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Mickey Rourke
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Esquire Russia
2007
Photographer: Martin Schoeller
Девять лет назад, когда я продал и потерял все, что у меня было — и друзей, и мотоциклы, моя жена сказала мне: «Если я останусь с тобой, то снова начну жрать наркотики. Ты убиваешь меня своим непостоянством». Она была права. И она ушла. Я плакал как ребенок, умолял ее не уходить. Я даже отрезал себе мизинец, чтобы она не уходила. Я ходил по комнате, и кровь из меня хлестала, как из свиньи. Но смотрите — его пришили обратно!
Мой психотерапевт однажды сказал мне: «Микки, ты ведь не в Средневековье живешь. Тебе не обязательно ходить всюду в доспехах и с кучей оружия».
Я потерял дом, жену, доверие, окружение. Я потерял душу. Я остался один. Перестал звонить телефон. Я жил на 200 долларов в неделю. Впервые за много лет я стал сам ходить в супермаркет. Сейчас я привык к этому, но в первый раз, когда я оказался там, толкал эту долбаную тележку, пытался купить что-то на ужин… Очень часто я ходил в одну круглосуточную забегаловку, где торчали только геи, просто для того, чтобы никто не узнал меня.
Я живу в Лос-Анджелесе, самом скучном городе на свете. Я ненавижу его, но знаю, что в Лондоне или Нью-Йорке мне бы точно сорвало голову.
Лучше всего я чувствую себя с людьми улицы. Возьмите моего водителя. Я знаю его 15 лет. Перед тем как он стал моим водителем, он ограбил банк. Потом восемь лет сидел в тюрьме. Вот какие люди мне нравятся!
Очень долгое время все мои деньги уходили на психотерапевта. На этого мозгоправа уходило все! Первые два года я ходил к нему трижды в неделю. Потом я стал ходить к нему дважды в неделю. Теперь — только один раз. За шесть лет я пропустил всего две встречи.
Детства у меня не было. Отчасти потому, что я работал практически всю жизнь. Ну и по другим причинам. Когда я впервые добился успеха, я себя почувствовал как баллистическая ракета. Вот же оно, мое детство, вечеринка продолжается! Я ведь не слезал с мотоцикла целых десять лет.
Что касается женщин, я уже давно прошел через такой период, когда ты не хочешь просыпаться рядом с ней утром и готов пристрелить себя за то, что остался с ней вечером. Больше я себе такого не позволяю. Мой дом теперь — это просто образцовый монастырь.
Я люблю сниматься в кино, потому что здесь все зависит от тебя. Это не бизнес и не политика. Либо ты хороший актер, либо ты сосешь.
Я понимаю собак гораздо лучше, чем людей. Когда отец Локи (чихуахуа Рурка. — Esquire) умер, я был вне себя, я был в отчаянии. Я позвонил отцу Питеру в Нью-Йорк, и он сказал: «Всех, кого ты любишь с такой силой, ты обязательно увидишь снова». И это было как раз то, что я хотел услышать.
Я встречал Тупака (известный деятель хип-хопа, снявшийся вместе с Рурком в фильме «Пуля». — Esquire) много раз, и каждый раз это было очень забавно, потому что я редко встречал в своей жизни людей, которых действительно можно назвать плохими. А ведь я как раз из этой категории. Работать с Тупаком было здорово. Чертовски круто. Я смотрел на него и думал: «Да, этот ублюдок направит на меня пушку, спустит курок и не моргнет».
Мне нравится Роберт Родригес. Он бесстрашен, и ему на все насрать. Я как-то сказал о нем: «Роберт плавает в той воде, в которую еще никто не входил до него». Я уважаю это. А еще мне нравится его ковбойская шляпа.
Люди все еще спрашивают меня про «Девять с половиной недель». Недавно ко мне подошла одна девушка и говорит: «Это вы парень из того фильма?» Я говорю: «А тебе сколько лет-то?» Она говорит: «Восемнадцать». Я подумал и сказал: «Ну да, я этот парень». Наверное, я должен испытывать от этого какое-то удовольствие. Но каждый раз, когда кто-то упоминает об этом, мне хочется сказать: «Черт, о какой херне мы говорим!» Что касается «Девяти с половиной недель», то всегда найдется какой-то чувак, который скажет мне: «Я клево потрахался под твое кино» или «Одна девка тогда совершенно охренительно отсосала мне». Я слышал это не меньше десяти тысяч раз.
Мои критерии женской красоты просты. Это как при покупке лошади: мне не нравятся тонкие шеи и короткие ноги.
Спорт всегда доставлял мне больше удовольствия, чем кино. Я обожаю спорт. И я хочу успеть попробовать себя в чем-то новом раньше, чем по мне начнет скучать гериатрическое отделение. Боже, когда тебе за сорок, каким видом спорта ты можешь заняться? Рыбалкой что ли?
Я худший серфер в Калифорнии. Потому что мое умение держать равновесие идет из бокса.
Однажды я вышел на ринг против одного ямайца (в начале 1990-х, уйдя из кино, Рурк занялся профессиональным боксом. — Esquire). Дело было в Майами. Это был мой девятый бой или типа того. Чувак был как сталь. Я помню, что в первом раунде дал ему со всей силы правой, а он даже не моргнул. Я подумал: «Вот черт, вечер будет длинным». Но у меня было преимущество — я был дома. Помню, что в пятом раунде я плюхнулся в свой угол, и тренер сказал мне: «Черт возьми, тебе лучше вернуться в кино!» Потом он дал мне затрещину и добавил: «Иди и выруби его на хрен». Я практически сделал это. Но до сих пор не могу поверить, что тренер действительно сказал мне это.
У меня был чертовски долгий путь назад. Когда вы сидите на скамейке запасных целых десять лет — так, как сидел я, вам становится стыдно даже вполголоса сказать кому-то о своем возвращении. Я часто слышу: «У Траволты было громкое возвращение». Да, конечно, — он же не буянил 15 лет подряд. Его встречали с распростертыми объятиями.
Мне всегда казалось, что я должен достигнуть высот в чем-то очень специальном. Например, в банковских ограблениях.
В современном кино уровень насилия поднят очень высоко — выше уже нельзя. Когда я смотрю фильмы с Клинтом Иствудом или со Стивом Макквином, я понимаю, что это кино скорее об искуплении. А сейчас насилие в кино появляется только ради насилия.
