Kevin Costner Breaks Down His Most Iconic Characters | GQ
Summary
TLDRThe video script is a reflective journey through the creative process and personal experiences of a filmmaker. It delves into the challenges and triumphs of bringing stories to life, from overcoming initial doubts about a song's radio potential to the profound impact of narratives like 'Field of Dreams'. The discussion highlights the importance of storytelling in connecting with audiences on a personal level, the magic of movie-making, and the enduring legacy of films that resonate with viewers. It touches on the collaborative nature of film, working with notable actors like Robin Williams and Whitney Houston, and the unique experiences that shape a film director's vision and the stories they tell.
Takeaways
- ðŽ The speaker emphasizes the importance of a good script to bring a story to life on screen, highlighting the personal impact of 'Field of Dreams' and its exploration of unspoken familial relationships.
- ðĩ The discussion about 'I Will Always Love You' showcases the power of stripping back to an acapella start to deliver an emotional performance, which contrasts with the common approach of using music to impress.
- ðïļ The narrative touches on the beauty and challenges of filming in natural settings, such as the pursuit of buffalo in South Dakota for an authentic scene.
- ðĪ The speaker reflects on the collaborative nature of filmmaking, including working with directors, actors, and even animals, to create a harmonious and engaging final product.
- ð The interviewee shares anecdotes about learning and growing through various roles, such as preparing for 'Robin Hood' by hunting mushrooms and engaging in sword fights.
- ð The passion for baseball is a recurring theme, with the speaker discussing multiple films centered around the sport and the emotional connection it holds for him.
- ðŽ The creative process involves overcoming obstacles, as illustrated by the negotiation to film in Yankee Stadium and the need to convince George Steinbrenner that the Yankees would win the World Series in the movie's storyline.
- ðĩ The story behind the song 'I Will Always Love You' by Whitney Houston and its significant impact on both the movie and her career is highlighted, emphasizing the trust and collaboration between the artist and the director.
- ð The speaker's dedication to authenticity in his roles is evident, as he describes the physicality involved in performing his own stunts and the commitment to character that drives his performances.
- ðŽ The interviewee discusses the directorial choices and the importance of staying true to the script, as well as the personal connection he felt with the stories and characters he portrayed.
- ðïļ The theme of the American West and its history is a significant focus, with the speaker sharing insights into the making of Western films and the deeper messages they convey about the struggle for land and identity.
Q & A
What challenges were initially faced with the song from the movie?
-The song, originally by Dolly Parton, faced skepticism from people who doubted it would get airplay on the radio due to its a cappella start. However, this unique approach was chosen to deliver a powerful and sincere message, which ultimately gave the song a second life.
How did the script of 'Field of Dreams' impact the speaker personally?
-The script of 'Field of Dreams' deeply moved the speaker, taking him on an emotional journey that resonated with his own life experiences, particularly regarding unspoken words between family members. It was this personal connection that motivated him to share the story on a mass level.
What was the significance of the line 'Do you wanna have a catch?' in the context of the movie?
-The line 'Do you wanna have a catch?' symbolizes a longing for connection and reconciliation between family members, specifically father and son. It represents a missed opportunity for communication and a desire to make amends, which is a central theme in the movie.
What was the director's approach to casting for the role of Rachel Marron in 'The Bodyguard'?
-The director was looking for an actress who didn't fit the usual mold of leading ladies but had the right qualities for the role. Whitney Houston was chosen for her ability to trust the director's vision and her willingness to work without an entourage, which helped create a more intimate and focused environment on set.
Why did the director decide to direct 'Field of Dreams' himself?
-After consulting with three prominent directors who each had different ideas and disagreements with the script, the director felt that he needed to direct the movie himself to stay true to the original vision and protect the integrity of the written word, which he considered his 'Bible'.
What was the experience like working with buffalo in the making of the movie?
