Who’s been talking to who lately:
"As time goes by," Auteuil volunteers, "you become more and more complicated, because you lose your lightness – a bit like a ship that’s sprung a leak. You can feel it sinking. So I’m bailing out water, trying to shed as much weight as much as possible." It sounds like pessimism, I suggest. "No, just clear-sightedness. But everything’s fine, hein?"
"In Hollywood there’s no real material. They would send me stuff, but I hadn’t even seen the director. If I don’t see the director’s eyes, I’m not going. I’m not even going to pack my bags. To leave what? To leave my home, my kids, the people I love? I can’t. At least we have to drink a beer together and discuss the project, otherwise I can’t just react on the strength of an email and three pages of synopsis, and say I’m going to take off for three months of my life. Anyway, I don’t give a damn about Hollywood."
"I did a lot of puppet acting, jobs where I did whatever the director said," Black says of unmemorable stints in such films as "Waterworld" and "The Jackal." He hates confrontation, and he’s not arrogant enough to have ever told a director he thought he was being misused, but he did find that movies were a lot less fun than theater or Tenacious D, the Spinal Tap-ish band he created with fellow Actors’ Gang alum Kyle Gass. "It wasn’t about control," says Black. "It was about the co-lla-bo. There’s great directors who treat actors like cattle, but I hated it, and I knew if I ever had a choice, I didn’t want to work with those guys. Who said that thing about actors and cattle? Hitchcock? Yeah, I don’t want to work with that dude."
The old clichÃ© about a picture being worth a thousand words is true and a thousand picturesâ€”[Gore laughs]â€”make a big difference, particularly when theyâ€™re ordered in a sequence that takes you logically from one moment to the next. I tried to tell the story for thirty years, and during all of that time, I personally have had a long series of â€˜A-ha!â€™ moments when I realized these dots connect to these dots. What I do in the slide show, very simply, is to try to reproduce those â€˜A-ha!â€™ moments that I personally have had. Iâ€™ve searched, in over a thousand efforts to present this, for the best way to produce for others the realizations that Iâ€™ve had. Iâ€™ve always believed that if I can get these scientists to explain it to me in plain and simple language that I can understandâ€¦ If I can understand it, I can communicate it to anybody.
[On hooking up with Altman for "Prairie Home Companion"] "Just two older guys looking for work, I think," he says. "We were brought together by a friend of a friend and had dinner in Chicago. I thought he’d like to do a movie about a radio show. He started out in radio, as a writer in Kansas City, so he had a soft spot. He came to see the show, and from all of that, he kind of fixed on this idea of seeing this show from backstage."
The character in [her next project] "Shanghai Baby" is clearly one that Ling feels particularly close to. And it is also the one likely to trigger another run-in with the Chinese Government. The book was banned in China for its decadence and sexually explicit material. Ling is resigned to another stormy reception. â€œAll my life I feel like I have been writing apology letters â€” to my parents, to my schoolteacher, to my army leader, to my government.â€
At the time I think ["Dazed and Confused"‘s] Mitch was probably the kind of kid I wished I was. I was a pretty maladjusted 15-year-old â€” very awkward, wanting to be an adult really badly. I think the obvious change that Mitch goes through from being a twitchy little kid to "one of the guys" illustrates that it’s a character. It wasn’t a difficult one to play, though.
+ Daniel Auteuil: A star? Moi? (Independent)
+ The Beart Necessities (The Age)
+ The Secret Plan of Jack Black (Time)
+ Planet Gore: Talking An Inconvenient Truth (Sharkforum)
+ Moving ‘Prairie’ Into Plain Sight (San Francisco Chronicle)
+ The riddle inside a Chinese puzzle (London Times)
+ Just Don’t Ask Her To Take It Easy On Me (The Fader)