on Spader - Hungry Like the Wolf
reluctant to consider the connections between his assorted scoundrels
and perverts (not least for fear of typecasting), Spader eventually
concedes: "There is one consistency. Many of these characters
are, in their own way, extremely aggressive, dominant, and controlling."
He adds with a laugh, "I'm not very good with passivity."
in Pink STEFF MCKEE, OBNOXIOUS RICH KID
"There was just one simple conceit behind that performance. I
said to John Hughes, 'What do you think about having this guy who
seems like he's 32 hanging around a high school?' You wondered if
this guy even went there; he was just wandering the halls. I thought
it would be funny for him to have this horrific, enormously sophomoric
cynicism of someone in their early thirties."
lies, and videotape GRAHAM DALTON, IMPOTENT SEXUAL PREDATOR
"This was just such an exploitatively aggressive character. Someone
once told me that as they were watching it, they thought it might
turn into a thriller-that all those women in the tapes would be revealed
as victims, and it would be a serial-killer story. I thought about
that, and honestly, if that had been the case, I don't know that the
perfomance would have been much different."
STEWART SWINTON, MACHIAVELLIAN BOOK EDITOR
"Another film that, for me, was all about sex. Ambition, actually,
but boy, do those two things go hand in hand. There's that scene where
he's turned into a werewolf and is bounding across the stable, trying
to mount and fuck poor Michelle Pfeiffer."
DR. DANIEL JACKSON, WIDE-EYED EGYPTOLOGIST
"A real change for me. Most of the time I play people who are
seemingly ancient. This was probably the youngest character I've ever
played. I really liked his childlike quality, his innocent curiosity
and excitement. It was a fun, make-believe-in-the-backyard production.
Supernova [Spader's other sci-fi vehicle] couldn't be more different-that
was claustrophobic, troubled, anxious."
JAMES BALLARD, CAR-CRASH FETISHIST
"When I start work on a film, I'm always hoping that whatever
questions I have will hope-fully not be answered before the end of
shooting; if they are, I don't know what the hell I'll do the rest
of the shoot. Crash really satisfied in that area. I was very conflicted
when I read the script, and continue to be so even now. It provoked
a lot in me; I understood nothing and everything. You know, in his
own quiet way, my character fucked everyone in the film, and no one
September 11 - 17, 2002