Pine and Macken­zie re­unite for ‘Out­law King’


If you want to see an ex­hausted Chris Pine, meet him af­ter he’s spent a day an­swer­ing ques­tions about his pe­nis.

Fol­low­ing the Septem­ber pre­miere of David Macken­zie’s “Out­law King,” in which Pine stars as the Scot­tish hero Robert the Bruce, con­ver­sa­tion at the Toronto In­ter­na­tional Film Fes­ti­val fo­cused largely on Pine’s in­stant of full-frontal nu­dity in the film. That such a brief mo­ment should arouse such cu­rios­ity — and not, say, any­thing else in the two-plus hours of his­tor­i­cal-epic sav­agery in the 1300s-set film - was for Pine a sad but telling com­men­tary.

“The fact that vi­sions of nu­dity, gen­i­talia, mak­ing love are some­how the main at­trac­tion,” said an ex­as­per­ated Pine in an in­ter­view along­side Macken­zie. “All of us go ‘Oo oo!’ like fifth graders. Lit­er­ally, it’s like talk­ing to a bunch of 14 year-olds, whereas be­head­ings and all that kind of vi­o­lence we’re so in­ured to that we don’t even ques­tion it.”

The irony is that Pine’s Bruce like his sup­port­ing role in Patty Jenk­ins’ “Won­der Woman” - is a ne­go­ti­a­tion with tra­di­tional gen­der roles, even amid all the blood and guts. Pine plays the 14th cen­tury King of Scots, who won Scot­tish in­de­pen­dence from Eng­land, not as a oned­i­men­sional war­rior but a man riven with in­ter­nal con­flict. Scenes with his wife (played by Florence Pugh) are sen­si­tive and ten­der.

When it’s pointed out that his per­for­mance - and even that flash of nu­dity - seems in­tended to de­con­struct tra­di­tional mas­cu­line archetypes, Pine im­me­di­ately bright­ens.

“I’ve been dy­ing to talk about this stuff all day and we’ve got­ten just myr­iad, mind-numb­ing ques­tions about non­sense,” Pine replies. “I do think there needs to be a re­bal­anc­ing of the world. The un­der­ly­ing bass note that we should be hear­ing is: That is pre­cisely what we’re all used to and isn’t it kind of in­ter­est­ing that it’s so skewed that way, that any no­tions of ten­der­ness or love­mak­ing on screen be­comes un­com­fort­able? I think that’s prob­a­bly the mas­cu­line and the fem­i­nine out of whack in this big, wide uni­verse.”

“Out­law King,” which de­buts on Net­flix and in se­lect the­atres Fri­day, is the stream­ing ser­vice’s first big swing at that clas­sic big-screen thing: the his­tor­i­cal epic. It re­unites Pine with Macken­zie two years af­ter “Hell or High Wa­ter,” a high­wa­ter mark for both the Scot­tish film­maker and for Pine, who calls the Os­car-nom­i­nated neo-Western “one of my most cher­ished ex­pe­ri­ences mak­ing any­thing.”

While they were still mak­ing the public­ity rounds on “Hell or High Wa­ter,” Macken­zie slipped Pine the screen­play. When the two sat down in Lon­don to talk about it, Pine ac­knowl­edges he had some is­sues with the script but that they quickly found com­mon ground in the de­sire to make a film not over­whelmed by Scot­tish na­tion­al­ism but about, as Pine says, “a rich man who de­cides to throw it all away to do some­thing self­less.”

“I mean, I pretty much wanted to do it the mo­ment he said ‘his­tor­i­cal epic,”’ Pine adds.

Pine, with his shin­ing blue eyes and a fil­mog­ra­phy lit­tered with block­busters, might not be the first ac­tor one would think of for a blood­ied, mud-caked Robert the Bruce. But Macken­zie saw some­thing of Bruce in Pine’s des­per­ate bank rob­ber in “Hell or High Wa­ter,” a per­for­mance that seemed to un­lock Pine’s full power as a movie star.

“There’s some­thing about both char­ac­ters: peo­ple strug­gling, peo­ple deal­ing with un­cer­tainty and not sure whether or not to act,” Macken­zie says. “One thing Chris brings bril­liantly to the work he does is the ca­pac­ity to han­dle that un­cer­tainty and a char­ac­ter who’s work­ing his way through things.”

Af­ter “Out­law King” pre­miered to largely poor re­views in Toronto, Macken­zie cut about 20 min­utes from the film, which he had rushed to ready for open­ing night at TIFF. The 52-year-old film­maker co-wrote and pro­duced the film, which fol­lows a pair of ac­claimed re­leases from the direc­tor — the fa­ther-son prison drama “Starred Up” and “Hell or High Wa­ter” — that like­wise an­a­lyzed mas­culin­ity.

“It needs to be de­con­structed, doesn’t it?” Macken­zie says. “At this point in time, it feels like mas­culin­ity is com­ing un­der a lot of ques­tions and it seems ap­pro­pri­ate, as males, to be deal­ing with the sub­ject of mas­culin­ity, try to find some nu­ance in there, try not to de­mo­nize or hero­ize.”

In the 65day shoot in Scot­land, Macken­zie and Pine hoped to re­cap­ture some of the free­wheel­ing spirit of their quicker, lower-bud­get pro­duc­tion in West Texas. That Bruce was a con­tem­po­rary of Wil­liam Wal­lace has led to fre­quent com­par­isons to Mel Gib­son’s “Brave­heart,” though Pine says they were seek­ing to make a very dif­fer­ent sort of Scot­tish epic.

“How do you make the anti’Brave­heart’? How do you make the movie that hits all the tropes of the genre with­out — and I say this with all due re­spect — be­ing ma­nip­u­la­tive?” Pine says. “‘Brave­heart,’ I love. But how do you make the non­movie movie?”

Pine saw Bruce “neb­u­lous” and “opaque” - some­one who could be politi­cian and war­rior, hero and cow­ard. “You can­not pin the guy down,” he says. Be­fore de­part­ing to shake off the day’s ques­tions, Pine re­peat­edly men­tioned Yu­val Noah Harari’s “Sapi­ens: A Brief His­tory of Hu­mankind” as a source of in­spi­ra­tion.


In this Septem­ber 2018 photo, David Macken­zie, right, direc­tor of the film “Out­law King,” and ac­tor Chris Pine pose dur­ing the Toronto Film Fes­ti­val at the Shangri-La Ho­tel in Toronto.

Newspapers in English

Newspapers from Canada

© PressReader. All rights reserved.