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April 25th, 2018

Chris Hemsworth, Anthony Hopkins THOR Interview

The epic adventure “Thor” spans the Marvel Universe from present day Earth to the mystical realm of Asgard. At the center of the story is The Mighty Thor, a powerful but arrogant warrior whose reckless actions reignite an ancient war. As a result, Thor is banished to Earth, where he is forced to live among humans. When the most dangerous villain of his world sends its darkest forces to invade Earth, Thor learns what it takes to be a true hero.

MoviesOnline sat down last weekend with Chris Hemsworth, Tom Hiddleston, Anthony Hopkins, Idris Elba, Kat Dennings and Jamie Alexander at a press conference in Los Angeles to talk about their new film. They told us what attracted them to the project and their characters, how they prepared for their roles, who their favorite movie heroes are, and how the mythology of what’s essentially a comic book story took on serious Shakespearean undertones in the hands of noted British director Kenneth Branagh. Here’s what they had to say:

Q: Tom, we heard that you thought you were the hero of the movie and that you wanted to be Thor. Could you talk a little about that?

TOM HIDDLESTON: Well, I think there are no villains in this world. There are just misunderstood heroes. And I think Loki definitely thinks he is the hero. There’s an aspect of Loki that is, essentially, that if you boil this film down to its barest elements, it’s about a father and two sons. And both those sons are two brothers competing for the love and affection and pride of their father, Odin, played by Tony here. And I think there’s just sort of a deeply misguided intention within Loki. And he has a kind of a damage within him. And he just goes about getting that pride in the wrong way. I didn’t actually want to be Thor, but my hair is in all sorts of trouble at the moment. I was born with very blonde, curly hair – not unlike Gene Wilder in “Willy Wonka and the Chocolate Factory”. And I’m 6’2”. So like every other English speaking actor over 6 foot who’s got blonde hair, I went up for the part of Thor. But I’m not built like a house. Like the man to my right (referring to Chris Hemsworth). And there’s no way in Odin’s Asgard I could have delivered what Chris has done. It was always meant to be this way, I think. And so yeah, I think we’re much happier as things are.

Q: Chris, this is a movie about a hero. What kind of hero do you think we need today? And also, if you have a favorite movie hero, I’d like to know.

CHRIS HEMSWORTH: Good question. I mean, growing up, my parents were my heroes, and my dad, in the way they conducted their lives. And Tom. You know, my dad works in child protection and he’s spent many, many years in that line of work. And we, as kids, our experiences shape our opinions on ourselves, and the world around us, and that’s who we become as adults, because of that experience. And so, yeah, he’s certainly been my hero. In movies, I think the idea of a heightened reality and then the fantasy that we’re able to be swept up in, and then these larger than life heroes and the possibility of someone much more powerful than we are and greater, that can come and, you know, save the day, so to speak, is inspiring. And it’s the people who put themselves on the line and sacrifice their own safety for the greater good and for others. I think anyone in any sort of profession who, their concern is the welfare of other people instead of individual, I think that is inspiring and important.

Q: Do you have any favorite characters or heroes?

CHRIS HEMSWORTH: Yeah. I mean, growing up, I saw a lot of different films. And I think Superman was probably the very first one I was aware of, and you know, I would run around the house pretending to be him, at some stage when I was a kid. I also had a Robin costume, Batman’s sidekick, which is a nice pair of green underwear and a yellow shirt and red cape. I was about six or seven. I was pretty small. Yeah, I don’t know. But I love Hans Solo, too.

Q: Chris, could you talk about the most miserable things you did to actually get that kind of physique? And do you know how to spell Mjolnir? I’m pronouncing it probably wrong.

CHRIS HEMSWORTH: Mjolnir – ah, good question. M-L-J-O-I-N-E-R? Is that right? Who’s gonna correct me? Is it even a word? Yeah, the most uncomfortable thing was the eating. I didn’t mind so much the working out. I’d never really lifted weights to that capacity beforehand, and it was certainly a whole new sort of education, for a good six months. I just don’t naturally sit at that weight, so I had to force feed myself with, you know, 20 chicken breasts and rice and steak – and all very boring to the plain things. And that was the most exhausting part, I think, out of the whole film, actually was the eating. It wasn’t the fun stuff, either. It wasn’t hamburgers and pizza and what have you.

Q: Sir Anthony, what drew you to be a part of this, essentially a comic book movie? Was it the chance to work with Kenneth Branagh, or was it the material itself?

