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No. No. No. So you're one of those actors that you've done so many roles under heavy makeup, but have this amazing ability.
You always know it's like your unique ability to- Because that's my name and credit. That's what I'm talking about. People know. That's what I'm talking about.
But that's what I'm talking about. But that's what I'm talking about. You know, I mean, you're always around the world. You're actually around the world.
But when I look back at so many of the roles you're from the first time, I think I saw them just because I was for five years. You know, to the least, I would think you were under all this makeup. And is that- I think it takes us for a time to be able to act like that. Is that something you really had to steal with or get to learn?
It was weird because I mean, it's not like the only part of my career where I kind of had an ability to say yes or no, make a choice. It was the last few years, but the first 25 or 30 years of my career, I got- there was no design on my part. You know, these things, every single thing that happened was purely, coincidentally purely, some sort of random act of the universe. So, the audition for Quest for Five, which was- I had never done a movie before, was- it was as if you were going to audition for the teach in bringing Brothers of Barnard Valley Circus.
What the hell is this? They had- they had other fuckers in here, man. One guy had one arm come out of his ass, another one come out of his neck, and there was a guy who was about 7'14, and his head was this big. I mean, you know, I was like, oh shit, this is the group I fought into.
It was just my wheelhouse, man. So, you didn't really have to be very impressive to get like an enroll in that movie. You just had to kind of be breathing, you know, not- not be charming. You have to be like that.
What happened was, you know, one thing leads to another, you do a roll where you- it's kind of- there's two kinds of act, and there's- there's a reference to that. There's a reference to this representation lacking where you're using yourself to pick the behavior of a character, as opposed to playing. And then there's that kind of acting where you're transforming yourself into an abstract being that may or may not have ever existed, but that's a purely super-super-super-super-super-super-super-natural character. Super-super-natural character, thank you very much.
The medication is going to kick in on the time. That's all his nurse backs, they should. But, um, so I did one roll where I'm like, you know, covered in makeup and mask, and I always said no one is sure less where other rolls will occur. So, that leads to- the name of the roll is that that leads to- that leads to what else was there.
How did that go? Yeah, I was in Dr. Mero, and then ultimately, Hellboy. Because I'm not just kidding, the only- Well, there's the other- the other part of it, which is that in order to get made up of those rolls, you have to be willing to sit there for four hours, if you would.
And do nothing else than be playing stuff onto you. What people don't know about me is that what I love to do more than anything else is sit in one place and do nothing. So, I'm your motherfucker. You want me to sit around with you?
Go on, I can- I can go on my number if that's- you can pay me for that shit. You know, an actor who's created waiting for us? There's a lot of actors who get very, like, antsy in the chair, you know, like, for wrestlers who want to go out, you know, get on the phone. Not mine.
Can't get some- like, it's a me-time. So, here the beast was enormous. It was a huge show. It was very popular.
And you got to be on, I think it was a top-down show, without probably being- If you count from the bottom, you count from the lowest rated show. You're using the top ten. Compared to shows now. You're doing it down.
But anyway, it was a pretty sense. It was a little odd. It was an absolutely- it was a huge show. A huge show, I mean, at that point.
Then, because you're- under-big at the whole time, it's- it's not going to probably work it, that you were- of the man who I'm going to do. That has to be free. You get to be a major star of a major sitcom. That's a convocation network show.
It's not a good deal with a lot of the liking piece of stuff that comes with it. I'll give you a little example. Generally, I had to get in order to be ready to work at the clock in the morning. I usually had to get there at 4 a.m.
I made the part to get ready. So by the time I got on set, I was fully Vincent, fully with the beast. And one day in the second season, I got a late call. I got a call where I didn't have to be ready until noon.
So they called me in and around 8 o'clock in the morning. They heard and started filming. So I stopped off at the food station, the craft service table. I'm buttering a bagel.
And this is two prep, two crew members, who I have not been working with for a year and a half, talking shit about me. And no idea. I mean, they've never seen me. They've only seen another.
No, but they heard it when I was that guy. He's searching and I told Jesus, right? I didn't interrupt him or nothing. I just wanted to hear the rest of the shit.
Can you join in? Can you know that guy? I did not deny it. Jesus, what an asshole.