Те сцены в кино, где нужно драться или прыгать, — самые сложные. Так что каждый раз, когда есть парень, готовый меня подменить, я предпочитаю заплатить деньги ему.
Между Тупаком и мной было много общего. Даже несмотря на то, что мы чертовски разные. Я не из мира хип-хопа, он не ездит на харлее. То, что нас объединяет, — это наше воспитание.
Бокс здорово повлиял на мой внешний вид. Когда нужно было чинить мой нос, этим докторам пришлось взять хрящ из моего уха, потому что в моем носу уже просто ничего не осталось.
У меня шесть маленьких собак: Локи, Шоколадка, Сумасшедшая красотка, Рубиновая красотка, Чернушка и Челюсти. Конечно, я не похож на любителя маленьких собачек. В Лондоне, когда мы снимали «Громобоя» (фильм 2006 года — Esquire), ко мне подошел один пьяный чувак и сказал: «Микки Рурк! Я тебе так скажу: ты стал сам похож на своих гребаных собачонок!» Я ничего не сказал этому мудаку. Похоже, его главная проблема — это чертовски маленький пенис.
Когда я говорю «пидор», я не пытаюсь никого унизить. В жизни не буду осторожничать только из-за того, что какой-то чувачок, видишь ли, может оскорбиться, если я скажу «пидор». У меня есть друзья и среди геев. Мы часто перекидываемся этим словом. Так что если я захочу сказать «пидор», я, вашу мать, скажу «пидор». А если у кого-то проблемы со словом «пидор», пускай поцелует меня промеж ягодиц.
Вынужден констатировать, что несколько ребят получили Оскаров за те роли, от которых я отказался.
Люди полагают, что я жру наркотики, размахиваю кулаками и все такое. Похоже, они думают, что по ночам у меня вырастают рога и хвост.
Кинобизнес — это куча конского говнища. Я знал ребят, которые были отличными актерами, но у них никогда не было работы. Я знал ребят, которые были звездами, но они даже не смогли бы сыграть говорящую какашку на детском утреннике. Так что у меня нет никакого уважения к кинобизнесу. Я уважаю только те доллары, которые мне платят.
Женщина гораздо сильнее мужчины. Когда женщина говорит «все, хватит», это значит «все, хватит». Мужчина всегда будет валяться у нее в ногах в надежде вернуть. Я валялся. И почему-то счастлив.
Я изменился. Но внутри меня есть что-то, что не изменится никогда. И если я на секунду ослаблю хоть одну пуговицу, ад вырвется из меня наружу.
У меня больше не будет шансов. Такие дела. Если я проебу свой шанс и на этот раз, мне останется только прыгнуть с самого высокого балкона. Люди часто спрашивают меня: «Какой из ваших фильмов вы считаете самым лучшим?» А я отвечаю им: «Эй, ублюдки, я свое лучшее кино еще не сделал!»
Возвращение — хорошее слово, чуваки.
sir-eddie-cook.livejournal.com
2007
Photographer: Martin Schoeller
Девять лет назад, когда я продал и потерял все, что у меня было — и друзей, и мотоциклы, моя жена сказала мне: «Если я останусь с тобой, то снова начну жрать наркотики. Ты убиваешь меня своим непостоянством». Она была права. И она ушла. Я плакал как ребенок, умолял ее не уходить. Я даже отрезал себе мизинец, чтобы она не уходила. Я ходил по комнате, и кровь из меня хлестала, как из свиньи. Но смотрите — его пришили обратно!
Мой психотерапевт однажды сказал мне: «Микки, ты ведь не в Средневековье живешь. Тебе не обязательно ходить всюду в доспехах и с кучей оружия».
Я потерял дом, жену, доверие, окружение. Я потерял душу. Я остался один. Перестал звонить телефон. Я жил на 200 долларов в неделю. Впервые за много лет я стал сам ходить в супермаркет. Сейчас я привык к этому, но в первый раз, когда я оказался там, толкал эту долбаную тележку, пытался купить что-то на ужин… Очень часто я ходил в одну круглосуточную забегаловку, где торчали только геи, просто для того, чтобы никто не узнал меня.
Я живу в Лос-Анджелесе, самом скучном городе на свете. Я ненавижу его, но знаю, что в Лондоне или Нью-Йорке мне бы точно сорвало голову.
Лучше всего я чувствую себя с людьми улицы. Возьмите моего водителя. Я знаю его 15 лет. Перед тем как он стал моим водителем, он ограбил банк. Потом восемь лет сидел в тюрьме. Вот какие люди мне нравятся!
Очень долгое время все мои деньги уходили на психотерапевта. На этого мозгоправа уходило все! Первые два года я ходил к нему трижды в неделю. Потом я стал ходить к нему дважды в неделю. Теперь — только один раз. За шесть лет я пропустил всего две встречи.
Детства у меня не было. Отчасти потому, что я работал практически всю жизнь. Ну и по другим причинам. Когда я впервые добился успеха, я себя почувствовал как баллистическая ракета. Вот же оно, мое детство, вечеринка продолжается! Я ведь не слезал с мотоцикла целых десять лет.
Что касается женщин, я уже давно прошел через такой период, когда ты не хочешь просыпаться рядом с ней утром и готов пристрелить себя за то, что остался с ней вечером. Больше я себе такого не позволяю. Мой дом теперь — это просто образцовый монастырь.
Я люблю сниматься в кино, потому что здесь все зависит от тебя. Это не бизнес и не политика. Либо ты хороший актер, либо ты сосешь.
Я понимаю собак гораздо лучше, чем людей. Когда отец Локи (чихуахуа Рурка. — Esquire) умер, я был вне себя, я был в отчаянии. Я позвонил отцу Питеру в Нью-Йорк, и он сказал: «Всех, кого ты любишь с такой силой, ты обязательно увидишь снова». И это было как раз то, что я хотел услышать.
Я встречал Тупака (известный деятель хип-хопа, снявшийся вместе с Рурком в фильме «Пуля». — Esquire) много раз, и каждый раз это было очень забавно, потому что я редко встречал в своей жизни людей, которых действительно можно назвать плохими. А ведь я как раз из этой категории. Работать с Тупаком было здорово. Чертовски круто. Я смотрел на него и думал: «Да, этот ублюдок направит на меня пушку, спустит курок и не моргнет».