ANTHONY HOPKINS: It’s Ken Branagh, basically. If they gave me enough money to read the phone book, I’d do it. See, well, I live in a total state of non-expectation, and I don’t expect things; and I keep my expectations very low about everything, especially the last few years. I had come back from a movie with Woody Allen, which was a big surprise – I enjoyed that. And then I had an agent and I left them, because I wasn’t very happy. And I got a new agent and within two days they said, “Would you like to meet Ken Branagh?” and I said, “Yeah. What about?” He said, “Odin.” I said, “Oh, that’s a god, isn’t it?” He says, “Yeah.”

Funny thing was, I hadn’t seen Ken for some years, and I wasn’t sure how he would respond to me, because I was one of the bad boys who ran away from England many years ago, and I came out to Cuckoo Land, you know, out here, because I never fitted into British theater and all that. So I wasn’t sure how he’d receive me. But we met for breakfast down in Santa Monica and he was very pleasant and friendly, and we had a chat about old times and all that. And he said, “Would you like to play Odin?” I said, “Yeah, okay.” He gave me the script and I read it. And I thought, “Yeah, I’d love to work with him,” because I’ve always been a fan of Ken’s, actually, because he’s – I’d never – I’d never read – I’m not a geek, you know, but this – [SOUNDS LIKE] wake up to Marvel when I was a kid and [SOUNDS LIKE] that’s all. But it turned out that it was the most enjoyable film I’ve been involved in for a long time, principally because of the cast here, and Chris and Tom and everyone. And Ken. I think I’d gone through a patch where I was getting very indifferent to everything, you know, and I could care less about anything. And then to work with Ken, he just pushed the right buttons to get me to give of my best. And I really value that in him, because I’d gotten lazy. He’s one of the best directors I’ve worked with and – so that was the principle reason. And I – hey, I wanted the work. Gotta pay the rent, you know.

And I thought this was a nice part. Didn’t have to do too much. The only thing was, I wish I’d gone down to New Mexico, because I had such a good time in the studios. My time was so brief. I think I was only on it about three weeks, on those great sets and everything. And then, you know, no acting required. I wrote in my script, “NAR” – no acting required, let the armor act for me, you know, on the sets. So I let the armor do it for it, and the beard, and that was about it, you know. And showed up and put on my voice and that was about it. But I really enjoyed it.

Q: Chris, with the physical demands of the role aside, how did you as an actor approach the mighty role of Thor? Did you look into the six hundred-plus issues of the comics, or did you pay more attention to the mythology, like the actual Norse mythology, or did you find a way to combine both? What was important to you, when taking on this role?

CHRIS HEMSWORTH: I started with the comic books; but I didn’t read all – however many of them – there are thousands of them, 40 or 50 years’ worth. But I certainly read enough to get a sense of who he was and the world he was from. And then I read some things on Norse mythology and this sort of fatalistic view they have that everything’s preordained and that leads the Vikings into this fearless sort of attitude in battle and with their lives. And they certainly back their opinions, I think. And they’re not swayed easy. And – and Thor is – that spoke volumes to me about the character. Then, you know, you fill your head with whatever information and research you have. But on set, it was just about making it truthful and finding a way, a simpler way that I could relate to it. Instead of thinking, “How do I play a powerful god?,” it became about, as Tom said, scenes between fathers and sons and brothers. And you personalize that, and that helps ground the story, I think, for an audience. And then we can relate to it and hopefully an audience can, too.

Q: Kat, your character held the largest comedic role throughout the film. How was that and did you enjoy it in such a serious superhero film?

KAT DENNINGS: Well, I didn’t really have – that’s the thing. I saw the film like a week ago, and I hadn’t seen any of the Asgard stuff. And I was – it’s – when – I know when you got to our parts in Santa Fe, it was just – you felt like you were on a different film. It’s a totally different thing. So it didn’t feel like, “Oh, I feel like I don’t belong anywhere.” It just kind of felt like he didn’t belong.

CHRIS HEMSWORTH: And that, that was what was funny, yeah. Yeah.

KAT DENNINGS: Yeah, which is why it’s hilarious. Yeah, and Natalie and I have been friends for years anyway. So it was actually pretty easy. We just hung out and goofed off and were girls; and poor Stellan had to listen to us talk about, like boys and nail polish and so it was pretty easy.


