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mattnben-bennmatt · 5 months ago

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Matt Damon (& Co.)'s interview w/ GQ (18 July 2016)

The Encyclopedia of Matt Damon

As Matt Damon returns to the Bourne franchise, we decided to assemble this handy guide to the habits, quirks, and inner life of an honest-to-God screen legend, as told by George Clooney, Martin Scorsese, Ben Affleck, and the other titans who know him best

By The Editors of GQ | Photography by Sebastian Kim | Illustration by Joe Mckendry

Matt Damon is, scientifically, the most liked man in Hollywood. He is serious, and he is funny. He is approachable-seeming and often jacked. He has been in six of your ten favorite movies in the past 20 years, and he's met a bunch of people along the way who like him a whole lot. But for all his familiarity, he's still elusive (which is how he likes it). So instead of asking Matt Damon dumb questions about the new Jason Bourne movie (out this month!), we got Damon and those people who like him a lot*—George Clooney, Julia Roberts, Tina Fey, Ben Affleck, Martin Scorsese, and Co.—to tell all the stories about him that you haven't heard.

Accent, Boston

Matt Damon: I was sitting at George Clooney's pool in Lake Como, and Brad Pitt walked in, sat down next to me, and said, “Do you want to do a Martin Scorsese movie in Boston?” [Brad] was a producer on The Departed, and he felt like he had gotten too old for those roles. It's one of the most absurd things that's ever happened in my life.

[Marty] said to me early on [in production], “I don't know Boston. This is your town.” So I would show up with stuff that I'd write and give it to Bill [Monahan, the screenwriter]. and say, "Do you like any of this?" The first time I rehearsed with Jack Nicholson, he went over to get some coffee, and he turned around [and said], “You know, I never would have made it this long if I wasn’t a great fucking writer.”

Martin Scorsese (director, ‘The Departed’): He comes from Boston; he's familiar with that world. When we were cutting The Departed, my editor, Thelma Schoonmaker, used a term to describe Matt's presence on-screen that's stayed with me: He's seated as an actor. He enters a movie grounded and at ease in his character and in the world of the story.

Bill Simmons (Bostonian; host, ‘Any Given Wednesday’): [Jimmy Kimmel] had this Super Bowl party, and Damon was there. He was like, “I'm readin' ya book! It's fahckin' ahsome.” [Matt's Good Will Hunting accent] is the greatest Boston accent that's ever been captured in a movie by an actual actor. The Departed is a catastrophe of bad Boston accents. Leo just gives up halfway through.

Sarah Silverman (co-star, “I'm Fucking Matt Damon”): We are all Boston-area people. I don't know how Matt talks so pretty.

Artist, The

Julia Stiles (co-star, ‘Bourne’ films): After The Bourne Ultimatum came out, there was a premiere in London. Prince actually came to it, then got tickets for the cast to come see him [perform]. We were summoned into a room to meet him [after the show]. Matt said, “So you live in Minnesota? I hear you live in Minnesota.”

Damon: Prince said, “I live inside my own heart, Matt Damon.”

Career Precedent

Damon: I always thought the goal was William Holden. To just be in a lot of good movies.

Harvey Weinstein (producer, ‘Good Will Hunting,’ ‘Dogma,’ ‘All the Pretty Horses,’ ‘The Talented Mr. Ripley,’ ‘Rounders,’ ‘Jay and Silent Bob Strike Back,’ ‘Project Greenlight,’ ‘The Brothers Grimm’): Matt Damon is the closest thing we have to James Stewart. Matt can be funny, Matt can be charming, but there's an idealism in Matt, like Mr. Smith Goes to Washington or It's a Wonderful Life. But Jimmy Stewart also did those very tough Westerns. He wasn't Bourne, but you get the idea he flew 40 missions over Germany as an Air Force commander. [He's] that kind of great man with tremendous integrity.

Michael Douglas (co-star, ‘Behind the Candelabra’): [Matt] reminds me of me a lot, in terms of the kind of range of parts and things that he does. He always looks to what's the best script, what's going to make the best movie, and what isn't. He has a real sense of what it takes to make a good movie. Having the best part in a bad movie doesn't help you.

Face, Matt's

Scarlett Johansson (co-star, ‘We Bought a Zoo’): The most amazing gift about Matt's physical appearance is that he can walk into the hair-and-makeup trailer looking like someone who slept directly on his face for seven hours and emerge a bona fide movie star. He has a great makeup artist.

