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ariadcalfine · 7 years

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Meet and Greet with Yusuke Kobayashi

So! I went to Meet & Greet with Yusuke Kobayashi today in C3 AFA Singapore 2017 and it was AWESOME! There were only about 20+ participants, so it was very intimate.

I want to cover the questions asked in Q&A and what I personally talked to him about. Disclaimer: things he said about animes I haven’t watched, like Re: Zero, or games I didn’t play, like “Midnight Cinderella”, I couldn’t remember much, so sorry I only wrote briefly on them.

The questions were not asked in the order below.

1. What were his feelings when working on “Midnight Cinderella” as Yu-ri?

2. What kind of research did he do to prepare himself for the role?

3. What was his favourite line as Yu-ri?

Answers (combined because I forgot some lolol…): The recording for the game was really short and it was over 1 year ago, so he couldn’t remember much about the lines anymore.

He read over the materials given to him by the production team, and at that time, the game has been produced for some time already before the voice recording, so he visualized the character by reading forums and some articles about the game. He did a first try of recording and sent it to the producer and was prepared to make adjustments based on the production team’s suggestions, but the producers were really happy with his first interpretation and accepted it as is.

4. As Natsuki Subaru, which character does Kobayashi actually prefer, Emilia or Rem?

5. Which was his most memorable scene in Re: Zero?

Answers (combined): Kobayashi admitted to have preferred Emilia. He said there were a lot of memorable scenes, but the one that stood out the most was the ending, where Subaru saved Emilia and confessed and their relationship finally changed. He thought it was a moving scene.

6. What made Kobayashi decide to work as Seiyuu?

Answer: when he was a kid, the first anime he really liked was Ranma 1/2. The anime had a lot of shouting of techniques, and he thought it is cool and really want to declare/announce his powers/techniques, so now he’s living his dream!

7. Has Kobayashi met with the seiyuu of Ranma ½, Megumi Hayashibara and Kappei Yamaguchi?

Answer: He has not had the chance to meet Megumi Hayashibara but he had met Kappei Yamaguchi, who happened to voice Arslan in the previous anime adaptation. When he asked Yamaguchi about how his work as Arslan was, Yamaguchi said he was relieved and he thought Kobayashi has done a good job and Arslan is in safe hands. Kobayashi was so touched he actually cried, and it was in a TV programme. Kobayashi wanted the scene where he shed a tear to be cut out, but alas, the producer of the TV show did not agree and the scene remained.

8. What did Kobayashi think was the most difficult part of playing the role of Arslan?

Answer: the scene where Daryun was grievously hurt and Arslan was so angry he told Rajendra if anything happens to Daryun, he’d kill Rajendra. Arslan is a teenage boy so his voice is usually a light tenor, but when someone’s angry, their voice is naturally low, so Kobayashi did his best to lower his voice and portrayed that anger. It was difficult to him also because when Kobayashi is angry, he usually shouts in a growly voice (here he demonstrated his angry voice. Later he profusely apologized for having shocked the audience).

9. What does Kobayashi find most difficult about the job of a Seiyuu?

Answer: If he were to choose, he’d say it is the douga / video. Like Nico Nico or Bilibili. Kobayashi admitted he fundamentally doesn’t like being recorded (and he’s also not good at photography). When he first wanted to be a Seiyuu, it was a job where all the audience knew about the seiyuu were their voices, and they didn’t appear in TV shows, events or or magazine interviews much, but now because of social media and how the era has changed, TV shows, interviews and events have become part and parcel of the job of a Seiyuu. Kobayashi tried his best to accept the parts of the job of a Seiyuu where he originally didn’t like and it took him about 2-3 years to finally become used to it.

10. Has Kobayashi considered other areas in his career, like butai/stage play, musical or singing?

Answer: Butai/stage-play yes, because he originally dabbled in that before he became a seiyuu. Musical, he was never been offered to do, and singing, if such offers come, he will sing.

Not sure if this is the question that lead to this…but at one point in the Q&A, Kobayashi said what he really want to do is to be the narrator of a planetarium. He asked if Singapore has one, and the host said yes, at Singapore Science Centre. He asked if the planetarium has a stargazing show, and we said yes. We then joked that perhaps, one day, we’d hear Kobayashi’s voice there.

11. Which character he’d acted as did he like the most, and which did he learn the most from? (my question!)

Answer: It’s a difficult question.

