You are known as one of the nicest guys in Hollywood. You’ve been in some massive films, ‘The Matrix’, for example, and are back for more action with that franchise soon. People who work with you always say how gracious you are on set with everyone, with the crew etc. What keeps you so grounded? That’s kind of you to say but I don’t know, 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 was that the experience you had making ‘Constantine’? It was one of those experiences on a film that you kind of get a relationship with not only the production design, the cinematography, the character and stuff but the world that you’re moving in. You really work hand-in-hand in the ballet of the vision of the director and trying to make the shapes and hit the marks and let people know ahead of time where you’re going. It was a great LA crew. Best in the world.
Throughout the entire film you are either being either rained on or smoking a cigarette – which was more of a pain in the ass – cigarettes or the rain? What do you mean pain in the ass? That was fun.
Tell us about working with Francis Lawrence? I really enjoyed working with Francis and Akiva. And just having Francis’ vision, having Akiva’s story sense and humour and experience. And then the crew that was assembled and then the cast. And playing that role.
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It’s a great cast – Shia Labeouf, Tilda Swinton… I get to have these great moments with all of the characters in the film. So throwing down with Peter Stormare as I’m bleeding out and he’s leaning in to me and he’s lighting my cigarette and that confrontation. Or throwing down with Tilda Swinton and she’s choking me with her foot on my throat. Working with Shia Labeouf, his dying scene. Working with Djimon Honsou. I love that moment when he starts to pray and Constantine is just like, ‘urgh’ but then the scene with Djimon and I when he’s doing the water and I’m taking my shoes off. Max Baker going at me… there’s just so many. The dialogue is so juicy and the scenes are so hard-boiled; that mystery, you’re walking in, you don’t know. There were so many times getting to work with such extraordinary artists and we were all just having fun. The dialogue and the costumes were great and the production design was great and the crew, everyone came in and rolled up their sleeves, it was collaborative, everyone contributed. Working nights, working days. And then walking into those buildings and having them – and shooting on film!
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.
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Tell us about working with Rachel Weisz? It was the second time I’d had a chance to work with her so we had a shorthand.
Do you remember filming the hell sequence, specifically with the cat? Oh in the room? Yeah. I mean I remember being in hell and I remember being in the apartment and I remember the cat. I didn’t know what I was going to do with the cat until I met the cat and the cat told me what to do (laughs). Sometimes we didn’t know what we were going to do but we would just go do it. I also love that the demons had their brains gone so the seed of the soul had been scooped out like an urchin, like eating an urchin. That was interesting too and fun. And the way that their joints moved backwards. Yeah then kind of running and running machines, trying to get that stuff and then doing the wire jump - that was fun. But that sequence, you know, half in, half out has all of the hard-boiled, has the humour, has the cinema, has the vision, has the writing, has the playfulness, has that dread, it has what’s going to happen. So that sequence, you know if you go into it, go to hell and come back out and the door click and her hair and coming back and then coming back to John and the steam coming off his back and the physical cost, the toll that it took him.
And then the drama, the flip, how that’s like the sister and the reveal and then the kind of momentum of the storytelling and the performance that Rachel gives and the intimacy of that. You know, you’re getting spectacle, intimacy, it feels real. Yeah it was cool.
CE L EBRIT Y INTERVI EW K EANU RE E VE S
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