It's like a recognized voice element. And you're going to be that I love growing up and watching all the time. I don't know if you can get this one from, but I smart-ruts. I'm a huge fan of it.
I'm a huge fan of it. I'm a huge fan of it. Yeah, there's a really small group, like a call of people who want to talk about it. It's me and Fortnite.
I'm in that call of people. I was like, I'm in that call of people. I mean, it seemed like a movie I was fun to make when you watch it, but I never wanted to. You know, you have to hide the ones as an actor.
You have to go for it. I'm not going to identify which one that I'm going to do. I'm also a great fan of drive, which is slightly different from his people. I like that one.
Yeah. But you got the sort of community scenes in the movie or a lot of your stuff. You got to, at opposite, one of my favorite comics, The World, which is a whole book who was terrifying in that movie. Was the tone of the story tonight?
Did you have that? No, it was a wonderful collaboration. When we all first got assembled, the script was only about 30% written. It had gone through a lot of iterations.
By the time it arrived, it was the hands of Nick Reffert and Ryan Castle. Their vision for it was very, very unique. So we all participated in kind of helping to create what the movie ultimately ended up being. And everybody was working to their strengths, you know, and everybody was being asked to create their version of who are you in this world, who you want to be in this world.
And so it was one of those rare things where we all had kind of inputs. By the time we were shooting, it was a great deal of ownership of what each of us were planning. Yeah, I mean, Joe's on screen. It seems so awkward that we meet.
And it was the first time we were in camera. The first time was the first time we were in camera. Yes, that's true. And the camera had the more than we were in camera, but now we know about it.
We were doing a lot of genre, TV in Mexico. But very local. And Cornhouse was the first feature film we ever made. And luckily, Ek Film traveled to beyond the shores of Mexico to the rest of the world.
And that's where the legends of camera talks all over again to be formed. It's such an unusual movie, especially the time it came out when stuff we were getting on our genre was Dr. Giggles. You know, we were getting a thoughtful movie that's now the word for aging and has all the things that we did in the world class of horror.
When that script came across, you were like, this is unusual to you. Do you really know that it was something different? I know that it didn't really do it. It was something different.
But I had the sense that this was a movie that would never ever get real in the United States because it was a disembling thing you'd have ever seen before. You know, the US is famous for, especially the last 30 years, just repeating itself. And, you know, not being very adventurous, doing things that they know is going to work, things you've seen 100 times before. This movie on paper was, I think it was ultimately a vampire vampire.
It was ultimately so much more. And the way that the rise of the England vampire really covered vast amounts of allegorical, metaphorical, kind of human condition characteristics, which became, which was actually a game on serving notice that he was going to use genre, but not just for genre's sake, but as a screenboard towards juxtaposing it against some of the more radical impulses in the human condition. The Translabroof is this magical world juxtaposed against this horrific fascism of staying in the 30s. You know, that's what the game does.
That's why he keeps, he's one of our reporters, artists, because his movies are just one thing. They're always 50 different things operating at the same time. Incredibly, elegantly, done, beautifully done, cinema at its most sophisticated. I mean, he harkens back to it.
It's a good idea. It's evident that he wrote about things like the Twilight Zone and things like that, where I always see those shows as better people, and kind of take it to the front where I started here. Those allegories and shows were growing up watching kids even in the movies. We learned how to be a better human, whether we knew it or not, and you could watch the Devil's background for this, because it's a beautiful haunting movie, and not see the allegory of war, and life and death, and that sort of thing.
But that's still going to seep in a little bit whether you want it to or not, and it's great that that's not lost. You're still getting those kind of movies, but to your point, they're in front of you instead of getting everything up to my studio. I had to talk with Guillermo about a month ago, during a film festival, he was given a lifetime achievement, of course I was given a life-time achievement, never. They told me he was giving me one last time they fucking got me.
That's a good one. That's actually not better. I'm given a piece of shit of lifetime achievement. I mean, look, come on, what has he done?
He has won a category word about one for the ass. What's that? What is he? Anyway, we had this conversation.
