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Benedict Cumberbatch

HFPA & InStyle’s Celebration during the 2014 Toronto International Film Festival at Windsor Arms Hotel on Saturday (September 6) in Toronto, Canada.
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just jared
 
Madame Tussauds Wax Museum





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Unveiling its brand new London flagship at 45-46 New Bond Street, fashion label Bally had actors Benedict Cumberbatch, Luke Evans and Alexander Ludwig on hand to celebrate the opening of the store designed by David Chipperfield Architects.


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Flaunt Magazine
Ph: David Goldman
st:Rose Forde





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^ Interview from Flaunt.com

Albert Camus posited in his existential treatise The Myth of Sisyphus that there is only one great philosophical problem, and that is the question of suicide, the accelerated process of non-being that has consumed the lives of many a great man and woman in the canon of history, including Cambridge alumni WWII Enigma code-cracker Alan Turing, a man whose mathematical genius saved millions of lives by helping to bring the Second World War to an early conclusion. Given carte blanche by Winston Churchill to lead a team of some of the greatest minds of his generation in a race against the clock to solve the greatest puzzle of his age, the British mathematician was later arrested for his homosexuality and suffered enforced hormone treatment at the hands of the very establishment he had fundamentally helped to save, and as such, the most important period of his life—an official secret for over 50 years, and now the subject of the major Hollywood film The Imitation Game—is a tale of tragedy and pathos of classical magnitude. “It makes me very angry that the establishment actually then deigned to posthumously apologize or forgive him,” says the Harrow-educated classically trained British actor and self-professed “straight ally” Benedict Cumberbatch, who takes on the role of Turing in Norwegian director Morten Tyldum’s stunningly executed Weinstein-funded biopic. “I mean the word ‘forgiveness’? The only person who ought to be using the word forgiveness is Alan Turing [Turing was granted a “royal pardon” for his sexual persuasion in 2013]. His behavior didn’t need pardoning.”

Suffice to say, Cumberbatch is in a serious mood when I meet him on an unusually hot summer’s day in a leafy suburb of Hampstead in North London, and what strikes me immediately about him is a slight otherness and intensity; an intangible quality that suggests a racing mind. He’s polite as hell, of course, and likeable, but he’s also in a hurry, as his Flaunt shoot is very soon to become another across town. Thusly we are both plunged into a semiotic race of our own as we drive through congested London traffic, seeking inspiration between words and pauses in the sporadic summer showers. “It was a hysterical era, of course,” he continues. “It was our version of McCarthyism; based on the red threat. They persecuted a man who, yes, went to a liberal college in Cambridge, where he probably forged more liberal views than most, but he didn’t actually think he was special—he just never apologized for his nature. The punishment was either two years of prison or chemical castration through weekly estrogen injections and he chose the latter simply because he wanted to carry on his work. Incredibly, even the change in his body made him look at the idea of cellular distortions and adaptions through various environmental influences. Everything he did in his work was influenced by his life.”

The importance of Turing’s work cannot be underestimated: He spent the duration of World War II trying to crack the Enigma code with his team of mathematicians, chess champions, and cryptographers at Bletchley Park, creating a groundbreaking machine that could figure any determinable function given the correct set of instructions. This is what later mathematicians would come to describe as the Turing Machine, which laid the Euclidean foundation stone of the ubiquitous modern-day computer. Turing’s mind and vision would shape history irreversibly—and yet he was not interested in the political spectrum of the war per se. Like so many great analytical minds his love of mathematics was driven by a desire to crack far more metaphysical problems. In fact, as a young man he was consumed with the notion that the human mind, or an energy of sorts, could live on after corporeal death. This belief was born from his passionate, unrequited love for his only friend at boarding school, Christopher Morcom. “The one thing I could relate to, really strongly, was Turing’s humanity,” says Cumberbatch as we swing around a corner narrowly missing another car (“Two Jaguars nearly kissed then,” he quips). “He fell in love with this boy at school, and that was a love that was forbidden. Christopher died tragically of bovine tuberculosis, and Alan set that as his benchmark and everything he did from that point on was to make this first love proud. He came around to the logical conclusion that a spirit will live on basically by others trying to honor it—it’s terribly moving.”

The key to the brilliance of The Imitation Game is precisely the lonely, emotional, and searing inner journey made by Turing, whose difficult choices are brought to life with the aid of a sterling supporting cast, including Keira Knightley as the fastidiously supportive code-breaker Joan Clarke, and Matthew Goode as the brooding chess champion charmer Hugh Alexander. However, there is really only one performance upon which this movie hinges, and it’s a performance that is world-beating in its thoroughly convincing attention to detail. Alan Turing may be an icon in the history of mankind’s achievements thus far, but in the more modest world of “lights, camera, action” Cumberbatch’s own star has risen exponentially in the last five years, and he is arguably the perfect candidate to play just such a social outsider and reluctant rebel. After all, he is almost as famous in the U.K. for his sharp-tongued intelligence and outspoken stance against the Iraq War in the early-noughties as he is for his Emmy-sweeping take on Albion’s ultimate sleuth, Sherlock Holmes. He too is a product of the at-one-time-famously-sadistic boarding school education system at the heart of the British establishment—having graduated from the hallowed halls of Harrow Boys.

“I think Alan was very much in tune with notions of spirituality,” says the actor on finding the crux of his dramatic quarry (himself a self-professed Buddhist, having spent a year in his college days teaching at a monastery in Tibet). “I think Alan’s fascination with what was possible with artificial intelligence is something that is really inspiring. I don’t think he set out on an ego trip to destroy God, or any kind of monotheistic religion, but actually to just celebrate what the human is capable of, and he set about the study of creating something beyond the human… There is a beauty in that. I mean, we can formulate and explain things in scientific terms but it doesn’t take any of the magic away; revealing the work, or the mechanism behind the beauty doesn’t destroy the beauty. I imagine that anyone who has a spiritual commitment and yet is a practitioner of high logic through science or mathematics can say that truth is beauty—the mystery of beauty is still truth, but to them it could be a spiritual truth or a factual truth; the two are equally divine.”

