In his latest film, Hell Driver, [Drive Angry] Nicolas Cage plays a man who came though everything (even hell) to avenge his daughter, who was brutally murdered by the guru of a sect . Pure Series B very good, as it connects to a frenetic pace over the past half dozen years, is also his first film in 3D. And suddenly, the obvious: that technology, which we know now the ability to abstract the real, human flesh to make plastics and bring the state body of toys, seems to have been invented for him.
The actor has never seemed so there and elsewhere, human and monstrous, invincible and tortured - an enigma. Oscar winner in 1995 for Leaving Las Vegas , Nicolas Cage appeared in the late 90s, easily find its way into the Hollywood firmament, alternating prestigious arthouse films (De Palma, Scorsese, Woo, Jonze) films and more commercial. Yet in recent years, the proportion has largely shifted to the advantage of the latter, and there is concern for its credibility and even his sanity. They are reassured - or continue to worry - Nicolas Cage is in great shape, fully assumes its choices, and do not account visibly change anytime soon.
NB It is very chic black suit, white shirt and tie fine. Mid-length hair, clean shaven. Its flow is relatively slow, very articulate. Before the interview begins, and although it was not filmed, it will open the window and asks me to change places with him, so that the light is more to his advantage.
Hell Driver is your first movie in 3D. Does it change something for you as an actor? Is this it can change the language of cinema?
Nicolas Cage- From the perspective of business, insofar as 3D gets the crowd going in the theater rather than stay at home, yes it is a good thing. Is it going to radically change the experience of cinema? No, I do not think so. People still love the movie in 2D, and I think both will coexist for a while, before a truly innovative technology, perhaps as holograms or virtual reality, not completely change the situation. Does it change the way I play? Not really. At first I wanted to have fun with the camera, throwing my arms or my tongue to the public ... And after a week of shooting, I realized that it was enough to let me lead. Patrick knew exactly where to put the camera and he was adapting to my movements, not vice versa. I've never felt compelled.
Most of your recent films are in fantastic worlds or inspired by comic books. What do you like in both these worlds then?
I am devoted body and soul to the imagination. It took me from childhood, reading comic books, books of Jules Verne, watching horror films or the fourth dimension. I make movies I like to see. I have a passion for the avant-garde and abstract art, you see, and genre films, it is fantasy, SF or horror remains for me the best way to achieve it without losing public attention.
Also, I do not like gratuitous violence ... Yep, this may surprise you, but I do not like that violence is directed against people that I could cross the street. Howver in fantasy films, the violence seems more acceptable from an ethical point of view: I have no problem killing monks zombies.
Your nickname, "Cage", refers to Luke Cage, a comic book character, is that correct?
Yes. Luke Cage was the first African-American superhero to have his own comic book from Marvel (in 1972, full wave blaxplotation, ed.) I did not read it at the time, but when I discovered the sound of the name I liked. This nickname, Cage, so I became like this, quite by chance. Later I discovered John Cage, the avante-garde composer. In hindsight, I tell myself that my life has always been a mixture of Marvel Comics and avant-garde (laughs).
When you chose this nickname at the beginning of your career, you could not imagine that you would stick to the skin as well: the body as a cage, the split between body and mind, is a theme present in the Most of your films, exemplarily in Face / Off. It is still a sacred coincidence, right?
There is another word for "coincidence", is there not? (He pauses a few seconds, staring) "Destiny" ... I think we are all vessels carrying various spirits. And that's where I draw my characters. I am overwhelmed with emotion, as once they could be possessed by an angel or a devil. As an actor, I consider myself a modern day shaman. In primitive societies, it was quite common for a shaman to enter a trance and let the spirit speak in his own body, to give a message to the villagers. Today, these beliefs have been replaced by a science, psychology, but that's pretty much the same thing.
A Canadian group, called Arcade Fire, wrote a song we wrote for you believe: "My Body Is a Cage." You know?
I do not know this song, no, but Arcade Fire is a nice name for a group ... Arcade fire ... (He repeats to himself, articulating to the extreme, ed.)
You're famous for your risks, and being hyper-expressive. Yet for some time, you employ the more understated characters. Your characters seem more tired, less talkative. How do you explain this change in style?
