‘The Borgias’ Season 3 Promos

The Borgias, Season 3 Premiere – Full Episode


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The Borgias season 3 promo – “Father, Son, Unholy Spirit”


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The Borgias season 3 short promo – “Give in to Sin”

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The Borgias season 3 promo – “Nothing is Sacred. Everything is a Game.”

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The Borgias : Season 3: Episode 1 Clip – We are at War


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The Borgias : Season 3: Episode 1 Clip – There is a Plot


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On the Season 3 Premiere of The Borgias:


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Watch ‘The Borgias’ Season 2 Premiere Full Episode

Watch on YouTube

Also watch on Xfinity TV

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‘The Borgias’ – Season 2 Promo Pics and Stills

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The Borgias returns to Showtime on Sunday 8 April 2012 for Season 2 with its first episode entitled “The Borgia Bull”.

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Jeremy Irons is back as bad guy on ‘The Borgias’
BY LUAINE LEE
McClatchy Newspapers

British performer Jeremy Irons didn’t enter acting to become an actor. He joined to become a gypsy, he says.

“I had this sort of romantic vision of the life I wanted. I always say to kids now, ‘Find out what makes you happy and try to make a life that gives that to you, whatever that may be doing.’ I wanted a job which allowed me to move from society to society, not to be stuck in a conventional rat race,” he says in the courtyard of a hotel here on a chilly winter’s day.

He considered three options: life in the circus, the carnival or the theater. “I went and looked at circuses and carnivals, and I looked the accommodations they gave to the staff, and I thought, ‘I think I’m too middle-class for that. I don’t think I could live in something that small. I think maybe I’ll look at the theater.’ So I went and joined a theater in Canterbury when I was 18.”

The actor, who has illuminated the screen in films like “Reversal of Fortune,” “The Iron Mask” and “Die Hard: with a Vengeance,” returns Sunday as the evil Rodrigo in Showtime’s “The Borgias.”

It doesn’t matter whether Irons is playing the consummate hero in “The Man in the Iron Mask” or the Machiavellian pope in “The Borgias.”

“I’ve always been interested in gray,” says Irons, who is dressed in ochre pants, a khaki jacket trimmed in leather, and a black scarf circling his neck.

“I think we all have shades of gray in us. Nothing is really black and white. Yes, I play some people who carry their ‘bad sides’ to extremes, but I think that’s what the storyteller should do. What happens if you hit the edge of acceptable behavior or go over it? Why is that edge there? ‘Lolita’ is a perfect example — a man who broke social mores and acted in a way that was unacceptable. But why is it unacceptable? You see what happens to both him and the girl by the end of the picture, and you realize that that is why we say the behavior is wrong, because it destroys people.”

When he first started out he was hammering flats and holding candelabra on stage as part of the “scenery.” For a time he was even a busker. “That means I would sit on the street corners and play music for money,” he says.

“Performing was something I felt comfortable with, and I loved the communication, between an audience and the storytellers, in the same way I loved the communication when I was singing a song well … and I enjoyed the process.”

He enjoyed the process so much that he became an arch perfectionist — a curse to those around him, he says, as he rolls a brown cigarette in a machine he takes from his pocket.

“I realized that I was caring so much about my work and trying to make it absolutely perfect that — you will have to forgive my language here — there is a very thin line between a perfectionist and a complete (expletive). And I think I was falling over that line,” he says.

“Perfection, you can’t seek it because it doesn’t exist. I was worrying about it so much and making it fairly difficult for people who were working with me to work with me. And I sort of realized that the most important thing is to have fun with what you are doing. … Learn your lines, learn your character and then have fun with it. So I sort of pulled back and thought there is no way that an actor can make something perfect, you have no control over the finished project. Try and make it fun for everyone.”

Dissatisfied with his achievements, he actually quit for a while. “I turned 50. I found I was doing film work which I was bored by, and I wanted something that would absorb me completely. And I think it had something to do with the fact that in my 30s and 40s I was playing leading roles and then in my late 40s and 50s I was playing guest characters, and smaller roles. You don’t feel the same when you show up for a month instead of being there the whole time,” he says, rescuing a tea bag from his cup.

