Jesse eisenberg where is love oliver

Not that Eisenberg is moaning about his situation. Arriving at a coffee shop near Grand Central station in New York, bike helmet in hand, he is on the contrary unfailingly courteous, posing patiently for photos with customers. This is supposed to be my line. He is, of course, self-conscious about being so self-conscious, and so quickly grows uneasy talking about how much more he gets recognised in public since playing Zuckerberg: "Complaining about it is obnoxious, because it's the problems of the rich, you know, isn't it?

So, in the subway, I'll turn around and see someone holding their cellphone up or their iPad and surreptitiously taking a picture of me, and it sort of feels I mean, not to self-aggrandise, but it sort of feels like an attack.

It's jarring. This is the final twist in the cosmic joke: Zuckerberg and Facebook may or may not be destroying our privacy, but The Social Network — which is in large part a meditation on that question — certainly seems to have ruined Jesse Eisenberg's. It's a testament to Eisenberg's talent that so many of the characters he plays are of a piece, yet he never radiates the tedious Hollywood sense that he's just playing himself, or that he's a one-trick pony.

His roles as the frustrated virgin Nick in 's Roger Dodger and as Walt, the furious and defensively contemptuous child of divorcing Brooklyn bohemians in 's The Squid And The Whale , seem in hindsight like logical forerunners of his portrayal of Zuckerberg, who channels similar resentments into billionairehood.

He also starred in two well-received comedies, Zombieland and Adventureland. Eisenberg would probably sooner die than express the view that he ought to have walked away with Best Actor for his compelling performance in The Social Network, which manages to portray the Facebook founder as simultaneously intensely dislikable yet oddly heroic.

But come on: in the absence of Oscar-bait period drama about a lovable British monarch, he surely would have done. Following a brief detour to voice the part of a geeky pet macaw in the animated movie Rio , he can be seen next in the UK in Holy Rollers , directed by Kevin Asch, the true story of Hasidic Jews from Brooklyn lured into an Israeli ecstasy-smuggling ring in the late s.

Made before The Social Network, it's both less laugh-out-loud funny, and more engrossing, than its unpromising title suggests. Eisenberg plays Sam Gold, a year-old whose naivety — at first, he thinks he's couriering medicine — makes him an easy target for smugglers who rightly predict that devout-looking men in black hats, long black coats and sidelocks are unlikely to be bothered by customs agents.

The barriers that separate the youthful Hasidim from the New York that surrounds them aren't so different from those that separate Zuckerberg from Harvard's preppy elite. To research the role, he made multiple visits to Hasidic schools, and was given the barmitzvah that was absent from his secular Jewish upbringing.

The seemingly isolated sect proved surprisingly welcoming. One guy did ask, and I told him I was doing a role in a play — I thought if I said 'movie' it would lead to too many other questions — and he was, like, 'Oh. One might have assumed that someone as ill at ease in interviews as Eisenberg would clam up when asked to talk about himself; in fact, though, his dislike of such questions seems based more on the fact that he can't help but answer them candidly, in long, endlessly detouring flights of introspection.

In fact, that's usually the reason people are not good, because they're copying something they've seen, but, for some reason with their face and their body, it doesn't work.

Any time you play a character for a long period of time, regardless of how close it is to you, it infiltrates your life. It's impossible for it not to. My mom always said that she didn't wear a red nose and big shoes because that's the reason people are scared of clowns. My dad is a sociology teacher, so he probably figured that out with her. Those are the things that are exaggerated, that don't give off the signals of humans. You know, if you draw a picture of a circle and ask somebody to feel empathy with the circle, they won't.

But if you draw literally two, three dots inside the circle, like two eyes and a nose, you immediately feel empathy. I find it very difficult to do normal things without getting approached. When cellphones came out, my girlfriend refused to get one for five years, because she thought it would turn her into somebody who couldn't connect with other people - and, of course, she got a cellphone.

I cried every day of first grade. In class. Which meant I ended up getting comfortable emoting in a place where it wasn't the norm. People think, 'You're an actor, you can afford clothes,' but I just try to take the clothes from the movie, which makes the selecting of film projects that much more difficult, because you try to play characters that might wear something you'd want to wear.

I don't watch the movies I'm in - ever. Sometimes I keep pictures, but that's it. I used to watch my movies, because I didn't want to be rude to the people making them, but I stopped a few years ago. I think it's pretty common among actors. It's like listening to your own voice, but multiplied by a million.

I don't attribute an actor's great success to their own individual performance when it's something as collaborative as a movie.

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Login Sign Up. Jesse Eisenberg Quotes Quotes about: facebook twitter googleplus. Jesse Eisenberg. Hero , Character , Play. Fans , Female. Insult , Compliment , Courses. Baby , Thinking , People. Hero , Fighting , Another Day. Character , Way , Approach. Group interview, collider.

April 15, Nice , People , Nice Things. Interview with Oliver Burkeman, www. April 29, Struggle , Thinking , Acting. Interview with Jason Guerrasio, www. March 31, Technology , Accepting. That was basically required as a Jewish kid in New Jersey. Everybody just does it. That was in the early 90s when these store front Karate things popped up all over the suburbs. Riley: Right. They called themselves Dojos. But it was really just a place to put children in, give them belts periodically and charge more money as it goes along.

Making more of a business out of it. I was five years old when I got to yellow belt. My dad got some free lessons for myself and him for doing some artwork for this one dojo.

I think every kid gets to yellow belt. This iconic image of a man with a yellow belt. Not a black belt, not anything higher.

Casey takes these lessons to become what intimidates him. What or who intimidates you? Riley: We talked about it briefly. The idea of an altercation scares me.

Getting out and being single for the first time in my adult life was incredibly intimidating too. Not feeling like I could talk to people. Being on my own for the first time as an adult. Trying to be social.

I was kind of intimidated by that and would often withdraw and stay in my place instead. Were you nervous when you showed it in Texas?

Riley: No. Because the very first screening we ever did was a test screening of about people in New York and the audience reacted in a way that was very positive.

But since we had that test screening the premiere in Texas was fine. Riley: The showdown. Hopefully it will happen again tonight. This is a new frontier. It's done. The ffmuc team says thank you to all helpers, supporters and visitors. How did you come up with the idea for the film? How long have you been doing that? Why not do a film about Jiu Jitsu then? Jesse, when did you get involved in the film? Riley: I expected a mail that says: I want to talk.

Instead you wrote: I want to do that movie. How did you relate to the film when reading the script?