He assumes, because he's Guillermo del Toro, but it's easy to... I mean, I'm going to tell you the system is not set up for the emergence of a Guillermo del Toro. In order for that to take place, you have to be ruthless, you have to be ready to say no, go fuck yourself to the system, you have to really, really, really be uncompromising in a world where compromise is basically, you know, out of top, where I'm not getting employed. And you have to kind of put an artistry that straddles the fence between artistry and putting asses in the seats and theaters, which is very, very difficult to do.
It used to be, that was the way it was, all over the till the 60s and 70s, and then just started turning around in 80s, and I just, I just, I just, I just blame, it's the majority of it's beautiful. Yeah, well, yeah. His partner says, there's nothing in the mix, but he can't tell small. Yeah, you know, that, you know, and I was, it was cool, you know, when the Star Wars was like, you know, part of his act guys.
It's not cool when it's the only, it's like guys, it's not cool when it's completely overwhelmed, the ability to see a beautiful little movie about people, which used to be all we went to see. Now we don't see the call. And you know, when they're made, they're still being made, you know. But I mean, seven myself in the last few years, no one has seen them because...
Do you feel like T.E.E. is picked up to the slap? Oh, I think it's going to be in the past, in the past, what have been the kind of characters and stories of which hold this time? I feel incredibly much like T.E.E.
is picked up to slap, and I thank God before the state of TV right now because there is some great writing and some great storytelling taking place on television. And that's due to the fact that there's so much competition, that the only way to get the attention of the audience is to be even more original and edgy than Alaska. So people like, you know, the great writers are like going into their deepest recesses of imagination, coming up with phenomenal scenarios of worlds to depict, and TV is amazing. And it's also people getting paid.
I mean, you can do the same thing and set them around now, but you can't get it and everybody's got to keep their lights on. Yes, it's a tough mix between our and commerce, it's kind of amazing that they could never get to a little balance. So let's start to the audience and fix the questions. Let's have the audience join on us.
Let's turn on us. Just Terrace about it. Up to, yes? I have a question.
What was your favorite memory of desperation? Tell you about that, not just a general desperation. You mean to Stephen King? Stephen King.
Not the desperation I feel in the morning when I wake up. It's the personal discovery. I mean, that whole thing was such a kind of a gift, you know, to play this completely insane, almost bored building, you know. Like, he's like a friar's club, a third of its attitude.
And probably the scenes that were the most fun to explore were the scenes with Tom Scary, kicking up on the Santa Road and incarcerating him and playing marijuana. I'd gladly trick to look at that guy. That was a couple of fun days of shooting. He's a terrific guy.
Where are we? No, listen. Hi, I just want to say first time I'm so happy to be here. I love doing Elbowie.
I love doing Halo, but like all my favorite character I have to play is Hanukhau in the Civil War. And one thing that I want to talk about, I have to say, how do you keep up with that thing? And I wanted to ask, is Hanukhau the real life one? Is he your favorite historical figure?
I do appreciate it. Well, Hanukhau is not my favorite historical figure, except the fiction of the love of the Subacraman. My favorite historical figure. I mean, God.
Is there one you think of like? No. I'm about to play Hummingway, which I can't talk about. As I research, I find him, you know, he's like this onion you keep healing off of layers.
You still have a cotton, anywhere close to the center. He's a very complex guy. I think my favorite historical figure might be about Dylan. Time.
And I mean, I don't really need to explain that. But he is, you talk about something that came around at the right time. And what he had to offer was something that pulled the whole entire generation of dreamers. And then we did more luck with all of them.
Our dreaming turned into like, you know, portfolios on the Wall Street. When you need to be the belt. Okay, we turn. Wonderful things on the money.
Next question. Where are we? I just want to ask the fans. Well, there's always a comparison.
Well, it's all of my films, my friends. And I'm sure there were many on Hillwood. Like, in my medication, it doesn't allow me to recall them. It's not embarrassing.
It removes the difference. That's good. It's good. I may be doing commercials for comparison.
And the list of... Do not take it for you. You know, the list of qualifiers at the end of August. These are drug commercials.
Gamble list. No, that's not embarrassing. You're not even a list of qualifiers at the end of August. Embarrassing.
Ask your doctor. And then you'll forget about that from your doctor, because that's not embarrassing. No, I'm not embarrassing. What a race.