It’s unsurprising to hear Cumberbatch make reference to the British romantic poet John Keats, given his famous love for poetry, which he is regularly called upon to recite at literary festivals the world over. And yet, despite any such satisfaction Turing may have taken in his work and the friendship bestowed upon him by his at first begrudgingly, loyal group of comrades-in-secrecy at Bletchley Park, Turing was clearly struggling internally with Camus’ postulation that the two most important choices one has in life are whether to believe in hope or self-destruct in the face of existence’s ultimate reductio ad absurdum. “I do see what you’re saying about the polarity, the argument to be or not to be, the idea of ending the absurdity,” says Cumberbatch, his responses always measured, considered. “I think, for everyone, the real shock of suicide is that you do get that feeling of helplessness. It’s an isolated state of mind, and that’s the problem with it. It’s kind of internal and sickly. Alan was in a state where he realized he couldn’t function; it was his awareness of the effect of the drugs that I think took him to an edge. It wasn’t about his persecution—it was about him not being able to carry on at his capacity, something altered in him.”

While this may be true, the film makes crystal clear there was no end of manipulation, mendacity, and pressure on Turing from the establishment both during his years at Bletchley Park and beyond. At one point, he was even under scrutiny as a suspected Russian spy. There is no question that the issues raised about the relationship between the state and the individual in The Imitation Game run very deep in contemporary waters (lest we forget the mysterious suicide of the British Iraq weapons inspector David Kelly in 2003). We are living in an era when the far right are making considerable gains in Europe and a Russian megalomaniac is encouraging rampant homophobia across the plains of the Great Bear; an era that bears some semblance of the future postulated by Anthony Burgess in his scathing treatise 1985; and an era in which Great Britain (or perhaps Orwell’s Airstrip One) serves as a refuelling stop for U.S. planes carrying terror suspects to clandestine torture chambers.

Such considerations about our contemporary paradigm mirroring The Imitation Game are far from lost on Cumberbatch, who is no stranger to sticking his neck out nor to playing those we deem as geniuses, having made his mark playing Stephen Hawking in a BBC dramatization one decade ago (he has since been a longstanding ambassador of the Motor Neurone Disease Association). “There are very similar ingredients now to what was swimming around at the beginning of the Second World War, and again, it’s all born out of economic crisis,” says the actor, who, it is also worth noting, was an outspoken member of the Stop The War Coalition and is a campaigner for the equal rights of women in Afghanistan. “It’s depressing how familiar the themes are, and the suppression of these minorities. The arguments are very complex, of course, but I think it’s very easy to scapegoat minorities of any form at a time of crisis. Greece is the birthplace of democracy and civilization in Europe, and, ironically, Iraq is the cradle of it in the Middle East—look at what’s happening in both of those countries. It’s the same in Russia. Russia is just extraordinary. It’s really shocking.”

As the man who played Julian Assange in The Fifth Estate (from whom he actually received an open letter), Cumberbatch continues his plunge into characters surrounded by string-pulling machinations of the establishment and military-industrial-complex. So, where does the man described by Time magazine as “one of the most influential people in the world” (no pressure) look for a genuinely objective analysis of contemporary issues, given that the sensationalist fast-click sound-bite culture (inextricably linked to the rise of the digital age, somewhat ironically) is said to be fundamentally affecting our attention spans. “It is very easy to get lost in the sound bite, rather than investigate a story fully,” he admits, as our ride approaches its destination, in the now pouring rain (such is the schizophrenic reverie of London weather). “I think I am quite old-fashioned, though: I read around a subject if something really grasps me. I know there are certain sources of information I can go to for less corporate interference or politically biased editorial. There’s a website called Online Democracy Now that’s fantastic, for example. I think we’re savvy enough now as readers and consumers to be able to filter what the bias is; what kind of base a proprietor is trying to establish politically in order to pedal his version of the truth. I don’t think anyone picks up the newspaper these days, especially post-Levinson, and thinks it is cast-iron fact—we understand what the media echo chamber is.”

One could take a rather bleak outlook on contemporary global affairs, and given the hope versus absurdity paradox, where does one look to in the modern game of life for the hope that so obviously eluded Turing, who was not a man given to pandering to the political miasma of his era? “We still have rebels that are just as inspiring,” says Cumberbatch. He’s seemingly an eternal optimist, which one could assume underpins much of his drive to commit his time to humanitarian causes. “There is still magic. I think the defence of democracy and the work of UNICEF and Médecins Sans Frontières is just astonishing. It involves men and women every day putting their lives on the line for their belief, to turn a potential human tragedy into something stable, or transform a state facing the tide of war to a state of peace is a magical thing to try and achieve.”

The car pulls up outside Cumberbatch’s next media rendezvous at London’s Barbican Centre, and sadly there is no more time to delve into the arena of ethical philosophy. All that remains to ask is what makes Cumberbatch so resoundly committed to carving out roles in culturally pointed works that make indelible marks on the collective consciousness, which, rather unexpectedly, takes us swiftly to the lyrical vistas of Belinda Carlisle via the poet Alfred D. Souza. “I personally believe that heaven is on earth,” says Cumberbatch with a smile, as we alight the car to be handed umbrellas by the driver. “That’s one of the mottos I live by: dance as though no one is watching you, love as though you have never been hurt before, sing as though no one can hear you, live as though heaven is on earth.” And with these words it’s a handshake, a smile, and a walk into the London rain for me to consider whether anything we have discussed will make a difference to you when you read this, or whether this piece is essentially just another footnote in the infinite library of the absurd. In the words of Belinda Carlisle, “Do you know what it’s worth?”
 
