Watching wooden dolls come to life may not be one of the most popular forms of entertainment today, but with over twenty years’ experience, talented puppeteer (木偶表演者) Peter Roberts has earned himself the title “master puppeteer” because of his great ability to turn puppets into believable, almost living characters. “People are quite often surprised to hear what I do for a living and have little appreciation of puppet as a form of entertainment. But while the exact origins of puppet theatre are unknown, it has been popular in many cultures and may have been the very first kind of theatre,” he explains.

Roberts’ shows are highly original. “A puppet show can involve anything from clowning (傻逗) to storytelling,” he says.   Equally diverse are the audiences he performs for. “Some are attracted by the puppets themselves, while others enjoy the dialogue.” Roberts believes that this form of entertainment can be appreciated by people of all ages and cultures.

Roberts’ interest in puppets started when he received some beautiful glove puppets one Christmas. He started putting on shows with these for family and friends and then moved on to handmade Chinese string puppets. Learning mostly from books and personal experience, he explains, “I was already spending most of my free time carving puppets and putting on shows, so I hardly noticed the change from students to full-time professional puppeteer.”

The puppets are designed specifically for each show, which is extremely time consuming. According to Roberts, “Sometimes what you expect and what you actually create in the end are two very different things. I’ve made some of my best puppets ‘accidentally’.”

When most people hear the word “puppetry”, they more than likely think of a way of keeping children entertained at birthday parties. Certainly the subject matter will be expected to be light-hearted rather than serious. However, Roberts wants to point out that puppets convey serious messages sometimes.” he says.

There aren’t many actors around the world who have enough self confidence to turn down an offer from Steven Spielberg. Maybe that was why Juliette Binoche gave him a choice. She said she’d be happy to be in Jurassic Park as long as she could play a dinosaur. Of course he turned her down and it was probably a good thing. It’s difficult to imagine Juliette ripping people apart with her teeth. However, her decision doesn’t seem to have done her career any harm. She has gone on to make a string of hits, including The Unbearable Lightness of Being, The English Patient (for which she won an Oscar) and Chocolat.

Success in the United States has not been so easy for other foreign stars. Gerald Depardieu is a good example. Since his first film in 1967, his filmography (影片集锦) lists 172 acting credits. But he has struggled on the other side of the pond. While some of his films have been popular in the US, they have usually been French films that travelled. One possible exception was Green Card, directed by Peter Weir, where he plays a French immigrant who goes through a fake wedding in order to stay and work in the United States. This is a predictable but sweet romantic comedy which typecasts (分配同一类型角色) its lead actors in terms of national stereotypes. While some reviewers were kind, others shredded both the film and Depardieu’s performance.

While Monsieur Depardieu hasn’t received the recognition he would have liked in the United States, one Mexican actor has achieved almost instant success. Gael Garcia Bernal first gained recognition in Amores Perros in 2000 and a year later in Y tu mama tambien. Since then he has appeared with hometown hero, Brad Pitt in Babel and, under the direction of top producer and director, Jim Jarmusch, he starred in Limits of Control. He hasn’t picked up an Oscar yet, but he was nominated for a BAFTA (英国电影电视艺术学院奖) in 2005 for his performance as the South American hero revolutionary Che Guevara, in Motorcycle Diaries. In the same year he played American music icon Elvis Presley in The King.