조쉬 브롤린: 연기 여정과 상징적인 역할

### 조쉬 브롤린의 여정: 구니스에서 듄 그리고 그 너머까지
* 🎬 조쉬 브롤린은 촬영 중 대사를 잊어버려 **마크 러팔로에게 유머러스하게 도움**을 요청했던 촬영장의 순간을 회상하며 배우들 간의 동료애를 강조합니다.
* 🎥 브롤린은 자신의 초기 연기 경험을 회상하며 아버지의 경제적 어려움으로 인해 처음에는 연기를 포기했지만 결국 **연극 수업에서 즉흥 연기의 즐거움**을 발견하게 된 과정을 이야기합니다.
* 🌟 브롤린의 성공은 수많은 오디션 끝에 이루어졌으며, 그 결정적인 순간은 그가 인생을 바꾼 경험이라고 말하는 **'구니스'의 여섯 번째 콜백**이었습니다.
* 🏴 그는 영화 '구니스', 특히 **해적선 세트 촬영의 흥분**과 영화 제작이 항상 그렇게 재미있고 순수할 거라고 순진하게 믿었던 시절을 회상합니다.
* 🧠 제작 과정에서 그는 스티븐 스필버그 감독에게 **영화 속 터널에 대한 깊은 은유**로 접근했지만, 단순하게 유지하고 연기에 집중하라는 조언을 들었습니다.
* 🎭 브롤린은 수년간 연기를 떠나 있다가 **커리어에서 새로운 성공**을 거둔 케 후이 콴과 같은 전 동료 배우들과 다시 연결되는 감동적인 여정에 대해 이야기합니다.
* 🎞 '시카리오'에 합류하게 된 브롤린은 처음에는 프로젝트 참여를 망설였지만 **로저 디킨스의 설득**과 **드니 빌뇌브 감독과의 협업 환경**이 신선하게 느껴졌다고 말합니다.
* 🌌 브롤린은 MCU에서 타노스 역을 맡았던 당시를 회상하며 **캐릭터의 복잡한 동기와 모션 캡처 기술 작업의 독특한 어려움**을 설명하며 연기에 대한 확신이 얼마나 중요한지 강조합니다.

조쉬 브롤린의 연기 여정은 영화 제작에서 창의성과 협업의 변혁적인 힘을 보여줍니다.

- I'm on the ground and
the cameras are on me, they're off camera,
and I looked at Ruffalo and I forgot my line,
and I go, "What's my line?" Like he would know, it's
a different character, 

it's a different actor. [upbeat music] - [Crew Member] Key iconic
characters with Josh Brolin. Scene one, take one. - Okay. [upbeat music] The Goonies. My dad's not home, Mr. Perkins. 

- Is your mommy here? - No, sir, actually
she's down at the market buying Pampers for all us kids. - I went down to live with my dad and I had this idea of
like maybe I should try 

this acting thing out because
I had done a theater class in my high school and I never got it and I never wanted to do
it because my dad did it and I saw the financial
fluctuations that he went through and I thought, "Why would
anybody wanna do this?" 

This is just dumb. So I took a class and we
improvised in that class and I got up there and it
was like some middle-aged guy from the East coast and I
don't know where it came from, it just popped in my head and
I said, "I guess I'll try this." 

Anyway, there was a lot of laughter and I remember how it felt, and it was like that thing that you hear where something just
clicks and you're like, "Oh, I want to do this. Like this is super scary, super
uncertain and I like that." 

So when I went to go
out and look for agents, I hadn't done anything, so
I like made up theaters. I went on like 300 auditions before that and then I think the 301st or 312th or whatever was a Goonies audition.

I was asked back six times
before they said yes. - We can't go, we can't
leave all that gold, that's your future. - No Mikey, we stay here and
we got no future, now come on.

Come back for it later. - All that rich though. - Come on!
[Mikey yelling] - [Interviewer] The pirate ship. Don't ruin my childhood or anything, but how cool was that set? - It was amazing.

