A Quote by Donald Sutherland
Joe Wright called me and I also had some trepidation along those lines but he said no, it would work. He had a very clear and specific idea of what he wanted to do.
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I wanted to get more serialized. I had this idea for an event that would click onto everybody's mortality. I said, "I want somebody to die." Fortunately for me, when I was toying with that idea, John Landgraf, who's the head of FX but also a very smart executive, came up with the idea of the ashes in the maracas. He called me up and said, "Listen, what about this, they get the ashes in a box and when they get them, they shake them and they sound like maracas." And I was like, "Okay, now I've got my throughline."
I remember [Joe] Lovano came around to me at that time [of Monk competition]. And I had taken some lessons with Joe and I had seen Joe on the scene. He had always been so great to me, such and inspiration and so kind. One lesson that I had with Joe was just amazing. I'm just such a fan and an admirer of his on every level. He was like, "Don't worry... you're just out here. You just do what you're doing. Don't worry if it doesn't make you a household name or anything."
Around '62 in Baltimore, all the girls had those big hairdos. And then suddenly, a few of the really hip ones started doing their hair straight. And people panicked. And it was called going 'Joe,' meaning Joe College. And people would say, 'I don't know. Should I be 'Joe'? I can't decide.'
When Veronica Mars was canceled, the following season of pilots for The CW had been announced, and one was Gossip Girl. I read it, and I knew I was sort of old to play any of the kids. I called Dawn Ostroff -- who was the head of The CW at the time -- and said, 'Hey, I did so much narration on Veronica Mars, can I narrate this show? And she said, 'Hey, that's a very good idea.' They knew I had a younger voice, they liked me and they knew I'd show up for work, and I guess that was all I really needed. It was so clear to me how sassy and catty she needed to be.
And I felt more like me than I ever had, as if the years I'd lived so far had formed layers of skin and muscle over myself that others saw as me when the real one had been underneath all along, and I knew writing- even writing badly- had peeled away those layers, and I knew then that if I wanted to stay awake and alive, if I wanted to stay me, I would have to keep writing.
The moment the doctor said he wanted to do a biopsy, in my heart I thought I'd probably got it. But I also know a lot of people who have also had prostate cancer, so I had a reasonably good idea what to expect.
Joe [Wright] reached out to me and sent me a treatment, and I said yes on the spot just from the treatment. Within six weeks, I was in Cape Town and there was a script [of Black Mirror episode 'Nosedive'], but I didn't realize until I received the full script that Rashida [Jones] and Michael [Schur] had worked on it. It's a particularly funny episode. Joe and I always looked at it as a satire; it has a lot of comedic elements to it.
I was lucky that I started very young, since I had a very clear idea of what I wanted to do. But my father is very conservative, and he never considered fashion to be a real career but something I could pursue as a hobby. He wanted me to be a doctor, and at one point, I thought of becoming a plastic surgeon.
The idea of collaborating with anyone else was quite daunting. If Battles had any trepidation in asking me, I can assure you I had more after agreeing to do it.
I have a lot of stories. I had done a thing called Nightmare in Red White and Blue, which was an anthology of horror films. I narrated it with a man named Joe Maddrey, who's a writer. He came to my house and said, "Lance would you consider doing this?," and I like Joe so much that I completely relaxed.
I wanted to do - there was this film called 'Magic' that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.
An actor had made a comment and said, 'You are so unapproachable.' He called me boring and said, 'You're no fun.' He also said, 'I don't know if I ever want to work with you again.' And I never worked with him after that film.
To those who call me a mercenary I say that I also had interest from abroad, where I would have earned more. I have chosen Milan because, in my head, there is the idea of repeating the course I had at Juventus, where we had started rebuilding, as in this case, and we came to the top.
Now, I'm not going to be misquoted on this like I have numerous times before, so I'll be quite clear. I've never said hitler was my hero, just that if he had focused on more than one race he would have had the right idea. Try to turn that one against me.
I always felt journalists had a very clear idea of what they wanted to write about me before the interview began.
If I wanted to be free, truly free, I had to choose. There were many points on the compass rose; I had to locate the few that were meant for me. Not any destination picked at random; I had to head for those that summoned me with a passion, for they were the ones that gave meaning to my life. I had to ignore the warnings of those who would tell me why I couldn't do what I wanted to do.
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