Vince Vaughn, co-star of the "Be Cool" Movie!
An actor whose strong features and sinewy 6'4" physique make him appear to have been chiseled from a slab of testosterone, Vince Vaughn is Hollywood's closest human approximation of a Chevy pick-up. Rangy, solid, and all-American in a dirt, sweat, and beer sort of way, Vaughn has unsurprisingly been cast in roles that reflect these qualities. Thanks to his skills as a performer, however, he has resisted typecasting, giving effortless portrayals of characters ranging from slick bachelors to raving psychopaths to morally conflicted limo drivers. A tried-and-true Midwestern boy, Vaughn was born in Minneapolis on March 28, 1970, and raised in the wealthy Chicago suburb of Lake Forest. The son of a self-made businessman and a mother who had done well for herself in stocks and real estate, Vaughn did not follow the upwardly mobile pattern established by his parents. Hyperactive and a lackluster student, Vaughn spent time in special ed. and ran with a fast crowd, although he has claimed that he never felt the need for all-out rebellion. Despite his poor school performance, Vaughn derived ambition from his interest in acting -- an interest he had clung to since the age of seven -- and used his position as president of his senior class to ensure that he would graduate from high school. Upon graduation, with only his diploma and a role in a Chevy commercial as his credentials, Vaughn headed for Hollywood. Upon arrival, he proceeded to work in almost complete obscurity for the next seven years.
During this period, Vaughn made the acquaintance of Jon Favreau, another struggling actor who hailed from the East. Their ensuing friendship and real-life adventures would provide the inspiration for their ticket out of career nonentity, 1996's Swingers. Directed by Doug Liman and starring Vaughn and Favreau (who also wrote the script) as two amiable Rat Pack-obsessed losers prowling the streets and bars of L.A. for "beautiful babies" and the occasional job opportunity, the irreverent-but-insightful comedy was a sleeper hit. Vaughn, whose character, Trent, was the film's resident fast-talking ladies' man, emerged as a sex symbol in the making. His profile was further heightened the following year when he appeared in a supporting role in Steven Spielberg's The Lost World: Jurassic Park.
Vaughn subsequently took the small, quiet film route, starring in The Locusts (1997), an overheated but half-baked melodrama that owed more than a few dollars in debt to both Tennessee Williams and East of Eden, and A Cool, Dry Place, a family drama that garnered a cool, dry reception from both audiences and critics. In 1998, the actor fared substantially better with his turn as a limo driver who is called upon to make a great sacrifice for a friend in the acclaimed Return to Paradise, and he proved himself almost too convincing as a charismatic sociopath in Clay Pigeons. Colossal mental dysfunction was the defining aspect of Vaughn's most publicized character to date when he starred as Norman Bates in Gus Van Sant's controversial remake of Psycho that same year. Vaughn earned mixed reviews for his work, and the film itself was treated with a tepid blend of indifference and bewilderment.
After the disappointment of Psycho, Vaughn took a couple of years off before re-emerging with a number of projects in 2000. Included among them were The Cell, a thriller co-starring Jennifer Lopez and Vincent D'Onofrio, Prime Gig, which starred Vaughn as California's best telemarketer, and South of Heaven, West of Hell, an ensemble Western that marked the directorial debut of country singer Dwight Yoakam. Following-up with a role in Swingers writer John Favreau's Made, Vaughn's next big role would come in the form of a deceptive stepfather harboring a dark secret in the thriller Domestic Disturbance. Unfortunately, the film proved to be a dud with critics and audiences and Vaughn would again disappear from movie theaters for more than a year.
Teaming with Will Ferrell and Luke Wilson for director Todd Phillips' 2003 comedy Old School, Vaughn scored his first big hit in years and found his career gaining momentum. The following year, Vaughn would star as the villain in Phillips' comedic take on Starsky and Hutch, giving the actor another minor hit under his belt and an opportunity to work with many of his Old School costars again. The actor's newfound momentum continued to build when, only a handful of months later, he starred in Dodgeball: A True Underdog Story. Seeming to channel Bill Murray circa-1985, Vaughn received positive reviews for playing the good-guy opposite muscle-bound baddie Ben Stiller (who coincidentally was one of the heroes in Starsky and Hutch).
Vaughn could next be seen in a small but memorable role in the Will Ferrell vehicle Anchorman: The Legend of Ron Burgundy.
Aniston and Vaughn Do 'The Break Up'
Jennifer Aniston and Vince Vaughn will star in Universal Pictures' The Break Up for director Peyton Reed (Bring It On, Down With Love). The comedy is set to begin filming in early June for a February release.
Jay Lavender and Jeremy Garelick are writing the script, which is based on an original idea by Vaughn.
Aniston's upcoming projects include Rumor Has It, Friends with Money and Derailed.
Next up for Vaughn are Mr. and Mrs. Smith and Wedding Crashers.
