WEBVTT - Interview with Aaron Stanford (Pyro) 0:00:15.640 --> 0:00:18.920 Hello, My name is Jason Getepcio and I'm Rosey Night, 0:00:19.160 --> 0:00:21.239 and welcome back to Extra Visions week on covers of 0:00:21.320 --> 0:00:26.840 all things Deadpool and Wolverine. We're dropping episodes every single 0:00:26.920 --> 0:00:29.720 day leading up to the release of Deadpool and Wolverine, 0:00:29.720 --> 0:00:33.720 covering everything from both characters, comics, origins, the long history 0:00:33.760 --> 0:00:35.120 of mutant film adaptation. 0:00:35.600 --> 0:00:39.120 In today's episode. In the previously on, we're talking news 0:00:39.800 --> 0:00:42.720 things that you might see at comic Con, and we've 0:00:42.760 --> 0:00:47.640 got a lovely interview with none other than Pyro himself, 0:00:47.760 --> 0:00:52.159 Aaron Stanford, who will be reprising his role in the 0:00:52.240 --> 0:00:55.280 upcoming Deadpool and Wolverine movie, and what a lovely chat. 0:00:55.320 --> 0:00:57.160 It was her first news. 0:00:59.680 --> 0:01:04.480 First, The Twisters rocks the box office with a Category 0:01:04.920 --> 0:01:07.600 S five powerful eighty point. 0:01:07.360 --> 0:01:08.559 Five million dollar opening. 0:01:08.640 --> 0:01:10.479 I know it was gonna happen, directed to make around 0:01:10.560 --> 0:01:14.280 fifty in its opening weekend, but folks, uh, we. 0:01:14.200 --> 0:01:15.440 Love natural disasters. 0:01:15.480 --> 0:01:18.319 We want to see this, Glenn Powell, we love Daisy 0:01:18.360 --> 0:01:21.119 Anker Jones, we want to see The Twisters. 0:01:21.480 --> 0:01:25.080 Rosie your take, I'm not surprised at all. 0:01:25.200 --> 0:01:27.080 I came out of seeing this movie and I was like, Oh, 0:01:27.080 --> 0:01:29.120 this movie's gonna make a lot of money. Like not 0:01:29.240 --> 0:01:32.840 just because obviously there's adults, there's people like us. We're like, oh, 0:01:32.959 --> 0:01:34.959 we're gonna see a movie. We're gonna go and see 0:01:35.000 --> 0:01:37.240 Glen Powell. You want to see Katie O'Brien wearing a 0:01:37.280 --> 0:01:40.120 cowboy hat, like, we want to see Sasha Lay and 0:01:40.240 --> 0:01:42.959 she's like a cool tornado nud Like. There's all those 0:01:42.959 --> 0:01:45.080 things that draw us to it, the fact that Lee 0:01:45.120 --> 0:01:48.320 Isaac chungk From who directed Manari, made it. But I 0:01:48.320 --> 0:01:50.520 also feel like, if you're like ten or eleven years 0:01:50.520 --> 0:01:52.160 old and you go and see this movie, you're probably 0:01:52.200 --> 0:01:54.480 gonna think it's the coolest movie of all time. So 0:01:54.600 --> 0:01:57.280 I really think that some of this this money is 0:01:57.360 --> 0:02:00.560 likely rewatches, not just by adults, but also by like 0:02:00.600 --> 0:02:02.440 cool kids who like love Weather. 0:02:03.120 --> 0:02:09.919 You know, I'm saying that cool. I'm saying that cool. 0:02:10.760 --> 0:02:11.359 I love it. 0:02:11.919 --> 0:02:16.000 Updates Marvel announces panels, booth send more for Singing Oh. 0:02:16.080 --> 0:02:19.600 Comic Con which is coming up quite soon. There's a 0:02:19.639 --> 0:02:22.519 special Deadpool and Wolverine event has been announced. 0:02:22.600 --> 0:02:24.920 I believe that will be. My prediction is it's just 0:02:24.960 --> 0:02:26.920 gonna be a screening. I think they're gonna screen the 0:02:26.960 --> 0:02:28.720 movie on Thursday night, So if you've got a ticket 0:02:28.760 --> 0:02:31.480 for that through the nottery, congrats. 