As a seasoned journalist with years of experience under my belt, I’ve interviewed countless public figures, but none quite like Jon Voight. His unwavering conviction and deep-rooted beliefs are both captivating and unsettling in equal measure.
Jon Voight continues to be active at the age of 85. He practices boxing, demonstrating quick footwork that is impressive for anyone, not just the elderly like himself or even politicians such as Joe Biden and his friend Donald Trump.
He takes a moment to raise an eyebrow in a menacing way, transforming into the classic movie antagonist. “You believe yourself to be strong. Prepare to face real strength.”
Today, we’re standing outside Voight’s residence in Beverly Hills. The property boasts a swimming pool and an intricately designed driveway adorned with tiny etchings of ducklings, rabbits, monkeys, and a dragon on the pavement. Near the entrance, there’s a message that reads “Wots Modder Wot You Jonny,” which is a tribute to his grandfather from the Czech Republic, who never fully grasped the English language.
Over the past year, I’ve had numerous conversations with Voight. He is consistently captivating. However, having a photographer around seems to bring out an even more animated side of him. He holds up a plastic rabbit from his yard and talks to it, mimicking Elmer Fudd’s speech. “Rabbit, you were told to keep your distance from me.”
Voight’s behavior exhibits an energetic and entertaining “Let’s put on a show” vibe, reminiscent of Sid Caesar, whom Voight admired growing up. In contrast to the troubled characters he portrayed in his long-spanning career, such as Joe Buck from “Midnight Cowboy,” Luke Martin from “Coming Home,” and Ed Gentry from “Deliverance,” Voight currently embodies the quirky grandfather role for his six grandchildren. After reconciling with his estranged daughter, Angelina Jolie, this is now his new identity.
In front of the camera, Voight appears to be repeating a previous role – most notably in Francis Ford Coppola’s “Megalopolis,” where he portrays Crassus as a debauched emperor over a degenerate New Rome, an imagined future New York City. This production, with its Shakespearean allusions and Ayn Rand influences, is notorious for being excessively long-winded. Coppola’s ambitious project boasts a roster of top-tier actors delivering some of their least impressive performances. Despite the film’s reputation for bloat, Voight stands out remarkably as the wealthiest and most lustful character. He sports a Caesar haircut and becomes involved with a woman nearly fifty years his junior named Wow Platinum. In the movie, Voight is portrayed as an unsteady Lear on a bender, uttering quips like “What do you think of my erection?” before fatally wounding his lover with an arrow. Some critics have speculated if Voight was aware he was on a film set during his scenes. For “Megalopolis,” this is a fantastic endorsement.
Voight is deeply troubled by the downfall of Coppola’s movie, which had its debut at Cannes last spring and portrays the collapse of an empire.
On May 31, following Donald Trump’s tax fraud conviction, Voight shared a video criticizing President Biden. In this video, the typically mild-mannered actor, sitting in front of an American flag, launched into a harsh diatribe. “We’re enabling this ailing President Biden to approve theft, deceit, falsehoods, and murder,” he declared, “and no one is being held accountable. We need to put a stop to these lawless individuals.”
Voight unfailingly expresses his conservative political views to everyone, including his daughter, whom he believes has been unwittingly drawn into antisemitic deceit. A source close to Jolie mentioned that the actress prefers not to discuss Voight publicly. Voight strongly identifies with Israel and recently praised its actions following Hamas’ October 7 attacks. In contrast, Jolie is a long-term advocate for refugee rights and currently condemns Israel’s lethal response towards women and children in Gaza. During our conversations, Voight frequently criticizes his daughter’s stance on Palestine, comparing it to political attack ads. He believes that she has been influenced by biased information and insists that the people she supports are not genuine refugees.
In Beverly Hills, Voight maintains a carefree demeanor. Upon entering the house, he swiftly climbs the stairs to his bedroom. Decorating the walls are replicas from the 1999 TV miniseries “Noah’s Ark,” where Voight starred as Noah. His easel and a large photograph of his father are present. Donning a robe, he lies down on his bed. A broad grin spreads across his face, and his eyes gleam with happiness. “Is there anything more I require?”
After the photographer departs, Voight collapses into a chair at his dining table. His demeanor reflects weariness. The summer had proved quite taxing for him. Not only was he preoccupied with promotional activities for “Megalopolis,” but he also faced the impending relocation from the home where he had resided for the past twenty years.
