Russell Crowe

Russell Crowe

Russell Crowe

 

Russell Crowe - The Press

 

The Hard-Ass, dalla rivista GQ, marzo 2005

traduzione a cura di Erica, grace

 

"Se tutti ti fissano come uno zotico preistorico troppo convinto di se, magari è solo il prezzo per reggere il tuo stile di vita in un mondo dove sempre meno gente si preoccupa della qualità del lavoro. Chris Heath si spinge al largo con Russell Crowe e scopre che sotto la dura scorza da macho dei tabloid batte un cuore punk-rock."


Russell Crowe passes me a meat pie and shows me how to slather tomato sauce over its crust. These local delicacies he thoughtfully picked up before we boarded this boat, the boat he has borrowed in order to surround us with the beauty of Sydney Harbor as we talk. Occasionally, he comments on the sights: a passing yacht with a revolutionary swinging keel, towering architectural abominations here and there, the amusement park he used to play in as a kid—where, he explains, everyone used to get off inside the Ghost Train’s haunted house, and where some of them remained when the original structure burned down in the late ’70s.


*Qual è il senso del recitare?*
Comunicare, credo. Raccontare storie. Le sue radici hanno lunga data e fanno parte di tutti noi come umanità . Sai, interpretare John Nash in un film è lo stesso per me che raccontare una barzelletta in un bar. E' solo una prestazione. E' lo stesso lavoro di un vecchio che appoggiato al suo bastone racconta l'arrivo delle prime canoe (credo si riferisca ai padri pellegrini?!). Eccetto per alcuni ruoli per i quali i giorni possono essere molto più impegnativi. Ma in essenziale il senso semplice del recitare è la base della comunicazione di complicate idee ed emozioni, in particolare al cinema, quando anche un piccolo ammiccamento di palpebre può avere una risonanza gigantesca. Oppure intendevi il senso della mia vita?


*Beh, suppongo che è la prossima domanda. Perché lo fai?*
*Fondamentalmente sono un timido (!!!), così il fatto di assimilare qualcosa da altri caratteri è piuttosto liberatorio da fare se sei una persona timida; perché è tramite l'interno della struttura caratteriale che puoi immediatamente cambiare gli altri atteggiamenti. E poi, non ho mai trovato un altro lavoro che mi faccia stare così bene.


*La prima percezione che la gente ha di te non è la timidezza.*
*No, ma stai parlando di 2 o 3 decadi fa. Ho recitato la mia prima scena nel 1970, è facile per me ora stare a testa alta ed essere aperto con la gente, perché ho incontrato milioni di persone nella mia vita. Ma se voglio davvero fare qualcosa che mi espone emotivamente il carattere allora suono. Mi richiede ancora di capire realmente tutto l'insieme delle varie emozioni che si possono provare. (smorfia facciale). Non so dove ca..o andrò a finire con tutto questo, per semplificare. E' davvero duro spiegare perché è un fot…o lavoro del c…o, no?!!
In particolare quando hai successo… la gente non capisce come mai la tua vita improvvisamente è cambiata quando, hey, spende solo dieci fot…ti dollari per un film e trascorre un paio d'ore. Non capisce la preparazione, non capisce il vero impegno psicologico di merda che impieghi. Voglio dire, l'ultimo film è un esempio, ho subito un'operazione chirurgica durante la preparazione! E' un treno da 100 milioni di dollari e sei tu che guidi questo treno, fino a quando non è tutto compiuto. E nessuno lo prende in considerazione, nessuno lo prende seriamente,sai...se non fosse così serio, non lo farei. E' un gusto personale. Non mi piace guardare un attore che ha lo stesso taglio di capelli da periodo a periodo, da personaggio a personaggio… è una stronzata! E' uno spreco di soldi e di tempo per il pubblico.


*Pensi che alcuni attori lo giudichino sufficientemente sul serio?*
*Non penso che lo facciano con cura. Non sono precisi.


*Ti fanno rabbia?*
*Non è che mi fanno rabbia. Non è la strada che voglio percorrere... Se ti ricordi l'ultima interpretazione fatta, la prossima volta vedendomi dovrai dire "hey, ma è proprio lui?"
*Ma è una delle contraddizioni dell'industria moderna del cinema. La gente è così devota da costruire sugli attori delle icone, ma l'essenza del cinema credibile è di non pensare chi è l'attore mentre guardi il personaggio.
*Beh, cerco e lo evito il più possibile. Non uso la mia "celebrità " per guadagnarmi da vivere. Non faccio pubblicità per vestiti in Spagna come George Clooney o di sigarette in Giappone come Harrison Ford. La gente ragiona su un unico livello "fai più errori, amico, quando ci sono soldi facili da ottenere". Ma per me è una sorta di sacrilegio, è una completa contraddizione con il fot…o contratto sociale fatto con il pubblico. Voglio dire, Robert De Niro che fa la pubblicità dell'American Express………


*E cosa fai?*
Non è la prima volta che rimango deluso. E' successo ancora.
*Chi l'ha fatto, cosa pensi possa aver perso?*
La prima cosa che ne esce è la tua completa integrità . Sono una sorta di vecchione che nei dialoghi con i produttori può ancora permettersi di dire "guarda amico, so che promuovi questo fot…o film.." Se sei in grado di capire questo, non puoi permettere che avvenga. Perdi la tua integrità non appena oltrepassi la soglia del commercialismo grasso.


*Sono d'accordo con te, ma credo che viviamo in un'epoca dove alla maggior parte del pubblico non gli può importar di meno.*
Senz'altro una generazione di giornalisti che non capisce di cosa sto parlando. Pensano davvero che sia stupido, sai? Quel tipo di credibilità non mi fa ottenere più "punti Brownie" (è un modo di dire, il Brownie è un dolce al cioccolato!). Non sembra concepibile il motivo per cui a uno scoccia prostituirsi!
*Un mucchio di gente sembra pensare che questa disciplina è una grande macchina di vendita, che brividi.*
Ho nettamente ­ nella mente, nel cuore, nel mio io ­ la fiducia richiesta ad essere un artista serio, come stabilito dal NME nel 1976 (settimanale della musica britannica New Musical Express che nel 1976 riportò un articolo sul nuovo look punk-rock). E' quello in cui fot…mente credo e non cambierò.


*Che tipo di persone ti ha ispirato in quest'epoca?*
Gli artisti individuali? Elvis Costello (cantante). I "Sex Pistols" (gruppo punk) ­ no, scherzo..