0:02:31.480 --> 0:02:33.160 On Friday, Editor chief C. B. 0:02:33.360 --> 0:02:37.120 Sebulski and special guests will leave will reveal the future 0:02:37.160 --> 0:02:40.680 direction of the Marvel Comics universe after the events of 0:02:40.800 --> 0:02:45.639 the Big Blood Hunt event and the big day for 0:02:45.880 --> 0:02:49.600 marvel In at San Diego Comic Con will be Saturday, 0:02:49.639 --> 0:02:53.760 where Kevin Figi will make his triumphant return to call 0:02:54.080 --> 0:02:59.840 h to reveal what's next for the mcu don don's. 0:03:02.320 --> 0:03:04.639 That just is so exciting to me as a fan 0:03:04.680 --> 0:03:07.359 of this stuff. I love to see their little graphic designers, 0:03:07.360 --> 0:03:08.920 my passion timeline. 0:03:09.080 --> 0:03:10.079 It's gonna be hilarious. 0:03:10.120 --> 0:03:12.440 Last time we saw them there it was four years 0:03:12.440 --> 0:03:15.760 ago and that was when we heard about Blade. Blade 0:03:15.800 --> 0:03:19.560 has still not come out, Dug Dad, So I hope 0:03:19.560 --> 0:03:22.960 that we get some Blade news. I would my predictions 0:03:22.960 --> 0:03:24.880 for this are. I would assume that we will see 0:03:25.080 --> 0:03:28.400 probably the whole cast of Fantastic Four there. Whoa that 0:03:28.440 --> 0:03:30.880 will be my like that the four that we know about. 0:03:30.960 --> 0:03:33.639 I believe they will get fought on stage. I think 0:03:33.639 --> 0:03:37.400 that would be quite a big deal. And I guess 0:03:37.480 --> 0:03:40.000 our next piece of news could hint at the other 0:03:40.040 --> 0:03:41.440 stuff that we're gonna see. 0:03:41.760 --> 0:03:48.280 What an incredible transition for mere professional Rosie. Speaking of which, 0:03:48.520 --> 0:03:51.880 Kevin Feigey recently at a press conference for Deadpool and 0:03:51.920 --> 0:03:58.000 Wolverine revealed that quote the after meaning after the Deadpool 0:03:58.000 --> 0:04:01.080 and Wolverine movie is clearly now that we have characters 0:04:01.080 --> 0:04:03.840 from the X Men world, the Mutants we haven't had 0:04:03.880 --> 0:04:04.880 access to before. 0:04:05.280 --> 0:04:07.040 Figi continued, so this. 0:04:06.920 --> 0:04:09.720 Is the beginning of that, and every movie post Deadpool 0:04:09.720 --> 0:04:13.200 of Wolverine will be the Mutant era coming into the 0:04:13.240 --> 0:04:14.200 EBCU band. 0:04:16.760 --> 0:04:22.560 I just want to say congrats to you and to me, Jason, 0:04:22.640 --> 0:04:25.159 because really we've been waiting for this for so long. 0:04:25.880 --> 0:04:26.560 We've made it. 0:04:27.560 --> 0:04:31.839 We've sat here, we've predicted, we've wondered, we've been in 0:04:31.880 --> 0:04:33.719 the comic shop and we've been like, when, well, the 0:04:33.839 --> 0:04:35.039 X Men come to the EMCU. 0:04:35.080 --> 0:04:37.279 We've been on this show and we've said the same thing. 0:04:37.560 --> 0:04:40.920 So I think this is great. I also think it 0:04:41.040 --> 0:04:44.080 is a huge It's kind of it seems like a 0:04:44.080 --> 0:04:46.880 throwaway comment, but I think that we can kind of 0:04:46.880 --> 0:04:49.120 say it's actually like a huge turn away from what 0:04:49.160 --> 0:04:54.040 we've heard before with the you know it, you know 0:04:54.560 --> 0:04:56.440 the kang of it all. I think we're kind of 0:04:56.880 --> 0:04:59.840 going to focus more on building to the X Men 0:05:00.080 --> 0:05:02.760 and building to whatever that means, whether that's X Men 0:05:02.839 --> 0:05:07.560 versus Avengers, whether that's some X Men kind of solo 0:05:07.680 --> 0:05:10.400 movies recreating that phase one, which I think would be 0:05:10.400 --> 0:05:13.240 a good idea, like a Storm movie or something like that. 0:05:13.279 --> 0:05:15.360 You know, I'm very interested to see where it goes, 0:05:15.440 --> 0:05:17.599 and I think we will at least get a hint 0:05:17.640 --> 0:05:20.760 of that at San Diego Comic Con this weekend. 0:05:21.480 --> 0:05:24.640 I'm very very excited. And once again, you're Rosie. You 0:05:25.120 --> 0:05:26.360 pointed out we were right. 0:05:26.440 --> 0:05:30.760 We were right, baby, right right, And it's finally happening. 