Vince Vaughn: Be Cool
In “Be Cool,” the sequel to the 1995 comedy “Get Shorty,” Vince Vaughn’s eyes come alive for the first time. Ever since Vaughn appeared in “Swingers,” in 1996, he has been a slightly mysterious presence. In that movie, he was furiously self-mocking as Trent Walker, the fast-talking make-out artist who never gets a girl, but there was something unnerving about him: his eyes seemed a little remote, almost as if he were watching himself perform from someplace far away. After “Swingers,” he played a variety of cynics, movers, and louses, sometimes seriously, sometimes for laughs. He quickly became the most untrustworthy man in movies since the fish-eyed young Bill Murray, twenty years earlier. Directors drew on his emotional reticence, but I wondered how long he could continue to withhold so much of himself. Was he warding off the intrusive tyranny of the camera? Impossible to say, but, in any case, Vaughn’s not protecting himself anymore. In “Be Cool,” he is gloriously animated as Raji, an insecure Los Angeles music-business manager. Rap is where the money is, and Raji, dressed in glowing reds, is so eager to flatter his clients that he can’t stop thumping his chest and jackknifing his body and delivering himself of such locutions as “Stop hating, start participating. C’mon, twinkle, twinkle, baby.” Dancing around a car in Santa Monica, Vaughn takes off into flights of rapturous absurdity. He seems incredibly happy to be playing this hyperanimated fool.
Raji is not the only one posing in “Be Cool.” Cedric the Entertainer is on hand as Sin LaSalle, a music producer who went to the Wharton School but has learned to roughen up his talk. Sin runs a rap group called the Dub-MDs, whose members show up in separate Hummers, pull huge revolvers out of their baggy shorts, point them at people, and scowl. Treating rappers as if they were no more authentic than Gilbert and Sullivan pirates may be an old joke, but it still works. If “Be Cool” has it right, thugged out is the only way to go in the music business. The movie sustains the satiric idea (though, unfortunately, very little of the style) of its illustrious predecessor. In “Get Shorty,” based on a crackerjack Elmore Leonard novel of 1990, the suave, black-suited loan shark Chili Palmer (John Travolta) uses his skills at intimidation to negotiate the moral shallows of Hollywood. By staring people down (“Look at me. Are you looking? Look at me”) and pitching, always pitching, Chili outwits a variety of gangsters, feds, actors, and producers—the movie doesn’t recognize any differences among them—and turns himself into a kingpin. The hustler does so well because Hollywood is a community uniquely suited to being hustled. If someone claims he knows what he’s talking about, who’s to say he’s wrong?
“Get Shorty,” directed by Barry Sonnenfeld and written by Scott Frank, was one of the best movies of the mid-nineties—heartlessly funny, profane, and so decisive in its cynical wit that it achieved something close to the high style of a great thirties comedy. After the movie became a success, Leonard, in 1999, concocted “Be Cool,” in which Chili, still dark-suited and commanding, decides, for a change of pace, to take on the music business. In the pastel offices of criminals and ex-criminals that are home to L.A. pop, he finds one example of purity—the ardent and talented young singer Linda Moon (Christina Milian). After hearing Linda in a club, Chili joins up with Edie Athens (Uma Thurman), who owns a failing record label, and together they try to wrest her away from her managers—Raji and his scruffy, heading-into-the-gutter partner, Nick Carr (Harvey Keitel). In the ensuing scramble, Linda’s contract gets tossed around—even the Russian Mafia, operating out of a shabby pawnshop, gets into the act. “Be Cool,” which was written by Peter Steinfeld and directed by F. Gary Gray (“The Italian Job”), is funny in spots, but Leonard’s sardonic tone gets lost. The humor in “Get Shorty” was broad but not too broad, and, cynical as that movie was, it couldn’t disguise its adoration of a corrupt milieu in which everyone wants to make a movie, be in a movie, live like a movie star. According to “Be Cool,” however, the music business is about nothing but money; no one could love it in the same way that people love the movies. Linda Moon may be a sweet kid, and Chili and Edie certainly want her to succeed, but they want a big chunk of her, too, and the jokes turn rancid. The love has dropped out of the satire, and the comedy falls to clowning burlesque.
Considered as a sequel, “Be Cool” is not an insult, but it’s a lazy, rhythmless, and redundant piece of moviemaking. The story of Linda becoming a star is of very little interest. We know she will make it, and the way she does so is more a business narrative than a heart-stopping series of breakthroughs. And Travolta and Thurman don’t do much for each other. Watching Thurman, who ducks her head and makes eyes at Travolta and can’t seem to find a character to play, I missed Rene Russo’s insolent stare from “Get Shorty.” This movie is soft and slack in all the places that “Get Shorty” was hard and direct. Gray holds scenes a beat or two too long (he leaves Cedric the Entertainer stranded a few times); and he flubs a reprise of the Travolta-Thurman dance sequence from “Pulp Fiction.” The pair go to a club where the Black Eyed Peas are playing “Sexy,” but when they hit the dance floor Gray doesn’t shoot the bodies from top to bottom, as Quentin Tarantino did. He cuts from feet to shoulders, and then back again, and all you see is two cutoff halves moving together.