George Clooney (co-star, ‘Ocean’s Eleven,’ ‘Twelve,’ and ‘Thirteen’; director, ‘Syriana,’ ‘Confessions of a Dangerous Mind,’ ‘The Monuments Men’): He looks swell in a Speedo.

Face, Pitt's

Damon: I don't look like Marlon Brando. I remember Ben and I having a realization early on. Like, we were watching Brad [Pitt] in a movie, and one of us turned to the other and said, “I haven't heard a thing that guy said in five minutes. I'm just looking at him.” And we realized there's a good and a bad [that comes with that]. It'll mask one of your lesser performances, but it also detracts from your best performances. Because Brad has been legitimately brilliant in some of the things he's done, and he doesn't get the credit as an actor that I think he deserves. I never had to carry that water.

Friend, Best

Tina Fey (creator, ‘30 Rock’): People would be like, “[Matt and Ben] are so cute!” And I'd be like, “They're J.Crew sweaters. When you see all the colors next to each other, they look cute, but when you get one home, you're like, ‘Damn, I just got an orange sweater.’ ” But now that is withdrawn. In person, Matt holds up.

Damon: Ben is the orange sweater.

Ben Affleck (co-writer, ‘Good Will Hunting’; best friend): The quality that has allowed Matt to maintain the illusion that he is Mr. Nice Guy is that he found a young TV actor who was just a pretty face and made friends with him so he would always look good by comparison. Matt is very media-savvy and manipulative in that way. He's like a mix of [O. J. Simpson defense-team members] Bob Shapiro and Alan Dershowitz.

Kevin Smith (writer and director, ‘Dogma,’ ‘Jay and Silent Bob Strike Back’; co-executive producer, ‘Good Will Hunting’): Matt made pretty thoughtful choices about what roles he wanted to play and the directors he wanted to work with after Good Will Hunting, which made Ben's more commercial choices easier to put down for some folks. The assignation was that Matt chose to be a serious actor in films, while Ben chose to star in movies. That script flipped when Matt was Bourne and Ben became a filmmaker.

Friend, Brother of Best

Damon: Casey moved in with us [when he was 19]. He would walk in the room, and I'm like, “Is that my shirt?” It got so bad with the Affleck brothers that I was at the point where I wanted to label all of my stuff, 'cause it would just fucking show up in Casey's drawer. And if it's there long enough, then it's like some version of squatters' rights, where suddenly he's like, “No, dude, this is mine. You saw me. I've been wearing this since December.” Like, that doesn't mean it's yours! Just because you washed it doesn't mean it's yours.

Good Will

Billy Bob Thornton (director, ‘All the Pretty Horses’): I did Armageddon with Ben, and I knew 'em before they made Good Will Hunting. They talked to me about it: “Hey, we got this script.” And I'm like, “Yeah, yeah, whatever.” Wish I hadn't have said that.

Steven Soderbergh (director, ‘The Informant!’; ‘Ocean's Eleven,’ ‘Twelve,’ and ‘Thirteen’; ‘Contagion’; ‘Behind the Candelabra’): I was looking for rewrite work, and one of the open assignments was for Good Will Hunting. I said, “What's it about?” And they said, “Math.” And I said, “Well, I'm terrible at math, so I'm the wrong guy.” Let's put it this way: Word was out on Reservoir Dogs at the script stage—I remember hearing, “There's this fucking great script out there written by this guy.” There wasn't that kind of thing about [Good Will Hunting].

Damon: Harvey [Weinstein] hadn't seen it—somebody lower down the ladder [at Miramax] had passed. And we were fucked. We had made a deal with Castle Rock where we had to sell it for a million dollars and whoever we sold it to had to allow us to star in it. If we didn't, it was gonna go back to Castle Rock and we were out of the movie. We asked [Kevin Smith] to direct it, and Kevin wouldn't. He goes, “I'm not a good enough director.”

Smith: I asked Ben to FedEx a copy of the script and hit it in the bathroom, intending to read a few pages while on the bowl. Two hours later, I came out of the bathroom crying [because] it was so good. [Co-executive producer] Scott Mosier said, “You were in the bathroom for two hours, and now you're crying. Should I call an ambulance?” I said, “No. We gotta call Harvey.” And we gave it to Harvey and said, “Remember when you picked up the Pulp Fiction script from TriStar in turnaround? This is like that. Especially the Oscars part.”

