Hamm grew up in St. Louis, Missouri, a city he describes for my benefit as “not dissimilar from being from the Midlands or the Lake District or Wales”. It is an industrial town in the heart of America’s industrial Midwest, which, in the heyday of rail and trucking, was one of the United States’s largest cities. Like many towns that served as hubs for big industry, the invention of air travel undermined its relevance. As Hamm says, “it became a poster child of what was known as ‘flyover country’ as the world of air travel became more prevalent”. .....
As Hamm says, “it became a poster child of what was known as ‘flyover country’ as the world of air travel became more prevalent”. His parents divorced when he was two, but his early childhood was seemingly functional and normal, and his social life was more or less what any parent would want for their child. “Growing up there was great, because you had an opportunity to be a kid far longer than anywhere else,” he says. “You’d have this roving pack of children that would run around and create their own games and social strata and fun, and I was a part of that. My parents divorced when I was two so I kind of grew up by myself. I had this wild group of friends, who I am friends with to this day, and we just played together, and that was a big part of engendering in myself a sense of, ‘let’s make fun of what we’ve got’. It was delightful being a kid in the middle of that, not a lot of pressure, not a lot of scrutiny, plenty of opportunities to fall down, pick yourself up and dust yourself off. These things are useful when pursuing a career in acting.”
“I wanted to be a professional baseball player,” he says
His childhood nirvana was replaced by what Hamm describes as the “practical, very western, particularly no-nonsense” attitudes of early eighties Missouri — in other words, the care for a young boy who had just lost his mother was by today’s standards shockingly cold-hearted. He says: “I was given a book, and the book was entitled What To Do When a Parent Dies, and I was told to read the book, which I did, and that was it — that was the sum total of my therapy to deal with my mother passing away at 10. Because that was just how things were done then. I remember thinking then that this was not even remotely efficient or appropriate. It was radically inadequate.
RICHARD JEWELL Interviews:Eastwood, Hauser, Bates, Sam Rockwell, Jon Hamm
https://www.youtube.com/watch?v=hMhtbv9ecaI
2019 GQ Men of the year party
JON HAMM talks about his role in "RICHARD JEWELL"
Jon Hamm, Kathy Bates And Sam Rockwell Crack Up Doing Clint Eastwood Impressions
Jon Hamm Defends The Depiction Of A Female Reporter In ‘Richard Jewell’ And Tells Us Why He Thinks You Should Reserve Judgment Of The Film
...............
So is it true what they say about Clint Eastwood? Does he really shoot as fast as they say?
Yeah. What’s under-reported about that is that it’s not really so much the pace. It’s the efficiency. He doesn’t waste a lot of energy. Any complicated system can sometimes have a lot of unnecessary movements and things. Clint, I think, over the years has refined his system to be very efficient. But he does it for a reason, and that reason is just to make the actors feel comfortable. He is an actor, and he understands that the distractions and silliness — all that stuff is not useful.
Did he give you any memorable notes from this one?
Everything the guy says it’s pretty memorable! He’s an amazing conversationalist. He’s really funny. He’s remarkably engaged with what’s happening. He’s a professional. The proof is in the pudding. The man’s had a 70-year career, and fifty of those he’s been directing. So it’s not lost on me how proficient that he is and what he knows. You just want to shut your mouth and open your ears when you’re around him.
A lot of other people are playing real people. Yours is fictionalized. Did you have any real people that you could go to for—
There were definitely real people of whom my character was kind of compiled from. There was Kent Alexander and Kevin Salwen. They wrote the book, The Suspect, and they were a treasure trove of information about all of the law enforcement agencies that were following Richard and were sort of unfortunately led down the wrong path by their own procedures — and in some cases, their biases and their wrongheaded belief in their instincts.
Why does your character have such a hard-on for Richard Jewell in the movie?
I think the real impetus of the investigation was profiling. And they say, “Okay. Well, this behavior pattern generally comes from this type of a person. And so, let’s start looking for this type of person.” And then, once you kind of go down that road, then all of a sudden, anything outside of that Venn diagram, so to speak, you tend to discount or discard. And it’s incredibly helpful in some cases. You get guys like the Unabomber they caught through a profiling thing. But it can be really distracting also. And when somebody fits the profile, your confirmation bias tends to kick in. “Okay. Well, then this also must be true, and this also must be true. Then, this also must be true.” And you start piling on all of these circumstantial bits of maybes that don’t really add up to a 100% thing. That was the case here, unfortunately. We just had this kind of perfect fit that just happened to be the wrong person. And it ruined the man’s life, and it ruined his mom’s life, and it ruined his friend’s life.
It also ruined the reporter’s life [Kathy Scruggs]. Is there a reason you think that the movie doesn’t really mention that or focus on that as much?
