March 12, 2019
"I know how many assholes hate me, I'll never see a Sam Jackson movie again." Damn, I'm mad? I have already cashed this check. Go ahead.
Jacket by Gucci; shirt by Salvatore Ferragamo.
Samuel L. Jackson drove our golf cart up to the ground in the unusually cold fog of Southern California, pushing the limits of the electric motor. It's 8:15, and he and his foursome have already played nine holes. I met them at the turn and jumped into Jackson's cart as they continued on the course, interrupting their shitty conversations with sporadic occurrences of golf on the back nine. This is one of those strangely random groups of people that you never imagine together. Richard Schiff blowing on a cigarette in a faded Yankees cap and pink-trimmed performance golf pants. Producer-writer constantly optimistic, he devotes a large part of his time to encourage the throwing of all and explain the game of cricket. A young semi-pro in an ultra-realistic polo who shoots the ball from the t-shirt as he opened a portal in another dimension. Don Cheadle is supposed to be here but is absent for unknown reasons. (We finally discover on the clubhouse television that this has to do with his appearance on Hello America at this point in time.) Later, I hear that Josh Duhamel frequently completes the group. I have never been to a golf course of my life.
Jackson leads by asking me questions ("Have White Whites Already Started to Confuse You With Brian Tyree Henry?") And briskly bypassing obstacles on our way by rolling two wheels over wet grass despite the signs signaling warning us not to do so. Whenever he does that, the cart threatens to pull a little bit of two-wheeled film and launch me on the asphalt trail. "Engage your heart," he tells me with an 85% impassive face. It's a good tip from a seventy-year-old man from Chattanooga, Tennessee. I'm vaguely scared and I try to play cool. He leads decisively, totally indifferent. At his age, the veteran Hollywood wears a "totally indifferent" outfit as comfortably as the black and washed out Adidas bucket hat in which he plays golf.
It becomes clear to me when I interview him later at the country club restaurant and that he sprinkles notwords and shitheadIt's about the dining room like a handful of glitter while members of the Grandpa and Memaw type club look awkwardly in their eggs, Benedict. He behaves not only as a man belonging to the society but also as an owner of the place. His casual carelessness with regard to the perceived authority of white power structures is so entrenched in his way of being that in front of him, it seems strange that anyone, no matter where, would think to behave differently. Many people like say they do not care. Samuel L. Jackson just does not do it.
"I never understood everything I wanted to do two movies a year, I want to get up and play every day."
Hermes coat; suit and shirt of Versace; tie by Dries Van Noten; Salvatore Ferragamo's shoes; cane of Gucci; Great Dane ("Rhino") from Hollywood Animals.
What he really likes is playing movies and playing football (and golf, he is shy, but recognizes that his handicap is in the low numbers), and he approaches his job with both a childish love for the medium and an obsession of the specialist for technique. This combination led him to lead one of the most prolific film careers of all actors, despite its great success. Perhaps only Nicolas Cage is about to reach Jackson's ability to appear in a pantheon of very disparate titles, ranging from the sublime (Pulp Fiction, Unbreakable, Eve's Bayou) to the absurd (Snakes on a plane, Jumper, The Man). I had heard that he was going out on average four outings a year, which seemed crazy to me until he corrected me and told me that it was closer to five.
In two separate calendar years, 1990 and 2008, the name of Samuel L. Jackson was on the call list of seven different films. Plus, he found his way into mega-franks as Star wars and The Incredibles, and as former director of SHIELD, Nick Fury, Jackson shot eleven different Marvel films, including four Avengers movies.
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But if a year is that of Sam Jackson, 2019 seems to be it. In addition to his upcoming work in Marvel, he will play in the following remake of 2000, classic cult Tree and manage storytelling for the much anticipated docuseries Slave. This year also marks the twenty-fifth anniversary of Pulp Fiction, which will be celebrated with hundreds of theatrical screenings and a host of appearances and interviews of the man who immortalized Jules Winnfield. The following of Mr. Night Shyamalan led by Jackson Glass opened the year at the box office summit for several weeks, and between that and its commitments with Marvel, the actor could spend the first year of his seventy years with more weeks in the forefront than any other active player in 2019, a remarkable feat for a man is already the most profitable actor of all time, his films representing about 13 billion dollars.
