in New York at Gleason’s Gym which is this kind of underground gym in Brooklyn and I worked as hard as I could there. And I was really really pleased with the outcome of the film.

Georgie Henley: I think the first time you step onto a movie set, it’s a great feeling and that happened to me on The Lion, the Witch and the Wardrobe. When you step onto a movie set after a long time, I think that’s a completely different feeling. I had a tummy full of nerves, and I was really really nervous and then I stepped on the set and then this big feeling of relief came through me and I just looked around and everybody, and loads of people who I knew from the first film were there and it felt so much more familiar than I thought it would. And I just totally got into it again and it was great, wasn’t it? It was great. (William Moseley: It was good.) It was good.

Reporter: Last night, you guys were sitting right in front of me as you watched the movie. When you have a movie like this where a lot of it is effects, how is it watching it for the first time and seeing it on the big screen? Can you enjoy it or are you too critical of yourself?

William Moseley: You know, Andrew’s an excellent director and I think we’ll all agree, he brings you into Narnia, you know, with the music, with the editing, with the shots and the composition and he really creates a wonderful world and just being able to watch that and see that and see my hard work that’s paid off; it was a great relief but it was also a really humbling moment for me and I really felt very privileged to be a part of such a spectacle.

Georgie Henley: Well, at the beginning of the film, I’m ashamed to say, I couldn’t take it, it was too much for me and I was having a bit of a sob. But then my mom just said to me: ‘Just sit back, relax, it’s all right, the film’s gonna be fine, just sit back, relax, and enjoy the film.’ And I thought I’d be really critical of myself, and I wasn’t because I just sat back and I relaxed and I tried to watch the film and I watched everybody. I wasn’t just watching myself, thinking: ‘why did I do that, why didn’t I do this.’ I was looking at everything and every little detail and stuff and trying to soak it all in so I could make myself feel better. (laughter)

Reporter: Did you want each one of your characters to convey a certain message?

William Moseley: That’s a good question, actually, um. What message would I want my character to convey? Well, I think as we’ve seen in history, there’s a lot of leaders who’ve fallen through their own ego. You know, I think most empires actually have fallen through their own ego. You’ve got the Roman Empire, you have the British Empire and I’m not going to talk about the American Empire. (laughter) But, um.. it happens, and I think the most important thing that Peter has to learn is humility as a leader, that he has to serve other people and not serve himself, and do what’s best for everybody else. I think it’s stuck in his mind that he’s this great, wonderful hero from thirteen-hundred years ago. Well he’s gotta prove himself again. He’s gotta have this humility that everybody’s heard so much about, again. So, I think it’s, I’d like to convey the message of humility from a leader.

Georgie Henley: I think my message is just as complicated as that, although this is gonna sound rather corny. My message, I think is, keep your belief in what your belief is and don’t let anybody knock you down, because when Lucy first sees Aslan, she knows he’s there, she can feel it in her bones, and because her siblings don’t believe her, she backs down. She follows them, they go the wrong way. (laughter) And everything starts to fall down even more, even though they meet Caspian. And then she sees Aslan, she actually sees him, and meets him again, and he’s very angry with her. He doesn’t understand why she didn’t go to him, because she believed it, why didn’t she just leave the others? Why couldn’t her belief be stronger than their knock-down comments, if you know what I mean. And that is a definite lesson, it’s a lesson that she learns and it’s a message that she conveys to a lot of people, and I think a lot of people go through that in their lifetime, definitely.

Reporter: What did you guys do off set? I mean did you guys hang out as a cast together?

William Moseley: Yeah.

Georgie Henley: Yeah, I mean, if you’re in New Zealand, basically, there’s so much adventure stuff to do and, (to William) go on, you know what to say (laughs).

