Luke Goss

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Interview by Adam M. Polsky

Known for his penchant of playing villains, criminals, and complex and mysterious characters, Luke Goss is anything but the typical run of the mill “Hollywood Bad Boy.” He chooses roles based on the appeal of a challenge, and what he knows will require great sacrifice, all which become just another floundering obstacle left helpless in the wake of a man truly possessed by the art of filmmaking. A true warrior on all accounts—Luke Goss prefers to train to his utmost ability to fulfill the role of specific characters specializing in unparalleled tactical ability and unsurpassed physical agility. From former musician and writer to actor, producer and stuntman, Luke Goss won’t rest or stop dominating every obstacle in his path until he can no longer lift a finger. His greatest characteristic is his keen ability to raise the bar yet still retain a profound sense of modesty and level-headedness. I present to you: Luke Goss.

IFQ: What are your thoughts on the importance of the Cannes Film Festival to the film industry?

 

Luke Goss: I think it’s really important. I think showcasing a film at an event like that generates kind of a fever and has certain glamour to it. The film festival is a great way to network and inject enthusiasm and rapports that flourish to bring great movies to fruition. The smaller festivals are great showcases, too. Obviously, they are not the same thing as Cannes, but they’re great for struggling artists to work their way up and offer an opportunity to eventually get into a larger festival or gain acclaim. Of course, I think a lot of the bigger festivals are kind of ‘public relation’ events for studios and things, but at the same time, it’s still a great platform to showcase talent and films, raising money, and keeping money within the industry. It helps the industry flourish, especially with the current strife we’ve been having in the economy here. I think it’s very much needed.

IFQ: I understand that you’re currently trying your hand at producing.

LG: I am actually producing now.  I have a bungalow on the Universal Studios lot.

IFQ: What inspired you to venture down this particular stress-filled avenue of producing? And do you see it as a fit thus far?

LG: The reason I did it is to have ownership. It’s just a way of guaranteeing some kind of ownership in the product and to have a creative say without crossing any line or stepping into anybody else’s territory. The message is, that we’re making this because we want it to be good and retain integrity; we don’t have intention to compromise quality. To me, that’s a great side of producing. I don’t really like the raising of money part of it, although I understand it’s a necessity. I think there’s an ethos that has to kind of flow through the films you make—raising money and how you deal with people; trying to make people involved with the film feel secure; making the movie; treating people a certain way on set, then getting the movie out there and trying to make sure the people hear about it, see it, and have fun along the way in every aspect of it. It really needs to be signatory of how we work at my production company.

IFQ: Being an actor first, you must’ve brought a lot of humility with you, as well, when segueing into a position of incredible responsibility.

LG: The ethos of my company is that it is a case of the character qualities and collective talent that bring one product to the forefront. I’m a big fan of the idea of giving people the opportunity to shine. I believe film is the perfect environment for that. People’s talents and capabilities constantly surprise me; our conversations are more enthusiastically driven rather than solely financially driven. That way of producing is probably slightly different than those who produce with a binary approach to production, thinking about merely dollars and cents. I always hope that all projects we do will be a very enjoyable experience for everybody involved.

IFQ: I’ve read that you just finished the prequel to Death Race over in South Africa, correct?

LG: Actually, I just saw a little teaser that the director had cut. I was blown away! We had stock footage of the first movie, unseen footage, and we had all the original cars. We had tons of driving and practical training. I’m a massive McQueen fan. As a fan of his, I’ve got to do him justice and actually get inside the car to get the true shots externally, so I did most of my own stunts in the film. I needed it to be believable when it cuts and you see me in the vehicle. I hate when you don’t see credibility in a film.

IFQ: So you do your own stunts!  I’ve heard you had some Navy SEAL training to prepare for specific roles.

LG: When I did Blade II, that was a massive amount of training. The same with Hellboy II. With this one, there was tons of driving, training and combat training. It was a lot like a ‘Bourne Supremacy’ type of training—lots of close quarter combat stuff, and ‘street’ fighting. I had to fight this one guy [in Death Race: Frankenstein Lives] who was a foot taller and had 70 pounds on me that otherwise would’ve easily kicked my ass had I not had specific and aggressive training.

IFQ: What would you say is the toughest training you’ve had to endure thus far?

LG: I think one of the toughest things I’ve ever had to do was in Death Race 2. I was inverted in a car upside down, smoke and flames were all around me. With all the blood rushing to my head, I was crying tears and felt real panic. That emotion and then not being able to properly breathe, and then having to do it over and over again. That was easily the toughest thing I’ve had to do. Being in character and not having any concept of reality and believing the scene entirely. I’ve done a lot of crazy shit, but that was one of the most physically and mentally exhausting experiences I’ve ever had.

IFQ: I’ve noticed that you’re very active in the sci-fi/fantasy/action type genre of film, and you have a significant trend for taking a lot of villainous roles. Do you have a passion for this particular type of work?

LG: I think sometimes those things find you, as well. When I got cast in Blade II, it wasn’t something I was looking for—it just came my way. I met Guillermo Del Toro, and he put me in the movie. I was just absolutely stoked about it. People just ended up liking what I did with ‘Novak’ and the journey just started from there. The last bunch of movies I’ve done however weren’t villains. In Tekken, for instance I play a good guy. In Death Race 2, I play the hero, who is another good guy. You could say actually that he’s more of an anti-hero. I love playing anti-heroes, because they get their hands dirty. I don’t like playing squeaky heroes, gosh no, who are at times even afraid to cut someone. I prefer playing good guys with an edge. Then the next one I’m off to do is, Blood Out, with Val Kilmer and Christian Slater, which is what I’m actually leaving for tomorrow. In this new film, I actually play another good guy.

IFQ: I understand that in a former life you were a musician and writer, but are now completely immersed in acting and producing. Would you say that you’ve finally found your calling?

LG: I’m definitely going to be an actor for the rest of my life, without a doubt! I’ve never been happier in my life. It takes over your life, but I just love it. I want to direct, eventually. I’ve always been fascinated by that ever since I began acting. I think that would be my second passion. And as far as producing, it just makes sense from a business perspective. There are a lot of projects that come my way that may be floundering that I might want to breathe life back into. That, of course, is all from more of a business standpoint. But acting, yeah! I’m definitely going to be doing it for the rest of my life. I love it!

IFQ: Other than being suspended upside down in a flaming and smoking car for hours, what in general would you say has been your toughest challenge thus far working in the industry?

LG: I think the toughest challenge is the common case of being able to retain a sense of self. I think it’s a very enveloping industry. There are many different times when you can get lost in every capacity. But, of course, you need to put your man or your woman first, then keep the industry second, so as to always know whom you are. Especially here in L.A., you need to keep a sense of self so you won’t get lost amid the chaos.

*Photographer : McVirn Etienne.