Everything aspires to become music, and acting is a way to make music. If the role is akin to a wild, electronics, strident, I'll play well, like Bad Lieutenant or in Ghost Rider 2, which I have only just completed with two great young guys, Mark Neveldine and Brian Taylor - Believe it or not, but I think it will be one of my best films. If I have to interpret a Teutonic knight or a ghost who returns from hell, it would be inappropriate to play this music stridently. So i tried instead to be more mysterious, more silent.
In Bad Lieutenant, you've worked with a European auteur, Werner Herzog, who has a universe and a strong vision, known to love - like you - the extremes. Was not too restrictive?
Werner is a master. I wanted to work with him because I knew he was capable of extraordinary things take his actors, and I'm obviously a fan of Klaus Kinski. My collaboration with him was (pause) ... everything has been fast enough. The character was an addict constantly perched on a role quite impressionistic, for which I had to dig into my past, to reconnect with old feelings of 20 years. The first day, Werner was a little taken aback, he did not know if I was actually on drugs. I've reassured him, explaining that I had to let him speak my own ghost to find the character. He immediately understood. I know he had a very conflictual relationship with Klaus Kinski, but between us it went very well. He is very open to experimentation and at the same time he knows exactly what he wants. It was never more than two outlets. I have rarely seen it before.
Have you seen 'Tetro' (Francis Ford Coppola is his uncle)?
No
And 'Somewhere' ?
No
I guess it does not interest you ... (Interrupting)
No
You're one of the most active players in Hollywood. You make two, three, sometimes four films a year, when most players are but one or two maximum. Why do you work so much?
First, I need to work. Necessity is the mother of invention (a euphemism for saying he has serious trouble with the FISC, ed.) Secondly, I'm afraid of rust if I let too much time between each film. The more I play, I'm better. It is a matter of practice. My life is a sequence of characters.
And it brings you closer players time major studios, was a contract and must enchainer roles very fast, as your contemporary management more conscious of their image ...
I am indeed part of this tradition for years 30-40, these stars can make 150 movies in a career. My heroes are called Humphrey Bogart and James Cagney. Later, actors have become more exclusive, seeking to generate waiting between each film. People like Warren Beatty or Dustin Hoffman, for example. I love them, they are good players but good ... Cagney and Bogart: they are really, really good. I mean: really good. And that one obtains by working. All the time.
The method of the Actor's Studio has it had any influence on you?
I'm influenced by any method whatsoever. I admire Nicholson, Brando and Dean, but I disagree with the "method". My technique is completely personal and I am unable to describe it other than what I told you earlier: the primitive shamanism. A few years ago, Sean Penn said: "Nicolas Cage is no longer an actor." At first, I stuck, then I thought and I said "he's right, if being an actor is to play like Sean Penn, so I'm not an actor (laughs).
Your personality does matter more than the role you must play?
(He closes his eyes and puts his hands up as if about to summon a demon, while speaking very quietly). In the kabuki theater, you know, the actors play the same character all the time and this character becomes a kind of spirit that lives in their bodies, and helps them navigate the turbulent waters of life ...
You've made a film was never released in France, Sonny. You have enjoyed this experience? You do again?
Yes, gladly. Leading actors I myself regained inspiration at a time when I began to seriously get bored (Sonny had a small U.S. release in 2002, ie) I mostly have directed James Franco, I as the best actor of his generation.
Of all your roles, which are you most proud of?
I would say the last of the Templars. [Season Of The Witch] This is a movie I really wanted to do in the minds of some films by Roger Corman with Vincent Price as The Masque of the Red Death ... (He stops, pricks up his ears, ed) Champagne! You hear someone fiddling with a champagne bucket in the next room ...
It's a surprising answer! You worked with the biggest, Coppola, Scorsese, De Palma, Lynch, Woo, and you quote me a movie, certainly charming, but as far away as possible from the idea of prestige ...
I am a futurist. I look at the future. Tim Burton and James Cameron: the great wizards. If you are lucky enough to be invited home, you are transported to a magical universe, and they will 90% of the job for you there. Unfortunately, they never asked. So it is for me to seek new talent who have the courage to take me where I want to go. I want to work with people who are not afraid to go to abstraction, to the forefront, without denying the part of entertainment. Dominic Sena, Patrick Lussier, Mark Neveldine and Brian Taylor are of this caliber.
Your best memory on a shoot?
When I sing Love Me Tender in Sailor and Lula.
Interview by Jackie Goldberg
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