Q: For the actors who played Asgardians, was it more challenging or more fun to wrap your mouth and your mind around the film’s mock heroic Middle English? And as a follow-up for Mr. Elba, how much of a pleasure was it to not have to do a fake American accent?

JAMIE ALEXANDER: Oh, my gosh. I had a good time. I don’t know – it was fun learning the accent and training for the film and goofing off with these buttheads to my right. Yeah, we all trained together, prior to shooting. And you know, it made for a good time.

CHRIS HEMSWORTH: Yeah, I think one of the challenges for the script and the story and now the audience is that you have these two huge worlds, but they’re equally as well thought out, well written. Kenneth wanted us to all have a sort of uniform sound, if you like – you know what I mean? And even though, you do say mock English, but it was set in that world, but exactly not English, which is what I was told.

IDRIS ELBA: And yeah, fake American accents? Try some Asgard, you know what I mean?

Q: Sir Anthony had mentioned kind of facetiously that the costume really does the work for you. But I’m just wondering for the other actors that were in elaborate costumes and the eye gear and things, how does that inform your character, in terms of creating and becoming that person?

TOM HIDDLESTON: The costumes are incredibly heavy, and it’s like if you got up in the morning and you wear a pair of shorts and a T-shirt and some flip-flops, it’s kind of a signal that you might be going to the beach. And if you get up in the morning and you wear a breast plate and a back plate and a cape, and a pair of golden Satanic horns on your head, it’s quite clear that you’re doing something else. And also, we were so helped by not just the costumes, but by the beautiful sets built by Beau Welch, the production designer. And you know, you’ve got no furniture to lean on, really, and no, sort of, props to busy your performance. So there has to be a kind of simplicity, too. The costumes make you stand straighter. And when you’re in big – it’s like being in a neo-classical museum, and if you go up to the Getty, you have a sense of the size of the place, and that just does stuff to the way you stand.

CHRIS HEMSWORTH: Yeah. I mean, with Kenneth, one of his biggest notes for me was just let the costume do it, because I had this huge helmet on my head and couldn’t hardly see [INDISCERNIBLE]. And Kenneth would just say, “Don’t worry. Just live in it, you know, and you know, just stay as still as you can and just, you know, let the costume and the opulence,” of where I was – my bridge, which is beautiful – do the work and the script, of course.

Q: Did you get to pick your eye patch?

ANTHONY HOPKINS: Yeah, it’s an interesting – no, I can’t remember. They put it on the wrong eye, first of all. And I said, “I think you made this for the wrong eye.” And they said – because it wouldn’t fit in. And they said, “Yeah, we did.” But they had another [INDISCERNIBLE] put in that eye. The only problem with that was I had moments of anxiety because I had no three dimensional vision. So I felt like an old [man] – well, I’m not that young anymore; but to be guided onto the set, I felt very embarrassed, you know. “This way.” Yeah – because I couldn’t see. But the thing would come off very quickly. But it was a costume and it helped and all that. And you don’t have to do too much, except speak up, I guess. But you don’t have to act. It’s like John Wayne said, “When you’re in the desert, he doesn’t have to act; you let the desert do it for you.”

But I think those guys, those movie actors of that time, you know, they knew what they were doing. They just got on their horses and they did it and they were wonderful. So I take a page out of their copy book and try not to do too much. But Ken challenges you all the time, in a very nice, gentlemanly, charming way. I like the way he says, “My learned, esteemed colleague, I would like you to stand here.”

But it seemed like at the end, he said, “Ah, my esteemed colleague, Mr. Hopkins,” and he’s very cunning. He said, “I’d like you to stand here. And then Chris will come up behind you.” He said, “Do you have any suggestions?” I said, “Yeah, but I’m not gonna tell them to you because you want me to stand here, don’t you?” He said, “Yes.” “So you just tell me where to stand and I’ll do it.” See, you know with something like that, he knows so much. And that’s the most comforting thing. You don’t have to – you don’t have to work. You know, you just do what he tells you. And I know that sounds pretty wimpy to do that, but – why not? He knows what he wants. A good director knows what he wants, and what it’s gonna look like. And you know, good.

Q: Sir Anthony, first of all, I appreciated your reference to Captain Marvel, because there are a few of us around who – a dwindling number of us –


Q: – remembering Billy Batson.

ANTHONY HOPKINS: Yeah, Billy Batson.

