Mark Interviews 1990+
Mark Hamill
Mark Hamill will forever be inescapably tied to the name Luke Skywalker, the boyish hero he played in George
Lucas' billion-dollar STAR WARS enterprise. But in the nearly 20 years since his stardom
began, he's done much more: He's provided voices for over 200 cartoons, including a recurring role as the Joker on
the acclaimed Batman: The Animated Series. He's had roles in B-movies from
1978's Corvette Summer to last
year's Village of the Damned. His Wing Commander
CD-ROMs have proven to be massively
lucrative. He's starred in seven Broadway plays. And he just co-wrote a five-issue comic-book series,
The Black Pearl, which he plans to develop and direct as an independent motion picture.
The Onion recently
spoke to Hamill about his past, present and future in Hollywood.
In the last 10 or 15 years, you've kept yourself incredibly busy. Yet people still
say, "What's Mark Hamill done since Return of the Jedi?
I feel like I should just make copies of my resume. [laughs] I don't usually have to confront that question, so I don't
have a prepared answer. I mean, there have been highlights and lowlights, no question about it. I tend to live in an
insular world, and I do have three children, and I try to stay as active as I can in their lives, so I don't know that I
really confront either the public or the business at large on that issue. So I sort of take each thing as it comes, and I do
the best I can in whatever project it is. It's weird, though, because I feel like maybe I'm the only one who has it in
proper perspective.
The STAR WARS trilogy was a really good job, and I was glad to be a part of it, but
that is not a forward-looking situation for me. They're going to go on and do their other trilogies, and I'll be there in
line buying popcorn with you guys. But, you know, it's firmly in my past at this point. Also, people who are sort of
single-minded like that, you're not really going to change their impression anyway. You can list everything under
the sun that you've done, and it doesn't make a lot of difference to them.
I never expected STAR WARS to be the kind of project that would be that financially
successful, and yet, both Wing Commander CD-ROM projects were $100 million
projects in terms of profit, and in a town where the bottom line is profits, you'd think that would make a
difference, too. But I still think Hollywood thinks doing CD-ROMs is semi-slumming it. Which is kind of funny, because
they think that way until they see the profits, and then their eyes bug out of their heads. To me, the CD-ROM was one
of the more innovative situations I've ever been in, because it seemed like we were in an area that had never been
tried before. And the possibilities for computer-generated backgrounds -- making certain projects that were
prohibitively expensive affordable -- is what excited me. I thought, you know, if you could computer-generate period
movies -- say, you had a detective story set in the '30s -- you wouldn't have to worry about the cost of the sets. That's
the wave of the future, where you're going to be able to build your multimillion-dollar sets inside the computer, and
that's exciting. The Wing Commander projects, which were enormous
successes beyond anyone's dreams, seemed to me to be an indication of where we'll be in a few years' time. Who
knows?
So now you've got the new comic book, which you're looking to not only adapt into a movie, but also direct.
The only reason I want to direct The Black Pearl is because it's like composing the
music and then finally wanting to conduct the orchestra. I'm not sure I want to go and be a director for the rest of my
life, but I also don't want anyone else to do it at this point, and I want to see if I can, with a kind of
single-mindedness, will myself into seeing it all the way through to the end.
Critical, of course, in that goal, is getting people to go out and buy the graphic novel, because I know it won't hurt if
it's based on a successful something-else, whether it's a record or a novel or a comic book, or whatever. It helps when
you can say, "Based on..." There's an irony here: In our contract it says, no matter where the film was made, even if
Dark Horse doesn't make the movie, it has to say, "Based on the Dark Horse
comic book" -- the irony being that we wrote it as a film, so we're sort of coming full-circle by being diverted into
drawing it as a book, and then coming back and making it as a film. But, you never know. I thought, "Let's take a real
lurid, trashy piece that'll really appeal to the lowest common denominator. Aim low." This is what I say to my
children. Aim low, and you will not be disappointed. [Laughs]
To me, I loved being part of George Lucas' extravaganza, but I've played much more interesting roles. More
dimensional, and with more gray areas. That's nothing against George: I mean, obviously a fairy tale is going to have
those sort of black-and-white characters. And not only is it a fairy tale, but it's for small children. But in terms of
character parts and comedy, I did lots of more interesting stuff on Broadway. And then, of course, in animation you're
playing all kinds of character parts. I mean, if you're not really having fun, if you're not doing new and interesting
things to challenge you, don't still do it.
