Tim Blake Nelson Breaks Down His Most Iconic Characters
Released on 11/22/2019
I guess the first film, really,
that I was in was called The Refrigerator.
It was made by some friends from college.
And they had me down the the East Village.
I didn't even know really, what the film was about.
I was in drama school at the time.
But, I do know that the movie
was about a refrigerator that ate people.
[upbeat rock music]
This is my life.
I was in Los Angeles doing a television show.
I was only two years out of drama school
and I was called over to the Beverly Hills Hotel.
And I sat with Nora and the casting director,
a woman named Mara Rosenthal,
who worked at the time with Juliette Taylor
who casts all the Woody Allen movies.
I just sat and talked with Nora
and she simply said, I'm gonna put you in the movie.
You're gonna play a babysitter
who's a stand-up comic and why don't we figure out
what his comedy is, and he can
kind of try it out on the girls
while he's babysitting them.
And when I got back to New York,
I went over to her apartment in the Apthorp
and I handed her these pages.
I really shouldn't have done that.
I think she wanted to discuss
and then, she was gonna write the pages.
But I didn't know any better and she looked at me,
somewhat startled, and said, Well,
I wasn't expecting this.
And then she read them and said,
You know what, I think we can work with this.
And suddenly, I was on a Nora Ephron set
doing a scene with Julie Kavner.
On subjects ichthyological, I don't don't mean to harp,
but who is grander than the carp?
That's a good one.
It's important to remember
that he's a bitter, failed comic.
So, I didn't need to write jokes that were funny.
I was writing jokes for a bad comic,
which, I think is a lot easier.
[upbeat drum music]
Heavyweights.
I met Ben through a classmate of mine at Julliard.
And, I also knew the writer of that movie
who's a guy named Steve Brill
and so I had these two connections to Ben.
And kind of like with Nora, he basically
said in the room, Well, I want you to play this part.
And I didn't really think I was
appropriate for it, necessarily.
I thought I was a little bit young.
But, I jumped at the chance to do it.
And then, I found myself hanging out
on that movie with not only Ben, but Judd Apatow.
That was a really lucky early movie
to get to do and a fun supporting,
not even a supporting role, but really,
a one scene, you know, a cameo.
I had a scene that involved Jerry Siller
and Anne Meara, Ben's parents.
Kind of involved them, I mean,
I showed a video tape with them.
So, effectively, I was in a scene onscreen with them.
Hi, Jerry, Roger Johnson.
Islander's fan, huh?
Team of the future, I say.
Yeah.
It astonishes me when I'm stopped
and people say, Oh my God, Heavyweights.
It really does astonish me because
I'm in the movie for just a breath.
[upbeat drum music]
The Thin Red Line.
Like everyone who has an interest in movies,
I looked at Terry Malick as a real hero.
To get the call that I was even
gonna get to read his new script
made me feel like, I don't know,
my time in drama school had been worth it.
I went through the audition process and I read on tape
and then word came back that Terry was interested.
Find something that's his.
Make an island for himself.
Being around Terry was game-changing
just in terms of what I thought was supposed to go
into making a movie and what I thought preparation meant
and was for, what I thought the relationship
between the text of a script and what actually got shot was.
Terry was incredibly prepared
and he really knew his subject matter,
but what we ended up shooting
bore very little relation to what the script was.
And each day was largely improvised.
Often, you would be told the day before
or on the morning of a shoot
that all your lines had been eliminated.
And I think this is a part of his method
of literally eviscerating all the given circumstances
of his own narrative so that the narrative
would be more free-flowing and immediate.
But, this was of course hell on a lot of the actors
and particularly, those of us, who again,
came in with certain assumptions
about, well, if I have this line, I do get to say it.
If I'm supposed to be in this scene,
I'm going to show up on the day and shoot it
and just, none of that ended up being true.
And, it humbled, I think, all of us.
It taught me, most of all, that a movie
is the director's movie, and we're there to serve.
If you're gonna do movies, you better sign up for that
and more than sign up for it, you'd better embrace it.
And, actually seek out those filmmakers
that you actually don't wanna end up
in cookie-cutter movies that those movies end up
being the least interesting ones.
I was really blessed to learn that early on through Terry.
[intense music over crashing waves]
Often what he does is he shoots all day
until the last hour, what's called magic hour.
It's really about thirty minutes.
You learn that he's been shooting all day
as a kind of rehearsal to get the scene
in that forty-five minute period when the light is right.
Well, that's interesting.
It's hard on the actors and it's hard on the crew,
but, you sure don't forget it.