Q: And then radio station WHIZ and all of that. But much has been made of Kenneth Branagh comments about how Shakespearean he saw the mythology and the story. Your experience with Shakespeare goes back to the RADA days and through Titus. Is that putting too much weight onto what’s essentially a comic book story?

ANTHONY HOPKINS: No, I don’t, I don’t think so. I don’t trouble my little brain with that stuff, because I don’t think about too much anything, anyway, when I go on a film set, because you can analyze and analyze, and I leave that to the guys, you know – the boss, the director. They decide what it’s gonna be like, and you know, you just follow. I’m not trying to demean my role in it, but you follow certain guidelines, and “This is what he wants,” if you’re working with a director – like Spielberg or Clint Eastwood or Ken Branagh or whoever, or Scorsese – you follow the guidelines of what their style is. And he mentioned Shakespeare quite a lot in the readings beforehand – we had about a week’s readings down in Manhattan Beach.

We talked, not extensively, but a bit about the good old Westerns, you know – “Shane”, one of my favorite all time Westerns, you know – when the bad guys come in and they have a conference and they try to negotiate. And Jack Palance, you know, looks innocent and all that. And to have that sort of feeling of big, the father, the autocratic father and the troublesome sons. There’s a wonderful film called “Lawman” – which Ken and I talked about, with Burt Lancaster – a great movie about rival factions. You know, there’s the father, played by Lee J. Cobb, and all these bad sons he’s got. And there’s always one son who’s a little in the middle, not quite sure where he belongs. So we have those points of reference – on the horse when I meet, I don’t know if it’s in the film [INDISCERNIBLE] I meet my enemy and I say, “Let’s talk about this. We don’t need any bloodshed.” That was taken from an idea of a Western negotiation, you know. I love those points of reference because I was a fan of all those early Western movies, Gary Cooper and all those guys, yeah. But Shakespeare, you know, yeah.

Q: When you were first asked about working with Mr. Branagh, you said, “I was lazy, and Ken pushed my buttons.” What buttons did he push, and did he know you were lazy? What was going on?

ANTHONY HOPKINS: Well – We – we’ve – no, we’re not – maybe I’m overstating it. But we’d come from the background. I mean, I’m 20 years older than Ken, and I didn’t know him that well. But we knew, we had all the same reference points of the theater. We knew about the actors we’d been working with over the years. And we were both pretty rebellious, and I know he was. I was rebellious in the fact that I was a bad boy. I escaped from England and the group theater, and came over to America to Disneyland, you know. And that’s – I – I know – I sold out – I sold out; I was – it’s nice. I’m glad I’ve sold out. So I wasn’t sure how he’d respond to me. But he’s just as bad as I am, you know. He’s a rebel, and – but he – he’s challenged himself over the years. And, you know, he did some extraordinary things 30 years ago when he was taking on people like Lawrence Olivier, you know, doing “Hamlet” and “Henry the Fifth,” “Much Ado About Nothing” – a colossal background. And his education is pretty profound. So I – I read a lot, but I’m – I hate taxing my mind with analysis. I’m not a good analyst. I cannot talk about acting. I hate talking about it. I hate talking about analyzing. They always say, “Let’s talk about the…” Why? I mean, I’ve sat in conferences where you just fall asleep because it’s so boring. I don’t know, you just get up and do it.

You know, the – get up and do the damned thing, instead of talking about it. And Ken is like that. He just says, “Do it.” And I like that. But I – I get too much the other way, of being Mr. Cool, you know, not analyzing at all. Just walk blindly on the set. And I think what Ken does is just say, “Come on, you can do more than that,” because I’d like to just be a little restrained. And he said, “No, let’s push it even more.” And it was a welcome invitation. So that’s – that’s basically my story.

Q: Tom, Loki’s such a great villain because he is so relatable and dimensional, and you don’t really know if he’s right or if he’s wrong, or what he’s feeling or thinking. When you guys were crafting this, was it with a trajectory towards the Avengers, and are we going to continue to see Loki as that kind of a character in the Avengers, or is it going to be a little more diametrical?