0:05:32.040 --> 0:05:33.800 Coming up or chat with erin Stanford. 0:05:49.320 --> 0:05:54.320 He has played a drug addicted fisherman, he has played 0:05:55.000 --> 0:06:00.880 a traumatized time traveler, and of course he's played the 0:06:01.000 --> 0:06:04.760 fire loving mutant Pyro in the X Men series and 0:06:04.800 --> 0:06:10.479 he will reprise that role in Deadpool Versus Wolverine. It's 0:06:10.880 --> 0:06:13.440 our absolute pleasure to welcome to the podcast. 0:06:13.440 --> 0:06:14.040 Aaron Stafford. 0:06:14.040 --> 0:06:15.920 Aaron, thank you for joining us today. 0:06:16.760 --> 0:06:18.120 Thanks so much for being here. 0:06:18.279 --> 0:06:19.880 What an intro. Thank you guys. 0:06:21.160 --> 0:06:24.040 Yeah, we are we are like deep X Men lovers 0:06:24.080 --> 0:06:27.320 on this podcast, and I believe you are our first mutant. 0:06:27.520 --> 0:06:29.760 You are our first ever X man ever had on 0:06:29.800 --> 0:06:30.360 the show. Ever. 0:06:31.240 --> 0:06:33.960 We've had a lot of creators who've worked on it, 0:06:34.000 --> 0:06:36.200 but I think you're you're our first mutant. 0:06:36.279 --> 0:06:39.800 I'm shocked to hear that There's been so many generations 0:06:39.800 --> 0:06:41.839 and iterations at this point, right. 0:06:41.880 --> 0:06:45.120 Yeah, yeah, especially with like the New Cartoon Show and 0:06:45.520 --> 0:06:48.160 so many movies. But we're super happy to have you here. 0:06:48.480 --> 0:06:50.400 And something we always ask, like when we have a 0:06:50.440 --> 0:06:52.440 guest on is like we sometimes ask like, what's your 0:06:52.440 --> 0:06:54.720 comic book origin story? But for you, like what's your 0:06:54.760 --> 0:06:56.880 acting origin story? Like how did it begin? 0:06:58.120 --> 0:07:03.680 Oh, it's not too exciting, it's it's uh, it's you know, 0:07:03.760 --> 0:07:08.080 it's something that that I liked from a from a 0:07:08.200 --> 0:07:10.480 very young age. I grew up in a in small 0:07:10.560 --> 0:07:15.240 town Massachusetts, very very very far from Hollywood. So I 0:07:15.280 --> 0:07:19.480 did like, you know, little community theater here and there, 0:07:19.560 --> 0:07:24.160 school plays and stuff like that, and ended up going 0:07:24.920 --> 0:07:27.000 liked it enough that I went to college to pursue 0:07:27.000 --> 0:07:31.520 it and moved to New York afterwards, sort of with 0:07:31.920 --> 0:07:35.280 an idea in my head that that I would be 0:07:35.360 --> 0:07:37.480 struggling pretty much for the rest of my life and 0:07:37.560 --> 0:07:40.920 would probably be doing just like off off off Broadway 0:07:40.960 --> 0:07:43.880 theater forever and and uh and and have a day 0:07:43.960 --> 0:07:46.720 job and that and that was you know, that was 0:07:46.800 --> 0:07:51.880 sort of my my my goal. And and when I 0:07:51.920 --> 0:07:54.000 was in New York, I did that. I did I 0:07:54.000 --> 0:07:56.920 did theater, and I did a lot of small independent films. 0:07:57.080 --> 0:07:59.320 Is that was a really that was a time when 0:07:59.360 --> 0:08:01.720 independent film was really happening in New York City. There 0:08:01.760 --> 0:08:03.720 was there's a lot of stuff going on. It was 0:08:03.760 --> 0:08:09.840 a real indie indie boom. And I got I was 0:08:09.960 --> 0:08:13.160 very very fortunate to pretty early on in my career 0:08:14.320 --> 0:08:18.800 land an absolute dream role. It was this film called 0:08:18.960 --> 0:08:23.880 Tadpole and Weaver. Is this with Sigourney Weaver? Yes, And 0:08:23.880 --> 0:08:26.360 and it was I played this this young private school 0:08:26.440 --> 0:08:30.440 kid and Sigourney Weaver was my stepmother. And and I 0:08:30.480 --> 0:08:32.960 fall in love with with my stepmother? Is the is 0:08:33.000 --> 0:08:39.160 the the plot? And just as it was winning the