And you sure know you're gonna end up
being a part of a film that looks like none other.
[upbeat drum music]
O Brother, Where Art Thou?
O Brother, Where Art Thou, I guess,
was the movie I got that changed everything.
I was lucky enough to understand
that as soon as I got the script.
Joel sent me the script and said,
Can you read this, I need some advice.
I thought, Oh, he wants to talk
about the adaptation of the Odyssey
because I studies classics in college.
And then, he offered me Delmar.
I was so astounded that I told him initially,
No, I'm not sure, let me spend a night thinking about it
because what I don't want to do
is come down onto a set with you and Ethan.
Who had become friends of mine at the time.
And not come up with the goods.
You've offered me this part
without even hearing me read it.
Let me at least assure myself
that I have some purchase on this role.
And he said, Well, yeah, you can try
to persuade me otherwise, but we think
that you're the right person for the role.
But, I spent the evening with it
and I decided, alright, I have a way in here.
I don't even know if he really believes
that there was a possibility I could have
said no, but there really was
because, again, I didn't wanna go and be on somebody's set
and have them regret having offered me a part.
[squeaking]
[screaming]
Pete, Pete!
[water splashing]
It was all practical.
There's nothing digital there.
I was really chasing a toad in the water
and the toad actually did escape
into the water when I was splashing around after it.
That all happened.
Luckily for me, I was very anxious about that scene.
Even though it's funny and it's extreme,
it's also very emotional and there needed
to be a truth in there for it to resonate as being funny.
And also, dramatically compelling, as funny as that sounds.
♪ I had a friend named Ramblin' Bob ♪
♪ He used to steal Gamblin' Rob ♪
♪ He thought he was the smartest guy around ♪
The song I sing on in the movie is In the Jailhouse Now.
And because the movie got a Grammy for album of the year,
I actually have a Grammy.
I like to think of it as probably one
of the most undeserved, or, you know,
there's no reason I should have a Grammy.
I got to sing Jailhouse because basically,
I begged Joel to let me have a crack at it.
♪ For, I'm bound to ride that northern railroad ♪
♪ Perhaps I'll die upon this train ♪
[cheers]
♪ Perhaps he'll die upon this train ♪
I didn't sing on Constant Sorrow,
but I got to dance to it with Turturro.
And I got to lip sync it with Turturro
in the studio scene where we sing it.
And that was just so much fun.
Working with John was great.
I used to dream, fantasize, as a kid,
about being in a recording studio
with the headphones on.
There I was, in my thirties,
doing just what I had fantasized about.
It just was different route.
And I wasn't gonna end up having a career in music,
it was just a little moment in time
that answered this fantasy I had.
[upbeat drum music]
Minority Report.
I just shot a film as a director
called the Gray Zone in Bulgaria.
I got a call from my agent saying
Steven Spielberg has offered you a part
in this new film of his called Minority Report.
Are you in?
It's apparently a very flashy role.
And I said, May I read it?
No, he's not giving the script out.
You're either in or you're out.
But Tim, it's Steven Spielberg,
you're gonna say yes to this.
And I said, I'm sorry, again,
like I said to Joel, it's incredibly flattering,
but the last thing I want to do
is show up on somebody's set
and not be able to come up with the goods.
And have a director look at me
and say why did I cast this person?
It's great that he didn't want
to audition me, I'm not sure why.
Well I learned that he had seen O Brother
that summer in Barry Sonnenfeld's screening room
in the Hamptons, and so, that what interested him
in me for this part.
But I still didn't know what the part was.
And so, I said, Can I talk to him?
The next day, I'm in the editing room
and the assistant comes in and says,
Steven Spielberg is on the phone.
And I said, Hello, such a honor to meet you.
And he basically said, What's the deal?
Do you wanna do this part?
Somebody said you needed to talk to me.
And I said, I just would love
to be able to read the script if that's possible.
It's not because I doubt that it's incredible,
it's actually the converse of that.
It's that I doubt that I'm gonna be good enough
or suitable, anyway, for the role.
And he said, Of course you can read it.
That's a perfectly legitimate thing to ask.
And it was basically just a set of monologues
because the guy talks a lot.
I got all the monologues down.
I felt like I really had command of them.
And I showed up on set and I was called
to Tom's, Tom Cruise's bus.
He had this enormous bus, it was like
a shopping mall, it was just huge.
And so, you know, I wandered in,
and we're working on the scene
and Steven just doesn't seem happy at all.
And I thought to myself, Ugh, my nightmare is coming true.
