What kind of characters do you gravitate towards?
Well-written material tends to have the most interesting characters. I like a variation. I love playing the character in “Prince Avalanche,” who is kind of sweet, dumb, goofy and funny, unintentionally most of the time, but maybe there's a certain part of him that also is a little funny and plays that up to. I like that, I'm hopefully going to do more comedy in the future, but obviously with the [Jim] Belushi part, there's a lot more comedy but I like drama too.
To that end, it's difficult to peg your career. Is that by design?
Definitely not. Because I like to engage in both comedy and drama in one role ... and David Gordon Green trusted me on “Prince Avalanche” to do that. He knows me too, so I think he knew I could get that role right. But I don't have a specific brand or anything I'm trying to protect. Sometimes when actors start opening movies for big money that's when they start honing in their brand a little bit, because if they go all over the map suddenly their brand isn't really … they’re not going to make as much money on each movie. Because they’re not as reliable, they may not deliver some opening weekend or something. There are times when I feel actors are making more of a business decision than a talent decision. Like “Oh, this actor's so limited.” The actor might not actually be that limited, he just wants to make five million bucks a movie. So he's trying to protect that.
The obligation of protecting your brand and all that it generates, financial or otherwise.
There also is a little bit of truth to that because you don't want to be so all over the map. You do one role and it gets a lot of attention and then another role and suddenly no one's buying you in your new role. You want to be credible in any role and I think comedians have trouble over the years when they establish themselves in comedic roles and then they shift over to a drama. They’re often great, but the audience doesn't always embrace them.
Unpredictable, but not too unpredictable?
Well, that's kind of a result of not being a massive actor in a certain sense. I feel like the lower your profile is, the more freedom you have, because nobody gives a shit. They're like “Yeah, play whatever the fuck you want.”
That's a good position to be in creatively.
Oh, definitely. As long as you can get the roles. It's a fine line between playing whatever you want and actually getting the part. If they don't care at all, they may not care to give you the part. So it's funny, the world of acting and actors getting parts and what they can play and don't play behind the scenes of it all, it's actually kind of a funny dynamic. It's a lot more nuanced I think than people realize.
Sounds like it would drive people to be really neurotic after a while.
I'm sure it could. Most actors are fairly neurotic anyway.
You almost worked with David Gordon Green a while back, right?
Yeah, we almost made “Goat” when I was like 19, that Brad Land novel.
Oh right, essentially about fraternity hazing.
Yeah, it's probably better that we didn't do that. I don't know how much fun it would be to do a David Gordon Green movie where you're getting hazed the whole time. He'll just get like real fat guys ...
To beat the shit out of you?
Yeah, just go with it.
You were talking about Belushi earlier. People didn't immediately think of you for that role, but it's probably a cool challenge at the very least, right?
Absolutely. It's kind of annoying though because people are automatically so obsessed with the weight. Right off the bat, when people ask me in interviews now—The Playlist is cool so I'll give you the actual down low—but I've just started to tell people that I'm going to lose weight for the role. That we're doing a creative interpretation of the part where Belushi's just rail thin in our version. I'm telling people this with a straight face and just seeing their reaction.
[Laughs] I was almost going to joke when I saw you, “Hey dude, where are the Twinkies?”
People are obsessed. America's obsessed with weight.
They’re also obsessed with this rigid concept of ideal—as if an actor who doesn't look 100% like the person can't make the transformation. And that's the part of your job.
And there's all kinds of tricks and transformations. Ultimately you have to get the spirit of him first, the most important thing. You could gain hundreds of pounds and if you don’t capture that, no one's going to give a shit anyway.
That nailed it—you've got to get that essence. So what is that in Belushi to you?
There's an unpredictableness and a wildness. It's just the certain maniacal-ness. I haven't fully done my research yet, it's too early for me to have any kind of declarative statement on what he was like. It's way, way too early, but I certainly think it will be a very interesting look at his life.
I assume it's not just comedic and must be dark, because obviously, there were darker elements in his life.
Yeah, it's both. I think [the director] Steve Conrad, he wrote “The Weatherman's Pursuit of Happiness” and “The Secret Life of Walter Mitty.” He's very good at finding these very special tones. I don't want to speak for the way he plans to do it yet, but I feel like he has a very unique perspective and voice that will come into play.He wrote the script. He knows the story. He's working really hard.
The Polsky brothers hadn't directed before but obviously gave you enough confidence to go for it. Are there writers or directors you want to work with?
As long as they've got that something. As long as they either can convince me in a room or maybe they haven't made a movie or they have a really promising first feature or a great short. You have to be very shrewd the way you gauge people and I think the combination of the Polskys, they put me at ease. They haven't directed a movie, but there are two of them and they're very different, so I think any bad idea one of them might have the other counters. There's like a built in safety catch with them [laughs].
I'm curious to see what they do next. I really thought "Motel Life" was sweet and soulful.
The Polsky's are also very smart about who they brought into the process. They went out of their way to get collaborators. They come from producing, so a lot of the things that first time directors wouldn't put priority on—getting the A-list editor, the great composer, the A-list DP—they put importance on.That's huge, because it's such a collaboration. There are a lot of talented first time directors out there, but then they drop the ball in these other ways and they think they can chew and swallow the whole thing on their own and they end up paying for it later in the cut. I don't really have a big laundry list of filmmakers right now, but there's certainly so many talented ones that I'd be lucky to work with. -- Interview by Rodrigo Perez
"The Motel Life" is in theaters and on VOD now.