*Non penso che fosse uno scherzo. Non so se sei stato al corrente dopo l'evento. Era uno scherzo ma è diventato importante.*
(Annuisce) Veramente serio. Veramente serio. "Sham 69" unici "Another Girl, Another Placet".. The Buzzcocks (credo si riferisca a gruppi musicali e cantanti punk). Credo profondamente che la generazione successiva alla generazione X sia una generazione molto conservatrice, non sono sicuro che capisca l'impegno che viene messo in ciò che faccio. Non sono sicuro che riusciremo a riacquistar terreno…… Spesso mi sento 
come il più giovane dei "vecchi ragazzi", quelli che hanno ancora le filosofie di vecchio stampo riguardo ciò che è credibile e ciò che non lo è. All'improvviso uno come me sembra un dinosauro di un epoca diversa, ma spero che noi sia poi così. Anzi, spero di essere in prima linea quando ci sarà un ritorno di pensiero...


*Ma se sei un dinosauro, sei orgoglioso di esserlo?*
In queste considerazioni ­ credibilità , integrità del lavoro... ­ 
assolutamente. Non credo ci sia bisogno di essere un vecchione che pensa a fare il supereroe. C'è piuttosto bisogno di più gente che sia preparata a lasciarsi andare emotivamente nel lavoro e che affrontino le persone come una sorta di viaggio.
Ho appena girato un film su un pugile, e l'ho visto, e ho già visto il suo effetto sulla gente, e questo non è un film con effetti speciali. Non ci sono scene animate, non ci sono scene disegnate, non ci sono cinture speciali o pistole laser. E' alla vecchia, no? Credo


Ogni miglio percorso?

Certo. Miglio dopo miglio, tutti nei miei occhi.

Ha aspettato Cinderella Man per anni. Mi racconta quanto gli sia piaciuto il copione la prima volta che lo lesse nel 1997 e, una per una, le varie volte in cui sembrava che il ruolo non gli sarebbe stato assegnato - quando stava per assumerne la regia Penny Marshall o Billy Bob Thornton (con Ben Affleck protagonista) o ancora Lasse Halmstrom, e di come, ad un certo punto, Crowe abbia incoraggiato Harvey Weinstein a comprarne il progetto:

"Ma questo è stato prima che mi telefonasse verso le nove meno un quarto del mattino chiedendomi di materializzarmi come per magia a mezzogiorno in punto a Tribeca, quando io invece mi trovavo dalle parti di Central Park per dei servizi stampa. Gli feci: Amico, guarda che non posso farlo.' Così mi mandò affanculo. Chiamai il mio agente e gli dissi, 'Ehi, Harvey mi ha appena mandato affanculo prima delle nove del mattino.' E lui, 'Oddio, cosa pensi che voglia dire?' E io, 'Penso che significhi che stiamo per combinare qualcosa. ' "

Devo dedurne che tu sia il genere di persona che, quando qualcuno lo manda a quel paese, la cosa non gli preclude di intrattenere rapporti di lavoro con lui?

No, perché era giustificato ad esserne seccato, perché ero stato dietro ad un altro progetto per tre anni e mezzo e lui mi aveva dato quello che riteneva fosse ciò che volevo. Però avevo anche dannatamente ragione su quel film .(9) E' stato un fottuto successo al 100%, solo che il personaggio di William Shakespeare non era un fottuto scrittore - non era abbastanza puzzolente, non era abbastanza poco rasato, e ovviamente non aveva bevuto abbastanza. Era un qualunque belloccio delicato. E che cavolo! E' una cosa talmente irriverente.

E tu avevi in mente un tipo puzzolente, con la barba lunga e ubriaco che pensavi fosse in grado di farlo?

Sì, volevo vedere quel fottuto orso grizzly. Volevo vederlo trasformarsi sotto l'impulso dell'amore. Volevo vedere da dove scaturivano i sonetti. Venivano fuori dalla stessa penna disperata che ha scritto 'Timone d'Atene' - volevo vedere quel tipo d'uomo. Volevo vederlo con tutte le sensibilità di un uomo che fu capace di creare una serie di opere che sarebbero rimaste secolo dopo secolo. Ecco cosa volevo vedere.

E volevi essere tu quello?

Volevo fare quel personaggio. Amavo quella sceneggiatura. Voglio dire, era una sceneggiatura incredibilmente ben studiata per gli attori. Ecco perché la ritenevo così grandiosa.

Pensi ancora che la tua versione sarebbe stata migliore?

[ride] Di gran lunga, amico. Cosa vuoi dire?

Beh, alla gente è piaciuto, mi pare.

Sì, il film è piaciuto. [fa una pausa] Non saprei - suppongo di essere troppo giovane per dire tutto quello che mi va di dire, per quanto nessuno possa dire di avermi mai sentito ritirare nulla. Ma lo faccio ... non è che voglia o abbia bisogno di criticare Joe Fiennes. Ma io avrei visto la cosa in modo differente. Vedo quell'opportunità in modo differente. 

Oltre a recitare hai anche cominciato a suonare la chitarra e a scrivere canzoni molto giovane.

Sì, 7, 8, 9 anni.

Su cosa potevi scrivere canzoni a nove anni?

Probabilmente cose di cui in realtà non capivo niente. Canzoni sull'amore e altre cose del genere.

E se avessi potuto metterti al posto di qualcuno, chi sarebbe stato?

In sostanza è veramente fastidioso, ma era Elvis. Guardavo un sacco di film di Elvis. Erano i tempi delle sue grandi canzoni a Las Vegas: “Suspicious Minds” e “In the Ghetto.” Ricordo che ebbi il permesso di rimanere alzato fino a tardi per vedere Elvis in diretta dalle Hawaii. Cazzo, fu deludente. Quando apparve in TV, andai da mio fratello, "Chi cazzo è quello? E' quello Elvis? Cavoli." Non eri tu che rimanevi senza fiato con lui, era lui che era semplicemente senza fiato da sé.

Non hai girato il tuo primo film che quando avevi già 25 anni. La maggior parte di quelli che concludono qualcosa come attori hanno successo molto tempo prima.

In buona parte è stato per via della musica, perché era il mio interesse principale. Oltre a questo, fino ai 25 anni mi mancava un dente. Quando George Ogilvie (10) mi ha ingaggiato, mi ha chiesto del dente ed io gli raccontai la storia (11) e che pensavo che fosse falso da parte mia portare una capsula. Lui fu molto gentile riguardo a questo, ascoltò la storia per intero e disse, 'Benissimo, allora mettiamola così, Russell. Tu reciti la parte del protagonista nel mio film, giusto? E il personaggio di Johnny ha due incisivi ...."

Ti ha fatto entrare nella parte con il Metodo (Stanislavski ndt.) 

Sì. Vedi, io non ho un metodo. Non seguo nessuno in particolare. Quando la gente parla di Laurence Olivier o altri del genere, io faccio: 'Cazzo, amico, una volta che hai avuto De Niro in 'Toro Scatenato,' è da lì che devi cominciare.