TOM HIDDLESTON: Well, really, I just took the character that I saw in the comics. I mean, Loki is a master of magic. And in the Marvel universe, he is the agent of chaos. And really, his superpower is his intelligence, if you like, and he’s a shape shifter; and it’s his ability to stay ten steps ahead of everybody else. And – so absolutely, Ken and Chris and Tony and I all talked about having those layers in a way that he’s someone with a fierce intelligence, but also a very damaged heart. And I would have to – I’m not sure – I think a red dot will form on my forehead if I give any more information about Loki and the Avengers. All I can tell you is that Loki will be in the Avengers and it’ll take more than the man to my right [referring to Chris Hemsworth] to stop me this time.

Q: For Chris and Tom, regarding the Avengers, you guys play very larger than life roles in this film. You’re going into a movie with four or five other larger than life characters. What’s the biggest challenge that you guys see in combining all these archetypal heroes and villains into this one film?

TOM HIDDLESTON: I think the sort of the thing that looks like a challenge is actually the reason it’ll work, as in how can one movie contain so many different flavors and colors and characters. And I think Joss Whedon has probably made that his strength. And the conflict between each of them will be something that will be expanded on, I think. Would you say?

CHRIS HEMSWORTH: Yeah, sure. Also, I mean, we don’t balance all the other characters, I guess. That’s just the writer and Joss Whedon, with – who’s the writer – director – his job is to sort of navigate that. And kind of like Tony was saying, you know, we come in and do our bit. And that’s sort of all you can really concern yourself with. But I definitely think it’ll be an interesting combination. And as Tom said, why it will work is that conflict in those larger than life characters and egos clashing, I think there’ll be some great tension there.

Q: Since we now know that Tom secretly wants to be Thor, is there another character in the Marvel canon that anybody would like to take on?

JAMIE ALEXANDER: Oh, I have one – X-23. Yeah.

KAT DENNINGS: I heard that. Yeah.


TOM HIDDLESTON: Keep the – yeah, the horn in the family. The horns are all yours, man. Yeah.

IDRIS ELBA: I think I’d like a stab at Luke Cage at some point.

ANTHONY HOPKINS: My one regret was that I didn’t go to New Mexico. And I think I was gonna, about to suggest to Ken that I could play Odin’s twin brother who actually goes down and is a sort of Fifth Columnist movement. So I wanted to be in the New Mexico [INDISCERNIBLE]. No, I’m very happy, having done Odin. I don’t know, if I come back to another one; I don’t know about the sequel — if there’s a talk of that. But I’d love to do another one. You know, it was so unexpected to be in a movie like this. And I like the unexpected. And you know, living in a state of total non-expectation, it’s just a surprise what happens to you, you know – all kinds of things come your way. It’s when you have expectations, that’s when it’s always disappointing. So to be in this was just a bonus, it was the gravy train, you know, for me, because I’ve been around a long, long time now. And so whatever comes along, I’m very happy to do it, you know, if it’s a good script and a good director and good actors. I’m just very fortunate to mosey along and do what I do. But I mustn’t get too lazy. I need another Ken Branagh. Because it’s very hard to find a director of that kind of power, you know. And gentleness. He’s a gentleman. And that’s it.

KAT DENNINGS: I don’t know. It’d be cool to see Darcy become something else, or to go up to Asgard, that’d be pretty amazing. Yeah, but it’s like you guys say, that I don’t want to have expectations. I didn’t have expectations going in. I got this role and then got to read the script. I didn’t read the script before I got this. So I didn’t know who Darcy was, and Darcy’s not in the comics, so she became bigger through the rehearsals. I’m just thrilled that she’s still in it. I can’t believe I didn’t get cut.

Q: For Chris and Tom, could you talk a little bit about the dynamic between yourselves as actors, vying for the attention of Sir Anthony Hopkins, as well as the brotherly dynamic that went from brotherhood to rivalry, and the bloody nose one of you received on set from said rivalry.

CHRIS HEMSWORTH: I nearly caught Tom talking about having breakfast with Tony at one point. And I said, “What? He’s having breakfast and I’m not?” And you know, Tony, actually you said it, that it’s much easier to, I think, hate someone on screen if you actually like them off screen. It’s just –


CHRIS HEMSWORTH: – a more enjoyable ride. And this is nothing sort of personal about it. And you know, we just got along and came into this at the same point in our careers, with the same sort of enthusiasm and love for these types of films and just had a great time doing it. Yeah, and you either have chemistry with someone, or you don’t. And thankfully, I think it was there, and so to play brothers, it was easy and fun.

