Exclusive Interview: The Smurfs' Neil Patrick Harris
Who doesnít love Neil Patrick Harris? Whether you know him as a child star on the Doogie Howser, M.D., the ridiculous drug addict in the Harold and Kumar movies, the womanizing and legen-wait for it-dary Barney Stinson on How I Met Your Mother or simply from his hosting duties at both the Emmys and the Tonys, the guy has proven to wide audiences time and time again that he is the epitome of awesome. Now heís bringing his particular brand of amazing to the world of The Smurfs.
A couple weeks back I had the chance to sit down with Neil Patrick Harris one-on-one at the press junket for The Smurfs and ask him about his role in the film. Check out the interview below in which he discusses the challenges of working against a CGI character, the physical comedy in the film, and what he gets up to in A Very Harold and Kumar Christmas.
Obviously you have a long experience with voice over, Iím curious, what do you find more of a challenge: being in a recording booth and having to imagine everything around you or talking to an invisible blue smurf?
I think the on-camera is certainly more difficult, just because you have to be aware of so many other weird elements. Keeping your chin up or your chin down, or hitting a very specific mark. The voiceover thing is very selfless. You go in there and theyíve hired you for your voice, but they know exactly what they want, and the writerís there and he knows exactly how itís supposed to be said. So you canít really argue with them, you just have to let them tell you what to do and then do it.
I guess, there is a lot of physical humor in this. At the same time, it does have to be orchestrated by strings and stuff, how much freedom in that physicality did you have?
A fair amount. We were the first step in the process, so they would animate to what we did as opposed to vice versa, which was very helpful. When it was just me whacking around an umbrella at things, the more I wanted to specify and play around, the happier they were. And yet there were other scenes that were so complicated, they really had to be very, very, very particular. That whole opening of the box and they were climbing over your body and stuff, a smurfette lands on your shoulder, you had to be real precious with certain things and then free with other things.
Were you given freedom to improvise the dialogue as well?
Not so much with a big movie like this. You can try different lines or alts, lots of different alts, but by the time we got to filming, I had my writers take passes at stuff and everyone sort of decided, letís do this movie now.
Thatís kind of what Iím curious about. Being on a television show, your schedule is kind of, itís filled up. How do you go about choosing which programs you want to do during hiatus?
Well, itís hard because now Iím looking toward next hiatus to see what I should do. If smurfs is hyper successful, then there might be a sequel, so I might have to do the next phase or not. I might do some theater, should I just take time off and hang out with the family? But then again Iím not a producer so I also have to wait and see what comes my way. You just take things as they come. I like to try to not do the same type of role too many times in a role, lest it seem like Iím stuck in a rut, so I canít imagine that I would hop into another Stinson kind of role after.
So basically youíd look for, I mean Smurfs, you really kind of have...
Well thereís a little Stinson in there, heís a little hyper physical, a little sardonic and stuff. So I feel like it was a step removed, or a couple of steps removed.
We did. Barely.
You know actually, there are so many ridiculous rumors saying that she is the future wife. Iím curious, how did your relationship, what was your relationship with her both off set and on?
Iím a wild fan of hers both off set and on. I think sheís a great actor and for this kind of movie sheís able to have a really heartfelt scene with Clumsy and teach him about life, and yet be a little left of center in a way that makes her entirely watchable. Sheís smart and funny and offstage, just everyone, the crew loved her and you want to sit and get to know her more. Sheís a real special girl.
Also in terms of coworkers, you had Raja who had incredible experience with this, just between the two movies. What was it like working with him on this film, did you find that his experience really shone through in his style?
Yeah. I appreciated his confidence with how every shot worked technically. Itís very unique and weird skill to know to shoot close ups of something that doesnít exist and get animals to perform. Heís done all of that. He treated us as actors really kind, heís a very kind, gentle, soft-spoken man. Since a lot of my conflict in the movie was of a paternal one, it was nice to get his, ďEverythingís going to be all right,Ē kind of attitude. He worked on this movie a long time, because when we finished he had another nine months of work to do with retooling and editing, post production stuff, all of the animatics. So he had a real even temperament which was nice.
Was that something that you kind of checked in on ever? Did you take an interest in the animation process?
No. I didnít want to see a cut of the film until it was done. They kept asking me to come to screenings and Iíd say, ďHow much is done?Ē and theyíd say, you know, ďWeíre sixty percent done with all of the animation.Ē Iíd say, ďOh, I gotta go to this thing, I canít make it.Ē I didnít want to see all of these weird little maquettes of what Brainy smurf does at this moment, I wanted to see it in 3D. Which I got to and Iím glad I waited.
I was better at it than Jayma. Jayma would get all, I donít know whatís happening, Iím going crazy right now. I donít know, I kind of enjoyed all of the technical weird, being a magician, feeling sort of part of a magic trick that we were doing.
The movie kind of actively tries to draw comparisons between bringing a child into the world and living with smurfs in your apartment. And being a, well your newborn just turned nine months old, congratulations on that, would you say that it is comparable having experienced both?
Um, not yet. I think once the tots start running around in circles and invading our space, I might feel smurfy. Right now theyíre just figuring out that crawling might be an option, so theyíre much slower moving. If there were smurf turtles I think it would be more appropriate.
I do want to talk about some of your other projects. For starters Iím incredible excited for the next Harold and Kumar movie, because I mean...
Itís dark. My stuff is dark.
How do you mean dark? Youíre hosting a Christmas special, right?
Yeah, Iím hosting a Christmas show and Iím high on crack. I donít know whatís gonna happen. I think itís really funny. Itís very stoner-centric. I think the 3D effects that they came up with were real specific, you know, you eat a brownie and go to see the film kind of stuff. But you know, Iím a rabbit in those movies. I donít know what people are going to think.
Itís amazing. Honestly, whatís great about it, every time you watch the first film and you pop up in that car, youíre just like, ďItís Neil Patrick Harris!Ē
When you watch it, I donít know how much you watch your own work, do you kind of feel a detachment in a way? Or do you recognize that part of you?
Iím more detached, I mean Iím aware of when we were filming it and it was all luck, all of the technical elements of it.
I wouldnít have gotten Barney without Harold and Kumar. But yeah, the writers and the directors and everyone, they just let me do, they want me to go full tilt and they donít want to direct me much, so itís up to me to just be kind of as messy and wrong as I can be, and I look at them afterwards and I think, ďYouíre not gonna really use that take are you?Ē ďWe loved it, itís so crazy!Ē I think, ďOh no.Ē
Do you still have interactions with Harold and Kumar this time?
I know that there is an extended claymation sequence, are you involved in that at all?
No, Iím not in the claymation sequence. But itís funny.
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