You can see children. Oh, better. Yes. So, you play a lot of big guys in Mind and Keep.
What the fuck am I going to play? What the fuck am I going to play? What a really, really, really, really, really, really, really, really, like, a little guy. You haven't seen him in the long stocking?
He's great. So, my question was if you felt typecast, but I think that's a good question. Yeah, I'm such a victim. Me too.
God damn it. What am I they love me for who I am? Brother for this. It's not a reason to give a fuck.
I have fear, you know. Call me. That's the difference. Oh, but we do love you.
You weren't been the editor, but you also worked with other really innovative directors, John Kurgigal, with the city of Lost Children, and that's Lazy, when you call it the aliens movie. What was the bad experience like working with that director? That was the dance, man. You know, working on city of Lost Children was I was the only American.
I was actually the only non-Frenchman who happened to be an American. I was the only one in the entire movie that needed an interpreter because the only people who did speak English were the directors. And the only person who did speak French was maybe. But it was kind of like going to church.
It was like a very reverberant and set. Like these guys were making something sacred. And so there was a seriousness that kind of defined the whole six months and periods. You know, what they were reaching for was, you know, I hate to say this.
It was covering the sound, you know, like I'm foolish. But you know, like really, really classical cinema. They were reaching for something that was going to be a movie for the ages. I think they felt short, but I think they ended up making a very, very interesting film.
And the circumstances around being in it were as tribute as anything that they've ever heard in my career. I mean, I really felt like, oh shit, like how lucky can you be to be the one that's picked to be this fish out of water. You know, in this kind of innocent farm, you know, in a world that's locally decaying from within. Yeah, thank you very much.
I really, really proud of the moments that went into making that film. It's like a fairytale. I was watching films and thinking, I really worked with this director at work. Yeah, I really would love to work with Pablo Sorrentino.
You may know him from the young pole that he did with the cute log. They made a movie about a choice of years ago called Youth, which I felt was exquisite before that. Was it something beauty, the great beauty phenomenon filmmaker? Is Lanzabo, I'd love to work with Paul Thomas Anderson, I'd love to work with.
I would give anything to be on set with the Conan Brothers. Yeah, you have a lot of people. We're not many from these directors that have a very stylized, very mature kind of. Wouldn't they make a movie we know it's one of their release?
Yeah, well, you know that there's, the thing about it that we love cinema is that it does things that no other art form can do. So it's not a one thing. It's a conglomeration of all of the fine arts put together in one place. So you have narrative, which is great literature.
And then you have production design, which is painting. Like which color is going to go into the pastiche that makes up this movie painting. And then you have lighting, which is this whole hand. And then you have the clothes.
So you have like 45 different artists who do different things who are the best in the world, what they do. And when you're working with guys like the ones I just mentioned, these guys are creating cinema that is most greatest attention. Because it's purely unique. It's purely original.
They never repeat themselves. They never do anything that they've seen somewhere else. And they're different. So they're dealing with worlds that are exquisite and important and uncomfortable.
And all the while, recognizable by all of us because the human traditions are commonality and our differences. So that's why I love movies, not me. That's why I love movies, not me. That's why I love movies.
Yeah. I thought it was my favorite movie. Hi. Two or three each.
In movie style. Yes. I'm not really hanging on here. I have to hear.
What do you think was your favorite or most fun scene to? a little visit down the Barret-Mantle Island. I mean, that is a service of guests. Two superheroes, you know, just drunk off their ass because they both are low and they're sloppy in there.
And they're sentimental in there on the verge of tears. Barret-Mantle, okay. Comes to mind that's given a total of, is quintessential best. I don't know anybody who thought that shit.
Things jump forward on something, the three things actors wanna play, most is drunk, their own trainer, their own death. I don't know how true that is. What if I'm not in that big world where I'm not deaf? The characters are deaf.
Not making your death. Between the half to two. Next question. When you were playing Siboba, what did you think about it?
Well, you know, he's a little devil. I mean, literally, but he's from his other dimension, the land of the dead. And he's very, very theatrical. He has to do anything to mess with people.
You know, he's a provocateur. And there's something very, very compelling about watching. A provocateur who has real power because he's gone. And who has real intellect and who is very creative in the way he messes with people.