“Be Cool” is too slovenly to be cool. The movie is an expensive descendant of the miscellaneous, throw-everything-into-the-pot pictures that Hollywood made seventy years ago—jamborees like “The Big Broadcast of 1936,” in which a barely functioning plot served as a clothesline for a variety of musical and comedy turns, some good, some terrible. “Be Cool” feels like a spangled tour of Los Angeles show business. As Chili and Edie pursue Linda’s contract, they drop in on the Viper Room, and they visit the Lakers at the Staples Center, where they sit next to Steven Tyler, of Aerosmith, who has the frightening gauntness of a medieval hermit, and who is received as an eternal god graciously lingering on earth. Vince Vaughn keeps himself jacked up, and that pushes you through the movie, but there’s a real oddity in most of his scenes: He is attended by The Rock, who plays a gay bodyguard desperate to be in movies. Preening and grinning, The Rock parodies himself ruthlessly, and I suppose it’s unkind to point out that he isn’t very good at it. The man born Dwayne Johnson, it turns out, doesn’t even own his own performing name—“The Rock” belongs to World Wrestling Entertainment and Johnson has to license it for movie appearances. Now, that’s a joke that Elmore Leonard might enjoy.
Vince Vaughn, Luke Wilson and Will Ferrell Talk About "Old School"
In DreamWorks Pictures' "Old School," Luke Wilson, Vince Vaughn and Will Ferrell star as 30-somethings who come up with an outlandish scheme to recapture some of their lost youth.
After a particularly bad breakup, Mitch (Luke Wilson) needs a new place to live and rents a choice house right next to a college campus. The idea of returning to their younger, wild and crazy days sparks a bizarre plan to turn Mitch's new residence into an off-campus fraternity house (even though none of the three is actually still in college).
Here's what the stars of the film had to say about working with one another, what it takes to go naked on film, and why "Old School" stands apart from other broad comedies:
Luke, what did you like about your character?
LUKE WILSON: I don't know. I liked the fact that Mitch is just a low-level office guy. That kind of character appeals to me. That just seems like a tough thing to do, [to] just work in the middle of a company for your entire life. You just do the same thing out of college until you're 60, and then you retire. Mitch is that kind of guy yet I guess he's got kind of a wild streak in him because he is friends with the characters played by Will and Vince.
Will, what is your craziest USC campus memory?
WILL FERRELL: Let's see, I had a fair amount. I had a work-study job in the Humanities AV Department. I was in charge of checking out tapes and overhead projectors and things like that. No one really kept track of where I was. I could leave my job at any time and what I would do on occasion is I would find out what classroom certain friends were in and then dress up as a janitor and show up in the middle of class. There was one specific class that I would do it to. I don't know if they have Thematic Option there anymore, but it was kind of a high-level English class and the teacher actually encouraged me. He would see me on campus and say, "Come by in two weeks and just screw around." I would stand outside the door with a power drill and just pretend like I was working on stuff, so I'd do stuff like that.
Was there a lot of improv going on during filming?
WILL FERRELL: We had a lot of 'improvisationals' between us. I like to use the term improvisationals. That was kind of the dynamic that we had going between the three of us that I think it translated on the screen.
LUKE WILSON: You get a good script and then when you get somebody like Todd [Phillips] who wrote it, and that helps, and that he's directing it. Then, of course, Will and Vince would come up with really good ideas so it's fun to be able to show up on the set. It's like you're blocking out a scene or trying to figure out how you're going to do it physically and where everybody is going to stand. Then, you start getting ideas. Not all the time, but a lot of times you get an idea of something to add. Especially with a comedy, you've got the clear cut goal of trying to make a scene funny. It's not like drama where you're trying to achieve some kind of emotion or trying to further the story along. You're trying to figure out what's the funniest way to do something. So then, yeah, you do end up trying to improvise.
How did you feel about the dramatic moments in the film?
WILL FERRELL: I definitely think that's what this movie brings [that's] a little different than what you think you're going to see. It's kind of what attracted the three of us to the material in the first place. There was a little more behind the characters than just going from one funny scene to the other.
LUKE WILSON: Whatever kind of movie it is, you're going to be more into it when you care more about the drama, or you'll have a better laugh if you feel like you know the people better. It is a broad comedy but we did want each character to be different and to have good backstories that could give whosever watching it a reason to be interested in them.
What would it take for each of you to streak in real life?
LUKE WILSON: I know that Will flew in his acting coach from Kentucky that night. He's a great guy. That's the kind of thing that does make it impressive to work with Will; he has the guts to do something like that. I wouldn't have been surprised if someone had actually said, "Can't I just have a pair of briefs on? It will still be funny." Will goes for it in a good way and it makes you kind of want to try things yourself. Not running down the street naked because I would never have the guts to do it, but it certainly makes me want to try and do a good job on the scenes I was working on.
VINCE VAUGHN: There's not enough booze in this hotel. I think it's good with Will, too, because what I like about it is it serves the story. I like it because it's funny but it also serves the story. It's not just a shot of him being naked for the sake of being naked.
What kind of research did you do for your role?
WILL FERRELL: I was the only one who was actually in a fraternity so obviously I had lived some form or variation of what you see. I also had run naked before sadly enough. I was able to draw on that sort of thing.
LUKE WILSON: Honestly speaking, for me personally this isn't the kind of movie that there was much research to do. It's a comedy, I knew the guys I would be working with, the script seemed pretty clear, and it's just a case of how do we try and make it better, how do I make sure all our stories work well together.
