Brett co-starred with Keanu Reeves and Gene Hackman in this film about replacement football players getting a rare shot at glory. Brett played the arrogant, spoiled rotten quarterback, Eddie Martel.
How he got the role
Howard Deutch, the director, is a friend of mine and he told me he was doing this movie. I asked if there was anything in it for me and he said, “There might be. Why don’t you read it and let me know what you think?” I read several parts that I thought I could be right for and I called him and he said, “Well, what do you think about Martel, the quarterback?” At the time, in the original script, it wasn’t that large of a role and Martel wasn’t near as antagonistic. Howard said, “I’d really like you to do this role.” I said, “Okay.” He said I was going to have to read for the producers. So, I went and read for them and then I got the part.
Did you have to prove some athletic ability before being considered?
They didn’t ask me about any of my athletic ability, although Howie knows me and knows I’m very athletic.
Football training camp and 100 degree weather
We had a three-week training camp. They had the first week without me and then Howie called and said, “Why aren’t you here?” I said, “Well, they didn’t tell me when to come and they hadn’t made any plans for me.” He said, “I want you here now.” So, I said, “Well, okay, send me a ticket.” So, they sent me a ticket and I flew to Baltimore and I did the last two weeks of training camp. Basically every morning we would wake up about 8:00 a.m. and be downstairs and we’d get in this big sort of tour bus and we’d drive out to this high school football field where we’d train at in Baltimore. We’d go in and get suited up and you could have breakfast if you wanted it and then you went out to the football camp. You did calisthenics and then they’d separate us. They’d say, “Quarterbacks over here.” There was me and Keanu and then four other guys who were doubles, along with T. J. Rubley, who was the quarterback coach, and Mark Ellis. We’d basically split up the quarterbacks and receivers and the linemen would be working and it was basically like a football camp. Then they’d get us all together and show us a play, because the plays had to be choreographed so you could have certain things happen. We’d have a fumble or a pass caught and a guy would get creamed. So they’d show you the play, tell you the name of the play and you’d have to call the play to the huddle and then you’d run it.
Pretending to be a quarterback
The first day I was there, Allan Graf said, “Okay we’re going to take it easy on you today.” They’d run the play twice with the stand in and then he’d say, “Hey Brett, come here! Let’s do it!” I’m like, “What?” He’d say, “Run the play.” I’m like, “Okay.” I’d never even taken a hike from a center since I was about eight years old. So, I go up there and get underneath the guy and call out the cadence and they hike the ball and we ran the play. It was kind of horrifying. I kept looking at these guys — these monster linebackers and linemen — and they start acting, pretending we are filming and they’re doing what they’re supposed to do, which is saying, “I’m going to kill you, quarterback! You’re mine! I own your ass!” And I’m like, “Okay, okay, this is a lot of fun.” You see, I was a baseball player. I didn’t really play football, but when I did, I was a running back and defensive secondary. So, I didn’t have a lot of “throwing the ball” training, so that’s what I had to work on. It was funny, because T. J. Rubley used to call me “The Money.” At practice I would throw the worst ducks you could possibly imagine. The passes were just horrible. Big floppy passes. Really bad stuff. But whenever the camera was rolling I would nail it and he seemed to believe it was because I wasn’t thinking about it. I was always thinking about the mechanics and how to throw the ball. But once we were actually shooting, for whatever reason my mind got off of that and I could throw the ball. And most the time it was pretty much on target and a zipper. I was comfortable doing all this. I’m a fairly athletic guy and I’m in fairly good shape.
Making friends with the big guys
The one thing that was funny for me was this one guy who played the middle linebacker. He was in the Oliver Stone’s movie “Any Given Sunday.” He was the big black guy that, when the owner, Cameron Diaz, walks in the locker room, is standing there with his, uh…member hanging out (laughs). Anyway, THAT’S this guy. He’s screaming at me, “I’m going to kill you! I own you! I’m going to eat you for lunch!” He’s screaming all this stuff at me while we’re rehearsing. And it was getting intimidating! I’m standing off to the side after I’d done my one run-through and Howie was standing there with me and goes, “How do you feel about these guys? They’re going to kill you!” And the guy is standing next to me and I go, “I’m not worried.” And the guy said, “Yeah? Why not?” I said, “Because I’m going to be your best friend! I’m going to buy you beer every night so you’re happy.” Then he put his arm around me and said, “I like you, Brett. You’re alright by me. You’re cool…nobody will hurt you!” As in pro football, when you’re practicing, the quarterbacks wear red shirts. So, that’s the sign that none of the team can actually injure the quarterback. If they’re going to sack him, they just come up and kind of grab him. They don’t really throw him down and pounce on him.
