John C. Reilly: The Life of Reilly

Q: How would you describe the differences in shooting Hard Eight, Boogie Nights and Magnolia?

A: Hard Eight was like we billed somebody's rich uncle and were getting away with some crazy scheme out in the desert and had to finish before anyone figured out what happened. Gwyneth Paltrow was fairly new in the movie business and it was exciting, all of us giddy with getting to know each other. We knew we were doing a good, original movie. By Boogie Nights, we already had our groove on. This really felt like we were in the big time. One great thing about the three characters I've played in your movies is that they're so committed to the dream of their life, they're just unshakable. There's something really poignant and funny about people like that.

Q: What about the vibe on Magnolia?

A: You just took it to the next level and came into your own. There were certain aspects of Boogie Nights that, because of its size, seemed like you were kinda playing it by car. On Magnolia, it was like, "All right. I don't have to play it by ear. I know what I like to say and the ways to say it." It was a very intricate masterwork and you pulled it off.

Q: The character I wrote for you stems from the summer a movie project was taken away from me. In our restlessness, we did video improvs of faux "Cops" episodes with you and Philip Seymour Hoffman. That's how the dialogue and characters were created, directly from the improvs--it was a character you'd already lived with for two years.

A: Those improv videos were so great because we were just having a blast. The guy became more grounded in your script.

Q: Remember you once asked me, "Come on, man, can't you write me a sunrise where I get the fucking girl?" It's kind of a romantic leading man, right?

A: You did this with a few people in Magnolia tapped into what's real not just for the characters, but for the people playing them. In the beginning, it was kind of a joke: "Be careful what you say around Paul, it'll end up in the movie." Now, that's just become a given. But I can't be "cool John" in front of you. I lay it on the line. I say stupid shit to people. I don't try to hide my personality at all.

Q: Do you think you'll get to a point where you just don't do any publicity?

A: If a project's success depends on your promoting it, you should promote is. I'm just like an Irish bullshit artist from way back, so I don't mind. It's kind of like therapy. Puff-piece therapy, There's this code of silence on a press junket, like you just talk about how great your costars were and how Kevin Costner wasn't a total prick.

Q: A portion of me dunks that the true appreciation of your work won't happen until your movies are playing on AMC 40 years from now, a son of "He was the fucking greatest," sort of like looking back now at Elisha Cook Jr. or someone.

A: I think I'm appreciated by people who watch movies to the degree that they don't know who I am from movie to movie. That's actually a compliment. Some people think I'm just stupid for this, but I try to think in long-term goals, to do work that I can be proud of in 10, 20 years, not just disposable crap that made everyone chuckle in the moment.

Q: Sardonically And what's the name of the movie you're making-- The Perfect Storm?

A: Good movie, man. A good character in this movie. Wolfgang Petersen's directing it. I just want it to be Das Boot, not_ Air Force One_.

Q: Anyway, hopefully this is the last movie we'll ever make together. I met Oliver Platt today.

A: Hey, I'm just trying to become the Michael Caine/Gene Hackman of my generation.

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Paul Thomas Anderson is the director of Boogie Nights and the upcoming Magnolia.

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