I currently find myself amidst a whirlwind of change in my humble abode. My home resembles a movie set undergoing a sudden strike. Boxes filled with books haphazardly occupy every corner. Somewhere within this chaos lies the cherished Oscar I received for “Coming Home.” In the living room, large framed portraits of Mother Teresa, Martin Luther King Jr., and Indian yogis command attention. Ascending the stairs, I come across photos of Angelina Jolie and her former spouse, Brad Pitt. A 2008 People magazine cover, featuring them holding their newborn twins, proudly graces one wall. The family photos clipped from magazines correspond with periods when my relationship with Angie was strained. In the lower level, there’s a sketchbook and a drawing I plan to send to my granddaughter Vivienne for her birthday. This thoughtful piece conveys my well-wishes and congratulations on the Broadway success of “The Outsiders.” Vivienne had brought this production to Angie’s attention, and together we produced it.
In a career spanning six decades, Voight has excelled at portraying unconventional characters. However, his affectionate side, as displayed in his role as Crassus, is quite distinct from these eccentric personas. Previously, Voight showcased his versatility with roles such as biting Kramer on “Seinfeld,” playing a blind man in Oliver Stone’s “U Turn,” and embodying an Ahab-like snake hunter in “Anaconda,” who ultimately met his demise at the jaws of his own white whale. The more extravagant and complex the character, the more enticing the acting challenge for Voight.
He has a soft spot for acting legends such as Spencer Tracy and Cary Grant. However, when it comes to his personal preference, Lon Chaney and his transformative makeup skills held a special place in his heart.
In “Heat” and “Ali,” two notable roles for Voight, he skillfully transformed into the criminal figure Nate with distinctive facial scars, and the Oscar-nominated portrayal of sportscaster Howard Cosell. Both parts were directed by Michael Mann.
According to Mann, for Jon, undergoing a transformation is like embarking on an exciting journey. The thrill lies in how he metamorphoses to embody the character. As a director, I can attest that the more out-of-the-box the concept becomes for Jon, the more alluring it becomes.
Mann shares that Voight took over four hours daily for makeup changes into Cosell. During breaks, Voigt and Will Smith as Ali engaged in lively verbal sparring. Mann explains, “I was trying to arrange shots, but then unexpectedly, these actors were delivering fantastic ad-libs. I felt compelled to jot down their lines.”
In simpler terms, Voight’s positive recognition from Hollywood continues to motivate him despite his controversial views towards certain public figures like Joe Biden and George Soros. The industry is experiencing a downturn, and some conservative actors such as Scott Baio and Kevin Sorbo have been pushed out to niche projects. Yet, Voight has managed to secure roles in three films within the last two years.
Over the past year, Voight occasionally called late at night for a friendly chat. During these conversations, we discussed various topics such as Blake’s “Jerusalem,” our kids, Renaissance art, and Burt Reynolds’ injury in “Deliverance.” There were two distinct sides to Voight: the refined actor with an interest in art and poetry, and the passionate political figure expressing strong opinions against Biden and questioning the legitimacy of Palestinians’ claims to the Holy Land.
In regular situations, a renowned actor of Voight’s caliber and advanced years would typically be celebrated at film festivals and academic institutions. However, this hasn’t been the case for Voight, which may relate to his political views. Instead, he is often seen attending occasional events in Los Angeles with his son, James Haven. At a gallery opening in Beverly Hills during December, an onlooker murmured to a companion, “That’s Jon Voight – he expresses some rather extreme opinions.”
More recently, on his talk show, Martin Short’s character Jiminy Glick casually asked Sean Hayes, “Why is Jon Voight often irritated?” It’s an intriguing inquiry.
The first time I encountered Voigt was at a restaurant in Santa Monica. His movie-star blue eyes and broad smile were still evident, but depending on your seating arrangement, you’d witness distinctly different aspects of the actor. From the left, his prominent cheekbones were striking, a reminiscent of his past fame. Conversely, from the right, Voigt’s face appeared marred with imperfections and conveyed an ominous presence.
On that particular day, Voight shares with me his desire for the narrative to revolve around his acting experiences. This perspective prevails during our initial 20 minutes of interaction. While we’re engaged in conversation, a middle-aged woman comes up to our table, carrying a freshly bought challah bread for her Shabbat meal. Voight invites her over. She expresses her gratitude towards him, “I merely wanted to thank you for your significant contributions to Israel. It holds immense significance for us all.”
