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He carries too much mirth to be stone-cold cruel, too much charisma for the brute force Hardy displays, for example, in .
Branagh cites another blue-eyed antecedent: “It goes back to someone like Paul Newman,” he says.
Or Tom Hardy, I think, has it -- this ability to inflict incredible violence in the blink of an eye, but then also to cry and to show great vulnerability.
Zachary Quinto, cast as the young Spock, bore an uncanny resemblance to Leonard Nimoy, but Pine wasn’t the obvious choice. He clung to his normal-guy shtick in the midst of his sudden exponential exposure.
It might have said ‘not even half the charisma of a David Hasselhoff.’ I don’t know why we’re programmed this way, but all I remember is the nasty shit.
And, I swear to God, if people think it’s going to tear me down, it’s like kindling in my fucking steam engine.” SLIDESHOW: EXCLUSIVE SHOTS Of CHRIS PINE for OUT There was plenty of feedback to keep the fire stoked through the run of shallow films that followed.
He’s the kind of smart you have to hustle to keep up with.
The kind of smart that seems unfair, given the fact that he’s also a keenly talented actor who stares at you so sincerely with those blue eyes while spitting out 50-point Scrabble words.
“I think there is a growing homogenization of what masculinity means,” he says. (Indoors, they are a speech-stoppingly bright blue, a shade so intense I’d assumed they only looked that way onscreen because of some post-production magic.) Somehow he doesn’t draw any undue attention sitting smack in the middle of a Sunset Boulevard sidewalk with his iced coffee and chicken sandwich.