As I reflect on Walton Goggins‘s experiences during the filming of his intense role in The Ghoul, it’s clear that he endured quite a challenge, both physically and mentally. His dedication to the craft is commendable, as evidenced by his daily ritual of watching classic Western films to prepare for the part. It’s fascinating to see how he drew inspiration from Henry Fonda in Once Upon a Time in the West and Paul Newman in Butch Cassidy to embody The Ghoul.
In various roles prior to his current one in “Fallout,” Walton Goggins has portrayed both captivating villains and underdog boyfriends with a twist; he’s delved into the stereotypes of the Wild West and assumed the role of the good-hearted sidekick. His character as The Ghoul in “Fallout” (and his pre-apocalyptic persona as Cooper Howard) encapsulates all these aspects, making him both a villain and a hero simultaneously. He’s been metamorphosed into an unexpected form, yet his performance is undeniably reminiscent of Goggins. Amidst the ruins of post-apocalyptic California, he plays a rogue who manages to be surprisingly attractive, even without a nose – it could be due to his lack of nose or perhaps, in an unusual way, because of it.
During a discussion we had earlier this week after watching the finale of Fallout, which took place at the SAG-AFTRA Foundation Robin Williams Center in midtown Manhattan, Goggins shared that he was eager to collaborate with Fallout‘s Executive Producer Jonathan Nolan. He revealed that he agreed to the role even before finding out that he would lose a facial feature. As he recounted, “He said, ‘We want you to play this irradiated cowboy from the post-apocalyptic wasteland who’s been walking for 200 years and has no nose.’ I responded, ‘I think it might be wise to read those scripts first.’ After reading them, I was completely captivated.”
Walton Goggins: My agents called to tell me that Jonathan Nolan wanted to speak with me, along with writers Geneva Robertson-Dworet and Graham Wagner. I’d known Geneva from our work on Tomb Raider, and I’ve long admired Graham. So, just two minutes into the call, I told them I was in. They asked if I wanted to know the character I’d be playing, but I said it didn’t matter. I agreed to read a script, and then Jonathan described this irradiated cowboy who had been wandering a post-apocalyptic wasteland for 200 years, without a nose. At that point, I thought maybe I should give the scripts a read, and I was really hooked within the first 30 minutes.
Could you tell me what transpired during the initial two minutes of our chat prior to when you mentioned the nose, as I am an ardent admirer of all the films that Jonathan has penned?
Could we discuss how the western genre influences your portrayal of both The Ghoul and his earlier self? Let’s begin by referring to the initial pages I read, which were the series opening, taking us from our familiar life before the bombings to the actual dropping of the bombs. That emotional impact on the page was truly powerful for me; it was a transformative experience that resonated deeply as I visualized playing the character and then, as you mentioned, observing how the narrative unfolded and touched upon themes such as The Good, the Bad, and the Ugly and moral ambiguity, where the good guy can transition into the bad guy and back again.
As an enthusiast, I immersed myself in that particular genre, revisiting numerous films to familiarize myself with it before diving into this project. It wasn’t just about uncovering The Ghoul, although that was a piece of it, but rather delving deeper into Cooper Howard – the 1950s western film icon. I was eager to discover who his contemporaries were and what roles he missed out on or landed during that era. Essentially, I wanted to gain insights about this man – his triumphs, his struggles, and his journey within the film industry.
Were there any roles or opportunities in Hollywood that Cooper Howard missed out on?
It’s plausible that Cooper Howard hailed from the heartland, specifically Oklahoma, born into a well-respected family. He wasn’t fleeing anything; instead, he was an individual who ventured westward with horse riding skills. Upon arrival, someone took notice and suggested he make a career out of it. And so, he did, becoming a person one would enjoy spending time with.
In my case, I’ve always been known for my knack for humor and my relaxed demeanor. One day, an actor didn’t show up on set, and the director turned to me and asked if I could deliver a few lines instead. Intrigued by the opportunity and the compensation offer, which was significantly better than my horse-riding gigs, I agreed. To my surprise, it seemed I had a knack for acting too! From that moment, opportunities started pouring in, leading me to build a career in this field.
Is it your practice to create detailed histories for your characters in the manner you described? I prefer to keep things more organic; the school I attended is simply part of my personal history, not necessarily the background of a character. To me, calling it a backstory feels like an extra layer of abstraction, and I aim to avoid that by focusing directly on the creative process itself. In essence, I’m a writer creating characters, not an actor playing one who is writing a backstory for another character.
My professor explained this process as if it were a game for children. It involves reflecting nature, immersing yourself in imaginary scenarios, and letting go of personal biases. It’s both straightforward and complex because you need to detach your ego. Instead of manually writing the lines, I simply memorized them 250 times, much like Anthony Hopkins does in his acting. That method is where I learned it from.