The woman receives thanks from Voight, yet she continues, “You’d make a great Bibi in a film. You’re perfectly suited for the role!”
Voight laughs. “He’s a great, great man,” he says, “but I’m not going to play him.”
Surprisingly, just a few months after our first encounter, Voight and I ran into each other again at the Beverly Glen Deli. The woman with him was around the same age, and she shared similar feelings. (I’d bet money it wasn’t an orchestrated scheme, the odds being slim.)
Voight frequently seems surprised when people approach him about politics, be it bystanders, journalists, or renowned filmmakers, despite his political views being evident through his social media presence, including X-posted content and frequent appearances on Fox News. His pro-Trump and Israel videos have amassed millions of views. During the press conference for “Megalopolis” at Cannes, Coppola spoke in alarming terms about the concerning direction American politics is taking. “The trend is moving towards more neo-right, even fascist ideologies,” she warned. “Those of us who lived through World War II have witnessed the terrible consequences of such division, and we don’t want to revisit that dark chapter in history.”
In the city of Megalopolis, there’s an evidently strong opposition to former President Trump. Protests reminiscent of the January 6th events take place, with protesters donning red hats and waving Confederate flags. Some people even compare Voight’s Crassus character to a comical representation of Trump. I decided to inquire about this comparison directly from Voight.
“I didn’t see that,” he says. “If I had, I would have told Francis he was out of line.”
Coppola keeps a respectful tone when I bring up the topic of Voight. “Working with Jon is constantly engaging, powerful, and enjoyable,” he shares. “He’s a talented artist, and our collaboration on ‘Megalopolis’ was a pleasure.”
At Cannes, Coppola took a more relaxed approach. After Venting, he told Voight, “Jon, we have contrasting political views.” He then handed him the microphone. Voight declined to engage, instead giving generic compliments and stating that Coppola is striving for “a better world.”
Back in Los Angeles, Voight sounds hurt.
“For more than 30 years, I’ve urged Francis to create that film,” he explains with a perplexed expression. “It’s hard for me to understand why he chose now, of all times, to bring up our political differences.”
Following Cannes, Voight made a brief stop in New York before returning home. There, he had the opportunity to watch “The Outsiders,” and he expressed his great admiration for Angie’s performance by saying, “It was truly impressive. Angie gave an outstanding performance.”
More recently, the relationship between the father and daughter appears to have improved. However, this harmony is often disrupted when Voight criticizes Jolie regarding the Israel-Hamas conflict. For over two decades, Jolie has been a vocal supporter of refugee causes. She has dedicated her time and resources to shedding light on genocides in Southeast Asia and the former Yugoslavia. When she issued a statement last November concerning the Israeli invasion of Gaza, many paid heed to her words.
“Three weeks into the conflict, Jolie described on Instagram how the population in Gaza was intentionally being targeted with no escape route. For almost two decades, Gaza has functioned as an open-air prison, and it’s rapidly turning into a mass grave. Heartbreakingly, 40% of those who have been killed are innocent children. Entire families are being wiped out.”
The following day, Voight expressed his disappointment on Twitter about his daughter’s lack of comprehension regarding God’s dignity and truths. He added, “This is a just cause for God’s kids in the Holy Land….”
Voigt’s actions during our talks appeared to undermine their progress, as he has spent the last 30 years making amends with his kids for his past misdeeds. Surprisingly, Voigt, who frequently expresses pride in his daughter’s achievements, continues to correct her perspectives on politics.Voigt’s connection with his children has been tumultuous since his ex-wife, Marcheline Bertrand, ended their marriage in 1978 due to infidelity. During their adolescence, Voigt was scarcely present, and their relationship has experienced rifts, long periods of silence, and subsequent reconciliations.
In my heart, my daughter holds the top spot. I find joy in seeing her contentment. The thought of her facing hardships brings me to tears. When she’s feeling low, I share her sadness.
The way he feels about this issue makes his criticisms of his daughter even more confusing. For example, during our coffee meeting in Hollywood in May, Voight went on lengthy rants about the history of the British Mandate for Palestine and the Ottoman Empire’s downfall, which he claimed proved Jolie’s viewpoint was incorrect. Afterward, he reverted to a common criticism often used by Hollywood critics.
“Angie probably hasn’t been exposed to this information,” he explains, “as keeping such details confidential is common practice in Hollywood. They live in their own secluded world, oblivious to the happenings outside.”
