To quote noir crime master Raymond Chandler, “When in doubt, have a man come through the door with a gun in his hand.” Given that Titus Welliver was once put on a “Nastiest Villains of All Time” list, we weren’t sure what to expect when the Bosch star stopped by for a visit. Turns out he’s a lot less ominous than you might think, not to mention a lovely and intelligent guy. Above all, he’s a keen observer of internal and external environments and the people who inhabit them—a trait common to great detectives, and great actors. Luckily he’s a bit less stoic than his alter ego, and offered up a fascinating, honest conversation on the lessons of his challenging childhood, how he approached the delicate business of inhabiting a character that already lived in the imagination of thousands of fans, and how picking up a paintbrush after 25 years changed his relationship with his father, a well-known artist. He also offered up some impressions that are hilariously spot on—just ask Christopher Walken. Or maybe, don’t.
To quote noir crime master Raymond Chandler, “When in doubt, have a man come through the door with a gun in his hand.” Given that Titus Welliver was once put on a “Nastiest Villains of All Time” list, we weren’t sure what to expect when the Bosch star stopped by for a visit. Turns out he’s a lot less ominous than you might think, not to mention a lovely and intelligent guy. Above all, he’s a keen observer of internal and external environments and the people who inhabit them—a trait common to great detectives, and great actors. Luckily he’s a bit less stoic than his alter ego, and offered up a fascinating, honest conversation on the lessons of his challenging childhood, how he approached the delicate business of inhabiting a character that already lived in the imagination of thousands of fans, and how picking up a paintbrush after 25 years changed his relationship with his father, a well-known artist. He also offered up some impressions that are hilariously spot on—just ask Christopher Walken. Or maybe, don’t.
To quote noir crime master Raymond Chandler, “When in doubt, have a man come through the door with a gun in his hand.” Given that Titus Welliver was once put on a “Nastiest Villains of All Time” list, we weren’t sure what to expect when the Bosch star stopped by for a visit. Turns out he’s a lot less ominous than you might think, not to mention a lovely and intelligent guy. Above all, he’s a keen observer of internal and external environments and the people who inhabit them—a trait common to great detectives, and great actors. Luckily he’s a bit less stoic than his alter ego, and offered up a fascinating, honest conversation on the lessons of his challenging childhood, how he approached the delicate business of inhabiting a character that already lived in the imagination of thousands of fans, and how picking up a paintbrush after 25 years changed his relationship with his father, a well-known artist. He also offered up some impressions that are hilariously spot on—just ask Christopher Walken. Or maybe, don’t.
It’s hard to believe now that Breaking Bad was clinging to life for its first two seasons, but that was just long enough for Bob Odenkirk to be offered a turn as its lawyer-to-the-shady, Saul Goodman. Odenkirk didn’t see fit to memorize his lines before starting; he just requested that Saul sport a comb-over. If that seems a flippant approach to a role that wound up changing his career, you can’t blame him. Years of “getting my ass kicked in Hollywood” have gifted him with remarkable sangfroid. He just does what he’s always done—work hard and write funny stuff. Simple, right? Well, anyone can work hard, but very few can distill all existence into absurdly, exquisitely true moments. We talk to the co-creator of “the most influential flop on TV” (i.e., Mr. Show) about the turn his career has taken, what Bryan Cranston taught him about taking on a series lead, and how not to dress for an audition. He also reveals his never-ending source of comic fodder: “People are fucking ridiculous.” Be insulted if you want, but be honest—you’re laughing right along with him.
It’s hard to believe now that Breaking Bad was clinging to life for its first two seasons, but that was just long enough for Bob Odenkirk to be offered a turn as its lawyer-to-the-shady, Saul Goodman. Odenkirk didn’t see fit to memorize his lines before starting; he just requested that Saul sport a comb-over. If that seems a flippant approach to a role that wound up changing his career, you can’t blame him. Years of “getting my ass kicked in Hollywood” have gifted him with remarkable sangfroid. He just does what he’s always done—work hard and write funny stuff. Simple, right? Well, anyone can work hard, but very few can distill all existence into absurdly, exquisitely true moments. We talk to the co-creator of “the most influential flop on TV” (i.e., Mr. Show) about the turn his career has taken, what Bryan Cranston taught him about taking on a series lead, and how not to dress for an audition. He also reveals his never-ending source of comic fodder: “People are fucking ridiculous.” Be insulted if you want, but be honest—you’re laughing right along with him.
It’s hard to believe now that Breaking Bad was clinging to life for its first two seasons, but that was just long enough for Bob Odenkirk to be offered a turn as its lawyer-to-the-shady, Saul Goodman. Odenkirk didn’t see fit to memorize his lines before starting; he just requested that Saul sport a comb-over. If that seems a flippant approach to a role that wound up changing his career, you can’t blame him. Years of “getting my ass kicked in Hollywood” have gifted him with remarkable sangfroid. He just does what he’s always done—work hard and write funny stuff. Simple, right? Well, anyone can work hard, but very few can distill all existence into absurdly, exquisitely true moments. We talk to the co-creator of “the most influential flop on TV” (i.e., Mr. Show) about the turn his career has taken, what Bryan Cranston taught him about taking on a series lead, and how not to dress for an audition. He also reveals his never-ending source of comic fodder: “People are fucking ridiculous.” Be insulted if you want, but be honest—you’re laughing right along with him.
Richard Linklater’s films have been said to carry “the shock of the real.” Funny, when you think about it. Why should we be jolted to see ourselves reflected in the profoundly mundane moments he’s become a master of capturing? Maybe it’s because he distills them so beautifully and honestly that watching them, we suddenly remember having lived them. Linklater didn’t go to film school, but it never crossed his mind that he couldn’t make movies. Blind confidence helped, especially in standing up to people who questioned his choices, which were often based on “just a feeling.”
Sometimes, that’s all you have to go on; a lot of the time, it’s the best thing to go on. We talk to the director about sinking 12 years into a movie that made absolutely
no sense, and Everybody Wants Some!!, its incongruous follow up. He lets us in on how he makes natural, spontaneous conversation actually sound that way, and why people who want to be directors might want to start at the library. Or the baseball field.
Richard Linklater’s films have been said to carry “the shock of the real.” Funny, when you think about it. Why should we be jolted to see ourselves reflected in the profoundly mundane moments he’s become a master of capturing? Maybe it’s because he distills them so beautifully and honestly that watching them, we suddenly remember having lived them. Linklater didn’t go to film school, but it never crossed his mind that he couldn’t make movies. Blind confidence helped, especially in standing up to people who questioned his choices, which were often based on “just a feeling.”
Sometimes, that’s all you have to go on; a lot of the time, it’s the best thing to go on. We talk to the director about sinking 12 years into a movie that made absolutely
no sense, and Everybody Wants Some!!, its incongruous follow up. He lets us in on how he makes natural, spontaneous conversation actually sound that way, and why people who want to be directors might want to start at the library. Or the baseball field.