(Me: he suddenly commented about the song being Eir Aoi. Eir Aoi’s voice is lovely, but is the background song supposed to be like that? May be he was trying to buy some time to think, but also may be he was joking? I didn’t realise this from the Hakata Tonkotsu Ramens stage event, but Kobayashi-san likes to joke.)

He’s acted in a lot of roles and it was hard to choose… but if he were to choose, the one he likes the most is Witch Craft Works’s Honoka Takamiya, because that’s his first main character role. It was where his career truly began. The character he learned the most from was Subaru, because Subaru is a very emotional character. When Subaru is angry, his voice is 100% angry, and when he’s sad, his voice portrays even 120% sadness. The fluctuation in Subaru’s emotions made him learn a lot and he worked very hard, even sometimes his throat was hurt because he had to shout so much.

12. What kind of characters does Kobayashi wants to act as in the future? (my question again!)

Answer: Generally there is a myriad of other kinds of characters that he has not tried and wants to act as, but for now, he wants to try villainous characters or characters that have darkness in his heart / “Yami chara” (mimicked a cackling evil witch laughter that amused the audience). He has not acted such roles much because he was often told he has a kind voice/ “yasashii koe”.

There was a secret he shared which shall not leave meeting room 331 ;).

My personal meet and greet with Kobayashi-san went like this:

Me: Thank you so much for accepting my last question.

YK: no problem

Me: *showed him the phone so he could write my name above his autograph*

Me: I first got to know your voice through Arslan. I like the kindness and freshness / “sawayaka” of your voice. As a voice actor, you have been told much that your voice is kind. Do you hate that?

YK didn’t understand and I told the host/translator what does he feel about being typecasted as having a kind voice?

YK: I don’t hate being thought of having kind voice. I’m actually happy (“ureshii”). But as a professional seiyuu, of course I want to widen the breadth of my experience and skills. I want to be known as a seiyuu who can do any kind of character in any kind of situation (“nandemo dekiru seiyuu”)

Me: What are your thoughts about your role in Arslan?

YK: Arslan is a story about a boy growing up and becoming a king, so throughout his trials and tribulations, he grew/developed with me. Eh, it should be I grew/developed with him, right? (joked with the audience).

Me: I got to know you through your voice and I like your voice (“Kobayashi-san no koe ga suki”), but I didn’t find out more about you as a person. Only now then I know that you are not just kind, but you also like to joke. Personally, what kind of fan does Kobayashi-san prefer?

YK didn’t understand (yes, I know my question was very unclear also). The translator stepped in and I told her, does he prefer fans that mainly like his voice-acting / seiyuu work or fans that also want to know him as a person?

YK: Let this be the last one, ok? (oops I’ve been asking too many questions and hogging everyone’s time) Hmm…It’s a difficult question.

Me: Sorry I’ve been asking difficult questions!

YK: I think through voice-acting, that’s when a seiyuu can shine the most. I personally think without voice-acting, I’m just a boring person (laughs)

Me: of course not, how can you say that

YK: it’s true, those who follow my twitter will see I don’t update much, don’t really upload the food I eat (laughs).

*some parts censored because he wants to keep them a secret*

Me: Ok, thank you so much Kobayashi-san, I hope for your success in the future, with getting casted into “Yami chara”

YK: Why did everyone talk about “Yami chara” (laughed)

Me: And about becoming a planetarium narrator also. I hope all your dreams come true.

YK: *shook hand* thank you, and please continue to support me in the future.

I was so flustered about not being understood by him a few times, and focused so much on speaking Japanese, that I barely remembered the handshake. It was shorter than I would have liked T_T. He had already let go while I was speaking all those about “wishing for your success blah blah” and I would have wanted to hold on longer. But I do remember that it was quite firm and his hand felt warm (because my fingers were cold in comparison lol). That was one of the regrets I had T_T.

Another regret was not preparing a gift/letter to him to be handed personally.

There were snippets of conversations of other participant’s meet and greet that I managed to hear and remember, like what Kobayashi-san’s nickname is (It was Kobaseran when he was doing Arslan Senki. Translator joked, ‘not Denka/Your Highness?’) and there was something about Imouto-zuki/sis-con? Lol it is another “secret not supposed to be said outside room 331” anyway and not really something I wanted to know. Better blocked from my memories.

Generally, Kobayashi-san is a very sincere and honest person. When doing the Q&A he walked around the stage to be closer to the person asking the question, and even squatted to be on eye level with them. He was standing up when signing his autographs too, the whole time, to be on eye level with his fans. My second question was actually allowed because he saw me raising my hand but I was not picked by the host when she said “this is the last question”, and he noticed that! I was so touched!!

