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Stage actors are usually much more conscious of speaking up and making sure that everyone can hear in the back of the theatre; a film actor probably thinks of that a little less. Unfortunately, there's a style of acting going round, especially with the younger actors, where they talk without even moving their lip. Maybe it's because my hearing probably isn't what it was 40 years ago but I'm sitting there going "What did they say"?
One thing I loved about New Zealand was the indoor/outdoor lifestyle of the place. I remember going from Xboxing, jamming out on guitars and drum machines in my buddy's apartment, to a bike ride through the parks and up and down the streets all over the city, to the ocean, right into the water. I remember we were swimming outer ways and we got to a certain place where we wanted to see - or I wanted to see - how deep the water was.
Well, English is no problem for me because I am actually English. My whole family are English; I was brought up listening to various forms of the English accent. Obviously there are more specific ones that get a little bit tricky. Same with American stuff. But because in Australia we're so inundated with American culture, television, this that and the other, everyone in Australia can do an American accent. It's just second nature.
When life gives you lemons, don't make lemonade. Make life take the lemons back! Get mad! I don't want your D*** lemons, what the h*** am I supposed to do with these? Demand to see life's manager! Make life rue the day it thought it could give Cave Johnson lemons! Do you know who I am? I'm the man who's gonna burn your house down! With the lemons! I'm gonna get my engineers to invent a combustible lemon that burns your house down!
The new Bond film, will be a big, big hit, because every Bond film is an event. Fathers take their sons to it; probably grandfathers. It's been a long time, and I think that the success of Bond is because the audiences have never been cheated by the producers. They always spend every penny, put it on the screen, and then the things that people expect to see in a Bond film - big action scenes, glamorous ladies - it's pure escapism.
Well, it was interesting because when I was going to do it the first time in my head was Leonardo DiCaprio [for Chris] and Marlon Brando was going to play the character that Hal Holbrook eventually played. But then when it wasn't to be and there was no promise that it ever would be I think some part of me didn't want to attach specifics to it anymore - actors or anything else - because I wanted to see it made that much more badly.
A couple of years ago, I went to see a production of Wicked in San Francisco with a friend of mine, one that Patty Duke was in, and he said, "Do you want to meet her?" And I said, "Yeah!" And I went backstage, and she walked out of her dressing room, looked at me, and said, "I know you." And I went, "Well, uh, yeah, I was in My Sweet Charlie." And she said, "Yeah! You were the guy in the car on the road!" And I was. It was amazing.
The script is like music to me. I approach it like it's a musical piece and I hear how it's supposed to sound when people say the words. There's rhythms and there's intonations and things, and so, when somebody comes in and hits the notes that I hear, I go okay. Or, they come close enough, and then I'll say "Well how about you try it like this?" and if they have a good ear and they can pick it up, then I think okay, they've got it.
Essentially, my kids grew up with the emphasis on the environment because I became a political activist in about 1969 and it was not an easy time. Those were the days when the oil and gas companies pretty much controlled the show and anybody speaking about solar energy or carbon energy would get smashed down as being a radical or a tree-hugger or what have you. So I was out there feeling very often alone and my kids would get that.
Steven Soderbergh really likes Irréversible, that's about all I can tell you. About the making, well, it was a very particular situation, because those people all know each other, and they're all big stars. I felt like the little French guy, really. And I was very flattered to be called on that, of course, but I felt like if I didn't find something to be a little original, different, particular in the movie, I would just disappear.
I'm not guilty. You're the one that's guilty. The lawmakers, the politicians, the Colombian drug lords, all you who lobby against making drugs legal. Just like you did with alcohol during Prohibition. You're the one who's guilty. I mean, c'mon, let's kick the ballistics here: ain't no Uzi's made in Harlem. Not one of us in here owns a poppy field. This thing is bigger than Nino Brown. This is big business. This is the American way.
And that works for me. So that if this is it, you better take it at its right proportion. That there are serious things, but most things are temporal and ephemeral, and you should cultivate that attitude. That joy and love and all the verities are what counts. So I try not to take too many things seriously, and if I find myself caught up in the seriousness of the moment, within a period of time, I'm able to cajole myself out of it.
