Take those lines when Hamlet is welcoming Rosencrantz and Guildenstern to Denmark : Hamlet has told them, `Welcome to my prison.' And they say that Denmark isn't prison, it's just his mind that makes it so. `Extremes either way, but they come from the same energy. He's very smart, and he's always in motion - either thinking too much or acting too impulsively. `YOU can hear his wheels, how he chases his tail around all the time. Listen to those rhythms and those sounds, says Gibson, and you have the key to those thorny problems about Hamlet. ``The iambic pentameter grinds itself into a rhythm in the brain after awhile, so that even your ordinary conversation takes on that style.'' `Incestuous sheets,''' He hisses out the sibilants. ``You take a line like `Oh, most wicked speed to post with such dexterity to incestuous sheets.' Pretty wild words, huh? Very abrasive words. Then you can put your layers, or colors, on it.'' It's all in the inflection, the emotion, the sense of what they are saying. But that doesn't necessarily mean you can make anybody else understand it. You learn it by first understanding it yourself. ``I mean, the words were a barrier to me. ``It's the language of Shakespeare that's the real difficulty for everybody,'' he says. Rather, Gibson says, the real risk lies elsewhere. He's convinced his fans will recognize some of the same energies and sheer physicality in the character of Hamlet that have made his roles of Riggs and Max in the movies ``Lethal Weapon'' and ``Max Max'' ies so popular. For me, it would be just a flop, but for him.
Imagine if we did not succeed, he could have become a joke in the industry. They liked the name but questioned if he could do it.
``The Gibson name was vital in finding financial backers,'' Franco Zeffirelli had admitted to me in an earlier conversation. He presented it to me like a gauntlet, like a slap in the face. He met me at a restaurant and,'' he gestures with his coffee cup - ``then I wanted to do it. But somebody else got it and I hadn't thought that much about it again until Franco offered me this part. ``I auditioned for it once when I was about 28 and paid it some mind. (His silences can keep you off balance, like syncopation in music.) He goes on to explain that despite his training in the National Institute of Dramatic Arts in Sydney, Australia, he never thought that much about actually playing the Melancholy Dane. ``Oh, yes, I've been sucked into this play ever since I first saw it,'' Gibson continues after one of his quirky pauses. This role represents his greatest challenge, his greatest stretch, since ``Mrs. I have been struck so far during our interview by his relatively subdued, reflective manner - quite remarkable by contrast to his customary irreverence and prankish humor. `I EMBARKED upon the bark of the Bard,'' quips actor Mel Gibson, describing his decision to film ``Hamlet.'' It's a welcome flash of the old Gibson humor.
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