-Working with buffalo was challenging and intense. It involved a six-day chase in South Dakota, negotiating with a rancher who was a former lieutenant governor, and dealing with the unpredictable behavior of the buffalo, which included a dramatic encounter with a helicopter.
How did the miscommunication between characters who couldn't talk add to the drama and humor in the script?
-The inability of characters to communicate verbally led to misunderstandings, which in turn created dramatic tension and occasional humor. This dynamic showcased the human desire to connect and the chaos that can ensue when communication fails.
What was the significance of the character's land and legacy in 'Yellowstone'?
-In 'Yellowstone', the character's land represents his legacy and a deep sense of responsibility to protect it for future generations. This protective instinct is portrayed as a primal, almost Biblical duty, reflecting the harsh realities of life in the countryside where property lines and respect are fiercely guarded.
How did the director's approach to the character development in 'Robin Hood' differ from traditional portrayals?
-The director chose to focus on the physicality and fun aspects of the story rather than the typical heroic victory. This included engaging in intense action scenes and emphasizing the character's journey and personal growth over a conventional triumph.
What was the director's experience like working with Susan Sarandon on 'Bull Durham'?
-Susan Sarandon was described as a dream partner and a long-distance friend. The director felt a deep connection with her, where there was an unspoken understanding of mutual support and respect. Her performance and the dynamic between the characters added depth to the movie.
Outlines
ðŽ The Art of Storytelling and Directing
The speaker reflects on the importance of a good script for a story to come to life on screen. They share their personal connection to 'Field of Dreams,' highlighting the film's emotional impact and its exploration of unspoken familial bonds. The narrative then shifts to the casting process and the unique dynamic of working with Robin Williams. The speaker also discusses the challenges and rewards of directing, the significance of staying true to the script, and the dramatic potential of miscommunication, as illustrated by a buffalo chase scene.
ðĩ The Power of Music and Artistic Collaboration
This paragraph delves into the speaker's experience working with Whitney Houston on 'The Bodyguard,' emphasizing the trust and collaboration that were crucial to the film's success. The speaker also discusses the creative decision to start 'I Will Always Love You' acapella, drawing a parallel to the sincerity of an apology. The paragraph concludes with a humorous anecdote about learning to sing from Houston and a reflection on the speaker's approach to character development and legacy in their work.
ð The Legacy and Challenges of the American West
The speaker discusses their role in 'Yellowstone,' exploring themes of legacy, land, and the harsh realities of living in the country. They share anecdotes about filming, including a memorable scene involving a bear and interactions with tourists. The speaker also touches on the complexities of dealing with environmentalists and the satisfaction of performing their own stunts, reflecting on their personal history with archery and hunting.
ðĪš The Thrills of Swordplay and the Magic of Cinema
In this paragraph, the speaker recounts their experience filming a sword fight scene with Alan Rickman, highlighting the physicality and excitement of such sequences. They also share a humorous story about searching for magic mushrooms with a stuntman before the fight. The speaker expresses their love for performing their own stunts and the joy of being part of the 'Robin Hood' film, discussing the appeal of playing heroic characters.
ðŦ Overcoming Obstacles and the Passion for Baseball
The speaker shares the story behind the filming of 'For the Love of the Game,' including a humorous interaction with George Steinbrenner about shooting at Yankee Stadium. They reflect on their passion for baseball and the personal significance of having their parents watch them work on the film. The speaker also discusses their commitment to staying true to their characters and the importance of integrity in their roles.
ð The Craft of Acting and the Influence of History
In this paragraph, the speaker talks about their experience working on 'The Untouchables' and the opportunity to learn from esteemed actors like Sean Connery. They express a desire to always improve as an actor and share their deep interest in history, particularly the assassination of JFK. The speaker also discusses the process of memorizing and performing a lengthy courtroom speech, showcasing their dedication to their craft.