Now I would say fuck with people, but you sound like you're a very small person. And I wanna say, you know, like a word like that in front of you. It would be all of the shoes to hear that go down. Yes.
So, I'm so sorry. I just can't help myself. Yes. So you're talking about the importance of the people's assets and season of people through it.
How do you feel about being in a network, a studio, where it was on, and the importance of those meetings? Does that mean it's for... Look, man, you know, they're here. For better or for worse, they're here.
They've definitely transformed the way entertainment is delivered to people. And so do it. They've transformed the way people want their entertainment delivered to them. People are no longer in a hurry to do that thing that we did for 100 years, which is, you know, take the wife to the car, go to the movie theater by somehow cornering the coat.
It's a dark place with 2,000 strangers and have this beautiful communal moment of watching magic on the screen. You know? That was... That was...
I mean, you know, we did a great America. That's a worldwide thing, man, go into the movies, go into the movies, and having a night where you're away from the kids, and you're away from your problems, and you're away from them. You know, now it gets delivered to you. You know, and you just like...
at the point now where you can't tell the difference, you're watching it on here and watching it. You're 70 millimeter on a fucking screen. No, we get to shit anymore. That's what's happened when you desensitize an art form.
When you normalize it, when you take the magic away from it, by delivering it to everybody without ever having to get out of there fucking underwear and get off their cash. And there was a difference between watching Lawrence and Moravia be on this and Edd Zickfield in New York, you know, or the Cinarama Dome or whatever the great theater is here at Denver. I'm sure there's a great old theater here at Denver, you know, where you go and want to watch Gone with the Wind, or the Godfather, or the One. It's like, uh-huh-huh-huh.
But, you know, Netflix is here, man. Amazon is here. It's here. It's there here.
And, you know, you can't fight it. It's just the way it goes. You know, I don't even know what direction it's turned out. I started a little independent movie company about six years ago.
It's called We're Gonna Peripictures. We've now made about eight or nine movies. And I can't sell it. Some of them are pretty good.
Some sell. But I mean, you know, I mean, even to keep mental, I think about it. You know, so I'm good. You know, they put out all the national pieces.
But they should sell. Somebody should want to buy. Even the shitty ones, you know. But they just, you know, what passed?
We're beyond. We've opened the new Pandora's box. And I don't even know what to tell you, man. I don't know what to tell you.
I don't know where it all goes. I know that there's a decay in the world right now. I know that this world we're living in right now is, uh, not that it was, you know, 50 years ago. Because it's like this.
Because the magic has been removed from a lot of stuff. And we've become desensitized to a lot of things that used to be beautiful and moving and magical and, and special. And now, you know, you could put something special on Twitter and they were ruining 30 seconds. That's a long time.
I don't know. Do you mind the first movie you saw in the theater? My dad had me go into the theater from the time I was three years old. I remember Shane.
I remember attending Manance. I don't know what years. I don't know what years. But they were the only sisters.
Shane was like 53. And I saw that in the theater that, you know, the week it opened. I saw a lot of movies in the theater. I remember my dad was a cinematographer.
He didn't know why. He just loved the movie. He was just a working class. Do a color guy.
He's the one who turned me on to the movies. Although that, to your point, those are the people who need movies. The most likely people we need that escape in an environment that's not there every day. You see the problem is, it isn't escape.
It's also not an escape. What it is, is it's affirmation that we all are in this shit together. I mean, that's what all the arts do. They just don't have the tiny truths happening all the time.
Like, oh yeah, I know that. I felt that. I know what that guy's going through. You know, you see the painting.
You see the music. You see the music. And it's just basically there to remind us that we're all in this shit together, which is why culturalism is so precious and so important. And it supersedes politics sometimes.
Because politics is a trend. You're up, you're down, you're on the left, you're in the right, you know. The consumer condition, knowing the world is together, that's a constant. One of my favorite quotes is, Art is a lie that tells the truth.
And it's so important to have. I can beat that in a society. Guys, good to meet you. I'm sure.
Art is a lie that tells the truth. I didn't make it happen to someone else. I just remember. So, what about different you more?