Мне нравится Роберт Родригес. Он бесстрашен, и ему на все насрать. Я как-то сказал о нем: «Роберт плавает в той воде, в которую еще никто не входил до него». Я уважаю это. А еще мне нравится его ковбойская шляпа.
Люди все еще спрашивают меня про «Девять с половиной недель». Недавно ко мне подошла одна девушка и говорит: «Это вы парень из того фильма?» Я говорю: «А тебе сколько лет-то?» Она говорит: «Восемнадцать». Я подумал и сказал: «Ну да, я этот парень». Наверное, я должен испытывать от этого какое-то удовольствие. Но каждый раз, когда кто-то упоминает об этом, мне хочется сказать: «Черт, о какой херне мы говорим!» Что касается «Девяти с половиной недель», то всегда найдется какой-то чувак, который скажет мне: «Я клево потрахался под твое кино» или «Одна девка тогда совершенно охренительно отсосала мне». Я слышал это не меньше десяти тысяч раз.
Мои критерии женской красоты просты. Это как при покупке лошади: мне не нравятся тонкие шеи и короткие ноги.
Спорт всегда доставлял мне больше удовольствия, чем кино. Я обожаю спорт. И я хочу успеть попробовать себя в чем-то новом раньше, чем по мне начнет скучать гериатрическое отделение. Боже, когда тебе за сорок, каким видом спорта ты можешь заняться? Рыбалкой что ли?
Я худший серфер в Калифорнии. Потому что мое умение держать равновесие идет из бокса.
Однажды я вышел на ринг против одного ямайца (в начале 1990-х, уйдя из кино, Рурк занялся профессиональным боксом. — Esquire). Дело было в Майами. Это был мой девятый бой или типа того. Чувак был как сталь. Я помню, что в первом раунде дал ему со всей силы правой, а он даже не моргнул. Я подумал: «Вот черт, вечер будет длинным». Но у меня было преимущество — я был дома. Помню, что в пятом раунде я плюхнулся в свой угол, и тренер сказал мне: «Черт возьми, тебе лучше вернуться в кино!» Потом он дал мне затрещину и добавил: «Иди и выруби его на хрен». Я практически сделал это. Но до сих пор не могу поверить, что тренер действительно сказал мне это.
У меня был чертовски долгий путь назад. Когда вы сидите на скамейке запасных целых десять лет — так, как сидел я, вам становится стыдно даже вполголоса сказать кому-то о своем возвращении. Я часто слышу: «У Траволты было громкое возвращение». Да, конечно, — он же не буянил 15 лет подряд. Его встречали с распростертыми объятиями.
Мне всегда казалось, что я должен достигнуть высот в чем-то очень специальном. Например, в банковских ограблениях.
В современном кино уровень насилия поднят очень высоко — выше уже нельзя. Когда я смотрю фильмы с Клинтом Иствудом или со Стивом Макквином, я понимаю, что это кино скорее об искуплении. А сейчас насилие в кино появляется только ради насилия.
Те сцены в кино, где нужно драться или прыгать, — самые сложные. Так что каждый раз, когда есть парень, готовый меня подменить, я предпочитаю заплатить деньги ему.
Между Тупаком и мной было много общего. Даже несмотря на то, что мы чертовски разные. Я не из мира хип-хопа, он не ездит на харлее. То, что нас объединяет, — это наше воспитание.
Бокс здорово повлиял на мой внешний вид. Когда нужно было чинить мой нос, этим докторам пришлось взять хрящ из моего уха, потому что в моем носу уже просто ничего не осталось.
У меня шесть маленьких собак: Локи, Шоколадка, Сумасшедшая красотка, Рубиновая красотка, Чернушка и Челюсти. Конечно, я не похож на любителя маленьких собачек. В Лондоне, когда мы снимали «Громобоя» (фильм 2006 года — Esquire), ко мне подошел один пьяный чувак и сказал: «Микки Рурк! Я тебе так скажу: ты стал сам похож на своих гребаных собачонок!» Я ничего не сказал этому мудаку. Похоже, его главная проблема — это чертовски маленький пенис.
Когда я говорю «пидор», я не пытаюсь никого унизить. В жизни не буду осторожничать только из-за того, что какой-то чувачок, видишь ли, может оскорбиться, если я скажу «пидор». У меня есть друзья и среди геев. Мы часто перекидываемся этим словом. Так что если я захочу сказать «пидор», я, вашу мать, скажу «пидор». А если у кого-то проблемы со словом «пидор», пускай поцелует меня промеж ягодиц.
Вынужден констатировать, что несколько ребят получили Оскаров за те роли, от которых я отказался.
Люди полагают, что я жру наркотики, размахиваю кулаками и все такое. Похоже, они думают, что по ночам у меня вырастают рога и хвост.
Кинобизнес — это куча конского говнища. Я знал ребят, которые были отличными актерами, но у них никогда не было работы. Я знал ребят, которые были звездами, но они даже не смогли бы сыграть говорящую какашку на детском утреннике. Так что у меня нет никакого уважения к кинобизнесу. Я уважаю только те доллары, которые мне платят.
Женщина гораздо сильнее мужчины. Когда женщина говорит «все, хватит», это значит «все, хватит». Мужчина всегда будет валяться у нее в ногах в надежде вернуть. Я валялся. И почему-то счастлив.
Я изменился. Но внутри меня есть что-то, что не изменится никогда. И если я на секунду ослаблю хоть одну пуговицу, ад вырвется из меня наружу.
У меня больше не будет шансов. Такие дела. Если я проебу свой шанс и на этот раз, мне останется только прыгнуть с самого высокого балкона. Люди часто спрашивают меня: «Какой из ваших фильмов вы считаете самым лучшим?» А я отвечаю им: «Эй, ублюдки, я свое лучшее кино еще не сделал!»
Возвращение — хорошее слово, чуваки.
sir-eddie-cook.livejournal.com
Best Villain
Christoph Waltz, The Green Hornet
Leighton Meester, The Roommate
Mickey Rourke, Iron Man 2
Ned Beatty, Toy Story 3
Tom Felton, Harry Potter and the Deathly Hallows: Part 1
Mickey Rourke
Iron Man 2 Directed by Jon Favreau
Mickey Rourke takes revenge, and the meaning of whiplash, to a whole new level as the newest arch-enemy in 'Iron Man 2.'