“I found a ruin (castle) in Ireland, and I spent two years just working on that. I had a large crew, but I was running it. And then I began to run out of money because I was paying 40 wages a week, and so I started acting again here and there over the next three years so six years over all. It was the greatest project I have done. I came back a slightly different person and started off again.”

He still owns the 15th century Kilcoe Castle and he and his wife of 34 years, actress Sinead Cusack, stay there when work permits. They have two grown sons. Sam is a photographer and Max, alas, is an actor. “My boys are 33 and 25, and you still ache for them if things go wrong,” he sighs.

© 2011 Belleville News-Democrat and news service sources. All Rights Reserved. http://www.bnd.com

‘The Borgias’ Season 2 Promo Video and Screencaps

View the original video HERE for full screen.

“The Borgias” Season 2 Promo, posted with vodpod

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The Borgias Behind the Scenes Season 1

From Balint Regius’s Gallery  - Photos taken in 2010 from behind the scenes of The Borgias season one.  The photos were taken on locations in Soponya, Komárom, Budapest and Etyek in Hungary.

Unfortunately, it seems, he did not get any photos of Jeremy.  David Oakes, Francois Arnaud and Colm Feore do appear in some of these photos, however.

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‘The Borgias’ Press Kit

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Plum Role: History’s Ultimate Godfather – NY Times

Read the full original article at: http://www.nytimes.com/2011/03/27/arts/television/the-borgias-a-showtime-mini-series-starring-jeremy-irons.html

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March 25, 2011

Plum Role: History’s Ultimate Godfather

By CHARLES McGRATH

ALTHOUGH they lived in the 15th and 16th centuries, the Borgias, the subject of a new nine-part Showtime mini-series that begins next Sunday, were a family made for TV. The Borgias were rich, ruthless, scheming and corrupt, and so sexually voracious that, if you believe the rumors, they slept with everyone, including one another. Mario Puzo, who worked on a novel about them, called the Borgias the Corleones of the Renaissance. They also resemble “The Sopranos” a little. Imagine if Tony, instead of running a garbage hauling business, had bought himself the papacy.

“The Borgias,” which cost $45 million to make, was created, written and produced by the film director Neil Jordan, who also directed several episodes. It is Showtime’s latest entry in what is becoming a high-stakes game on cable TV now that it’s no longer enough merely to show Hollywood movies or the odd sporting event. If you want to sell cable subscriptions these days, you need not just original programming but a long-running, franchise-defining series like “The Tudors,” Showtime’s recent hit.

A bankable star doesn’t hurt either, and in the new series the Borgia paterfamilias, Rodrigo, who became Pope Alexander VI, is played by Jeremy Irons, not exactly typecast. To judge from his famous portrait by Cristofano dell’Altissimo, the historical Rodrigo, corpulent and hatchet nosed, looked as if he had been inflated with a tire pump. At the time of his death, or so the legend goes, he was so bloated and debauched that when his body was inserted into the coffin, someone had to jump on the lid to get it shut.

“When we first talked about the part, Jeremy was worried that he didn’t have that bulbous weight,” Mr. Jordan said recently, speaking by phone from his house in Ireland. “I told him that if we can get this guy properly situated, torn between God and politics, the weight wouldn’t matter.” He added: “I wanted someone who would understand the kind of history here. ‘The Borgias’ isn’t just a saga of poisoning and nubile women, like a Ken Russell movie. Well, we do have all that, but we also put this figure in historical context.”

Mr. Irons, still elegantly handsome at 62, doesn’t look much like Pope Alexander. He nevertheless has, both on screen and in person, a slightly detached, regal quality, a darting, glinting intelligence, and occasionally an air of weary melancholy, all very useful papal attributes. He also has a long history of playing characters who are morally ambiguous if not outright villainous: Humbert Humbert in “Lolita”; the deranged twin gynecologists in David Cronenberg’s “Dead Ringers”; the accused wife poisoner Claus von Bülow in “Reversal of Fortune” (for which he won an Academy Award); even Scar in “The Lion King.” And with that deep, rumbling voice, like an organ echoing in a cathedral, he sounds the way a Renaissance pope should sound: the sibilant S’s, the luxurious drawn-out vowels suggesting knowledge acquired outside the seminary.