VINCE VAUGHN: I like to do research no matter what it is you're doing because I think you bring that to the screen. I called Will and talked about how we were friends and how we knew each other. It's not necessarily anything you see in the movie, but I think the more specific you are it just affects your performance. It's not as if you're reading books necessarily but it's using your imagination. Why did my guy get involved in speakers and start his store? How did he meet his wife? Those kinds of things, for me, are always helpful. Then when improvisation happens... The ear muff scene where he swears in front of the kids, and then I tell the kid to ear muff, that all is off the cuff. But that stuff is a lot easier to do when you know who you are and your circumstances, and who your characters are.
Vince, this is a different role for you. What made you decide to do a broad comedy?
VINCE VAUGHN: I started in Chicago at the Improv Olympic, which is live improv and team improv. The first thing that I did that started things off was with Favreau and "Swingers," which was a comedy but a character-driven comedy. I prefer that kind of comedy. Then we did "Made," which is a darker, smaller, character comedy. [After "Swingers,"] I got offered mostly comedies but I chose not to do them because I didn't really think they were funny. I find the things that make me laugh are over-commitment to a very real thing, not just falling down for falling down's sake. That's why I'm a fan of Will's work because even with a broad comedy, he's very much in his circumstances and there's a lot of truth there.
When I met Todd and saw the script I thought what was cool was that in all relationships between [the] guys and girls, the things that are discussed were universal. "Am I ready to be married? Am I not? Someone cheated on me. I'm married but am I missing out on having fun?" You take those circumstances that are universal and you make them extreme. You walk in and maybe catch your girlfriend cheating on you, but do you catch two naked people jumping out of the closet? To me, I responded to the fact that it was based in reality. I think what separates this movie, in my opinion, from a lot of big comedies that have scenes that may be effective, is you can follow and see what's at stake for the characters. That's why this particular script, and the fact that these guys are involved, made me interested in doing it.
What makes you laugh?
LUKE WILSON: I always laugh the hardest at the stuff you see in day-to-day life. It's great when somebody can tell a joke that really makes you laugh hard, but to see some kind of personal interaction that no one could write is so good. Those are always the things that make me laugh.
WILL FERRELL: Anything with Paul Lynde.
VINCE VAUGHN: Like I said, people that are over-committed to stuff that from your perspective seems ridiculous. Those are the things that make me laugh. I like Paul Lynde as well, but Will took that one.
What are your best Snoop Dogg stories from the set?
WILL FERRELL: Snoopy, as I like to call him. That was probably more intimidating because we shot that the very last day of shooting. I had already done the streaking part by myself but to actually be in front of Snoop Dogg that close - naked - was more intimidating than anything. That was a very bizarre experience, to be in front of Snoop Dogg and doing what I had to do. Once again I had my acting coach and another buddy of mine, Old English 800. He's a malt beverage acting coach. Vince played video games with Snoop.
LUKE WILSON: I didn't get to spend much time with Snoop. I wasn't under the weather, but I was in my little room watching TV. Then I ran into Vince who was speaking in tongues at that point after having spent a couple of hours in Snoop's trailer.
VINCE VAUGHN: They knocked on my door and said, "Snoop Dogg's a big fan and he wants you to come, hang out, and play video games." It was the last day of shooting and [it was] the party scene with no real dialogue except one scene that me and Snoop shot that wasn't in the movie. [My friends and I] went in there and just had a good time and played video games and laughed and hung out for a while. I came out and saw Luke; he was watching the news. He was like, "No one told me everyone was in Snoop's trailer." I said, "Groan, groan, inaudible" (imitating slurred speech).
What was the atmosphere like on the set?
LUKE WILSON: We kept having this phrase like, "Let's shoot this movie 70's style. Come on, it's us three, let's have fun." We got caught up in how well-behaved we were all the time. Really we were, and we never did manage to go '70's style' but that was our mantra throughout the whole movie. "Let's get 70's style." But we never really did do it.
VINCE VAUGHN: We had a lot of fun and were always joking around with each other. We call ourselves "The Wolfpack" because we always turn on each other and make fun of each other. It was never safe - who was getting picked on - because 5 minutes later we would turn on someone else.
LUKE WILSON: Will referred to a film I made as "Legally Bland." That didn't make me feel great.
Luke, what was it like working with Bob Dylan on his movie, "Masked & Anonymous?"
LUKE WILSON: The best experience of my life. I've always been a real big fan of his as a writer and a musician. It's about the most interesting thing I've ever gotten to do in my entire life. There are a lot of other great people in it - you wouldn't believe the other people in it. To be able to spend time with him and be around him was something I'll really, honestly, never forget. That was a real once in a lifetime thing. I've seen the movie and I'm real proud of it. [It was] just an incredible experience. It was like getting to hang out with Picasso or Shakespeare in my book. Other people might not feel the same way, but to me that's what he is.
Vince, will you work with John Favreau again?