As a devoted film enthusiast, I find it hard to fathom that Jolie, despite residing in glitzy Beverly Hills and our encounters occurring near studio backdrops, can’t seem to obtain accurate information. I raised this point, and he vehemently opposed it. His complexion turned scarlet, and droplets of perspiration dotted his forehead. “I cherish my daughter deeply,” he asserted passionately. “I don’t wish for any confrontation with her.” However, the truth is, I strongly believe that she has been swayed by the U.N.’s influence. From the start, their actions regarding human rights have been questionable at best, often appearing more as an anti-Israel propaganda platform rather than a genuine advocacy group.
In the bustling café, Voigt speaks more loudly than normal without pausing for breath. “She’s unaware of the true significance and the genuine narrative because she’s part of the UN circle,” he explains.
He finally stops and sighs. “Maybe we shouldn’t talk about all this politics stuff.”
Let’s discuss the shocking rape scene in “Deliverance.” Many believe Ned Beatty perfectly portrayed this disturbing moment, leaving audiences speechless in 1972. Voight remarked that only Beatty could’ve delivered such a convincing performance. “His humanity made it believable. Any other actor, and it would have seemed over-the-top.”
After we’ve finished our coffees and bid farewell, that very night my phone calls with a voice message from Voight. He proposes, “Let’s meet up again.” We could discuss how Angie is perceived.
Voight was born and raised in Yonkers, the middle child of a golf instructor father and a homemaker mother. His great-uncle, an isolationist and fervent supporter of Joseph McCarthy, also lived with them. It seems that Barbara and Elmer Voight raised their children well; besides Voight, his brothers became successful, one as a volcanologist and the other penning the Troggs’ hit “Wild Thing”. Voight’s parents fostered his artistic abilities at an early age, displaying his paintings in their modest home when he was just three. Although he still paints, Voight recalls giving up on his art fixation when his father took him to the cinema for the first time at the age of eight. “I couldn’t compete with all that excitement and movement,” Voight reminisces. “I wanted to act.”
Growing up, I was surrounded by the exclusive world of a Westchester country club where my father worked. Most of its members were Jewish, often facing rejection from WASP golf courses. This unique environment instilled in me a deep sense of resilience and determination among an oppressed people to rise above their circumstances.
Growing up as a young boy, I recall coming across a Life Magazine image of a child in a vertical-lined outfit enclosed by barbed wire. This scene struck a chord with me, making me think, “That could be my story.” I empathized with the hardships endured by these kids. Through my father’s profession and family discussions, I learned that the founders of this group were excluded from other clubs upon arrival in America. Instead of protesting or causing unrest, they pooled their resources, purchased land, and established their own exclusive club. This early understanding left an indelible mark on me, linking me to their unique culture.
He is convinced that his father’s relationships with the Jews at the club changed him forever and allowed him to have the life he has lived. In 2018, he told Fox News’ Mark Levin that his father’s brother and two sisters couldn’t compare to him. “He was so superior in every way,” Voight said. “Not to demean them — they were very nice people — but they just didn’t have the grace that he had. And I said to myself, ‘You know something? My dad was raised in the Jewish culture. That’s who he is.’”
Through the transitive property, it can be said that Judaism played a role in enabling Jon Voight’s success. This is because his father, who was Jewish, was the one who initially fostered his dreams during Jon’s high school years and continued to support him throughout his studies at Catholic University in Washington, D.C.
Voigt shared with me his college experience of enhancing his acting skills by going out on weekly dates with diverse women. According to him, “They seemed to value my company as I wasn’t just there for romantic pursuits.” He engaged in deep conversations and focused on their interests, believing this improved his acting abilities.
Voight discovered Kenneth Tynan’s book “He That Plays the King” and made copies of all its reviews on Laurence Olivier’s acting. His goal may have taken years or even a lifetime to achieve, but that was where he aimed to excel.
Voight shared his plan with his father after graduation, which involved moving to New York City to pursue an acting career. His father expressed concern about how Voight would earn a livelihood. In response, his father proposed a business idea that wasn’t too dissimilar from the Joe Buck character’s arc. According to Voight, his father suggested starting a driving range. He believed in Voight’s ability to attract women and thought that Voigth could make a decent income with this approach. Simultaneously, he could also attend auditions when time permitted.
The plan never materialized. Instead, Voight cobbled together a career on Broadway before being cast by John Schlesinger opposite Dustin Hoffman in “Midnight Cowboy.”