I'm coming up short, I'm disappointing a director.
I should've said no.
And he comes up and stands next to me
and he's just thinking, he's very quiet,
and he said, Can you do a Boston accent?
And I'd gone to college in Rhode Island.
That's pretty close, and so I said, Yes, actually, I can.
And so I did it, and he said,
Now that's more like it.
And then he stared ootsing with certain sounds I was making
and really, right there, like a fresco painter,
he just started shifting, with Boston accent as a base,
the way the guy spoke and literally,
in that fifteen minutes, we came up with
who and what Gideon was and it just suddenly felt right
and everything he was after made sense.
Can't let you take that out of here, chief.
It's against the rules.
Anything else going on in here that's against the rules?
[clicking]
Careful, chief, you dig up the past,
all you get is dirty.
What's remarkable about Steven
is that he can do that with everyone on set.
He just knows the entire apparatus of filmmaking.
That's what's so unbelievably special about him.
[upbeat drum music]
Holes.
I loved being in holes and the director
of that movie, Andy Davis, who directed not only
that movie, but The Fugitive, I mean,
talk about a wide bandwidth.
It was a great deal of fun and also
working with Jon Voight and Sigourney Weaver,
what could have been better?
It was a really fun part to play.
I'm probably stopped on the street
about that movie as much as any movie
in which I've gotten to appear.
You might as well teach this shovel to read.
Go ahead, Zero, take it, it's all you'll ever be good for.
B-I-G, what's that spell?
[metal clanking]
The kid who hit me with a shovel
in Holes is this wonderful guy
whom I still know a bit named Cleo Thomas.
It was great getting whacked with the shovel.
It was, you know, again, a scene I knew
was gonna be really pleasing for the audience
and I love, as an actor, taking a dive.
It's why a person wants to be a character actor.
Not being the hero, but often being the butt of jokes,
being the eccentric, being the dimwit,
being sinister, being naive, all of that,
I mean, getting to find all those colors role to role
is why I love acting and the kind of acting I get to do.
An actor once said to me, I don't wanna
be the guy standing next to the guy
or opposite the guy, I wanna be the guy.
Well, I wanna be the guy standing next to the guy
or opposite the guy because they often
have the best stuff to do in a movie.
[upbeat drum music]
The Incredible Hulk.
That movie came at me in a funny way
because I was about to direct this film I'd written
called Leaves of Grass with Edward Norton
and he and I were producing it together as well
and I got called town to, I think the Mercer Hotel,
the lobby of the Mercer Hotel to meet Louie Laterrier,
the director of Incredible Hulk
and Gale Ann Hurd, his producer.
And they said, We want you to play
this scientist character, and I had read the script.
He was a wildly eccentric guy,
mainly in the second half of the movie.
And I thought, Well, yeah, alright,
that's interesting to me, I haven't been
in one of these movies before.
And then they said, Well, you're gonna
become the villain in the next movie.
So, you'll basically be signing up for three movies.
And you're gonna be this character called The Leader.
And I thought, Oh my God, this is fantastic.
I said, Well, whom else have you cast?
And they said, Well, weirdly, you're our first offer.
Which was, I thought was strange,
because nobody was gonna come see the movie
because I was playing this scientist,
or even because I was gonna be the villain.
They needed a guy to play Banner.
And I said, Who's?
And they said, Well, it's either gonna be
Mark Ruffalo or Edward Norton.
And I think I even said, But wait a minute!
Edward's supposed to do my movie
and I'm not contest for you guys,
of course he's gonna wanna play Banner.
And I called Edward and he said, basically,
Tim, get real, of course I'm gonna play Bruce Banner.
That's gonna be fantastic, you're possibly
gonna be in the movie with me, it'll be a blast.
And then we'll do your movie, I'm not going anywhere.
And Edward's a man of his word.
And so we got to act, I got to act
in a movie with Edward right before directing him.
For both of us, we did Hulk and then Leaves of Grass
was our next movie.
Now, take your hands off him.
[electrical buzzing]
I learned so much about shooting from Louie Leterrier.
As I often do, because I direct my little movies,
I hang around on sets, even when I'm not needed
and just watch what the director's up to
because all these guys with whom I get to work
know so much more about it than I do.
[upbeat drum music]
Lincoln.
This time, when I got the call,
I didn't risk offending Steven.
I said yes without reading the script.
It helped to know that Tony Kushner
had written the script, but, I just said,
Fine, I'm not gonna hassle him again, I'm in.
And the real fun for that movie
for me was the sad environment
because Daniel Day-Lewis stays in character always.