VINCE VAUGHN: We've had a movie [in the works] for a long time, me and Favs. We've talked about it and it's just hard to get the money for it. It's about a Hasidic Jew who is a gunfighter in the Old West. It's true. Favreau plays a gun fighter who is Jewish, Favreau's mother is Jewish so he's Jewish, and he's got a beard and everything - except he's a gunfighter. It's not a comedy like he can't gun fight. He's the baddest guy in the west but on Saturday he can't shoot his gun because it's Sabbath. He can't settle down until he finds the man who killed his family. I play a hustler from Chicago who has never seen a gun or used a gun. I sleep with the wrong guy's wife and they have hit men after me. I make like [I want to help] the Jew, which is what we call the character in the movie, but really I'm just hanging out with him because I need protection from these cattle baron's hit men. When we first had "Swingers" people said "Well, we know you made 'Swingers' but we didn't see it on the page. You guys can do whatever you want to make." So we were like, "Here is our next thing. Here's the Hasidic Western." But no one has bid on it yet.
Do any of you wish you had experienced being in a fraternity?
LUKE WILSON: It's like growing up watching "Animal House." My dad was in a fraternity back in the 1950's and they sound really fun back then. Nowadays they sound like they can get a little heavy-duty in terms of the hazing and the drinking. I like the idea of a big house where you have a group of friends and you have parties there and it's laid back. I'm not so much into the idea of being made to do a bunch of insane stuff just so I can have the privilege of hanging around certain people. Either you're friends with somebody or you're not, I think. So yeah, I like the idea of a fraternity in that it's run a certain kind of way. That's probably why I was never in a fraternity.
WILL FERRELL: If you're familiar with Todd's work, he had done a documentary on fraternities so he already knew a lot of those things in terms of the cinderblock stuff and things like that. When I was in a fraternity, I never saw anything that severe. I would get yelled at. I embezzled a lot of money. And I was on the lam for a little bit. The thing is, making movies, you're creating magic and that's what we did.
VINCE VAUGHN: I never went to college. I went to CLC, the College of Lake County, and I was there for all of 2 weeks and that was it. When I came to California my parents said, "You should take classes just in case," so there's a school out here called Santa Monica Jr. College and I was there for about 2 weeks. There was going to be a quiz in this class I was taking and I also had an audition for that show "Who's the Boss." I went to the audition but I didn't get the part.
I was going to bars when I was 15 years old. I had a fake ID so when I got to be 18, everyone was doing stuff but I had done a lot of that stuff at a younger age so my focus was really on acting and trying to make a living being an actor. I love that story and I can tell it one more time. When I was in community college…
Vince Vaughn Just A friend Of Jennifer Aniston
VAUGHN CLARIFIES RELATIONSHIP WITH ANISTON
STARSKY & HUTCH star VINCE VAUGHN has spoken out to declare he and JENNIFER ANISTON are just friends, after a business meeting between them was portrayed as a romantic date.
Aniston, who split from husband BRAD PITT last month (JAN05), was pictured with Vaughn at the Posh Peninsula Beverly Hills hotel on 2 February (05).
And while rumours have circulated about a possible romance between the pair, Vaughn insists it was strictly business.
He says, "We had a meeting about one of the projects that I'm doing and discussing. People wanna try to sell magazines. You can't take it personal that's just their job."
Vince Vaughn stars in ''The Wedding Crashers''
Owen Wilson and Vince Vaughn, on the balcony of a church and clad in tuxedos, are, naturally, talking about weddings.
"If you were going to get married — and be honest — would I be one of your groomsmen?" Wilson asks Vaughn. "Would I make the cut? I'd like to think we've hit it off pretty good on this movie."
Absolutely, absolutely you would be," Vaughn answers. "In fact, you would be the only groomsman, and it would probably take place somewhere in the Eastern Bloc."
"I like the sound of that," Wilson replies. "Sounds like a hell of a bachelor party."
"Me and you and a bunch of mail-order brides," Vaughn says.
As much as that sounds like a scenario for a movie ("The Mail-Order Men"?), Wilson and Vaughn are supposed to be talking about a different wedding movie, one the actors have been shooting all day and night.
For some reason, though, they just seem to want to talk about other weddings.
"Have you ever been a best man?" Wilson asks.
"And how did that work out?"
"I was the best man at my older brother's wedding and he got divorced too," Wilson says. "So, basically, if you want to jinx your wedding, ask one of us to be your best man."
Again, as much as that sounds like a scenario for a movie ("The Worst Best Man"?), Wilson and Vaughn are supposed to be talking about the wedding movie they are actually making: "The Wedding Crashers." Oh, that one.
"Vince and I play two guys who go to weddings to pick up girls, and it's the idea that girls might be sort of good to go at weddings," Wilson finally explains with the raise of an eyebrow.
Specifically, Wilson and Vaughn are partners at a Washington, D.C., divorce mediation firm who have come to realize that women are aroused in a nuptial atmosphere. That the lifelong friends are never actually invited to the weddings they attend is hardly a setback. In fact, Wilson and Vaughn's characters have been crashing weddings for so long they have it down to a science.
"You pick a location [to sit for the ceremony] where you can see the bridesmaids enter, but not so close that you have to make eye contact with the wedding party," Vaughn explains, pointing to the spot where he and Wilson sat for the scene shot a few hours earlier. "It's all about positioning for all the things you're looking for. You gotta be able to see all the girls."
To add a little more fun to the experience, their characters also make games out of wedding crashing.
"Some of these services are kind of long, so we sort of make bets throughout the services, like what they're going to read from for the wedding, if the bride is going to cry or not, things to help us get through the service part of it," Wilson reveals.