They didn't let us see
it for the longest time. Five months, something like that? But super, super, super cool. I'm saying that in all honesty, there was nothing not cool about it. Anne Ramsey, she was
really old at the time,

so she would get close to the plank and she would get really and
she's supposed to be tough. Robert Davi, Joey Pantoliano, us pocketing doubloons and all this stuff, I wish I knew where those were, I don't.

[dramatic music] You take the plastic
gems that are supposed to be real gems you throw them in the air and you're all like yay. [laughs] It was a really innocent
time and a really fun time, and I thought that's how movies
were done and they weren't.

I remember coming up to
Spielberg at some point 'cause I was reading Stanislavsky and even though he didn't direct it, he was there pretty much
every day and I said hey, like don't you think these
tunnels are like my mother's womb

and that like that I'm
scratching to get out of the womb and that I need to be born again but it's a different, whatever I said. And he looked at me and he goes just act. And I was like, I know but,

and he wasn't being like rude, he was just like don't over complicate it. Just get in there, look
around, listen to people, and just do your deal. [laughs] - I'm serious Brandon, that's not funny.

He takes one step outside
and you are in deep absolutely the deepest- - Shit, ma. - I don't like that language, but that's exactly what
you're gonna be in. - I mean it was great though.

You were like the big brother,
all these amazing kids and these kids had worked. - They can't wait until
tomorrow when they foreclose on all the whatever you call it. - Ke Huy Quan, he'd done Indiana Jones

and then you have this thing
that like he quit acting, he was doing stunt coordinating. You can go, oh that person had
their time and they're done and then 20 years later,
bang, they have a time again, it's a different time, it's
a totally different setup.

So emotional and so available and you go like how? Like why now as he's lived this life? There was so much that he brought to it, very happy and proud of him. When people haven't seen The Goonies, I think that something might be like wrong

with their DNA or something, you know what I'm saying? [laughs] It's the fact that it's become like part of the fabric. It's the only movie I've done, maybe 'cause I haven't been alive long enough,

I see it go generation after generation after generation. So people are showing their kids now and they're really excited showing their kids because they remember the experience that they had when it first came out, and that's a really satisfying thing.

[upbeat music] Sicario. I had turned down Sicario strangely enough with Denis a couple of times, and Roger Deakins had said to me at some point, stop being an asshole and get down there, your face is on the drawings,

and I was like okay, I'll stop being an asshole. [laughs] I know I was being an asshole, but Denis had said this thing like we're gonna develop it and all that and you hear every director say that and it's usually bullshit

and it's kind of a go-to for every director to make the actor feel like super important. Anyway, we did develop it and Denis is that kind of director where he's like what's working? What's not working? And this is what we had planned but it doesn't feel right,

so let's try something else. - What are we looking for? - Just keep watching. In the beginning I told
Denis like I need a hook, like there's something that I
need to have as a foundation and a base that I can always rely on,

that I can always fall back on. And I was doing that first
scene and I was really nervous, I got really nervous and if
that's called for in the scene, then great, but it wasn't
called for in the scene

'cause I was like supposed to be super confident, whatever. [laughs] Denis pulled out, I think
he pulled out a piece of gum to chew it himself and I said, can I have a piece of that gum? And I put it in my mouth and
I said, I'm good, I'm there,

and it was the gum. The gum became almost like its
own character in the movie. There's a scene at the end with Emily that we had created maybe
15 minutes before we did it in the middle of the night. During that scene,
because it was so intense

and so kind of face-to-face, there was a moment where I looked away like just kind of getting myself together and deciding what I wanted to do given that she was
gonna go tell everybody. You listen. You went out the wrong tunnel.

You saw things you shouldn't have seen. When the reality was I forgot my line and I looked and I was [laughs],
where is that *f*cking line? What is it, what did we just write? But he didn't cut around it, he used it

and that's another great thing about Denis is that he uses things and
it feels like a family, it feels like a team as
opposed to, "Oh, I'm an actor and I want to have an idea. I have an idea!"

Oh, oh, oh! As opposed to just all of us kind of like, "What's the better idea? Craft service has a great
idea, let's use that one. Doesn't matter where it comes
from as long as it's right."

