T2’s AI scans his ca­reer…

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Robert Pa­trick, the man be­hind T2’s T-1000.

Af­ter a small role in Die Hard 2, Robert Pa­trick raced into movies and pop­u­lar cul­ture as the fleet-footed, shapeshift­ing T-1000 in Ter­mi­na­tor 2: Judg­ment Day. His ca­reer since has yo-yoed, but he matched De Niro, Stal­lone and Kei­tel in Cop Land, played Ray Cash in Walk The Line and re­con­fig­ured his ca­reer by star­ring in such first-rate TV as The So­pra­nos, The X-Files and Sons Of An­ar­chy.

You once said that out of all of the movies you’ve made, you only rate five. Which five?

You have to con­sider where I was in my ca­reer at the time. I don’t re­gret say­ing it, be­cause I meant it, but I was do­ing a bunch of shit movies that I shouldn’t have been do­ing. I’m an ac­tor and I gotta make a liv­ing, feed my fam­ily. As an ac­tor, you’re only of­fered the ma­te­rial you’re of­fered. I have to sift through what’s left over. I don’t want to de­scribe my­self as a bot­tom feeder be­cause I’m not, but I’m not top rung.

So what are the five you’re proud of?

I think The Fac­ulty was a good movie. But the best movies I’ve ever been in

and the ones I did my best work in are both by James Man­gold – Cop Land and Walk The Line. James is an in­cred­i­ble film­maker and has a real knack for get­ting a good per­for­mance from me.

You have a knack for choos­ing iconic TV shows…

The So­pra­nos worked for me – it opened up a lot of doors in Hol­ly­wood. The only way you can get ac­cess to bet­ter roles is to get ac­cess to bet­ter roles. That’s the age-old prob­lem. Many ac­tors you look at and go, “God, what an amaz­ing ca­reer.” But if you break it down, you go, “God, what a for­tu­nate guy to have ac­cess to…” It’s true. Any­one could look good in these roles be­cause they’re such great scripts. I don’t want to sound like I’m bitch­ing. I’m be­ing prag­matic.

So how did The So­pra­nos come about?

I re­alised I was do­ing a bunch of ex­ploita­tive, straight-to-DVD films that were bull­shit. But they were pay­ing me a lot of money. When I was of­fered The So­pra­nos, I was also of­fered a large sum of money to do a movie that I shouldn’t have done, but the en­tice­ment of the pay­day was such that I al­most took it. But I did The So­pra­nos for scale. You can’t make a liv­ing work­ing for scale, but it was the best thing I’d ever done. Af­ter do­ing it, I was like, “What the fuck? Why aren’t I do­ing TV? There’s great writ­ing.” And as soon as I said that, I was of­fered The X-Files.

Your Spe­cial Agent John Doggett re­placed David Du­chovny’s Mul­der…

I had two won­der­ful years and I wanted it to go on and I was told it was go­ing to go on as long as the rat­ings were good. But they quit on me; I didn’t quit on the show. I find it ironic that they’ve now gone back to Sea­son 10 and Sea­son 11.

Did they not ask you to re­turn?

They did check my avail­abil­ity and

I was not avail­able. But if they check my avail­abil­ity [again] and there’s any way I can do it, I’d wel­come the pos­si­bil­ity to re­visit that role. And I would also wel­come the pos­si­bil­ity to re­visit the role of the T-1000 now that James Cameron’s in­volved [Cameron is god­fa­ther­ing a re­boot tril­ogy].

You must have re­vis­ited T2 to see the 3D con­ver­sion. How was it for you?

I saw it in Jim Cameron’s screen­ing rooms at Man­hat­tan Beach Stu­dios, where he’s film­ing Avatar. When it started, I saw how young and beau­ti­ful we all were. [laughs] To me, it was like vis­it­ing an old friend – it’s the movie that had the big­gest im­pact on my life. Tech­ni­cally, it’s such a beau­ti­ful film. And such a beau­ti­ful story. I pinch my­self to re­alise I’m ac­tu­ally a part of it. JG


‘any­one could look good in these roles be­cause they’re such great scripts’

PEAK PA­TRICK (top to bot­tom) as the t-1000 in 1991’s T2: Judg­ment Day; as the cor­rupt Jack rucker in 1997’s Cop Land; and rack­ing up debts in The So­pra­nos in 2000.

larger than life see robert pa­trick step out of the screen in the T2 3d con­ver­sion.

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