Sembra assurdo che non avessi sostituito il dente per quindici anni ....

Sì, ma allo stesso tempo, mi ha impedito di fare cose da belloccio. In qualche modo, mi ha fatto da margine. Nell'ambiente del rock'n'roll ero accettato molto più facilmente proprio perché avevo quel fottuto mezzo dente. 

E per quanto riguardava la vita a parte cantare e recitare?

Beh, ha anche reso i rapporti con le ragazze un po' più difficili. [ride] Visto che non sorridevo mai.

Ti consideravi un teenager attraente?

Non so. Non è che sia importante in realtà.

Una domanda che contiene già la risposta, giusto?

[fa una pausa] Durante la preparazione per 'The Insider' (12) Michael Mann era sbalordito perché io mi stavo spingendo fino ad un punto che lui fondamentalmente non aveva preteso ... ma io mi resi conto che non potevo interpretare quell'uomo se non mi sentivo rassomigliante a lui ... Sul set di 'Gladiator', non avevo dei buoni rapporti con i produttori. Avevo un ottimo rapporto con Ridley [Scott], ma i produttori non riuscivano a capire perché non mi calmassi. La ragione per cui non riuscivo a calmarmi era che sapevo che se mi fossi calmato, per quei cinque minuti, ora nel film ci sarebbe qualcosa di stupido. Come quando stavano cercando di farmi fare una scena d'amore e io gli faccio, "Quello che stiamo realizzando qui è basato sulla vendetta di un uomo la cui moglie è stata assassinata - e voi non riuscite a fare a meno che si fermi per una scopata lungo il percorso?' Mi hanno detto che Jeffrey Katzenberg (13) telefonò a Michael Mann e disse, 'Guarda, questo ragazzo non si sta limitando a girare il film con i pugni come vogliamo che faccia, quindi che sta succedendo?' E Michael disse, 'Beh, se avete problemi del genere con Russell, allora dovete sapere che dovreste solo starlo a seguire .... ' E Jeff disse, 'E' una questione di fottuto ego e così via?' e Michael scoppiò a ridere. Perché la vanità non c'entra ... E' solo per il fottuto personaggio?"

Ma è questo quello che spesso pensa la gente, no? Pensano che sia ego e vanità.

Beh, quella è la cosa più semplice per loro da voler credere. Sono abbastanza sicuro che si tratti di una forma di autodifesa e - se proprio volete una fottuta parola che sappia di ego e vanità - è un modo per difendere la tua eredità. Le cose che hai fatto in precedenza e il tentativo di far sì che tutto quello che fai sia dello stesso livello. Per cui sì, suppongo che in questo vi sia dell'egocentrismo. Però non me ne frega un accidenti dell'aspetto che ho durante un film oppure fra un film e l'altro. Non me ne potrebbe fregare meno. Non porto un particolare taglio di capelli. Non me ne fotte proprio, sai? Ma nei panni del personaggio, specie se è una persona realmente esistente, allora è una grossa responsabilità .... Capita ogni tanto che io dica questa cosa e può sembrare proprio da ipocrita - ma se c'è qualcosa a cui aspiro è che ci sia fiducia fra me e il pubblico. Voglio che sappia con assoluta certezza che se l'ho fatto ci dev'essere qualche dannata buona ragione; c'è qualcosa di speciale in questo. Prima o poi, la stampa, la merda delle riviste, quella dei tabloid, spariranno tutte, perché non importa quante volte possano dirlo, questo non lo renderà vero. Quello che invece è vero è ciò che io realizzo nei film. Anche se è finzione, è quella la verità.

Di tutte queste chiacchiere a cui accenni - "la stampa, la merda dei tabloid" qual è la roba che ti causa più frustrazione?

C’è sempre stato il fatto che io venga accusato di qualcosa di cui non ho colpa, sai? E' una cosa che risale ai tempi delle elementari. E' la cosa che mi fa più paura - essere rimproverato per qualcosa che non avevo fatto .... E c'è quel 'Se vieni accusato di qualcosa e ti arrabbi, evidentemente sei colpevole '."

Sapevo che ne erano state dette di cose pesanti su di te, ma tutta la roba che ho letto per preparare quest'intervista, mio Dio, te ne hanno detto veramente di brutte ....

E' stato davvero dannatamente ridicolo, amico. Ho passato del tempo come in questo momento l'anno scorso con un tizio del Time Magazine .... 

Stavo proprio per citartelo. Sei in copertina e nonostante ciò, all'interno di due pezzi sostanzialmente lusinghieri su di te, dicono che sei qualcuno che "risulta come un bruto, un primitivo: Crowe Magnon Man," che vieni "frequentemente preso per uno dei più grandi imbecilli al mondo."

Dai giornalisti. Quello è il particolare che manca.

E tu cosa ne deduci?

Torniamo di nuovo a Michael Mann, lui ride delle persone che credono che quella descrizione sia in qualche modo fedele. Ride veramente di loro. "Come fa a fare le interpretazioni che fa se è quel tipo? Se è quel tipo, come fa ad essere Nash? Come può essere Wigand? Come fa ad essere il ragazzo di 'The Sum of Us'? (14) Come può questo 'zoticone' possedere un tale livello di sensibilità?"

Eccotene un'altra: "Crowe viene regolarmente definito da coloro che hanno lavorato con lui come un 'perfezionista,' il che, ad Hollywood, è un eufemismo per 'somaro.' "

A meno che non intendano veramente dire perfezionista. Se intendono semplicemente, no, un momento, vuole che sia fatto bene .... e fatto bene anche per loro, non solo per me .... io dico delle stupidaggini a volte - come, ho visto qualcuno che mi sfotteva in Tv l'altra sera, [ride] parlando del lavorare per un regista e di come io offra loro "una miniera d'oro di idee." Ed io pensavo, perbacco, suppongo che sembri arrogante e fottutamente stupido .... E magari lo è, arrogante e stupido. Solo che, sai, è comunque pur vero. [ride] 

* * *

Ieri sono andato a fare spese con Danielle, ed eravamo in una libreria. E c’è stata una donna che ha proprio fatto: "Guarda, Russell Crowe legge - chi l'avrebbe detto?" [ride]

E' veramente spiacevole.

Ma è questo il mio ambiente. E' in mezzo a questo che vivo, giorno per giorno.

* * *

Crescendo ritenevi di essere speciale? Pensavi che ti sarebbe capitato qualcosa di speciale?

[lunga pausa] Sì, in effetti lo pensavo. Mi capitava di frequente di trovarmi in situazioni molto strane in cui, mentre camminavo per strada immaginavo che la gente mi stesse chiamando per nome. Ero ottimista e pieno di aspettative come tutti. Tante cose non andavano per il verso che io avrei voluto, però non ho mai perso quella sete di comprendere che cosa ero capace di fare bene.