You can think of role playing – and most people – in the art of creating convincing emotions on command. But few people recognize it as the art of nailing and saying the words of others in such an engaging, clear, mesmerizing manner that viewers can not help but stop looking at what they are doing. He is excellent in the second and third things and is terribly underrated in the first. Sam Jackson has words. It does not matter who wrote them. Once he says them, they belong to him and anyone who dares to speak them is immediately reduced to a cheap imitator. More than a film, he has managed to build a legitimate career as a journeyman by showing up at the clock for almost forty years and pronouncing his replicas correctly and with an inimitable style.
"I wanted to be the black Jacques Cousteau, because I liked 20000 Leagues Under the Sea… I've always thought that the interior space was much more interesting than the space. "
This gift is particularly visible in his work with Quentin Tarantino, Jackson's most frequent collaborator. He has appeared in six of Tarantino's eight feature films. Listening to the director-writer for the dialogue marries the elegant to the profane and corresponds perfectly to Jackson's talent for irreverent rhapsody. Jackson received an Oscar nomination for Best Supporting Actress for his portrayal of Jules in Pulp Fiction, but we can state (and Jackson did) that he was a main actor in this film. Ask any dormitory pulp Fiction A fan quotes a replica of the film and there is a good chance that the one he chooses has been spoken by Jules, a surprising fact when we know that he only appeared at the beginning and the end of the film .
This effect is even more pronounced in Tarantino's follow-up efforts, Jackie Brown, a long study of character posing as a film of the underworld. Like Jules, the character of Jackson – the arms dealer Ordell Robbie, wearing a ponytail and wearing a ponytail – is both seductive and pestifying. But here, Tarantino and Jackson claim an even more malicious atmosphere. While Jules is a charming man in a world of stylish people who do horrible things with integrity and humor, Ordell is squarely in a province of old criminals facing reduced chances of shattering their childhood dreams. Jackson cuts his winning smiles, easy manners and lyrical curses with a heavy dose of nihilistic grief and quiet desperation. Its trademark charm offers a fine veil to its incalculable harm. You would like to have a few drinks with Jules Winnfield. You would leave the bar quickly if Ordell Robbie did as much to look you in the eyes.
Growing up in Tennessee, legally separated, Jackson says his world was all black. He was the only child of his maternal grandmother and mother, a factory worker and later a buyer of supplies for a psychiatric facility. His father was largely absent from his life. His aunt, a teacher of the performing arts, gave him plays and dance classes, which he ended up worshiping with applause. "You hear applause," he says to me, "and this shit is like an ego food." He also played many wind and brass instruments and dreamed of becoming a jazzman until he discovered in the eleventh grade that he had no ability to perform. ;improvise. . He entered Morehouse College, Atlanta, just as the famous HBCU opened its doors to a wider variety of students. The working class Jackson found themselves alongside Stern, black men with black wrists, recently returned from the war in Vietnam and endowed with a radical militancy that made sense to the young Tennessean who had been warned as a child of no not even look at whites the eye.
Jackson quickly fell into student activism, helping to take control of an administrative building with the goal of getting a Black Studies course and a larger representation of blacks at the same time. within the board of directors. Martin Luther King Sr. was one of the hostages taking part in the multi-day siege. They had to be released because he had heart problems. For his role, Jackson was expelled in his first year, but the event would only serve to give him energy. He slept in the office of the Nonviolent Student Coordinating Committee and partnered with H. Rap Brown and others to steal White's credit cards and use them to store money. weapons in the context of an inevitable racial war. Meanwhile, his friends and associates were dying in "mysterious" auto explosions.
"I'm going on the set, I'm doing a bit of shit, I'm going back to sit in my caravan for two hours in front of the TV, eat a sandwich, read, and I'm home and go ten minutes more to go To sit again, so yes, it's a great job. "
Jacket by Loro Piana; Boss shirt and trousers; Christian Louboutin boots; hat by Brunello Cucinelli; to watch by Piaget; Pantherella socks.
Providence intervened in the form of two FBI officials who visited Jackson's mother to tell him that her son was under surveillance and that he was not leaving Atlanta, he would have died in a few months. She quickly sent him to live with an aunt in Los Angeles, where he worked for the county, smoking grass and dropping acid for a while before deciding to return to the city. school and devote himself to the acting game. Soon, he traveled to New York to audition plays and fight at the theater alongside a very united group of actors that included Denzel Washington, Morgan Freeman, Angela Bassett, Bill Nunn, Laurence Fishburne and LaTanya Richardson, his wife for almost forty years. . However, his drug use quickly won out. A week after leaving rehabilitation, he took the role that would launch his career, that of Gator, the brother of Wesley Snipes, addicted to crack, in Spike Lee's. Jungle fever (1991). Jackson's performance was so powerful that the Best Supporting Actor category was created in Cannes to receive the award.