* VOTE HERE *
mtv.com
Living in Oblivion
Hollywood's bad boy emeritus talks about his ties to John Gotti, blowing his career, and the b*tch who split his lip
By Jebediah Reed
RADAR: You've said your favorite among your films is The Pope of Greenwich Village. It's kind of like Little Italy's version of
Midnight Cowboy.
The Pope Of Greenwich Village (1984)
mooninthegutter.blogspot.com
MICKEY ROURKE: We shot that back when there was actually a Little Italy. Which, you know, there really isn't anymore.
Since it's become a theme park?
Well, right. The Italians don't live there now. You can have a pizza, but that's about it. It was nice back then because you had all the old timers. Stuart [Rosenberg] was able to capture that ambiance using good old-time actors. Tony Musante and other guys. It was probably the most fun I've had on a movie.
Did you get to know the neighborhood pretty well?
Well, let's put it this way: I made certain associations with people. I met some really interesting, shady characters that I maintained relationships with until I went to therapy. But I don't want to get into that too much.
Understood. You've been very diligent about the therapy though, haven't you?
Yeah. It was something that I was totally against. But, Jesus, I needed to go. I knew I was a little out there, but I didn't realize my **** was crazy till my doctor told me. Listen, I changed. But there is still something inside of me that is never going to change. If those buttons are pushed, all hell is still going to break loose.
Since you returned to acting, there's lots of discussion about whether you're "reformed." Do you ever feel like people just want you to become a boring schlub?
People see that whatever-you-want-to-call-it in me and it scares a lot of them. But if I have that in me and I'm not putting my hand through someone's head, then they should chill the **** out. The guys who are afraid are the ones who were around when I was just starting out. The younger directors like Rodriguez and Aronofsky that I'm working with now aren't afraid of it. I also just recently got offered a Tarantino movie that I didn't—that I chose not to do.
After turning down Pulp Fiction, why did you pass up the opportunity to work with Tarantino on his latest project, Grindhouse?
You know what? He hasn't made any comments about it. And until he makes a comment about it, I'm not going to say anything. It just didn't work out. And I hope that's what he has to say. I'm just going to wait.
Do you still feel drawn to outlaw characters like Tupac?
Yeah. Tupac and I had a lot in common, even though we were very ****ing different. You know, I don't come from the hip-hop world. But we both had a certain upbringing.
Bullet (1996)
kat.ph
Have you heard about John Gotti's prison uniform? Somebody's giving it away in postage-stamp-sized squares.
So, I guess you know that we were friends. Is that right?
There's been speculation.
You know what? I had a relationship with John that was like—if I wanted to do research on that lifestyle, or whatever you want to call it, he was there for me. You know what I'm saying?
Sure.
I'll give you an example. We were watching a soccer game one time during the World Cup, and Italy and Ireland were playing. I said, "John"—because he, you know, liked to gamble—I said, "I'll take Ireland." And Italy was favored up the ***, right? But Ireland ended up winning the ****ing game. And before that I said to John, "What do you want to bet? Ten grand? Whatever? Whatever you want to do." He says, "No, no. I'm never going to take your money. Let's bet watches." Right? I'll tell you something. His friends came over three weeks later and brought me the most beautiful ****ing watch I've ever seen. Autographed, "To Mick, All the best. JG."
So he was a good friend?
Listen, I don't know what the **** he did behind closed doors. But the fact that he goes, "I'm not gonna take your money"—see, because I was supposed to lose that ****ing bet. I would have bought him a really nice watch, but it probably would have been $10,000 less than the one he bought me.
So that was part of your research?
What I'm trying to say to you is, back when I was a lot younger and doing Pope, I was very, very interested in that lifestyle. You know? Very curious about that whole world. He opened doors you don't ****ing want to walk into. Let me tell you something, brother, it wasn't all roses.
It sounds like you got gored by Sammy the Bull.
[Long pause] No.
In any case, you had a Catholic background in common with those guys.
Yeah, I'm Irish and French.
The practicing Catholics I know are either traditionalists or they've had a religious experience. What's the draw for you?
It's changed a lot for me. I went to Catholic school for a few years with the nuns and all that stuff. It goes way deep in your brain when they crack you on the knuckles with a ruler. But there were times when my younger brother was very ill and he was supposed to die, and my grandmother told me what saint to pray to. Each time he was supposed to die, he ended up living. So it became something in my life that was very important to me. Every few years Joe would get sick and—bing!—it would be right back to the saint.
But that changed at some point?
He died a year and a half ago. That's why I say that stuff was a part of my life. I've had a hard time with my beliefs because of the way he died [cancer] and how he suffered. Having my kid brother die in my arms and just seeing the life go out of him, it was ... it was ... Joey was my younger brother. The way my mind works, your kid brother isn't supposed to die first.
Does the suffering in your own life incline you to reach out to the less fortunate?
The only thing I do in that area is work with rescued dogs in shelters, try and find them homes. Mainly Chihuahuas.
You and Chihuahuas. What's the attraction?
I always had big dogs. Then my [ex-] wife brought home a Chihuahua. It had a cough that night. I remember going down to the kitchen and sleeping with the dog, holding her. I felt bad for her. Man, that was sixteen years ago, and I've had Chihuahuas ever since. Here's how I got my dog Jaws: I went down to the animal rescue place in L.A. They have all these dogs that they're going to put to sleep because they're all products of incest—****ed up that way. They're all violent b*tches. I picked this dog up to look at him, and he bit me on the lip. There was blood all over the place and stuff—it needed stitches. Swollen out to here. Then I saw the name on the cage was Little Mickey. I couldn't believe it. I looked at him and said, "Mother****er...." Then I turned to the lady and said, "I'll take him." What really got to me though ... he would sit in the chair across the room from my bed. All the other dogs would be in my bed and then about two in the morning, he would scream. I thought, What the ****?
Mickey Rourke with his beloved dog Jaws.
Mickey's PETA ad: "When dogs get knocked up, puppies get put down because there aren't enough homes for them."
aceshowbiz.com
What do you think was the problem?
See, these damaged dogs—they're like people. I know damn well when I look in this dog's eyes that somebody abused him—beat the **** out of this little guy for years. I know about that stuff from my own life. But he's not even that little. He's the most muscular Chihuahua you've ever seen.
Do you have him on 'roids?
