I do remember going on some of the interviews and you talk to the guy next to you and say, "If you get this part, are you going to do it?" "I don't know, man. The thing where you're eating the rats?" You didn't know if you were going to actually do this stuff.
I ended up not, and, for me, luckily, 35 years later, I get to do with Quentin Tarantino. So I'm happy about that.
: How was this experience different from working with other directors?
: His set is a circus. It's just a fun time. He is a very secure person in what he wants to do. He is very open in talking to you about what it is you want to do to try to help, you know, make his vision come onto the screen.
The day itself is just a blast, because he likes to play music during the day, and he works really hard, very -- not self-indulgent at all, shoots fast, shoots long, shoots hard, plays hard. Just a full day where you get to create. For anybody who has ever thought about getting into this business, a day on Quentin's set is exactly what you envision. You're supposed to go up there and just create and have fun, and have a great time, and you do.
: Tell me about the character you play.
: Stuntman Mike is just a guy who's at the bar, is fairly charming and a little creepy, but his simple story, you know, is that, yes, he uses his car as a gun. Psycho, psycho bad guy, weirdo. Coward. Crazy.
: Hollywood is criticized for being very violent. Do you ever have any compunctions about doing a movie that's very violent?
: No, I think if violence belongs anywhere, it belongs on film. These movies are so extreme that, hopefully, you get to a place where you realize you're able to just laugh and have a good time with this.
We are human beings. We have the ability to look at ourselves and evaluate ourselves and evaluate our behavior. And, yes, I think that we don't like to see violence on the streets, but violence is part of our life. It is part of our world.
The only place I think you should experience it, perhaps, is at the movie theater. And I think that, in the old days, that was an understood thing. You just sort of understood it. You sat there. You had the safety of being in this room, this theater, and it was all happening up there, and you could live vicariously through that. Personally, to over-intellectualize it and try to justify the fact that it can be brought into society by introducing it to society, I think it's the cart before the horse. But that's just my opinion.
: You don't think that pop culture, film, television have any role in our society becoming any more violent?
: Yes, I do. I think that comes because of the Fourth Estate's assessment of it. I think that once you romanticize a notion, true or not, you can create a concept. And once you have created the concept, I think there are a lot of people out there willing to run with the ball.
But I don't think that that was ever the intention of the people who created it in the first place. It used to be something that was laughed at. It used to be something that you giggled at or you guffawed at, like you do with "Grindhouse." You look at it and somebody's arm comes off, and you literally turn to your buddy. You go, "Oh, no -- " It didn't mean you're going to go out and get a machete and do that.