I don't have a drive to be out there just to be out there. Otherwise, I would have taken a TV series or hosted game
shows or done a lot of things that have been offered to me over the years, just to keep my face out there. And that's
not me. In fact, I made up a game show. I went out and pitched it, and people were, like, "Well, we like it this much
with you as the host, and this much without you as the host," indicating very little. And I thought, is that really what's
going to happen to me? I'm going to turn a certain age and turn into a game-show host? That almost sounds like a
Twilight Zone plot.
And imagine what people would say.
Well, yeah, but again, I'm not someone who -- I guess I care what people say, but there's a certain point where
you hear so much in this town, it's like, it all bounces off like bullets off Superman's chest. Because, what hasn't
been said? This is a town of talk and rumors.
So how do you envision the making of the The Black Pearl movie?
Well, we saw it as an independent film, and when you're an independent film you can be defiantly independent. I
say, if you're not going to do a big, gigantic formula picture, why not surprise people? Because the trouble with
these gigantic budgets is that there's so much at stake; they have to do focus groups, and committee analysis, and
all of this stuff. They show Fatal Attraction, and the audience doesn't feel
Glenn Close is punished enough, so they go back and do a reshoot of what would probably be the entire budget of
The Black Pearl. You know, because we see this thing as, like, five million
dollars or less, and we think you've got to take advantage of what you have going for you, and what you have
going for you as an independent film is that you can really surprise people. Part of this was trying to get to a place
in a script that's not a fantasy, where the audience wouldn't bat an eye when one of the characters decides that
putting on a costume and going out into the night to fight crime is a reasonable option.
The comic is what's actually been kind of a challenge for us, because a lot of things that'll work in a movie won't work
on the comic-book page. A good example is that at one point, and you've seen this a million times, the protagonist is
in the antagonist's lair, and the antagonist arrives home. This is known to the audience, but not known to our
protagonist, or not yet, so you milk the suspense out of that as much as you can. In a comic-book situation, you'd have
to have a guy with a thought balloon, thinking, "He's home!" So that whole sequence, which maybe lasts four to six
minutes on the screen, becomes two panels. I would say that the process we went through to get it into a comic-book
form that was compelling, and that made you want to turn the page, was not an easy one.
So are you going to act in the movie?
I doubt it. I mean, originally, I wrote it thinking, "Hey, I'll play the lead." But then, that's what made me realize, "Hey, I
must be becoming a director," because I started thinking of all these people I would like better than me in the part.
Who would you like?
Well, a real wish list would include someone like Kevin Spacey. There's lots of people that we liked, you know what
I'm saying? The character's not so firmly etched in our minds that we wrote it for a specific person. But that's an
interesting question, because depending on who you go after, that sets the tone for what kind of movie it's going to
be. If you got somebody huge, that would complicate me directing it, because if you got somebody who's so far
advanced -- say, let's just pick somebody like Tom Cruise - -well, there's going to be a certain list of directors who
will be acceptable to him, and I can guarantee you I'm not on it. Mostly because when you get somebody of
that stature, there's no way it can be less than $50 million. Probably more like 80.
The way I see it, it'll be an ensemble of all unknowns, but I'm living in a dream world. I like going to movies where
you don't know who people are. It's like Dustin Hoffman playing Lenny Bruce; do you ever really forget it's Dustin
Hoffman? I don't know. So there are advantages to lesser-known people, and believe me, I know so many people
I've worked with on stage, off Broadway, on Broadway, on the road, and in voiceover, who are not big names, but
are superb actors. So who knows? Time will tell. If the script is as good as we hope it will be, and it can get to
the right people, all we probably need is one anchor centerpiece.
Are you pretty much at the point where you figure you might as well have control of
a project? You're in a situation where you can say that if a project doesn't go well, it's not like you're ruined.