Up over here, guys? Hi. So, what would you suggest for aspiring directors who want to make it into the film industry with the state it's currently in, with every blockbuster coming out, like every three months? I try to put something beautiful out.
Like, you know, what that's all it does. Well, the good news about the time for living in is that you can take this thing and make your own book. You know, you don't need money. You can get a gather.
If you're really, really cool for your friends and say, hey, I got an idea, you know. Just go do it. And people are really, that's how people are emerging right now. It's basically going and doing shit.
And if they're not a way to have a good scene, they're on YouTube or, you know, some sort of an internet sharing thing. And boom, you know, if you resonate, if you click, if you get enough hits, people stand up and take notice and suddenly you're on the main street. So that's how you do it. There's no more cake to you, which is getting bad.
So if you just do good work, if it's not my audience, it's not my audience, it's not. Sorry to bury you, it's not. You see what I mean. Where?
Where? Yes? First of all, thanks for doing what you're doing. I'm going to my favorite actress in the commercial career.
You've inspired me to feel every emotion I have. I've been doing it for a long time. One of my favorites is the city of Lost. Obviously going to be challenging.
The time when he's delivering the freshness, I'm going to be doing it on the inside. Can you tell me a little bit about the chosen tribe that were those lines of French? Did you have to learn them phonetically like Malibu? I was here, did you actually have to learn this much?
You know, the interesting thing was when I was a good guy, I had to perform in French, but the reason why they chose me is because they wanted somebody who didn't sound French. They wanted somebody who was living in this region, but who was a stranger. He was a stranger in a strange land. He was an innocent abroad.
And so the decision we ultimately made was he was like both. He was like a Russian or Serbian. He had something, you know, like that kind of approach to language. I spoke French with a Russian accent in the movie.
And you don't know that unless you're French. To you, it just sounds like that's the worst French at the very first time. There was a reason for that. And the other thing is that when they actually gave me, you know, they gave me my lines to learn because they knew what I had to learn them to deliver them.
All my lines went on one page. So the next time you go back to see the movie, if you ever see the movie, realize how little I speak in the film. And when I do speak, it's very, very short sentences and stuff. There was one speech that I gave.
It was a really long speech. And they ended up cutting it. It seemed like it wasn't my character, even though it was most beautiful speech you could film. This happens to me a lot.
We were the most beautiful thing to film. It's a good cut because it doesn't seem to fit with the rest of it. But yeah, there wasn't that much to learn. It wasn't that hard.
Did they tailor the character for? No, he was the guy who was basically mostly from you. Instead of talking, he was like, you know, he was like around all his kids. He was feeling all of their pain, all of their frustration.
You know, he became everybody's big brother. Not because he was talking, but because he was feeling and listening. That was the thing about the character. It was kind of attractive.
So we have a minute left. I don't have a quick question. Yes, sir, very. Up there.
Yeah. What's your opinion on voice acting? Voice acting. Easy question to answer a minute.
Well, you know I do a lot of it. So you know I love it. I'm a big fan, but the reason why I love it is because I love acting in general, but voice acting requires not a lot of sitting around and analyzing and rehearsing. You basically walk in and now you've walked out and you've given a performance.
So it's mostly being done on a very instinctive level. You know, like you look at it and you see I feel like this is the way it's going to be in the director's suite where you're doing, but it's basically a stand and deliver. And I really like working on a prominent level. Like I'm just doing different voices.
Some of those guys are working in animation in Los Angeles, mostly in Los Angeles. Both folks have been around so it's really really cool to be in that setting. And yes, it's very cool. The first time I was on the end of this is because it takes years of time to see what the animation looks like after voice editing and you're receiving it and God that's not.
Well, the thing about me because I'm 68 years old and I've had so many fairs in my life is that I expect everything to suck. And then I'm disappointed. So, you know, the only time I'm surprised is it returns up. And then that's busy for us.
Like, oh wow. I didn't see that coming. You know. The beauty of the pessimism.
Well, thank you guys for your thank you all for watching. If you liked this, check out some of our other shows like Mr. Right, Exotic Liability and No Applause, Just the Clap. You can find us at www.bacnpodcast.com and by searching for BACN on iTunes and Stitcher.
Oh yeah.