But, in addition to that, he demands
that there be no anachronisms on set.
Nothing that wouldn't blend in at least,
to the period, was allowed on set.
That just furnished a level of de quorum
and seriousness and focus, the likes of which
I've seen on no other set.
And then there was just having a scene opposite Daniel.
It felt to me, like I was a decent enough painter
in 1925 who got to go into Picasso's studio
and watch him work and just completely transform
and reorganize an entire approach to the art form.
He's working on such a level where
the transformation of the man was just molecular.
I literally couldn't find him in there.
All I saw was Lincoln.
The democrats we've yet to bag, sir.
The patronage job simply won't bag them.
They require more convincing, Mr. President.
That I got to be in two of Steven's movies
has been incredibly meaningful to me
because he likes to change it up.
He can have any pigment he wants for his canvas.
He'll only use the ones, because he can,
that are exactly right for what he wants.
And, I'm lucky that my color
was right for two of the movies.
[upbeat drum music]
The Ballad of Buster Scruggs.
Joel gave me that script after O Brother had been released.
And because I had done my own singing
for In the Jailhouse Now, he and Ethan decided
that I should play a singing cowboy
and that would be really funny
and sort of contrapuntal because I'm not
what you'd really think of as a cowboy type.
They find that funny and so they said,
Well, let's have him do this and do pistol tricks
and we'll write a short and it'll be companioned
with these other shorts.
So, 18 years later, they came to me
and said, Alright, we're ready to make it.
They got it financed and they took me to dinner
and said, Alright, you're gonna need
to be able to sing four songs.
We need you to play the guitar
and we need you to do all these pistol tricks.
You've got six months.
I had a great six months working on that every day.
My son taught me to play the guitar
and I loved the character so much,
I just wasn't gonna let him down.
♪ Old Ann and I with throat burned dry ♪
♪ And sows that cry for water ♪
♪ Cold clear water ♪
Because I'd felt that I really prepared
and I was ready, we had a wonderful time shooting.
It's one of the best times I've ever had
on a movie, and I've had a lot of fun on movie sets.
But, I don't think I've had more fun
than on the Buster Scruggs set.
[upbeat drum music]
Watchmen.
What I love about Watchmen is
that while it's based on a graphic novel/comic
and it has superhero elements,
particularly with Dr. Manhattan,
really, Watchman is about vigilantism.
It's about justice, it's about human frailty
called revenge and how that's misinterpreted
as a strength and I think what Damon,
in particular, is examining in the show, Watchmen,
is what revenge can allow for.
Not just in the vengeful person,
but in the tit for tat in response to revenge
and how revenge and vigilantism build on themselves
and then finally, what it brings
out in someone to wear a mask.
Why would they start this shit up again?
[guns firing]
Maybe there was something they didn't want found.
Damon and the writers have written a character
for me who's got some very complicated issues.
And he allowed for those issues
to be explored, both when they're directly
being explored, and they are, over the course of the season,
but also, just in his behavior
when they aren't being explored
and you can infer a kind of fragility
and despair in the guy.
And I get to be a scene partner
with Regina King, truly one of the classiest
people I've met doing what I do.
Jeremy Irons, Don Johnson, the legend.
I'm very excited about the show.
I think it's wildly inventive.
I think people are gonna be surprised,
moved, and very engaged.
[upbeat drum music]
Just Mercy.
Just Mercy is exactly the kind of film
in which I'd like to appear.
It's made my Destin Daniel Cretton,
first of all, who has proven himself
to be one of the talented and innovative directors around.
If you watch Just Mercy, just think
about where there could be score
under some of the performances,
and he doesn't furnish it and he allows
the actors, the writing, and the simplicity
of the photography to tell the story.
Jamie Foxx plays Walter McMillan,
and Michael B. Jordan, who also produced the movie,
plays Brian Stevenson and I got
to work with both those guys.
If you go digging in those wounds,
you're gonna make a lot of people very unhappy.
[intense violin music]
When people care about a thing that much,
they'll do anything to get what they want.
The character I play is also the victim
of an extremely difficult life
coming up through foster care.
He was nearly burned alive and
wears those scars, literally, on his face.
And he was basically frightened
by the DA and the sheriff's department
in Montero County, Alabama to put this guy on death row.
And he has to come to terms with that.
[upbeat drum music]
The Report.
The Report is a movie made by Scott Z. Burns,
who's a protege of Steven Soderbergh.
I originally met Scott because he wrote
this wonderful play called The Library
about the Columbine shootings
that Steven Soderbergh ended up directing at the public.
