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Date: 12:36 AM, 08/11/11

Here is the interview that goes along with the pictures that Gina posted in the magazine covers forum. This article was posted a few years ago at CageFactor by Mara, one of our wonderful moderators here. She copied it from a .pdf file so the format is different from the magazine. It is a really great interview!!! Thanks to Bonnie and Mara who originally found and posted it.





Part 1


Its an inevitable event in every

accomplished artists life: if you go

back on the timeline of their existence

and stop in adolescence, almost all of

our greatest actors, writers, filmmakers,

musicians, and painters went

through tumultuous, tortured teenage

years, often scorned, almost universally

ridiculed by their peers and elders alike for

the cardinal sin of being weird. Most people

run from their inner nerd as they grow

into adulthood, masking it behind toned

muscle, fine clothing, and the right haircut,

struggling to be that cool guy or gal who we

knew had all the answers and the clearest

skin back when such things started to be de

rigeur in our lives (and if you live in Southern

California, continue to be).

Nicolas Cage is that rare movie star who

not only never seemed to care if he was

cool, but was one of the few that seemed to

run from it, embracing his inner nerd and

quirky weirdness wholeheartedly. Yes, he cut

quite the impressive figure in the series of

box office smash action films he was in: buff

bod, cool wardrobe, good with a gun, and

almost inevitably got the hot chick in the

end, Bond style. However, unlike 007, who is

always seen in the final fade out with a dry

martini in one hand and a supermodel with a

PhD in astrophysics on the other, Nic Cage

would turn around wearing horn-rimmed

glasses and reading a mint condition issue

of Spiderman #2, with a grin that seemed to

say **** you, Johnny Cool, Im still a

geek! And herein lies the brilliance of one

of our greatest actors.

Cage was born Nicholas Kim Coppola on

January 7, 1964, in Long Beach, California,

the youngest of three sons born to August

Coppola, a professor of comparative literature,

and Joy Vogelsang, a classically trained

dancer and choreographer. Born into one of

Americas premiere artistic families, Nics

father is the eldest sibling of filmmaker Francis

Ford Coppola and actress Talia Shire.

Their father, Carmine Coppola, was an

accomplished musician, composer and conductor,

who composed much of the music

for son Francis films, until his death in 1991.

Life was not easy for young Nic, who

sought refuge first in his imagination, and

then on the stage and in front of the camera.

After graduating high school early (he is not a

dropout as has been reported in the past),

Nic landed his first feature film role (as Nicolas

Coppola) in the classic Fast Times at

Ridgemont High (1982) in a part that was

mostly left on the cutting room floor. The following

year, Nic starred (as the newly-christened

Nicolas Cage) in the sleeper hit Valley

Girl, which made him one of his generations

most prolific and acclaimed actors. The

momentum hasnt stopped since, with Nic

having starred in over 50 features, producing

nine, and directing one (2002s Sonny). Nic

won the 1995 Best Actor Academy Award

(as well as a Golden Globe, and the L.A. and

NY Film Critics Awards) for his searing performance

in Mike Figgis Leaving Las Vegas.

Nic was nominated in the same category for

his brilliant turn as identical twin screenwriters

in Adaptation (2003). Whether hes playing

an inbred trailer park denizen who longs

to give his wife a child (Raising Arizona,

1987), an Elvis-obsessed hipster on the lam

with his true love (Wild at Heart, 1990), or an

ambulance driver teetering on the brink of

madness (Martin Scorseses Bringing Out

the Dead, 1999), Nic Cage is one of the cinemas

great chameleons: although he often

changes colors with the diverse parts he

plays, his quirky intensity and unpredictability

make him completely riveting to watch.

Even in some of his lesser films, Cage has

never given a lesser performance.

Nicolas Cage graces the screen in two

wildly diverse pictures this fall. Andrew Niccols

Lord of War features Nic as a charismatic

arms dealer who finds himself slowly

selling his soul, piece-by-piece, as his fortunes

increase. Gore Verbinskis The Weather

Man stars Nic as Dave Spritz, a Chicago

television weather man who finds life in the

shadow of his father (Michael Caine, always

a treat to watch), a Pulitzer Prize-winning

writer, has eclipsed him and his own identity.

Lord of War is in release currently, and The

Weather Man hits screens October 28.

