A Quote by Michael Madsen
I do get cast in the same role a lot, but the truth is, I just want longevity. The thing is, I'd rather be stuck in a stereotype than be nowhere. The whole typecasting thing started because of 'Reservoir Dogs.' And I did a bunch of other films like 'Wyatt Earp' and 'Free Willy,' but no one seems to remember those.
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I watched 'Free Willy' probably 100 times. I nearly wore out the VHS tape. That movie was my introduction to Michael Madsen. When I finally saw 'Reservoir Dogs', I was like, 'That's the guy from 'Free Willy'!' - which is probably the wrong way around.
[Hollywood] studios are handing out money to make independent films now, but they all want the same thing. They want the style and the deadpan delivery of RESERVOIR DOGS or FARGO and so they imitate those movies. They want PULP FICTION, but they get it all wrong! They get the detachment, but that's it. And then it's all about style, and in the end what do you learn about the characters? Nothing. You learn you wasted two hours.
There is a sort of creative purity in an independent film, in the passion of the director, the passion of the crew. They're not getting a whole lot of money, so you know they are not there because they want to get rich. Instead, they are there because they want to make a movie. In the bigger films, I remember when I used to do those, it's just a job for a lot of people, so there is less of an intense energy devoted to the whole project.
There comes a point in every story where you have got a reservoir of knowledge, and you are then really just adding the substantial new facts to your understanding of it. That is the easiest situation, because you can call on that reservoir, but when you get a sudden story out of nowhere, like ebola, you don't have a reservoir of knowledge.
The great thing I think when you do independents is that people are really there for the same reason. They're not there because they got a lot of money and they want to just go home and get it over with. They're there because they believe in the script or the director or the cast or whatever it is, and they want to make it work.
I don't believe in typecasting. Just because all my characters may come from the other side of the tracks doesn't mean they are all the same. You don't stereotype people and generalize people, everyone's different.
Typecasting is an interesting thing because, in a way, if you're good at something, you're going to work at that thing. In other ways, you constantly have to change people's opinion of you as one thing, especially if you want to play different roles. You have to shatter that image sometimes.
It was a fun film. I had a great time doing it. I was looking for a role just like that for my first movie role. I didn't want to have a starring role, because I wanted a chance to learn. I didn't want the whole thing riding on me.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
Children recognize me from Free Willy (1993), and their parents recognize me from Reservoir Dogs (1992). The kids are, like, "There's Glen!" and the parents are, like, "Don't go near that guy!"
Yeah, like '300,' I've probably watched it 300 times. It's one of my favourite films. I've just finished watching 'Spartacus,' another great series. I relate a lot to those kind of films. I think most fighters should relate to those films. It just seems natural. I am Spartacus, I am Leonidas, I am the lead role in those films.
The casting is the most important thing. If you cast a picture really well a lot of things take care of themselves. You get actors that like to give a lot to the role and who appreciate the role on the same level that you do. If you miscast it, you're working an uphill battle a little bit and maybe you can come out okay but you can't always come out great.
I think George just nailed the whole thing, the whole time period, the whole look and feel of what that newsroom was like. I did a lot of research for the role and believe me, it's all pretty genuine, down to the very last cigarette butt.
I have this new theory about films. It's almost like astrology, where if we started on a Tuesday the film will be different than if we started on a Wednesday. Not because of the planets. It's that sometimes you start with the wrong balance and the whole thing gets messed up.
There were a lot of things I listened to, but so-called pop music never killed me, you know, the type of stuff that always seems to make it on the radio. The whole radio thing seems so... it's like they've accepted the whole "new wave" thing only because this kind of pop element came into it. In Europe they really love emotion, but here it's like, "let's stay away from it because we might cry or something".
As a movie fan, I remember Quentin Tarantino and Lawrence Bender and the sort of energy around 'Reservoir Dogs,' and the jump from 'Reservoir Dogs' to 'Pulp Fiction,' and how everybody was stoked on Quentin's career.
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