In Keanu’s words
I was fairly comfortable but I was nervous because I wanted to do a good job and I was concerned I wasn’t going to be up to the chore of looking like an All-Pro quarterback who’d won two Super Bowls. They used to videotape us and one day Keanu and I were watching the videotape and Keanu watched me and said, “Man, you look just like an old, gritty veteran.” And I said, “Yeah, old is the operative word.”
What was the most challenging thing, physically, for you on the field?
We started in July or August in Maryland, which was very hot and humid. It was reaching 100 degrees. And we’d practice from 9:00 in the morning to 1:00 in the afternoon. The hardest thing was the heat. It was really tough on us. You had to drink a lot of liquids and take in a lot of Gatorade. We were sweating and taking a real pounding in terms of what it was doing to our bodies. We would practice and then have lunch. Then we’d get back in the van, go back to the hotel and they’d tell us to sleep, to rest our bodies. So we’d shop, buy some clothes or something, and then go back and take naps for an hour or so. In the afternoons we’d go to the gym. There was a gym right around the corner from the hotel and we’d all go work out and do our weight training. So, it was physically challenging.
Were you injured or did you get pounded by the pro players?
I didn’t get injured. I did get pounded a couple of times but that was on purpose when we were doing second unit with Allan. There was a joke around the set — for a period of time the second unit was called “The Brett Cullen Unit.” We were shooting 24 hours a day. They’d shoot first unit all day and second unit was night in the Baltimore Ravens stadium. I would show up and a lot of nights it was just me and the football players. Allan Graf would have them mike me and then let me improvise. A lot of the stuff I was doing with the guys, like screaming at them and calling them names on the field, was all stuff that I sort of came up with. Howie was fine with that because he trusts me and he wasn’t there and Allan liked it because I gave him all this stuff to play with, in terms of giving him more than what was on the page. Then we had a couple of times where I got sacked or creamed and hit by the guys pretty hard after making a pass. These guys are 300 pounds, 6’6″ linemen. They liked me though. We were all friends because we’d all go out and party together. So, I’d say to Allan, “How do you want to do this?” He would tell me and I’d go to the guys and say, “Listen, I’m going to throw the ball and you’re going to sandwich me from two different directions. What I want you guys to do is to come in and make contact with me, but don’t really hit me and I will act like you creamed me and I will throw myself down.” Then they’d do a cut of me going back and hitting the ground and then a cut of those guys landing on me. And they would do that by being a foot above me and just falling on me. So, it was cut in pieces, but yeah, I got hit a couple of times. As far as professional football, it was nothing. But as far as an actor getting hit – I’m not accustomed to getting hit by two guys whose combined weight is about 500 or 600 pounds. But I was an athlete prior to being an actor so that was exciting for me. I enjoyed that. It was fun.
Standing on the 50-yard line
Charlie was our location manager. He was the location manager on “Legacy” and he does all the big movies and series over on the Eastern seaboard. I call him the first night I got into Baltimore and said, “Let’s get together.” I’d been there for a day. So, we had dinner at McCormick and Schmidt’s and after dinner we got in his car and he said, “Come on, I want to show you something.” We drove over to the stadium, which was completely dark. We went around to the back entrance and he flashed his badge to security and they let us in. We walked onto the field and out to the 50-yard line and stopped. He looked at me and said, “What do you think?” I looked around. I’m standing on the 50-yard line in the Ravens stadium, and you look at all those seats and it was overwhelming. I went, “Oh, now I know why these guys do this.” If you can imagine the stadium being full, and you’re playing football and you’re in a fishbowl and everyone’s screaming at you — it’s a lot like being a gladiator. I saw it and went, “I get it now.” That was real thrilling for me. That was one of those moments before we started doing the picture that I went, “Wow, this is going to be cool.”