Nic Cage sat down with Venice recently

to discuss film, philosophy, and the liberation

of embracing your inner nerd. Heres

what transpired:

Venice: You have two very different

films out right now. Lets talk about Lord

of War first. Andrew Niccol has always

been a very interesting filmmaker.

Nicolas Cage: Yeah, he does have an

opinion and unique ways of expressing it. I

think Lord of War is more of a departure for

him in terms of the far-out, science-fiction

that hes done in the past. This is more of a

cinema-verité style of film, which makes it a

little bit more uncomfortable, as well,

because its in your face. Its a glaring opinion,

with a trigger.

I liked its politics, too, and also the fact

that he never crossed the line and made

it a polemic.

Some people have accused him of that,

but it felt to me that it still seemed anchored

in storytelling and didnt become, in my

opinion, too preachy.

It also had a certain amount of ambiguity,

which allowed the viewer to draw

his/her own conclusions.

Thats the most important thing with any

form of expression, or art form: to allow

people to come up with their own interpretation

of the piece. All the greatest art, in my

opinion, has been enigmatic art forms. Stanley

Kubrick, to me, was a master of that. He

never tried to preach what he was trying to

do, and he would never give the interviews

telling exactly what it was, because if he

had, it would have robbed you of your own

personal connection with the piece. I have

tried to adopt that philosophy, but its very

hard for an actor to do it, somehow. The

more I say (about my work) the more it will

detract from your own appreciation of the

performance or the movie.

Do you find the experience of working

with a writer/director, like Andrew Niccol,

different from working with just a

straight director, like Gore Verbinski?

I think when youre working with a

writer/director, there can be a tendency to

be split-focused. Ironically, theyre more

interested in the camera than the actual

libretto, if you will. Sometimes, even with

Andrew, Id say, Lets go back to our blueprint

for a minute, back to the script, and

hed be on to other things having to do with

the camera or music, or something technical,

and Id have to steer him back to what

he wrote. Hed actually make jokes about it:

Let me ask the writer. Whoops! I am the

writer. [laughs]

The Weather Man was a movie that

grew on me as I watched it. I found it

alternately hilarious, touching, and really

frustrating. I also admired the fact that it

had the courage to be about characters

who arent what we usually think of as

being sympathetic.

56 venice october 2005

I was surrounded by that kind of frequency, of artistic energy, that was

always around my family. When Id visit my Uncle Francis, it was everywhere.

Its the kind of thing where, its madness. Theres a level of it

thats so eccentric and zany, that if youre not careful, it can catch like

wildfire and burn you down. But at the same time, thats the very stuff

that makes people charismatic and fascinating to watch. The trick is,

how do you keep a balance with it and not blow yourself out.

And its actually more honest,

too. Lets face it,

were all making mistakes

and trying to do

the best we can with

them and prevent them

from happening, but its

easier to relate to a character thats made

mistakes that we have in common with

them. Ive certainly made my share of mistakes,

and I think thats why I made the

movie. I was going through a divorce at the

time, and I wanted to take all that energy,

which was negative energy, and put it

somewhere that I could do something positive

with it. And I dont always do that in my

work, but there are occasions when Ill read

a script that happens to be in a parallel

existence with my own. The two then go

together beautifully, and it becomes almost

like a therapy. That happened with The

Weather Man. It was a real overlay of my life

with the character of Dave Spritz.

The search for who we are inside is an

ongoing quest, isnt it? It should always

keep going, ideally.

Yeah, and it will, until we becomewhats

the right way of saying this? Until weve

overcome it to the point where we can

become masters of our own destiny, if such

a thing is possible.

We become the directors, not the


[laughs] Yeah, were no longer at the

mercy of the elements, but more in control

of them.

Ever met anybody like that?

No. Have you?

Never. [both laugh] Ive always wanted

to meet The Dalai Lama. I would imagine

hes pretty close to that.

Yeah, thats what Ive heard, too. When he

walks into a room, you feel a different level

of vibration, that hes that guy were talking


Your background is the stuff of Hollywood

lore now: youre the offspring of

what has become one of the most prolific

artistic families in Hollywood history: the

Coppolas. Your father, August Coppola,

was a professor of fine arts, right?

