The actor talks about making the outrageous new film, fighting Canadian cinema's old guard, buying weed with grandparents and whether it's 'the Beach' or 'the Beaches'
In the movie, Mike is the gentle genius to Jim’s fire-breathing a-hole. Was that a fun dynamic?
Oh, certainly, because it always gave each of us a clear point of view. We never had to figure out how our guy would behave in a certain scene. There is this hokey expression that “acting is reacting,” and the dynamic between these two characters is a really good example of that. At the same time, what I find the most interesting is how there are these big differences in demeanour, but Mike and Jim are also so similar.
Without giving anything away, the movie sort of ends where it begins, with this frustrated genius who is chasing excellence for the sake of excellence. Did you relate to that aspect of the character? I don’t know about excellence, but I do think of myself as being someone who tends to care deeply, maybe too much, about whatever it is I’m trying to create. I also know what it is to have people not understand why you do what you do—like why you don’t just move somewhere warm and make easier money. In, the merry band of engineers from the early days are sort of a stand-in for the Toronto indie film scene that Matt Johnson came up in.The whole time.
Immeasurably for the better. When weed was illegal, I wished that they would charge me double and tax the fuck out of me. I just wanted to buy it in a store and get a receipt. That was the only time in my life when I would do illegal shit. I pay my taxes on time; I don’t cut the queue. I guess no one forced me to smoke pot, but because I wanted to, I was forced into criminality. Now I can buy it in broad daylight next to a grandad, which is how it always should have been.
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