Weinstein: Kevin Smith gave it to Jon Gordon in my office. Jon Gordon gave it to me. I loved it.

Damon: Every Oscar weekend, the three big agencies host parties. In 1998, [the year we won an Oscar for Good Will Hunting], the CAA party was given in our name. Like, “Ben Affleck and Matt Damon invite you to the CAA party.” We called it “our party.” It was incredible. I talked to Tom Cruise. Even a movie like Cocktail, which the critics didn't particularly dig, was a hit. An agent said to me, “There's no career that's ever been like this. Everyone has ups and downs. This guy's never had a down.” He was the movie star's movie star. And I remember the way he talked about the business: He was not owed anything or could count on anything. And I was like, “Oh, my God. It's an insecure business for Tom Cruise!”

Simmons: I was dating this girl who moved to Chicago, and I was living in Boston. I was making, like, $200 a week writing a column and bartending, and it cost somewhere between $300 and $450 to fly to Chicago. So I went to see Good Will Hunting in Cambridge by myself. And at the end, he goes to see about a girl, and I was like, “You know what? I like her, but I don't know if I'd go to see about a girl.” We broke up within 12 hours. And my next girlfriend was my wife. That's why I always defend Matt Damon.

Grimm, Brothers

Brian Koppelman (co-writer, ‘Rounders,’ ‘Ocean's Thirteen’): The nose [in Ocean's Thirteen] originated because we had heard this rumor that Matt had wanted to wear a weird nose in Brothers Grimm. He wasn't able to, so we decided we were going to give him an even bigger, uglier nose.

Terry Gilliam (director, ‘The Brothers Grimm,’ ‘The Zero Theorem’): He's got that cute little retroussé nose and a big bony head, and I thought his head needed something stronger. So we put the bump on, and he suddenly became like Marlon Brando—he was sexy, he walked different. And then we had a huge fight with the Weinsteins and they threatened to close the movie down if I put that bump on his nose.

Weinstein: Oh, my God. Matt and Heath Ledger, may he rest in peace, just on bended knees said, “Can you finance this movie?” And my brother said, “It's Terry Gilliam—let's just do it.”

Damon: I remember the night that Terry shattered a wineglass in his hand because he was in an argument with one of the producers. He said, “I'm not gonna fucking…,” and snapped the wineglass in his hand, and then went storming out. And Heath [Ledger] and I just immediately got up to follow our fearless leader. Terry goes, “I think that went well! Where are we going for dinner?”

He was deciding whether to refuse to shoot over the nose issue. And he came into the makeup room at five in the morning and said, “They gave me the money that I need to make the movie, but we have to not do the nose. What do you think?” And Chrissie Beveridge, who still does my makeup, pulled out the nose and put it on the table. And we literally looked at it and just started laughing.

Chrissie Beveridge (makeup artist): Terry [said], “Would you talk to Bob Weinstein?” I didn't.

Damon: It was a $3 million nose.

Weinstein: Ironically, it's Terry Gilliam's highest-grossing movie he ever had in the United States. [Editors' note: Actually, ‘12 Monkeys’ is.]

Soderbergh: So on [Ocean's Thirteen], I was like, “Dude, we can do it. Like, we can give you the nose.”

Damon: And in Invictus, I ended up wearing the actual [Brothers Grimm] nose.

Beveridge: It was a slightly different nose.

Ledger, Heath

Gilliam: Matt is mathematical at times, and that's both a strength and sometimes… I think that's what it maybe was between him and Heath. Because [Heath's] heart was on his sleeve, and that opened up a lot in Matt.

Damon: He was too bright for this world. Coming off [The Brothers Grimm, I was] telling everybody that I just worked with the best actor I've ever seen. And people were like, “What are you talking about? The guy from A Knight's Tale?” And I was like, “You just wait. And wait until you see what kind of a director he's gonna be.”

There were things that he did where I couldn't have got there in three lifetimes. And there were ways in which he was like a puppy dog. You wanted to protect him.

[His death was] just fucking pointless. I called Terry when I found out, and he was like, “I'm sitting here in Vancouver. I'm looking out the window, and it's a beautiful sunny day, and the lights are turning red, and the lights are turning green, and cars are stopping, and cars are driving. I am surrounded by mediocrity. And he's gone.”