I don’t think it ruined her life. Of all of the organizations that were rightfully sued by Richard and his people, the Atlanta Journal-Constitution was the only one that didn’t have to settle. If you read the book, there’s a lot about Kathy Scruggs — she’s a complicated individual and a hell of a reporter. But she’s pretty much exonerated in all of this when you read the book and the follow-up of what actually transpired as well — the movie is obviously a movie.
Well, she died before Richard Jewell did and she was…
Yeah, she had her demons to be fair. She was not the healthiest individual, but nor was Richard, and nor were a lot of the guys that my character was based on. It’s unfortunate that a lot of the people that were around for this were not around when they actually arrested Eric Rudolph. Richard was around and he was actually in a viewing room and he had a panic attack. Because he couldn’t believe that this guy did that, which says a lot about Richard’s humanity. I don’t know what it is in human beings that makes them want to set off a bomb in a crowded place. I just don’t understand that. It doesn’t compute. I think that was the case for Richard too, especially, and then to be accused of it. I think it was really hard for him.
Do you think this movie blames your character more for leaking a Richard Jewell’s name, or Kathy for…
I don’t think it blames anybody. It’s not an indictment of law enforcement. It’s not an indictment of the government. It’s not, you know, “the federal government’s out to get us.” It’s not any of that. I think it’s about human beings and about how people can make mistakes and about how people’s actions can be misconstrued. And I think it’s about how people can take something and really turn it and make it something that it isn’t. I really do think that the movie is an exoneration of a man who did his job and was wrongfully accused of something that he didn’t do and is still thought of as something that he isn’t.
And I think it’s an important lesson to remind people that all the gossip and the rumors and the bullshit that we have to deal with now, and even more so now with social media trolls. When they’ve typed something online like, “Fuck that fat piece of shit,” or whatever. You’re like, “Whoa, dude. Why would you spend the effort? What is that doing? How is that helping anyone, anything? Does it makes you feel better to shit on somebody?” I don’t know if it does, but I don’t get it.
People have accused the movie of playing fast and loose with the Kathy character. Do you think that’s true at all ?
I think the people that have done that haven’t seen the film and certainly haven’t read the book. I would encourage people to see the movie and read the story behind it and then come to that conclusion. It’s a little bit like making the movie’s case. The people that haven’t seen the movie are complaining about it. It’s kind of what we’re saying don’t do in the movie. Don’t jump to conclusions.
So, you’re in the Top Gun sequel coming out.
I am.
Who do you play in that?
I play the admiral, the air boss of the base that Maverick is based out of. I can’t really say much about it. I swear to God, there’s a sniper from Paramount on top of that building over there.
Right, but Maverick is in the plane again in this one, right?
Oh, for sure, man.
For a while, they said it was going to be about drone operators or something.
Right, but Maverick is in the plane again in this one, right?
Oh, for sure, man.
For a while, they said it was going to be about drone operators or something.
Yeah, there’s a lot you can say about it, but I will not say.
Alright, fair enough.
I’ve got my eye on it. There’s a “top gun” right there that’s going to shoot me in the face if I say anything.
So, I did a round table with you for Good Omens in London. You were talking about how you had a boss when you were working in restaurants who was kind of like a know-it-all. Did you have anybody from your life that you sort of put into this character?
Not really. I think this guy’s a little more of a put-upon worker bee. He’s assigned this thing that he thinks is just a bullshit assignment, and then it turns into this global situation. He’s a good cop. He’s got his demons. But he’s, at the end of the day, a real servant of the law, servant of the higher-ups. So, I don’t know. I think what the movie does say about law enforcement is that there are people out there who are paying attention and being diligent, and sometimes they get it wrong.
Do you think it’s a story about absentee bosses to some extent? Because it seems like the FBI guys were told to focus on Jewell by higher-ups. And then, Kathy Scruggs was told by her bosses to write the story up in a certain way.
I don’t necessarily think it’s about absentee bosses. I think it’s more about how we all, in any job, we have procedures that we go through. And for the most part, those procedures are effective, and they lead us to accomplishing the goals. But sometimes, they lead us astray. And I think what the movie really tries to highlight is that when you lose sight of humanity, that’s when you’re in danger of really going astray. And that’s what I think Clint did a marvelous job of with this film is really highlighting that kind of human cost of things like this.
Do you enjoy this kind of character or more comedic characters? Do you have a preference?
I don’t. I’m fortunate enough to be kind of appreciated on both sides of the aisle, so to speak, because I’ve invested myself in both of those things. I like doing serious hard drama and emotional scenes as much as I like doing cut up funny nonsense.
Is one harder?
