Posted on Thursday, April 11th, 2013 by Germain Lussier
Channing Tatum doesn’t act like he’s famous. Even on the set of his upcoming movie, White House Down, the star of G.I. Joe, Magic Mike, Step Up and 21 Jump Street is humble, down to Earth and honest about his career. We spoke to the actor in Montreal last September. He said, after he next few movies, he wasn’t going to make another movie until he could direct himself, though a list of great directors could change his mind. He said he was so impressed with director Roland Emmerich that he’ll make movies with him forever.
Tatum also talked about Magic Mike 2, working with Steven Soderbergh and doing his own stunts – all of his own stunts. Tatum also discussed how growing up watching Eighties action films influenced his desire to make this movie, which opens June 28, and what it was about the script that really sold him.
To read more about our visit to the set, click this link. But for Channing Tatum, click below.
Note: This is a roundtable conducted by myself, Collider, Cinemablend and Next Movie.
So is the wifebeater your John McClane homage?
Channing Tatum: Yeah, everything, the name’s John, John Cale. Someone told me an interesting fact that Arnold Schwarzenegger was never called anything but John in his action movies.
Is that true?
I don’t know, I have no idea, someone said that to me the other day and I was like, “That can’t be true, he can’t have been John in every single action movie that he ever did.”
When you thought about being the star of one of these big action movie, did you watch any of those movies or have you been a fan of those movies?
Yeah, of course, I was an 80’s/90’s baby so you went to the movie theater every weekend and there was one on, whether it was Stallone, Van Damme, Seagal or Schwarzenegger himself.
Did you ever think you were going to be in this type of movie? Because you started off in a small way and have been billowing up and up and up, and now you’re top lining an Independence Day type action movie, is that kind of trippy and fun?
Yeah, I think every step of the way is trippy in this. You never think you’re going to be in a love story, you never think you’re going to be in a comedy, you never think anything. I’ve said it before that movies are the highest stakes make believe game in the world, and this is truly the most highest stakes. It’s unreal how fast this project got going to begin with, and all the people that just jumped on immediately. This movie got its script sold like that [snaps fingers], and then it went into production like that [snaps fingers]. I met Roland two or three days after he decided to take the movie. He had a similar movie, I think, that he was writing and this just sort of came along and he took it over. But I don’t think you can ever plan for anything like this, this is nuts. I’m getting to shoot javelins, not shoot them, but stop people from shooting them, I get shot at the whole way. It’s cool.
Talk a little bit about what it’s like for you after having so many successful projects this year, the scripts that are being offered to you now and the debate between, “What do I take next to keep this sort of pace going?”
That’s a good question because, ultimately, for the last two years I’ve been trying to get more behind the camera than I have in front of it, and it just seems like interesting movies and big movies like this. I’ve always wanted to do a Die Hard. Die Hard’s one of my favorite films. To do it with Roland, there’s only a few directors that can do what Roland does on an international scale and on an action scale. Then when I met him it was sort of just like, “I’m definitely in.” Then Wachowski’s just came up, Bennett Miller, so I can’t say no to those people, [laughs] and then a sequel to Jump Street, I can’t let Jonah down, but after that we are calling it stop. We’re not going to do anything until we write and direct something. But, yeah, you’re right, the things that do come by are getting more interesting and it’s great, but I don’t want to forget about the things that are really on my dream list. It would take one of the titans to get me to get into another movie again.
You already know what’s going to happen though, because after you wrap on Jump Street there’s going to be some sick project sitting on your lap.
Unless it’s a sick director I probably will still say no, unless it’s one of the top three directors that I like, you know, like Paul Thomas Anderson, Fincher, somebody like that then I’ll jump for one of them, but other than that I’m going to stick to my guns. Because there are so many great stories and characters out there that you can just keep saying yes, but you’ve got to eventually make the decision that if it’s something you really want then do it for yourself.
Talk a little bit about signing on for this project, what was it about out the story and the character that made you say “I definitely want to play this?”
