Ive Developed An Obsession With Collar Bones
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In 2006, Ethan Hawke was crossing into Canada, where he had a summer home with his friend Ben Dickey, a musician. Dickey carries a recording of Blaze Foley, a forgotten country singer who was gunned down in 1989 under dark circumstances. Hawke put it in the CD player and was instantly hooked.
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. “I was forced to listen,” Hawke said. “I was hypnotized by the bar and the door opening and him chattering endlessly. It was beautiful – he had so little money to record these songs, he almost knew he was going to die.”
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, in which Dickey plays an unsung country hero who falls in love and slips into alcoholism. (Hawk co-directed and wrote the screenplay based on Foley’s memoir with Sybil Rosen, his widow.)
At 47, Hawke is having a moment. His work began in 1989 and evolved beyond his roles in Pretty Boy
His fourth film as a director). A classic leading man’s career has become one of the most challenging and unpredictable in Hollywood. So far in 2018, he has given two wildly different performances: as a fainting and haunted minister under Paul Schrader’s Gavel.
(which earned him his first Oscar win) and as a trashy, spoiled rocker in Nick Hornby’s adaptation
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“He was turned on by the world,” Dickey said. “He was a wanderer and wanted to be inspired. He was able to do X-Y-Z later
[Hawk earns his first Oscar nomination]. She may have started focusing on bigger roles. Instead, he wrote a book. He didn’t care if people said, “Stay in your lane – you’re an actor, not a writer.”
In First Reformed, you play a desperate character who becomes violently fanatical in his devotion. What was your reaction when you first read this script?
I had to play. On page 3, I wanted to play that role. It really moved me. The voice of the taxi driver is very clear. If you haven’t read a Salinger book in 20 years and you read this, you’ll instantly know it’s Salinger.
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To me, in the world we live in right now, it’s a cry. The cry of the old lion. I felt it in my bones. Wisely, I miss it. I just felt it.
I don’t want to spoil anything, but the final scene of First Reformed left some people confused and others confused. Any thoughts on the ending?
A lot. When I asked Paul [Schrader] about it, he got this wonderful response: “A great movie starts as soon as you walk out of the theater.” A good movie will entertain you when you have nothing to do after dinner and before you go to sleep. But a great movie asks you a question. And it haunts you. I often think about its ending
, when the chief throws the sink out the window and runs off into the woods with those drums, McMurphy’s eyes look dead and you don’t know how to feel. Good movies do that.
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Oh! Yes. When I first moved to New York there was a Renaissance house that played a double feature.
, which I also thought was excellent. Not everyone likes what Schrader does, but he’s not satisfied. Always swing, reach and dig. He is a tough man. There is nothing saccharan or nice about him.
Schrader also wrote Martin Scorsese’s Bringing Out the Dead. You’ve been candid about your admiration for Nicolas Cage, which I appreciate.
I think Nicolas Cage is one of the few people in the history of acting who really [appeared]. I mean, he’s a true original – one of the greatest actors of all time. His confidence, his craziness and his dedication—you take his top 10 performances and I’ll put them up against anyone. And they are revealing! You know, [Konstantin] Stanislavski came up with this idea of spontaneity and life, moving away from the more performance-oriented Shakespearean role-singing style. Brando and Lee Strasberg and Group Theater and all these people pushed it forward. Gene Hackman and De Niro and Meryl Streep—we all lined up as fate. Except Nic Cage. doing something
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. I said to his face. I don’t know if he knows what to do with me. But I think he’s really special.
I’m stuck in the 70s style of truth-seeking. Nic sees me from another perspective that is even more mysterious. I pushed myself into more character roles
]. It’s kind of great. Around the age of 40, I started questioning myself more as an actor. I fell in love with it all over again.
As you have done in many previous films, you played a musician in Juliet, Naked. Have you ever wanted to be a rock star?
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No. I like music. I saw my life as an actor. I think they look very similar. When you do a Sam Shepard play, you feel the rhythm. Sam’s works are like a percussion instrument. By Richard Linklater
The trio, the motif of this dialogue – has a musicality to it when it works right. The movie is all talk, but there are rests and pauses and rhythms. I’ve never seen much of a difference.
Yes. I’ve been thinking a lot about Dennis Hopper lately, what a hero he was. He had this great quote about growing up as a farm kid and seeing no difference between dance and music and photography and painting. Everything is art. Everyone tries to understand why we are born and why we die.
Let’s talk about Blaze. What made you want to turn Foley’s life into a biopic?
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I am somewhat allergic to the expression “biography”. Almost every music biopic you see is about a famous musician. [But] almost every musician I met was treated with complete indifference. Let Blaze tell me this story of what it means to express yourself and lose yourself in this world. You should have no place.
My friendship with Ben Dickey was the engine of this film. He was at my house on a new year. We woke up late. [Foley’s song] “Clay Pigeons” starts playing. I looked at him and thought, “He should play Blaise Foley in a movie.” Then I looked at Sybil’s book and the picture became clear. This is not some rock star goddess. This is a book about time. It really fits with how I feel about it.
It’s more mobile than people think. The film follows three periods: past, present and future, all intertwined. And the past is always changing. For example, when you first hear “Yesterday” by the Beatles, it’s a beautiful love song. When you first break your heart, this is the song that cuts you in half. The song is always the same — the notes, the lyrics. But what it does to you is different.
Trilogy as well [Hawk co-wrote—he earned two more Oscars]. This is my obvious obsession.
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] and the way they ended it seemed to demand a response. And there is something about the third [
] seems clear to me. I’m not saying I won’t change my mind. I love these movies. Those three were the best experiences of my life.
]. They taught me that there is no right way to make a film. Sidney Lumet has a different tool kit than Alfonso Cuarón. Linklater has a different tool kit than Peter Weir. I can take a bite out of it all.
Sidney Lumet was obsessed. He loved rehearsing. By the time you make the movie, the movie is done. It’s a frivolous exercise, the actual shooting. But a director like Cuaron—I don’t think we ever rehearsed. We wrote the scenes while shooting. It was like trying to ride lightning. Both can work!
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Hawk, filmed at the British Academy BAFTA Film Awards in 2015. Hawke’s new film, ‘Blaze’, tells the life story of musician Blaze Foley. Justin Tallis/AFP/Getty Images
It bugged me back in the time slot because I was afraid it was restrictive. I was worried this was a box I would get stuck in. Now I see it as a badge of honor. It’s like my generation. This is what we are talking about. We are in a crisis right now as a generation of who we are going to be.
We are the first generation that we all need to study, right? We are educated and unambitious. lazy generation When I hear “Gen X,” I think of [Richard] Linklater’s Slacker and Kurt Cobain. It’s really interesting now that we don’t realize how much we depend on the leadership of the so-called Greatest Generation. Their love and their love for democracy
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