As a long-time fan of the dynamic duo that is Vaughn and Stiller, I find their approach to filmmaking truly inspiring. They are not just interested in churning out sequels for the sake of it; they want each project to stand on its own merit and tell a unique story. Their journey from “Swingers” to “Bad Monkey” is a testament to their versatility and commitment to quality, even if that means taking a break from the spotlight.
Known for his roles in films ranging from “Swingers” to “Freaky,” Vince Vaughn has left an indelible mark on moviegoers that is as significant as his towering 6’5″ stature. Whether it’s comedy, horror, or any other genre, his screen presence seems larger than life yet maintains a raw authenticity that makes his performances memorable and iconic. However, when faced with an accolade reflecting his influence on the entertainment world, such as a star on the Hollywood Walk of Fame, Vaughn responds somewhat modestly, almost shyly, which might surprise some.
Vaughn confides in EbMaster, “I tend to feel a bit bashful about such matters.” He adds, “Years ago, I unexpectedly became part of Mann’s Chinese [handprint ceremony], which was both surprising and delightful. It’s undoubtedly an enjoyable experience, offering the chance to catch up with friends and loved ones.”
Vaughn often does his finest work with those he considers friends and family. He first crossed paths with actor and director Peter Billingsley (famous as Ralphie in “A Christmas Story”) in 1990 during the CBS Schoolbreak Special “The Fourth Man.” Their on-screen camaraderie laid the groundwork for a genuine friendship off-screen. As Billingsley recounts, they were tasked with playing best friends, and he advised, “We should work on building chemistry, as it might help things” – a suggestion that left an impression on Vaughn. Unlike some who might dismiss such projects, Vaughn was committed from the start, always eager to find ways to improve their collaboration.
Reflecting on our shared past, I can’t help but feel a sense of nostalgia when I think about the success that Vaughn has achieved. Back then, we were two young lads, spending our nights in bars and clubs, living lives that would eventually become the basis for “Swingers.” Since then, we’ve collaborated on projects like “Made,” “The Break-Up,” “Couples Retreat,” and more recently, “Term Life” where I had the pleasure of directing him. Each collaboration brings me back to those memorable days when our camaraderie was immortalized in the world of entertainment.
Billingsley expresses, “We were just like the typical Hollywood types. We’d tread on those famous stars, gaze down, and admire the names engraved there. Hollywood seemed magical to us, a place where an artist’s dreams could come true. To receive a star on the Hollywood Walk of Fame is such a fantastic accolade, and I believe it is truly fitting for him.”
Prior to his Walk of Fame ceremony set for Monday at 11:30 a.m., Vaughn engaged in an extensive discussion covering several iconic films, the ups and downs of his career journey, and his insights as an actor, screenwriter, and producer following over three decades in the entertainment field.
Did the collection of projects you’ve brought to life leave such a significant mark on people? Was this the journey you foresaw when you embarked on your acting career?
To put it simply, my passion for acting originated from where I grew up. Before moving to Los Angeles at 18 after high school, I had already secured a SAG card in Chicago. When I landed a role on a TV show here, it felt cool and exciting – something I could share with my mom. I didn’t have a set goal of becoming the lead in films or television, but I was eager to improve, learn, and gain experiences. It was the thrill of being part of something culturally significant that always kept me going.
It’s clear that the role of “Swingers” had a significant impact on your career. Besides you and Jon having a prior relationship, what specific aspects of the character resonated with you so deeply that you were able to portray it so convincingly, leaving such a lasting impression?
What stood out the most was the authenticity that these characters didn’t portray unattainable perfection. Their responses to certain situations seemed genuine and relatable, as they weren’t always one step ahead. The bond of friendship among them was evident – they cared about each other and supported each other through career, dating, and life challenges. It’s fortunate when you have friends who genuinely wish the best for you during your romantic pursuits.
How carefully did you select the projects for “A Cool, Dry Place”, “Return to Paradise” and “Clay Pigeons,” so as not to be pigeonholed right away?
As a seasoned actor with a wealth of experience under my belt, I’ve learned to trust my instincts when it comes to selecting roles that resonate with me. I’ve often turned down studio movies that didn’t align with my interests or values, much to the dismay of my agents at the time. However, looking back, I realize that those decisions were essential in shaping my career and helping me find parts that truly captivated me.
As a film enthusiast, I’ve noticed that directors like Todd Phillips and Craig Zahler have frequently been given the opportunity to bring their visions to life, even when there were doubts about their projects’ commercial potential. What could be the reason for this trust in their abilities?