Told us about a tunnel east
of Nogales near Sasalba. Now we're trying to find out what areas near there migrants avoid so we can find the tunnel. I remember Denis coming to my trailer and knocking on the door
and it got to the point

where I would say, "Go away" because I knew that
Benny, Benicio del Toro, the less Benny said, the better. So then they would give it to me because they go, "Josh likes to talk a lot, why don't you just give it to Josh?"

And I didn't want to necessarily
have all the dialogue in the movie, but it worked
out because he'd come in and we'd figure out how
to fit in exposition or whatever and try to make it behavioral, and it was a cool process in the end.

[upbeat music] The MCU. Who is he? A super good guy, just a
guy that is like a neighbor. He's like a neighbor. He's just purple and big. This universe is finite,
its resources are finite.

If life is left unchecked,
life will cease to exist. It needs correction. - You don't know that! - I'm the only one who knows that. At least I'm the only one
with the will to act on it. That, to me, is the most
interesting question.

and because people go look, he's talking about getting
rid of half the planet in order to save half the planet. It's just a ratio reality
that he's talking about, but then what's behind it? What's the intention behind it?

It's just an excuse to kill,
it's an excuse to take over, to leverage, or to power,
and all that kind of stuff. It's almost like watching
a Quentin Tarantino movie where you cringe but you
don't leave the theater.

Like do I want to see violence on this? But there's something about the violence and the behavior behind the violence that has reason to it, sometimes. When they asked me to do it, it was more like a cameo early on and they gave me this huge
bible of this character Thanos,

and I went through it and I got so into it and I didn't expect it at all, like I almost said no just
'cause I was like, 'Marvel and I don't know and it's
not really what I do,' and I think that's what was so fun

about playing that character
was the psychology of it, the behavior of it. And then the Russos would come up and they'd be like, 'Remember
that scene in Scarface?' And you're like, 'What?' Yeah, remember that guy with a chainsaw?

Yes, do that but with your voice. Well, well. What a great direction. - You should have killed me. - Would've been a waste of parts! Working with people who are absolutely and utterly committed to their vision and their imagination

and how to convey it in a way that's inspiring will forever be inspiring to me. I just wanna be around those people all the time. But like improvising is when you're like okay, let's do a take where say you don't throw her off the cliff?

[laughs] Okay. You have 1500 dots on your face and you're in a onesie with a lot of Velcro on it and you don't feel like you're the most powerful person in the universe, but I did wear the glove all the time

'cause I liked the weight of that glove, so that offset the onesie. [laughs] When I was looking through YouTube, Benedict Cumberbatch, Smaug, what did they say? Smaug for the Hobbit.

He had the same onesie on, he had the same dots on, and all that, and I was so blown away that that kind of inspired, like you learn the same lesson again and again and again, you just further it every time

and you're like it's all about conviction, it's all about how much you lend yourself. I am inevitable. When I was finally in a scene with people who I knew, Ruffalo I knew, Don Cheadle I knew,

so we had a scene that we did together. I'm on the ground, the cameras are on me, they're off camera, 
and I looked at Ruffalo and I forgot my line and
I go, "What's my line?" Like he would know, it's
a different character, 

it's a different actor, and
he looked at me and he goes, "I don't know," and I go, "You
have to know! What is it? What is it?" And I knew it was coming and like Chris is off
there saying something, 

I don't know what he's saying,
picking up his big thing, and I go, "What's the line?" And he actually gave me the line, and I remember I thought
that was so funny, I was like, "How the fuck
did you remember the line?"

Ruffalo is the nicest human
being in the world [laughs], and the most giving human being. That's my favorite memory
of doing that movie. [upbeat music] Dune. Come on. Come on. - Old man. 

- Having worked with Denis before, I think it was something that he thought that I wouldn't do for whatever reason, and when he offered it to me, he said, "I'll send you the
script" and I said, "No need 'cause I just had a feeling first of all

and it was Denis second of all. And then it turned out
that it was gonna be a lot of work [laughs], so
I had to deal with that. It was very, very, very physical and I wasn't necessarily in
the best shape at that point, 

but then when you're in a place
like outside of Abu Dhabi, there's a different feeling
because we were surrounded by a hundred kilometers in every direction of nothing but sand, and my body changed. So it was like everything that you have

or that I had planned for the movie suddenly became a moot point. It started taking on its own
life, you know what I mean? And you're out there and you're like, am I in good shape and am I this?