lottery, 0:08:39.600 --> 0:08:43.680 it was it was. It was a lead role opposite 0:08:43.840 --> 0:08:51.080 Sigourney Weaver and John Ritter and bb Newworth. And I 0:08:51.240 --> 0:08:56.640 was completely untested and just was was lucky enough that 0:08:58.200 --> 0:09:02.720 the director, this Guyry Winnick, just decided he saw something 0:09:02.760 --> 0:09:06.240 in me in in the audition room and said that 0:09:06.280 --> 0:09:08.800 you know this, this is our guy, and and we're 0:09:08.800 --> 0:09:12.079 gonna we're gonna give him a shot. And and it's 0:09:12.120 --> 0:09:15.560 absolutely because he gave me that shot, that that that 0:09:15.640 --> 0:09:17.880 I went on to uh to have a career. 0:09:18.240 --> 0:09:21.280 Let's talk about that career, because you're talking about twenty 0:09:21.320 --> 0:09:24.400 plus years now as a working actor, which is a 0:09:24.440 --> 0:09:25.640 tremendous career. 0:09:26.160 --> 0:09:27.319 You've worked Mike. 0:09:27.240 --> 0:09:31.199 Lee, and you've worked, You've done you've worked on television, 0:09:31.600 --> 0:09:36.440 you've worked on the stage. When young actors come to 0:09:36.480 --> 0:09:37.800 you and they're like, how do I how do I 0:09:37.840 --> 0:09:41.200 do it? How what do I need? What are the skills? Like? 0:09:41.320 --> 0:09:44.520 How do I work for that long? What do you 0:09:44.559 --> 0:09:45.240 tell them? 0:09:45.720 --> 0:09:48.680 Yeah, you know there there isn't an answer to that question. 0:09:49.280 --> 0:09:52.480 It's it's it's what everybody wants to know. It's it's 0:09:52.520 --> 0:09:55.240 what I wanted to know when I you know, when 0:09:55.240 --> 0:09:57.520 I when I first started. And you're going to talk 0:09:57.559 --> 0:10:00.880 to one hundred different acts and they'll give you a 0:10:00.960 --> 0:10:04.760 hundred different stories of how of how it worked out 0:10:04.800 --> 0:10:09.720 for them, and the only there's there's basics that that 0:10:09.720 --> 0:10:13.439 that that you need and then the rest of it's 0:10:13.480 --> 0:10:15.520 just how it all unfolds. So the basics that you 0:10:15.880 --> 0:10:20.160 the basics that you absolutely need are a true passion 0:10:20.600 --> 0:10:24.600 and and a love for acting, for the craft, for 0:10:24.640 --> 0:10:29.240 the craft, and you you really really need to be devoted. 0:10:29.280 --> 0:10:31.200 I remember when I when I went to acting school, 0:10:31.280 --> 0:10:33.160 you know, they didn't sugarcoat it like the like the 0:10:33.200 --> 0:10:35.839 first day we were there, it was one of those 0:10:35.840 --> 0:10:37.840 look to your left, look to your right things, you know, 0:10:38.000 --> 0:10:40.959 and they basically said to us, they were like they said, 0:10:41.040 --> 0:10:46.120 flat out, anybody in this room who can do anything else, 0:10:47.160 --> 0:10:51.600 who can imagine doing anything, I mean, anything else with 0:10:51.679 --> 0:10:55.720 your life, go do that, you know. So because it's 0:10:55.800 --> 0:11:00.559 just it's just really it's really really difficult to to 0:11:01.320 --> 0:11:06.400 stay working and so you have so you have to 0:11:06.440 --> 0:11:08.120 absolutely love it because it's the only thing that's going 0:11:08.160 --> 0:11:12.040 to keep you going. And you need to devote yourself 0:11:12.040 --> 0:11:16.200 to it, and you need to have tenacity and keep 0:11:16.240 --> 0:11:21.280 at it and just endure the steady diet of rejection 0:11:22.000 --> 0:11:25.480 that is the life of an actor and all of 0:11:25.520 --> 0:11:30.280 the you know, the the failures and false wins that 0:11:30.320 --> 0:11:33.040 you think you you know, got the role, and then 0:11:33.080 --> 0:11:35.920 you get cut out of the movie and it's hugely 0:11:35.920 --> 0:11:39.080 disappointing or the role wasn't what you thought it