Not placating or pandering to any convention." I'm hanging my hat on reality and humanity, not morality. I saw these as very determined, singular-willed fringe characters, arresting and kind of scary. I didn't go after Killer Joe, Billy Friedkin came to me for it. "Somewhere in that endurance, after a year or two, other films started coming. I was looking for something to be turned on by."įor a moment it seems as if McConaughey is talking about a parallel career as a gentleman escort of rich, lonely women. Another one comes with a big old paycheck I had to say no. I decided to sit out, and I had to endure for a while. I didn't know if I wanted to do any more. "Romcoms are hard in a lot of ways: they're built to be buoyant. Graciousness fails to desert him for a single moment. The Texan drawl oozes like room-temperature honey.
#Serial hunter matthew mcconaughey full
In the flesh, the full McConaughey affect is undeniably leonine. So what's going on? Is he really leaving the romcoms behind? You hardly dare ask.
What price the star of Ghosts of Girlfriends Past becoming the toast of the world's premier art-cinema showcase? Somewhat improbably, The Paperboy was one of two McConaughey films selected for competition at last month's Cannes film festival – along with the admittedly more conventional Mud, a sort of modern-day Huck Finn. Perhaps most amazingly, in The Paperboy, an adaptation of Pete Dexter's blood-heat thriller, McConaughey dabbles in some serious gay S&M. Magic Mike, the new Steven Soderbergh film, doesn't exactly tear up the rulebook by casting McConaughey as a thong-waggling male stripper, but the likes of Hudson and SJP are conspicuous by their absence. It's not too much of a stretch to compare McConaughey's performance with Casey Affleck's in The Killer Inside Me. The title is itself a bit of a clue: Joe isn't a thirtysomething architect who can't commit, but a very nasty cop-and-contract-killer with an unhealthy interest in messed-up teenage girls. Exhibit A is his new film Killer Joe, adapted from a Tracy Letts play, and a veritable poke in the eye of all that bluff, hale romcommery. He could have been the new Brad Pitt, a stand-by of the Oscar nomination sheet instead he became the young George Hamilton.īut things seems to be changing in McConaughey-world. He was once the muse of such intriguing talents as John Sayles and Richard Linklater. He is, after all, an actor who, way back at the dawn of his career, shot to fame by working for such titans as Francis Ford Coppola, Steven Spielberg and Robert Zemeckis. For all his crimes against motion pictures – The Wedding Planner, Failure to Launch, Fool's Gold – McConaughey is despised as much as he is envied. His screen foils read like a rollcall of the romcom damned: Jennifer Lopez, Kate Hudson, Sarah Jessica Parker, Jennifer Garner. Chiselled of jaw, glittering of eye, radioactive of tan, McConaughey has spent the best part of the past decade nailing down a rugged-yet-sensitive screen persona that has seen him crowned as the smirking prince of the romantic comedy, the repository of apparently inexhaustible yearnings for a tamed alpha-male mate. F or Matthew McConaughey, as someone whose name escapes me once said, the handsome lessons have definitely paid off.
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