Rupert Friend Made Out With Johnny Depp In His First Movie Role

Before he became Peter Quinn on Showtime's "Homeland," Rupert Friend scored his first film role opposite Johnny Depp in 2004's "The Libertine." Here, the actor describes making out with Depp, how he almost didn't get the "Homeland" job, and why Daniel Day-Lewis is his ultimate acting icon.

Released on 7/19/2017

Transcript

00:03
I didn't have a realization of wanting to be an actor,
00:06
I had a realization of not wanting to do one thing
00:11
solely for the rest of my life.
00:13
The only job that I could sort of think about
00:17
that was different every day
00:19
and challenged you in different ways, was acting.
00:22
You didn't have to be a lawyer or an astronaut,
00:25
you could be both.
00:26
And I haven't actually gotten to be either yet.
00:28
Still bucket list for that, still time for that, yeah.
00:30
The first thing, professionally, was the Libertine,
00:34
my first job.
00:35
So on a technical note, I'd never seen a film camera before,
00:38
I didn't know what a call sheet was,
00:40
I didn't know what marks were, a reverse, a close-up,
00:42
never heard of any of this stuff,
00:43
so that, and you're opposite Johnny Depp
00:46
and John Malkovich, and Samantha Morton,
00:48
and you know, the roster of great British actors turned up.
00:52
Oh my god, I was beyond nervous.
00:54
I had to make out with Johnny,
00:57
mutually masturbate with Johnny, get run through by a pike,
01:01
die in front of him, and all these huge things,
01:04
and it was a such a deep end kind of baptism of fire.
01:10
Homeland, how did they come to me, as it were?
01:13
They didn't.
01:14
I made a tape and sent it in.
01:16
It was made on a point and click camera,
01:18
the ratio was wrong, it was out of focus,
01:20
I was wearing the wrong thing.
01:22
I filmed it against a door that I later learned,
01:24
they told me looked like I was in a mental asylum.
01:27
It looked liked a padded door, it wasn't,
01:29
but apparently they were like, where the hell is this kid?
01:32
Cut to, I did seven separate audition tapes
01:37
for this one scene.
01:38
I never got a script, I never got anything,
01:40
just a bit simple, hello my name's Peter Quinn,
01:43
your name's Carrie and that's it.
01:45
Some producers were in Israel
01:47
and some were in New York and some were in LA.
01:49
One would phone up and say, ignore what the last one said,
01:52
do it this way, and then the other one would phone up
01:54
and say, ignore what he said, do it this way.
01:57
After the sixth one, I was just like, I'm fine,
01:59
I'll do something else, this is crazy-making,
02:02
and my agent begged me to do one more,
02:06
the proverbial just one more.
02:08
That was the one.
02:09
Two weeks later, I was on set.
02:10
I don't know what's gonna happen to Peter Quinn
02:12
'til I get the script, and in a funny sort of way,
02:15
you and I don't know what's going to happen to us either.
02:18
In that way, it puts you right on your toes,
02:21
and it does feel much more like a dance of some kind,
02:24
rather than a prepared rhetoric of, you know what I mean?
02:29
My favorite birthday, I remember the great storm of 1987,
02:33
and waking up on the farm that my grandparents lived on.
02:37
All of the huge trees in the wood behind the house
02:40
that I used to climb and build swings on
02:42
and leaf slides and all the rest of it,
02:44
all of them had blown down, and they were, you know, huge.
02:48
I remember asking when they would be up again,
02:51
presuming it was going to be in a week or two.
02:53
Someone said that they won't, in your lifetime,
02:56
ever be up again.
02:57
And the notion of time was suddenly incredibly real.
03:01
These moments are kind of like hammer blows,
03:04
'cause I was mostly interested in play,
03:06
being sociable and kind of knocking things over,
03:09
breaking stuff, usual kind of little boy stuff,
03:14
and then people would say these very epic things,
03:16
and they would always just completely knock me for six.
03:20
I still can't quite believe that time works like that.
03:23
My first kind of girl cinematic crush
03:25
was probably Ursula Andress in Dr. No.
03:29
Coming out of the sea with your little knife,
03:31
and you've got, again, this idea of agency,
03:34
you're sort of a badass, you're not some kind of
03:36
damsel in distress.
03:37
She was tough and she was beautiful, and all the rest of it.
03:41
I'm still trying to work out what it's all about.