They’re both hard. I don’t think anything’s easy. If it was easy, anybody could do it. And as we’ve seen, not anyone can just walk in and do this stuff. But I think they’re both a challenge, and that’s the fun part of what I do. I get to be challenged and work with some of the coolest people in the world, Clint being the top of that list. Tom (Cruise) being at the top of that list. Sam Rockwell being at the top of that list. Kathy Bates, Paul Walter Hauser, who is a revelation in this film and a beautiful human being. It’s a heartbreaking performance. I consider myself incredibly lucky. I wake up every day grateful for what I have and what I get to do.
https://uproxx.com/movies/jon-hamm-interview-richard-jewell/4/
'Richard Jewell' Cast Fire Back At Criticism Of Film's Accuracy
Richard Jewell Atlanta Screening At Rialto Center Of The Arts
Jon Hamm is a fan of 11Alive's logo!
https://www.youtube.com/watch?v=Qp6jKWVehQ4
Jon Hamm on red carpet for 'Richard Jewell' movie
https://www.youtube.com/watch?v=8BzJSxRqiXE
Mad Lib Theater with Jon Hamm and Keri Russell
Jon Hamm Gets Close to the Danger Zone Talking Top Gun: Maverick
Jon Hamm on his new movie and an impressive impression l GMA
https://www.youtube.com/watch?v=tyc3Z-SosWs
Live with Kelly and Ryan 12/13/19 - Jon Hamm and Gone West (December 13, 2019)
https://www.youtube.com/watch?v=z28WXvBRkCM
The new season of Curb Your Enthusiasm will premiere January 19 on HBO at 10:30 p.m.
Curb Your Enthusiasm: Season 10 | Official Trailer | HBO
. You’re from the Midwest, from St. Louis.
A. Yes, born and raised.
Q. Maybe because of Mad Men, or because of Hollywood, I imagine people have an image of you as more of a coastal guy. Can you tell me about growing up in St. Louis?
A. When I was a kid, I just never thought I’d go anywhere but St. Louis. It’s not a place that necessarily inspires travel. It’s not like growing up in Europe or New York, where you’re exposed to all kinds of cultures. It’s not a knock on it, either. It is what it is. It’s a place called “the gateway to the West.” Everything I learned about the world, I learned through James Bond movies and books. In a pre-Internet era, I was a library kid and a big reader and I loved watching films. My childhood and adolescence were a very normal Midwestern existence. It’s only recently that I’ve gotten out to see the world. Last year was the first year that I’ve lived in L.A. more than anywhere else.
A. When I was a kid, I just never thought I’d go anywhere but St. Louis. It’s not a place that necessarily inspires travel. It’s not like growing up in Europe or New York, where you’re exposed to all kinds of cultures. It’s not a knock on it, either. It is what it is. It’s a place called “the gateway to the West.” Everything I learned about the world, I learned through James Bond movies and books. In a pre-Internet era, I was a library kid and a big reader and I loved watching films. My childhood and adolescence were a very normal Midwestern existence. It’s only recently that I’ve gotten out to see the world. Last year was the first year that I’ve lived in L.A. more than anywhere else.
Q. I’ve heard you describe yourself as a polite Midwesterner. Can you explain the polite Midwestern culture and how different it is from how people are here in the West? I was talking in New York City with some people in the industry who work with Brad Pitt, and they were telling me that “he’s such a polite Midwestern boy.”
A. I don’t know that it’s necessarily that different; it’s just that it moves at a slower pace than New York or L.A. There’s a little more of a family-oriented vibe. A lot of people who are from there, stay there. The coasts have more people who are transplanted. Therefore, you’re kind of reinventing yourself, seeking fame or fortune, etc. So in the Midwest, people are a bit more settled. A little more of a parochial, a mellow kind of attitude. A little more conservative, too.
A. I don’t know that it’s necessarily that different; it’s just that it moves at a slower pace than New York or L.A. There’s a little more of a family-oriented vibe. A lot of people who are from there, stay there. The coasts have more people who are transplanted. Therefore, you’re kind of reinventing yourself, seeking fame or fortune, etc. So in the Midwest, people are a bit more settled. A little more of a parochial, a mellow kind of attitude. A little more conservative, too.
Q. Do you still feel like a Midwest guy deep inside?
A. Sure. I think where you grew up is where your soul is. I’ve met a lot of very fancy people in the world and I’m always kinda of humbled by it. I’ve got friends whose lives I look at and wonder, How can you live like that? That’s such a crazy existence: you’re on private planes and fashion shows, red carpets and private islands and boats, and private dinners in Paris and London. It’s so fascinating to me, because I feel it’s so foreign to me. And yet, I’ve done my fair share of that stuff, too. It never gets normal.