was, 0:11:39.240 --> 0:11:41.640 and you know you're actually just background, you know, So 0:11:42.600 --> 0:11:44.760 all of that stuff you have to be have the 0:11:44.800 --> 0:11:47.400 fortitude to get through it. And then the and then 0:11:47.440 --> 0:11:50.400 the main thing. You know that that the third magic ingredient, 0:11:50.440 --> 0:11:53.560 which is which is why you'll hear every actor has 0:11:53.600 --> 0:11:56.800 a different story, is you have to be fortunate enough 0:11:57.840 --> 0:12:00.760 to get to somehow get that role like I did 0:12:00.760 --> 0:12:04.360 in aadpole And you have to you know, I've had 0:12:04.960 --> 0:12:07.720 there's an actor I'm friends with, Tom Pelfrey. You went 0:12:07.760 --> 0:12:11.240 to the same college as me, Rutgers University, and he 0:12:11.600 --> 0:12:15.280 said it very well. He said, you have to be 0:12:15.920 --> 0:12:20.320 you have to be very good in something that is 0:12:20.679 --> 0:12:25.880 very good, that is seen by everybody, and and and that, 0:12:26.080 --> 0:12:28.840 and that's what it takes to get on the map. 0:12:28.880 --> 0:12:30.440 You know, you you have to you have to be 0:12:30.520 --> 0:12:33.920 great in a role in some in in something that's 0:12:34.040 --> 0:12:36.480 very good, that is seen by a lot of people, 0:12:36.679 --> 0:12:39.760 and and that that is no easy trick, and and 0:12:39.760 --> 0:12:42.720 and people get to that all all sorts of different ways. 0:12:42.960 --> 0:12:45.840 It's interesting because one of the things I love about 0:12:46.000 --> 0:12:48.680 whenever I see you pop up and it's something like 0:12:49.240 --> 0:12:51.160 comedy bang bang, it's like. 0:12:51.600 --> 0:12:53.560 You know, whether it's whether you want to. 0:12:55.559 --> 0:13:00.120 I mean, I'm a big impros so like John Johnny Appleseed. 0:13:00.440 --> 0:13:01.600 Joddy see. 0:13:02.960 --> 0:13:06.760 Whether whether it's like, uh, you know, one episode hit 0:13:06.800 --> 0:13:09.040 on mad Men or comedy Bang bang, or a show 0:13:09.040 --> 0:13:13.440 that's built around you. You always bring something where you're like, 0:13:13.520 --> 0:13:15.120 oh wow, that was great. 0:13:15.160 --> 0:13:17.320 How do you how do you balance that? 0:13:17.480 --> 0:13:20.000 You know you're gonna you know, it's a it's a 0:13:20.040 --> 0:13:25.320 guest spot one episode. How do you manage what you 0:13:25.480 --> 0:13:28.280 have to do, stay true to the character and try 0:13:28.320 --> 0:13:30.680 and make an impact in that in those kind of 0:13:30.720 --> 0:13:31.640 small hits. 0:13:32.200 --> 0:13:35.640 Well, first of all, it's very kind. I really appreciate 0:13:35.679 --> 0:13:36.959 you say I. 0:13:36.920 --> 0:13:42.480 Watched too much television to do a big, big TV Me. 0:13:42.440 --> 0:13:46.080 Too, Me too. I'm a you know, I'm a fan first, 0:13:47.720 --> 0:13:51.360 So yeah, I mean, you don't want to go in 0:13:51.400 --> 0:13:56.240 there necessarily with the plan of how you're going to 0:13:56.360 --> 0:14:01.840 bend the job or the role around you and make 0:14:01.920 --> 0:14:04.600 it what you need it to be, and you know, 0:14:05.040 --> 0:14:07.240 go in with the mentality of like, you know, though 0:14:07.320 --> 0:14:09.200 this is my shot on mad Men, this is my 0:14:09.200 --> 0:14:11.880 one mad Men episode. I better make this sing. You 0:14:11.920 --> 0:14:14.440 know a lot of people are seeing this. This is 0:14:14.480 --> 0:14:17.520 my shot, me me. You know, you can't, you just 0:14:17.600 --> 0:14:20.560 can't think like that. And you know, as actors, you 0:14:21.320 --> 0:14:25.280 we really are servants to the story. You know, you're 0:14:25.360 --> 0:14:28.840 you're you're a servant to the material, and you just 0:14:28.920 --> 0:14:34.479 have to approach every part, large or small, from