Scott thought of me for the Report,
gave me this wonderful role, I guess,
of a character you'd call a whistle-blower.
But, you know, my presence in that movie
is really is a part of a greater ensemble
of some other really wonderful New York actors,
many of them stage actors that were put in the film
by Scott and the wonderful casting director, Avy Kaufman.
You know, you've got Maura Tierney and Jon Ham
and Linda Powell, Annette Bening
playing Diane Finestein and so
it's just scene after scene of, I think,
selfless performers, if such a combination
of words is possible in the vicinity of the word truth.
Have you guys used this thing before?
No, we watched your video.
I think you know as an actor
in roles like that, it's always important
to know where you fit.
What's the spine which is usually best told
in terms of the protagonist and in the case
of The Report, it's the amazing Adam Driver.
The job of the actor, I believe anyway,
or, my job in those sorts of films
is just how I help drive his or her story forward
and to fit in in the right way
in playing the truth of the scenes.
Don't do too much so that you get in the way.
It's the other person's story, it's not a movie about you.
Starring: Tim Blake Nelson
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Yunjin Kim Breaks Down Her Most Iconic Characters
The Russo Brothers Break Down Their Most Iconic Marvel Films, Arrested Development & More
Rae Sremmurd Break Down Their Most Iconic Tracks
Neil Patrick Harris Breaks Down His Most Iconic Characters
Karl Urban Breaks Down His Most Iconic Characters
Ralph Macchio Breaks Down His Most Iconic Characters
Pierce Brosnan Breaks Down His Most Iconic Characters
Christian Bale Breaks Down His Most Iconic Characters
Paul Dano Breaks Down His Most Iconic Characters
Daniel Radcliffe Breaks Down His Most Iconic Characters
Mahershala Ali Breaks Down His Most Iconic Characters
Javier Bardem Breaks Down His Most Iconic Characters
Brendan Fraser Breaks Down His Most Iconic Characters
James Cameron Breaks Down His Most Iconic Films
James McAvoy Breaks Down His Most Iconic Characters
Director Alejandro González Iñárritu Breaks Down His Most Iconic Films
Director Rian Johnson Breaks Down His Most Iconic Films
"Weird Al" Yankovic Breaks Down His Most Iconic Tracks
Danny Trejo Breaks Down His Most Iconic Characters
Don Cheadle Breaks Down His Most Iconic Characters
Giancarlo Esposito Breaks Down His Most Iconic Characters
Bryan Cranston Breaks Down His Most Iconic Characters
Donnie Yen Breaks Down His Most Iconic Characters
Paul Rudd Breaks Down His Most Iconic Characters
Sir Roger Deakins Breaks Down His Most Iconic Films
Donald Glover (Childish Gambino) Breaks Down His Most Iconic Characters
Chris Tucker Breaks Down His Most Iconic Characters
John Leguizamo Breaks Down His Most Iconic Characters
Dave Matthews Breaks Down His Most Iconic Tracks
Liev Schreiber Breaks Down His Most Iconic Characters
Ludacris Breaks Down His Most Iconic Tracks
Danny Elfman Breaks Down His Most Iconic Scores (Tim Burton Edition)
Mads Mikkelsen Breaks Down His Most Iconic Characters
Michael Cera Breaks Down His Most Iconic Characters
Chris Evans Breaks Down His Most Iconic Characters
Martin Scorsese Breaks Down His Most Iconic Films
Paul Giamatti Breaks Down His Most Iconic Characters
Barry Keoghan Breaks Down His Most Iconic Characters
Kurt Russell Breaks Down His Most Iconic Characters
Sam Rockwell Breaks Down His Most Iconic Characters
Clive Owen Breaks Down His Most Iconic Characters
Josh Brolin Breaks Down His Most Iconic Characters
John Malkovich Breaks Down His Most Iconic Characters
Eugene Levy Breaks Down His Most Iconic Characters
Michael Keaton Breaks Down His Most Iconic Characters
Danny McBride Breaks Down His Most Iconic Characters
Trent Reznor & Atticus Ross (NIN) Break Down Their Most Iconic Tracks
Zack Snyder Breaks Down His Most Iconic Films
Kevin Costner Breaks Down His Most Iconic Characters
Walton Goggins Breaks Down His Most Iconic Characters
Cate Blanchett Breaks Down Her Most Iconic Characters
M. Night Shyamalan Breaks Down His Most Iconic Films
J. K. Simmons Breaks Down His Most Iconic Characters