No, but he looks like a mini pit bull. And he's got the biggest ****ing teeth for a Chihuahua.
So the dogs are your support system?
I come home and I've got five dogs here, and they've all got different personalities. It's almost like I've got a—almost like five friends I come home to. I've lived alone for almost ten years, and it's really nice. As much as they need me, I need them.
flamingnose.blogspot.com
One of your most famous roles is Henry Chinaski in Barfly. How was that film to make?
The director [Barbet Schroeder] was kind of an *******, but the project was very interesting. Bukowski was on the set. I liked Charlie. Charlie was cool with me. I was never a Bukowski fanatic or anything. I did enjoy reading a few of his books, but, you know, it wasn't like he was Tennessee Williams to me.
Barfly (1987)
freemoviedb.com
Bukowski and Williams were both big drinkers. You never were, right?
Well, no. My father died from drinking at 47 years old. His brothers died from drinking in their thirties and forties. My grandpa and his father in their late thirties. I didn't want to make a movie about anything having to do with drinking or glorifying it. The director kept chasing me around for 12 months, and I kept saying no. I just wasn't interested in the material. I didn't even know who Bukowski was, to tell you the truth. But I read a couple of his books, and when I didn't have a project I gave it some thought and ended up doing it.
Who was a better Chinaski—Matt Dillon in Factotum, or you?
I haven't seen that movie.
We should talk about Stormbreaker, this new kids' movie you're in....
Aw, God. Oh. I was afraid of that. Well, I can say that I liked being in London. It was almost like, Should I just hang out in London and raise hell, or should I go to work a couple days a week?
Make some money.
Exactly.
You play a billionaire in the mold of a James Bond villain. You dress in silk, walk with a very elegant cane, and keep a toothpick in your mouth. I'm guessing the toothpick was your touch?
I don't really work with wardrobe people—I like to do it myself. The toothpick I didn't remember till you brought it up. Yeah, I wanted the toothpick. And I'll tell you where the cane came from: Two weeks before the movie started, I had my appendix taken out, and I was really weak because they had to do it twice—
Take your appendix out twice? That sucks.
And I couldn't walk either. I was in the hospital, and I'm thinking, Aw, ****, I've gotta go to work in two weeks. I started walking with a cane. Then I read the script and thought, Might as well keep it.
You were definitely the high point of the movie.
I knew before I did this movie that I was going to work with John Madden on Killshot [based on the Elmore Leonard novel]. I think that movie is the best work I've done for 15 years. ****ing guy is just incredible to work with. So I felt like it was okay to just have fun doing this other thing. But, I mean, I don't want to knock it. That would be Old Mickey.
Killshot (2008)
filmofilia.com
sir-eddie-cook.livejournal.com
Hollywood's bad boy emeritus talks about his ties to John Gotti, blowing his career, and the b*tch who split his lip
By Jebediah Reed
RADAR: You've said your favorite among your films is The Pope of Greenwich Village. It's kind of like Little Italy's version of
Midnight Cowboy.
The Pope Of Greenwich Village (1984)
mooninthegutter.blogspot.com
MICKEY ROURKE: We shot that back when there was actually a Little Italy. Which, you know, there really isn't anymore.
Since it's become a theme park?
Well, right. The Italians don't live there now. You can have a pizza, but that's about it. It was nice back then because you had all the old timers. Stuart [Rosenberg] was able to capture that ambiance using good old-time actors. Tony Musante and other guys. It was probably the most fun I've had on a movie.
Did you get to know the neighborhood pretty well?
Well, let's put it this way: I made certain associations with people. I met some really interesting, shady characters that I maintained relationships with until I went to therapy. But I don't want to get into that too much.
Understood. You've been very diligent about the therapy though, haven't you?
Yeah. It was something that I was totally against. But, Jesus, I needed to go. I knew I was a little out there, but I didn't realize my **** was crazy till my doctor told me. Listen, I changed. But there is still something inside of me that is never going to change. If those buttons are pushed, all hell is still going to break loose.
Since you returned to acting, there's lots of discussion about whether you're "reformed." Do you ever feel like people just want you to become a boring schlub?
People see that whatever-you-want-to-call-it in me and it scares a lot of them. But if I have that in me and I'm not putting my hand through someone's head, then they should chill the **** out. The guys who are afraid are the ones who were around when I was just starting out. The younger directors like Rodriguez and Aronofsky that I'm working with now aren't afraid of it. I also just recently got offered a Tarantino movie that I didn't—that I chose not to do.
After turning down Pulp Fiction, why did you pass up the opportunity to work with Tarantino on his latest project, Grindhouse?
You know what? He hasn't made any comments about it. And until he makes a comment about it, I'm not going to say anything. It just didn't work out. And I hope that's what he has to say. I'm just going to wait.
Do you still feel drawn to outlaw characters like Tupac?
Yeah. Tupac and I had a lot in common, even though we were very ****ing different. You know, I don't come from the hip-hop world. But we both had a certain upbringing.
Bullet (1996)
kat.ph
Have you heard about John Gotti's prison uniform? Somebody's giving it away in postage-stamp-sized squares.
So, I guess you know that we were friends. Is that right?
There's been speculation.
You know what? I had a relationship with John that was like—if I wanted to do research on that lifestyle, or whatever you want to call it, he was there for me. You know what I'm saying?
Sure.
I'll give you an example. We were watching a soccer game one time during the World Cup, and Italy and Ireland were playing. I said, "John"—because he, you know, liked to gamble—I said, "I'll take Ireland." And Italy was favored up the ***, right? But Ireland ended up winning the ****ing game. And before that I said to John, "What do you want to bet? Ten grand? Whatever? Whatever you want to do." He says, "No, no. I'm never going to take your money. Let's bet watches." Right? I'll tell you something. His friends came over three weeks later and brought me the most beautiful ****ing watch I've ever seen. Autographed, "To Mick, All the best. JG."
So he was a good friend?
Listen, I don't know what the **** he did behind closed doors. But the fact that he goes, "I'm not gonna take your money"—see, because I was supposed to lose that ****ing bet. I would have bought him a really nice watch, but it probably would have been $10,000 less than the one he bought me.
So that was part of your research?
What I'm trying to say to you is, back when I was a lot younger and doing Pope, I was very, very interested in that lifestyle. You know? Very curious about that whole world. He opened doors you don't ****ing want to walk into. Let me tell you something, brother, it wasn't all roses.