Quando stavi girando Romper Stomper, (15) ti sei reso conto che quella sarebbe stata la tua occasione per essere notato?

[annuisce] Non credevo che in Australia avrebbero voluto realizzare un altro film del genere per chissà quanto tempo.

Ti sei dovuto sorbire un bel po' di letture e di registrazioni, no? Cosa ti ricordi in proposito?

Non molto. C'è come una specie di archivio che riempi e svuoti. Ma cose tipo la lettura di 'Mein Kampf,' quello è niente. Non mi metto a leggerlo per assorbirlo e crederci, sai? Mi metto a leggerlo solo per interesse, mi fa concentrare, e attraverso la sua lettura ho anche modo di prendere in considerazione altri aspetti del personaggio.

Ma è vero che te ne stavi seduto ad ascoltare Wagner e bande di tifosi di calcio inglesi e andavi a dormire ascoltando il rumore bianco? Questo deve veramente averti mandato fuori di testa.

Beh, mi teneva come in un posto strano. Mi manteneva in un leggero stato di squilibrio mentale, che poi era proprio dove io volevo stare mentre stavo interpretando quel ruolo ... Un tipo come Hando per me è ripugnante - la filosofia che governa la sua vita è qualcosa che mi disgusta in modo totale - per cui è stata un'interessante esperienza di studio.



  (ndw: segue)
The Hard-Ass
from GQ, march 2005

If the world pegs you as boorish, cocky, and self-righteous, perhaps that’s just the price for keeping up your standards in a world where fewer and fewer people seem to care about doing good work. Chris Heath drifts out to sea with Russell Crowe and discovers that beneath the tabloid tough-guy exterior beats a punk-rock heart.

Russell Crowe passes me a meat pie and shows me how to slather tomato sauce over its crust. These local delicacies he thoughtfully picked up before we boarded this boat, the boat he has borrowed in order to surround us with the beauty of Sydney Harbor as we talk. Occasionally, he comments on the sights: a passing yacht with a revolutionary swinging keel, towering architectural abominations here and there, the amusement park he used to play in as a kid—where, he explains, everyone used to get off inside the Ghost Train’s haunted house, and where some of them remained when the original structure burned down in the late ’70s.

What’s the point of acting?

Communication, I think. Storytelling. Its roots are age-old and part of who we are as humans. You know, playing John Nash1 in a movie is the same as me telling a joke in a bar. It’s just a performance. It’s the same job as the bloke that used to hold the talking stick aloft and talk about when the first canoe arrived. Except that subject matters these days can be more and more complicated. But the essential, simple point is just basic communication of really complicated ideas and emotions—particularly in the cinema, when a little blink can have a gigantic resonance. [pauses] Or do you mean the point of it in my life?

Well, I guess that’s the next question—why do you do it?

I’m fundamentally quite shy, so that thing of taking on another character is quite a liberating thing to do if you’re a shy person, because within that character framework you can now go to all these other places. [pauses] And I never found another job that I was actually that good at.

That’s not people’s first perception of you, as shy.

No, but you’re also talking about two or three decades into doing the job. I did my first acting thing in 1970.2 Sure, it’s very easy for me now to be up-front and open with people, because I’ve met millions of people in my time, so you kind of get past that. But if I want to do something that is going to emotionally expose the character I’m playing, it still requires me to really understand the whole broad spectrum of varying emotions you can pull…[pauses; grimaces slightly]…uh…I don’t know where the fuck I’m going with this. [to himself] Just simplify it. [to me] Because it’s really hard to explain, because it’s a fucking prick of a job, you know? Particularly when you get successful with it…. People don’t understand why your life suddenly changed when, hey, to them it’s fucking ten bucks at the movies, it’s over in a couple of hours. They don’t understand the prep, they don’t understand the real physical shit that you put yourself through. I mean, the last movie’s an example3 —shoulder surgery partway through preparation. And it’s a $100 million train, man, and I’m the fucking guy that drives the train. And I’ve got to get back on that train and make sure that this thing is completed. And not everybody takes the same attitude towards it, not everybody takes it seriously, you know…. If it’s not going to be that serious, I don’t want to do it. It’s a personal taste. I don’t like watching an actor have the same fucking hairdo from time period to time period, from character to character—I just think it’s bullshit. It’s a waste of money and a waste of my time as an audience member.

Do you think those actors are just not trying hard enough?

I just don’t think they care. They don’t care.

That makes you angry?

It doesn’t make me angry. It’s just not the way I want to do it…. If you’ve got your memory of the last thing I was in that you saw, the next time you see me on-screen you go, “Is that him?”

But that’s one of the contradictions of the modern movie industry. So much is devoted to building up actors as icons, and yet the whole essence of believable cinema is that you need to not think about who the actor is when you’re watching a character.

Yeah, well, I try and avoid it as much as possible. I don’t use my “celebrity” to make a living. I don’t do ads for suits in Spain like George Clooney, or cigarettes in Japan like Harrison Ford.4 And on one level, people go, “Well, more fault [to] you, mate, because there’s free money to be handed out.” But to me it’s kind of sacrilegious—it’s a complete contradiction of the fucking social contract you have with your audience. I mean, Robert De Niro’s advertising American Express.

What do you make of that?

Gee whiz, it’s not the first time he’s disappointed me. [laughs] It’s been happening for a while now.

If you did all that, what do you think you would be losing?

The first thing that goes out the door is your complete integrity. I’m the sort of bloke that will have stand-up arguments with producers, saying, “Look, mate, I know you’re product-placing that fucking thing.” If I can see it, I’m just not going to allow it to happen…. You lose all of your integrity as soon as you cross over into that sort of crass commercialism.

I agree with you, but I think we live in an age when most of the audience couldn’t care less.

Certainly a generation of journalists that I talk to don’t understand. They actually think that I’m being stupid, you know? That kind of credibility thing doesn’t get me any Brownie points at all. There doesn’t seem to be that understanding of why you bother to not prostitute yourself.

A lot of people seem to think, This stuff is one big selling machine, so chill out.

I absolutely have—in my mind, in my heart, in my being—the credibility required to be a serious artist, as laid down by NME in 1976.5 That’s what I fucking believe in, and I’ll never change.

What sort of stuff inspired you in that era?

Individual artists? Elvis Costello. The Pistols—-but the Pistols was just a laugh.

I don’t think it seemed like a laugh at the time. I don’t know if you’re being wise after the event. It was a laugh, but it mattered, too.