It’s intriguing to imagine how Voight’s father felt about him once he achieved movie stardom, but Voight prefers not to discuss that topic.
At a later time, I hand him a book I penned down about my Navy pilot father who perished in a plane crash when I was thirteen. That very night, my phone rings. It’s Voight on the line, suddenly revealing information about his past: “My father passed away when he was 63. It was a car accident, with my mother behind the wheel.”
I don’t know what to say. I tell him that must have been so hard for him.
“That was a long time ago,” he says. “OK, lad, have a good night.” And then he hangs up.
As a movie reviewer reflecting on my personal perspective, I used to view Voight’s unwavering support for Israel and his close relationship with Benjamin Netanyahu as an uncontroversial aspect of his life. However, that all changed during the brutal Hamas attacks that claimed the lives of over 1,100 innocent Israeli civilians, among them 38 children. Initially, Israel had widespread international backing outside the Arab world. But as retaliation ensued and Gaza was reduced to rubble, the United Nations and human rights activists began echoing concerns that Israel’s actions mirrored America’s response to 9/11 – a vengeful, indiscriminate violence targeting the civilian population of Gaza. The tragic outcome: an estimated 35,000 Palestinian fatalities, disproportionately impacting women and children as neighborhood after neighborhood was destroyed in the hunt for Hamas terrorists.
Voight holds a different perspective. He thinks the idea of a distinct and independent Palestine is a deceptive scheme promoted by Arab countries with the ultimate goal of destroying Israel, aided by the United Nations. According to Voight, the root of this deceit lies in the U.N.’s decision to grant refugee status to Arabs who attempted to demolish Israel during its war for independence in 1948. Every year, he points out, more anti-Semitic resolutions against Israel are presented at the U.N. than those directed towards Iraq, China, and Syria combined.
Voight expresses a strong disdain towards activists who support the U.N.’s estimation that there are over 5 million Palestinian refugees in Gaza and the West Bank. In his opinion, they are overly simplistic and uninformed, rarely venturing beyond their limited perspectives.
Unfortunately, according to Voight, one of those “naive dupes” is Jolie.
In an article from The New York Times published in 1979, Voight’s struggles following the successes of “Midnight Cowboy” and “Deliverance” are described. According to Jane Fonda, who acted alongside him in “Coming Home,” Voight carefully ponders each decision he makes, be it about his next film or even going out for lunch. He is a tormented yet good person.
Voight firmly declined the opportunity to star in “Love Story” despite persistent invitations from producers and a significant financial incentive worth around $6 million in 1970 currency. Half a century later, Voight remains steadfast in his belief that he made the right decision. According to him, “Love Story” wouldn’t have been as effective with him in the lead role, as he might have unnecessarily complicated it.
For several years, he sought inner peace and quieted the turmoil of his life by immersing himself in the teachings of mysticism and Eastern philosophy through books. He kept a low profile during the 1980s, away from the public limelight. According to Mann, Voight was often found at Duke’s in Malibu during that period, sitting secluded with his long hair hiding his face. I didn’t approach him back then, Mann shared, feeling somewhat intimidated by him.
“I was too screwed up to act,” says Voight.
At last, in his forties, he experienced a profound spiritual transformation. Overwhelmed and weeping on the floor of his house, he questioned God about the seemingly insurmountable difficulties in life. To his surprise, God replied, “It’s meant to be challenging.”
After that, the project was completed and returned to him. In 1985, he received another Oscar nomination for “Runaway Train,” marking his first collaboration with Coppola. Additionally, he played a role in kick-starting Tom Cruise’s “Mission: Impossible” series.
In 1994, Voight filed an unsuccessful lawsuit against his former business partner, Laura Pels, alleging she reneged on investing in his films due to his refusal to romance her. Another legal dispute arose between Voight and two New Zealand producers over a collapsed movie project, resulting in no clear responsibility being assigned but leaving behind a trail of animosity.
Voight’s spiritual awakening is the one aspect of his life that the actor is reluctant to talk about in detail. “I get too emotional,” Voight says. He then tells me where I can learn more about it. “I did an interview with Tucker Carlson,” he says. “It’s all there.”
Jon Voight recalls an encounter with Donald Trump at a New York gathering back in the 1990s. “He approached me from afar, praising one of my movies with great enthusiasm,” Voight recalled. “I was taken aback by his admiration.”