He is also very honest. His answers were not generic (e.g. “all were meaningful”/ “I love all of the characters”), he really did admit he found participating in TV shows / videos difficult at first. I really like his personality and will be supporting him from now on! All the best to Kobayashi-san!

P.S. If I missed any questions from the Q&A, please PM me! :)

#kobayashi yusuke

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versary · 6 years

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anyway i went to weightlifting in phillip this morning and it’s literally been four months since i last went, because i stopped going the moment uni finished and i didn’t have to get up early haha but i went and it was fun and greg tweaked my clean (again) but i got some good ones in. the post-training coffee was excellent, as was the avocado toast which i ate in the car on the way to uni.

i think AFA is going to be really content-heavy - the labs seem to be self-paced, where you come with your own study plan, so i’ll have to be really on top of that. EPP was really fun. the lab tested functional movements, kind of like a pre-screening that you’d give an athlete before they started an S&C program. i was pretty happy, actually - i scored as high as you can in the lunge, shoulder mobility, leg raise, diagonal rotation, and push up tests, and only got points deducted in the overhead squat test because i could keep my torso upright (which is a weakness i already knew about). it’s down to strength (hard fought) and flexibility (fairly natural), but also a year’s worth of core work. cool!

i’m eating now and then i’ll head into the city to train before i coach tonight. an excellent day. here’s hoping the rest of the semester is as fun as today!

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fitzonomy · 7 years

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Dear Therapist.

Every Wednesday (except for the last Wednesday of the month), I write my therapist. I’ll post them here. I’ve been working with this therapist for three years, seeing her once a week. Recently, I decided I wanted to try to reduce my number of visits to once a month but I wanted check-ins. We agreed I could email her. Trigger warnings for everything under the fucking sun for these posts. If you don’t want to be sad, please click this link. Read more after the cut:

I've been mulling over the purpose of keeping in contact with you in-between our face-to-face meetings. Too many hours were spent agonizing over how to optimize the therapeutic value of writing before I realized the answer was simple:

I simply need someone to talk to. Sure, that fact is confounded by chronic and acute issues (e.g. dealing with my current life situation) and events that have reverberated so strongly against myself that they still cause significant disturbances (e.g. my childhood, adolescence, and young adulthood); however, underneath all of those things, is the need for attention.

I'm human. It's natural.

The problem with talking to other people is the work I have to do in order to pretend I genuinely care about someone else's problems or feelings. This is not to say there are times I don't genuinely care--I would just rather the burden be permanently removed from my responsibility.

But with a therapist, I'm allowed a brief respite and can pick and choose whether to engage in that work (the work of keeping up my end of a relationship, caring about another's feelings or thoughts, thinking about the consequences of my actions, etc).

So, that's the point. I get a tiny break from those responsibilities and some attention. Seems reasonable.

Then another few hours were spent on how to work within that need. I finally decided on something pretty mundane: storytelling. I've not given much thought on what to story to tell but I've settled on:

Why Ash Has Fought Against Embracing Writing and Art

My mother earned an AFA in her late 20s from a local community college in Louisiana. Before this, I drew and wrote quite a bit but her work and her descriptions of her art classes had me simultaneously enthralled and terrified. I wanted what she was experiencing so badly it hurt but I never believed I could do anything like it. My mother never gave me any indication or support that I could but didn't discourage me from drawing or other acts of creativity. Although, I can never be quite sure if this was actual support or extreme apathy. By the time I really got into creating, she was in the thick of her anorexia and the abuse in our household had grown so thick that it crept out the cracks of doors and windows. Opening the front door, I usually held my breath and had to count 1, 2, 3, 4, 5, 5, 4, 3, 2, 1 until I reached my room-- the safest place in the house. For me anyway.

During this time. we owned a short, squat coffee table that had an oval top and an elevated slat underneath where we kept our photo albums. I spent one Saturday cutting up old copy paper into the shapes of buildings and taping them to the edge of the coffee table. It was a tiny, paper village that looked in on itself. If I gave it a name, I don't remember what it was. I never imagined people or weather or anything; it was just a tiny place I created and I was so pleased with it. My mother let me keep it up for a day or two. I think my father yelled at me about the tape on the wood. Either that or he never said anything about it.

It's strange how both of those memories seem equally likely. I tend to talk a lot when there's silence because in my experience, silence is always a prelude to something worse. I can never decide which was worse: the silence that usually lingered in public family spaces with my dad or the constant, angry din of my step-father. I suppose there is no sonic safe space for me. This probably explains why I cling to music in which silence and not-silence live in harmony with one another--nay, depend on one another to make sense.