[nods] It really mattered. It really mattered…. And Sham 69, the Only Ones’ “Another Girl, Another Planet,”6 the Buzzcocks…. I get a very deep sense that the generation after Generation X is a very conservative generation, and I’m not sure they understand the commitment part of what I do. I’m not sure if we’ll ever be able to regain that ground…. I quite often feel like I’m the youngest of the old guys, where I’ve got some really old-fashioned philosophies about what’s credible and what’s not…. Suddenly, someone like me seems like a dinosaur from a different age, but I hope it’s the opposite of that. I hope I’m at the forefront of thinking and it’ll all come back to that at some point.

But if you are a dinosaur, you’re proud to be that?

In those respects—credibility, integrity for the work—absolutely. I don’t think there needs to be another bloke who wants to be a superhero. I think there needs to be more people who are prepared to do the nuts and bolts of the job emotionally, and to take people on those sort of journeys. I just did a movie about a boxer, and I’ve seen it, and I’ve seen its effect on people already, and this isn’t a movie with tricks. There’s no animated bits, no bits of cartoon, no utility belt, no laser guns. It’s just one bloke, you know? I mean, I’m 40 years old now, so to get in that sort of shape…. Jack Aubrey7 was 228 pounds, Jimmy the Boxer was 172. So there’s all the training up to the shoot,8 but then during the shoot you have to keep training. But I watch the film, and I see its effect on people, and I know that every one of those miles has something to do with that depth of connection.

Every one of the miles you ran?

Yep. Every one of the miles I did, they’re in my eyes.

—He waited years for Cinderella Man. He tells me how he loved the script when he first read it in 1997, and details the various times when it seemed as though it wouldn’t be his role—when Penny Marshall was going to direct or Billy Bob Thornton (with Ben Affleck as the lead) or Lasse Halstrom, and how, at one point, Crowe encouraged Harvey Weinstein to buy the project:

“But that was just before he called me at about quarter to nine in the morning and wanted me to magically turn up for a meeting at twelve o’clock in Tribeca, but I was doing press around Central Park. I was, ‘Look, mate, can’t do it.’ So he told me to get fucked. I rang my agent and said, ‘Hey, Harvey just told me to get fucked before 9 a.m.’ He goes, ‘Oh, my God, what do you think that means?’ I said, ‘I think it means we’re getting somewhere.’ ”

I presume that you’re the kind of person who, when someone tells you to get fucked, that doesn’t preclude your having a working relationship with them?

No, because he was justifiably annoyed, because I’d been following another project for three and a half years and he had got me what he thought was what I required. But I was fucking right about that movie, too.9 It was a 100 percent fucking home run, except the central character of William Shakespeare was not a fucking writer—he was not smelly enough, he was not unshaven enough, and obviously hadn’t had enough to drink. He was some prissy pretty boy. What the fuck? That’s so disrespectful.

And you had in mind a smelly, unshaven, drunk guy you thought could do it?

Yeah, I wanted to see that grizzly fucker. I wanted to see him flower. I wanted to see him blossom under the fact of love. I wanted to see where the sonnets came from. They came from the same pen of despair that wrote Timon of Athens—I wanted to see that guy. I wanted to see that guy with the sensibilities of a man that could create a body of work that would last century after century. I wanted to see that.

And you wanted to be that?

I wanted to play that character. I loved the script. I mean, it was an incredibly well observed script about actors. That’s why I thought it was so cool.

Do you still think your version would have been better?

[laughs] By fucking miles, mate. What are you talking about?

Well, people loved it, I guess.

They did; they loved the movie. [pauses] I don’t know—I suppose I’m still too young to say everything I want to say, though nobody’d ever give me credit for holding anything back. But I do...I just have no desire or need to slag Joe Fiennes. But I would look at that particular thing differently. I see the opportunity differently.

As well as acting, you started playing guitar and writing songs at a young age.

Yeah—7, 8, 9.

What would the 9-year-old you write a song about?

Things that I didn’t really have any understanding about, probably. Songs about love and all that sort of stuff.

And if you’d thought you were channeling someone, who would it have been?

It’s really fundamentally boring, but it was Elvis. I used to watch a lot of Elvis movies. And that time period was his big Vegas song period: “Suspicious Minds” and “In the Ghetto.” I remember being allowed to stay up late to watch Elvis live from Hawaii. Shit, that was disappointing. When he came on TV, I went to my brother, “Who the fuck’s that? That’s Elvis? Damn.” You weren’t getting breathless with him; he was just getting breathless all by himself.

You didn’t do your first movie until you were 25. Most people who make anything of acting had success far earlier.

A lot of it had to do with the music, because that was my primary focus. Also, until I was 25, I had one tooth missing. When George Ogilvie10 cast me, he asked me about it, and I told him the story11 and that I thought it was very false of me to go and get a tooth cap. He was very nice about it, listened to it all, and said, “All right, well, let me put it this way, Russell. You’re playing the lead character in my film, right? The character of Johnny has two front teeth….”

He Methoded you into it!

Questo sito e' creato, mantenuto e gestito da Gloria (lampedusa). Se hai bisogno di contattarmi, scrivimi all'indirizzo croweitalia@gmail.com. Se hai delle informazioni da segnalarmi, contattami via email. something, I go, “Fuck, man, once you’ve had De Niro with Raging Bull, that’s where you begin.”

It seems insane that you hadn’t replaced the tooth for fifteen years....

Yeah, but at the same time, what it prevented me from doing was pretty-boy stuff. Somehow, it gave me an edge. I was sort of accepted into the rock ’n’ roll thing a lot easier because I had this fucking half a tooth.

What about in your life away from acting and singing?

Well, it made relationships with girls a little difficult as well. [laughs] Because I never used to smile.

Did you think of yourself as an attractive teenager?

I don’t know. That’s not really important.

That’s its own answer, too, isn’t it?

[pauses] Michael Mann was stunned when we were prepping The Insider,12 because I was taking it to a place that fundamentally was something he didn’t require…but I realized I couldn’t play the guy unless I felt like I looked like the guy…. On the set of Gladiator, I didn’t have a very good relationship with the producers. I had a very good relationship with Ridley [Scott], but the producers couldn’t understand why I wouldn’t just chill out. The reason I wouldn’t chill out was because I knew that if I did fucking chill out, in those five minutes something stupid would now be in the movie. Like, they were trying to get me to do a love scene, and I’m saying to them, “What we’re doing here is about the vengeance of a man whose wife has been killed—you cannot have him stop off for a little bit of nooky on the way.” I’ve been told that Jeffrey Katzenberg13 rang Michael Mann and said, “Look, this guy is just not rolling with the punches as we want him to, so what’s it all about?” And Michael said, “Well, if you’re having problems like that with Russell, then you’ve got to know that you should just follow him….” Jeff said, “Is this about fucking ego and stuff?” and Michael started laughing. Because vanity doesn’t come into it…. Is it right for the fucking character?