Where the wedding crashers get thrown off in the movie is when they fall for bridesmaids of the daughter of the Secretary of Treasury, played by Christopher Walken. When Wilson and Vaughn's characters get invited to a weekend's worth of post-wedding festivities, the crashers meet their biggest challenge yet.
"One of the exciting things about this wedding that we're attending is that we're going to be shooting in Washington, D.C., at the National Cathedral, and we're going to have Senator John McCain and James Carville there," Wilson reveals.
The bridesmaids are played by Rachel McAdams of "The Notebook" and Isla Fisher of "I Heart Huckabees," two relative newcomers Wilson and Vaughn have enjoyed taking under their wings.
"It reminds me of when I got a Chia Pet for a holiday occasion and at first it was just this piece of clay, and pretty soon gorgeous green things were growing out of it," Vaughn deadpanned. "I had to water it every day, I had to pet it, talk to it, and it was just a full-on Chia Pet with a lot of beautiful, beautiful, beautiful leaves growing from it. And that's just to sum up my experience working with these two girls."
David Dobkin, who directed Wilson in "Shanghai Nights" and Vaughn in "Clay Pigeons," is helming "The Wedding Crashers," although instead of him bringing Wilson and Vaughn on board it was the other way around.
Wilson and Vaughn met through their group of mutual actor friends, which includes Ben Stiller, Will Farrell and Jack Black, who have made several movies together (and some of whom have cameos in "The Wedding Crashers").
Wilson and Vaughn also co-starred in "Starsky & Hutch" together, although Vaughn insists it's only a coincidence.
"We keep hearing this [Brat Pack-type of] thing lately, but there's no real plan with it or whatever," Vaughn said. "I've always been a fan of Owen's and liked his stuff a lot, and we were both in 'Starsky,' but we didn't have a lot to do together in it. And when this idea came about, [the appeal for me] was more about the concept, and also Owen. But there was no meeting of people, like plotting stuff, although that would be fun if you got to pick places on those types of things. Like based on locations, that may be a good way to start picking scripts."
Eastern Bloc, here they come.
Vince Vaughn stars in "Starsky & Hutch"
Vince Vaughan loves to be bad - on screen at least. Since bursting into the public arena in Swingers, Vaughan has established himself at part leading man, part character actor. In Starsky and Hutch he has a ball as the villain, but like everything, he takes it very seriously.
Question: Is there a trick to playing a villain in a comedy?
Answer: I don't know. I saw this character in this movie [Starsky and Hutch] as really kind of the foundation of the movie, something to service the movie in that I never liked in comedic movies where the villain's kind of petting some strange bread of animal. You just don't take them seriously at all. But at the same time, you really can't play it extremely heavy because it doesn't belong in the movie. It's from a different movie. So I saw Reese very much as someone who would be grounded. The plot of the movie isn't the focus. The focus is more sort of the circumstances that these characters of these characters get in.. At the same time, you have to cut to the antagonist and check in with that going on because it's ultimately how you tie the movie up. So I sort of treat it like just kind of do your background, know who your character is and then be present within the scene and play it simple and real. Sometimes it would lean more on the comedic side, like if you're pointing the gun at yourself and that kind of stuff, but still be based in reality. And then sometimes, when you shoot the guy, I think it's important because you tell the audience that someone can die in the movie. It is possible for someone to die, so you can't completely not take it seriously.
Question: Is he the baddest villain you've played?
Answer: No. Norman Bates is kind of a bad villain. I think Lester Long is probably the baddest villain I ever played.
Question: How do you develop the unsympathetic portrayal of these types of characters?
Answer: I'm always more interested in that because I like doing stuff that's kind of more extreme. It's make believe and it's more fun to play that. The main thing I've always done is you really don't put a judgement on it. It's like in life too. You don't worry about being liked. You have to be yourself. So when I play a character like that, he always thinks what he's doing is fine. It's the same thing as Swingers in a way for a guy that's comedic and likeable. He's so committed to how many days you wait to call a girl back and this kind of stuff, but it's funny. And in this thing, he's like, "Okay, look, I'm not going to kill him again. Are you happy? Let's move on, let's talk about something else." So he doesn't put a judgement on things that most people would, and that's where the comedy or the unlikeability comes from is just kind of an okay, this, obviously if he's doing this stuff, he feels all right about it.
Question: Where did the sense of playing unlikeable characters come from since Swingers?
Answer: Just really loving acting and wanting to do something that's different. My favourite time in film for me as a kid was the movies that were made in the '70s. A lot of those characters, even the protagonists were very flawed or antihero's not a totally fitting word, but not people that were okay, this is a good guy or this is a bad guy, but people that had good pros and cons about those sides of them. So for me it's more fun. It's always fun to play someone who's more extreme than someone who's straight down the middle.
Question: Are you surprised Swingers continues to be popular?