A. Sure. I think where you grew up is where your soul is. I’ve met a lot of very fancy people in the world and I’m always kinda of humbled by it. I’ve got friends whose lives I look at and wonder, How can you live like that? That’s such a crazy existence: you’re on private planes and fashion shows, red carpets and private islands and boats, and private dinners in Paris and London. It’s so fascinating to me, because I feel it’s so foreign to me. And yet, I’ve done my fair share of that stuff, too. It never gets normal.
Q. Do you sometimes go back to St. Louis?
A. I go back every now and again, mostly for events and things like that. I do have some family left there. I try to see them when I go back. But I don’t go back very often.
Q. I knew you moved to L.A. at age 25, but it’s only recently that I’ve heard you actually drove there from St. Louis in a Corolla. That’s quite a road trip. What was going through your mind during that trip?
A. I finished my teaching job and I spent my last summer in St. Louis. And I pointed my car west. I didn’t stop until I came to California. It’s a fairly long trip.
A. I finished my teaching job and I spent my last summer in St. Louis. And I pointed my car west. I didn’t stop until I came to California. It’s a fairly long trip.
I would say.
But it’s worthwhile. It’s something I had to do. I had to pay for it myself and I couldn’t afford the plane. That’s the way it goes. I packed my car, fit everything that could fit in it and headed west. It’s daunting; it’s very much a scary proposition. I didn’t really have a job waiting for me. I just thought, Well, I’m not getting any younger. I better get there while I can. And I did it.
Q. What was going through your mind during the trip?
A. I hope I make it. My car wasn’t a great car by any stretch of the imagination. It was a 1986 Toyota Corolla that had its own issues with the engine. It would overheat all the time. It was daunting.
Q. When you first moved to L.A. to become an actor, what did you think of the life here, compared to where you were from?
A. I thought it was very different. I remember being very intimidated by the physical size of L.A. and by the awesome quality that its nature has — mountains and then the deserts over there, and the ocean’s over there. It’s very different than where I’m from.
“Can Fall In Love Just As Easily At 16 As You Can At 70. They’re Both Very Different. Obviously, They’re Very Different Perspectives In Life The Older You Get, But They’re Both Great”
Q. Where you’re from it’s more like the Great Plains.
A. There’s trees and hills — and that was kinda it; nothing as radical as L.A. We have a river, but it’s not exactly like seeing the Pacific Ocean. It was very different, it was wild and intimidating, but I got a few friends out here, and like anything else, you break it down into more manageable spaces and you realize that you’re only gonna use a little part of L.A. You don’t necessarily need to know the whole 10,000 square miles, or whatever it is. I like being out here. I was always a very “outdoorsy” kind of kid, and the lifestyle out here encourages that. Weather’s always beautiful. You feel like you’re wasting time if you’re inside. And there’s so much to do. Most of it’s free, or incredibly inexpensive, to go hiking or to go to the beach. The outdoors stuff is fun to do. I play sports: I play tennis and I play baseball. I try to hike every day. It’s too nice not to.
A. There’s trees and hills — and that was kinda it; nothing as radical as L.A. We have a river, but it’s not exactly like seeing the Pacific Ocean. It was very different, it was wild and intimidating, but I got a few friends out here, and like anything else, you break it down into more manageable spaces and you realize that you’re only gonna use a little part of L.A. You don’t necessarily need to know the whole 10,000 square miles, or whatever it is. I like being out here. I was always a very “outdoorsy” kind of kid, and the lifestyle out here encourages that. Weather’s always beautiful. You feel like you’re wasting time if you’re inside. And there’s so much to do. Most of it’s free, or incredibly inexpensive, to go hiking or to go to the beach. The outdoors stuff is fun to do. I play sports: I play tennis and I play baseball. I try to hike every day. It’s too nice not to.
Q. Every day?
A. I try to. Hiking trails are practically in my backyard.
Q. Your career took some time to take off. What made you stay in the game and not lose faith during the lean years?
A. I don’t know, honestly, other than I didn’t really have anything else to do. I thought I’d keep trying this until something happens. I set a deadline on myself. I wanted to be self-sufficient as an actor by the time I was 30. I know a lot of people who are successful who got it a lot sooner. I don’t know why it didn’t happen to me. I guess everything happens for a reason. It’s fine the way it happened. I certainly feel like I’ve earned it. Part of being an actor, for most actors, is dealing with rejection. Some people are incredibly lucky their whole careers, get famous early and never have to look back, but I think every actor has experienced in some way, shape or form losing out on some part they wanted. Because there’s always a bigger fish. That’s a good life lesson. And part of it is realizing that there are a lot of people out here trying to do the same thing you’re doing. And a lot of them have a lot more credits than you.