I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.
I remember when Langston Hughes used to write a column in black newspapers around this character Jesse B. Semple. He always used that as a voice, sometimes in comic ways, of having everyday people's voice come through this common folk hero, who was an ordinary working guy. He would talk about anything from police brutality to the Korean War. Those kinds of expression and identification are no longer prevalent in our popular culture.
The other night I was walking down the stairs behind one of my daughters. I was tired, and she was goofing around, you know like kids do, doing all this stupid stuff on the stairs. And I was thinking, please just go down the stairs and let's get you to bed. It's after your bedtime. I've had enough for one day. And then I sort of caught myself. I snapped out of it. I was like, 'dude, you should be dancing down the stairs behind her'!
We think that if we get tested, that means you have to have HIV. Or we think that just by knowing someone with HIV, we're going to get HIV or because he's gay or she's a lesbian or whatever. This false information has been put out there and it's created this stigma that stops us from going to find out if we're infected. The truth is it doesn't matter who you are, if you're having sex, you need to be getting tested, plain and simple.
There's lots of good movies where you feel that the dialogue could be improvised, but very little was. The "Big Lebowski" was like that where people say "oh, you know, that sounds so..." and we'd always go back and get every man, every ellipses in there the way these guys write it. Because not only is it saying what Michael wants the character to say but the way they all speak kind of creates this tone because it's not exactly real.
I don't think I could ever stop doing serious movies and just do comedies, or vice versa, but there is something cool about going to work everyday and you're just trying to make your friends laugh. That's nice work if you can get it, you know what I mean? It's different than going to work and knowing that I've gotta slap someone in the face today, and then I've gotta cry, and someone's gonna die, I've gotta get myself to that place.
I think there's a part of us that would like to use the fact that we're married, but you don't want the idea that we're married to overshadow the project itself.We're just looking for something that's so specific and good that it becomes a part of the story of why we did it rather than when we go to do press it's, 'Oh, my God, you're married and that's the only thing we want to talk about.' If we can merge both, that could be great.
Most people assume because I'm an actor that's all I know about and care about, I'm actually a camera geek and a film geek. I grew up making short films the same time I was acting. For me, it's a motion picture, not a play. I'm just as interested in what the camera department is doing and world building through costume design and production design as I am in acting. I think all good directors do that whether they're an actor or not.
Sometimes I go to a test screening and look at the audience in line, and I start to go, "Okay, I bet this is going to work, and this isn't going to work." It's weird, but just going and facing the music and putting it out before a crowd, even before it starts playing, that exercise of putting it up on a screen for people makes you realize things even before it starts rolling. It's really weird. I've heard other people say that, too.
I think so much of a director's job is just to convince you that what you're doing is worthwhile. "Yes, this does mean something, we're not just messing around." Even though at the end of the day it's a film. But at the time it's something else. I don't feel like I'm making a film, I'm confronting things in myself. I don't know what it is. So if someone is enthusiastic enough to convince you that it's important it's kind of magical.
The most important thing I can teach my kids is that you can't put your value in looks. Presence is based upon magnitude. You can pretend to have an air about you but it is quickly deflated, you cannot deflate presence. Presence walks into a room and surrounds and fills anything that's in that room without trying to demand it, it takes over. It can come from a smile. Like I said, love makes you beautiful. What is beautiful radiates.
When it was offered [a role in The Flash] I just thought it sounded like the perfect thing that I would want to do. Then they announced it online the day after and I was terrified, because I hadn't read anything, I hadn't shot anything. What if I'm awful? What if they fire me on the first day? But what I discovered was a bunch of really happy actors who want to make the best show possible, because it's fun. Not for any other reason.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
Sitting in the movie theater watching "Star Wars," I've never had an experience with any form of entertainment that was like that. It was almost spiritual. I couldn't believe that someone's mind created that. And, right, it felt like George Lucas had a piano that was playing my emotions, and he could go ahead and do whatever he wanted and make me lean forward if he wanted, or he could make me go oh, or he could make me hide my face.