that perspective, 0:14:34.600 --> 0:14:38.160 and you just have to really familiarize yourself with whatever 0:14:38.240 --> 0:14:41.320 story is being told. You read that script over and 0:14:41.360 --> 0:14:43.280 over and over again. You research, you know, show like 0:14:43.320 --> 0:14:45.760 mad Men. You make sure you know who the characters are, 0:14:45.800 --> 0:14:48.120 and you've seen all the episodes. You understand the world 0:14:48.120 --> 0:14:52.720 that you're in, and then you understand, you know, what 0:14:52.720 --> 0:14:57.440 what your function is within the story. And then you know, 0:14:57.520 --> 0:14:59.640 you go in and you do all of the character 0:14:59.680 --> 0:15:02.920 work that you would do for for any for a 0:15:03.000 --> 0:15:05.920 large care you know, for for a big overarching character, 0:15:06.080 --> 0:15:08.760 you know, in an entire series, and you just you 0:15:08.840 --> 0:15:13.920 create a backstory for yourself and you make sure you 0:15:14.000 --> 0:15:17.760 understand when you're in the scene, where are you coming from? Immediately? 0:15:17.920 --> 0:15:20.800 You know where are you going to be right afterwards? 0:15:20.840 --> 0:15:22.720 How do you feel about all these people? What are 0:15:22.720 --> 0:15:25.080 your relationships to these people? And you just have to, 0:15:25.120 --> 0:15:27.520 you know, just do all of that in your head 0:15:27.560 --> 0:15:32.360 and and build that that infrastructure. And you know it's 0:15:32.760 --> 0:15:35.360 in my opinion, it's it's really the same for every job. 0:15:36.200 --> 0:15:39.120 Yeah, and you've I mean you like you said, big 0:15:39.160 --> 0:15:42.080 breakout role is opposite you know, Sigourney we the bebby 0:15:42.160 --> 0:15:45.760 New Earth. You've worked with like Ian McKellen, Patrick Stewart, 0:15:45.800 --> 0:15:47.200 like the cost. 0:15:46.960 --> 0:15:47.600 Of mad Man. 0:15:47.880 --> 0:15:51.040 What's it like to be a working actor and kind 0:15:51.080 --> 0:15:53.920 of over this twenty years just get to work alongside 0:15:54.000 --> 0:15:57.000 like icons who are already icons to you, probably before 0:15:57.000 --> 0:15:57.600 you even start. 0:15:57.720 --> 0:16:01.640 Yeah, it's really surreal, As I said, since I since 0:16:01.640 --> 0:16:04.040 I'm a fan first especially you know, you get to 0:16:04.080 --> 0:16:07.040 work with somebody like you know, when I found myself 0:16:07.040 --> 0:16:10.200 in scenes opposite Ian McKellen, you knows, as a young 0:16:11.320 --> 0:16:14.080 aspiring actor, I had watched you know, he did this 0:16:14.200 --> 0:16:17.560 version of Richard the Third which is sort of reimagined 0:16:17.560 --> 0:16:20.160 to take place in this kind of like World War 0:16:20.240 --> 0:16:28.200 twish world period, and watching him and being in awe 0:16:28.320 --> 0:16:31.960 of his ability and then suddenly you're you're looking him 0:16:31.960 --> 0:16:35.080 in the eyes, you know, and in a scene with him, 0:16:35.280 --> 0:16:42.880 and it's surreal. It can be very intimidating at first. 0:16:43.120 --> 0:16:47.840 And what I found very quickly was that you had 0:16:47.880 --> 0:16:52.640 to sort of be in a state of denial about 0:16:52.680 --> 0:16:57.960 what you have to sort of suspend all of that stuff, 0:16:58.000 --> 0:17:00.440 all of that baggage, all of that excitement and all 0:17:00.520 --> 0:17:04.919 of that the worship. You know, you have to you 0:17:05.000 --> 0:17:09.159 have to sort of put that aside and just like 0:17:09.320 --> 0:17:12.919 compartmentalize and just lock that away and just I'm in 0:17:12.960 --> 0:17:16.760 a scene with my scene partner and and I've just 0:17:16.800 --> 0:17:18.800 got to dial in on that and everything and in 0:17:18.880 --> 0:17:21.040 this scene is too from and off of this other 