It sounds like you got gored by Sammy the Bull.
[Long pause] No.
In any case, you had a Catholic background in common with those guys.
Yeah, I'm Irish and French.
The practicing Catholics I know are either traditionalists or they've had a religious experience. What's the draw for you?
It's changed a lot for me. I went to Catholic school for a few years with the nuns and all that stuff. It goes way deep in your brain when they crack you on the knuckles with a ruler. But there were times when my younger brother was very ill and he was supposed to die, and my grandmother told me what saint to pray to. Each time he was supposed to die, he ended up living. So it became something in my life that was very important to me. Every few years Joe would get sick and—bing!—it would be right back to the saint.
But that changed at some point?
He died a year and a half ago. That's why I say that stuff was a part of my life. I've had a hard time with my beliefs because of the way he died [cancer] and how he suffered. Having my kid brother die in my arms and just seeing the life go out of him, it was ... it was ... Joey was my younger brother. The way my mind works, your kid brother isn't supposed to die first.
Does the suffering in your own life incline you to reach out to the less fortunate?
The only thing I do in that area is work with rescued dogs in shelters, try and find them homes. Mainly Chihuahuas.
You and Chihuahuas. What's the attraction?
I always had big dogs. Then my [ex-] wife brought home a Chihuahua. It had a cough that night. I remember going down to the kitchen and sleeping with the dog, holding her. I felt bad for her. Man, that was sixteen years ago, and I've had Chihuahuas ever since. Here's how I got my dog Jaws: I went down to the animal rescue place in L.A. They have all these dogs that they're going to put to sleep because they're all products of incest—****ed up that way. They're all violent b*tches. I picked this dog up to look at him, and he bit me on the lip. There was blood all over the place and stuff—it needed stitches. Swollen out to here. Then I saw the name on the cage was Little Mickey. I couldn't believe it. I looked at him and said, "Mother****er...." Then I turned to the lady and said, "I'll take him." What really got to me though ... he would sit in the chair across the room from my bed. All the other dogs would be in my bed and then about two in the morning, he would scream. I thought, What the ****?
Mickey Rourke with his beloved dog Jaws.
Mickey's PETA ad: "When dogs get knocked up, puppies get put down because there aren't enough homes for them."
aceshowbiz.com
What do you think was the problem?
See, these damaged dogs—they're like people. I know damn well when I look in this dog's eyes that somebody abused him—beat the **** out of this little guy for years. I know about that stuff from my own life. But he's not even that little. He's the most muscular Chihuahua you've ever seen.
Do you have him on 'roids?
No, but he looks like a mini pit bull. And he's got the biggest ****ing teeth for a Chihuahua.
So the dogs are your support system?
I come home and I've got five dogs here, and they've all got different personalities. It's almost like I've got a—almost like five friends I come home to. I've lived alone for almost ten years, and it's really nice. As much as they need me, I need them.
flamingnose.blogspot.com
One of your most famous roles is Henry Chinaski in Barfly. How was that film to make?
The director [Barbet Schroeder] was kind of an *******, but the project was very interesting. Bukowski was on the set. I liked Charlie. Charlie was cool with me. I was never a Bukowski fanatic or anything. I did enjoy reading a few of his books, but, you know, it wasn't like he was Tennessee Williams to me.
Barfly (1987)
freemoviedb.com
Bukowski and Williams were both big drinkers. You never were, right?
Well, no. My father died from drinking at 47 years old. His brothers died from drinking in their thirties and forties. My grandpa and his father in their late thirties. I didn't want to make a movie about anything having to do with drinking or glorifying it. The director kept chasing me around for 12 months, and I kept saying no. I just wasn't interested in the material. I didn't even know who Bukowski was, to tell you the truth. But I read a couple of his books, and when I didn't have a project I gave it some thought and ended up doing it.
Who was a better Chinaski—Matt Dillon in Factotum, or you?
I haven't seen that movie.
We should talk about Stormbreaker, this new kids' movie you're in....
Aw, God. Oh. I was afraid of that. Well, I can say that I liked being in London. It was almost like, Should I just hang out in London and raise hell, or should I go to work a couple days a week?
Make some money.
Exactly.
You play a billionaire in the mold of a James Bond villain. You dress in silk, walk with a very elegant cane, and keep a toothpick in your mouth. I'm guessing the toothpick was your touch?
I don't really work with wardrobe people—I like to do it myself. The toothpick I didn't remember till you brought it up. Yeah, I wanted the toothpick. And I'll tell you where the cane came from: Two weeks before the movie started, I had my appendix taken out, and I was really weak because they had to do it twice—
Take your appendix out twice? That sucks.
And I couldn't walk either. I was in the hospital, and I'm thinking, Aw, ****, I've gotta go to work in two weeks. I started walking with a cane. Then I read the script and thought, Might as well keep it.
You were definitely the high point of the movie.
I knew before I did this movie that I was going to work with John Madden on Killshot [based on the Elmore Leonard novel]. I think that movie is the best work I've done for 15 years. ****ing guy is just incredible to work with. So I felt like it was okay to just have fun doing this other thing. But, I mean, I don't want to knock it. That would be Old Mickey.
Killshot (2008)
filmofilia.com
sir-eddie-cook.livejournal.com
Mickey Rourke On Charlie Rose
February 12, 2009
Watch full interview here:
A conversation with Mickey Rourke
on Thursday, February 12, 2009
Duration: 53:40 min
http://www.charlierose.com/view/interview/10077
February 12, 2009
Watch full interview here:
A conversation with Mickey Rourke
on Thursday, February 12, 2009
Duration: 53:40 min
http://www.charlierose.com/view/interview/10077Q&A: Mitch Glazer on Megan Fox, Mickey Rourke, and His New Miami Gangster Series
by Krista Smith
Mitch Glazer and Mickey Rourke. Courtesy of Lorey Sebastian/Image Entertainment.
Mitch Glazer and Mickey Rourke. Courtesy of Lorey Sebastian/Image Entertainment.
Full interview here: vanityfair.com
Let's talk about Passion Play, which is opening this weekend.
Yeah, the score is in, they’ve tightened it up—it’s a generation different [from the version that screened at the Toronto Film Festival]. It’s exactly the movie I wanted to make, with the people I wanted to make it with. Bill Murray, bless his heart, has been so incredibly supportive.