Answer: Yeah, you know, it was made in such an innocent plays where sadly, in some ways, I guess, it was based on what me and Jon were going through. A lot of people at that times were making movies sort of making themselves out to be cool and tough or these things. And me and Jon really told a story that we knew that was truthful for us which was being actors that were out of work and playing a lot of video games, pretending to know a lot about girls but really not knowing all that much ultimately. So I think there's something universal that people watching it can relate to. There's something accessible that we can understand. My favourite scene from the movie is when Jon Calls that girl six times. It's so painful, but it's so relateable. I think even though the swing scene might not be as popular, thought it wasn't nationwide as much at the time, those things are sort of universal so that's what sort of stands the test of time. It really is a tribute to Favreau. I think even the success of the movie Elf that did very well, that movie doesn't have necessarily the major set piece laughs that a lot of comedies have, but you very much connect to Will's character and root for him and invest in that feeling of wanting to believe in something. And that's Jon's real strong point is tracking some very simple human conditions in a very truthful way and having some people invest in it.
Question: Will you work together again?
Answer: Yeah, we have a couple things that we wanted to do. We still have that Hassidic western about a Hassidic Jew who is a gunfighter but we haven't been able to get that set up anywhere.
Question: Sounds great.
Answer: It's a great script. It's not only funny, but it's- -
Question: Both playing Jews?
Answer: No, I play a guy who's from the city, who's not a gunfighter, who's wanted for sleeping with the wrong guy's wife. Jon plays a guy who's searching for the people that killed his family but he can't shoot his gun on Saturday because of Sabbath. He's a killer, he's the best gun in the west, but he plays it very dead on. So I make like I'm going to help him find these people and people come and try to kill us. I say it's because he's a Jew and he dresses like one so people want him dead. But really they're after me because this guy has a hit on me. I think it's a very smart, very funny movie.
Question: Why is it hard to finance?
Answer: It's like getting Swingers set up at the time. There was no real female lead in Swingers. It's not a format that's been done a lot. This even more so I an anteater in a way. Western genre's not considered popular. I think the religious aspect scares people to some degree.
Question: When was the last time you said something was money?
Answer: I don't know. I sort of dropped that years and years ago.
Question: You don't still talk like that?
Answer: Even at the time it was something we would say that was exaggerated for the film, but we always go through phases where we have different catch phrases and stuff that we're saying to each other.
Question: Is Jon different now that he's married?
Answer: Well, he's got two kids and he's a dad, yeah. In a good way too. He's a great father, he loves his kids and spends a lot of time with them and just older.
Question: Do you hang out still?
Answer: Yeah, we play poker. My sister throws a poker thing at her house and we played about a week ago.
Question: Talk about playing a hero in Dodgeball?
Answer: That was a fun role. I saw that kind of as a Bad News Bears role, kind of a guy who gave up on things a lot in life and stopped trying and was presented with something where he sort of had to respond and try. He hasn't tried anything for a long time.
Question: How did the success of Swingers put pressure on you?
Answer: It did pressure me quite a bit in hindsight in that once that broke, I was getting a lot of opportunities to do comedies and sort of leading men, and I sort of just rejected it because I didn't feel comfortable with it. I really didn't want to be put in a category and also I really didn't like the comedies that I was sent. I really made an effort at the time, doing Return to Paradise, remaking Psycho, Clay Pigeons trying to do types of roles and I always felt you should really be conscious of capitalizing on this momentum, people want to see you as this guy. And I was more concerned with having a chance to do different stuff and getting a chance to really challenge myself and grow selfishly as an actor. So I responded by really pulling away from it and with The Cell, doing stuff that I thought would be something differently frankly than what I was doing. So then you do that and then you get offered a lot of those kind of things, but then I wasn't really thought of in comedies. I don't know if Vince is funny, you know. So Old School was something that brought that up and I had done a lot of the other stuff so I was excited to do comedies and I've done a bunch of comedies now. Then I'll be excited to go do some different kinds of stuff. There's an independent movie coming up, Thumbsucker, that I did with Donofrio where I play a debate coach who's a school teacher, very different. To me, that was always the thing. I moved out at 18. I always studied classes and trained a lot, you know. I think nowadays is such a different time because there's so many channels promoting the celebrity aspect of things. Not that there wasn't that, but I think ET was the only show on that was that way. There were no channels dedicated. So most of my friends, Jon and myself ,we'd go to the New Beverly Theatre constantly. We'd go study with [SOUNDS LIKE: Al Close and Robert Chicago]. We were nerdy I guess in a way. Nowadays a lot of the young kids you talk to think it's not cool to go to class or it's cool to say you didn't train. All of us, me and Jon would talk. Even the making of Swingers was really about working and trying to do some stuff. For us specifically a lot of the films that we saw younger that happened in the '70s, so for us that was really what we wanted to do. So I never, in response to what happened with Swingers, it really took me aback. It wasn't as if I had a big studio film that gave me that opportunity. And I was very thankful for what it brought me but I remember feeling I really don't want to go and try to repeat this or worry in my head about whether stuff does well or not. I always figured if you do the work and you do your best at it, there will always be a part for you. But if you get caught up in trying to just have a movie be successful, that's a much more dangerous game, because once that goes away, you don't have the same opportunities that you would have had.
Question: Has that changed?
Answer: No. I mean, this movie, I love Todd, I loved Old School. I thought Old School was very different than a lot of the comedies that had come out. And that character I liked. I tried to ground him very much in reality and play him very much finding things important to him that are somewhat ridiculous.
Question: Can you discuss this revolving group of actors you work with?