Barely thirty years and over a hundred films later, we sit in the dining room of this country club and he says things like "Engage your heart". Glass, the long-awaited sequel to the epic superhero movie of 2000 Unbreakable, is released in theaters in January; he resumes his role of Nick Fury in future films Captain Marvel and Spider-Man: Away from home (we are pretty sure for his Marvel films); and the Brie Larson – directed Unicorn store is scheduled for Netflix in April. I sat with Jackson at breakfast while Don Cheadle was hawking his latest project to the screen above us. Members sometimes smiled at us, looked at us and quickly turned away from each other's eyes.
"I want people to come, smile, laugh, let this movie go" Man, that was great. "
Balenciaga jacket, t-shirt, pants and boots; to watch by Piaget; hat, own to Jackson.
You have the means to make the most of the character you have received, regardless of size. How are you doing that?
You introduce yourself. It's like when I had this job in Coming to America. [[[[Jackson had a role a bit like a sticky man.]It was as if, I had to make the guy convincing. He can not be just a bastard running around with a shotgun. He must have the air of being desperate. He must look serious in the middle of this comedy, and he must be dangerous.
You did the same thing in School Daze, where you represented this element that was outside the doors of a historically black college.
Interestingly enough, it was the guys I was hanging out with when I got to Morehouse. My mother dropped me off and saw a basketball court on the street. So I stopped in the beer shop, I bought a pint of beer, went through, asked who was next. And I waddled with them, hanging out with them that night, to the point that they did not know I had gone to Morehouse until they saw me at a ball.
"My grandfather said," Yeah, this boy has a little spine. "
Shirt and tie of Versace
I heard you say that you radicalized at Morehouse.
My class, the 66th class, was reputed to be the first class of niggas in the street they let in. She had to do with people like Stokely Carmichael, who was talking. And I was radicalized on both sides. On the black side with Stokely, Rap and those guys, as well as veterinarians from Vietnam, an English teacher who was driven to Morehouse in the magic bus with Ken Kesey. And then, that's when I started giving up acid, hanging out with him and discovering what was going on in Berkeley, and then in the white regions of the world. My whole existence had been black. I did not have a white teacher before arriving at Morehouse.
You came during true segregation.
That was normal It was the way of the world. I lived in a black world. My teachers were black. I went to school with black kids. I did not interact with whites until I went to work with my grandfather, who was working for whites.
How was it?
It was always scary for him, because I was that ruthless guy. I did not look down. He said, "Yes, this boy had a small spine." The only other time I saw whites, was when I went to town. That was it. We had our own black movie theaters in Chattanooga: Liberty and the Grand.
What are some of your first memories of watching movies?
I went to the movies on Saturday morning and we watched cartoons for about an hour. And then they would have a series like Buck Rogers. And then they would have double functionality for kids, Francis the mule who speaks or shit. And then serious movies would come. . . . I always remember those Sidney [Poitier] the movies because they were always so strange to me. He has been killed all the time. And I would ask my mother, "Why?" . . I'm like, "What are you crazy about?"
As a child, have you watched movies and thought, I want to do that !?
We watched movies and went home and re-made the movies. We pretended to be what we had seen that day. But I wanted to be a marine biologist.
It was actually my fantastic career growing up too!
I wanted to be Jacques Cousteau black, because I liked 20000 Leagues Under the Sea.
I thought these guys were so cool, just at sea, icy, staring at the sea stars and shit.
And I loved all those pirate movies. I wanted to be on a boat in the ocean. I've always thought that the interior space was much more interesting than the space.
I always ask people in my family this: Did growing up in isolation make you angry?
I do not think I was angry about it. I'm more angry about it than I was then just because I see these guys and I know they're the same guys: Trump and all those morons, Mitch McConnell. But they are the same fucking guys. And when I hear their voices, I hear the same voices. These twangs where they did not specifically call you "negro", they said "nigra". "The nigras". There was no doubt about their position, that you would never be their equal and, if possible, they were going to make sure you never had so much shit as that. them. And they worried about the chastity of their wives and miscegenation, and did not have enough, there was more of us than there is.