A. I don’t know, honestly, other than I didn’t really have anything else to do. I thought I’d keep trying this until something happens. I set a deadline on myself. I wanted to be self-sufficient as an actor by the time I was 30. I know a lot of people who are successful who got it a lot sooner. I don’t know why it didn’t happen to me. I guess everything happens for a reason. It’s fine the way it happened. I certainly feel like I’ve earned it. Part of being an actor, for most actors, is dealing with rejection. Some people are incredibly lucky their whole careers, get famous early and never have to look back, but I think every actor has experienced in some way, shape or form losing out on some part they wanted. Because there’s always a bigger fish. That’s a good life lesson. And part of it is realizing that there are a lot of people out here trying to do the same thing you’re doing. And a lot of them have a lot more credits than you.
And connections.
Connections, experience, etc. That can be terrifying in many ways. But you go, “OK, I hope I can legitimately find my way in this world.” I remember really focusing on trying to be prepared for whenever I would get an opportunity to do something and then when I would finally be able to get a part, make the most of it. It’s really difficult to maintain any kind of momentum, because L.A. is very much a place where inertia can set in. That part of it is real scary. You think, Well, I hope I can do this. At a certain point, you just got to do it. It took three years. I was bartending, I was waiting tables. But I never forgot the reason that I came out here, which was that I came here to pursue a career.
Q. There were moments of doubt?
A. Sure. Of course. You think, I didn’t get that part. Will I ever get any part? Is this ever gonna happen? Is there something else I should be doing? I could be doing better. Should I study harder, should I be more prepared? There are a million questions you ask yourself, and you just try to knock them one by one. The only thing you’re really in charge of as an actor is yourself. All the other stuff is out of your control. That’s a really hard place to be. You think, I did everything right; I did X, Y, Z. I did all these things the way they were supposed to be, and it still didn’t work.
A. Sure. Of course. You think, I didn’t get that part. Will I ever get any part? Is this ever gonna happen? Is there something else I should be doing? I could be doing better. Should I study harder, should I be more prepared? There are a million questions you ask yourself, and you just try to knock them one by one. The only thing you’re really in charge of as an actor is yourself. All the other stuff is out of your control. That’s a really hard place to be. You think, I did everything right; I did X, Y, Z. I did all these things the way they were supposed to be, and it still didn’t work.
WORK
Q. A lot has been said about your portrayal of Don Draper in Mad Men. I was thinking about it, and one thing I thought about is even though it’s a dark and complex character, what struck me is how he shows authority. He is in his position because of his talent, and people respect his skills. Was it easy to show this, since it was your first major role?
A. I think the interesting thing about Don Draper is that he’s playing a part. He’s obviously not Don Draper, he’s Dick Whitman. So I think that part of that authority or poise or professionalism or command is an act. We see the “behind the curtain” a couple of times during the series, where he loses it and he shows his true colours.
A. I think the interesting thing about Don Draper is that he’s playing a part. He’s obviously not Don Draper, he’s Dick Whitman. So I think that part of that authority or poise or professionalism or command is an act. We see the “behind the curtain” a couple of times during the series, where he loses it and he shows his true colours.
For the most part, he’s very confident in what he does, and he’s got a track record of showing that what he does, people respond to. That only adds up over time to a person that, even if he’s putting it on, is fairly confident.
Q. How did you find that self-confidence?
A. Well, you’re an actor; someone else is writing the words for you. You just have to do your best and hope that people will buy it. In my case, I was fortunate enough that people did.
A. Well, you’re an actor; someone else is writing the words for you. You just have to do your best and hope that people will buy it. In my case, I was fortunate enough that people did.
Q. Have people working in advertising told you if the show reflected their world accurately?
A. I get it all the time. Everybody thinks they are Don Draper, or they knew a Don Draper — a lot people in the advertising world I know, including some very close friends. Obviously, it’s a very different landscape now, as it should be, but there are still enough guys who are from that era who can certainly remember the hijinks and the behaviour.
A. I get it all the time. Everybody thinks they are Don Draper, or they knew a Don Draper — a lot people in the advertising world I know, including some very close friends. Obviously, it’s a very different landscape now, as it should be, but there are still enough guys who are from that era who can certainly remember the hijinks and the behaviour.
Q. Michael Douglas once told us in an interview he was very surprised how some people saw Gordon Gekko as a role model, a modern super hero, whereas he tried to play him as a bad guy: “the guy ended up in jail!” I’m wondering if the same thing happened with Don Draper, and if people’s interpretation of the character surprised you?