Elle UK has gotten behind the new feminism wave with the use of a £45 This is what a feminist looks like t-shirt, created in collaboration with the Fawcett Society




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Radio Times November 2014



The Big Issue November 2014

Talking to The Big Issue about life in general and aging, Cumberbatch shares, “I’m starting to realize you can say no to things and it won’t all fall to pieces. I really want to do more, by which I mean less work and more of other things. I want to be more present for other people. As I get older I increasingly feel the need to step back, ask what I’m neglecting, what do other people need of me. I want to be more impulsive, to be able to suddenly go away for the weekend. Whenever I get the rare chance to be impulsive I grab it with both hands, which is why I do stupid things sometimes. Having said that, I don’t know how long I’ll ride a motorbike for, I’m sure if and when I become a dad I won’t want to do that anymore.”




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OUT November 2014
ph: Samuel Bradley





On being openly gay in Hollywood:
“I think if you’re going to sell yourself as a leading man in Hollywood to say ‘I’m gay,’ sadly, is still a huge obstacle. We all know actors who are [gay] who don’t want to talk about it or bring it up, or who deny it. I don’t really know what they do to deal with it. Human rights movements and sexual and gay rights movements have made huge social progress in the last 40 years, without a doubt, but there’s a lot more work to be done. I think it’s extraordinary that every time we get to a point where there’s any kind of trouble in society, people are scapegoated very, very, very quickly.”

On the various slash fiction turning Sherlock and Watson gay:
“Because, you know, they either want to make John [Watson] into a sort of cute little toy, or me into a cute toy, or we’re ****ing in space on a bed, chained together. It’s always , like, one of them is tired, one comes back from work, the other is horny, a lump appears in his trousers, and then they’re at it. It’s usually me getting it – I’m biting Watson’s dog tags.”

On his days at English boarding school, where sexual antics are supposedly notorious:
“While there was experimentation [at Brambletye], it had never occurred to me as Oh, this is that. It was just boys and their penises, the same way with girls and vaginas and boobs. It wasn’t out of desire.”

On the fact his latest character, Alan Turing in The Imitation Game, had to receive a posthumous royal pardon for being gay:
“It’s an insult for anybody of authority or standing to sign off on him with their approval and say, ‘Oh, he’s forgiven.’ The only person who should be [doing the] forgiving is Turing, and he can’t because we killed him. And it makes me really angry. It makes me very angry.”

On religious tolerance:
“People are being beheaded in countries right now because of their beliefs or sexual orientations. It’s terrifying. It’s medieval – a beheading! I’d take up arms against someone who was telling me I had to believe in what they believed or they would kill me. I would fight them. I would fight them to the death. And, I believe, the older you get, you have to have an idea of what’s right or wrong. You can’t have unilateral tolerance. You have to have a point where you go, ‘Well, religious fundamentalism is wrong.'”


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Smart men are the sexiest men. I can't wait to see The Imitation Game.
 
^^ :heart: He is a pleasure to watch. I'm very happy he is getting so much exposure right now.

Do my recent post's images show up? They are weird for me... :unsure:
 
New York Magazine
ph: Art Streiber
Interview from Vulture.com




The ones nearest the front have been camped out for hours, bodies wedged against barricades—a scrum of people ten rows deep, jockeying for position, climbing lampposts for better views, and rendering blocks of King Street, Toronto’s main downtown drag, impassable. “Denzel must be coming,” a middle-aged male passerby surmises, since this is a Toronto International Film Festival premiere. But no, it’s Benedict Cumberbatch, a movie star without a hit movie to his name and a made-for-meme, extreme-Brit sex symbol who plays his most notable roles (Sherlock Holmes, Julian Assange, Star Trek Into Darkness’s Khan) with a powerful whiff of sexlessness.

But neither logic nor common sense seems to apply to the seismic force of female hysteria that follows Cumberbatch *wherever he goes. It happened at TIFF last year, too, when he was promoting his Assange movie, The Fifth Estate, which went on to become the biggest wide-release flop of 2013. And it’s certainly happening now, at the Toronto premiere of The Imitation Game, which is very much not a blockbuster but a World War II period piece about the antisocial British cryptographer (and gay martyr) Alan Turing. By festival’s end, it will have won TIFF’s People’s Choice Award, which has previously gone to The King’s Speech and 12 Years a Slave—a strong predictor that the math movie and its hot-nerd lead actor stand a good chance at the Oscars.

A black SUV approaches, and the shrieking begins. The crowd jostles forward, hundreds of arms with cell phones raised aloft, pointing through the cloud of homemade collages of Cumberbatch’s face. “He’s so dishy!” titters one frazzled redhead carrying crude drawings of Cumberbatch in the BBC’s Sherlock, with long curls and a trench coat, collar turned up. “I love his squinty eyes and just his face. My grandmother is in love with him, too, and she’s 75!” gasps a 20-something in a peacoat. Without warning, a tiny *Japanese girl hurdles, impressively, from the back of the pack to the front, kicking a few heads on the way. The car door opens. The shrieking grows deafening. “Ben-e-dict! Ben-e-dict! Ben-e-dict!”

“I’ve known Ben for 15 years,” his Imitation Game co-star Matthew Goode will tell me the next day, “and yesterday was the first time I realized that he’s like a Beatle.”
No sooner has Cumberbatch sat down on the 31st floor of Toronto’s Trump Hotel and announced that he’d “fancy a pisco sour” than our preternaturally attentive waiter appears: “Two pisco sours, I hear?”

“Please!” shouts Cumberbatch.

“Singles or doubles? What kind of day was it today?”

“Doubles, mother****ah!” says Cumberbatch, grinning and doing a seated dance. “Gotta be. Al-ways!”

He got hooked on pisco sours, he says, because he likes whiskey sours, and a friend who’d visited South America demanded he try one. He says he likes tequila, too, which starts a debate about whether pisco is made from cactus or grapes (it’s a brandy, so grapes), which prompts a discussion about Googling and books and Kindles and how nobody ever just knows anything or retains information anymore.