Your first movie was Ragtime in 1981. How was it?
Impressive. It was like going to London, it was my first time in Europe. It was a whole set of circumstances, being in the world and seeing what this world was. We used to chat with James Cagney at lunch. It was his last film. It was a very big experience to understand that the world was not what I thought. I've always looked at Britain like this white place. I realized it was a West Indian culture that I did not know much about. And through them, I connected to the African culture that was there. And then I realized: "Oh, shit. It is a group of blacks who has been there for a very long time.
"I'm waiting for everyone to be as prepared as I. We came here to do something, let's do it."
Jacket by Gucci; shirt by Salvatore Ferragamo.
So, in some ways, it was simply a matter of seeing the diaspora in a broader sense.
Exactly. And you are part of it.
You finally cleaned up when you were back in New York. Why are you stopping?
Tired of gaining height, consume this energy. I was at the party between singles Ruben Santiago and I drank tequila all day. Coming home, I decided: "I need a little coke so I can even piss myself off." I went through there, jumped, I I went home, I cooked the shit and I fainted even before I smoked, drunk. That's when my wife and daughter found me on the floor. She called my best friend, who was an addiction counselor. I was in rehab the next day. I did not know that I was ready to leave, but I was ready.
It was in 1989, shortly before Jungle fever?
Jungle fever was the first thing I did without substance in my body.
It's ironic, no?
Yes, because all the fuckers in the rehab said, "You do not have to do this movie because you're going to get triggers." . . I said to myself, "Well, shit, if for no other reason, first of all, where will you get $ 40,000 in the next six weeks? And secondly, I will never take another medicine, because I never want to see one of you again, motherfuckers, but I hated them. But it was their job. And I managed to cross that. So when Gator is killed at the end of this movie, I still consider it my death. . . active dependency.
"I am the same cat.I always have my policy.I always have my anger."
Tank by Jockey; photo inspiration of Marlon Brando.
Was it cathartic?
Yes, of course. This is one of those things where my wife has always criticized my actions as bloodless. She said, "You are smart. You know the good facial expression. You know the vocal inflection. You know everything to do except how to feel it. "
Do you think she's right about it?
She was absolutely right, because I used to watch and watch the audience for her reaction to what I was doing.
Play rather than act.
I understood another thing about being a fool and using your relationships, to fuck those things, and what it meant to hurt your family members. Gator were the sons of the people, their nephews, their brothers, their daughters. Everyone had a bastard who came to their house and who stole or stole something from them, broke their hearts in one way or another.
After this movie, you started doing sometimes up to seven titles a year. Many actors do not think about doing their job this way.
I never understood the whole thing "I want to make two films a year". It's like you do not like work? I want to get up and act every day. And there is a limited number of possibilities of interpretation in everyone's life. I'm trying to maximize my shit.
Many actors are anxious to make quality movies.
What is a quality film? What is this brothel?
You tell me.
Quality films are movies that make me happy, a movie I would have gone to see. I do not try to make people cry. I am not doing deep story telling. I was entertaining. I went to the cinema to forget my fucking problems. I went to the movies to entertain, to get out of my fucking segregation, to see what the world looked like, to travel. I want people to come, smile, laugh, leave this movie: "man, that was great." Even though it's A time to kill. It's a serious subject, but it was something to say. And it was a way of saying it. And it's a very different film from the movie I went there.
Well, [my character] Carl Lee kills these guys because he has to kill them for his daughter so she understands, "The world is safe for you. And if someone else does something to you, I will kill him too. But I am your protector. I will do anything to make sure everything is fine. In the editing of this movie, everything that I did and that was corrected was corrected, and he turned to: I killed Whites of whore and I did not do anything. I tried to get it cheaply. So when I saw it, I was sitting there, saying, "Oh, that's right." They control the shit. It is a medium of director; they could do what they want to make it change. What leads me now, when I'm on a movie set and the mother's son says, "Can we try that?" Sometimes I'll say "Naw".
That's why you do not make multiple takes.
I do not do more than three. I can not go to the editing room, but you do it. And you will put what you've asked me to do, because that's what you like. So if I do not do it, I do not have to worry about what you play with my performance.
I have not seen all your movies – I mean, who has time to see all of Sam Jackson's movies? . .
Samuel L. Jackson covers the April issue of Esquire. Subscribe here.