William Moseley: We were in New Zealand, and I heard about this incredible bungie jump you could do and this was literally two weeks into filming, and I said to Skandar, ‘I’m going to go and do this bungie jump.’ And it’s like a hundred and twenty meters, like two-hundred and fifty feet, an eight second free-fall, basically: it’s huge. And Skandar’s afraid of heights, and he said ‘I want to do it,’ and I was like ‘are you sure?’ and he’s like ‘I don’t have any money,’ (Georgie Henley: ‘I’ll conquer my fear!’) and I was like ‘I’ll pay for you.’ and his mom wasn’t there at the time and then he told her later that evening (Georgie Henley: My mom was there! (laughs)) and Skandar’s mom said ‘I cannot believe you did that! Why would you book it for so early in the morning?’ (laughter) You know, she didn’t really care that he was gonna bungie jump, all she cared about was that he’d booked it for so early in the morning and she couldn’t have breakfast with him the next day. But anyway, we went off and we had very different experiences. Skandar was positively green before he jumped out and when he came back up, I’ve never seen him so happy. His face was lit up. And for me it was a very spiritual experience. (laughter)

Georgie Henley: Well, we watched the videos when they went down, and Skandar was just sitting there and then he went down and he did a really good dive and he came up and he was all happy and elated. Will was sitting there, running his hand through his hair, and like breathing, and then he did the most perfect swan dive off the side, and then he came up and he was like breathing and it was like a titanic moment or something, it was hilarious!

William Moseley: It’s good having on set siblings that are just the same as your real siblings.

Georgie Henley: It was so funny.

Reporter: Did you guys find that you kinda went through something similar from your characters where you go and make these movies and then you go back to real life and then you go back to movies again and then back to real life again?

William Moseley: You know, that’s true, and you know, we just like I say, four normal kids. We’re here doing a huge junket today and from here on out, but really we’re just four normal people who’ve had these amazing opportunities, this through the wardrobe experience and then we go back to reality, then we come back again. But the important thing, I think, is to have some humor with it. Not to take it all too seriously, to enjoy it. Because I think the most important thing about drama, for any kid that’s listening to this or reading this, is to enjoy it. And I think that’s what we did, and I think that’s what really kept the on-set buzz.

Reporter: What’s it like shooting the battle scenes, because you don’t have much dialog but you’ve gotta portray something going on and they seem pretty intense and tell me those swords are as heavy as they look?

William Moseley: I love it, you know, I absolutely love it. And the sword’s actually aluminium, so it’s very very light. Aluminum. (Georgie Henley: Ha!) It’s very light and you know, for me it’s the most empowering and it’s a really good way to express myself because you can put all this tension and anxiety into this fighting sequence and you can really use it. It’s exciting to go on and learn this stuff from these stunt trainers, and then to have guys dying around you at every moment. It’s just really really fun, like I was saying before, it’s just I really enjoy it.

Reporter: How interesting was it to kind of share the hero thunder a little bit with Caspian in this one?

William Moseley: Yeah, I mean, Caspian, well Ben Barnes, it was the first time I had met Barnes and I was kind of anxious about meeting him and I remember the first time I saw him and he was playing with Georgie. And I was like ‘that’s kind of weird.’ Cause, you know, I’m always playing with Georgie. (laughter) So I actually met Ben and he was actually really cool. He was a really cool, down to earth guy and I was like ‘oh, this is good, this is someone who I can trust.’ He was someone who was like my own age, who I’d go out with at the weekend, we’d go for a drink and a chat about the previous week. And also Caspian and Peter have this rivalry, so you have to have a trust with the other actor, you know, you have to be able to really let go with them, and they have to be able to let go with you, to have this chemistry. So it was great that they chose Ben Barnes cause I can’t imagine doing it with anyone else.

Reporter: Georgie, what was it like working with Ben?

Georgie Henley: Well, it was a bit of a rocky start because we were playing table tennis at the base camp and Ben came down the stairs and Jeff O., who was our Second A.D., introduced him as Ben and everybody gave him a hug and stuff. And I was like, why are they hugging him, I don’t even know who he is? What’s his job or anything? So he went in, and then my mom came over and said ’so what do you think of Caspian?’ I was like ‘What?’ And she goes ‘That was Caspian.’ I was like ‘That’s Caspian!’ So I ran after him and I was like ‘Sorry, I didn’t know you were Caspian!’ And he was like, ‘Oh, right.’ And then, after that it kind of turned into like a really good relationship. And then we really welcomed him into the Pevensie family, I think. But he wasn’t a Pevensie, which is quite nice, I think, for him as well. I mean, we were the Pevensies, and he was in our family.