ðĪ The Complexities of Character and the Western Genre
The speaker reflects on their decision not to remake existing films and instead to create original content, such as 'Wyatt Earp' and 'Open Range.' They discuss the traditional Western formula, where a character is drawn back into a situation they wish to avoid, and the broader themes of expansion and conflict in American history. The speaker also touches on the importance of showcasing both violence and kindness in their films to reflect the complexity of human nature.
Mindmap
Keywords
ðĄMovie Making
ðĄScript
ðĄPersonal Connection
ðĄHarmony
ðĄMiscommunication
ðĄDrama
ðĄDirection
ðĄTrust
ðĄLegacy
ðĄAuthenticity
Highlights
Overcoming skepticism about a song's radio potential and focusing on the personal connection with the movie.
The importance of a good script to bring a story to life on screen.
Personal connection with 'Field of Dreams' and its emotional journey.
The significance of themes like unsaid words between family members in storytelling.
Choosing to direct 'Field of Dreams' to stay true to the script and its vision.
The challenge of working with animals and the drama it brings to a film.
The memorable buffalo chase sequence and its impact on the director.
The decision to cast Whitney Houston in 'The Bodyguard' and the trust built during the process.
The creative choice to start 'I Will Always Love You' acapella for emotional impact.
The experience of working with Robin Williams and the casting process.
The storytelling aspect of 'Yellowstone' and its portrayal of legacy and land.
The physicality and fun of performing in 'Robin Hood: Prince of Thieves'.
The importance of authenticity and staying true to oneself in character portrayal.
The experience of working with Susan Sarandon and the friendship formed.
The creative process and challenges of filming 'For the Love of the Game'.
The storytelling and character development in 'Untouchables'.
The historical significance and personal connection with 'JFK'.
The regret over the competition between 'Wyatt Earp' and 'Tombstone'.
The exploration of themes in 'Open Range' and the traditional Western formula.
Transcripts
- There was a real problem because a lot of people felt
that that would never get on the radio,
but that's not my problem.
My problem is my movie.
But I said, "Don't be so sure."
The song had a real second life,
a little Dolly Parton song.
[upbeat music]
- [John] Is this heaven?
- No, it's Iowa.
- A good story requires a good script
for it to somehow leap off the page and become a movie.
That little movie had gold dust all over it,
not in the way that I thought it would be a big hit,
whereas gold dust on it in the way it moved me personally.
And I think if I can be moved personally,
I feel like in movie making,
I can find a way to share that on a mass level.
And so when I read "Field of Dreams" on a couch by myself,
the first page was sweet.
Somebody's talking to him in the corn.
Okay, let's keep going.
And it wound its way not to a gunfight, or to a car chase,
or to a big fight.
Its journey took you to a place where you look
and you saw your father,
and it's Biblical for things that go unsaid
between father and son, between mother and daughter,
things we wish we would've said.
And this little movie in the corn got me all the way,
and suddenly, it wasn't a movie anymore, it was truth,
and it was I wish I could have said that in my life.
And he says, "Do you wanna have a catch?"
- Do you wanna have a catch?
[uplifting music]
- I'd like that.
- And I thought movies can be about that.
So if you were looking for the car crash,
if you were looking for the gunfight,
you're gonna walk right by things like "Field of Dreams."
And it's the same way I felt when I read "Bull Durham,"
or when I read "Silverado,"
I felt like I had a giant secret.
- [Voice] If you build it, he will come.
[suspenseful music]
[birds chirping]
- Hey Annie!
Annie, what was that?
- There was an interesting thing 'cause Robin Williams,
bless his heart, there was a moment
when I asked the director, I said,
"You know, Robin Williams is a big star,
as big as you ever wanna get."
So when he picked me to do it, kind of over Robin Williams,
'cause it seems like a natural for Robin Williams,
and he said, "I'm pretty sure
that Robin Williams hears voices in the corn.
I'm kind of sure that you don't.
They're gonna end up believing you, Kevin,
because they're gonna see how it works."