I`ve had few dull moments [in my life] and not too many sad and defeated ones. In saying this I am by no means overlooking the rough and rocky years I`ve lived through. But I was not brought up thinking life would be easy. I always expected to work hard for my money and to get nothing I did not earn. And the bad years, it seems to me, were so few that only a dyed-in-the-wool grouch who enjoys feeling sorry for himself would complain.
He doesn't have demons. He's not Batman, he doesn't struggle with inner turmoil. The nature of this character is that he puts himself last and helps the common good. So he could easily slip into a world of boredom, The blessing and curse of Captain America is that he doesn't have that fancy an ability. He doesn't live in another world, or turn green. He doesn't have bells and whistles, he doesn't shoot missiles. He punches and kicks.
There is a huge boom in autism right now because inattentive mothers and competitive dads want an explanation for why their dumb-ass kids can't compete academically, so they throw money into the happy laps of shrinks . . . to get back diagnoses that help explain away the deficiencies of their junior morons. I don't give a [bleep] what these crackerjack whack jobs tell you - yer kid is NOT autistic. He's just stupid. Or lazy. Or both.
We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.
The child says, "Well geesh, the institutions that I'm supposed to respect - the church and the government - they're telling me things that don't appear to be true. Either I'm crazy or they're crazy." That creates the Absurd Child. The Absurd Child is one who says, "Well, I think they're crazy." So you live in this state of alienation from your culture and your society and your family because you see this rampant bullshit around you.
Whether that expansion is towards the beings around you or flora, fauna, and creatures. Love has so many unique yet consistent forms. People like Branson - he's an idea guru. Guys like Allan Savory - he's like Father Earth. Allan has literally discovered how to stop desertification and make Africa come alive with plant life. In each of its forms, love has an infinite scope of potential expansion, all of which I see leading to growth.
It [TV] is the cancer of film. It's why people can't be educated to film. In the late '60s, we expected to see a movie or two every week and be stimulated, excited and inspired. And we did. Every week after week. Antonioni, Goddard, Truffaut - this endless list of people. And then comes television and home video. I know how to work exactly for the big screen, but it doesn't matter what I think about the art of movie-making versus TV.
The young cast that's coming in now, Dylan Sprayberry and Khylin Rhambo, they're great! Dylan Sprayberry came out to surf with me a couple of weeks ago and he's such a good kid and he's a kid! I mean he's 16 years old, and you forget the energy and the dynamics and the mindset of a real 16-year-old. It's just beautiful! It's limitless energy and just a whole different kettle of fish. I think that they're a great addition to the show.
We’re turning everything on the planet into food for humans so we’re cutting down the rainforests, displacing all of the animals, and we’re doing all this to feed humans... ... Imagine if there were only 2 billion people polluting? We’re already overpopulated. I feel we’ve become a parasite on this planet. If this population keeps growing, we’ll just keep devouring the planet, and I don’t think it’s going to stand for that very long.
When I first started out on the soap, I was more theatrical, like a stage actor, a little bigger than life. As I did more and more Love Of Life, I became more natural. I learned the value of underplaying. It was a great training ground for me. There was a big difference in my style of acting from where I started with that show and where I ended, and where I ended was a good jumping-off point for doing nighttime television and movies.
To be honest, when you're younger and cooler, you say those sort of things don't mean anything, but then on the day when they pat you on the back and they say, "Look, mate, we're noticing what you're doing-thanks very much;' you think of the people who spent a life in the cinema and didn't receive that kind of accolade, and it's sort of a humbling experience. And it's very nice and all that. But it doesn't change the way I do things.
However, a Jedi who only fights in self defense and draws his lightsaber only to defend the innocent or to strike down his foe as quickly and painlessly as possible, that's what the lightsaber is for. That's what a Jedi is supposed to be. That's how it's supposed to go down. It's not supposed to be pretty or flashy. It's simply a necessary move. And that's it. Only the most necessary moves survive into the original Star Wars trilogy.
