Character - Antagonist Influences and Ideas

There are a few different ways in which we could approach the character of our main 

antagonist. This is the face behind the evil-doing in the film and the boss to our initial 

antagonist. He ought to be in some way intimidating and certainly 

demonstrate the keen intellect required to 

mastermind a criminal underworld

One option for the sort of character we could use would be Ben Kingsley. 

In films like Sexy Beast and Shutter Island he is wonderfully sinister, and manages to appear 

simultaneously scary and calm. His characters tend to be well dressed and well spoken, suggesting 

an education and gives him an even more psychopathically terrifying edge.

Jason Flemyng is another example of the sort of actor we could use, as he naturally 

appears fairly intimidating. Less of the refined figure of Kingsley, but with similarly 

threatening tones, often spoken softly to accentuate the danger.

Tim Pigott-Smith is another wonderful actor, generally typecast as an upper

 class man (a ruthless politician in V For Vendetta, Lord Ascot in Alice In Wonderland, et cetera)

 he is certainly the 'poshest' sort of actor we could try and use. He can be extremely menacing 

whilst maintaining the classic British 'stiff upper lip'.

John Malkovich is another view at the arch villain, Similar to Flemyng in his distinctive appearance, 

and to Kingsley and Pigott-Smith in his sense of ominous danger.

A younger actor, and thus possibly closer to the sort of image we will 

end up with, Daniel Mays is not known for playing villains. However in 

Ashes To Ashes he has a terrific turn as a psychotic DCI, and this dangerous 

edge is exactly the sort of feature our key villain could use to great effect. 

Less of the cold, unfeeling psychopath seen in Pigott-Smith characters, and a more

 youthful dramatic feel.

This character will be our most difficult to cast (except perhaps the lead) due to the

 requirement for a figure commanding respect, authority, and fear. These things in

 most crime films come from experience, age, or ruthlessness. Experience and age

 require an older actor which, although possible, is less convenient than someone our own age. 

Ruthlessness requires a good actor, making this a harder role to cast than our more minor 

villain, who will require less screen time and less acting ability.

CM