MATTHEW MODINE
The Wrong Turn: The Foundation star on Kubrick, toxic ooze and wrinkly butts.
What’s the first thing you do after arriving on set?
Depending on how far the drive is – go pee [laughs], and have a cup of coffee so I can go pee again.
Do you have any on-set superstitions?
I just like everyone to be as prepared as possible. It’s not the knowing of the lines – it’s knowing the lines to the degree that there’s nothing more logical than to say what is scripted.
Best on-set experience?
I’ve been so fortunate to work with so many amazing film directors – Alan Parker, who we lost this year, on Birdy. And, of course, Stanley Kubrick. [Full Metal Jacket] is the one that has the longest lasting memories, for a multitude of reasons, and the complexities of who Kubrick was, and how his films continue to be relevant.
Worst on-set experience?
The first thing that comes to mind is that horrible Beckton Gasworks, also on Full Metal Jacket. It was the most toxic environment I’ve ever found myself in in my life. The earth was dyed blue from chemicals. The ooze from the buildings had spilled, like some horror movie, and was oozing its way to the Thames. You’re going home and taking a bath, and the dirt that came off you dyed the porcelain blue. And now it’s some of the most expensive real estate in London.
Wrong Turn: The Foundation
How did compare to the average set?
It was pretty jovial. There’s a lot of young people that are working in the film that I didn’t have anything to do with. I mean, my daughter goes missing. I go to try to find her, which takes me into this bizarre world of people that wear dead animals on their heads!
Do you take a mobile phone on set?
There’s no place for them on set. I was doing a film with this kid where I was defending him in a trial to try to keep him from going to the gas chamber. And while I was defending him, I looked over at him, and he had his head down – I thought out of shame. He was looking down because, while we were filming, he was texting. Come on, man.
Ever taken any ‘souvenirs’ from set?
I haven’t stolen them, but I have my glasses from Full Metal Jacket. My Mickey Mouse watch. I was very honoured to have photographs that I took with a Rolleiflex camera in the Stanley Kubrick exhibition at LACMA, in addition to giving them Joker’s glasses and the ‘Born to Kill’ helmet, and my Mickey Mouse watch.
Most embarrassing moment on set?
The most horrible thing was on this recent movie I did called Breaking News In Yuba County, and the director insisted on seeing my full butt, and we negotiated side-butt. I told him, “No one wants to see my old, wrinkly butt having sex with this woman.” I think it was really just him that wanted to see it. But that’s a story for another day.
Best wrap party?
That was the Gillian Armstrong movie I made called Mrs. Soffel. She, being from Australia, and that kind of crazy joie de vivre that Australians have – they played outtakes from the movie and everybody got rip-roaring drunk. It was a wonderful way for us all to say goodbye to one another.
Most memorable end-of-shoot gift?
I gave Stanley Kubrick a pocket watch. I found it at an old antique watch shop on the King’s Road, and had it inscribed with “Ars longa, vita brevis”, which means, “Life is short, and art is long.” The humility of his acceptance of that gift was one of the more beautiful things that I’ve experienced.
ETA | 29 JAN / WRONG TURN: THE FOUNDATION OPENS IN CINEMAS THIS MONTH.
‘I TOLD HIM, “NO ONE WANTS TO SEE MY OLD WRINKLY BUTT HAVING SEX WITH THIS WOMAN”’