“Somebody probably told me when I was born what all of my life was for, but I kind of tend to forget information until it becomes immediately relevant,” Cumberbatch says. “Otherwise my head would spin off in a thousand directions, and it wouldn’t be pretty.” The highlight of his trip, he says, has been meeting Naomi Watts (“Man, I have such a crush on her. She’s just gorgeous. I know she’s married, and I’m very happy as well, but she—I think it’s her talent”). He’s been so slammed that he hasn’t seen any movies at the festival and is “desperate” to hear my review of all of them, particularly The Riot Club, a social satire about an elitist society of young wankers at Oxford that he’s familiar with from when it was a play called Posh, directed by Lyndsey Turner, who’s directing him as Hamlet at the Barbican next year. You might assume that Cumberbatch is an Oxford wanker, too, what with that ridiculously British name, that *estimable vocabulary, that affinity for saying whilst, that silky posh accent, those piercing blue eyes, that chiseled face, that translucent skin suggesting overcast skies and manor-house *libraries—all of which allows
him somehow to exude eroticism while resembling a 19th-century gentleman caller drained of blood and unfrozen by aliens. Or just an alien. Or perhaps a small amphibious mammal. He’s joked that his “weird face” might be indicative of inbreeding and “is something between an otter and something that people find vaguely attractive, or just an otter, which is vaguely attractive.”

But he is, he insists, the people’s otter: He went to the public University of Manchester and the London Academy of Music and Dramatic Art, after boarding at Harrow for secondary school—which, okay, is possibly a little wankerish (Winston Churchill was an alumnus), but keep in mind Cumberbatch was the only son of actors who he says “worked very hard to afford me that education, because it was one of the most expensive educations you could buy a child then. I’ll put it this way: I went to school with princes and kings and people who, you know, owned oil fields, or who were able to buy buildings for the school.” The awful secret, he says, is that despite having played *Stephen Hawking and physicist Werner Heisenberg and Vincent van Gogh, not to mention math genius Turing and the No. 1 consulting detective of 221B Baker Street, “I’m pretend clever. I’m not actually clever.” Phanto*gram is playing over the sound system, Cumberbatch pauses to notice. “Great band.”

How are our pisco sours, the waiter asks. “Pisssssco!” says Cumberbatch. “Good to drink in company when you’re getting pissed. It’s really nice, isn’t it?” We order another round.

I tell him that sometimes when I drink pisco, my face gets weird and tingly. “Okay, we’ll sort that out,” Cumberbatch says reassuringly. “Throw ice on you or something. It’ll be all right.” Then as soon as the waiter leaves, he jumps up. “Listen, I’m embarrassed, but I need the loo.”

The last time Cumberbatch made a public declaration about needing to pee, it went viral. “I drank a lot. I need the loo!” he said in September while accepting GQ’s Actor of the Year Award. (Google “Benedict Cumberbatch drunk.”) “I had drunk a lot of stuff, but I actually wasn’t that drunk,” says Cumberbatch. What happened was he’d been told his speech would be at the top of the night, so he went to town on beverages, but it took ages to get called to the podium, and by the time he did, he says, “my bladder was up to my nostrils. I literally thought if I went like that”—he moves ever so slightly—“urine would pour out of my nose!”

“The Internet’s Boyfriend” is both an accurate descriptor of Cumberbatch’s current place in popular culture and the name of one of many Tumblrs dedicated to him, another of which is a name generator spitting out even more hilarious British-sounding names, like Tiddleywomp Vegemite and Wellington Comblyclomp. Members of his rabid *thinking-women’s fan base call themselves the Cumberbitches, though some prefer Cumberbunnies or Benaddicts or Cumbercookies. (The object of their affection has said he thinks “Cumberbabes” is more feminist, or “the Cumber*collective.”) A survey of audience members at Cumberbatch’s Graham Norton Show appearance last year revealed fans who’d flown in from Japan or Hong Kong (he’s just as huge in Asia) or took a 20-hour bus ride from Germany. Since April 2013, an Indonesian baker named Vereen Tjoeng has been making elaborate Cumbercupcakes in his likeness. There’s also the hashtag #cumberwatch, which tracks his physical whereabouts; at The Imitation Game’s premiere, I overheard a group of girls who used it to locate the after-party and were planning to stalk him there.

Pretty much everything he does explodes on social media. See: BuzzFeed’s 16-part “Benedict Cumberbatch Makes One Lucky Umbrella’s Dreams Come True,” based on his holding said accessory at The Imitation Game’s rainy London Film Festival premiere, or that single photo of him dancing with his 12 Years a Slave co-star Michael Fassbender at the Golden Globes. “Everyone’s called that a dance-off,” says Cumberbatch. “We were dancing together, as grown men should. There’s no ‘off’ about it. We were dancing ‘on.’ We were together, in perfect male harmony.”

“I flirt with it. I have fun with it,” Cumberbatch says of participating in his own meme generation. (When a fan asked, during a Reddit Ask Me Anything Q&A, if he and his fellow angular Brits Tom Hiddleston and Matt Smith have cheekbone-polishing parties, Cumberbatch replied: “We like nothing better than buffing our Zygoma. And imagining a horny time traveling long overcoat purple scarf wearing super sleuth nordic legend **** fantasy. Get to work on that, internet.”) “I think if you take it too seriously, you’re dead in the water, and if you ignore it, then it’s kind of an insult because it’s a reality. So I engage with it on my own terms, and people seem to really respond to that because it’s me being me, rather than me going”—he switches to a high-pitched voice—“‘Hi, internet, thank you so much! I love you so much, all the feels, squidgies, LOL! Awkward!’ ”

Up until four years ago, Cumberbatch was known mainly for his work on the London stage (Shakespeare, Ibsen) and in BBC movies like 2004’s Hawking, which earned him his first of four BAFTA nominations. (He’s won an Olivier for playing both man and creature in an adaptation of Mary Shelley’s Frankenstein and a 2014 Emmy for Sherlock.) And so he has vivid memories of watching his life change not just very quickly but literally over the course of Sherlock’s first 88-minute episode in 2010. “I sort of knew I’d be stepping into the limelight, because it’s such an iconic character,” he says. “But none of us had any idea about what kind of success we’d have on our hands, and it shocked all of us. That first night it aired in England, my God! I wasn’t really aware of this internet TV culture, because I hadn’t really dabbled in a series or something with a potential cult following, like a Doctor Who or a Downton Abbey. But when the internet exploded with this live, immediate audience reaction, it was like being in a theater of millions of people.” He left a viewing party hosted by Sherlock *creators Steven Moffat and Mark Gatiss with his then-girlfriend of about a decade, actress Olivia Poulet, half-expecting that they’d be “jumped by journos in the bushes,” he says. “That they’d ****ing be HALO-*dropping out of the back of Hercules aircraft with a microphone, you know, at the ready. It was so immediate, the response, that it was sort of terrifying. And this thing of trending on Twitter, I didn’t really know what Twitter was until that night! So I suddenly went from being my dad to being at the sort of forefront of this new thing.”