Yeah, comparative literature. He initially

taught at Long Beach State and then

became Dean of Creative Arts at San Francisco

State. Heres the interesting thing

about my father in relation to education: he

was pretty frustrated with the educational

system, so when I went to him in high

school and said, Dad, Im not a good match

for this. This isnt me. I want to go to work. I

want to act. High school isnt working for

me. He actually said, Go ahead and take

the (GED) exam, and get out. So what one

would expect, that he would insist I go to

college, wasnt the case. He encouraged me

to follow my dream and go on.

But hes also the son of an artist.

So he understood that and related to that.

Thank you for pointing that out. It has been

somewhat confusing to me over the years

why he would say thats okay. It was somewhat

important to him that I pass the equivalency,

which I did do. I passed the GED,

but I didnt finish the school year. To set the

record straight, I am not a high school

dropout, as has been said. I have a diploma.

I just wanted to get to work.

Your mother is also an artist, right?

She was a dancer, a modern dance

instructor. She studied at UCLA. I was surrounded

by that kind of frequency, of artistic

energy, that was always around my family.

When Id visit my Uncle Francis, it was

everywhere. Its the kind of thing where, its

madness. Theres a level of it thats so

eccentric and zany, that if youre not careful,

it can catch like wildfire and burn you down.

But at the same time, thats the very stuff

that makes people charismatic and fascinating

to watch. The trick is, how do you keep

a balance with it and not blow yourself out.




Status: Offline
Posts: 6722
Date: 12:39 AM, 08/11/11

Part 2


Well, the history of art, and particularly

cinema, is littered with the corpses of

people who were the architects of their

own destruction.

In some capacity, whether its drugs, high

speed driving, or just bad behavior, yeah.

This is the very thing that Im thinking about

daily, what were talking about now, and Im

trying to think how to express it without

sounding like Ive got my head in the clouds.

It occurs to me that were on this material

plane here and were born into it, into matter,

and so because were on this level, it

seems like the people who are the most

messed up, and have the largest appetites

for the material are the ones we find the

most charismatic, and the ones we relate to

the most, and they sort of take the experience

of our lives on Earth and tell the stories.

So we go to the theater and we see it,

and we say, Yeah, I know what thats like.

Ive been there. I know what it feels like to

drink myself into oblivion. I know what its

like to want to rob a bank, and so on. But

no one wants to go watch a movie about a

guy like the Dalai Lama. Whos going to

want to go watch that for two hours? As

beautiful as it is, people seem to gravitate

toward those who are on this plane and who

are succumbing to the plane.

Its called drama for a reason. You

know the one word definition of drama,

dont you?

No. What?


Yeah, yeah. Its something that Im really

contemplating right now. If I became perfect,

which I am not [laughs], would anybody want

to see my work?

But would you want to be perfect?

That depends. Its almost like if you want

to get to another level, assuming there is

another level in the afterlife, Id rather be an

eagle than a monkey. But I dont think anybody

wants to watch the eagle. I think they

want to watch the monkey.

Its also comforting, to a certain degree,

to watch people who appear to be far

more ****ed-up than we are, even though

that might not be the case. Most likely,

unconsciously, were relating to that pain

and that dysfunction far more than we

realize. Is that what youre saying?

Yeah, that is what Im saying. The most

charismatic stars and performances: Al Pacino

in Scarface (1983), Jack Nicholson in a

number of movies, Robert De Niro in Raging

Bull (1980), these are people who are really

beleaguered with issues, but you cant take

your eyes off of them. Im not saying the

actors themselves are beleaguered, but the

characters they play are. If you did become

perfect, you would almost have to resacrifice

yourself into matter to be able to be someone

who would be accessible to people.

You would have to become Keir Dullea

in 2001: you would just have to become

light spheres.

Exactly! So the artist, to me, is really the

one who, in a sense, is a character who is

giving [himself] up for the people.

From what Ive read, youve always

known that you were an artist, and have

marched to the beat of your own drummer

from the time you were a small child.

Yeah, thats right.

Did you know you were an actor at

that point, or did you just know you were


I knew I was different. I knew in very

abstract ways that I wanted to be an actor. I

liked what was happening in a boxwhich

was the television setmore than what was

happening in my own family living room. I

wanted to figure out how to get inside the

box. It was mystifying to me, and I thought it

was amazing that there were people inside

this little box. I vowed in my mind that Id

learn how to get inside it.

You were also the victim of bullying

growing up because you were perceived

as being so different.