William Moseley: Like our adopted child.

(laughter)

Georgie Henley: But I do think he was like another big brother. I’ve got so many now! But he’s just lovely and he’s just as lovely as everybody else who works on them and he’s so easy to get along with, and that’s what you need. I mean, everybody, I mean Anna and Skandar and of course His Highness over here, they’re so easy to get on with. (laughter)

William Moseley: Royal Highness. (laughter)

Georgie Henley: The Magnificent! (laughter) You know, so easy to get on with, and I think that’s a great quality to have if you’re a Pevensie.

Reporter: How do you guys stay so grounded, because this movie’s huge, you guys are stars now, so how do you…

William Moseley: How do we stay so grounded? Well, I think what’s great about this is there isn’t really one person that’s, I mean even though the film is called Prince Caspian and it is The Chronicles of Narnia, it’s everything in one, so if one person’s taking it a little bit too far, you know, any of us could do at any time, the rest would just ‘whoom’ bring them back down to earth. And also, you know, we come from pretty grounded families. Our families are so supportive, so grounded. We all have siblings. We all have other kids. And it was never about ego for us, it was just always about enjoying it, being there for each other, just having a good time and doing hard work, doing good work, so I think as long as you keep that in perspective, I don’t think there should be any problem.

Reporter: Are you twenty-one now?

William Moseley: I just turned twenty-one last Sunday, yeah.

Georgie Henley: Yay!

Reporter: What about the ‘girlfriends’ side of it? Are you dating someone special now?

William Moseley: I’m not really allowed to talk about that. But, um, you know, yeah, it’s, uh… I do have someone in my life that I do feel very special about, so you know, um, don’t really want to say more than that. (laughs)

Reporter: Georgie!

Georgie Henley: Do I have a boyfriend, no. I’m very happy being single, thank you very much. (laughs)

(laughter)

Paul Martin: Georgie, were you happy to finally be able to draw your dagger in battle?

Georgie Henley: I was so happy. I spent all of the first film having this dagger and not really getting to use it. And then it’s just like ‘wha!’ (laughter) But I think one of my best moments in the film is when everybody’s at the side of the bridge and all the Telmarines and stuff, and I’m on the other side, and I draw my dagger with confidence. And then this army comes charging at me. And I remember filming that, and then Damian Alcazar who plays Lord Sopespian doing ‘Charge!’ And I was on my own, cause Aslan, of course, wasn’t standing next to me. We can’t import lions. (laughter) And I was having these horses doing at me.

William Moseley: Galloping.

Georgie Henley: Sorry, doing at me? Galloping at me. And I was absolutely petrified and Andrew kept shouting ‘Don’t show it in your face, don’t show it in your face!’ And I was so scared!

William Moseley: Act, darling, act!

Georgie Henley: Within! It’s called acting! (laughter)

Reporter: Georgie, how do you juggle your school with your acting?

Georgie Henley: Well, it’s the law to do school. You’re meant to do about three hours a day and normally if you had about a half an hour break, we’d go and do some school. One-to-one teaching, which is amazing. Normally, when I go back home to school, I’d be ahead of everybody else because of the one-to-one and stuff. And the good thing is that you don’t get homework because you do all the homework in the latin times, you still do everything. And even coming here on publicity, I’m doing some schoolwork this afternoon and working through, because, you know, you can’t just come here and throw everything else away. You’ve got to have some boundaries. And I’m twelve years old, I’ve got to do my education, and I’m happy about that. I love school, actually. I must say, I’m a bit of a nerd. I love school very much.

Reporter: What’s your favorite subject?

Georgie Henley: Surprisingly, I’m into the arts. I like english, I like languages as well. I like Latin and French and next year I’m taking on Russian.

William Moseley: Are you?

Georgie Henley: Yes!

William Moseley: (something in Russian)

Georgie Henley: (responds in Russian)

(laughter)

Reporter: William, I mean, your character is not in the next one, have you kinda talked to the writers about any way of kind of fudging you in?