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......
Sherlock really is the whole key to the Cumberbitches, and he thinks, over time, he’s figured out the appeal of the character to women (and gay men—the internet is crawling with slash fiction imagining Cumberbatch’s Sherlock Holmes and *Martin Freeman’s John Watson blowing off steam back at the flat after a hard day of detecting, usually with Watson as the top). “Sherlock’s a sociopath,” Cumberbatch says of his Holmes, whose default mode in interacting with a member of the opposite sex is to intuit in seconds the thing that will destroy her most at her core, then tell her, in the most withering way possible. But in the BBC series he’s also an extremely intelligent and competent modern man, adept with technology in a way that speaks to audiences who are tweeting as they watch. “It’s like, ‘Ah, one of us, great!’ ” says Cumberbatch. “Someone who is tech-savvy, who is fed up with mediocrity and wants to carve his way through the world and be purposeful and asexual and just get on with things and is sort of a little bit cruel, which is kind of sexy, but adorable because he’s not really complete as a human being.” Contrast that onscreen acerbity with the immediate warmth and playfulness Cumberbatch emanates in person, and it’s enough to rip all the world’s knickers asunder, including those of a lesbian who claims on the Cumberbitches Reddit forum to be “straight for BMFC (Benedict Mother ****ing Cumberbatch).”

His acting is the gateway drug. Each ’b*tch on Reddit, Facebook, Twitter, or Tumblr has her own story of having discovered Cumberbatch via some role—the earlier the discovery the greater the pride and sense of ownership—and having gone into a hole of binge-watching everything he’d ever done (yes, he was that slightly familiar face in Tinker Tailor Soldier Spy and War Horse). It comes down to character, writes Jana Prikryl, a senior editor of the New York Review of Books, who published a long free-verse poem about him in the London Review of Books imagining the two of them leaving a party together and praising “his quips and winning / earnest wish to answer / every question, / and be very very nice.” When he speaks, it’s with passion, one Reddit user wrote; “that’s when you notice the bright twinkle in his eyes, the huge grin, the crinkles that span his cheeks.” Another Reddit user, who first attached the phrase “the thinking women’s crumpet” to Cumberbatch, wrote: “You could simply watch any one of his many performances where he could make your jaw (and panties) drop with a simple look or gesture.” They also talk about his arms, his torso (there’s a six-pack under there, albeit a pale one), his adorable difficulty saying the word penguin (he called them “pengwings” and “penglings” in an unearthed nature documentary), and his ability to be “both masculine and sensitive at the same time, beautiful without being the least bit effeminate.” And of course there’s his voice—“the best remedy when you’re having a bad day or you just want to close your eyes and relax,” one Cumberbitch tells me. Says another, “The raw power behind it leaves you in awe and you wish he could read a book to you.” Cumberbatch is the boyfriend you want to wake up next to while Holmes is the man you hope will ravage you.

“The sex appeal of Benedict’s Sherlock is something I’ve discussed greatly with a couple of friends,” says Zadie O’Neill, a cute redheaded Australian I found on Facebook. It comes down to Sherlock’s single-minded focus on crime “to the exclusion of everything else,” she’s concluded. “What makes him sexy is the idea that if you could harness that intensity and focus on sex instead … well …”

That fan reaction “bemuses me still,” Cumberbatch says. “It’s utterly the most inept superpower you could possibly imagine: ‘You’re really famous, and you’re a sex symbol. Go!’ ” He pretends to puzzle his way through it. “ ‘So, uh, everyone—no, not everyone finds me attractive. So certain people find me attractive? Well, certain people are obsessed with my work. But I’m not all about my work, so what do I do with that? Are they trustworthy?’ I mean, what would you do with that?’ There’s nothing you can do with that, other than be amused. Which I am. It makes me giggle.” He goes on. “It’s fun, but I’m old enough to realize it’s not to be taken seriously. But it does make me twinkle.”

Nooooooooooo.” “the worst day of my life has arrived.” “#brokenhearted #feellikecrying.” “Wait what Benedict cumberbatch is engaged I have a lump in my throat this is terrible terrible news I hate everything im so sad.” “BENEDICT CUMBERBATCH IS ENGAGED AND MY LIFE IS OVER.”

What you heard this November 5 was the sound of hundreds of thousands of hearts breaking, as “Mr. B. I. Cumberbatch” thwarted the tabloids and his internet girlfriends alike by announcing his engagement to actress and acclaimed avant-garde theater and opera director Sophie Hunter in the classiest way possible: a one-*sentence blurb in the Times of London. The couple’s courtship had been equally discreet. They’d met while working opposite one another in the 2009 thriller Burlesque Fairytales and, admirably and miraculously, have been *photographed together exactly once, in the stands of this summer’s French Open. Cumberbatch reportedly flew to Edinburgh to ask her mother’s permission to propose. It was all, to quote a Cumberbitches Reddit poster, “smooth as ****.” His fan base seems to be moving on by preparing to be obsessed with his Cumberwedding and Cumberbabies.