Hermes coat; suit and shirt of Versace; tie by Dries Van Noten; Salvatore Ferragamo's shoes; Gucci cane.
What roles do you like?
I love Mitch Henessey, the guy from Long kiss good night. It's another guy who's in a job he sees as an idiot. "I'm not really a private investigator, but if I can get you to hire me. . . "I love the sincerity of this guy, who becomes brave in the face of a crap that he knew he should not even talk about." I like the teacher in 187 because it's like my aunt. I understand how difficult this job is. And believe it or not, I love to kiss Stephen's Django Unchained.
I mean, the guy ran that fucking plantation. Candyland was his fucking plantation. Leo is out to fight the negroes and do everything, run the strip club. The guy writes the bills. He ensures that crops are planted. He ensures that slaves are sold. He runs this place. And he went through there. His father did the same job he had; his grandfather did the same job that he had. And he has that misplaced love for Leo and that kind of thing because he's brought it up. He does not really have children because he does not have the time to do it. But Leo was basically his child. And Candyland is his world. He knows that besides Candyland, he's just another negro on the plantation.
What do you think of all the controversy surrounding Quentin Tarantino's use of the notword in this movie?
Of course that's it. When we did Pulp, I've warned Quentin about all the "storage of the Negroes". I was like, "Do not say 'nigger storage'." It's like, "No, I'll say it like that." And we tried to soften it. making his wife black, because it was not written in the beginning. . . . But you can not just tell a writer that he does not know how to speak, write words, put words in people's mouths of their ethnicity, the way they use their words. You can not do that, because then it becomes a lie; it's not honest. It's just not honest. And half the time, too, there are other ways. And I usually add as five or more niggaWhat Quentin has already written, just because I speak. I mean, this sentence to Chris Tucker[in[in[dans[inJackie Brown]: "I hate to be the kind of nigga that is doing a nigga service and then bam looking for service, but I have to be that kind of nigga." It's just a sentence. It's like boom. But Ordell would not say that?
Absolutely. But that brings me to the other question: how can you reconcile being a radical person who stocked weapons for a racial war, with your present life, on a golf course? Where did the Capital One commercials take place?
I am the same cat. I always have my policy. I always have my anger. But I can not regulate a bank. I can not deregulate a bank. I can not do anything about it. It's a great source of income right now. And thanks to my income, we can have our names on the damn wall of the National Museum of Afro-American History and Culture. We are able to give money to the children's fund. We are able to dig a well in Africa. But I do not go out with a film crew and I do not say, "Show everyone what I'm doing." I'm just doing what I'm doing. It's not like we're accumulating money somewhere for everything that's going to happen. Ils pourraient se réveiller demain et décider que cet argent n’est pas ce qu’il faut. So what? Tout le monde pour qui vous travaillez peut avoir une chance, surtout dans l’activité dans laquelle je suis, car ce n’est plus les studios; ce sont des sociétés. Je travaille avec des entreprises. Et tous ces enfoirés ont des problèmes. Mais nous faisons ce que nous pouvons. Nous comprenons notre responsabilité. Nous comprenons d'un point de vue révolutionnaire ce que nous sommes venus et ce qui se passe dans le monde, et que pouvons-nous faire pour rendre le monde meilleur ou pour le rendre un meilleur endroit pour un groupe spécifique de personnes qui ont besoin de mieux dans ce domaine? façon.
Vous avez parlé de Trump. Beaucoup de gens ont leurs convictions, mais sont prudents, car ils ne veulent pas compromettre leur carrière.
Je pense que nous ressentons la même chose que tous les enfoirés qui ont détesté Obama ont ressenti pendant huit ans. Alors ils ont dit toute cette merde. Ils ont mis sur Internet de superbes images de Michelle assise avec les jambes croisées, une bite pendante. Nous ressentons la même chose que ce qu’ils ont ressenti ou ce qu’ils ont ressenti à propos du fait qu’Obama soit cet homme, même s’il n’était pas en train de ruiner leur vie. il essayait d'aider leurs vies.
Cet enfoiré est comme ruiner la planète et toutes sortes d’autres merdes folles. Et les gens pensent que ça va. Ce n'est pas bon putain. Et si vous ne dites rien, alors vous êtes complice. Et je me ficherais de moi si j’étais un éboueur et que j’avais un compte Twitter; Je tweetais cette merde. Je ne pense pas à qui je suis et quel est mon travail lorsque je fais cette merde.