If you’re intending to learn from someone, Anthony Hopkins appears to be…
Are you familiar with most of the significant events in Boyd Crowder’s childhood? Yes, I am. While I don’t have details on every single moment, there are certainly many aspects that I’m acquainted with.
But you are playing this character at two very different moments in his life. Does that process change when you’re approaching these different elements? Or are you having to think about that play process differently when you’re thinking, he’s here versus he’s now in this apocalyptic wasteland? Or is it essentially just coming to the script in the same way?
God, I’d love to see someone else play this character. It would be great if it was a play. I’d just like to see three or four other actors step in there, just to see how they would do it differently. For me, reading it for the first time and then reading it over and over again, what I realized is that I had to understand who Cooper Howard was to understand fully everything that The Ghoul had lost.
Let’s ponder over the authenticity of Cooper Howard’s life. His deep affection towards his daughter is undeniable, and the same goes for his wife, family, and friends. To truly grasp this, we need to dissect those 200 years. It’s challenging to fathom such a long lifespan. When you read ‘he’s been alive for 200 years’, it seems unbelievable. But instead of contemplating the concept in such terms, let’s delve into what those 200 years actually entail. What did his life experiences look like? How did he grow and evolve through time?
Day one: Following the explosion, did he regain consciousness immediately or after several days? Was his daughter alive or deceased at that point? These are questions I’ve pondered, yet remain uncertain, and will be addressed in the narrative. I found myself contemplating, what was it like when someone attempted to take his life for survival resources such as food, water, or other essentials? What was it like on the day he had to end another life for those same necessities? Furthermore, the erosion of an absolute moral compass – finding one’s true direction. And the deterioration of everything he once knew, transitioning him from a moralistic existence into a seemingly amoral world.
Having gone through the ordeal of applying makeup myself, I can wholeheartedly concur with your sentiments. The process is nothing short of nerve-wracking and uncomfortable, making me feel more like a jittery debutant than a seasoned adult. To be frank, it has given me quite the fright on more occasions than I’d care to admit. But alas, here we go again! The prospect of donning makeup once more fills me with excitement, even though I can’t help but feel that transforming into a woman is a far cry from becoming an irradiated ghoul – at least the latter seems less daunting in comparison!
Sure thing!
I assisted with a movie production for a friend based in South Africa, when we were both working on Tomb Raider. As luck would have it, they were filming there at the time. I helped out for about three or four days, and I had to submit my application multiple times. Unfortunately, I disliked every moment of it. I even covered the mirror because I couldn’t bear to see myself. The challenge of remaining still for such extended periods and then carrying the weight of that role was quite overwhelming. It took a toll on me.
Instead of saying “So, it was a mind-set,” you could say “We had a specific approach or attitude towards it.”
As a long-time fan of Western films, I can confidently say that I have immersed myself in some truly iconic movies from this genre. From watching The Man Who Shot Liberty Valance, Rio Bravo, Cheyenne, and all of Leone’s works multiple times, to appreciating the raw power and grit of The Wild Bunch, my love for Westerns has been a constant companion throughout my life. These films have transported me to another time and place, allowing me to experience the harsh realities and unforgiving landscapes that defined the American frontier. I feel as though I’ve lived through the trials and triumphs of these characters, and their stories continue to resonate with me even today. Western movies are more than just entertainment for me; they’re a window into history, a reflection of our collective past, and a testament to the human spirit that endures in the face of adversity.
In a way, Henry Fonda in “Once Upon a Time in the West” resonated with me. He had such a calm and collected demeanor, much like The Ghoul. Both are characters who don’t waste energy with unnecessary movements. Then, revisiting Paul Newman in “Butch Cassidy,” I saw a real charmer. It was a balance between these two contrasting personalities that made sense to me.
You work a lot with Ella Purnell.
I do.
How did your discussions with Ella, as you were portraying scenes where your characters clashed, unfold? Well, surprisingly, we didn’t discuss it much. We only rehearsed one scene beforehand. Ella has her unique way of working, which is different from mine. However, I had faith that we would eventually find common ground, and working with her was an absolute pleasure. After all, aren’t Lucy and The Ghoul as different as night and day? One character is left for dead on the surface, while the other’s morality revolves around convenience. So, we didn’t spend much time discussing it. Instead, each day and every scene evolved naturally. Plus, Jonathan works swiftly, leaving little room for contemplation in those terms. And I believe we chose not to get too acquainted with each other until the very end, until we had wrapped up our work together.
Play an apocalyptic game of ‘Would You Rather’ with Walton Goggins
Goggins appeared in 2018’s Maze Runner: The Death Cure, directed by Wes Ball. Goggins played Lawrence, the leader of the Crank army, a group of zombielike humans infected with the Flare virus.
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2024-08-14 22:54