If you gaze deep into his résumé, though, you’ll discover that Cumberbatch has broken few, if any, hearts onscreen. And that certainly won’t change with Turing, who lived his life in secrecy about both who he was and what he did—who in his lifetime never received recognition for his invaluable work breaking an “unbreakable” Nazi code to help bring an early end to the war and who invented the machine we now know as the computer before
the government essentially tortured him to death, at 41, for being gay. “It’s sickeningly ironic that the man who brought about victory for a democracy and a government that defeated Fascism was then rewarded by that government in a time of *McCarthyist paranoia and intolerance by being killed basically slowly for what his sexual orientation was,” says Cumberbatch. Turing was caught soliciting sex and sentenced to chemical castration before committing suicide. “I mean, it’s just disastrous.”

The closest he’s come to playing a romantic lead, Cumberbatch jokes, was as a wolf in this year’s Penguins of Madagascar, when he danced with another animal “and seduced them and brought out all their kind of worst Bond minds.” (The scene wound up on the cutting-room floor.) This is a man who has yet to prove he can open a movie, and while the art-house Imitation Game might not be the best test of whether that can change, this year could still be a meme-to-superstardom turning point for Cumberbatch. In what is both a massive leap of faith and a testament to his talent and appeal, he is rumored to have landed his first lead in a Marvel movie. Fittingly, it’s as Dr. Strange.

“I’ve never had a Gosling moment as a character. I’ve never been the kind of guy who’s made all the girls go gooey,” he says, then puffs up his chest, mockingly. “I think it’s about time I did.” Instead, Cumberbatch’s parts have tended toward tortured genius, though he bristles at the reductive labeling. “I have played stupid people as well! If anyone’s got any other stupid people I can play, let me know.” He also takes issue with people asking him where Turing and Sherlock fall on the autism spectrum. “I think they are both utterly conditioned by their circumstance,” he says. With Turing especially, “I think it’s a really quick shorthand to go ‘autistic, Asperger’s, learning difficulties, slightly dyslexic,’ or some kind of devaluing way of labeling him.” Turing’s stammer, Cumberbatch points out, was developed from being brought up by foster parents and worsened through being bullied at school and by the death of an early love. “He was born into a really intolerant world.”

Sherlock is similarly stymied, he says—definitely abstinent, though, Cumberbatch says, not asexual. He’s convinced Sherlock did consummate his relationship with the whip-smart dominatrix Irene Adler: “Yeah, I think they were definitely at it after he *rescued her from the beheading in Pakistan,” says Cumberbatch. “I’m sure they were. I’m convinced of that.” But “I think he’s been burnt in the past. I think he also realizes he can’t beat female intuition. He can read women if he’s not attracted to them or involved with them, and he knows that he’ll get very confused if he’s starting to feel something for someone. So to embroil himself where he might be enslaved through adoration or sexual desire or any kind of power or chemistry to do with love is too big a risk for him, for what he wants to achieve. That doesn’t make him gay, and it doesn’t make him asexual; it means, you know, he’s purposely abstaining for the sake of his craft. Not something I do.”

Excuse me?

“Not something I do.” Cumberbatch laughs. “That’ll probably be the headline: “Benedict Cumberbatch Doesn’t Abstain From Sex for the Sake of His Acting.” Wouldn’t it be great? Should I just say that?”


He did, however, have dental plates made based on Turing’s teeth to get into character for The Imitation Game—a rather ingenious way to mimic Turing’s stammering speech patterns, since there are no recordings of his voice. “I said, ‘Nobody will know, because nobody knows how his teeth were. If it’s uncomfortable, you don’t have to wear them,’” says The *Imitation Game director Morten Tyldum. Cumberbatch wore them anyway. He’d also wake up at five every morning before coming to set to go for a run and clear his mind, just as Turing did. Cumberbatch says he loved the way Turing saw his body as a vessel for his mind, and tends to approach his own roles with an athlete’s physicality. At Harrow, he played rugby; these days, he gets his thrills riding horses and motorcycles, as well as snowboarding and skydiving.

We are either two or three double pisco sours deep when Adam Ackland, Cumberbatch’s “bessie mate” and partner in their production company, SunnyMarch, comes over. Ackland’s been taking meetings on their behalf all day. “He’s been out a-*hunting whilst I’ve been in a-talking,” says Cumberbatch, who orders more pisco sours and some fried chicken. “Sing it!” he sings. He also takes a messy bite of ahi tuna that flies onto my phone. “Oh, no!” he says. “I’ve got a bit of ceviche splat on your ****ing Samsung. I’m so sorry! Oh, Jesus!”

I tell him it’s fine. Now the phone is worth something. “Exactly,” he says, laughing. “I was going to say, ‘Go and frame the phone and sell it on eBay or something.’ Though it’s not my splat. It’s not a Cumbersplat. It’s a ceviche splat.”

Cumberbatch started SunnyMarch because “selfishly,” he says, “I want to make films that I want to see, basically.” The second hope is to find a new way of doing business and to do away with the dreaded full days of back-to-back three-minute junket interviews he’s been enduring in Toronto. His objection isn’t to having to do the interviews—“I don’t mind the slog”—but how short they are, because how is a man who won’t join Twitter because he’s too verbose for 140 characters supposed to talk in brevity about a movie that, he says, is “about communication, about love, about conditioning, about society, about war, about peace, about science and what it is to be human, how to be heroic, while being normal or different”? And the guilt he says he has about not giving reporters what they need and anxiety over not doing Alan Turing justice will only increase as Harvey Weinstein tries to make an Oscar push for The Imitation Game, which Cumberbatch says “is enormously exciting for me and for the film. But, you know, in all honesty, I can’t actually do that thing,” meaning the months-long campaign. “I don’t have the time to commit to it.” He’s shooting Richard III for the BBC until Christmas, then a Sherlock special in January (and season four by the end of the year), then playing a motion-capture Shere Khan in Andy Serkis’s Jungle Book: Origins, and he will spend his summer as Hamlet—in a production that sold out within a day, the fastest-selling theater ticket in London history. With his own company, he says, “I want to see if there are other ways of doing this. I might be crashingly disappointing. Or I might realize that Harvey is actually a really decent guy and it’s just the only way of doing things.”

Our waiter approaches one last time. “The gentlemen at the bar are fans and wanted to send over a glass of Champagne. This is Billecart-Salmon Brut.”