How long have you guys known each other?
I met him the second week he was on Saturday Night Live, in 1976, and I was introduced to him by John Belushi, who was a good friend. John introduced me to Bill by saying, “Mitch, this is Billy. The new kid.” But I didn’t write for him until Scrooged, 10 years later.
Were you a screenwriter at that point?
I was writing for magazines. I wrote for Rolling Stone, and when I met [Murray] I was still at a magazine that [Vanity Fair editor] Graydon [Carter] loves to torture me about, but that I love, called Crawdaddy. I put Belushi on the cover, and I’m pretty sure that’s around the time that I met Billy.
Crawdaddy gives you serious hipster cred. Street cred.
That’s what I’ve been trying to tell your boss.
We know how difficult it is to get a movie made, from having the idea to casting, financing, shooting, and completion. That’s no small feat. And with this kind of cast—I mean, how did you go about approaching Mickey Rourke?
I’ve known him since high school, since we were 15. We have been friends. There were the missing years, of course, when he was just too nuts to connect with. But he was a year younger than me in high school, and my high school was basically 70 percent Jewish, 30 percent Cuban, and Mickey. So it was kind of a dream: I had Mickey and Billy and Kelly—amazing actors all, and of course Rhys [Ifans] and Megan [Fox]. It was a responsibility, because I didn’t want to let any of them down, but it was also a joy. There is a moment in the movie where Billy and Mickey are sharing a banquette together and I was watching and going, “God, this is wild, two guys that have just been nominated for best actor a year apart”—both lost to Sean Penn, I might add—“and they are two guys I have known forever and two of my favorite actors.”
Murray was incredible. There was another actor cast who got cold feet literally three days into shooting and decided he couldn’t actually play opposite Mickey. He worshipped Mickey Rourke and just didn’t think he was good enough. So over Christmas, Billy called and said, “How’s it goin?” And I said, “It’s great, except this guy bailed on me,” and he said, “What role?” I said “The villain.” And he said, “Could I do it?” I went, “Yeah, absolutely!” So I sent him the script and on Christmas Day, like a gift, he called and said, “When do you want me?”
That’s so great.
Yeah, I almost burst into tears.
Whenever I see him on-screen, it makes me want to see more of him on-screen.
He scared Mickey to death. Just how odd a villain he was. He wore my glasses, because he wanted to have a different look.
Those were yours? They were your prescription and everything?
Completely! And completely opposite his, and he wore them in every scene.
I love Bill Murray.
He’s the best. And you know, Mickey brings all his—the full jolt of his talent and personality. We were about to do a scene with him and Billy and Megan, and I said, “I think the first time you acted was with my sister, Amy,” and he turned to me and said, “Yeah, and I slept with her.” I went, “What? You slept with my sister? When?” And he said, “Senior year.” I said, “No one told me!” So I had to call my sister and said, “You ****ed Mickey Rourke?!” She said, “We didn’t want to upset you.” I said, “I’m upset. I’m upset right now!” This is 40 years ago and I’m furious. [Laughs.]
Your mother, Zelda Glazer, taught at your high school, didn’t she?
Yeah. And that’s a sweet part of this. You know, she was killed four years ago in a car accident, and Mickey flew down to be there, because she had changed his life. Literally. She showed him A Place in the Sun in class and he woke up for the first time that year. He decided to be an actor because of her. I dedicated the movie to her, but it was nice for me and Mickey to have a chance to celebrate her as well, together.
In Hollywood, it’s amazing to have relationships that last so long. In the end, those are always the relationships that come through for you.
Every time. And you know, Megan was so stand-up. I had never seen Transformers. I saw a few scenes from Jennifer’s Body, and that’s it. And then I had lunch with her at Little Dom’s. I was looking for Gene Tierney or Ava Gardner, and I’ve never seen anything like it. She felt vulnerable and really got the character and I just decided: She’s it. I didn’t realize the level of her Internet fame and that whole thing—it’s an age thing for me. I just didn’t get it. For me she was just this incredible face and this timeless, iconic-looking woman. Then she gets on set and Mickey pulls me aside“Mitchell,” he says, “she’s ****ing amazing! Oh my God, it’s going to be so good!” after their first scene.
She holds her own with those two giants.
And both of them will tell you that. I mean, they are generous actors but they are terrifying, and if she couldn’t keep up Mickey would have dropped her on the spot.
When you were a young journalist, did you ever imagine that you’d end up in Hollywood directing? And living this kind of life?
Somewhat. It was such a hurricane of a time. Belushi and I became close in September of the second year of Saturday Night Live, and it was like jumping into this whirlwind.
I can’t even imagine.
It was amazing. And I knew it at the time. I wrote the liner notes for the first Blues Brothers album and helped put the band together with John, and it was so special that it wasn’t like I look back and think, God, I wish I had known it. I did. I remember saying to people, “This is insane, this I great.” I was like that big kid in Animal House.
I’m waiting for the book.
Someday!
And then you married the girl from Drugstore Cowboy.
That was our second date. The premiere of that movie. You can imagine that. I was already crazy about her, but it was our second official date and we go to the premiere and I knew nothing about the movie, had never seen a frame of her work. And my first thought was, Oh my God, what if she’s not good? You know, you want to love the talent of the person you’re in love with. So the lights go down and there’s that panic. And then 30 seconds into Drugstore Cowboy, I went: I’m so not worthy. She’s so good, I can’t even ****ing believe it.
I think she’s Mickey’s favorite actress, truthfully. He kept saying, “So, Mitchell, Kelly’s going to be a stripper, right?” And I said, “No, no, she’s a bartender.” And he said, “Yeah, yeah, but she’s like a bartender-stripper.” And I went, “No, she’s just a bartender!” And then he finally went, “I think she should be a bartender-stripper.” And I realized he just wanted her to get her clothes off. And I did it! [Laughs.]
Well, she looks great. If there’s anyone that can pull it off, she certainly can pull it off.
I put her in feathers and he was very happy about it.
Passion Play opens in limited release this weekend.
vanityfair.com
by Krista Smith
Mitch Glazer and Mickey Rourke. Courtesy of Lorey Sebastian/Image Entertainment.
Mitch Glazer and Mickey Rourke. Courtesy of Lorey Sebastian/Image Entertainment.