A. Yeah. Honestly, I think we live in the world, now, of the anti-hero. It’s a real strange thing that people put on these guys who are conflicted about what they want and what they do. What makes people like Gordon Gekko, like Don Draper, like [Breaking Bad’s] Walter White so interesting is that they represent the complexity that is humanity. There was a certain place in the world for stories about people who are “all good,” for superheroes. That’s exciting for some people to see. But there’s also a place for, “Oh yeah, this guy makes mistakes, just like we all do.” I hope they won’t end up like him, though. Don Draper’s kind of real sense of confusion on who he is, what he’s meant to do, who he’s supposed to be with, which make Don such an interesting character, are very appealing for people to watch.
A. Yeah. Honestly, I think we live in the world, now, of the anti-hero. It’s a real strange thing that people put on these guys who are conflicted about what they want and what they do. What makes people like Gordon Gekko, like Don Draper, like [Breaking Bad’s] Walter White so interesting is that they represent the complexity that is humanity. There was a certain place in the world for stories about people who are “all good,” for superheroes. That’s exciting for some people to see. But there’s also a place for, “Oh yeah, this guy makes mistakes, just like we all do.” I hope they won’t end up like him, though. Don Draper’s kind of real sense of confusion on who he is, what he’s meant to do, who he’s supposed to be with, which make Don such an interesting character, are very appealing for people to watch.
Q. Beirut is the first movie you’ve “carried on your shoulders.” Is this a different kind of responsibility for you? Did you approach the part in a different way?
A. I think the movie I did for Disney, Million Dollar Arm, was the first movie I carried. Beirut, I think, is a great film. Tony Gilroy wrote a great script about a really complicated issue, which is the beginning of institutionalized terrorism in the Middle East and why that happened, what happens when the power vacuum is created, what happens when a population is marginalized. You get a combination of religious and economic strife and then you put hundreds of billions of petro dollars into it. It’s a very complicated situation, and I think Tony’s script addresses it really well.
A. I think the movie I did for Disney, Million Dollar Arm, was the first movie I carried. Beirut, I think, is a great film. Tony Gilroy wrote a great script about a really complicated issue, which is the beginning of institutionalized terrorism in the Middle East and why that happened, what happens when the power vacuum is created, what happens when a population is marginalized. You get a combination of religious and economic strife and then you put hundreds of billions of petro dollars into it. It’s a very complicated situation, and I think Tony’s script addresses it really well.
Q. You’re in the new Top Gun sequel. What did the original movie mean to you? I suppose you saw it in the ’80s? What part do you play, and how was working on the movie? Did you do a lot of actual flying? How about those shades?
A. The original movie came out in ’86, so I was 16 years old, the perfect demographic to see that movie. It had fast planes, fast cars and pretty girls. It was a watershed movie, not only for those who watched it, but [also] for Tom [Cruise] and his career. This guy has been a movie star for four decades. And he’s still doing it. Honestly, it’s was an honour just to be asked to be part of it, because it’s an iconic piece of movie history. I was pleased to do my small part in it. I’ve seen the footage and it’s spectacular. It’s rare for me to be in a big budget, big movie like that. It’s been good.
A. The original movie came out in ’86, so I was 16 years old, the perfect demographic to see that movie. It had fast planes, fast cars and pretty girls. It was a watershed movie, not only for those who watched it, but [also] for Tom [Cruise] and his career. This guy has been a movie star for four decades. And he’s still doing it. Honestly, it’s was an honour just to be asked to be part of it, because it’s an iconic piece of movie history. I was pleased to do my small part in it. I’ve seen the footage and it’s spectacular. It’s rare for me to be in a big budget, big movie like that. It’s been good.
Q. Did you do a lot of actual flying?
A. I did not, no. Fortunately, I didn’t have to do any of that. Those who did, I give crazy props to them, because they had an awful lot of training to do. They’re not actually flying the plane, but they’re in the plane being flown by a professional. It’s a lot, to say the least.
Q. The original movie is really representative of a time where you would make movies without a hint of irony or sarcasm. The theme song, the look of it — there’s a certain naïveté to a film like Top Gun; that’s what made its charm in a way. Today, even kids’ movies are also made to appeal to the parents; there are always so many levels. Is the sequel going for the same vibe as the original, or is it made in more of a contemporary style?
A. The thing about Top Gun is that it’s a straight-up crowd pleaser. It’s a fun movie that really does all the things that you want it to do. It’s got the airplane dog fights and the snappy dialogue. It appeals to everybody. Even the people who didn’t see the first movie, or weren’t alive when the first movie came out, can like it.
Q. Did you get to wear the shades?
A. Oh yeah. I did get to wear the sunglasses. I think there will definitely be a spike in the sale of leather jackets and sunglasses when the movie comes out [laughs].
Q. You have another movie coming out, The Report, that’s a bit political. How did you approach playing a real-life character?