Voigt has reciprocated enormously; he views Trump as being on par with Lincoln and Richard the Lionheart, while labeling his adversaries as inhumane. However, Voigt wasn’t always this way; during the 1960s, he identified as a typical left-leaning Hollywood figure. But an encounter at the end of the Vietnam War transformed him.
Around the early 1970s, I sat beside a soldier on a plane. He was returning from his military service in Vietnam. “He appeared trembling, evidently suffering from PTSD,” Voight recalled. “I knew upon his arrival home, he would be met with spitting and insults, being labeled a ‘baby killer’.”
As a passionate cinema enthusiast, I’ve come across Voight’s intriguing take on an old myth – that soldiers returning from Vietnam were met with disdain and insults, being spat on and labeled as murderers by their own countrymen. This perspective paved the way for Voigt to embody the character of Luke Martin in “Coming Home,” a profoundly moving portrayal of a paraplegic veteran dealing with the aftermath of the Vietnam War.
Voigt’s perspective on “Coming Home” differs from viewing the Vietnam War as a regrettable mistake resulting in countless American lives lost. Instead, he believes we came very near to victories. He demonstrates this closeness by bringing his thumb and forefinger together, remarking, “We were this close to winning, but then came the protests and riots.”
Military historians generally have a different perspective from Voight’s analysis. The belief that our nation would have avoided disgraceful defeat if only the military had been provided with limitless resources and not betrayed is a long-standing notion in history. Nonetheless, it was this belief that fueled Voight’s political journey. He supported George W. Bush and Mitt Romney during their campaigns, but it was the emergence of Barack Obama that truly enraged him.
During an interview on Fox News in 2014, Voight expressed his concern that Obama’s actions over the previous five years could lead to the country being dismantled and even cause a civil unrest. Looking back now, it seems that many of his predictions have come true.
Voight has been a staunch supporter of Trump since his presidential campaign began in 2015. He continues to believe that Obama is secretly controlling Biden, labeling the current president as the mastermind of the biggest political crime syndicate in American history. According to Voight, any criticisms against Trump are merely propaganda spread by Democratic Party conspirators. I questioned him about his belief that Trump deserves comparison with great presidents like Abraham Lincoln. His response was confident: “Definitely. Who else has faced such formidable adversities and opposition since Lincoln’s time?”
I immediately think of FDR but say nothing.
Voight’s gifted acting abilities have led to a resurgence in his career despite his provocative language. This is evident in his seven seasons on “Ray Donovan,” where he expanded his repertoire of complex masculine characters as Mickey, the manipulative ex-con father of Ray Donovan. Voight shares that the secret to avoiding controversy at work is avoiding political discussions altogether. Thus, he was taken aback when his “Ray Donovan” co-star Eddie Marsan expressed his political views through this tweet, which included a photo of them on set and an appeal for voters to support Joe Biden: “America, I understand that this election is critical and the future of our democratic institutions and the very essence of America hangs in the balance. But could we please focus on me for a moment? Please consider voting for Joe Biden – I can’t bear another four years of this.”
Voight was displeased when I mentioned the tweet to him. His tone grew defensive as he insisted, “I never brought up Trump on set.”
But there have been some benefits. A fan tweeted praise of both Voight’s acting and his patriotism in 2019: “Academy Award winning actor (and great guy!) @jonvoight is fantastic in the role of Mickey Donovan in the big television hit, Ray Donovan. From Midnight Cowboy to Deliverance to The Champ (one of the best ever boxing movies), & many others, Jon delivers BIG. Also, LOVES THE USA!”
I’ve had the privilege of meeting and interviewing many influential figures throughout my journalistic career. Yet, none have left me as deeply moved as my encounter with Jon Voight. In 2016, an extraordinary event unfolded – Donald Trump, then the President-elect, bestowed upon Voight the National Medal of Arts and the National Humanities Medal.
Following the Fourth of July celebration, I receive a message from Voight proposing a brief lunch rendezvous at Beverly Glen Deli prior to his departure for filming in Bulgaria. The proposition strikes me as peculiar; we had already bid our final farewells at his residence. I ponder what more there is to discuss and suspect he may attempt to retract the comments he made about Jolie’s perspectives on Gaza.
An opposite turn of events unfolds. A week after Joe Biden’s confusing debate, Voight expresses satisfaction. “It’s shameful,” he remarks, “all the medications and performance-enhancing substances they’ve been administering to him.” Straining, Voigt manages to open a can of root beer just as I was about to assist him.