While Paper Village was around, my mother was always on the couch. She worked as a page at one of the libraries and, coupled with lack of calories, she had nothing to give by the time she came home.

Like I said, I'm not sure if her strange encouragement was real or if it just took too much energy for her to give anything but positive reinforcement. Engaging with her children would have taken more than she had to give because she was too busy eating herself alive, physically, mentally, and emotionally. Or maybe she just allowed other things to eat at her and all she had to do was lay there and suffer.

I can empathize. To an extent. I know that feeling, wanting to be consumed from the inside out.

We inherit our parents's trauma although we'll never fully understand it.

I hated my last nurse practitioner from the outpatient behavioral realm of the hospital. I just expected more of her and instead I heard the same things over and over again when it came to self-mutilation: "You did it to feel alive."

I don't think that's true. I don't think that's true for either me or my mother. "Alive" is to simple a thing to describe wanting to be eaten whole. There is disconnection between the mind and the body, the space between my brain and my body and my thoughts become universe-wide gaps and I'd be gasping for air in the vacuum of space and I just needed something, something, something to tether me back.

So, perhaps I shouldn't hate her for using a shorthand for something she cannot begin to fathom.

Except for that stupid, trite plaque that was painted teal and proclaimed in white, curvy letters: Success is not for the lazy.

Never mind. I still hate her.

I can't remember if my mother was laying on the couch when she told me that one day I'd write the "next great American novel." It certainly happened before the age of 10. And I certainly remember thinking, "Nope."

I stopped drawing my comics after she became excited and entertained ideas of me publishing my work. It was silly. A lot of my comics featured a cat who was a superhero and who saved the world from silly things like a slushie floods (blue raspberry-flavored because I have and always will hate that flavor). She said I should write a full story and illustrate it. She suggested a tour of Egypt since I was into Egyptology at the time. I was excited. I drew. I wrote. It wasn't great. I was 8 or 9, why would it be? I showed it to her. She then said that I had to work harder because it wasn't good enough.

Ah, there we are. A more-than-likely formative moment.

I stopped drawing the cat. I stopped drawing the comics. If I drew, I kept things to myself. It was easier. I kept my writing to myself. Then, at the age of 14 or 15, after my stepfather searched my room "for drugs," both my mother and he had me sit down because they'd found all the notebooks I'd hidden. They yelled. They demanded to know what all of it meant. I was 14 or 15. It meant nothing except I'd created it.

My propensity for coming up with overwrought and over-thought explanations for things isn't an accident. Well, not entirely one of pure ontological origin. They wanted to know what I was doing, what it all meant. It meant nothing except I'd created it.

But it wasn't enough. There had to be more! There was meaning underneath all of it! An abnormal psych college textbook was omnipresent in our home. While it sat on the bookshelf, it loomed over me while both of them demanded to know what it all meant!

"Yes, hello?" Present Me answers, exasperated with the amount of phone calls I've been forced to deal with lately. "Oh, it's just you. Go back to the 1940s, psychoanalytics."

But I was 14 or 15 so the next day, my face still red and my mind still detached from my body, I put all of my notebooks and sketchbooks in my backpack and discretely trashed them all in a school dumpster.

There is still a tinge of pain in heart whenever I think of a pink journal I had with an orange kitten on it, looking up at me from the trash. I remember thinking to myself, "This has to be done."

I am good at doing what needs to be done.

So, you've never asked, but it wasn't like I never wanted to be a writer and/or artist.

I just didn't want to say any of the things I've written aloud.

Because sometimes I think about the Paper Village and the pink journal with the orange kitten on it and it's too much. I'm starting to tear up even now. I'm just infinitely adaptable. I've got a mind that is passably good at most school subjects but not quite what anyone wants. I hit that wall with the PhD program. I'd been found out for the fraud I am. "Go back to your Paper Village!" is what I scream at myself when I wonder if my adviser sabotaging my quals was something everyone agreed to. "Ash is a fraud. Put out the hit." Except it doesn't happen quick and bloody. It happened slow and snotty and with a fire that didn't quite eat me whole but left me a pile of ashes.

But then I remember all the times I'd tried getting back into art, taking an art class here and there in college, and thinking, "But they know I'm a fraud too!" And I imagine everyone gathering around in a much more atmospheric location for clandestine meetings and agreeing, "Ash Brandt? She talks about her Zoology classes during Drawing I. We can't have this. She's far too interested in Biology for this. Put out the hit."