(laughter)

William Moseley: You know, that’s an interesting question. Well, for me, as you know, characters leave Narnia. Peter and Susan leave Narnia. They’ve grown out of this world, they’ve learned what they can. And for William also is was always a very parallel experience, actually, and so, for me, I actually feel like I’ve learned what I can from Narnia as well, and I’m ready to move on and do something different, do something interesting and just improve. As an actor you always want to be challenging yourself, you always want to be doing something different, something that’s a little bit beyond you so you have to work that extra bit harder. So I’m ready for whatever comes my way next.

Reporter: Do you have anything right now, that you’re going for?

William Moseley: You know, there is a few things in the pipeline, but I don’t want to curse it, so I’m not gonna talk about it.

Reporter: Georgie, what do you like to splurge on?

Georgie Henley: Well.

William Moseley: Gucci bags and Chanel. (laughter)

Georgie Henley: oh, shhhhh…. No no no..

William Moseley: No, Georgie’s nothing like that.

Georgie Henley: Well, a lot of the time I’m a bit skinned because I love buying music off iTunes, I’m really into my music, so I normally spend most of my allowance on songs and albums and things, which is a bit silly, because you listen to them and then you get a bit bored of them. But I do basically spend all my money on them. I guess it’s okay, I don’t mind and I love pretty things as well. So if I save up, I’ll always get a little pretty ring or something and that’s always nice.

Reporter: What are your favorite bands?

Georgie Henley: My favorite band. I love the Kings of Leon, definitely. The Strokes, Muse, at the moment, I am really… oh, who am I into at the moment? Aw, I’ve forgotten. I’ve actually forgotten! (laughter)

William Moseley: Not The Arcade Fire.

Georgie Henley: No, not The Arcade Fire, but well done for introducing me to them. They’re very good.

William Moseley: Love The Arcade Fire.

Georgie Henley: But, yeah, definitely Kings of Leon. They’ve just got this amazing.. his voice is just amazing. It’s very, it’s husky and it’s sexy (laughter) and it makes you, you know, you’re intrigued by it and their songs are amazing. And I can play some of them on guitar which makes me feel very happy.

Reporters: Thank you!

Will and Georgie: Thank you!

The Cinema Source also has this interview with Georgie and also with William split into two.

Christopher Markus and Stephen McFeely the two writers that shared duties with Andrew Adamson on translating Prince Caspian from a book into a screenplay. This two gentlemen were an absolute joy to talk to and I hope to see them again soon. They’re really intelligent and definitely know the world of Narnia at least as well as the most die-hard of fans, if not better. This interview does feature some book/movie spoilers, so if you don’t wish to know the fates of some of the characters, you’d be better served by avoiding those areas.

Stephen McFeely was the first to enter the room, as Christopher Markus was indisposed at the moment.

Stephen McFeely: If you give me a microphone, I can go in there.

(laughter)

Stephen McFeely: Where are you all from?

NarniaFans.com’s Paul Martin: Michigan

Stephen McFeely: Yeah?

Paul Martin: NarniaFans.com

Stephen McFeely: Oh Really!?

Paul Martin: yeah..

Reporter: He’s really going to take you to task, then.

(laughter)

Stephen McFeely: No..hey, I have much love for NarniaFans and Narniaweb and that’s fine.

Paul Martin: It’s fun stuff!

Stephen McFeely: It is thorough stuff.

Christopher Markus: Now that I’ve come out of the bathroom to a room of reporters… I am mortified.

(laughter)

Christopher Markus: But you’ll get better answers this way. (looks at me) Hello, again!

Paul Martin: Hello! (explaining) We met last night.

Christopher Markus: We met last night at the screening!

Stephen McFeely: oh okay.

Christopher Markus: It terrified me to meet the internet in person. He just came up to me and knew who I was, which scared me.

Reporter: You mentioned having much love for the websites, I mean, how when you have a book like this that is so beloved by so many people: how great a task is that to have to bring that to the screen?

