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I LOVE WHAT I DO AND I LIKE GOING TO WORK AND I LIKE BEING CREATIVE AND WE’RE ALL IN IT TOGETHER SO JUST GO PLAY, HAVE SOME FUN
And how nice not to shoot anybody in a film? What are you talking about? It’s fun to do that.
Tell us about your original audition for Ted? We went through a very vigorous audition process. I recall in the end there was about ten artists and we would all kind of revolve door and sometimes play Bill, sometimes play Ted and interact with each other.
When did you realise that Bill & Ted was not only a box office hit but had become a cultural phenomenon? I think as soon as people started yelling in the street. I know when I would be on the street sometimes, people would just be, ‘be excellent!’ and ‘party on!’ so I was like, ‘oh cool, alright.’
Meanwhile, it’s the 15th anniversary since the release of ‘Constantine’. What first attracted you to this project? I wasn’t familiar with the character. I hadn’t read ‘Hellblazer’ or seen any of the Alan Moore stuff and ‘Swamp Thing’. So I didn’t know the character and it was brought to me by my manager at the time. I think when it was bought to me, Akiva (Goldsman – producer) and Francis (Lawrence – director) were already kind of on board with the project.
I really loved the script and then I did some research on the character and I was, not hesitant, but I’m not English and I’m not blond and the character is. So I had to reconcile that and part of that was what was at the base of the character, what could I bring to the character, why even do it? And it’s such a beautiful character, this kind of humanitarian cynic, kind of tired, world-weary, tired of all of the rules and morals and ethics and angels and demons but still a part of it.
So Keanu, it’s been almost 30 years - how did it feel to be back in Ted’s shoes and working with Alex (who plays Bill) again? There’s nothing like it…I mean I can’t feel or laugh or do anything like the way that working on ‘Bill & Ted’ does and working with Alex. That doesn’t exist anywhere else in the world for me. So to partner up and work on the craft side of it and then to get to play, get to play these characters that Chris (Matheson) and Ed (Solomon) have created, kind of be their children - there’s no other place that I can laugh like this.
Which was your favourite scene to shoot in the new film? There’s a few scenes that stand out, a lot of scenes actually, but Al gives such a wonderful performance - it’s so funny. And then not only getting to play Bill and Ted but older versions of Bill and Ted as they are getting more and more upset with us. Yeah, getting to play off of Alex and the situation and the words – that doesn’t exist anywhere else for me. That kind of laughter, that kind of connection like that. It’s fun.
And I loved his sense of humour. So I was really excited. I had seen a few of Francis’ videos, I think the Lady Gaga video was probably the most recent. And when I went to the meet Francis, he had all the boards up, a vision was there of the film and so I was excited to have the opportunity to work with him. And then I got to meet with Akiva and come up to speed with the team. I mean I love the film, I love the character. So it was cool to be able to play that role and jump into it.
The city of Los Angeles plays an important role in ‘Constantine’, can you talk about that? I love LA and I love filmic LA. So I love being on the street, I like the way the weather changes, I like the early dawn, the deep night, colour of the lights, people who are on the street. It’s got a good vibe. It’s Philippe Rousselot, he is the cinematographer.
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CE L EBRIT Y INTERVI EW K EANU RE E VE S
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