Maaaaaatt Daaaaamon

Damon: The most common head shot that I'm asked to sign is pictures of that fucking puppet [from Team America: World Police]. And they always say, “Will you write ‘Maaaaaatt Daaaaamon’?” I'm like, “Okay. Matt, with, like, 16 *a'*s in it.” [Trey Parker and Matt Stone] are legitimate geniuses. But when that came out, I thought, Wow, is that what people think of me? That I'm really dumb? So I remember asking friends of mine, and they all told me that it didn't really make sense that I was dumb. I was like, “Are you just saying that?” And then [my wife] Lucy heard an interview with [Matt and Trey] where they said the puppet showed up the day before they were supposed to shoot with it, and it looked like it had special needs, and they didn't have time to change it with the budget. I don't know if they made that up subsequently.

“Matt Damon, I'm F#©%ing”

In 2008, Sarah Silverman and Damon starred in a music video called “I'm Fucking Matt Damon” to “inform” Silverman's then boyfriend, Jimmy Kimmel, that she was “sleeping with” Damon.

Jimmy Kimmel (host, ‘Jimmy Kimmel Live!’; nemesis): [The video “I'm Fucking Matt Damon”] was supposed to be a present for my 40th birthday. Just to make sure the punch in the stomach hit a kidney.

Silverman: [When the show premiered,] Jimmy was literally getting guests like the man with the longest arm hair. So as a joke, he would say at the end of the night, “Sorry, Matt Damon. We ran out of time,” because Matt Damon was the biggest movie star he could think of.

Damon: We had done The Bourne Ultimatum [spoof] with [Kimmel sidekick] Guillermo [as Jason Bourne]. Like, now Jimmy's kicking me out of my own movies? And we all were just like, “How do we keep this thing alive?” And the guy who directed that called with this idea that Sarah had given him.

Silverman: Matt came in, learned the song in a closet of the hotel we had, and then we had three hours with him to shoot because he had his daughter's Halloween pageant at noon.

Damon: It happened really fast, and then suddenly I was in the car. I was like, “Holy fuck, I'm going to a parent-teacher conference. I can't do shit like this anymore.”

Ben Affleck: As soon as I saw “I'm Fucking Matt Damon,” I knew I would be doing “I'm Fucking Ben Affleck.” So I called Jimmy, and they were already putting it together. Having Josh Groban yelling out, “I'm fucking Beeeeen. I'm fucking Ben Affleck!” remains a high point of my career and life.

Mojo

Soderbergh: When [Matt] hit us on the Ocean's set, he said, “I really feel like I've kind of lost my mojo.” He'd just come off a couple movies that didn't work commercially [All the Pretty Horses and The Legend of Bagger Vance], and they were not finished with Bourne—they were gonna go back and reshoot more after we wrapped. And I remember George [Clooney] and I saying, “We can do that with this. You're going to have a blast.”

Damon: I showed up like a drowned rat and just stumbled into the room [with Steven] and George. Steven says, “This is the movie where you're gonna get your mojo back.” And they had a big party because it was the “We have arrived in Chicago” party. They rented out a bar with the whole crew. And then we shot the next day, and then they rented out a bar and had a huge “We're leaving Chicago” party. And I'm like, “Wow, maybe I am gonna get my mojo back on this shoot.”

Parenting, Matt's

Fey: Some people are lying when they say they want to go be with their families, but I think Matt actually really does like his family—his lovely wife and his 26 daughters.

Parenting, Matt's Mother's

Soderbergh: One of the first thoughts I had when I met Matt was, Okay. This guy was very well raised. I don't mean that in a pejorative sense. I was just like, “He's a good kid.” Like, “They raised a good kid.” Which is what you would want anybody to say about your child.

Julia Roberts (co-star, ‘Ocean's Eleven’ and ‘Twelve’): Matty's a good boy.

Pilot, Carol the

In 2010, Damon began a four-episode guest arc on the NBC sitcom ‘30 Rock’ as Liz Lemon's boyfriend, pilot Carol Burnett.

Damon: Lucy and I started watching on the first episode and were like, “This is our favorite thing.” I literally went up to [Tina Fey] at the SAG Awards and said, “Look, your show is so great, and if you ever have anything on it, I would love to do a guest spot.”