The thrill of the crowd
I didn’t shoot the sequence when they actually had the crowd there for the football game, which they shot at halftime during one of the Ravens pre-season games. But when I did work they would have thousands of extras there. I remember the first scene they shot was where Martel comes back to play for the team. We were standing in the hallway and they announce me and I come running out. That was pretty cool. I’m like, “Wow, this would really jack you up.” But the fun thing was — they’d call and say, “You’re call is at 10:00 at night.” So, I’d show up and get dressed in my football uniform in the dressing room and then they’d get me in one of those football carts and drive me down to the stadium. And then I’d come running out onto the field from the tunnel. Just running out on the field was such a thrill. Like, when Keanu runs on the field at the end of the movie, where he comes back after they’ve thrown me into the equipment room — that whole feeling you get watching it, like the hero is running back on the field and everyone’s screaming his name. That’s kind of what it feels like, even though you’re just an actor running onto a field with a bunch of extras and other actors. It still feels very special. From an actor’s point of view, you immediately go into your imagination and think, “What if this was real?” So, I dug that a whole lot.
Larger than life on the JumboTron
When I was shooting the opening sequence where I slide and don’t go for the touchdown because it’s the last game before the strike — well, we were shooting that scene and they were doing stuff on the JumboTron — you know, that huge screen up on the stadium where they show you playing. They would do shots of me! (laughs). I’d be calling signals or be in the huddle and I’d look up and see that the camera was on me. I was like, “Oh my God!” It’s incredible! It’s bigger than a movie screen! It was thrilling!
While watching Gene Hackman work, what was the one thing about his talent that struck you the most?
One: his talent. Two: his professionalism. He is probably one of the most honest actors I’ve ever worked with. He’s one of the greatest actors of my generation. All I can do is watch him in awe on a certain level and on another level really appreciate the fact that I was getting the opportunity to be on the same playing field (no pun intended) with one of the great actors of my time. He was very generous and enjoyed the fact that whatever I brought to the table in a scene he embraced. Working with Mr. Hackman was an honor and a tremendous learning experience for me. The last night Gene was shooting I went to the set to watch him do this scene. It’s the scene he has with Keanu about him being nervous and being a duck on the water. I showed up and I walked over to the sound guys and said, “Can you give me headphones so I can listen to the scene?” They were off a ways and I’m over by the monitors and I put on headphones. I watched him do the master, the medium close-ups and then the close-ups. Watching him refine the scene in that period of time, from the wide shot to the medium shot to the extreme close-ups was really interesting. To watch him actually paint the large strokes and then the medium strokes and then get to the fine, intimate details of his performance was fascinating. He NEVER hit a false note — ever!
Being in acting school again
While I was there, some of the other guys came to pick up Orlando Jones because Orlando came to say goodbye to Gene since it was his last night. One of them said, “What are you doing here?” I said, “I came to watch Gene.” He said, “We’re going out to dinner. You want to go out to dinner?” I said, “No.” And He said, “Why not?” Watching Gene Hackman, Bobby Duvall, Robert DeNiro — they are another class of actors that there aren’t a lot of out there. I said, “This is my school. This is my training ground. I’d rather be here watching him and learning and trying to pick up some sort of idea of what it is this man does and how he does it and why he does it — than going out to dinner.”
Going to dinner with Gene Hackman
It was an honor and thrill to be around Gene and not only just work with him but to go out to dinner and have drinks and talk about his work. Sitting next to him at dinner, I was like a kid in a candy store. I had to hold myself back because I kept wanting to go, “Okay, alright. What about ‘Superman?’ What about the ‘The French Connection?'” I just wanted to ask him about every movie he’s ever made. When I got the nerve up to ask him about certain pictures, he was extremely forthright and extremely honest about what his feelings were. He didn’t hold back anything. So, that was a real thrill too.
Live or Memorex?
Mike Justice is the best stuntman. He is such a great double for me. He was my double in this movie. I hadn’t worked with him before. I’ve since worked with him again. He’s now doubling Travolta, too. He was the perfect double for me. We actually look similar. He’s more muscular than I am, obviously. But we have the same hair and you can’t really tell us apart. In the fight scenes, I did some of my own stuff. Like when Jon Favreau runs and tackles me in the bar — that was me. But when Jon takes me and slams me into the bar headfirst and then throws me into the glass case — that was Mike. But if you look at it, you can hardly tell. I mean, he’s such a perfect double that everyone who saw it went, “Wow, that was you!” And I’m like, “No, it wasn’t. That was my double.” He’s great. I’ve since become really good friends with Mike. We surf together occasionally and we try to keep in touch. I’ve been over to his house. He worked on the Martin Lawrence movie I did, “National Security.” He doubled me. We watched basketball over at his house afterwards. He’s a wonderful guy. His wife is a really well known stuntwoman. He’s a great guy and I was fortunate to run into him and I can’t wait work with him some more.
What was your take on the alluded-to relationship between Martel and Annabelle, the cheerleader?
There was a scene that got cut out of the movie where we alluded to a past relationship. I believe Martel probably — being the arrogant asshole that he was — had a relationship with most of the cheerleaders or tried to and maybe had a relationship with Annabelle that went south. Maybe he slept with her and then blew her off and then realized that she was the one that he shouldn’t have let get away. It was cut out of the movie but it was sort of alluded to that I cared about her. We did the scene where I tell Keanu that she deserves better. In my opinion, if there had been any kind of weakness in the script, it’s that they didn’t capitalize on that. Maybe they felt the animosity I had toward Falco was great enough already with the fact that he was taking my job. But there was such a personal animosity toward Falco from Martel’s point of view that I thought it could have been highlighted more — but he didn’t have the heart and soul and the leadership qualities that Falco had. He was a businessman and he cared more about taking care of himself and doing what he had to do and not really caring about the team. Falco became the leader of that team. So, some stuff got cut out. A feature film gives you a certain amount of time to tell a story and they had priorities. Their priorities were not creating a relationship between Martel and Annabelle. They touched on it and let it go and maybe realized once they were in the editing room that what they had didn’t pay off. But it’s what it was and I’m proud of it.
Having a safety net
I’m proud that Howie trusted me and as far as I’m concerned, Howie is one of my favorite directors I’ve worked with. I think he’s marvelous. He shoots a lot of film, but I think the reason he does that is because he wants to have options and he really likes actors. He likes to get what he thinks the scene is about, nail that and get those takes, and then he wants you to try something completely different to see what happens. So, it’s like you have this marvelous net you can fall into that gives you security that you’re not going to be laughed at. Or if it stinks, you know he’s not going to use it AND he’s more than willing to try to give you the opportunity to discover something new that may not be on the page.
On playing the bad guy
I’ve done it before. It’s actually quite fun. I did a movie called “Dead Solid Perfect,” where I played a real shallow fellow. But in this movie, we went to the press junket in New York and slipped into a screening of the movie in Times Square. Keanu and all of us went to the screening. I sat way in the back of the theater. It was packed. Rhys Ifans was down on the floor in front with his girlfriend. It was really cool to watch. It was interesting to hear people hiss and moan over stuff I did. I actually think that if they do that, you’ve done your job well. That’s what you’re hired to be. When Howie hired me he said, “I don’t want you to play this as a comedy.” I said, “I’m not.” One of the first days I talked to Gene I turned to him and said, “Can I ask you a question? You play a lot of bad guys. Do you have any advice? Or what do you think is the key to playing a really unsavory character like this?” He looked at me and he had a twinkle in his eye and he said, “Just enjoy it.” (laughs). So, I did. I tried to have fun being this sort of smarmy, obnoxious, arrogant professional athlete.
Was your family with you on the shoot?
This is the only time EVER I’ve gone on location and never brought them with me. I’ve gone on location for a couple of weeks and then flown them in, or had them come after a week or so — so I could get my feet grounded and get settled into a character. But this was the first time ever that I hadn’t had them with me at all. For the entire shoot, they never came to Baltimore. I’d finish a scene and they’d say, “Brett’s wrapped.” Howie would ask, “Well, when do you work next?” And I’d say, “I don’t work again for a week.” He’d turn to the production manager and say, “Fly Brett home.” Howie is married to actress Lea Thompson and they are really good friends of ours and he understood I wanted to be with my family. The worst it got was there was a period that I went an entire month without coming home, which drove me nuts. I felt like I had forgotten who Michelle and my daughter were. I was so desperate to see them and so very lonely.
What did you do when you weren’t working?
I hung out with Howie some, because we’re really good friends. I played a lot of golf. I spent a lot of time on the computer talking to you, Mare! (laughs). I had my laptop while I was there so I answered letters. Rhys Ifans and I hung out a lot, along with Bear, Gailord Sartain, Greg Goossen, David Denman and Greg Goosen, Gene’s stand-in. We hung out together a lot in the bar of the hotel. Greg even got cast as Drunk #2 in the movie so we spent a lot of time in that bar rehearsing (laughs). I spent a lot of time with the football players, too. I hung out with Keanu, Orlando Jones, Michael Jace. We’d go out and have dinner. Sarah and Caroline, the girls that played the two main cheerleaders, the strippers, would hang out with us. We would go to some clubs and dance and had fun. But a lot of time it would feel empty to me because I was not with my family. These waves of sadness would overwhelm me because I was missing my wife and daughter. But it was tough to be away from my family. So, whatever I did they were always in the back of my mind.