Mr. Irons speaks this way in real life too, and in New York recently, draped over a chair in his suite at the Lowell hotel, he employed that same voice to say, “We don’t talk about my voice.” He doesn’t like to be made conscious of it, he explained, recalling a conversation he had years ago with the actor John Hurt. “You know all these young actors coming up, 18, 19, 20 — rather good, aren’t they?” Mr. Hurt said. “You know what I do? I go up and say, ‘You’re a great actor, with such a fantastic voice. Have you ever listened to it?’ ”

And then they’re finished, Mr. Hurt said gleefully.

Mr. Irons was a late bloomer. He grew up well to do, on the Isle of Wight in England and went to Sherborne, a midlevel boys’ boarding school, where he was a good athlete but such an indifferent student that the headmaster predicted he would wind up as a paratrooper. He tried being a social worker before becoming an actor and then had such trouble finding parts that for a while he supported himself as a home remodeler. His breakthrough didn’t come along until 1981, when he was cast as the earnest, proper Charles Ryder in the 11-part television adaptation of Evelyn Waugh’s “Brideshead Revisited.”

“We had just come through the ‘Look Back in Anger’ phase, and actors like Tom Courtenay and Albert Finney were sort of fashionable — what I call the kitchen-sink actors, actors with local accents,” he said. “It was ‘Brideshead’ that made it acceptable to have someone who was tall and English and spoke properly as a hero.”

Nevertheless he mostly sees his archetypal Englishness as a liability rather than a strength. “The American version of the Englishman is rather like the English version of the American — sort of one-dimensional and not very attractive,” he said. “I’ve tried not to capitalize on my Englishness. If I had the charm of David Niven or Hugh Grant, then maybe I would, but I don’t. I’m dirtier and more odd.”

The roles of characters who are strange or morally enigmatic have come to him, he went on, partly by accident, or because he has a reputation for playing them, and partly because he has sought them out. “Certainly they attract me,” he said. “I’m always interested in good and evil, who’s a good person, who’s a bad person, believing, really, that we’re all rather gray.”

No one is grayer than Rodrigo Borgia, who bought the papacy in a rigged election, had numerous mistresses and fathered four children yet was also a skilled diplomat and renowned patron of the arts. Mr. Jordan said he thought the whole family has suffered from bad press: “A lot of the history was written by Rodrigo’s successors, especially by Cardinal Giuliano della Rovere, who became Pope Julius II. There was no Gibbon or Niall Ferguson to write about the Borgias, and so they become a little demonized.”

He added that what he found interesting in writing the script was that once Rodrigo was put in the context of his family, he remained attractive no matter how evil he became. Oddly, the villain of “The Borgias” is Rodrigo’s rival, della Rovere (played by Colm Feore), a model of probity and holiness.

Mr. Irons said that in researching the part he made a list of all the qualities attributed to Rodrigo Borgia. “It was like a rainbow,” he said. “The list goes all the way from ‘generous man,’ ‘wonderful company,’ ‘a great organizer’ to ‘poisoner,’ ‘cruel’ and ‘despotic,’ all the worst adjectives you can think of. I thought: ‘That’s very interesting. Maybe it’s all true. Maybe from different vantage points all those adjectives could be seen to be the truth.’ Film is always a kind of patchwork anyway, and my hope is that Rodrigo will emerge as a man of many different colors and many different behaviors. He’s completely different when he’s being persuaded by his daughter or bullied by the mother of his children or negotiating with the Spanish ambassador. I never judge. That’s not my job. I just try to link all those attributes.”

Mr. Jordan said: “Jeremy does manage to humanize the monster, doesn’t he? I loved him as Claus von Bülow. You had absolutely no idea what that character was thinking.”

About playing the pope, a character who is always being deferred to while being lugged around on a throne or gliding through his palace in robes, Mr. Irons said, “It’s daft, really, but someone’s got to do it.” Then he became serious and went on, “I hope the Vatican doesn’t go down the obvious path of creating a great controversy over this, though I’m sure Showtime would love that.”

He added: “I think the great strength of Neil’s script is that because he’s a very bright man and a historian who reads very widely, he’s found something possibly nearer the truth about the Borgias, though God knows what the truth really is. I’m hoping that the audience will be totally confused about whether to root for this man. It’s a bit like von Bülow, you know. Did he do it or not?”

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