Fey: [Matt] was like, “I wanna be on the show! I wanna be on the show!” We immediately flew back the next day and called WME, and the agent was like, “He's not doing this!” And we're like, “No, no, he told us he wanted to do it.” And you could tell his agent was like, “Faaaaaaahhhhhhck. He's too good for this!”

Damon: Yeah, that was one that Patrick was like, “What the fuck? What are you doing?”

Patrick Whitesell (Matt's agent): I wasn't opposed to Matt doing it. I thought it would be a fun thing. The only thing was I wanted it limited in the number of episodes.

Scheduling Conflict

Douglas: [When I first heard about Behind the Candelabra,] I was recovering from a Stage IV cancer bout and was so unbelievably fortunate to look at this Richard LaGravenese script and go, “My God.” And Soderbergh's involved, and then Matt, who wanted to do the other part. And then when we were getting ready to go do it, both of them—both Steven and Matt individually—said, “You know, we've got conflicting schedules right now. So let's put this off for a year.” And my heart sunk. I thought, Oh shit, it ain't ever going to happen. The truth be told, I was so happy to be alive that I didn't recognize the fact of just how underweight I was. And I think both of them looked at me and said, “He's not ready to do Liberace.” And rather than in any way make me feel like it was a problem, they simply lied and said, “We have other projects,” and waited a year, until I got back on my feet and my strength was there.

Damon: I'll take it, but I did have a scheduling conflict. I think that Steven certainly knew that more time on the mend would not hurt at all. They replaced Michael from the neck down with a concert pianist, but Michael's arms had to be at the right place at all times or it didn't work. The amount of hours [that took], I don't even know. It was this virtuoso performance. And he said to me the last night [of shooting], “I couldn't have done this last year.”

Sweating

Koppelman: We write [Rounders] on spec, and Harvey Weinstein buys it. Then we get a call that he wants to show us ten minutes of this film [Good Will Hunting] with this guy Matt Damon, who [they thought] should star in [our movie]. We immediately love the idea.

So we happened to be down at [the L.A. casino] Hollywood Park, and we started talking to these guys and mentioned that we'd written this poker movie. They go, “Matt Damon's our best friend.” And I said, “Oh, really? Matt Damon's your best friend?” Twenty-five minutes later, Matt and Ben come storming in. Neither guy had played casino poker. Matt was immediately like, “Tell me stuff I need to know.” So we got a table and [co-writer] David [Levien] showed Matt how to riffle chips. Within 10, 15 minutes, he's sitting at the table riffling like he's an old pro.

David Levien (co-writer, ‘Rounders,’ ‘Ocean's Thirteen’): He took poker very, very seriously then, and obviously Ben got bit by the bug. We said, “If you really want to learn about this, come to New York.”

Damon: I started getting in and sweating the games, which means sitting behind a player who agrees to show you their hole cards so you can watch how they play the hand. And these were rounders, the people who were making basically ten bucks an hour sitting there with no health benefits, just hoping that somebody new would come in so they could chop him up.

Edward Norton (co-star, ‘Rounders’): Matt and I got coaching from top poker pros, but also from some guys in the underground poker scene who were experts in working a game as partners with coded signals, because that was something our characters did in the film. We decided we'd see if we could actually pull it off in a game, and we cut it apart. Then we walked down Sixth Avenue a few blocks and chopped up our collective winnings. We agreed that our commitment to the craft of acting justifiably forced our ethical standards into the backseat. And most of the money we clipped came off Harvey and Bob Weinstein, so we agreed that was good for humanity.

Alicia Vikander (co-star, ‘Jason Bourne’): We were shooting [Jason Bourne] in Vegas, and I learned to play craps [the night we wrapped]. I asked Matt [for advice] because of course he and Ben are kind of known for that. I said that I was going to bed, and then I said that I was just going to have one drink. It happened to be quite a few.