0:17:21.359 --> 0:17:25.320 human being. And and then after you're done with the scene, 0:17:25.400 --> 0:17:27.200 that's when you can sort of let let it all 0:17:27.240 --> 0:17:29.600 flood in. And that is often when it when it 0:17:29.680 --> 0:17:35.679 hits you, and it's it's fantastic. I'm I couldn't feel 0:17:36.040 --> 0:17:40.600 more fortunate to have come into contact with with all 0:17:40.640 --> 0:17:41.800 the all the people that I have. 0:17:41.800 --> 0:17:51.800 In this business scene MH. 0:17:58.600 --> 0:18:02.000 You talked about the the work behind the scenes, building 0:18:02.040 --> 0:18:05.000 out a backstory excepter. I remember reading an interview with 0:18:05.040 --> 0:18:10.360 you about Twelve Monkeys where you talked about researching combat 0:18:10.440 --> 0:18:15.840 veterans and trauma to bring that performance to life. What 0:18:15.960 --> 0:18:19.200 did you do to kind of build out the backstory 0:18:19.280 --> 0:18:22.960 of Pyro, who is very different in movie form than 0:18:23.440 --> 0:18:26.560 from the comics, And then did that approach change at all. 0:18:27.320 --> 0:18:30.120 When you reprise the role now years later. 0:18:30.640 --> 0:18:35.320 Yes, it's it's it's certainly. It certainly shifted for for 0:18:35.440 --> 0:18:39.600 Deadpool because Deadpool is a very different sort of of 0:18:39.600 --> 0:18:43.840 of of comic book film. So most of that, most 0:18:43.840 --> 0:18:47.080 of that work building out the character of Pyro that 0:18:47.200 --> 0:18:51.000 you know, it all goes back to the original the 0:18:51.040 --> 0:18:53.040 first film that I did, which which was X two, 0:18:53.720 --> 0:18:58.440 and that, in my opinion, was was the most complete 0:18:58.800 --> 0:19:02.320 portrait that you ever see of Pyro. You know, there 0:19:02.359 --> 0:19:04.879 was there was real attention to detail. There were all 0:19:04.920 --> 0:19:10.359 these little moments built in. The screenwriters, Mike Doherty and 0:19:10.680 --> 0:19:15.919 Dan Harris. They were very very careful too, you know, 0:19:16.000 --> 0:19:21.840 to make all of their characters nuanced and complicated. And Piro, 0:19:22.160 --> 0:19:24.720 you see all these scenes where he's he's kind of 0:19:24.760 --> 0:19:28.280 this arrogant, brash young kid. He comes off like kind 0:19:28.320 --> 0:19:31.400 of a jerk, and then they built in these these 0:19:31.480 --> 0:19:36.280 little tiny vignettes and there's this really great moment where 0:19:36.720 --> 0:19:40.720 you know, Piro is staring at a picture of someone 0:19:40.760 --> 0:19:44.320 else's happy family on the mantle and you see something 0:19:44.359 --> 0:19:46.480 going on behind the eyes, and he's sort of clutching 0:19:46.520 --> 0:19:50.240 his his lighter, you know, like a security blanket. And 0:19:52.280 --> 0:19:55.400 you know, so for me, I what I read that scene, 0:19:55.440 --> 0:19:57.440 I said, Okay, you know this this kid's this kid 0:19:57.480 --> 0:20:00.800 has there's some pain there and and and what's his 0:20:01.240 --> 0:20:03.760 family history? This is obviously a happy family. He never 0:20:04.000 --> 0:20:07.239 you know, he never had. And so I, you know, 0:20:07.680 --> 0:20:11.680 for for Pyro and in that film specifically, you know, 0:20:11.720 --> 0:20:15.360 I built in this character who came from a very 0:20:15.480 --> 0:20:22.440 very dysfunctional, difficult, heartbreaking situation with with with his family, 0:20:22.880 --> 0:20:25.159 and it informs who he is and it's you know 0:20:25.200 --> 0:20:28.879 why he has all of these defense mechanisms. You know 0:20:28.920 --> 0:20:31.320 that that he throws up of trying to act tough 0:20:31.359 --> 0:20:33.000 and trying to act cool and trying to act like 0:20:33.040 --> 0:20:35.720 he doesn't care when actually, you know, the exact opposite 0:20:36.440 --> 0:20:39.520 is the case. And he's and he's really desperate for 0:20:39.680 --> 0:20:43.159 uh for love and uh and attention and he doesn't 0:20:43.200 --> 0:20:46.159 even he doesn't even find it. At Professor X's school. 