Answer: Well, Will [Ferrell] asked me to do it [Anchorma] and I think Will is funny, so I was happy to come and do- - I don't have a large part in that. I really just came in for a few days to do stuff for him. So that was fun. I respect his work and Todd I met on Old School and I had a good time doing that, thought that was good. Stiller and I worked on the thing for MTV, the short we did years ago, Titannie. I loved the Stiller show. I thought that was really funny sketches. I've always thought was just very cool, very simple and very funny. So it wasn't really kind of a game plan that we thought okay, there's this group. It's just sort of turned out that these are people I'm interested in working with and there's been material that supported us doing something together.
Question: What else are you doing?
Answer: I'm shooting Be Cool, the sequel to Get Shorty. It's going very well. I play Raji, a record producer/promoter. Then I'm doing Wedding Crashers with Owen. Then I set a movie I'm producing at MGM about toy salesmen who sell toys. Rival salesmen. I've always loved salesmen. My dad was a salesman. As an actor, I always thought there's something funny about salesmen hustling anyway. But in contrasting that, there's something funny to me if they're trying to hustle My Little Pony. It's not like a car and they talk about it just like anyone would talk about whatever their field is. They present it like seeing grown men who gamble, demonstrate the pony and how the pony walks, but also being competitive and aggressive with each other I thought was a nice contrast. Then there's a movie I set up at Revolution called The Break-up which is a romantic comedy. I've been offered a lot of romantic comedies. I never liked any of the romantic comedies. It's always the same sh*t. Oh, I don't like you. Now I love you. Now I hate you. It's gonna happen, isn't it? So I thought with The Breakup what about a movie where from the very beginning it's the breakup, they're breaking up with each other? You have them out to dinner and have someone say something like, "God, I'm glad your mom's not coming to visit" turning into saying "I hate your drunk of a sister" just saying horrible things and saying "That's it, it's over, we're breaking up." Then I have it so that they had just bought- - they're not married, but they just bought a condo together and neither one wants to move out so they agree to put it on the market and sell it. neither one can afford to pay the mortgage, so they agree to put it on the market and sell it, but they're sort of going through the breakup under the same roof. Very derivative, I got the idea very much from The Odd Couple, having people put in a place and that kind of tone where it's not War of the Roses or very dark, but they're fighting over stuff that most of us do like you didn't do the dishes or you left this here. If she's dating, bringing someone new home or he brings someone new home or a friend's coming over, hearing her friend say that they never liked you.
Question: Won't they force you to get them together?
Answer: Well, they might end up together at the end, but like even in The Odd Couple, the way that they handled it in those kind of movies was never such an absolute completion. It was always more of the possibility or the potential of something. It's a much more smaller step. So, I think if at the end of the movie, there's a potential that they'll communicate, even The Odd Couple is positive. In fact, Felix is always wanting to be liked, wanting to be needed. He ends up with the Pigeon sisters. And he's okay, he's found a place where he's accepted, that's his journey. He's wanted. And Oscar now wants his place clean. He has the guys come over for poker, he doesn't want them smoking and leaving stuff out. So you just have to take a small step in a direction of growth. It doesn't have to be that they're married with a final wedding scene. I would never do that. That's way too much. But for them to come to some kind of peacefulness or openness with each other I think is fine. Swingers ends optimistically. It's the same kind of thing. He met a girl. It's not that he's dating her. It's not that he's in love, but he's gotten past what was presented to him. You don't know if he ends up with her or not, but you know he's out of the rut that he was in. Made is similar in that they don't get the money for the job but the little girl's okay, he's got the bad influence out of their life and they're no longer trying to make money in a way that's not safe for them. So I'm a fan of something as long as it's a small step in that direction and not the absolute completion. I think that's too far of a step to take sometimes.
Vince Vaughn: Made
There was quite a gap between "Swingers" and "Made". Did you and Jon try to do anything sooner?
Favs wrote this comedy-western about a Hassidic gunfighter in the Old West, but it's sort of an odd animal and we couldn't get the money. "Made" ultimately came out of him deciding to write something contemporary and inexpensive, just so that we could get something done.
How does your character in "Made", Ricky, compare to Trent in "Swingers"?
Trent was a little wild and said things that were a bit off-the-cuff, but people responded to him positively. Ricky thinks he is very charming and cool but really he is like the most annoying person in the world and you just want him to shut up. It was fun to have a crack at playing him like that, because in most films you wouldn't get a chance to do it that way.
Is this a reflection of your and Jon's taste in humour?
Yeah, we like comedy that makes you feel really uncomfortable. I like things when they're sick but also funny and you feel bad for laughing, like when Jon leaves all those telephone messages in "Swingers" or when Ricky throws vodka at Sam Rockwell's bellhop in "Made".
Finally, Jon and "Swingers" director Doug Liman argued over who had done what on that film. Did you both feel you had a point to prove with "Made"?
Not really. The bad blood that happened between Jon and Doug was similar to the bad blood that happened between Jon and me; we just weren't as public about it as Doug was. When the movie started to do well, it was very easy for a lower side of everyone's psyche to come out and for everyone to feel: "I got to take my claim for what I did in this movie." Unfortunately, we all fell prey to that to some degree.