But that’s what people often think, don’t they? They think it’s ego and vanity.

Well, that’s the easiest thing for them to want to think. I’m sure at a certain point it’s about self-protection and—if you want a real fucking word that smacks of ego and vanity—it’s about protecting your legacy. The things that you’ve done previously and trying to get everything that you do to be that same standard. So yeah, I suppose there’s egotism involved in that. But I don’t give a fuck what I look like during a movie or between films. I couldn’t care less. I don’t have a certain haircut. I don’t give a shit, you know? But on behalf of the character, particularly if it’s a real person, now, that’s a huge responsibility…. Every now and then I say something like this and it just sounds so self-righteous—but if there’s anything I’m aiming at, it is that I want there to be a trust between me and an audience. I want them to absolutely know that if I’ve done it, there’s some really good fucking reasons; there’s something special about it. Sooner or later, the press, the magazine shit, the tabloid sort of shit, that’ll all go away, because no matter how many times they say it, it’s still not going to be true. What is true is what I put down in movies. Even though it’s pretend, that’s the truth.

Of all the chatter you mention—“the press, the tabloid sort of shit”—what’s the stuff that frustrates you the most?

I’ve always had a thing about being accused of something when I’m not guilty of it, you know? That goes right back to a primary-school thing. It’s the thing that scares me the most—being blamed for something that I didn’t do…. And there’s that “If you get accused of something and you get angry, then you must be guilty.”

I knew you’d had some rough things said about you, but reading all the stuff in preparation for this, my God, you really have had some rough things said….

It’s really been fucking ridiculous, man. I spent time like this last year with a guy from Time magazine….

I was just about to quote to you from that. You’re on the cover and yet, within two essentially laudatory pieces about you, they say you’re someone who “comes off as a brute, a primitive: Crowe Magnon Man,” that you are “frequently perceived as one of the world’s biggest jerks.”

By journalists. That’s the bit that’s missing.

What do you take from that?

Again, let’s go back to Michael Mann, because he laughs at people who think that that description has any sort of accuracy. He just laughs at them. “How can you do the performances that he does if he’s that guy? If he’s that guy, how can he be Nash? How can he be Wigand? How can he be the guy in The Sum of Us?14 How can this ‘lout’ have that level of sensitivity?”

Here’s another one about you: “Crowe is consistently referred to by those who have worked with him as a ‘perfectionist,’ which, in Hollywood, is a euphemism for ‘jackass.’ ”

Unless they actually mean perfectionist. If they just mean, no, hold on, he wants it right…right on their behalf, too, not just for me…. I say stupid things sometimes—like, I saw somebody taking the piss out of me on TV the other night, [laughs] talking about working for a director and how I give them "a gold mine of ideas." And I was thinking, Gosh, I suppose that does sound arrogant and fucking stupid…. And maybe it is arrogant and stupid. But, you know, it’s still true. [laughs]

* * *

I went shopping with Danielle yesterday, and we were in a bookstore. And this woman actually said, “Look, Russell Crowe reads—who’d have known?” [laughs]

That’s pretty rude.

But this is my environment. This is what I live in, day to day.

* * *

Did you think you were special growing up? Did you think something special was going to happen to you?

[long pause] Yeah, I did, actually. I used to have these very strange situations where I’d be walking down the street and I would imagine people calling out my name. I was as optimistic and as full of hope as anybody could be. And lots of things didn’t turn out the way I wanted them to when I was a younger fella, but I didn’t lose that thirst to understand what it is that I could do well.

When you were going to do Romper Stomper,15 did you realize this was going to be your chance to be noticed?

[nods] I didn’t think they were going to make another movie like that in Australia for a long time.

You had to feed yourself a pretty unpleasant diet of reading and listening, didn’t you? What do you remember about that?

Not much. There’s a sort of a filing system that you fill up and you empty. But stuff like reading Mein Kampf, it’s nothing. I’m not reading it to take it in and believe in it, you know? I’m just reading it out of interest, and it focuses me, and through the act of reading I’m considering other aspects of the character as well.

But you’d really sit and listen to Wagner and English soccer crowds and go to sleep listening to white noise? That must have really fucked with your head.

Well, it kept me in an odd place. It kept me slightly unbalanced, and that’s where I wanted to be while I was doing that role…. A guy like Hando is abhorrent to me—the philosophy that governs his life is something that disgusts me completely—so that was an interesting learning experience.

The director also says that you got arrested during the shoot.

We did get arrested, but we weren’t doing anything.

I heard that it was five times.

I’m not sure if it was that many. One big night, nine of us got arrested. And we’re not doing anything particular, we’re not hanging out in skinhead hangouts, we’re just going to regular pubs. However, we don’t have any hair, and we’ve got serious sixteen-hole fucking Doc Martens with white laces, which signify to the police “white supremacy.” In an odd way, I was kind of weirdly comforted that these nine or ten blokes walking around together in Melbourne would immediately attract attention from the police.

Did you immediately say, “No, sir, I’m an actor”?

Yeah, I mean, two constables came out and grabbed me and said, “Who do you think you are?” and all that sort of stuff. And I said, “Mate, I’ll tell you exactly who we are—we’re a group of actors, and we’re doing a movie where we’re playing neo-Nazi skinheads.” And this sergeant of police in South Melbourne says, “Is that right? Right. Well, I hope you’re a Method actor, son, because you’re really going to enjoy this. Put him in the fucking cell!” [laughs] And at the time, I was really kind of angry, but over time you cannot help but laugh at that. That’s funny as hell.

When the film came out, did you expect some people to misinterpret it and to assume wrong things about you?

Not to the degree. In its immediacy, it wasn’t accepted very well at all. I’m not going to deny the power of the film, but I believed that the piece said, quite clearly, that if you believe in this philosophy, if you partake in this type of behavior, you’re either dead or arrested by the end of this story.

I think that’s true, but at the same time you can’t be naive enough not to know that some people will just enjoy seeing behavior and a way of life they like.

But in the full balance of what I’ve done as a career, [one of] the very next things that I did in terms of an Australian film was to play Jeff in The Sum of Us, knowing that there would be a certain amount of guys who lined up on day one because of Romper Stomper and they’ll get a good surprise.16

Which was the first movie role you did where you felt you were really getting somewhere?

In what terms?

Where you really felt, “I know what I’m doing”?