Sweating (More)

Damon: I've sweat some great directors for the last 20 years. When Ben was doing Gone Girl, I went over and visited the set and sat behind David [Fincher] while he was directing. There was a scene where Ben and Rosamund [Pike] walk into a bookstore and end up coming towards the camera through one of the aisles and kissing each other. So before the door opens and they come in, an extra walks by at the end of the line of books. David instantly starts monologuing: “Who fucking walks like that? Are you fucking… Am I wrong? Like, who fucking walks like that? It's ridiculous. I mean, he fucking looks like an extra in a movie. What the fuck?” Meanwhile, Ben and Rosamund are acting their hearts out, and I know they're gonna go again, no matter what they do, because this person fucking blew it. So David goes over and gives them notes, and they get ready to do it again, and Rosamund's makeup artist comes walking in to touch her up. David's looking at his monitor, and he goes, “Now, that's how you walk.”

Joshua Donen (David Fincher's manager): David denies that this ever took place, but out of respect for the talents of Mr. Damon, he has decided not to take legal action.

Teeth

Roberts: He does have nice teeth.

Kimmel: I mean, they can't be real, right? They're so perfect. They're obviously something that some Hollywood witch doctor put into his head somewhere along the line, possibly on one of his jaunts to China where he disappears for six months and suddenly has a whole new look. One day he's Jason Bourne. The next day he's Liberace's fiancé.

Damon: True.

Larry Rosenthal, D.D.S., declined to respond to multiple requests for comment.

Thing, Best I've Ever Been a Part Of

Damon: [The 2000 Cormac McCarthy novel adaptation All the Pretty Horses] failed the critics and failed to find the audience. I'm not over it 18 years later or whatever it is, so I'm just clearly never gonna get over it. It really fucking depresses me. I only saw Billy [Bob Thornton]'s cut once, and I just remember feeling like, “Oh, my God, this is the best thing I've ever been a part of.” It was Daniel Lanois's music that did it—it was all Daniel on this old guitar.

Thornton: The studio made us take Dan's score out.

Weinstein: It's great, but there were studio executives who fell asleep during the screening. The movie cost $48 million. You [ask], “Am I going to put a four-hour movie out?”

Damon: I was in Paris working on The Bourne Identity, and every night after work, I'd come home and I'd have a conference call with Harvey and Billy Bob. I would pace in this living room in this apartment I'd rented as I was talking to them. Billy's heart was fucking breaking. [When] he relented, he said, “Harvey, I have a chance to do four, maybe five great things before I die. And what I'm hearing you say to me is this isn't gonna be one of them.” And my knees literally buckled.

Thornton: You live with it. They did offer us the opportunity to put [my cut] out on DVD with the original music. But Dan felt like, “If my music wasn't good enough for them to put in the movie, then I don't know if I wanna put it in there on the DVD,” so I stood by him. I'm not gonna ever go side against an artist.

Weinstein: I've said to Matt, “I'll put up a million dollars any day of the week to restore it. I don't even care if I get the money back.” And I'm happy to sit down with Matt and Billy and do that. We've tried to resurrect that on a number of occasions, but the composer didn't want to let us do it, and he has strong rights. I understand. But time softens everyone. It's time to re-approach him.

Thornton: I think maybe one of these days I'm gonna just have a party over at my house to show it to 20 or 30 people.

Damon: I would love it if he did.

Wife, Krasinski's

John Krasinski (co-writer, ‘Promised Land’): The day I met him was the scene in The Adjustment Bureau where he kisses my wife [Emily Blunt] in a very big way. And so when I went up to him, he turned to me, and the first thing he ever said to me was, “Hey, man. I was just totally tonguing your girl.” And I went, “Oh, okay. Cool.” And he saw my face and he just cratered. He said, “Oh, my God. I am so sorry. I am so sorry.”

Damon: A reason to do that movie was to meet those two. They're just the best.

Emily Blunt : I have never played a board game with the Damons. The four of us hang out constantly and drink way too much together. Red wine for the three of us, and John's allergic to red wine, so he has to take down the bottle of white by himself. Which is not an issue.

Damon: That allergy is recent. He used to not be allergic to red wine, so we were perfect dinner companions. Now everything is off.

Worship

Chris Hemsworth (friend; Norse god): [I was going to be on the cover of GQ, and] I was like, “Shit, what do we do [for the story]?” Matt goes, “You should go bike riding! You can use mine.” So the next morning, I didn't want to bring the writer [into Matt's home because] I didn't want Matt to be uncomfortable. And Matt was like, “No, bring him in!” Matt's cooking pancakes and telling all kinds of interesting stories and quoting all sorts of interesting people. And I was sitting there going, “I just lost myself the cover. I can just see the cover turning into Matt's cover. This is the worst thing I could have done with this thing, introduce the writer to Matt.” I felt like I had a new girlfriend and I had introduced her to my cooler friend or something.