In my younger days, I dabbled in projects that weren’t instant blockbusters, some of which were the films you mentioned, and as a result, I was often perceived in a certain light. As an actor, I decided I wanted to take on every challenge. Taking on “Freaky” in the horror genre was just one example of my desire to explore various opportunities. The Zahler projects were intriguing because they delved into cultural topics, much like those movies that resonate with audiences. When we released “Brawl,” initial reviews were strong, but the distributors were hesitant due to overthinking it, choosing not to invest in something I believed was enjoyable, engaging, and thought-provoking. However, over time, these movies have found their audience, much like how “Swingers” did. “Swingers” wasn’t a box office hit upon its release, but it eventually connected with viewers on a deeper level. I refer to the style of Zahler’s work as “outlaw cinema,” and surprisingly, these projects have also found their way into people’s hearts along an unusual path. It’s exhilarating for me to tackle projects that don’t conform to popular tastes or trends at the moment.
In the process of creating “Swingers,” our initial discussions often sparked laughter. One question that came up was, “Could there be a female character in the group?” Our response was, “If a woman were part of this group, I don’t think these characters would be where they are now.” At that age, we were determined to tell the story we wanted to tell, and we weren’t trying to fit into any predefined boxes. Similarly, when it came to the Zahler movie, there were offers for distribution if certain scenes or minutes were removed or toned down. However, this wasn’t in line with Craig’s vision. I believe that when you’re creating something unique, you often find a stronger connection with your audience.
You mentioned rejecting typical studio projects, yet “Psycho” and “The Cell” fall under that category. Why did they stand out enough for you to select them instead?
I found “Psycho” to be like a Warhol artwork in my eyes. It wasn’t about attempting to boost profits at the box office or replicating the original film. Instead, it seemed like an intriguing director was passionately delving into this movie. The unique aspect was that the objective occasionally shifted – we stuck closely to certain scenes and then deviated from them at other times, making it a distinct creative endeavor. This method wasn’t familiar to me, but I relished the unusual nature of that process.
Later on, “The Cell” truly caught my attention. Initially, some aspects intended for my character evolved differently by the time it was made public. For instance, I had constructed a backstory where my character had been abused in his youth, which helped explain his relentless pursuit of this particular antagonist. This role demanded a high level of dedication as I aimed to portray a man who would jeopardize his own well-being and self-awareness for this pursuit. “The Cell” was visually engaging, and I appreciated being part of something that felt unique compared to other projects I’ve worked on. I always thrive on the freshness of new experiences.
I recently came across a story about Bradley Cooper who praised you on the set of “Wedding Crashers” for your dedication to a particular scene, despite it not being effective according to him. What gives you that courage? Is there a structured method you follow when portraying characters?
In my experience, the journey isn’t always linear when heading towards the waterfall. Collaborating with other actors calls for teamwork and adaptability. Though I admire Bradley greatly, our recollections of that particular day may differ slightly. That was a scene where I found myself rushing out of the house after revealing too much to the priest, effectively blowing my cover. It turned out to be an elderly woman with a shotgun, and I recall feeling like the situation could veer towards a sitcom trope – almost like those classic “meddling kids” scenarios. To avoid this, I improvised extensively, drawing more from my character’s emotions than the scripted lines. On that day, I spent quite a bit of time contemplating how to approach the scene, and there was something about not being able to touch the water with my feet that made me feel exposed. So, I had to push myself beyond the boundaries.
In another instance that brought back memories, the scene from “Swingers” stood out. This scene depicted Jon and me at the vintage 101 Diner, exchanging lines like, “You’re money, baby.” At the time, the crew might not have foreseen it as a future cinematic classic. I recall performing “my baby’s all grows up,” a tribute to Jon, which I embellished due to the enthusiasm of the moment. Some members of the crew seemed somewhat skeptical, giving us sideways glances like, “Oh dear, look at these two.” Yet, in keeping with the scene while also reacting to it, I retorted, “Am I the jerk here? I won’t eat here,” a line that added an authentic touch. This was one of those moments where you simply have to immerse yourself and let the situation unfold naturally, even if it doesn’t always resonate flawlessly with viewers.
How easy is it for you to know the right number on the dial for each character?
In essence, the tone of a character is crucial since it guides the audience’s perception. To create authenticity, it’s essential to understand the characters’ personalities and motivations, justifying their actions according to their goals. Characters in mythology, like tricksters, can be accepted if their objectives resonate with us. For example, Trent from “Swingers” is admired because he’s a loyal friend, genuinely cares about his buddy, and maintains an optimistic outlook. His dating advice was actually about self-expression and positive self-talk. However, making mistakes can make characters more engaging. As an actor, you’re not delivering a health lecture or etiquette course; instead, your goal is to portray the characters as authentically as possible.