T I was doing Predators, this new movie for FOX simultaneously, and this character that I play in the movie is "Walter Stands," and I had a plethora of ink all up and down my skin.Once you have ink on your body, how it informs you as an actor, and you kind of get in that space and occupy that space of that character, when you're without them, when I'm just Walton Goggins in the world and I'm without my tattoos, I feel a little naked.
Say did you read in the papers about a bunch of Women up in British Columbia as a protest against high taxes, sit out in the open naked, and they wouldent put their clothes on? The authorities finally turned a Sprayer that you use on trees, on 'em. That may lead into quite a thing. Woman comes into the tax office nude, saying I won't pay. Well they can't search her and get anything. It sounds great. How far is it to British Columbia?
No. I can quite happily say someone is handsome, good-looking, and I can see why someone would want to f**k them, but I've never felt that way about a man myself. There is that moment in your late teens when you ask yourself the question, 'Am I?' but I wasn'tWell, this year I have a talent crush on Ryan Gosling. I think he's fantastic and(ahem) you know he'd be nice afterwards. He seems smart. If I was gay, I would go for a smart man.
I think that artists don't make art - the art makes itself through us. I'm not the doer. I'm just along for the ride. Acting really reminds me of that because I don't write the words; I don't make the decisions. That's the director. Narcissism is a tragic condition. It must be so miserable to live trapped in a reflection that only includes the smallest version of our identities. Our true identities should have no bounds and no limits.
Usually you just use these words: "I give you my, I make this commitment to you, I honor this idea between us." For me, commitment boils down to honor. Because you make a commitment to protect our environment, you make a commitment to species preservation, you make a commitment to stop things like human trafficking. You make a commitment to stop smoking, to eat better. Typically, something that is positive. A positive notion of honor.
The bottom-line, you just have to. You do it because you want to do it and need to do it. You live life just one time. Why sit around and wait for the phone to ring? Even though I'm in a hit phenomenal show and it happens once every ten years - a show this big and popular - the last thing I want to do as an artist is feel comfortable and bide my time. Now is the time, more than ever, in this artistic explosion to do as much as we can!
Before we snap to judge someone who's done a horrible crime, is it possible that all of us in the worst possible circumstances could be capable of something like that? So it's about not judging people before really considering what the circumstance was and that not all murderers are created equal. We have a tendency in our society to just say murder? Cut and dried. Go away forever. Or maybe you should have the electric chair yourself.
The only way to be turned off to being famous is to be famous. And I only have like a tiny, tiny bit of that, and I'm already disgusted by it. But I realize that the only way to be disgusted by fame is to be famous, because otherwise it looks amazing. Then people stop you on the street, and it's like the most annoying thing in the world. The first time it happened it's great, and then the second time you have to shake somebody's hand.
I became an actor at a very young age, but I also had a deep respect for nature and I think I was sort of a little biologist when I was younger. I watched documentaries on rainforest pollution and the loss of species and habitats for animals around the world. It affected me in a very hardcore, emotional way when I was younger. So, later in life I wanted to continue that path more and investigate and learn more about ecological issues.
I love doing comedy, I really do. It was perhaps my first love. And I think, as an actor, you're young and you do school plays and the reason you go 'I might do more of this' is because you make people laugh in a school play. You don't go and do Hamlet when you're nine and go: "I feel people were really moved out there!" You do a silly voice and everyone laughs and you go: "Ooh, that feels quite nice. I might make a life out of this!"
If you make exercise your hobby instead of your enemy it becomes your friend; it's the one thing that will never let you down. It will always be there for you and it will always make you better than you were before. Remember: every time you go to the gym, every time you put the right supplement in your mouth, you're better than you were ten minutes ago. [...] The irony is most people know what to do, they just don't do what they know.
It's a weird partnership. For me and Patrick, if you've met him, we're not very much alike. But we bring such different tools to the table. He doesn't think like me. I don't think like him. He thinks like an editor. He thinks like a director. He thinks completely outside of the box when it comes to writing and so because of that he leads me down roads that I would've never gone down. And he sucks at grammar. So together we're perfect.