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Pedro Pascal reveals he was ‘appalled' by his looks in blockbuster film

Pedro Pascal reveals he was ‘appalled' by his looks in blockbuster film

Courier-Mail5 days ago
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Pedro Pascal has revealed he was 'appalled' by the way he looked in one of his blockbuster movies.
The Hollywood heart-throb, 50, made the confession during LADbible's Agree to Disagree video series, saying he 'strongly disagreed' with his clean-shaven appearance in 2020's Wonder Woman 1984.
In the Gal Gadot-led film, Pascal cut a very different figure to his usual shaggy aesthetic, rocking a beard-free face and a blonde wig to portray Maxwell Lord.
Pedro Pascal is promoting The Fantastic Four: First Steps. Picture:for Disney
Pascal revealed he was 'appalled' by his appearance as Maxwell Lord in ' Wonder Woman 1984'.
'I grow such shit facial hair, but if I were to shave it all off … I really look very [awful]. Strongly disagree with a clean shaven me,' Pascal said amid promotion for Marvel's upcoming The Fantastic Four: First Steps.
'I was so appalled by the way I look in Wonder Woman 1984. I loved the movie, but I was so appalled by the way that I looked that I never have gone back unless it were completely necessary.
'If they asked me to be clean shave for Fantastic Four and insisted, then I would've done it. But it was a very collaborative creation for all of our looks in the movie.'
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Pascal was, indeed, able to keep his signature moustache to fill the shoes of comic book hero Reed Richards/Mr. Fantastic in the latest MCU offering, despite the character being clean-shaven in the comics.
The Last Of Us star told Vanity Fair in June he was acutely aware of fan complaints when he was cast in the highly-anticipated role.
'I'm more aware of disgruntlement around my casting than anything I've ever done. 'He's too old. He's not right. He needs to shave',' Pascal said.
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Early reviews, however, have been in his favour, with promising critical reception to his performance and the film in general.
The Fantastic Four: First Steps officially hits cinemas in Australia July 24.
Meanwhile, Pascal is already set to reprise the role in next year's Avengers: Doomsday, which will see the return of Marvel legend Robert Downey Jr. as a new character, Doctor Doom, after Tony Stark/Iron Man died in 2019's Endgame.
Pascal and Downey Jr. are joined by a star-studded cast for the film, which is currently in production, including Chris Hemsworth as Thor, Vanessa Kirby as Sue Storm/Invisible Woman, Anthony Mackie as Sam Wilson/Captain America, Sebastian Stan as Bucky Barnes/Winter Soldier and Paul Rudd as Scott Lang/Ant-Man.
Originally published as Pedro Pascal reveals he was 'appalled' by his looks in blockbuster film: 'Never gone back'
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Behind the scenes in Kia's Tasman Town
Behind the scenes in Kia's Tasman Town

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  • Herald Sun

Behind the scenes in Kia's Tasman Town

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More beauty than beast in new production at Perth's Crown Theatre
More beauty than beast in new production at Perth's Crown Theatre

Sydney Morning Herald

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  • Sydney Morning Herald

More beauty than beast in new production at Perth's Crown Theatre

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More beauty than beast in new production at Perth's Crown Theatre
More beauty than beast in new production at Perth's Crown Theatre

The Age

time4 hours ago

  • The Age

More beauty than beast in new production at Perth's Crown Theatre

There was more beauty than beast represented in the Perth personalities who adorned the red carpet for Saturday's Beauty and the Beast premiere at Crown Theatre – and the same could be said for the show. At the final opening for a national tour attended so far by 1.2 million Australians, anticipation and nostalgia built right from the prologue voiced by Angela Lansbury (Miss Potts in the original Disney animated feature) and the opening glimpses of a jaw-dropping set that required 23 trucks to get to Perth and a team of 70 to unload them across thousands of hours. Faithfulness to the original continued; there is no danger of a modern reimagining in this saccharine-sweet production, which despite the vocal prowess of Belle (Perth-born Shubshri Kandiah) and the Beast (Brendan Xavier) unfortunately is slightly lacking in truly memorable numbers in the context of a 2.5-hour run time. The obvious exceptions are of course Be Our Guest, a showstopping number bringing all the production's technical might including projected backdrops of dancers' onstage patterns, milked to the max through an extended tap finale with 2400 lights; Belle, which shows off a French provincial town created with 30 tonnes of flying scenery and 50 tonnes of automation and staging; and Beauty and the Beast, simply and touchingly rendered by Jayde Westaby as Mrs Potts. The character of Gaston has more prominence than in the film and the charismatic Jackson Head brings excellent comedic value to it, with a ridiculous Jim Carrey vibe. To the extent that the gent on one side mentioned the resemblance at interval and the gent on the other was unable to prevent himself Googling Jim Carrey pictures during the performance, distracting us somewhat from Olivier Award nominee Matt West's excellent choreography displayed to full effect in Gaston (fun fact, the song's cast clink mugs 800-plus times). Despite being centred around the love story of Belle and the Beast the production's real emotional punch somehow comes not from them or even the relationship between Belle and father Maurice (Perth-raised Rodney Dobson) but from the enchanted castle objects whose attachment to humanity is, like the Beast's, dropping away with each petal from the magic rose. Lumiere (Rohan Browne), Cogsworth (Gareth Jacobs), Mrs Potts and Madame the wardrobe (Alana Tranter) are the heart of the show, providing pathos as well as laughs and magic (Lumiere's flames are real; Mrs Potts' spout smokes; Tranter's squeals are pitch-perfect comedy). Eason Ma was sweet as Chip the cup, head inserted into the side of the cup, body cleverly concealed in the stage furniture, though truth be told the disembodied head was at times striking me as a little on the weird side of cute. Particularly next to the larger-than-life Gaston, clearly an audience favourite, the Beast is somewhat disadvantaged. His role swings from suddenly roaring too loud and upsetting the other characters, to playing the fool for laughs, lacking the dark, conflicted tragedy this role could otherwise represent. Perhaps more height and bulk in the costuming would have made him a more imposing figure, but perhaps also would more attention given to parts of the show that feel rushed.

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