In this play we're dealing with relative truths - who's lying, who's telling the truth. But underneath that, Ed and I have hit this deeper level of intimacy between old friends that comes out in the play.
From Fred Ward
I think we're struggling with trying to redefine various positions at this point in history. To allow freedom for women, freedom for men, freedom from those sharply defined gender roles.
As an actor, it's fun to play guys who aren't just locked into a male pattern, but a lot of guys you're asked to play are fairly macho and have a certain rigid standard they're living by.
I doing casual labor by the day. They wouldn't pay you until the next morning. There was a bar that would cash your check if you bought a beer first. A lot of guys never left until they'd drunk up all their money.
I like to spread myself out. Since I was a kid, I always recognized some void.
I was just talking about women, just in terms of understanding them as much as we can ever understand the opposite sex. I'm trying to let go of certain male approaches to things that you inherit, that you grow up with.
If some woman tells me how she feels about something, my immediate assumption is that she wants an answer, or that she wants me to solve her problem. In fact, all she wants to do is share, or show how she feels.
In the beginning Remo is a very New York street cop who changes and is changed as he moves along.
It's a major part of world history that men are trying to kill each other. It's just one slaughter after the other. We talk about it, but no one's really listening.
It's like a prehistoric reflex, you know, going out and getting the meat and bringing it back to the cave. You feel you're supposed to make it better, but more than likely she's asking you to tell her how you feel.
2 perspectives
1 perspectives