And it didn't happen quick and bloody. It happened slow and snotty and with a fire that left me mostly burned, licking my wounds all the way to a Liberal Arts, BA because I could never get anything right.

Or, this is all bullshit I put together because, if anything, I know how to tell a good story.

Until next week.

#dear therapist #my writing #ash writes #therapy

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elipsportvinhlong · 4 years

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rodrigohyde · 6 years

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The top 10 Hollywood bulk-ups of all time

Has anyone ever received more praise for getting fat than Robert De Niro? In 1980, the method actor famously gained 60 pounds of flab by gorging himself on pancakes and milkshakes to play bloated ex-boxer Jake LaMotta in Martin Scorsese's Raging Bull. Nearly 30 years later, film buffs are still marveling at his man boobs.

Nothing against De Niro's amazing performance, but Men's Fitness has had enough of critics praising extra pounds.

That's why we're paying tribute to 10 actors who worked their abs for their art—because it takes more effort to curl 80 pounds than it does to gain it.

[RELATED1]

10. Eli Roth in Inglourious Basterds

For his role as a Nazi's worst nightmare in Quentin Tarantino's fantastical World War II flick, the already physically fit Eli Roth needed to step up his game. His character — Sgt. Donnie "The Bear Jew" Donowitz, a Boston badass who disposes of SS officers with nothing more than a bloodstained Louisville Slugger — isn't the type of guy who would be caught anywhere near Crunch fitness. Instead of getting cut, Roth needed to bulk up. So the Massachusetts native headed home to Beantown, mastered the local accent, stuffed his face with steak, and hit the gym until he packed on 40 pounds of heavy muscle. If you've seen Roth swinging for the fences in the film, you know his dedication paid off.

9. Jason Statham in The Transporter

British actor Jason Statham didn't set out to be an action hero. Starting his career in Guy Ritchie gangster flicks like Snatch and Lock, Stock and Two Smoking Barrels, the former championship diver was best known for playing skinny conmen before Hollywood came calling. So when he was cast as the world's most dangerous chauffeur in the 2002 martial arts flick The Transporter, the part-time model needed a physical overhaul. But instead of going the typical Hollywood route of hiring a personal trainer, Statham motivated himself, increasing his time in the gym and taking his interest in mixed martial arts to the next level. By the end of his intense training, Statham was so physically fit he was able to perform most of his own stunts in the film.

8. Robert De Niro in Raging Bull

Here's the flipside to De Niro's Oscar-winning performance—before he gained the equivalent of a small child to play Jake LaMotta in his darkest, fattest hours, the New York native got completely shredded to play the Italian middleweight pugilist in his prime. But De Niro didn't just hit the treadmill to achieve this look. The GoodFellas star underwent a full-on training routine, working closely with the real-life LaMotta on every facet of a boxer's regiment. In fact, De Niro was so dedicated to becoming a convincing brawler, he actually competed in three organized bouts, winning two. LaMotta was so impressed with De Niro's dedication, he claimed the actor could have fought professionally if he wished.

[RELATED2]

7. Jamie Foxx in Any Given Sunday

Thanks to the Academy Award he nabbed for the 2006 Ray Charles biopic Ray, Jamie Foxx is no longer known as that scrawny dude from Booty Call. But the actor first showed his dedication to his craft in Oliver Stone's 1999 football flick Any Given Sunday. For his role as fictional quarterback Willie Beamen, Foxx hit the weights hard, bulking up to a solid 200 pounds. Then, the former MF cover model reported to football training camp and dropped 25 pounds as a result of the vigorous, real-life training. Luckily, the muscle remained and Foxx ended up with the kind of chiseled physique that looks even better on film. "It made me look bigger on the screen because I was tighter," Foxx told MF.

6. Mickey Rourke in The Wrestler

To take on the role of washed-up grappler Randy "The Ram" Robinson in Darren Aronofsky's 2008 film, Mickey Rourke had to do a lot more than just bleach his hair and wear lime green tights. In order to convincingly portray the kind of guy who could hold his own against King Kong Bundy, the 55-year-old had to pack on nearly 30 pounds of lean muscle. Realizing this could be his comeback role, Rourke dedicated himself to the part, working out religiously and training with professional wrestler Afa the Wild Samoan for months prior to shooting. Rourke pulled it off and his impressive build not only added to the realism of the film, but helped him land a role as a villain in the upcoming Iron Man sequel.