Have you found it simple to encounter individuals like Jon, David Dobkin, Ben Stiller, Peter Billingsley, and Craig Zahler, who provide a feeling of liberty or security for you?
Making art, such as creating a character or a movie, is somewhat similar to forming new relationships, like dating or making friends. Most people wouldn’t express enthusiasm for someone striving to be overly polite and sophisticated. Instead, it often seems more like trying to push the boundaries, asking, “Can we get away with this?”
“In ‘The Break-Up’, you got your initial screenwriting credit. When did writing and producing start to become a significant part of your career?”
In simpler terms, improvisation in acting is similar to writing. It’s about progressing the story or developing characters. Many actors have honed their writing skills over time, out of necessity. While some scripts are excellent and require little alteration, you often seek the best idea for each moment. For instance, I wrote many movie scripts from the start, including “The Break-Up”. The concept originated because I was frequently offered rom-com scripts that were repetitive. At that time, my personal relationships weren’t lasting, and I had no intention of getting married or planning a long-term future. So, I decided to explore a break-up instead.
As a writer who has spent years crafting stories that resonate with audiences, I found myself pondering over an unconventional concept for a film. I wanted to explore the idea of change and growth in a relationship where both parties share blame. Having witnessed countless relationships deteriorate due to stubbornness and unwillingness to admit fault, I was intrigued by the possibility of a character undergoing a genuine transformation, apologizing, and taking responsibility for their actions.
You haven’t produced many sequels, although discussions have taken place regarding potential follow-ups for “Freaky,” “Wedding Crashers,” “Dodgeball,” and “Old School.” Can you explain why none of these sequels were ever made?
Initially, my inclination has always been to create something fresh. However, there was a script for “Swingers 2” penned by Jon that was quite enjoyable, but we didn’t think it was the appropriate choice. With a successful film, there’s often a rush to produce a sequel quickly, but I’ve always believed each one should have its own unique narrative. At various points, discussions about reviving “The Wedding Crashers” and possibly revisiting “Dodgeball” took place. However, the stories never developed in a way that seemed satisfactory to everyone involved. Recently, we’ve been considering revitalizing “Dodgeball,” given its sports theme, and there might be an opportunity for a compelling story in that world today. Yet, whether it will actually materialize remains to be seen. I’ve always been hesitant to revisit these projects unless the new story feels self-sustaining and not just for the sake of producing a sequel.
Following “Swingers” and “Made,” I recall a conversation about the possibility of making another movie as part of what could be considered a trilogy, this time set in a Western-style setting?
“The Western Unveiling,” centered around a Hasidic Jew turned gunfighter in the Old West. Despite its comical tone, it was delivered seriously, similar to films like “Swingers” or “Made.” Regrettably, we never found the right moment to produce this script, but creating “Made” was enjoyable. We made it grittier and concluded with a less hopeful ending, which I believe added an intriguing twist to the story. This is another project that has endured over time, as audiences often comment on its unique nature, signifying its potential. Unfortunately, we didn’t get to produce this one, but it was indeed a strong script.
Over the past few years, you’ve been involved with quite a few TV projects, including “True Detective,” “Curb Your Enthusiasm,” and most recently, “Bad Monkey.” What unique artistic hurdles have these diverse roles presented for you?
For decades, Bill Lawrence and I were inseparable, bonding over our shared passion for poker games. It’s a delightful surprise to rekindle our friendship after so many years and collaborate once more. A masterpiece by Carl Hiaasen is the project at hand, and I’m thrilled to be part of this intriguing 10-chapter narrative. In addition, there are a couple of films in production. “Nonnas,” directed by Steve Chbosky, will premiere at the Toronto Film Festival in September, featuring an illustrious female cast including Talia Shire, Lorraine Bracco, Susan Sarandon, and Brenda [Vaccaro]. I also collaborated with Nic Pizzolatto, creator of “True Detective,” on a film titled “Lounge Singer” starring Al Pacino and Simon Rex. The idea for this movie was my own, and I even had the chance to showcase my singing skills in it. Lastly, I’m gearing up for “Mike and Nick and Nick and Alice” for Fox, a high-octane action film. My affection for films remains unwavering, cherishing the camaraderie that comes with the industry. While there have been debates about Hollywood’s direction, I believe they should invest more in character pieces. However, when they do, they seem to succeed. In conclusion, I appreciate various forms of storytelling, as each offers unique perspectives and stories.
This interview has been edited and condensed for clarity.
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2024-08-12 20:19