Avez-vous peur de contrarier les fans?
Je sais combien de connards me détestent. "Je ne reverrai jamais un film de Sam Jackson." Putain, je m'en fous? Si vous n’allez jamais dans un autre film de ma vie, je ne perdrai pas d’argent. J'ai déjà encaissé ce chèque. Va te faire foutre. Brûlez mes cassettes vidéo. Je m'en fous. "Vous êtes un acteur. Tenez-vous en à jouer. "" Non, enfoiré. Je suis un être humain qui se sent d'une certaine manière. »Et une partie de cette merde m’affecte, car si nous n’avons pas de soins de santé, merde et que ma famille tombe malade, ils vont appeler mon riche âne. Je veux qu'ils aient des soins de santé. Je veux qu'ils soient capables de prendre soin d'eux-mêmes. C'est comme ça que je me sens. Et je compte jusqu'à cent jours avant de cliquer sur «envoyer», parce que je sais ce que c'est que cette merde.
Jackson s’exprimera sur la scène lors de la cérémonie inaugurale «Nous sommes un: Obama» au Lincoln Memorial »le 18 janvier 2009 au National Mall à Washington, DC.
Donc tu as soixante-dix ans?
En quoi es-tu meilleur en tant que personne?
Je suppose que l'ouverture. Je parle plus à ma femme et à ma fille qu'auparavant. Je leur en demande plus à propos de leur merde, car c’est toujours à propos de ma merde. Je commence à mieux leur parler de leur vie, de ce qu’ils font et de ce qu’ils ressentent.
Qu'est-ce qui a provoqué ce changement?
Je suppose que l’âge et le fait que nous sommes plus séparés que par le passé. C’est comme ma femme, elle doit être à New York[Faire[doing[Faire[doingTuer un oiseau moqueur à Broadway]pour un an. Donc, ce n’est pas comme si elle pouvait venir passer du temps avec moi pendant que je lui parle.
Combien de temps allez-vous travailler?
Jusqu'à ce que je ne puisse pas le faire. Michael Caine agit toujours, non? C'est agir. Ce n’est pas comme si je creusais un fossé. Je vais sur le plateau, fais de la merde. Je reviens et reste assis dans ma caravane pendant deux heures à regarder la télévision, mange un sandwich, lit. Et je retourne faire dix minutes de plus et vais m'asseoir un peu plus. Donc, oui, c’est un excellent travail.
Qu'avez-vous amélioré en tant qu'acteur au fil des ans?
Détendez-vous dedans, ne soyez pas tendu pour y arriver et pour obtenir la grande scène. Je commence à mieux supporter la patience avec les gens de l’autre côté.
J'ai entendu des histoires.
Really? Ouais bien. . . Mes agents et responsables me disent que mon plus gros problème est que je m'attends à ce que tout le monde soit aussi préparé que moi. Et je fais. Nous sommes venus ici pour faire quelque chose. Faisons le.
Quelle est votre scène préférée?
Je suppose que c’est en fait la scène ultime que tout le monde aime tant, et c’est la scène du dîner dans Pulp Fiction. Tout le monde adorait les tueries, sauf la scène du dîner, simplement parce qu’il se passait tellement de choses quand John [Travolta] and I are sitting there having that conversation prior to what happened, and the bullets not killing us, and he’s making this decision about walking the earth just to see what’s going on. So by the time Tim [Roth] gets there and I have an opportunity to do that speech again, the same speech that I’ve been killing people with, and make it make sense in a whole ’nother kind of way, and, one, it’s just the biggest threat you’ve ever heard in your life. And the next, the dude’s like sitting there making a revelation about who he is and where his place is in the world, and who he actually is. He said, “I’d love to be the shepherd, and that would be great.” They said that they didn’t know how the movie was supposed to end until I did that scene. But they had no idea that that’s what all that shit meant until I did it.
I just teared up a little bit, because that is what makes that scene work: that no one—no one in the audience, no one in the movie, no one anywhere—knows what any of it means until that speech is delivered.
Why didn’t the bullets hit you?
Deus ex machina. And that motherfucker wasn’t that good a shot.
So what do you have planned for the rest of the day?
Pilates and then acupuncture.
L.A. life, man.
It’s not just L.A. life—this is my life. I got to work this body.
This article appears in the April 2019 issue of Esquire.
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