And it's all kind of cosmetic, and then it starts to
affect you in the ways that it affects you and you
start sleeping out in the sand, not as an affectation but as something that is pulling at you, something that I've written about a lot.

We have a book coming out in the fall and Greg Fraser and I did two books for Dune one and Dune two, and a lot of that writing
is around that time and remembrance of that time, and there's something
about the spiritual aspects

without it being the
trend word, spiritual, the spirit aspects of
being out in the desert that are so overwhelming,
kind of like the sea, I find it beautifully right-sizing. My lungs taste the air of
time blown past fallen sand.

You're talking about the greatest actors and so you have, in a group, you have the newbies that are amazing, you have the veterans, and then you have like
the legendary actors, Chris Walken and Charlotte Rampling,
and they're all in one room

[laughs] And you're like, "What the fuck am I doing here, man? This is crazy, this is crazy!" And is there professionally anywhere else I would rather be? No. And then helming the whole thing is a guy

who is not only my good friend, but I have incredible immeasurable respect for. I've been fortunate enough to do a few movies like that and if it all goes to shit now, I'm still good. [upbeat music]

"No Country for Old Men." I don't come back, you tell mother I love her. - Your mother's dead, Llewelyn. - Well then, I'll tell her myself. Lucky, pure luck. I had read for it, I had read for it

when I was doing Grindhouse, we had done an audition tape that Quentin Tarantino kind of helped to direct and Robert Rodriguez, who was my friend, said, "Why don't we just use our camera?" I did that, sent it to him, never got a response.

My agent had gotten Ethan's phone number and said, "Please, I know this is it but just see him." And they sent me six scenes and I studied the six scenes and I went down there. I stopped at like a Boot Barn on the way down

and grabbed a cowboy hat 'cause I didn't have mine, and rubbed it on the asphalt a little bit, put it on, and who I think was gonna get it came out and they were all laughing together, was uproariously laughing like a family,

and I was like, I know
I'm never gonna get this. And I went in there and I
read and Joel stared at me and then Ethan asked me, can
you do a West Texas accent? And I said I was, and he said, oh good,

which I didn't understand, and then I left and I thought I read for the Coens, that's super cool and I always have that, but there was not a chance I
felt like I was gonna get it. And then they called me
at about noon that day

and they said, would you like, would you be interested
in doing this movie? Lemme check. Hold on a second [laughs],
lemme check my schedule. I haven't worked in 12
months, yeah, I'll do it.

So it was luck, I mean it was luck, and just something very particular that they were looking for that I think they found in me for that. - I need to know that. - Keep running that mouth of yours, I'm gonna take you in
the back and screw you.

- Big talk. - Keep it up. I would call like West Texas,
different motels and all that and I say hey, I'm
thinking about coming in and where should I, do you have room or what's good to do around?

And then you start conversations
with people over the phone and I would record them, and
I had stopped at a gas station and I heard some guy and I
was like, where are you from? And he goes oh, I'm west
Texas, and I was like, no shit?

That was the voice that I used. - Don't worry, I'm not
the man who's after you. - I know that. I've seen him. - [Interviewer] You
wanna talk about Scooby? - Scooby?

Scooby was the pit bull that
was used to come after me. [dog barking] It was a trained dog. It's like you don't have to
worry about getting hurt. And then at one point
he wasn't following me,

we're doing it over and over and over, and they gave me was a chew toy. They go have him see
you put it in your pants and then he'll come after it. Meaning he'll come after you
and then you're in the water

and then you're freezing
and then you're trying to keep your face above water and you're not able to use your right arm and then you look back
and you see this dog's just like [snarls], I just
can't wait to just eat you

but he wants to eat the
thing that's in your crotch, so even if he doesn't eat you,
he is gonna eat your crotch and that's never a good thing. He got closer and closer
and I went with one arm

trying to get under,
but I couldn't get under 'cause I had the floaty in my crotch. So I reached down and
I'm pulling at this thing and I'm trying to get it out, but my pants are wet so
they're stuck to my stomach

and stuck to my legs, and finally I rip it out and probably ripped something else with it and then threw it away and then he didn't care about me. [snarls] He went another direction. But yeah, Scooby was [laughs] super scary.