From a skill factor, I knew when I was doing Virtuosity, when I was working opposite Denzel [Washington], that I had the things that I needed and I could communicate the things that I had constructed intellectually and physically…. But everything I’ve done in my career as a professional actor, it’s like, I get the gig way after I’ve got the experience enough to do that gig. But yeah, you can follow the steps of it. Probably the biggest difference—the thing that really took my life and changed it, and made my relationship with the press a defensive one instead of one of tolerant amusement or whatever—was Meg Ryan.17 And, gee whiz, I’m not going to apologize for that situation in my life. It’s just there. Well, actually, that’s wrong—I would apologize if there are people that were directly hurt from that situation. There was never any intention like that. Quite frankly, it was in the papers before it was a reality, you know? So we were already having to deal with the bullshit, and that possibly brought us close together, because we were both dealing with what it meant to be put in that situation.

* * *

He leads me back to the book-lined office of his waterfront Sydney home, disappears for a moment, and returns, his face full of fatherly delight, his 1-year-old son, Charlie, in his arms. When Charlie has taken his leave, Crowe suggests we listen to some music. He guides me through the highlights of (Last Night We Were) the Delicious Wolves, by the Canadian Hawksley Workman, a record Crowe was introduced to in Toronto by his Cinderella Man costar Renée Zellweger. Together we take sensible, mystified pleasure in the line You took your clothes off to remind me of the ocean. Then he asks whether I would like to hear his own latest song. He has been collaborating with a songwriter named Alan Doyle, from a Canadian band he likes called Great Big Sea; this new song, “Raewyn,” has a different level of poise and grace than much of the records by Crowe’s band, Thirty Odd Foot of Grunts, and its lyrics are both elegant and more direct. It draws on two traumatic early deaths in the Crowe family tree—his mother’s sister Raewyn and his father’s brother Charlie—and on his own new family, on how these are linked by name and heritage, and of what it is to be a parent and a child:

“My mother’s sister committed suicide when she was 21. Slashed her wrists in the bath. And my father’s youngest brother died in a scuba-diving accident when he was 17. It just hadn’t occurred to me what my father would have been able to say to my mother when she lost her sister, because he had had the same experience, and how close that must make them.”

Growing up, were you very aware of all this history?

She died while I was alive. He died just before I was born. It was one of the odd things, when Dani wanted to call the baby Charlie and I said, “I don’t think that’ll go down very well in my family.” We’ve had two Charles Crowes. One died scuba diving at 17. The other, the uncle of my grandfather, died in the Battle of Britain at 21. But Dani had an Uncle Charlie who moved from York to Hollywood and lived till he was 96. So I went on two things: a combination of genes and third-time lucky.

What have forty-odd years of life taught you about love?

Um…[long pause]…I’ve got a really strong relationship with Dani that has a scaffolding of years underneath it, and I’ve started to recognize that the things that were important were the ways that we shared particular attitudes toward certain things, and the way that we could laugh about certain things. You know, I’m really young at this marriage thing, but there’s some quite wonderful things that come into your life with marriage, you know, and we discuss it quite regularly, because we feel ourselves growing closer together. We can actually feel that happening. And centering what we have as a marriage around the birth of Charlie, who came along probably faster than we were expecting, but we had both been celibate for the three months prior to the wedding….

How did the idea of the three months come up?

We were having a chat and we said, “Okay, let’s keep some distance between each other.” Because I’ve got a lot of mates, and it seems to be that quite a high percentage of Australian marriages don’t get—what’s the word?

Consummated?

Consummated on the night. Thank you. And I didn’t want to be in that category. But I think that three months meant that we were…in a certain particular place. And with the excitement of the wedding and the depth of the ceremony and stuff…it just made everything a little bit more magical too.

Is it true that you cried at your wedding?

Not in the way that it’s reported. I didn’t cry at Charlie’s birth, either. I’ve got all the footage, and Dani actually said to me the next day, “You were fucking outrageous.” Whenever I sense that she’s getting a little uncomfortable, my focus is on her, but I make sure I put the camera somewhere where it still gets a good two-shot. [laughs] And I don’t stop or anything—one minute I’m shooting her, and you can see a little flicker of eyelid, of pain or whatever…I’m seeing her, seeing the pain…seeing the angle…going to her, checking she’s okay…and then I’m back into it.

You were thinking about the lighting?

Totally! I’ve got cutaways. Anything interesting that’s in the corridor, I’ve got a cutaway, too. I’ve got the feet of the nurse. She was wearing purple shoes. I’ve got lefts and rights, covered over shoulders both ways, just in case, because I didn’t know how I’d want to do it.

There are times when you can be too professional….

But, see, it was probably easier for me to deal with this huge thing that was happening by having this little thing to do, which was keep the video camera going. Plus, my wife has a record, an absolute record, of something that happened to her that she was not experiencing. And I know it sounds daggy18 and what have you, but, mate it’s a hell of a cool thing to watch. I’m not being self-defensive or whatever—I have absolutely no problem expressing myself. This thing of confusing Bud White19 or Maximus with who I am is ridiculous. Like it’s such a big fucking deal that Russell Crowe might cry? Are you fucking kidding?

* * *

We are discussing—because as Crowe points out, perfectly reasonably, over and over, how the weight of past stories and opinion, inaccurate and otherwise, might smother any fresh truth about him—a story of how he is supposed to have insulted Moby in the bathroom of an Australian club20 while he says he was actually in Ecuador at the time:

“I think possibly there’s a self-contained aspect to who I am that bothers people, because by now I should have had at least three or four visits to rehab; I should have probably been up on a domestic-abuse charge. Because I’m not really doing the fucking Russell Crowe brand-name shit. I’m not fulfilling that stuff. So if I don’t fulfill, then just write about it anyway… You know, there was an article I was reading on-set somewhere, and there were eleven things on this list that made me a motherfucker, right? The eleven points of motherfuckerdom of Russell Crowe. And nine of them were completely untrue, had never happened, but had been over time reprinted so much that they were now folkloric.”

But you were two-elevenths a motherfucker?

Yeah. [drily] Apparently. Yeah. [looks at his watch] Shit. I didn’t even realize it was that late. I missed putting Charlie to bed. That’s going to really bum me out all night. I’m an idiot. I didn’t even look at my watch…. It’s just a really hard time, between bedtime and when he wakes up in the morning—it’s a really long time to wait.

How much does it mean to you, having won an Oscar?

Quite a lot, really. To be honest, when you’re younger and cooler, you say those sort of things don’t mean anything, but then on the day when they pat you on the back and they say, “Look, mate, we’re noticing what you’re doing—thanks very much,” you think of the people who spent a life in the cinema and didn’t receive that kind of accolade, and it’s sort of a humbling experience. And it’s very nice and all that. But it doesn’t change the way I do things.

And in your mind, do you think Gladiator has been your best performance?

No—not at all. Nowhere near it.