- [Voice] If you build it, he will come.
- All right, that's it, huh?
Who the-
- They might have said "Voice,"
and I'm, like, pulling a piece of corn,
I forget what happened, but it's like,
gee, I had to act like I heard a voice, right?
So I did.
[upbeat music]
- I'd never known a people so eager to laugh,
so devoted to family, so dedicated to each other,
and the only word that came to mind was harmony.
- Well, I asked three pretty prominent directors
to maybe think about directing it,
and all of them had something that they would do different,
something that they didn't agree with in the script.
I won't tell you what the names were,
but I said, "Oh my goodness,
I think I actually need to direct this,"
not because I think I can make it better,
but I think it'll be more what it looks like on paper.
I believe in the written word.
My script is my Bible,
it's a document that's living and breathing.
I can protect it, and that's what I intend to do.
I connected in a much deeper way than I anticipated
as I started that script.
I started to become involved.
I love the people and I love the animals,
and I knew that they were all gonna be casualties
in the end, and that makes for drama.
- Buff?
- Buff, buff.
- Buff? - Buffalo, tatanka.
[Kicking Bird speaking foreign language]
- What allowed for the miscommunication,
what allowed for the danger, what allowed for the confusion,
what allowed for the humor was that they couldn't talk.
The miscommunication led to so much drama,
and occasionally a sense of humor,
which when people couldn't talk
and thought somebody was saying one thing,
you see people have a real desire
and see what happens when they can't speak,
so much bad can come out of that.
[dramatic music]
[gun firing]
Well, I'll tell you what was uncertain was,
were we gonna even be able to find the buffalo?
And we finally did in the middle of South Dakota,
number one, I was so grateful that they even existed,
and then number two, had to negotiate with the rancher,
"Will you let me chase them?"
He was the formerly lieutenant governor of the state,
so he was a pretty evolved guy,
but he said, "You wanna chase my buffalo?"
And I was young, and he finally said,
"Okay, we'll chase them, we'll chase them,"
and that son of a bitch, I love him forever.
He's like 80 years old, he got in his truck,
he got five other trucks, he got a helicopter,
and we started chasing them for six days.
And on the sixth day, all the buffalo finally backed up.
I was waiting to work that day,
they'd all backed up the herd,
and the helicopter came down low
and faced off with this bull,
just the way I'm looking at this camera,
about 10 feet back more,
and they were doing everything to make the buffalo run,
and the buffalo wouldn't run.
And this one bull finally charged the helicopter,
the helicopter lifted up, just missed him.
Roy said, "They're not gonna run anymore."
They were done.
The bull finally said, "Six days is enough."
It was fast, it was scary,
and it was, like you say, it was beautiful.
That's something I'll never forget.
But if you see me going like this,
that means you have to go.
I remember after the first time we chased them,
it didn't work very well.
They told me the buffalo wouldn't run downhill.
You had to run them uphill, which sounded a little bit odd,
but I said, "Okay," to the experts.
We ran them uphill the first time, people were coming.
I could tell how uptight, and everybody was nervous.
They went all over the place.
So now all the writers met on our walk back to the camera,
and I was realizing,
"Gee, we didn't get very much film on this,
and we had 3,500 buffalo."
But as I looked to my left and I looked to my right,
all the Native Americans,
and they were all Native American riders, rodeo riders,
and as we're riding back, and we were together,
we're still far away,
so nobody else knew what we were talking about,
I looked at them, and I looked at them,
and I looked behind me, and I said,
"You didn't shoot any arrows."
And the guy went, "I know,' "And you didn't shoot,
and you didn't shoot,
none of you guys shot any arrows."
What happened was, it was kind of holding on for our life.
No one had ever done it, no one knew what to expect,
so it was just this kind of thing.
After that, they never came back with a full quiver.
The whole rite of passage for them was when we rode back
after reach take, their quiver was empty.
That became something.