Then you look over at the Coen brothers and what are they doing? They're not concerned about their lead actor in the least, like not even for a nanosecond, just laughing, smiling and laughing. [upbeat music]

True Grit. - Any harm comes to that child, you do not get paid. - Harold, lemme ride up with you. [Harold laughing] Harold, I will pay you $50 outta my winnings, I am not heavy.

We were rehearsing in Santa Fe, we did that in Santa Fe too, and it wasn't a huge role but it was like a thing that I was doing and it just didn't work, and I knew it didn't work and they never said anything,

but I'd looked at Ethan and Joel at one point and I was like, this isn't working, is it? And they go hmm, I don't think so. And that's the kind of collaborative, egoless kind of place

that you get to and you're like okay, what do I do? And they used to be rehearsing with Matt Damon and be like, let's scream our lines, you're in a panic at that point, and then this kind of like somewhere

between like my aunt and Michael Shannon and he was kinda like him, talk like this, right? I don't understand what you mean, what do you mean? We looked at each other and we go, is that it? And I go, maybe.

I know you. Your name is Maddie, you're little Maddie the bookkeeper. Isn't that something? But it was like there was no way you were gonna do that, like who would do that? Nobody would do that, that's just dumb.

that's like career ending but fuck it, we did it and it worked. I lost a bunch of weight. I have a big skull, I have a big head, so the more weight I lose, the bigger, it looks like somebody's pumping up my head.

so that made him look more awkward than I already look. And then we took a knife and we cut my hair, so it's kind of like what would it be like for those guys back there? They didn't go to the, maybe if they were in town,

they went to a barber, but I doubt that this sociopath went to a barber, you know what I mean? Well, I don't wanna spend that kind of money, I'm gonna do it myself. And then it becomes fun, and it was a great moment

that Joel and Ethan kind of took advantage of and it just came out of like, it was just an ad-lib movement, and was talking to Hailee Steinfeld's character and that's when you see him change 'cause he looks like a child before that.

like a Lenny type, from *Of Mice and Men*, and then he moves his head a certain way and then everything changes, and that's when it starts
to become like a shorthand and you see how it works
better for the movie.

Something that you may not have
seen had they not done that, but then you see it because
they piggybacked on that. From that point on, it became like three
brothers working together. [upbeat music] *Men in Black 3*. 

My granddaddy always
said, if you got a problem that you can't solve, helps
to get outta your head, pie is good. - Pie? - Yep. - Your granddaddy, heavyset man? - A little bit.

Barry Sonnenfeld called me and said hey, do you want to do this? I heard this impression
when I was out with Josh and the Coen brothers and he convinced the studio that I should do it. And then I went down to
Mexico with my computer

and GarageBand and
the first *Men in Black*, I didn't like watching
the second *Men in Black*, but the first *Men in Black*, there was something about his young tone. - The only comfort I
can offer is my promise that tomorrow morning he
won't remember a thing.

- And I watched it over and
over and over and over and over. And I don't know if it was
I had to unlearn what I had, the little funny thing that I
had done and then relearn it, I don't know what it was,
but I just kept getting worse

and worse and worse and worse. It's funny because like
when you do an impression, when you do a drunk impression of Tommy, that's one thing and
it's like people laugh or you sort of got it, but
the truth of the matter is

getting Tommy is an impossibility. Tommy could never do
Tommy. It's so disconnected and it's so like the lilts
are all over the place and they don't repeat
themselves and they change, and I was in again, total panic,

and then eventually I got a line. So when we got to set and I
did my first scene with Will, who I didn't know very well, and Will was doing all
this stuff to get ready. Some people like to do
things and he was going wah!

Wah! And I was like, what the fuck, man? And I'm trying to focus and I'm super nervous
about doing this voice and whether it's gonna work and the mannerisms are gonna work. Now I know what you look
like when you're lying.

