A Quote by James Badge Dale
The physicality was important to me. Because the film has Shane Black's dialogue, and [Robert] Downey's delivery, and you look at [Jon] Favreau, Don Cheadle and Gwyneth [Paltrow], it is this heightened level with a comedic aspect to it. Everything is grounded in reality, but it plays a little heightened.
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We would do improvisation together. And that in a way, had almost a "student-film side" where we'd be sitting there with Robert Downey and Jon Favreau and we're playing around, we're jamming around and we read those pages and in next couple of days that's what we do, so it was a good experience. Kind of frightening at first because you didn't quite know how it was going to work out, but they had some very talented people there so it worked out well.
One of the great things about the 'Iron Man' franchise is that they employ fascinating actors who don't necessarily do action movies. Before 'Iron Man' you didn't associate Robert Downey, Jr. and Gwyneth Paltrow with those kinds of films. There's an emphasis on repartee and wit.
There would be no Marvel without 'Swingers'; there would be no Jon Favreau directing 'Iron Man,' no Robert Downey Jr. playing Iron Man; no 'Avengers.'
It really lasted the whole game, because I was really untouchable, unstoppable that game. But it was heightened on one particular play, and that was the longest run where everything completely slowed down. My awareness was so keen, it was so heightened, it was really amazing.
The thing is, even if you're playing sort of a heightened character and playing inside sort of a heightened reality, you can still apply your own truths to those characters.
For me, the comedies that truly work are the ones that are grounded in some way. If it's all heightened, it's really hard. It's a little slippery. It's hard to get purchase on the side of the wall.
If you've seen 'Hustle' before, 'Hustle' is kind of like one degree over reality. It's always heightened, which makes it fun to watch in the way that they play it, in the way that stories are, even the way that it's shot - the camerawork is heightened and it's meant to do that.
I find something funny when it lives on many levels - a level of self-deprecation, of knowledge and heightened reality.
I want my job to include a little adventure, a little more of a heightened reality than what I'm actually living.
Remember that film 'Sliding Doors,' when John Hannah woos Gwyneth Paltrow by reciting Monty Python sketches? I can tell you now that doesn't work, so that film's wrong.
The frenzy of the little-girl culture is something very unique, and I can only say that because I was one. The obsession - I can't really explain it. Everything is heightened to the maximum.
I look for a sense of reality with everything I did. I didn't work in a studio, I didn't light anything. I found a way of working which pleased me because I didn't have to frighten people with heavy equipment. It was that little black box and me and £5 worth of film in my pocket or maybe it was only £2 in those days.
I want my job to include a little adventure, a little more of a heightened reality than what I'm actually living. And 'Castle' has that. He gets this opportunity to tail these homicide detectives, and he's driven by that. He's a little immature, but he's obviously loving life.
'Hannibal' is not reality; the whole show is not reality. It's heightened reality: they want music the entire time.
I was playing a lot of bigger, sort-of-comedic characters in slightly heightened realities, and it had been so fun and fulfilling for a long time. But it got to a point where I just felt like I didn't have that in me anymore.
That's just me wanting that supernatural tool to tell a story and also not wanting to be restricted by reality, with how we're telling a tale, because we are a heightened reality on Hannibal. There is a larger-than-life quality to the storytelling when it gets into particulars. I like the idea of being able to dismiss reality, depending on if we can sell it as part of the story.
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