Full interview here: vanityfair.com Let's talk about Passion Play, which is opening this weekend.
Yeah, the score is in, they’ve tightened it up—it’s a generation different [from the version that screened at the Toronto Film Festival]. It’s exactly the movie I wanted to make, with the people I wanted to make it with. Bill Murray, bless his heart, has been so incredibly supportive.
How long have you guys known each other?
I met him the second week he was on Saturday Night Live, in 1976, and I was introduced to him by John Belushi, who was a good friend. John introduced me to Bill by saying, “Mitch, this is Billy. The new kid.” But I didn’t write for him until Scrooged, 10 years later.
Were you a screenwriter at that point?
I was writing for magazines. I wrote for Rolling Stone, and when I met [Murray] I was still at a magazine that [Vanity Fair editor] Graydon [Carter] loves to torture me about, but that I love, called Crawdaddy. I put Belushi on the cover, and I’m pretty sure that’s around the time that I met Billy.
Crawdaddy gives you serious hipster cred. Street cred.
That’s what I’ve been trying to tell your boss.
We know how difficult it is to get a movie made, from having the idea to casting, financing, shooting, and completion. That’s no small feat. And with this kind of cast—I mean, how did you go about approaching Mickey Rourke?
I’ve known him since high school, since we were 15. We have been friends. There were the missing years, of course, when he was just too nuts to connect with. But he was a year younger than me in high school, and my high school was basically 70 percent Jewish, 30 percent Cuban, and Mickey. So it was kind of a dream: I had Mickey and Billy and Kelly—amazing actors all, and of course Rhys [Ifans] and Megan [Fox]. It was a responsibility, because I didn’t want to let any of them down, but it was also a joy. There is a moment in the movie where Billy and Mickey are sharing a banquette together and I was watching and going, “God, this is wild, two guys that have just been nominated for best actor a year apart”—both lost to Sean Penn, I might add—“and they are two guys I have known forever and two of my favorite actors.”
Murray was incredible. There was another actor cast who got cold feet literally three days into shooting and decided he couldn’t actually play opposite Mickey. He worshipped Mickey Rourke and just didn’t think he was good enough. So over Christmas, Billy called and said, “How’s it goin?” And I said, “It’s great, except this guy bailed on me,” and he said, “What role?” I said “The villain.” And he said, “Could I do it?” I went, “Yeah, absolutely!” So I sent him the script and on Christmas Day, like a gift, he called and said, “When do you want me?”
That’s so great.
Yeah, I almost burst into tears.
Whenever I see him on-screen, it makes me want to see more of him on-screen.
He scared Mickey to death. Just how odd a villain he was. He wore my glasses, because he wanted to have a different look.
Those were yours? They were your prescription and everything?
Completely! And completely opposite his, and he wore them in every scene.
I love Bill Murray.
He’s the best. And you know, Mickey brings all his—the full jolt of his talent and personality. We were about to do a scene with him and Billy and Megan, and I said, “I think the first time you acted was with my sister, Amy,” and he turned to me and said, “Yeah, and I slept with her.” I went, “What? You slept with my sister? When?” And he said, “Senior year.” I said, “No one told me!” So I had to call my sister and said, “You ****ed Mickey Rourke?!” She said, “We didn’t want to upset you.” I said, “I’m upset. I’m upset right now!” This is 40 years ago and I’m furious. [Laughs.]
Your mother, Zelda Glazer, taught at your high school, didn’t she?
Yeah. And that’s a sweet part of this. You know, she was killed four years ago in a car accident, and Mickey flew down to be there, because she had changed his life. Literally. She showed him A Place in the Sun in class and he woke up for the first time that year. He decided to be an actor because of her. I dedicated the movie to her, but it was nice for me and Mickey to have a chance to celebrate her as well, together.
In Hollywood, it’s amazing to have relationships that last so long. In the end, those are always the relationships that come through for you.
Every time. And you know, Megan was so stand-up. I had never seen Transformers. I saw a few scenes from Jennifer’s Body, and that’s it. And then I had lunch with her at Little Dom’s. I was looking for Gene Tierney or Ava Gardner, and I’ve never seen anything like it. She felt vulnerable and really got the character and I just decided: She’s it. I didn’t realize the level of her Internet fame and that whole thing—it’s an age thing for me. I just didn’t get it. For me she was just this incredible face and this timeless, iconic-looking woman. Then she gets on set and Mickey pulls me aside“Mitchell,” he says, “she’s ****ing amazing! Oh my God, it’s going to be so good!” after their first scene.
She holds her own with those two giants.
And both of them will tell you that. I mean, they are generous actors but they are terrifying, and if she couldn’t keep up Mickey would have dropped her on the spot.
When you were a young journalist, did you ever imagine that you’d end up in Hollywood directing? And living this kind of life?
Somewhat. It was such a hurricane of a time. Belushi and I became close in September of the second year of Saturday Night Live, and it was like jumping into this whirlwind.
I can’t even imagine.
It was amazing. And I knew it at the time. I wrote the liner notes for the first Blues Brothers album and helped put the band together with John, and it was so special that it wasn’t like I look back and think, God, I wish I had known it. I did. I remember saying to people, “This is insane, this I great.” I was like that big kid in Animal House.
I’m waiting for the book.
Someday!
And then you married the girl from Drugstore Cowboy.
That was our second date. The premiere of that movie. You can imagine that. I was already crazy about her, but it was our second official date and we go to the premiere and I knew nothing about the movie, had never seen a frame of her work. And my first thought was, Oh my God, what if she’s not good? You know, you want to love the talent of the person you’re in love with. So the lights go down and there’s that panic. And then 30 seconds into Drugstore Cowboy, I went: I’m so not worthy. She’s so good, I can’t even ****ing believe it.
I think she’s Mickey’s favorite actress, truthfully. He kept saying, “So, Mitchell, Kelly’s going to be a stripper, right?” And I said, “No, no, she’s a bartender.” And he said, “Yeah, yeah, but she’s like a bartender-stripper.” And I went, “No, she’s just a bartender!” And then he finally went, “I think she should be a bartender-stripper.” And I realized he just wanted her to get her clothes off. And I did it! [Laughs.]
Well, she looks great. If there’s anyone that can pull it off, she certainly can pull it off.
I put her in feathers and he was very happy about it.
Passion Play opens in limited release this weekend.
vanityfair.com
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