A. I play Denis McDonough, who had a big role in the Obama administration. There was a lot of malfeasance back then, and it was all done under the guise of, “We have to do this because of terrorism, because if we don’t, we’ll have another 9/11.” There was so much hysteria over what would happen. Sometimes you end up making some real big mistakes. What the movie tries to say is, “Yeah, we made a lot of mistakes, but at least in this particular instance, we owned up to them. We knew that, OK, we’re not allowed to do that, and we shouldn’t.” You think, At least the system works. Our government showed accountability. Even though it was widely limited in its scope, there was still some accountability to be had, and that’s a big deal. That kind of thing is important, especially nowadays, where it seems nobody cares about anything. Everything is an argument. That’s not how it should be; there should accountability.
A. I play Denis McDonough, who had a big role in the Obama administration. There was a lot of malfeasance back then, and it was all done under the guise of, “We have to do this because of terrorism, because if we don’t, we’ll have another 9/11.” There was so much hysteria over what would happen. Sometimes you end up making some real big mistakes. What the movie tries to say is, “Yeah, we made a lot of mistakes, but at least in this particular instance, we owned up to them. We knew that, OK, we’re not allowed to do that, and we shouldn’t.” You think, At least the system works. Our government showed accountability. Even though it was widely limited in its scope, there was still some accountability to be had, and that’s a big deal. That kind of thing is important, especially nowadays, where it seems nobody cares about anything. Everything is an argument. That’s not how it should be; there should accountability.
Q. You’ve also filmed with Clint Eastwood (The Ballad of Richard Jewell). That must be so exciting and inspiring for an actor. I’ve interviewed Morgan Freeman several times, and he always told me the best things about working with Clint.
A. He really is. He’s an impressive human being, first of all, because he’s almost 90 years old and he’s still making movies. He’s there every day. He’s so committed and dedicated to do good work and to tell stories that need to be told. With The Ballad of Richard Jewell, this is kind of the first time in modern times that you saw this sort of rush to judgment, this sense of being convicted in the court of public opinion. “This guy must’ve done it, because he just looks the part.” And that’s kind of sad. We see it now more than ever, unfortunately. With Twitter, and everybody having micro-aggressions, you can be tried, convicted and punished before you even realize you’ve done anything wrong. It’s a weird place we are in, in history: we have so much access to information, yet so little ability to tell what’s real and what’s fake.
A. He really is. He’s an impressive human being, first of all, because he’s almost 90 years old and he’s still making movies. He’s there every day. He’s so committed and dedicated to do good work and to tell stories that need to be told. With The Ballad of Richard Jewell, this is kind of the first time in modern times that you saw this sort of rush to judgment, this sense of being convicted in the court of public opinion. “This guy must’ve done it, because he just looks the part.” And that’s kind of sad. We see it now more than ever, unfortunately. With Twitter, and everybody having micro-aggressions, you can be tried, convicted and punished before you even realize you’ve done anything wrong. It’s a weird place we are in, in history: we have so much access to information, yet so little ability to tell what’s real and what’s fake.
“I Think That Society Is Correcting Course In A Way That’s Very Positive. There Is A Better Sense For Most People That Other Perspectives Are Valid”
FASHION
Q. What are your fashion vices and inspiration? Do you like suits and watches, or are you more of a T-shirt and jeans guy outside of set?
A. I don’t really wear jewelry. I wear an Apple watch now. But if I’m going to a place where I have to look nice, I’ll wear a nice watch. I have a few. I like wearing nice suits, I really do. Everything matches, you look good, you look well put together, you look mature. If it’s a good suit, you look great. I like that. But I probably could go through my closet and get rid of half the shit there and I’d be just fine. I’m not a guy who has to wear something different every day; I’m not a peacock at all. But I like to look nice.
PERSONAL
Q. How do you think the perception of the modern man has changed from when you were growing up to now?
A.I grew up quite a long time ago. It was rapidly shifting in the ’70s, when you saw the rise of second-wave and third-wave feminism. That was pushing into the fore the idea of a man who was comfortable with his feminine side, comfortable with his feelings. The “Me” generation, the therapy generation, all of that stuff was coming out. I think it was in response to Nixon and Vietnam. The traditional male ideas of “Father knows best” and “We tell you what to do” were proven to be demonstrably false, in many ways, because people went, “Well, Nixon is a liar,” and we got into this crazy situation in Vietnam, because we were told we were doing the right thing — we clearly weren’t. Who are we listening to and why? Why are we meant to listen to men in that capacity? That’s when you saw a lot more female senators and a lot more female presence in government happening. That’s shifting even more with the Time’s Up and the #MeToo stuff. Women are rightfully demanding that there’d be a reckoning for this behaviour that’s never been OK, that shouldn’t be tolerated. It won’t be ignored anymore. I think that men’s jobs, these days, is to listen more than they talk. I’ve been able to take that one to heart and really understand that as a straight white male, I’m living in an incredibly privileged position in society. Not only in American society, but in international society and culture, as well. It’s important to understand that it’s real. Just because you don’t like something, doesn’t mean it doesn’t have merit. That’s a big thing for a lot of white men to get their head around. That’s why you see the rise of Trump and these other things. Some men just don’t want to let go of that.