Reid [Carolin] and I, my partner, we always try to figure out either for my character or the movie, what is it if you had to say it in one sentence? I think for me, I want to be a Dad eventually, and we tried to sum it up like this, “A guy that ends up saving the leader or the free world through the love of his daughter.” I think that was sort of what we hoped, not in a hard handed or on the nose way, but in a roundabout way, that was the reason that he ended up in this situation. It was all because of his daughter, and he’s probably not the best husband or even Dad, but he’s more of… I have friends that have Dads that are better friends then they are Dads, they’re more like buddies than they are actual parental advisors. So I think that’s more what John Cale is and this is the first time he’s really been able to love his daughter through what he’s good at, and that’s just dogged determination.
I thought that was interesting and also just to do a movie like this right now, during the whole political showdown that’s happening; the perception in the world that’s happening right now of us, the whole thing that’s going on in Libya, we have a black President. There’s so much political stuff happening right now, it’s interesting. This is not Hollywood getting on a soapbox whatsoever. I think that there’s definitely going to be points brought up in a movie that are political, but I don’t think this movie preaches. I don’t really think Jamie Foxx is doing Obama, even though he’s doing very politician-y type things, which are very staple to every politician. He does little things every once and a while that are sort of very Obama, which is fun, but you’ll never be like “Oh, he’s trying to be Obama”. He actually looks more like Denzel in the movie than he looks like Obama, it’s hilarious, I’ll be like, “Denzel- sorry, Jamie!”
Reid and Brad were talking about your chemistry with Jamie being important in this, how did you guys work that out? Because obviously this is a super tight schedule, 14 months from script to release. Talk a little bit about working with Jamie.
Jamie and I got along from jump. Oddly enough we had met for the first time at the Spring/Summer of Sony whatever thing that they have, I don’t understand exactly, but it’s awesome so I’m just like [laughs] “Yeah, I’m going.” I met him on that, he was there for Django and I was there to sell Jump Street. I just met him and he’s maybe one of the singlehandedly most talented people I’ve ever met in my entire life. The man can literally do anything. There’s a piano in one of the hallways that leads to the residence in the White House, and in between takes he just over there playing jazz and you’re just like, “Shit”. Then he stands up and he’s Jamie Foxx, kid from Texas, you know, from maybe not the highest class part of town, he’s one of the boys. Then you get him into the scene and he’s the President. It’s incredible to watch him and he’s such a good guy. I’m learning a lot from him as far as even how to just be in this industry. It’s cool, I love him to death. I wish you did get to meet him because it’s pretty funny he looks- you won’t be able to tell exactly what’s different, what he’s done to himself, but it’s pretty interesting.
When you’re shooting a scene like you did today and throughout the action stuff, Reid was talking about your physicality, how much do you rely completely on the choreography from the fight coordinators and how much do you go on instinct?
There’s a dance that happens with you and that’s why I really like doing it with stuntmen, because they know how to dance generally better than actors do. It is choreography and if you aren’t used to doing it, things can go wrong. We’re dealing with a big, huge pipe that had hard edges on it, and if you move that thing even the slightest bit of the wrong direction while I’m going in it can shear off the side of your face. It is a lot of controlled violence. You go really hard up into a moment and then you stop. So I’d say it’s about 50/50, but you really do rely on the other person, that they’re taking care of you and you’re trying to take care of them. Then there are certain moments where it’s just like “Well, this is just going to suck for both of us.” There’s one gag that we’re going to do today that’s going to suck, it’s going to really suck. I go to knee him, he grabs my knee and basically picks me up over his head and we fall off a ledge onto a glass roof.
The stunt guys aren’t going to do that?
The stunt guys to do the “pre”, before the cameras go; I do generally all my stuff except for motorcycles and cars, that stuff I don’t know how to do as well as certain people do.
So this movie’s going to be as much of you as possible?
All me. They’re still trying to talk me out of one stunt. I’m going to look at it and if I think I can do it; it’s just a fall, a 25 foot fall, but the way you have to fall is bad because you have to fall on your side or on your back and that’s always dangerous.
So that’s the only one in this movie that’s questionable?
Yeah, that’s the only one questionable, everything else will be me. I like doing this stuff though, it’s kind of the whole reason that you want to do the movie. When you’re reading it you’re like, “Oh, I get to dive out a window? Cool! I get to jump off a building? Great!” So I love doing that stuff, it’s like the stuff we used to do in high school to be stupid and fun.
Now you get paid to do it.