5. Ryan Reynolds in Blade: Trinity

Much like Jamie Foxx, Ryan Reynolds was best known for a not-so-great sitcom (the poorly-titled Two Guys, A Girl and a Pizza Place) before an eight pack turned his career around. When the relatively unknown actor was cast as a vampire hunter in the third film in the Blade trilogy, he knew he needed to do something to grab the audience's attention — after all, he was starring alongside Jessica Biel. So the Vancouver native began to train like a madman, doing everything from intense 3-hour daily workouts to a eating eight to 10 small meals a day. The result? Countless magazine covers, the leading role in the upcoming Green Lantern flick and a marriage to Scarlett Johansson. If that's not motivation to get into the gym, we don't know what is.

[RELATED3]

4. Edward Norton in American History X

Before he knocked audiences on their asses with American History X, Edward Norton wasn't much more than a solid actor with a bad haircut and few decent flicks under his belt. Then he stomped onto the screen as Derek Vinyard, a raging neo-Nazi skinhead with the kind of physically imposing look that would make most men cross the street. Norton didn't just have the cut biceps and chiseled chest of a typical Hollywood leading man, he looked like a guy who had spent some time lifting weights in the joint. So how did the scrawny Ivy Leaguer go from Yale grad to jail bird? A high protein diet mixed with strength-building exercises like squats and presses. If only Norton could've manned up like that in Fight Club.

3. Christian Bale in Batman Begins

Christian Bale's physique in this Batman revamp may not be the most spectacular on the list, but consider this — six months before playing the caped crusader, Bale weighed 120 pounds. Taking a page out of Robert De Niro's playbook, the Welsh actor had dropped over 60 pounds (mostly through a steady diet of coffee and apples) for his role as an emaciated insomniac in the psychological thriller The Machinist. When he landed the lead in Batman Begins, Bale only had half a year to get in shape. Wasting no time, Bale started a high protein diet while utilizing heavy core training, plyometrics and resistance training. By the time cameras were ready to roll, Bale had packed on 100 solid pounds. Ironically, director Christopher Nolan felt Bale had gotten too bulky and ordered him to drop 20 pounds.

2. Will Smith in Ali

If you're going to tell the story of the greatest professional boxer of all time, you have to do it right. Working with Sugar Ray Leonard's former fitness coach, Will Smith rose to the occasion, turning his 185-pound frame into 220-pounds of lean, sinewy muscle through grueling six-hour-a-day workouts and intensive weight training. At his peak physical condition during the filming of Ali, Smith was benching 350 pounds while moving with the agility of a skilled fighter. Through his focused training, the rapper-turned-actor ended up with a physique just as impressive as the former World Champion. And while the film garnered mixed reviews, Smith's performance was praised and the actor received an Oscar nomination.

1. Gerard Butler in 300

To portray King Leonidas, a Spartan warrior who disposes of thousands of hapless Persians while wearing little more than a Speedo and a cape, Scottish actor Gerard Butler needed a physique right out of a comic book. But the longtime smoker's body was far from loincloth worthy. Enter Mark Twight. Twight, a renowned mountain climber and conditioning coach, put Butler and his costars through hell for four grueling months. A small sample of their agonizing daily workout included non-stop sets of pullups, deadlifts, pushups and clean-and-jerks, coupled with unorthodox training methods like Olympic-style ring work and flipping gigantic tires. While Butler did most of his preparation with his co-stars, the 6-foot-2 star had to look even more chiseled than the 299 other shredded warriors who were standing behind him, so he would put in an extra workout after these training sessions. The results speak for themselves.

[RELATED4]

Celebrities

from Men's Fitness https://www.mensfitness.com/life/entertainment/top-10-hollywood-bulk-ups-all-time

#Men's Fitness

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egooksconnolly · 6 years

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The top 10 Hollywood bulk-ups of all time

Nothing against De Niro's amazing performance, but Men's Fitness has had enough of critics praising extra pounds.

That's why we're paying tribute to 10 actors who worked their abs for their art—because it takes more effort to curl 80 pounds than it does to gain it.

[RELATED1]

10. Eli Roth in Inglourious Basterds

9. Jason Statham in The Transporter

8. Robert De Niro in Raging Bull

[RELATED2]

7. Jamie Foxx in Any Given Sunday

6. Mickey Rourke in The Wrestler

5. Ryan Reynolds in Blade: Trinity

[RELATED3]

4. Edward Norton in American History X

3. Christian Bale in Batman Begins

2. Will Smith in Ali

1. Gerard Butler in 300

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