0:20:46.280 --> 0:20:50.920 You know, he's Bobby and in rogue. You know, they're 0:20:50.960 --> 0:20:52.960 the ones who connect and he's sort of on on 0:20:52.960 --> 0:20:55.560 on the fringes of that and he never quite gets inside. 0:20:55.800 --> 0:21:02.680 He never finds somebody until Magneto meets him and immediately 0:21:02.960 --> 0:21:07.480 sort of becomes this surrogate father figure, you know, encouraging 0:21:07.560 --> 0:21:12.199 him and telling him he's special and uh and and 0:21:12.320 --> 0:21:16.360 to come along and find a new family. So that 0:21:16.520 --> 0:21:20.439 was all all that backwork was was done, you know, 0:21:20.680 --> 0:21:25.040 all the way back then in X two and obviously 0:21:25.119 --> 0:21:27.560 pulling what I could from the comics. But as you said, 0:21:27.600 --> 0:21:30.879 it was the character was was very, very different, And 0:21:30.920 --> 0:21:32.679 the reason for that is because I think they had 0:21:32.680 --> 0:21:35.000 a very specific thing they wanted to achieve with the 0:21:35.400 --> 0:21:38.760 Professor X the ex kids. You know, they wanted they 0:21:38.760 --> 0:21:42.920 wanted these young kids, and and they wanted I think 0:21:43.160 --> 0:21:46.080 really because it's a visual medium. What they wanted was 0:21:46.800 --> 0:21:50.399 fire and ice. They wanted you know, Iceman opposite Pyro, 0:21:50.480 --> 0:21:55.119 and they knew eventually those two would face off. So anyway, 0:21:55.200 --> 0:21:58.440 so you know, all that being said, all that was 0:21:58.480 --> 0:22:01.479 still in place when I came in for the for 0:22:01.560 --> 0:22:05.040 the for Deadpool. But the movie just is just a 0:22:05.160 --> 0:22:10.919 very very different tone. So, you know, Deadpool is you know, 0:22:10.960 --> 0:22:13.720 it's it's like a it's it's a body comedy, you know, 0:22:13.760 --> 0:22:16.240 it's a it's it's it's a send up of the 0:22:16.280 --> 0:22:24.320 superhero genre. So it's the Pyro in Deadpool. It's it's 0:22:24.760 --> 0:22:27.640 more of a caricature and and and less and less 0:22:27.680 --> 0:22:28.800 of a of a portrait. 0:22:29.480 --> 0:22:33.879 Yeah, and you kind of talked about the the life 0:22:33.880 --> 0:22:35.679 of a working actor. You don't know which role is 0:22:35.680 --> 0:22:37.560 going to break out, you don't know how long you're 0:22:37.560 --> 0:22:39.640 gonna have to grind. How did it feel to then 0:22:39.800 --> 0:22:42.359 get a call about a character you played, you know, 0:22:42.920 --> 0:22:44.440 a decade and a half ago, and say, hey, we 0:22:44.520 --> 0:22:47.000 want you to do that again, because that feels very unlikely. 0:22:48.240 --> 0:22:51.280 It is very unlikely. It's yeah, it's it's the last 0:22:51.320 --> 0:22:54.720 thing that I expected, you know, as you said that 0:22:54.880 --> 0:22:59.760 was it was like twenty twenty years ago, and they 0:22:59.760 --> 0:23:02.480 had long since moved on from the old cast. I 0:23:02.520 --> 0:23:04.600 think the last I think the last time they used 0:23:04.640 --> 0:23:07.000 most of the old cast was Days of Future Passed. 0:23:07.160 --> 0:23:10.879 I think that was it. And after that sort of 0:23:10.960 --> 0:23:12.679 sort of passed by, that was the last one that 0:23:12.720 --> 0:23:14.880 I thought like, oh, maybe maybe they'll call me back up, 0:23:14.920 --> 0:23:17.160 you know, but but but no, I didn't. So I 0:23:17.160 --> 0:23:18.679 was just like, Okay, well that, you know, that was 0:23:18.720 --> 0:23:24.320 a very fun and interesting chapter of my life that 0:23:24.440 --> 0:23:27.920