What would you put above it? This is not belittling it, because I do think it’s a very emotionally and intellectually complicated physical performance, and it’s the combination of those things that made it a little unusual, I suppose. But I definitely rate The Insider and A Beautiful Mind above that. I probably rate Romper Stomper above it. And there’s a hell of a lot of nuance going on in L.A. Confidential as well.

In the midst of the Oscar celebrations and the success of Gladiator, there was the rather strange kidnapping subplot.21 What can you explain about that now?

We just arrived in Los Angeles, and we got contacted by the FBI, and they arrived at the hotel we were staying at, and they went through this big elaborate speech, telling us that for the whole time we were going to be in America, they were going to be around and part of life. You know—oh, I shouldn’t say things like this—I do wonder if it was some kind of PR thing to attract sympathy toward me, because it seemed very odd. Suddenly, it looks like I think I’m fucking Elvis Presley, because everywhere I go there are all these FBI guys around.

I don’t think it did create sympathy for you. I think a lot of people were kind of mean about it. I think they wrote about it in a way that implied you were paranoid and self-important.

None of it was my application. I didn’t pay for any of it. It was…the FBI, bless their pressed white shirts. They picked up on something they thought was really important, and they were following it through. They were fucking serious, mate. What are you supposed to do? You get this late-night call from the FBI when you arrive in Los Angeles, and they’re like absolutely full-on, “We’ve got to talk to you now, before you do anything. We have to have a discussion with you, Mr. Crowe.”

But who was supposed to be after you? [pauses] Um…well, that was the first conversation in my life that I’d ever heard the phrase Al Qaeda. And it was something to do with some recording picked up by a French policewoman, I think, in either Libya or Algiers. And it was a destabilization plan. I don’t think that I was the only person. But it was about—and here’s another little touch of irony—it was about taking iconographic Americans out of the picture as a sort of cultural-destabilization plan.

So presumably the trigger for it was that you played the iconic American movie role of that year?

That seemed to be a Hollywood thing, yeah. But look, I’ll tell you what, it was never resolved to any intellectual satisfaction from my point of view. I never fully understood what the fuck was going on.

But there must have been a point where they said, “Well, we’re not going to be around anymore….”

Oh yeah, there was a point where they said they thought the threat had probably or had possibly been overstated, and then they started to question their sources, and blah, blah, blah. But I don’t know how it was resolved, you know? But they were serious about it.22 And what can you say? I mean, gee, there were a lot of man-hours spent doing that gig, so the least I can say is, “Thank you very much.”

It must have messed with your head somewhat.

I think it was a bit odd. But I also thought, [laughs] Mate, if you want to kidnap me, you’d better bring a mouth gag. I’ll be talking you out of the essential philosophies you believe in the first twenty-four hours, son. I might chew through the first one, too, so be prepared.

Chris Heath is a GQ correspondent.



footnotes:
1. The eccentric, disturbed mathematical genius Crowe played in the 2001 movie A Beautiful Mind, a role that brought his third consecutive Oscar nomination. back
2. Crowe’s first role came at the age of 6, on the Australian TV show Spyforce, on which his parents were working as caterers—he played one of a number of orphans rescued from death. back
3. Cinderella Man, a movie about the Depression-era boxer Jim Braddock, directed by Ron Howard, which will be released this June. back
4. Ford has not actually advertised cigarettes, but he has appeared in several Japanese ads for Kirin beer. back
5. The British music weekly the New Musical Express, which in 1976 was reporting on and articulating the new punk-rock aesthetic. back
6. Wonderful 1978 single, a rush of joy most obviously in praise of love, space travel, and joy itself; less often realized at the time as an allegory of the giddy first steps into heroin addiction by its composer, Peter Perrett. back
7. Crowe’s character in his previous movie, the eighteenth-century naval drama Master and Commander: The Far Side of the World. back
8. During these conversations, Crowe refers to twelve minor concussions and a torn Achilles tendon (from which he still limps for half an hour if he sits in the wrong position), as well as the shoulder surgery. Sometimes, lying on the canvas during the shoot, he would think of what ninetysomething-year-old Winston Churchill supposedly said when asked for the secret of longevity: “Sport,” he is said to have replied. “I never ever got involved in sport.” back
9. It becomes increasingly clear, though he never mentions it by name, that Crowe is speaking about Shakespeare in Love. back
10. Director of Crowe’s first leading role, as a love-wrought sheep-shearer in the teen drama The Crossing, a movie that features Crowe rolling about in the hay with his costar and far-in-future wife-to-be, Danielle Spencer. back
11. Crowe lost the tooth in a game of school rugby in Sydney when he was 10. He had been repeatedly tackling the biggest, fattest member of the opposition. After one final tackle, the big fat boy simply got up and kicked Crowe in the face, reducing one of his upper front teeth to a stub. back
12. The 1999 movie directed by Michael Mann that brought Crowe his first Oscar nomination. back
13. The film was primarily being made for DreamWorks, the studio Jeffrey Katzenberg cofounded. back
14. In the tragedy-laced Australian comedy The Sum of Us, Crowe plays a gay plumber who lives with his father. back
15. The movie in which many people first saw Crowe, who was mesmerizingly convincing as a Nazi skinhead gang leader called Hando. back
16. See 14. back
17. During the filming of the kidnapping drama Proof of Life in Ecuador, Crowe began a relationship with Ryan. Although they were both adults and Ryan maintained that her marriage had previously foundered, much of the media coverage could barely suppress an unpleasant tone of “uncouth, unshaven Australian wild man wrecks marriage of deluded American sweetheart.” back
18. Daggy is the commonly used Australian term that suggests some kind of unprecious combination of nerdy and uncool. back
19. The rough-mannered cop he played in L.A. Confidential. back
20. He is supposed to have pushed him and called him “a stupid American.” When Moby kept talking about this supposed incident, Crowe’s lawyers contacted Moby’s and pointed out that Crowe was not in Australia at the time. It infuriates Crowe that instead of conceding this, Moby now says in interviews that he’s been told he’s not allowed to talk about it. (If Crowe had been there and had recognized Moby, he would hardly have chosen this insult—he was under the impression that Moby was English.) back
21. In March 2001, news broke that the FBI was taking seriously a threat to kidnap Crowe and that he had been flanked by undercover agents at the recent Golden Globe Awards. The FBI refused to specify the nature of the threat, and no further details were forthcoming. back
22. He says that the FBI stuck around throughout the filming of A Beautiful Mind and, to a lesser extent, for some of Master and Commander. back

 

Questo sito e' creato, mantenuto e gestito da Gloria (lampedusa). Se hai bisogno di contattarmi, scrivimi all'indirizzo croweitalia@gmail.com. Se hai delle informazioni da segnalarmi, contattami via email. Il sito e' online dal 21 febbraio 2001. Pagina creata il 10/10/2005