Stephen McFeely: Oh you mean to worry about the fervor. You know, you try not to worry. And when I say I have much love and I know of the websites.. I will be honest I used to check them half way regularly.. and then when I would read something about how I was an idiot for doing whatever, it would ruin my day… ‘come on, you’re thirty-eight, why are you doing this? Be a regular person, don’t look at that.’ So I stopped looking at it for along time, and then just recently looked up things again, so… Glumpuddle… I have issues with you… (laughter) We can only do.. we can only concentrate on page seventy-two, you know.. and if we worry about everything, and Lewis fans and movie fans and box office and all that stuff that we have zip-o control over: I think we’ll go down in a ball of flames. So we are workers, worker bees working on page seventy-two, then page seventy-three and so-forth.

Reporter: Is it ever a helpful resource, though, like if you’re at a point where you have to decide what piece you’re going to keep and what piece you have to get rid of, is it a helpful resource to have all of that out there?

Christopher Markus: You know, potentially, but that’s a risky road to go down, because then you are putting the story in the hands of the public which is where it will wind up and where it should wind up. But…

Stephen McFeely: I would argue it’s not the public, because the movie has to serve several masters. As important as die-hard fans are casual fans, so that if you take a sampling, a really small sampling of die-hard very vocal fans on a particular website, you’re gonna know that group whose faces I don’t know and whose names they don’t give, you know, and they’re a resource that I have to trust implicitly. Well, you can’t. You can’t trust people with no names implicitly. You get a vibe, absolutely, so you know that certain changes, okay: that group is gonna have a problem with that, but I really hope if they just watch all the way to the end, they’ll be cool with it. Obviously, because there are some that are strict Lewis textualists and if you change a word, you’re betraying something, and you know, it’s a movie and it’s gotta get changed.

Christopher Markus: One of these days we’ll make a movie exactly as how he wrote it and then we’ll see how much you’ll like it. (laughter) But in the end the ultimate master is..

Stephen McFeely: Andrew

Christopher Markus: ..is the story.

Stephen McFeely: Oh, yeah, the story.

(laughter)

Christopher Markus: And if it’s not working in the structure we’ve set up, it’s gotta go, because it’s going to throw the machine off kilter. Because the book, you could put anything in the book, and it will not suffer. And it’s infinitely variable and you can have anything you want in there and imagine anything you want in there and everyone whose read it has imagined a different thing. We are, for better or for worse, and this is changing as DVDs and the internet come along, but we are making a fixed version of it, and somebody’s baby is going to be tossed out. And we apologize before hand.

Stephen McFeely: The baby stays though.. in the film.

Reporter: How do you guys work together on this as co-writers? How do your visions come together?

Stephen McFeely: We’re pretty obsessive-compulsive.

Christopher Markus: I’m pretty, he’s obsessive-compulsive.

(laughter)

Stephen McFeely: As we work on anything, and it worked this way with Andrew too, just as sort of a third triangle. We outline the heck out of everything, so that, particularly in an adaptation like this, every scene and every half-way interesting line is a card on the dining room floor. And then those are all moved around and you’re trying to find thru-lines and see how many characters are in each scene, etc., which scenes duplicate each other, you know and so we’ve gotta pick one of those because that’s just killing us, and where you need to add and where you need to subtract. And so once we have an agreement on an outline, and that agreement is between us and amongst us and Andrew and the powers that be with the pocket-books, we then will write the first draft, and that’ll be an ugly sort-of Frankenstein draft where we repeat things and we’re boring cause we split stuff up. So I’ll take one through six and he’ll take seven through twelve. But once we’re done with that, then we’re revising the heck out of it together and that’s just, sort of, the long, painstaking working over each other’s shoulders and re-writing. And that’s all complicated, in this instance, by Andrew.

Christopher Markus: Enhanced!

Stephen McFeely: Enhanced. So we would spend long summer months in 2006 in his office. Andrew’s at a laptop, I’m at a laptop, Chris is at a laptop and we’re sort of just doing this on one particular scene and then..

Christopher Markus: I was checking my e-mail..

Stephen McFeely: And then that gets sent around the aether and by the time we’re done with the day, the scene might be close to done and it’ll have, you know I don’t know who wrote what line anymore and I have been working with Chris for like twelve years and I don’t know what lines I write anymore.