There’s resistance. A.I grew up quite a long time ago. It was rapidly shifting in the ’70s, when you saw the rise of second-wave and third-wave feminism. That was pushing into the fore the idea of a man who was comfortable with his feminine side, comfortable with his feelings. The “Me” generation, the therapy generation, all of that stuff was coming out. I think it was in response to Nixon and Vietnam. The traditional male ideas of “Father knows best” and “We tell you what to do” were proven to be demonstrably false, in many ways, because people went, “Well, Nixon is a liar,” and we got into this crazy situation in Vietnam, because we were told we were doing the right thing — we clearly weren’t. Who are we listening to and why? Why are we meant to listen to men in that capacity? That’s when you saw a lot more female senators and a lot more female presence in government happening. That’s shifting even more with the Time’s Up and the #MeToo stuff. Women are rightfully demanding that there’d be a reckoning for this behaviour that’s never been OK, that shouldn’t be tolerated. It won’t be ignored anymore. I think that men’s jobs, these days, is to listen more than they talk. I’ve been able to take that one to heart and really understand that as a straight white male, I’m living in an incredibly privileged position in society. Not only in American society, but in international society and culture, as well. It’s important to understand that it’s real. Just because you don’t like something, doesn’t mean it doesn’t have merit. That’s a big thing for a lot of white men to get their head around. That’s why you see the rise of Trump and these other things. Some men just don’t want to let go of that.
There’s resistance any time someone’s asked to give up any power. When it’s a class or a group that’s held power collectively since the beginning of time, obviously, there’s going to be a little pushback. But I think that society is correcting course in a way that’s very positive. There’s a better sense for most people that other perspectives are valid. Just because you think something is good or funny, doesn’t mean it has no value. The thing I really appreciated about all this is, taking a moment before you get on your high horse, before saying someone is right or wrong. Take a moment to understand their point of view. Wherever you are, male or female, wherever you are on the gender spectrum, wherever you are racially, it’s important to understand that other people come at things differently. To disavow that as being not worthy of any kind of validation is silly, I think.
Q. I was thinking, when rewatching Mad Men episodes, the vibe is almost like the anti-#MeToo.
A. Sure. But even so, what I thought the show did really well is, we showed perspective.
Q. True. It’s not like you endorsed it. The show critiqued it.
A. You saw the perspective of someone like the character Joan, who’s been in it long enough and who knows how to work it. Contrast that with someone like Peggy, who’s brand new to it and has to navigate her own way and ends up doing it incredibly successfully. And someone like Betty, who’s totally committed to that thing and is still very unhappy. Someone like Sal, from a homosexual perspective, closeted or not, he’s also trying to navigate that whole thing. It’s tricky. Ostensibly, the show is about Don’s path and career, but it’s also about how our society is changing. It’s a good show.
A. You saw the perspective of someone like the character Joan, who’s been in it long enough and who knows how to work it. Contrast that with someone like Peggy, who’s brand new to it and has to navigate her own way and ends up doing it incredibly successfully. And someone like Betty, who’s totally committed to that thing and is still very unhappy. Someone like Sal, from a homosexual perspective, closeted or not, he’s also trying to navigate that whole thing. It’s tricky. Ostensibly, the show is about Don’s path and career, but it’s also about how our society is changing. It’s a good show.
Q. Does it get harder to fall in love as time goes by, or easier?
A. Oh boy, that’s a question for the ages. I think that’s specific to where you are in your life. You’re a young person and think, Oh, I’ve got it all figured out, then life has a way of showing you that maybe you don’t. It’s more related to the stage you are in your life. You can fall in love just as easily at 16 as you can at 70. I think they’re both very different, obviously, they’re very different perspectives in life the older you get, but they’re both great.
The Lucy in the Sky Digital release is packed with bonus materials, including four deleted scenes, as well as four making-of featurettes.
Lucy in the Sky - “Unfair Situation” - featuring Jon Hamm, Natalie Portman
https://www.youtube.com/watch?v=upfl96c_I54&feature=emb_logo
leaving SNL after party at Buddakan in New York City
Celebrities Pick Their Favorite New Yorker Cartoons
video
李察朱威爾事件 RICHARD JEWELL Q&A with Kathy Bates, Sam Rockwell, Jon Hamm and Paul Walter Hauser 12/3/2019
