Blackbook Magazine featured Alexander Skarsgard on their cover. Here is an excerpt from the interview with True Blood’s very own Eric Northman. The interviewer, Nick Haramis had the great chance of visiting with Alex during a reshoot of a scene for the fourth season (sounds like one of the ones in the finale perhaps)
“Use your phone and shine a light over here,” says Alexander Skarsgård, whose indefinitely appropriated Southern twang echoes off the walls inside one of the many vast stages at Hollywood Center Studios in Los Angeles. It’s True Blood’s final day of production before the show’s annual hiatus (they’ll reconvene in November for season five), and the near-empty lot we’ve been wandering feels like a schoolhouse abandoned by its students for the summer. Most of the cast and crew have driven out to Malibu this afternoon to film the pyre-heavy final scene of the HBO series’ fourth season, but Skarsgård and his costar Stephen Moyer have been directed here to re-shoot a close-up. “Follow me,” he says as we edge closer to the darkest part of the hangar-size room.
“I wish I could find a f#cking light switch,” he adds, before eventually flipping one. The chamber we’re in—done up like a dank basement with black columns and intimations of evil—suddenly becomes awash in the glow of overhead lights. “This is where I tortured Lafayette,” he says with a satisfied grin, referring to the show’s second season, in which his character Eric Northman, the sheriff of Area 5, chained Nelsan Ellis’ drug-abusing, cross-dressing fry cook to a post. He waves me through another door into what looks like a nightclub filled with barstools, dusty liquor bottles, and a poster of a vampiric George W. Bush. “Welcome,” he says with exaggerated gravitas, “to Fangtasia!”
this part on True Blood:
After he gets dressed, we move to a similarly barren room, where Moyer, who plays his nemesis Bill Compton, is wearing a costume almost identical to Skarsgård’s, his hair being parted by a doting stylist. Skarsgård sits down next to him and, almost immediately, a makeup artist begins applying dots of red corn syrup to his cheeks, chin, neck, and chest. “Don’t you want to know why Eric’s face is all bloody?” Moyer says in a surprisingly thick British accent given the seeming authenticity of his Southern drawl on the show. Skarsgård nods at Moyer to continue. “He rips somebody’s heart out and then drinks blood from the aorta like it’s a straw. It’s so fucking cool!” Skarsgård, who’s been known to deliver some of the show’s wittiest one-liners, says, “When I’m finished, I just look into the camera and burp. It’s so gross.” Perched next to one another like the Bobbsey Twins as imagined by Quentin Tarantino, True Blood’s two greatest adversaries catch each other’s gaze and erupt with laughter.
More on True Blood: p.4
The Moon Goddess Emporium is relatively new to True Blood, as are those who frequent it, the witches who were introduced to the show this past June. Tibetan prayer flags hang from the room’s vaulted ceilings. It’s a cluttered space made all the more crowded by the 20-odd crew members anxious to film the scene and start their hiatus. Before the cameras begin rolling, Skarsgård walks up to his mark in the center of the room, Moyer kneels in front of him—his character is picking something up off the ground when the shot begins—and the director watches them from his chair in front of a camera monitor. While waiting in their places, Skarsgård looks down at his costar and says dryly, “It looks like he’s sucking me off,” to which Moyer responds by bobbing his head vigorously. Skarsgård closes his eyes and starts moaning with the intensity of a slash-fiction hero, after which Moyer stands up and wipes imaginary fluids from his mouth with the back of his hand. He scans the crowd and after taking a slight bow says, “And the Emmy goes to… ” A crew member whispers to no one in particular, “Now that’s what I call ‘Action.’”
Later that night, the fourth season of True Blood officially wrapped, Skarsgård returns home to shower before meeting me at the Hollywood Roosevelt for a burger and a few ice-cold bottles of IPA. Over two hours, he draws more than a few glances from a group of Australian tourists and even from social gadfly Rumer Willis, the daughter of Bruce Willis and Demi Moore. “It’s you, Eric, isn’t it?” says one particularly guileless man, as if testing the waters before introducing Skarsgård to his wife. “Would you please take a picture with her?” He graciously obliges, wrapping his arm around the woman’s waist and smiling for the camera. “Would you… bite her?” This he does not oblige. When the couple retreats back to a far corner of the restaurant, Skarsgård says, “That’s one thing I’ll never really understand. But the main reason I don’t ever do it is because if I do it just once, every single person will be like, ‘Bite me! Bite me! Bite me!’”
Whereas he doesn’t at all begrudge a forward fan, he’s less patient with paparazzi who follow him to the gym and out to dinner. “They don’t care about you,” he says of the tabloid lensmen. “They just want their money. I’ll never get used to the fact that they camp out to get a picture of me eating a sandwich. It’s strange to me, and I want it to be strange—I don’t ever want to feel like that’s normal.” Which is why he’s excited to relocate for a few months to New York this fall, where he’ll film What Maisie Knew, a relationship drama costarring Julianne Moore and Steve Coogan. “LA is such a one-trick pony—80% of the people here talk exclusively about managers and agents—but New Yorkers don’t really care as much about ‘the industry.’”
For the full interview please visit: Blackbook Magazine I will scan when I get my hands on the dang thing! The cover of the magazine featuring Alex is here: