Hollywood.com: This is your most uncharacteristic performance. How challenging was it to depart from your established Jack Black mannerisms?
Jack Black: You know, every movie presents its challenges. This one was tricky because it was set in 1930s. It’s not easy to improvise in a 1930s style of talking. And so I stuck totally to the script, and I really had to trust totally in Peter [Jackson] and in Fran [Walsh] and Philippa [Boyens] with their vision, and I would do it and say “So, yeah, how was that?” And they would lead me towards the perfect take. It was a different experience in that it was a lot more about trusting than about like me taking over and just forcing Jack in to the role. Trying to become this other guy.
HW: Would you have done this film had any other director approached you? Were you attracted to it because it was so different?
JB: Well, yeah, it was a cool role, regardless of who was directing it. It was really a great written script. But I didn’t read the script when I accepted the role, I did it because I wanted to work with Peter.
HW: Did you accept it because you would be going beyond people’s expectations of you?
JB: No, I just wanted to party with Peter Jackson. Honestly, that was like a kind of a secret goal of mine. And it was unbelievable. I didn’t think I’d be able to. I talked to my agent like a few months beforehand, was like, “God, I want to be in a Peter Jackson movie! Can’t you make it happen? You’re a power agent!” And she was like, “Dude, everybody wants to be in a Peter Jackson movie.” And I was like, “You’re right. So let’s just forget it.” And then he calls, weirdly, and asked me to come and interview for King Kong. And yeah, I would’ve come and interviewed for Turds on Ice if he was directing it. Luckily, it was one of the most amazing parts, and incredible scripts I’ve ever read.
HW: You play the crazy, out-of-control director. Did you base it on anyone specific?
JB: They had told me that they were looking for kind of a young Orson Welles type of filmmaker, who you know, is real cocky, filled with sort of a youthful exuberance and a little bit of hubris, and I was like, ‘Yeah, so I can be like a genius?’ And they were like, “Yeah, he’s a genius, but he’s more of a frustrated genius. He’s like the unsuccessful version of Orson Welles.” So he’s got this chip on his shoulder, but also this hunger to be hailed as a genius.
HW: Has just being cast in this role changed people’s perception of you in Hollywood?
JB: No. You know, this is the biggest budget movie that I’ve ever been on, but it’s still the same job. You want to work with cool people with great minds and creativity, and Peter Jackson was just an artist that I wanted to hang out with. You want to spend time with people that you really respect. It’s not just making the movie, but like you’re spending like a year of your life with that person. You want it to be someone that you enjoy their company.
HW: But you’re playing someone much more subtle, so do you think people will view you differently?
JB: Oh. I don’t know. We’ll see. But it’s not like I was frustrated, “God, why don’t people take me seriously?! I want a better career, where people will see me as Kramer vs. Kramer type material. I can make them cry and get awards!” I’ve had so much fun in the last five years, it’s been such a great run. I just hope I get to be in another Peter Jackson movie. But it doesn’t really matter. Drama, action, comedy—as long as there’s someone exciting to work with. That’s all that I care about.
HW: Did Colin Hanks get cast after you? You guys had a previous on-screen pairing.
JB: I’m not sure. I did not have a hand. I didn’t say, “Look, if you want me, you’ve got to cast Colin. We’re a team!” But I do love Colin, I was really stoked when they cast him. But I was not gonna make that the make-or-break. I was checking out the interesting pairings, because me and Colin had worked together and had a great time on Orange County, and Thomas Kretschmann and Adrien Brodyworked so great together in The Pianist, and I was like what’s going on here? They’re bringing in the pairings. And it was good, because a lot of us had a good working rapport from previous stuff.
HW: What else are you working on?
JB: Well, I did a film that I wrote, called Tenacious D and the Pick of Destiny. I don’t know what the release date is right now. We are going in to do a re-shoot of the finale. I thought the finale was kick ass, it was basically just sort of small scale, it’s us in a club playing a song, the end. But then we watched it, and we were like, the movie is so exciting and ridiculous up to that point, the world has to explode or something has to happen, you know? It was my first time writing and producing, so, it was a learning curve. And I’ve also learned, there’s no shame in going back and re-shooting. A lot of times the best stuff happens, so we’re gonna go and explode the world, for the end of the movie.
HW: What projects do you have with your company?
JB: Well this is our flagship production, King Kong. It’s our first. No, just kidding! No, Nacho Libre, which Mike White wrote and I’m starring in, and Jared Hess is directing. And we got a few other ones that we’re developing, one with Edgar Wright, who directed one of my favorite movies ever. Did you see his little zombie picture, Shaun of the Dead? So f**king hilarious. We’re working on a book called Them, about all the extremists of the world, of all shapes and sizes, from different cultures, and what they all have in common, a lot of them believe that the whole world is controlled by small group of billionaires. And they control all the wars and it’s basically a big conspiracy theory, but when you look at the people who have these theories, there’s a lot of humor, but there’s also like this little scary thing, like, wait a second, maybe it’s true! Maybe there’s these rich scary assholes who are controlling everything and having dinner parties and doing blow!
HW: What impressed you the most when you saw Kong?
JB: Okay, that one doesn’t count, because the answer is no, and that’s not a good last question. Just because of the answer. I should have said it’s not a good last answer.
HW: Are you surprised at what has happened to you in the industry? How successful you have become, given your early roots?
JB: Um. No. I’m sorry, the same answer. You’re gonna have to end on a no. Good to see ya!