Blunt: It's almost sickening, actually. He's like the most universally loved person I've ever met.

Jessica Chastain (co-star, ‘Interstellar,’ ‘The Martian’): When I was going to go work on The Martian, everyone was going on and on about what a great person he was. You always wonder, like, “Okay, is the reputation accurate?” And with him, it was.

Jeff Schaffer (executive producer, ‘Seinfeld,’ ‘Curb Your Enthusiasm’; co-creator, ‘The League’; Harvard classmate): “Great” gets thrown around a lot. Like, if you hate a movie, you go, “It was great!” In L.A., “great” means it's shit. So I have to drop down one to “good.” He's a good man.

Matthew McConaughey (co-star, ‘Interstellar’): I remember a late night in Laurel Canyon after A Time to Kill came out. Matt shared a genuine excitement for the success the film and I were having. He's always been like that, as far as I know—confident and self-assured enough to appreciate a peer's success while still paving his own path.

Krasinski: You look at him and think, Wow. You've maintained staying grounded with a career like this. For people who don't have even half the career of you, if we're not as grounded as you, we're just jackasses.

Paul Greengrass (director, ‘The Bourne Supremacy,’ ‘The Bourne Ultimatum’; director and co-writer, ‘Jason Bourne’): He is a really superb, aggressive, fast driver. Somewhere deep in that soul there must be a Jason Bourne lurking.

Simmons: If you're at a party and somebody's like, “You know who I fucking hate? Matt Damon,” people would be like, “What? Why do you hate Matt Damon? Did he fuck your girlfriend?”

Kimmel: He had sex with my girlfriend and then made a song about it. I think he's more devious than [his character in The Talented Mr. Ripley]. More diabolical. Matt Damon in real life is more of a pure evil.

Soderbergh: You could walk around town with a checkbook offering to pay people a million dollars to say something bad about Matt, feeling secure you'd never have to write a check.

Reported by Zach Baron, Lauren Larson, Anna Peele, Clay Skipper, and Caity Weaver.

#matt damon #good will hunting #all the pretty horses #30 rock #behind the candelabra #the brothers grimm #ocean's eleven #the adjustment bureau #interstellar #rounders #GQ #interview #photo #2016 #originals

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denimbex1986 · 1 year ago

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youtube

"Hi, I'm Emily Blunt."

"Hello, I'm Cillian Murphy."

"Hi, I'm Matt Damon."

"And we're here with - and we're here with The Hollywood Reporter, talking about our Hollywood firsts."

"It could have been Star Wars because I'm a Star Wars kid but - "

"But everyone's a Star Wars kid."

"Yeah."

"I know, but it's the first time that like, because I was seven - "

"Yeah."

" - it came out in 77, I was pre; in the summer I was probably six. It was the first time that I ever went and got completely captured by a movie experience where, where I was taken to some other place that I didn't; and I just thought it was amazing and I wanted to be Luke and Han Solo. I wanted to be all those guys, and so I went home and immediately started dressing up like them and playing like them and, you know -"

"Well the - one of the first films I remember watching was 'Old Yeller.' Did you guys ever see that movie?"

"Yeah."

"And I remember being just like, destroyed by it, and wanting to do a movie with a dog."

"The first audition I went on was for 'The Four Feathers', that Shekhar Kapur directed."

"Oh my god, really? Yeah?"

"Yes."

"Heath did it."

"Heath did it. And I ended up doing the table read for him, even though I knew I wasn't going to get the part, but I was like 17 and at a table read with Heath Ledger and I was like: 'Oh my God.'"

"Oh, the first audition I did was for a, for a play in Cork called 'Disco Pigs' and - "

"And you got it."

"Yeah, and I'd never done anything before in my life; it was my first professional gig."

"Actors love hearing that story - my first audition, I booked."

"Nailed it."

"And nailed it."

"Yeah, but you know that, you know that confidence of youth where you just -"

"Yeah, you don't think about it."

" - you don't know anything so - "

"Yeah."

"The first big Hollywood paycheck I got in my mind was I got twenty-five thousand dollars for doing a mo - a TV movie called 'Rising Sun'. And, I bought my brother a car and I put my mum through her PhD program and that, that was a really cool feeling."