Reporter: Since there was a precedence as far as the film is concerned did you feel any added pressure when you sat down to write this?

Christopher Markus: Well, I mean you don’t wanna make a worse movie. For this one I didn’t feel added pressure, I felt actually kind of, it was exciting in that we’d never written another movie about the same people before. We got to consider that entire experience as back story and see how it would effect the mental state of the characters in this one. So it’s not like kids go on another adventure, they fight another bad guy… it’s what happens when you had that first movie happen to you and then you went home. And that was the really fascinating thing and that was a kind of treat to be handed that. It’s like, okay, probably never again in my life am I going to have a character who’s a king for fifteen years and now is fifteen years old again.

Stephen McFeely: So that was our jumping off point, character-wise, for when they get back. Some are relieved, some are resentful, we always wanted to make the four kids, even though they have to do the same thing and have the same goals, we always wanted them to react differently, or to varying degrees of the same thing.

Reporter: What were the main themes you wanted to bring out?

Stephen McFeely: Well, Lewis is big on what happens when you’re not vigilant about faith and I think Narnia falls away and is available to be invaded by Telmarines because they lose Aslan. He fades into their rear-view mirror. So that’s certainly in there, and that’s important to Doug Gresham and important to the book.

Christopher Markus: For the kids, particularly Peter and Caspian, it’s pride. They think they should be in one place and they are in another, and they are trying to figure out, as we all are, ‘am I not there because people are keeping me down, or am I not there because I’m not that guy yet?’ And that’s an interesting place to be where you’re biting off more than you can chew. And then as Peter does in the movie, and Caspian does, failing at it. And that’s meaty character stuff.

Reporter: How tough is it when you have two heroes like that? You have to balance who gets what victory and who has the most screen time.

Christopher Markus: It’s tricky and plus you throw Edmund, Susan and Lucy in there.

Stephen McFeely: Who’s gettin’ the short shrift?

Christopher Markus: But we were sittin’ in the hotel last night with Anna and the rest of the kids and we realized that Anna has the highest body count in the movie. You know, you have three big action hero boys and the girl has killed more people than anybody else.

Stephen McFeely: (laughs) Where were you, last night?

Christopher Markus: Well, you went off, I had just a wild night with movie stars. But it is tricky and we tried our best to embrace that because normally you wouldn’t get two..

Stephen McFeely: People occupying the same ground.

Christopher Markus: Yeah, occupying the same ground and we decided to embrace that and have them tussle over occupying the same ground.

Stephen McFeely: Because in the book, I think Prince Caspian is maybe thirteen, I mean it’s a much younger version and for a couple of reasons it made sense to make him closer to Peter’s age. A: for this sort of rivalry which we thought was interesting and B: you’re gonna do Dawn Treader, you know, the fifteen year old captain of a ship whose gotta fall in love with the girl on the island… I mean, the whole thing needed to be aged up for purposes of believability and commerce. And by the way, although I love all of our actors, the older an actor you get, the better an actor they usually are. And I think everyone is really good this time. So that’s why, for any particular fans, that’s why he’s been aged up. And by doing that, you’ve got two guys who occupy the same space and want the same thing, and then you have to deal with that. They’re gonna rumble.

Christopher Markus: We have three kings, two queens.

Reporter: You mentioned the next movie. How deep into that are you guys, I mean with the mention at the end so we already know whose gonna be in it and whose not gonna be in it. How deep into that are you?

Stephen McFeely: A couple drafts in.

Christopher Markus: Half-way across the ocean, somewhere. You never know until you’re done.

Stephen McFeely: Let’s say our feet are wet.

Reporter: Does it get easier each time? I mean, did you find it easer going into this one a second time?

Stephen McFeely: Well, a little less nerve-wracking. I mean, when we got the job for The Lion, the Witch and the Wardrobe, I allowed myself to be petrified for a good forty-eight hours and then sort of had a mental break and decided that the page was everything and I was gonna do page seventy-two and that was it.

Christopher Markus: Which is why page seventy-one: terrible.

Stephen McFeely: It’s terrible. Seventy-two is shiny. But you’re comfortable. All the same people are back. I liked working with Mark and Andrew and everyone.