But that first one, maybe one guy got one arrow off,
and then was just amazed
at these animals running around him.
It was really something.
I don't think I ever told that story.
It marked me, you know, it marked me in a real way,
not because of its success,
but because people were willing to at least,
you know, see what I was willing to do.
[upbeat music]
- So have you ever liked anybody?
- What do you mean?
- Like me? A girl?
- Yeah, a long time ago.
- Mm, what happened?
Do you mind if I ask?
- Mind if I don't answer?
- The idea, well, who was gonna play Rachel Marron?
There was all, I wanna say, the usual suspects,
but none of them fit, and they were really good actresses.
And I remember seeing Whitney Houston, I thought,
"I'm gonna have her play this."
And what she did for the movie
and what the movie did for her is obvious.
Whitney trusted me really early on,
and I said, "You're gonna need to,"
I said, "But you're not gonna have an entourage.
I don't have one and you're not gonna have one."
I said, "If there's a person that's important to you,
that person can be on the set, but nobody else,"
and she trusted that.
And that's "Bodyguard,"
I don't know how the rest of the career played out
with what the sets were like,
but for me, I said,
"I want you to be able to hear my voice."
It was just about knowing she could trust me,
that my whole intention was for her to look good,
and she desperately wanted to, we all do.
⊠If I âŠ
⊠Should stay âŠ
- [Interviewer] I read that it was your idea
to have the beginning
of "I will Always Love You" be acapella.
- Yes, when you wanna impress,
you get all the bells and whistles, right?
You get all the bells and whistles,
and the symphony's playing and you can impress.
But think about an apology
that you would wanna say to somebody,
that you would want them to understand
that you really meant every word you were saying to them,
and what if you did it without music?
I don't need music to tell you that I love you,
that I wanna apologize to you,
that you did something for me.
And of course, the music kicked in after,
but it was so much more powerful
for her to start that without music.
There was a real problem because a lot of people felt
that that would never get on the radio.
And I said, "Well that may be, but that's not my problem.
My problem is my movie and that's what I'm taking care of."
But I said, "Don't be so sure."
The song had a real second life,
little Dolly Parton song.
⊠Will always love you âŠ
- [Interviewer] Did she teach you to sing anything?
- Did she teach me to sing anything?
No one's gonna sing in front of her.
[upbeat music]
- Can I give you some advice, Casey?
Someday your son's gonna test you.
He's gonna force you to make a decision
that not only determines his future, but your place in it.
I want you to remember me standing here, son,
before you make that decision, because this,
this is a consequence of choosing wrong.
- Well, number one, you have a legacy,
and your legacy is your land and what's come before you.
And then a man wants to protect that
for not only the generations that have come out of respect,
but for things to go forward.
And in a raw place like the country,
where not the whole world is watching you,
it can be abrasive.
How the world operates outside the lines
of his property is one thing.
How it operates on his property will be another thing,
so it's kind of brutal in a lot of ways,
kind of very Biblical.
It's just the way it's gonna be,
and so that's the way that character was drawn.
I wanted to serve the writing that Taylor was doing,
and I found my own way of doing things,
but I can't say like I invented anything.
- Get back before that thing eat somebody.
- It seems friendly.
- It's not, now get back.
- We won't get any closer. [foreign language]
- You see that fence? That's mine.
That fucking fence down there, that's mine too.
Everything this side of that mountain
all the way over to here, mine too.
- I love the scene when the tourists had seen a bear
because it happened.
They saw a bear out actually in the environment,
and I happened to be on my way to something.
I'm in a tuxedo and I happen to also have my gun in the car,
which makes sense.
He, you know, talked about notion of what was his,
I thought that was a very classic scene for me.
I think dealing with some environmentalists
was kind of good fun too.
There's so many scenes that were written so well
in "Yellowstone" for me.
- Don't you bring the net if you're planning on a big one.
[gentle music]
- Why can't we live right here,
like this, all the time?
