![]() The episode was called Crazy Whitefella Thinking. One was URBAN COWBOY, one was an off-Broadway play I did called Killer Joe, written by Tracy Letts, and the third was an episode I did for a TV show called The Leftovers. It’s something you always want to happen, but no, aside from those small moments, where you’re given those kinds of gifts, I’ve only experienced the part playing me three times in my life. And I’ve read a lot of books, especially from Japan and China, where they talk about that happening: the Zen moment. I spent a short but intense period of my life training as a modern dancer. Aside from acting, I’ve been doing martial arts since I was ten years old. It’s something that all artists shoot for, talk about, think about. If you’re sensitive enough you just let it happen and try to stay out of the way.ĭid that also happen earlier in your career or does it come with age and experience? ![]() There are times when you’re acting, when the part plays you. He told me what I just did was absolutely perfect. The script supervisor said: We’re going to have to do that again, because Scott didn’t go into the house. ![]() So I looked up at the sky, kind of like looking at fate or God, you can use whatever words you want, with acceptance. Whatever the universe was going to bring to me – whether it was a comet, or old age or cancer or tripping and falling – it was just a matter of time. Our life felt… This all happened to me in an instant. Aside from my daughter, son-in-law and grandson, the only really important human being in my life, was no longer with me, my wife. When we came to the end of that scene, the way it was written, was that I either physically or psychologically shrugged, turned around with resignation and walked back to the house. He told me that the strength of the film is this family trying to stay together, but where the emotions become condensed, is in the section where they come to visit me, before they leave. But that’s not what I want it to be about. Ric Waugh, the director of GREENLAND, called me up before we made the movie, and he said: On the surface this looks like just another disaster film. The first is called the writer, the second is called the director. To begin with, films always have two leads and two heroes, and I believe this is true of all films. There’s this great moment in the film where you turn your head towards the sun and there’s this half smile of acceptance on your face. Under that kind of pressure what you begin to realize is that the only thing that really counts are the people you know and love. But now that the movie has come out, families can relate to this film simply because what this virus and a comet heading for earth have in common: they both target us as a species. What I did not know – I don’t know if I would call it good luck, but in any case it was fortuitous for the movie – was when we made the film, no one had ever heard the term corona virus. Was that what attracted you in the script? What I like about it, is that it’s a pretty simple story – it’s about a family trying to stay together.
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