A moment to remember with Lyle Lovett
My favorite thing was one night we went to McCormick and Schmidt’s, which became my favorite restaurant there. I ate there all the time. We sat outside and across the boat slips there was an outdoor arena where Lyle Lovett was playing one night. We were outside with Favreau and the girls and we were all eating dinner and you could hear the concert clear as a bell. I picked up my cell phone and called Michelle in LA while he was playing one of my favorite songs. I said, “Hi, it’s me.” She said, “What are you doing?” I said, “I’m out to dinner with the cast, but I want you to hear something.” I held the cell phone up so she could hear the music and she said, “What is that?” I said, “It’s Lyle Lovett. He’s playing about 75 yards away from me and we’re having dinner outside and I can hear him.” My wife and I LOVE Lyle Lovett. So I wanted to share that with Michelle. It was very cool!
Did a “team” camaraderie occur with the actors and football players during filming?
Yes it did. Those guys, the replacement players — we became close. Bear and I got along really well even though he was on the other side. He would make me laugh. Faizon Love would make me laugh. We hung out sometimes. There was a camaraderie amongst all of us. I can’t tell you how many times I’d show up someplace and Allan Graf and Mark Ellis would be there and all the football players. They would be so excited. And then we’d all sit around and drink and we’d dance and we’d hang out and of course they would all be chasing girls. It was always just a lot of laughs and there was a lot of alcohol consumed. It was a lot of fun. These guys were really terrific. And, as it’s been the case over the years when I work, I tend to get really close to the crew or extras. And in this case, the guys that were playing football couldn’t really be called extras, because they were an integral part of the movie and without them, we didn’t have a film. They were really involved with us on a day-to-day level. They were there for everything. They were there in the dressing room; they were there when we’d get ready. We’d hang out with them all day and in between shots we’d be sitting on the field together. So, a camaraderie really did exist between all of us. It was fun to hang out with those guys.
Making friends and influencing people
I was shooting with the second unit and all these football players are really cool. So, we’re hanging out on the field and I said to them, “What time are y’all wrapping?” They said, “About 6:00 this evening.” So, I went to the teamsters and said, “Here’s a $100 bill. Can you go buy $100 worth of beer?” They did and I had it all iced down for team when they arrived and put it in the player’s locker room. So, they sat there and drank beer for three hours. The goodwill that THAT created — you know, because it’s getting toward the end of the movie and everyone’s exhausted, and all of a sudden, here’s someone doing something nice for them, which shows our appreciation for how much effort they put into the film. It’s important. Basically, actors are coddled. If I want a cup of coffee, it’s, “Okay, here’s a cup of coffee, Mr. Cullen.” If I need a Coke, it’s “Okay, we can get you a Coke. You need some aspirin? Let me get the medic over here.” Anything you need is at your beck and call when you’re on the set. And those guys, the football players, don’t get that sort of treatment at all. I think it’s important because these guys — who are really what you might call, if you’re thinking in terms of the Army, the grunts, or the Marines, who are on the front line — never say a word and just do their job. You’ve got to let them know that they’re important and that they are really appreciated.
Beer or dinner?
Dennis Quaid worked with most of these guys on “Any Given Sunday,” the movie that Oliver Stone directed. Dennis told me he took all his linemen out to Joe’s Stone Crabs in Miami. And these guys were telling me about it, (laughs) and I said, “Well, Dennis makes a lot more money than I do, so I’ll just buy you beer.” (laughs).
What was your favorite scene to act in and why?
It would have to be the scene with Gene. Any time I worked with Gene was great. My favorite scene would have to be the scene in the dressing room at half time when I come back. That and also the stuff I got to do with the second unit, because that was all improvisational. It was just really great and exciting. It all came from me so I was constantly trying to think of things to say and asking other people for ideas. I got a lot of help! (laughs) So, it was really cool. But truly, any scene I got to do with Gene Hackman was a favorite because I got to work with such an incredible actor.