Reporter: Not Mr. Tumnus.

Stephen McFeely: Oh Mr. Tumnus, oh, those people. You know, by virtue of a thousand years, unless you cryogenically froze Mr. Tumnus under the ice.

Christopher Markus: It could happen!

Stephen McFeely: James McAvoy was gonna go on and do some other sexy things.

Christopher Markus: And he seems to have done well for himself.

Stephen McFeely: But certainly that question comes up. Can you do anything to have his long lost brother twice removed a thousand years later and it’s just.. no. And the people involved in this movie are pretty good about not doing that kinda thing and say ‘listen, we’ve got seven big books. Let’s do ‘em the best we can. They’re good enough. You know, if we lose this beloved character, you’re gonna get a whole… I think Peter Dinklage steals every scene he’s in, you know… so you’ve got a new one.

Christopher Markus: Particularly, I mean, in terms of does it get easier, the books are so different is part of what will make this, hopefully long-living, series different from other franchises if you will, is that they really are pretty different movies. Different tones, each one. This is a bigger, more violent, more conflicted movie than the first one, which is a sort of idealic kind of thing. Which is from the books. And then you have Dawn Treader, which is on the ocean, it’s a completely different setting. So each one has proved to be a different task.

Reporter: Is Dawn Treader the last one that involves the kids?

Stephen McFeely: They introduce their cousin, I mean they sort of swap out, but yes, Lucy and Edmund for all intents and purposes, it would be their last go around and they bring their annoying cousin, Eustace, on the boat. And then they leave and then in Silver Chair, which will be the fourth one, Eustace comes back and he brings a new friend, Jill.

Christopher Markus: But then again, when you get to The Horse and His Boy, that takes place during their original reign from the first one. So you’d need to somehow feed the kids some sort of drug that would prevent them from growing which I don’t think is legal anymore.

Stephen McFeely: That’s why you shoot in New Zealand.

Christopher Markus: Exactly. And then Last Battle everybody comes back.

Stephen McFeely: Yes.

Christopher Markus: So, it’s always kind of rotating around. We’ll figure it out.

Reporter: What was the budget on this one?

Stephen McFeely: Oh no..

Christopher Markus: I have no idea.

Stephen McFeely: I have no idea.

(laughter)

Paul Martin (to Stephen): Nice to meet you.

Stephen McFeely: It was nice to meet you, take care.

Paul Martin (to Chris): Good seeing you again.

Christopher Markus: Sir! Say good things.

Paul Martin (to Chris): You know I will.

OneNews NZ were there at the red carpet, standing next to us as we snagged interviews with the cast and creative team.

You can watch their video from the red carpet here.

Look closely around the 27 second mark. I’m in the video shaking Andrew Adamson’s hand as he comes over to talk. Pretty cool video with some particularly hilarious editing. I still can’t believe they cut it so that Georgie Henley said what she did. Sounds worse than it was, folks!

Going to New York City for the first time can be pretty overwhelming. Going to New York City to see Prince Caspian for the first time is another thing entirely. Friday started out with a stroll through the city, learning where things were, which way it is to the cinema and figuring out where to go in the meantime.

It was all very surreal, as I was excited to see the film, but still overwhelmed by the size of the city.

We arrived to the film about an hour before the scheduled showtime. I wasn’t scheduled to check-in until 6:30, so we waited around a while. I met a bunch of people while we waited, including Barbara Vancheri: the Arts & Entertainment Writer for the Pittsburgh Post-Gazette. She was easy to talk to, and not at all like most of the critics that I had met previous to this.

After a short while, we were able to check-in, and were given our passes. Up a couple of escalators, we found our way into a huge screening room. There had to be nearly 1000 seats in that auditorium. The entire middle section of the screening was taped off for us to sit, and I found a spot toward the center of a row at eye level.

It was there that I met Fantasia-kitty from NarniaWeb, sitting one row in front of me. We started talking, which was cool, because my friends went up to sit with the crowd from TRL. She was really nice, and easy to talk to. She pulled out a notepad, but never wrote a thing. A little while later, someone asked if I’d be willing to move up, as they needed the row that I was sitting in for something. I moved up, and a little while later, something incredible happened.