"I think I bought like a, a record player and, or a sound system. No, because it; record players weren't, they weren't as cool as they are now, were they?"

"Yeah. I feel like I moved out. Like, I think that was the first; I got, I rented an apartment. I feel like that was the first - like, being able to not live with my parents."

"I know mine is a - this animated movie called 'Spirit.' It was the first movie that - and that, that was a good one for the kids."

"Yeah."

"I think that's like the only movie they've seen."

"They saw 'Mary Poppins' - was the first one I think."

"Come on."

"Yeah. I think I put it on and walked away - "

"Yeah."

" - but then I think it's strange for your children to watch you. Like, they have - it's like you really are somebody else and it's disconcerting for them. And it was disconcerting for my kids, because especially with 'Poppins', it's like a - I look different, I had this like wig on, I sound different."

"Well they kind of know you at a soul level - "

"Yeah."

" - and so to see you as something that you, they know you're not - "

"Is strange for them."

"Yeah, yeah."

"Do - do your boys find it strange really?"

"Yeah but, but they're very underwhelmed. You know, they're very unimpressed."

"Suitably underwhelmed, unimpressed."

"They're big Peaky Blinders fans."

"No, they've never seen Peaky Blinders."

"They've never seen it?"

"No. I think they mi -they watched the, the Batman movies - "

"Yeah."

" - when they were old enough. But most of my stuff is highly unsuitable."

"I met Cillian; John and I went to see Cillian's play before we did Quiet Place II together - "

"Yeah."

"I mean, we were so desperate to work with him obviously but - and then when we did Quiet Place II, we were; we were like thick as thieves, quickly."

"It was good fun."

"And it was so great for us then having this kind of shared experience, this shared history, to go be thrust into like a married couple and - "

"I think you get something for free when you work with people that you've worked with already - "

"Yeah."

" - and you've gotten on with; it - it just kind of transfers onto the screen - particularly if you're playing a couple with history. We didn't meet till - "

"No, till this."

" - till Oppenheimer."

"No, till this."

"Yeah."

"But you guys - "

"Till this interview, yeah."

"Matt, Matt doesn't do off-camera; I didn't know if that was public knowledge but - "

"And I don't want other actors around when I'm on camera. Yeah. we met for the audition for Adjustment Bureau."

"In like, 2009?"

"Yeah."

"We've known each other for far too long. Matt lives in my building so I - I'm actually not used to seeing you in regular shoes; I only see you in slippers - it's very strange."

"When we come down for dinner I just wear slippers."

"I haven't seen him in shoes for a couple of years I think."

"It's true."

"I found it so emotional. I remember Chris coming in and it was a staggering script. And visceral and captivating like - the trauma of living with a brain like that was so palpable in the script, and I was so scared I wouldn't understand it."

"It was really overwhelming - "

"Yeah."

" - and, and it was the first script I've ever read, or ever even heard of that was written in the first person."

"Yeah."

"So, it's - Oppenheimer is using 'I' - I'm doing this and I'm doing that, I'm now walking over here, I'm not; and it's like: 'Oh my God.' And so by the end of the script I just; I was totally overwhelmed. And I kind of offended Chris because he came over and I, I - and he said: "What do you think?", and I just kind of blurted out: "I have no notes." Which was, to me, the greatest thing you could say to another writer. You just go like: "Look, look man, I have, I have nothing to say - this is amazing." But, but when Emily met with him like, like a week later, she was very effusive in her praise and very articulate, and he was like: "Well it's better than I got from him. I just got 'He had no notes.'"

"No notes, yeah. Chris was like: "That's a lot better than Damon's reaction to it."

"I think it may have been like, one of the best scripts I've ever read. For -"

"Yeah."

"For sure."

"Yeah."

"And the scope of it and the ambition of it; this, the, the - "

"The ambition of it. The book is so dense and there's so much history, and he's kind of woven all of it into this; it's like every frame of the movie is so dense and rich and packed."

"How was it for you, reading it in the first person?"

"Exhilarating. You know, because it's completely subjective, you know?"

"Yeah."

"And that's what he, he intended to do with the movie was make a lot of it through Oppenheimer's eyes and experience it as, as Oppenheimer was - was experiencing it."

"Thank you for enduring our Hollywood firsts."