Josh Brolin Breaks Down His Most Iconic Characters | GQ

For more than 50 years, GQ has been the premier men’s magazine, providing definitive coverage of style, culture, politics and more. In that tradition, GQ’s video channel covers every part of a man’s life, from entertainment and sports to fashion and grooming advice. Welcome to the modern man’s guide to style advice, dating tips, celebrity videos, music, sports and more.


촬영장에서 대사를 잊어버리고 동료 배우에게 도움을 요청합니다.

초기 연기 경험과 아버지의 경력으로 인해 처음에는 직업에 대한 거부감이 있었습니다.

고등학교 때 즉흥연기와 연기에 대한 열정을 발견했습니다.

구니스 오디션 과정은 수많은 콜백을 수반합니다.

인상적인 세트 디자인과 출연진과의 상호작용 등 구니스 촬영의 추억을 소개합니다.

구니스 촬영 당시의 순수함과 재미를 되돌아봅니다.

드니 빌뇌브와 함께 시카리오 작업하기

처음에는 '시카리오'의 역할을 거절했다가 권유 끝에 수락했습니다.

빌뇌브의 협업적인 연출 스타일과 촬영 중 적응하려는 의지가 돋보였습니다.

캐릭터의 기초를 찾고 초기 긴장을 극복하는 것이 중요합니다.

껌 한 조각을 도구로 사용하여 캐릭터의 자신감을 찾습니다.

에밀리 블런트와 함께 강렬한 장면을 자연스럽게 연출합니다.

빌뇌브는 예상치 못한 순간을 영화에 녹여내는 능력이 뛰어납니다.

처음에는 역할에 대한 거부감과 예상치 못한 캐릭터의 깊이를 느꼈습니다.

타노스의 행동 뒤에 숨겨진 복잡한 도덕적 질문을 탐구해 보세요.

MCU의 폭력성을 쿠엔틴 타란티노 영화의 폭력성과 비교해 보세요.

루소 형제와의 협업 과정과 다른 영화에서 얻은 영감.

연기에 대한 헌신과 신념의 중요성.

즉흥연기와 타노스 코스튬 착용의 어려움.

드니 빌뇌브와 함께 듄 작업하기

처음에는 드니 빌뇌브에 대한 신뢰를 바탕으로 역할을 수락했고, 나중에는 신체적 요구 사항을 깨닫게 되었습니다.

아부다비의 촬영 장소가 그의 신체적, 정신적 상태에 미친 영향.

사막에 있을 때의 영적인 측면과 그것이 그의 연기에 미친 영향에 대해 이야기합니다.

전설적인 배우들과 함께 일하며 겸허한 경험을 할 수 있었습니다.

코엔 형제와 함께 '노인을 위한 나라는 없다' 작업하기

직접 녹음한 오디션 테이프 사용을 포함한 오디션 프로세스.

오디션 준비와 서부 텍사스 억양 개발.

예상치 못한 역할과 초기 불신.

현지인과의 대화를 통해 캐릭터의 억양을 연구하고 개발했습니다.

유머러스한 일화를 포함하여 장면에 사용된 훈련된 개에 대한 경험담.

코엔 형제와 함께 트루 그릿 작업하기

코엔 형제와의 협업 과정과 그들의 기꺼이 공연을 조정해준 덕분입니다.

비명 지르기, 즉흥적인 기법 등 캐릭터에 대한 다양한 접근 방식을 실험해 보세요.

캐릭터의 외모와 행동에 대담한 선택을 합니다.

브롤린과 코엔 형제의 협업으로 캐릭터의 묘사에 큰 변화가 생겼습니다.

설득력 있는 인상과 토미 리 존스의 매너리즘을 포착하는 것이 쉽지 않은 역할이었어요.

인상을 연구하고 완성하는 과정입니다.

토미 리 존스의 독특한 스타일을 정확하게 묘사하는 것이 어려웠습니다.

윌 스미스와 배리 소넨펠드의 감정적 반응이 담긴 첫 장면.

브롤린의 연기에 대한 감독의 감정적 반응과 윌 스미스와의 유머러스한 상호작용이 돋보입니다.