In walked Peter Dinklage. Trumpkin, himself! But that’s not all. Many more members of the cast started to file into the row behind. Ben Barnes, Georgie Henley, William Moseley, Anna Popplewell… it seemed to never end.

Looking to the left, there was Mark Johnson: the producer.

A few minutes later, director Andrew Adamson walked to the front with Mark Johnson to introduce the film. I had expected, perhaps, a video introduction, but the man himself was standing before us. And he announced that he only finished the film two days before, and it would be the first time that the cast has seen it. He said that they were pretty apprehensive about it, as this was the first real test of the film in its’ final form.

He sat down and the lights went out and the film began. Two and a half hours later, the lights came up and I sat there, trying to figure out what I had just seen. I knew that I loved it, but that’s all that I knew.

I took a stroll down to introduce myself to the director. I don’t know it if I was starstruck or what, but after I introduced myself to him, he asked me what I thought and I could say nothing. I was so impressed with what he had created that I could barely figure out the vocabulary to express my thoughts.

He was clearly delighted. You’ll have to read my full review on Friday.

Talking to him for a while, he was a very genuine man, and very kind. I also met Mark Johnson and by then I was finally starting to figure out my thoughts. Next, we made our way out of the auditorium, where we met none other than writer Christopher Markus. A true gentleman and a very hilarious man, he quipped: “You’re not supposed to know who I am!”

We talked a bit about the film and then Andrew walked over and said that a shot was missing from one of the reels, and it was the only reel that was missing that single shot. When I asked what that shot had, we joked about how Andrew was trying to be a bit more edgy as a director, and it really was a good thing the shot was missing. It involved a waterfall and the cast, and that’s all that I’ll say here. Needless to say, the shot turned out to actually be an establishing shot or some such. Not nearly as exciting as our own imaginations.

After this, it was back to the hotel to get some sleep before press interviews would start at around 9am.

I’ve been pretty busy over the past week. Believe me, you want to know about this. The journey started a week ago, as I left for New York City. Over the next week, I’m going to be posting a lot of interviews and stories about the adventures, all leading up to our review of the film on May 16th!

Here is a summary of the Narnia events that I went to, that you will be able to read

about.

Friday, May 2:
Prince Caspian Press Screening

Saturday, May 3:

Press Junket. Interview upon interview with director Andrew Adamson, producer Mark Johnson, writers Christopher Markus and Stephen McFeely and actors Anna Popplewell, Peter Dinklage, William Moseley, Georgie Henley and Ben Barnes.

Monday, May 5th:
TRL taping at MTV Studios. It will air on May 15th.
Barnes & Noble reading with the cast and director.

Wednesday, May 7th:
Covered the Red Carpet Premiere of Prince Caspian.

Attended the World Premiere.
Attended the after party.

I look forward to posting summaries of the events as well as the interviews over the next week. And look for the review of Prince Caspian on May 16th!

Without saying more until my review, I loved it.

(Is that saying too much Stephen and Christopher? E-mail me if it is, and if it isn’t!)

Be on hand for an event promoting The Chronicles of Narnia: Prince Caspian, on Monday, May 5th at 7:00pm at Barnes & Noble in Union Square. Andrew Adamson, director and co-writer, will read from C. S. Lewis’ Prince Caspian, followed by a panel discussion with Ben Barnes (Prince Caspian), William Moseley, (Peter Pevensie), Anna Popplewell (Susan Pevensie), and Georgie Henley (Lucy Pevensie), audience question and answer session, and signing.

This is a great opportunity for Narnia fans to participate in all the excitement surrounding the theatrical premiere!!

When:
Monday, May 5th, 7:00pm

Where:
Barnes & Noble
Union Square
33 East 17th Street
New York, NY 10003

Who: Andrew Adamson, Ben Barnes, William Moseley, Anna Popplewell, Georgie Henley

What: Reading from C. S. Lewis’ Prince Caspian, panel discussion with the members of the cast and crew of “The Chronicles of Narnia: Prince Caspian,” audience question and answer session, and signing.