I’ve requested permission from Voight several times to speak with his son Jamie, whom he reconnected with a few years ago. I initially asked after Voight mentioned that Jamie would be directing him in a film during the summer. However, Voight put off the meeting for months, so I eventually stopped trying. But unexpectedly, during our lunch, Jamie, who is in his 50s, shows up at the deli. He’s well-groomed and dressed entirely in white, including a skull cap. Jamie starts talking about various subjects – the film project, his collaboration with K-Pop artists, his charity work with troubled kids, his favorite Peanuts character Linus, and how “Star Wars” influenced him. Voight seems pleased. I have my doubts that the movie will ever come to fruition.
Jamie takes a brief pause. I prepare myself for Voight trying to persuade me to make his remarks about his daughter more lenient. However, instead he launches into another discourse about Jolie’s lack of knowledge regarding Israel. “It stems from ignorance, as with most things,” Voight explains. “Have you ever wondered why students in universities support Hamas? It’s due to their lack of understanding about the situation.”
I realize that this is the key to being Jon Voight. He can sell Coppola’s Crassus because he believes it. He can convince me of his spiritual conversion because he believed that too. But that self-belief — a requirement of any actor, but stronger in Voight than in anyone else I’ve interviewed — has toxic consequences: A true believer cannot comprehend that someone, much less his own flesh and blood, might hold a different view.
I’ve found myself pondering this question once again: why does he choose to engage in public criticism of Jolie on social media instead of having a private conversation? He gives me a sad shake of the head. “It’s tough for me to discuss this with her,” he admits, his eyes reflecting a sense of resignation. “She isn’t open to sharing such things publicly, as we have different perspectives on the matter.”
Instead, he goes on and on about the myth of a Palestinian homeland, bringing up the collapse of the Ottoman Empire and the British rule in the Holy Land from 1920 to 1948. It’s the same speech he gave me just a few weeks ago, word for word. Around the 10-minute mark, I kindly remind him that we’ve covered this topic before. He seems puzzled. “Are you positive?”
Currently, Voight seems out of place, neither resembling a Hollywood actor nor a soldier for Trump. Instead, he appears disoriented and uneasy, much like Biden during his debate.
Five days after an assassination attempt on Donald Trump in Butler, Pennsylvania, Voight and I finally manage to speak over the phone. Voight interprets Trump’s survival as a divine sign and describes it in religious terms. According to Voight, there was a prophecy that foretold of an attempt on Trump’s life. The prophecy also stated that during this critical moment, Trump would pray and thus connect with the divine.
Later on, he brings up the growing wickedness that’s infecting the globe, with people like Soros being among its carriers. He points out how conveniently within our reach this harmful influence can be, through our smartphones.
Based on my own experiences and observations, I believe that both parties need to take a step back from the intense rhetoric and try to find common ground. As someone who has witnessed the destructive consequences of political polarization, I urge him to reconsider his stance that the Biden Administration is filled with “evildoers.” Instead, let’s focus on finding solutions to the challenges we face as a nation, rather than engaging in name-calling and blame games. We owe it to ourselves and future generations to work together for the greater good.
For a brief instant, there’s no sound from Voight. “That’s just your viewpoint,” he replies. “I’m cautious with my words. But when I observe these assaults against this man, I recognize the source as rooted in hatred and wickedness.”
I’ve always been intrigued by the complexities of human behavior and the role that external influences can play in shaping people’s beliefs and actions. Having studied psychology for many years, I can’t help but be fascinated by the case of Angelina Jolie and the allegations of brainwashing and influence from figures like Soros.
“How would you describe Soros, Voigt asked. “Appears regular when discussed? No, he’s manipulated district attorneys, judges, and politicians with his wealth. It takes courage, it takes morality.”
As someone who has spent hours engaging in deep conversations with Voight about art, literature, and the golden age of Hollywood over shared deli sandwiches and root beers, I once held him in high regard. However, my faith in our connection has been shattered. It is now painfully obvious that beneath his eloquent speech lies a heart filled with hate.
“I’ve been the most vocal advocate for Donald Trump among Hollywood figures, and I wear that title with pride. I’ve been insisting that he’s the solution, the sole answer. For the first time in our talks, Voight switches to third person. ‘Perhaps now, they will view Jon Voight differently,’ he muses. ‘If Trump is being uncovered in this manner, maybe they will reconsider a supporter like me.'”
I wish him a good night. There is nothing left to say.
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2024-07-23 18:23