Cumberbatch’s whole affect grows tense, as if he’s trying to tamp down annoyance. “Well, thank you,” he says with a little sigh, and waves back to the very enthusiastically waving distant figures at the bar—it turns out they’re his Imitation Game co-stars and good friends Matthew Goode (a.k.a. Finn on The Good Wife) and Allen Leech (a.k.a. Tom on Downton Abbey).

“Matthew and Allen!” says Cumberbatch, cracking up. “Jesus Christ. Send it back! Can you send it back and say I’ve got an allergy?” he asks the waiter. “Thank you very much.” Then, for good measure, he shouts, loud enough so they can hear him: “And it’s not good enough!”

A minute or so later, the waiter is back. “They want to know if the allergy is to the Champagne or to them.”

“Both. Just say I’ve got an allergy to cheap Champagne. Tell them exactly that. I have acid reflux, and unless it’s really good bubbles, I’m not going to take that!” He shakes his head and laughs. “But please don’t sell that too well. Make sure they know it’s a joke. They’ll really think I’m an *******.”

*This article appears in the November 17, 2014 issue of New York Magazine.
 
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Attending the November 17th New York City premiere of his latest movie, ‘The Imitation Game’, actor Benedict Cumberbatch cleaned up in a three-piece micro-tonal print suit from Italian fashion label Dolce & Gabbana.




Spotted out in New York City the following day, Cumberbatch kept it his style city sleek with smart separates, finished off by a driver’s cap and sunglasses




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It’s a Benedict Cumberbatch Moment: The Oscar-Poised Rise of The Imitation Game Star



His Oscar-tipped performance in The Imitation Game is just the latest of Benedict Cumberbatch’s brilliant, versatile roles to win him an ecstatic following.

“I really, really love my job,” says Benedict Cumberbatch in the lush baritone that is one of his trademarks. “I love sets. I love crews. I love theaters. I love audiences.”

On this cool, oyster-gray London afternoon, the 38-year-old actor is a ray of sunshine. It’s a rare day off from his starring role as Richard III in the BBC’s Shakespeare series The Hollow Crown. He has already taken a robust morning run through Hampstead Heath (“I just love the look of the trees and the smell of the wood smoke”), and now, relaxed in a gray knit sweater and claret-hued jeans, he’s indulging himself with a lunchtime Bloody Mary and, though he’s been telling himself to avoid cholesterol, a main course of salt-and-pepper pork belly.

He has every reason to give himself a treat. After all, this is his time—the Cumberbatch Moment. Not only is his new film, The Imitation Game, a front-runner for the Academy Award (it won the People’s Choice Award at the Toronto International Film Festival, a traditional bellwether), but he himself is a surefire Best Actor nominee for his touching, slyly funny performance as Alan Turing, a real-life genius who helped save England during World War II only to die alone and forgotten, a prophet without honor in his own land.

These days, everyone seems to want Benedict Cumberbatch. He stars opposite Johnny Depp in the upcoming crime drama Black Mass, is shooting a new season of Sherlock in 2015, and next summer will headline a production of Hamlet at the Barbican that is already the fastest-selling show in London history—it sold out 100,000 tickets in minutes. This is actually no surprise. Thanks to the Sherlock juggernaut, Cumberbatch has become a whole new kind of international heartthrob, one whose sexiness is defined by his intelligence. When The Imitation Game premiered in Toronto and London, his appearance was greeted by hundreds of screaming girls and women bearing posters they’d painted of him. “I haven’t seen that kind of female adulation since Orlando Bloom,” marvels Cumberbatch’s friend and costar Keira Knightley. “I didn’t expect that level of hysteria, but it’s wonderful.”

The Imitation Game is an exciting crowd-pleaser about Turing, a socially awkward misfit whom most everyone finds weird, arrogant, and off-putting. But he’s also a cosmic genius. It’s Turing who cracks the so-called Enigma code, which encrypted all of the Nazi military’s wartime messages. He’s ably assisted by a team of world-class cryptanalysts—“We’re like the Avengers,” jokes Cumberbatch—that includes Joan Clarke, a brilliant mathematician whom Turing champions despite the military’s sexist objections, and with whom he becomes intimate. She’s played with resourceful intelligence and warmth by Knightley, who became mates with Cumberbatch one summer when they shared a commune-like farmhouse while filming Atonement, and discovered a mutual pleasure in cooking and live music. They have a striking chemistry. “Because we really are friends,” Cumberbatch says, “we share this great shorthand. It made doing our scenes together a joy.”

Although The Imitation Game is set 70 years ago, it still feels relevant. For one thing, the team’s code-breaking equipment, known as the Turing Machine, was the prototype of today’s modern computer. “The algorithms Alan used during the war,” Cumberbatch says, “are still used in Google’s search engine.” Yet what gives the movie its sting is the heartbreaking fate of this lonely, decent man. Because his wartime work was marked top secret, the public never knew of his heroic achievements. More tragically, because he was totally unabashed about his homosexuality at a time when it was still illegal in Britain—Turing is today a gay icon—he was a target of police harassment.

“I felt a responsibility to show him properly,” says Cumberbatch. “Alan’s face should be on the back of banknotes like Darwin and Newton. It should be on the front of history textbooks and science books.”

With his big-brain forehead yielding to a softer, more labile mouth and chin, the actor has no peer in showing us the humanity of those who might otherwise seem like intellectual freaks (Sherlock, Stephen Hawking, Julian Assange). “I wanted Benedict for the role even before his name became so big,” says the film’s director, Morten Tyldum. “He’s a perfectionist—we spent a lot of time just finding the right voice—and I knew he could get to the core of Alan Turing, the fragility and the arrogance.”

In person, you grasp what a fine actor Cumberbatch is: He’s not remotely arrogant or fragile. Younger-looking than on-screen, he comes across as sweetly boyish, a quality that may belie his sophistication as an actor but helps seal the deal with his female fans. His words come in enthusiastic flurries—“God, I talk quick,” he says when I play back a moment of tape to make sure the recorder’s working—and you never quite know where his conversation may swirl. He exudes an aura of innocent, almost starstruck pleasure in his good fortune, as when he talks about the “bliss” of hanging out with Depp: “We rolled cigarettes and sat around and talked and talked and talked. He’s a friend now. Which is an amazing thing to think about.”