TOM HIDDLESTON: It’s quite literally a bromance. Right, it’s the bro – the bro aspect of the word is for real. But Chris is absolutely right. It’s much, I mean, I can’t imagine having to go to sort of the emotional extremity that we both have to go to if we actually didn’t like each other. It’d be just horrendous to go to work. And I think, you know, the fact that we get along makes it kind of like – we just egg each other on and between takes, we would just say, you know – I don’t know, maybe we’d like raise each other’s game or something. We just had a really, really good time. And also, there are so many things that went wrong, that were just accidents that make you laugh. And it’s such a huge journey. We both spent two years of our lives working on this film, and it’s so nice that there’s somebody else who’s kind of alongside. Like Chris had a few drinks at the wrap party, and was like hanging out the window on the way back to the hotel, saying –

CHRIS HEMSWORTH: That’s not true. You’re ruining my career right there.

TOM HIDDLESTON: Sorry. And he said to me before we went up to our rooms, he was like, “You’re the only one who understands me.”

CHRIS HEMSWORTH: I have no idea what I was talking about. Yeah.

TOM HIDDLESTON: But in terms of vying for the attention of Tony, Tony was amazing. And I haven’t actually said this on record, but when, whenever – our days working with Tony, he would just regale us with stories of when he was a young actor and starting out in “The Lion in Winter” with Peter O’Toole and Katherine Hepburn. I’ll never forget that story you told about Katherine Hepburn saying, “Stop acting, Tony. You’ve got a good face; you’ve got a good voice. You’ve got a good body. Stop acting.”

ANTHONY HOPKINS: Yeah. She said, “May I talk to your mama?” And I said, “Yeah.” She says, “Don’t act; you don’t need to act. Watch Spencer Tracy.” I said, “Oh, okay.” It was good advice. But she was a – she was good. Yeah.

TOM HIDDLESTON: And actually, then, then we did the scene in the vault, where Loki finds the big, dark secret of his personal history. And I think after the first couple of takes, [CHUCKLING] Tony leaned across and said, “Have you got a good agent?” And I said, “Yes, I – I think – I think so.” And he said, “You’re going to need it.”

ANTHONY HOPKINS: Obviously, I love to have a laugh.


ANTHONY HOPKINS: I like to tease people.



TOM HIDDLESTON: I remember, actually –

ANTHONY HOPKINS: Ken, Ken is part of that, as well. I said, “Is he gonna play it like that?” He said, “Yeah.” He said, “That’s all the young actors.” “Is that the way you’re gonna play it? It’s your career.”

CHRIS HEMSWORTH: I remember that, being on set with Tom, our first day with Tony, and going through the rehearsal, and Tony giving us that reaction. “Is that how you’re gonna do it?” And going –


CHRIS HEMSWORTH: “He’s kidding, right?”


ANTHONY HOPKINS: It would be terrible if you had met somebody who didn’t have a sense of humor.

TOM HIDDLESTON: Yeah. But then there was something he said, when we were walking down towards the casket and I said – and he said, “Can I tell you something, Tom?” And I went, “Absolutely. Say it up straight. Tell me, tell me anything.” And he said, “You’re doing this very strange thing with your wrists.” “Oh, my god, what am I doing?” And he said, “You – you’re just – it looks a little bit camp. Maybe you can butch it up a bit.”

CHRIS HEMSWORTH: And he said, “Isn’t he, Chris, don’t you think?”

ANTHONY HOPKINS: I remember [INDISCERNIBLE] this story briefly. My first film was “Lion in Winter” and we had a couple of sound engineers. And I was a new actor, and there were three of us and we were three new actors on the block, you know. And this guy called Tom Buchanan, he was the sound engineer, he walked behind me once with his sound mixer; he said, “I hate actors.” But he did it to tease us, you know. He’d be sitting there with the headphones on, and I’d be doing a scene. And he’d go, “What?” That humor gets you, sort of up. Because you have to have humor. Because if you don’t have humor and you take yourself seriously, you’re dead in the water, you know. So you have to be jostled. And I love it. You – you’ve got to have a laugh. Because it’s better than working for a living.

CHRIS HEMSWORTH: It is, yeah. It is. Absolutely.

ANTHONY HOPKINS: It is, isn’t it.

TOM HIDDLESTON: Absolutely. That’s the big thing I learned from Tony, was have a good time doing it, you know. And the appreciation for it and having fun. You know, what should have been the most intimidating experience walking in, was the most enjoyable.

“Thor” opens in theaters on May 6th.


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