- [John] You know, I ask myself the same thing, grandson,
every day, every day.
- Well, I think that's one time
when John could be different.
It's about how you teach someone young.
Maybe there's a softer thing to John
about how you explain things.
And certainly, that's part of the job in our life,
what does an older man have to do,
offer a younger man or a boy?
It's a gentleness, it's an inclusiveness,
it's a sense of trying to empower him.
[upbeat music]
- We could lose them in the forest.
- Sherwood Forest is haunted, Master.
- Either we take our chances with the ghosts
or become ghosts ourselves.
[dramatic music]
- It was a real page turner.
I normally don't think I would've wanted to do that,
but it was so physical,
swinging, running, jumping,
Maid Marian on horses.
It was just good American fun.
They came to me, I read it,
I thought it was really good and I wanted to do it.
[arrow whooshing]
Most kids get to shoot a bow and arrow.
In my instance, I had shot bow and arrow, not like archery.
It was just like I tried to kill a lot of things
when I was little, you know, and not like the neighbor's cat
or anything like that,
but would go out into the, I lived in the country,
and I wanted to like provide for my mom, you know?
I saw myself as being that kind of guy.
[sword whooshes]
- Recognize this?
It belonged to your father.
Appropriate, don't you think,
that I now use it to send you to meet him?
- Alan said a really funny thing about me.
He said, "Oh, another American actor
who really likes to fight." [laughs]
When Kevin directed me and him, we were really going at it.
"Another American who likes to fight."
He was a beauty.
Running on the backs of three horses
and then jumping on another one,
I love doing my own stunts, I just love it.
I remember hunting some mushrooms out in the field
with one of my friends, he said, "They're out there,"
and he goes, "Do you wanna go find them?"
This was that day I had a big sword fight
with Alan Rickman that afternoon.
He was the stunt guy playing the little boy,
and he goes, "Hey, there's some magic mushrooms
out in this field, 'cause you want to go look for them?"
I said, "Okay, let's go."
There was an opening scene with those little boys
being chased by a dog in that field.
And so we're out looking for them.
Everybody went to lunch, and he found one,
and then he found another one, and I couldn't find one.
I couldn't find one mushroom.
After about the fifth one he found, I said, "Nick,"
I said, "How are you, how are you,
I'm looking, how are you finding these mushrooms?"
He says, "Well, you have to eat one
and it tells you where the rest of them are."
And I thought, "I'm not eating a mushroom.
We're having a sword fight, Nick.
You've eaten some mushrooms?
'Cause we're gonna be with swords in about an hour."
And he looked at me and went, "Yeah."
I said, "Okay, well, let's keep looking,
but let's not eat anymore mushrooms."
[upbeat music]
- Ha, the sucker teed off in there
like he knew I was gonna throw a fast ball.
- [Crash] He did know. - How?
- I told him
- When it first came to me, they wanted me to play Nuke.
I said, "No, I'm not gonna play Nuke."
I said, "I would rather play Crash."
I felt that I had done the Nuke character in "Silverado,"
the little out of control.
Then I met Ron,
and Ron and I went to the batting cages together.
I did that on purpose for him
because I wanted him to be able to say to any actor
that he was going to hire,
"Well, Kevin went to the hitting cages."
'Cause a lot of people will say they can roller skate.
A lot of people will say they know how to ride a horse.
And a lot of people will say they know how to play baseball.
You don't have to be a great athlete
to see a person who knows how to play,
but Ron captured something so real, minor league baseball,
and he did it without the guy getting there.
That broke with the tradition.
The tradition is, "Oh, they'll call him up
and he'll hit a home run."
No, he never makes it.
The kid makes it.
There was something romantic and golden
and sad and heroic in it,
and Ron understood the romance,
and he did the exact same with "Tin Cup."
Didn't have me win the US Open.
He had me implode.
It resonates with men and women that he was at least true
to his character.