Martel’s quick exit
In the original script they threw me into the equipment room and locked me in. They had Gene Hackman coming in and asking, “Where’s Martel?” And they’re all, “We don’t know, Coach, we don’t know.” It became more of a confrontation between me and the players instead of me and Coach McGinty, so they rewrote that. They had to take that sequence out. But I got thrown in there and they shot a scene where I tear the equipment room up because I’m so pissed off that they’ve locked me in there. You see a professional athlete tantrum. I knock everything off the shelves. There’s a TV in there, up in the corner, and I watch the game. They show Falco running on the field and kissing Annabelle and they show my reaction to that. Then they showed me watching him make the touchdown and win the game. I said to Howie, “If they win, that means they are in the playoffs and this is their last game and we’re all coming back. So, we’re in the playoffs and I’d be excited.” So, we shot it where you see a slight smile cross my face. He had to love the fact that this guy led the team and won. He has a certain respect for Falco and that was what that smile was about. It’d be like, “Damn, he did it.” Remembering what it was that made him play the game in the first place. But, all that got cut.
Were there any other scenes of yours that didn’t make it in?
In the beginning of the movie, after the slide that I did, there was a scene we did underneath the stadium. Annabelle comes walking up and she and I had a flirtation and she sort of puts me in my place because I’m like, “Come on, baby, let’s go do something,” and she shuts me down. That got cut out. But that’s the nature of the business. The amount of stuff I’ve shot over the years that never ended up in movies is astronomical, as every actor has stories about that happening. I’ve been in movies that I was completely cut out of. But I can’t complain. I was very happy with what Howie used of me and how he used me in the film and I thought he did me proud. I thought it was a strong performance and he made me look good, from a bad guy standpoint.
Explain how you ended up sporting a soul patch for this movie
When I got the part I had a soul patch. I showed up, did the training for two weeks and I said to Howie, “Should I cut this off?” He said, “You know, I kind of like it.” I’d seen Brett Favre and different football players, and they all have something that’s real distinctive about them. Some have sideburns, some goatees. So, I thought this would be interesting. When Howie said, “Keep it,” I said, “Okay, I’m going to go with this.” I thought it was fine. I didn’t think it was anything to get excited about. I just shaved my soul patch off the other day. I turned to Michelle afterwards and said, “Do I look younger without it?” She said, “Yes.” And I went, “Oh, okay, thanks.” (laughs). I normally have one. When I’m not working, I grow it. It’s sort of my way of being rebellious and “surferesque.” (laughs). So, that’s how it came about.
The acting process versus the finished product
When you work on a film, you hope it’s successful and you hope that people go see it. But the truth is — and I’ve learned this over the years from older actors whom I’ve worked with like Jean Simmons and Barbara Stanwyck — they didn’t really care about the finished product. They generally didn’t see their films. What they cared about was the process and the actual working on the job. Once an actor finishes his day, or his work on a film, it’s really taken out of his hands. Between editing, the editor’s cut, the producer’s cut — everyone has a say in what they want. The truth is, you can’t control it. So, all you can do is to remember and enjoy the process you went through on the set with the director and getting the creative juices pumping so you can deliver something that’s interesting. That is fulfilling. That is exciting. It’s also fulfilling to watch a film once it’s done and see how they’ve taken a very large canvas with a great deal of paintings on it and cut it down to one picture. Generally when you shoot a movie, unless you have a director who knows exactly what his cuts are from the get-go, you have more than one film there. When shooting “Pretty Woman,” Julia Roberts told me, “We had three films.” There were three movies there and he cut it into one. The process of making a film is just that — a process. You have to enjoy every minute of it. Once you’re done, your performance is taken out of your hands and you can’t worry about it.
So, did you get to ride in Martel’s Porsche at all?
Well, yeah…they gave it to me. I still have it. It’s out in front of my house. They did, really. It’s my car (laughs). No, I never drove the Porsche. And the funny thing is — the other night I went to see Monday Night Football with a friend of mine. My friend David, who lives half a block from me, drives a Porsche and he said, “I’ll give you a ride home.” We got out of the house, got in the car and I couldn’t believe how small this car is. I couldn’t fit in it. I’m too big for those cars. I would never own a Porsche. Not because it’s not a good car, but because I’m a little over 6’2″ and I feel squashed in it. But no, I never got to ride in Martel’s Porsche.
To me, the film itself was really good. I adore Howie Deutch. I think he’s a wonderful director and I would love to work with him again. He’s also a very good friend who’s given me opportunities that I’m very thankful for. He’s a very cool guy. Keanu was a great guy. I really like Keanu Reeves. He’s a very special man and a very smart guy, which I don’t think most people give him credit for. It was a wonderful experience. So, there you go.