Yeah, it's not the end of the world. I'm very pragmatic about that. I didn't expect, nor have I become, a major
box-office draw on my own. Hey, I'm not exactly the Unabomber, okay? Although people in this town, I'm sure, react
in a negative way when they feel like maybe I should be much more successful than I am. But I don't know if it's
that I've got the horse blinders on -- or I'm just so grateful for what I do have in my family, in my home life -- that I
probably took way too long in New York because I liked it so much. I loved doing one show after another, and
having that finite schedule: eight shows a week, and you knew you didn't have to be shooting downtown at four in
the morning and sleeping until noon and not being able to see your family. Aside from Saturday matinees, you
know, I went to work on Broadway when the kids were starting to go to bed anyway. And for Wednesday
matinees, they were in school and it didn't make a difference. It really was the ideal schedule when the kids were
younger.
But now I come back and I see, wow, my stock has really fallen here. And the only thing that'll get it back up is to
create something that people want, something that I own. So I think that in a way, it took me too long to realize that I
need to create something that's my own. It's a problem with being so associated with something that is so much
George Lucas', because I can't really go out and exalt in the fact that I was Luke, and I can write this story, and I can
be in this CD-ROM game. It's like, you're part of this gigantic entertainment juggernaut, and the way it is is that my
contract is done. They don't owe me diddly-squat. I tell people, yeah, I was Luke for six years, but that guy's had
more adventures since the movies than he ever did when I was playing him. And I'm talkin' about comic books and
games and novels and role-playing games and everything else. It goes on and on. I mean, I'm in awe. George is the
prototype person to be like. I don't know that I would create an entire other universe -- most of my projects are set in
the real world -- but I love doing things that I've never done before, because you're using muscles and skills
that you've never ever exercised.
With animation, you know, there's nothing keeping you back but yourself. I didn't really think of it at the time, but
someone said to me when I got the role of the Joker, "What does it feel like to be playing one of the biggest villains
and icons since Moriarty in Sherlock Holmes?" And the other person
said, "Yeah, and following Jack Nicholson in the role." And I went, "Oh, my God." This is after I got the part, and I
hadn't recorded it yet. I'm thinking, "What the hell did I get myself into? This is the end of my career." And yet, by
putting Jack Nicholson out of my mind, if I had consciously thought of him when I was recording, yeah, I probably
would have really folded in the crunch. Ironically, that's an animated cartoon (Batman: The
Animated Series) that to me illustrates exactly the kind of offbeat character comedy/dramatic role that I
excelled at in school, that I thought I would be able to continue in a professional career. But that's not really the
case. You maybe wonder sometimes, "Gee, did I get myself set up wrong? And how long is it going to take for me
to right the wrong and make people think of me in a different way?" Never get complacent, that's another thing. You
always try and set your sights for new horizons. I sort of jokingly said to you, "Aim low." But what I wanted to do
with The Black Pearl was work in a realm where it would work on two
levels: On one hand, the drive-in crowd and the rednecks would love this thing because it's kind of a vengeance
fantasy. And on the other hand, I think we put some elements in there that call into question our responsibility, not
just as journalists but as a civilization -- and talk about that loss of civility, that invasion of privacy, that instant
celebrity.
So I see my chance, and I'm taking it. It's taken longer than I thought. And I have to step back. I mean, there are
those out there who see nothing but Wookiees and droids when they see me. But like I say, maybe it's better to be
associated with something that makes people happy than something that makes people sad.
You could be forever associated with the Village People movie.
[Laughs] Can't Stop the Music! I know! I know, so it could always be worse. I'm so grateful for three incredible
children who are all so different, and I don't think I'm the perfect dad, but boy, I'm sure trying. It's priorities, too. I
mean, once you have a certain amount of financial security -- and I say a certain amount because, God
knows, everybody including the IRS has way overestimated my wealth -- you do have a chance to breathe a little
easier and not have to take that job that you're not really anxious to take just to put bread and butter on the
table. But right now, I couldn't be colder in Hollywood. No agent has rushed to sign me, because I don't want to
rush off and do a TV series where I play a detective whose dog thinks out loud, which is pretty much where I am
right now. And if The Black Pearl doesn't go, I'm working on a children's television
show, because I want to work with kids and I like kids. You just keep on keepin' on, as the Bradys sang.
The Onion, 1996