Now that Cumberbatch is riding so high, it’s easy to forget that, for nearly a decade before stardom hit, he’d already been a successful actor. Indeed, he was nominated for an award for his first stage performance, back in 2001. Before Sherlock became a certified hit, he had already starred as Stephen Hawking for the BBC and been cast in such big movies as War Horse, Tinker Tailor Soldier Spy, and 12 Years a Slave.
“People kept saying he was the Next Big Thing,” recalls Sherlock’s cocreator Steven Moffat, “and I think Benedict was getting impatient for that moment to actually happen.”

With Sherlock, which debuted in 2010, it did. Actor and role merged alchemically. Cumberbatch instantly became identified with an irresistible hero who satisfies everyone’s fantasy of thumbing one’s nose at the world, especially authority, yet always being right.

“The BBC liked the choice, too, but with one proviso,” adds Moffat. “They said, ‘Is he sexy enough? You promised us a sexy Sherlock.’ Back then nobody thought of him as sexy—not even Benedict.” He laughs. “Who knew that he’d wind up being a sex symbol in China?”

He’s not kidding. When I was recently in Asia—where some Chinese people charmingly call Sherlock “Curly Fu”—people kept asking me, “Have you met Benedict Cumberbatch?” in the same awed tones with which they would’ve asked about Mick Jagger in the late sixties. He finds such adulation enjoyable (“I’m tickled pink”) and occasionally daft. Some fans ask him to sign pictures of otters, an animal he’s said to resemble—“It’s a great disservice,” he says dryly, “to a wonderful woodland amphibious creature.” Others simply melt in his presence. “I have boyfriends coming up to say, ‘My girlfriend is obsessed with you,’ and I say, ‘I’m so sorry.’ ” He laughs in delighted commiseration.

Although fans fear he may outgrow the show and quit, Cumberbatch is too smart to look a gift horse in the mouth, especially one he so enjoys. “If we can keep the quality up,” he says of the show, “I can’t imagine that I will ever get tired of being Sherlock. I’d love to play him as an old man.”

Meanwhile he takes enormous pride in tackling every kind of role. That’s one reason he signed on to Black Mass, a real-life crime saga in which he plays Billy Bulger, a Machiavellian Massachusetts political boss who, in a touch worthy of a 1930s movie, just happens to be the brother of Boston’s most notorious gangster, Whitey Bulger, played by Depp.

“Billy’s a Bostonian,” Cumberbatch explains, “and that’s a really tricky accent to do. The whole milieu of that film was alien to me, which is what was attractive about it. It was a big challenge.”

It’s his range that impresses Dominic Cooke, who first directed him in Rhinoceros seven years ago at the Royal Court and is now helming The Hollow Crown, a far grander production, complete with battle scenes that show off Cumberbatch’s abilities as a horseman.

“Benedict’s one of those actors who really can transform into something different,” Cooke tells me. “I went to see him in two roles, back to back. One was in Terence Rattigan’s play After the Dance, a very English role, uptight on the surface and filled with emotion underneath. Then I saw him buck naked on the stage doing something like modern dance in Frankenstein. I don’t know any actor anywhere who could do both things as well as that. They aren’t just different characters. They are totally different kinds of acting performance.”

In The Hollow Crown, which brings together all three of Shakespeare’s plays that include Richard III, Cumberbatch plays the villainous hunchback, from the point at which, as a teenager, he announces his murderous intentions, up to his dying cry of “A horse! a horse! my kingdom for a horse!”

“It’s so much fun!” he says. “It’s lip-smackingly fun. Richard basically says, ‘Want to come on an adventure with me? Because I’m going to be doing some dastardly things and am going to ride it until the wheels come off.’ ” His Hamlet, too, promises as much brio as tragedy. “You lean into him not because you want to take care of the poor guy or because he’s an oversharing drip. He pulls you in because he’s very entertaining and has a great sense of humor. He’s very witty. The best Hamlets I’ve seen have been, without a doubt, the funniest.”

Part of Cumberbatch’s extreme good humor has to do with the fact that lately he has been seeing Sophie Hunter, 36, a lovely Oxford-educated theater director (and actress and singer) known for her avant-garde productions. They’ve been in a relationship for the past few months, not quite as secretly as they might have hoped. The papers published photos of them sitting at the French Open and walking in Edinburgh’s Royal Botanic Garden—“Everyone now is a pap,” he says, shaking his head. Although his romance with Hunter will doubtless break some teenage hearts, most of his fans should be relieved that their idol, whom they adore for his intelligence and complexity, is involved with someone worthy of their fantasies of him.

“I’m really, really happy,” he says of the relationship, “and I’m happy to say it.” He gives a smile so shy that I believe him absolutely.

“The wonderful thing about Ben is that he’s having a great time,” Knightley tells me with obvious affection. “It’s nice to see somebody getting what he always wanted and then really enjoying it.”

Still, it’s one measure of his good sense that he tries to keep his success in perspective. Rather like George Clooney, who also didn’t get big until his mid-30s, Cumberbatch took off when he was old enough to appreciate fame without being undone by it. He can be tickled by Oscar speculation but not enthralled by it. “I sometimes worry about the currency surrounding the furor—the Internet, the teens. I’m careful that it doesn’t obscure other things that I care about. When somebody says that I’m perfect for a role because it will get an audience, that immediately makes me cold on it.”

Indeed, when I ask whose careers he might like to emulate, he names actors who he feels have “gone the distance,” meaning they rose through the ranks, did decades of great work, and keep going strong—Michael Gambon, Ian McKellen, Bill Nighy. . . .

“The adoration thing is amazing,” he tells me, “but it won’t carry on forever, and I want my work to carry on forever”—he stops, laughing at such grandiosity. “Or at least for the next 40 years.”




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