Yeah, now I get paid to do it and it’s a lot safer, because you have people around that are watching out for you.
Talk a little bit about collaborating with Roland, what did you think it was going to be like before you got here and what has it been like in actuality?
It’s funny because I’ve always said that movies are a direct mirror of the director, I mean they just are, and it is totally clear in this instance as well. Roland, when you go into his house, it is one of the most interesting places I’ve ever been in my life. There is so much unbelievable art. He’s really into propaganda art, all kinds from all different countries; every room in his house has a different propaganda theme. It’s very, very interesting. He knows how to do things big, but he wants it to be fun, he doesn’t want it just to be big for big. He is really specific, he is an actor’s director, as big of movies as he does do, he does have very specific notes on what you’re doing and how you’re doing it.
I think when I met him I didn’t expect- I didn’t know what to expect because I was just like, alright, big movie director, generally the spectacle is the most important thing and making sure that that’s correct. Roland, I’ve had more fun on this movie because he’s a big kid, most directors will sit in these big movies- because you’re running behind always, the set ups, if the squibs go off and you didn’t get the shot now it’s a 30 minute reset, and he doesn’t get stressed. He does get stressed and he’s German, so that accents very hard to read, “Is he annoyed right now? I’m not sure.” But he’s always, when you watch him at the monitors, he’s like a kid; his eyes are wide, he’s making motions, he’s like “Yes, yes!” You can always tell how the take went by the way he yells cut. When he goes, “Cut! Ha!”, then you know it was a good one, if it’s “Cut…” You’re just like “Dammit, we’re going again.” But he enjoys it and I will make movies with him forever because of it, I really will. We’re talking about something else because, I just really do, I think he’s one of the more enjoyable directors. What we do is not brain surgery, but especially the schedule we’re on right now, working 6 day weeks, 15 hour days, it can be grueling and you can lose your patience like that [snaps fingers].
So this is the project you’re doing after Jump Street.
[Laughs] Yeah, exactly. We’ll be doing “White House Down Again”. I don’t know how you do that, by the way. I asked him, “How do you do ‘White House Down Again’? Do they invade the White House again?”
You were talking about how Roland seems like a big kid and that seems to permeate the whole set, can you talk more about the energy of this environment?
The director sets the tone, and if someone’s ruling it with an iron fist, people are quiet and the days go long in my experience, when there’s a very serious tone, the days just drag. When there’s someone who, in between takes, is joking or laughing the days go quick. That can be a good thing or a bad thing, but I think that he completely is aware of what we’re doing. He loves filmmaking and he thinks it should be fun. It will be our 15th hour and he’s the only one still having fun and we’re all just like, “God…” We’re just exhausted and he’s like, “Alright, a little more time, let’s go!” And you’re just like “Alright, here we go,” and then you just do it. I think I would love to make movies with people like that for the rest of my life, because at the end of the day, you look back on it and no matter what the movie does, this was time out of my life that you don’t get back. Whatever it does in the box office is just a whole other thing. That’s a whole other campaign of selling the movie, doing the whole thing, trying to be creative. This is our version right now of being creative, and when you can look back on this and go, “Alright no matter how it does I was really happy with that time spent in my life,” then that’s saying something in my opinion.
You had to be a little bit surprised at the success of all your movies this year, even with Magic Mike breaking 100 million, talk a little bit about what it means to you to see all these films doing so well. What’s it been like for you over the year?
I feel like I’ve won the lottery three times. I’ve used that line a lot, even getting into this industry is winning the lottery. Jonah and I said it a lot when we were doing Jump Street; you don’t work any less hard on any one of these movies. You don’t phone it in. You’re there trying to make every scene, trying to make every day as good as possible, and there’s so many things that can go wrong. You could have a great movie and you don’t know how to sell it, or the marketing people don’t get it, movie goes nowhere and it’s a failure. You can have a crappy movie and then they have a great marketing campaign, everybody sees it and they think that’s what you’re doing and you’re just like, “Shit.” You don’t ever know. For The Vow to have done what it did, I think the marketing campaign was classic and really perfect for that movie. I think me and Jonah’s chemistry in [Jump Street] was amazing and Chris [Miller] and Phil [Lord] murdered that movie. They completely knocked it out of the park, and you just don’t know, you just don’t know if those things are going to shine through. Rachel and I had a great time on [The Vow].
Then Magic Mike, we had no idea what was going to happen with that thing. It was such an outline that we knew how we wanted to make it, and that’s why we made it for so little money, because we wanted to make it outside of the studio system. Soderbergh knew what kind of movie he wanted to make and even along the way we were like, “Are we doing this right?” We tested the movie, it did not test well. It tested in the 50s and we were like “Oh shit, what did we do?” We went back to the drawing board on the ending, we made the ending a little different, and we tested it again and it only tested 69 or something, and we were just like, “We are screwed.” No, not screwed, but then we just kept telling ourselves, “Okay, this movie doesn’t test, this movie doesn’t test, it’s going to be fine. This movie is not a testable movie.” We were running circles in our heads. I can’t even explain to you guys what that feels like, when you’re just like, “I put all my money into this movie and I’m praying that it works,” and that’s the kind of results you’re getting back. Then the online was skyrocketing, the press from it and the tracking of was tracking like The Avengers, the awareness online. The normal tracking was abysmal. They were so far away from each other we had no idea what the movie was going to be. We were just white-knuckling the weekend; we had no idea what was going to happen. It worked.
I don’t feel like any of these movies I knew for a fact were going to work. The Vow, I didn’t know if people were going to want to see it, but we felt good about it. We we’re like, “Alright, either way, I liked the movie for what it was,” and I think we knew exactly what we were trying to do. Jump Street, I knew we had a great time, it didn’t matter, didn’t know if it was going to do well. Magic Mike, you just don’t know. I think that just luck, luck and a lot of hard work. It’s got to be at the right time. Like Magic Mike came out during “50 Shades of Grey”. I think it was kind of perfect, there was this whole “50 Shades of Grey” movement happening and Magic Mike just, “Bam!”, just hit it, and we couldn’t have lucked out anymore.
It was also a pretty good movie.
Obviously, you know, Soderbergh, I’m not even going to touch that. But it’s a specific film, some people…
It’s an art film almost, more than a mainstream film.
Completely, Soderbergh can’t…he’s never going to be, or was never, now he’s done. He’s really retired now, whether you guys believe it or not, he’s literally done. He’s in Hawaii. Gone, gone, done. Don’t believe it.
Speaking of Magic Mike, you did not mention Magic Mike 2 when you were listing your projects, I have to ask.
We’re scratching our heads because Soderbergh is gone, for directing at least, for a long time. He wants to paint and I think he should, I really do. I think he wants to be done for a while and I don’t think he should make movies if he wants to be done. I think these last two that he made, from what I hear, I haven’t seen “A Bitter Pill” [Side Effects], and I haven’t seen “Liberace” [Behind the Candelabra], but I hear they’re some of his best movies, and I think he should go out on a high note, for a little while. So that leaves us with who’s going to direct Magic Mike 2? Greg Jacobs said he would do it if we come up with the right script. Warners was like, “Well, why don’t you guys do it?”, me and Reed, and I’m like, “I am not going to direct my first movie behind Soderbergh.” There’s no win there [laughs], there’s zero win. But Greg has been working with Steven long enough and Steven would produce it. I think it would probably be Greg if we did it or somebody completely different, it would almost be like reboot, like we’d get someone like Roland to do the thing and just completely change it.
That’s a different movie.
A reboot, like zoo animals and shit, who knows? It would be crazy. We would love there to be…we’re dying, everybody’s dying to do it, it’s just it’s got to be right. None of us just want to do some cash grab of a sequel. We want it to be good, because it was a special one for all of us and we all just jumped in family-wise on it. But there definitely is going to be a stage version, a Broadway version, so we’re slowly pounding away on that. None of us has ever done anything like that so we’re writing a light story and we’re trying to find somebody to really write the stage version because none of us know how to do it [laughs].
Would you reprise the role?
We’re thinking we want it to be a musical so I’m not… I might do it as a “haha” one night, but I don’t think you all want to see me sing and pony. I don’tthink it would be so good. I wouldn’t mind doing it, but I don’t know how to sing like that, singing for the rafters, not my bag.
White House Down opens June 28. Check back Friday for our interview with director Roland Emmerich.