Yeah, those were rough years.

But dont you also think that when you

dont fit into the norm, it forces you to

develop the part of your brain that forces

you to create, in order to maintain some

kind of stability?

Yeah, its a training ground of sorts. Look

around, this whole place is a training ground.

Theres a million opportunities to not give in,

and not have it break your spirit. Instead, you

can have it be a stepping stone, depending

on how you navigate those waters. Our

minds are so sensitive at that age. But I had

that moment on the football field where

everyone in the school started backing away,

and just slamming me with every other name

you could think of, and I didnt know why it

was happening. Although it turned out it

was because I was wearing a t-shirt that

had The Incredible Hulk on it. [laughs] And

that was it, from then on.

You were it.

Yeah, I was it. I was the guy with the

cooties. But I remember taking a deep

breath, and just kind of gliding out of it, and

going home and sort of breathing and calming

down, and just sort of making a mental

note of it, but not letting it become the wildfire

that were talking about.

Which is what happened at Columbine.

Yeah, which is what happened at

Columbine. You have to have a place which

can funnel the negative energy and turn it

into a positive. A lot of these kids dont have

that. They have no identity, or that becomes

their identity, being an avenging angel, of

sorts. If I could have been there, and had

been some kind of teacher or something, I

would have said, What kind of music do you

like? Okay, you like goth music. You like it to

be really dark and scary. Well, lets see if we

can learn to make it together, to put it all

there. People get mad at kids when they

draw scary pictures, they think its the sign of

some sort of disturbance. Well, actually, its

art. He or she is taking a scary image, getting

it out of their head, putting it onto a piece of

paper, and alleviating the pressure. Theyre

doing something good with it. To take that

away, or not facilitate or educate that is why,

I think, we have these problems.




Status: Offline
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Date: 12:39 AM, 08/11/11

Part 3


Lets get back to some of your films.

[laughs] Yeah, okay.

The first movie I saw you in was Fast

Times at Ridgemont High (1982).

I had auditioned for Judge (Reinhold)s

part, and did about ten or twelve auditions

for it, and didnt get it, but got a supporting

part as Brads bud #1 or #2, I forget which.

A lot of your scenes are on the TV version,

that they air a lot on TNT.

Are they really? Thats bizarre. I remember

my father driving me to work on that. I

was 16. I guess that makes me a child

actor, of sorts. Its been over 25 years now.

Its very interesting growing up publicly. I

was there and most of the actors were five

or six years older than me, so I was the nerd

again. Another mental note was checked off

there. [laughs]

Like American Graffiti (1973), Fast

Times turned out to have this incredible

cultural and artistic synchronicity in

terms of all the actors who went on to


Yeah, there was a buzz in the air that there

was something excellent being created. It

was another difficult time, though. I was

Nicolas Coppola, and there was a lot of Oh,

he thinks he can be an actor because hes

Francis Coppolas nephew. So again, I had

to sort of figure out how to deal with that,

and achieve my goals if this is being put on

me. Now again, with a very young, very sensitive

mind. So it occurred to me that one, Id

have to work twice as hard as the other

actors in order to be taken seriously, and

two, that Id have to change my name.

So it was between Fast Times and Valley

Girl (1983) that Nicolas Cage was born.


You got Cage from the musician John


John Cage and also the comic book character,

Luke Cage. I liked reading comics as a

boyI was a nerdand it was how I learned

to read, really. Then when I went to Horace

Mann Elementary School, in music class

they talked about John Cage, and I always

thought that it was such a cool name. Then I

started getting interested in that kind of

music, which is what my father listened to.

So that was the genesis of the name.

After Valley Girl, everything changed for


Yeah, that was the first time I felt like I

could breathe on a movie. I walked in on that

with a new name. Nobody knew who my

uncle was. The other actors werent teasing

me about it, so I suddenly felt like I could

really relax and do what I think I can do. All I

wanted was to be on the same playing field

as everyone else. Not that I have a problem

with my name, but dont have prejudice

towards me because of my name. Just put

me on the same playing field because I think

I can do this, whether you think so or not. So

thats what Valley Girl did for me.

You did three movies with your uncle.

Since there was a familial bond in place

already, did the two of you have a sort of

shorthand in terms of how you communicated?

What happened was, Francis saw Valley

Girl and got very excited about the possibility

of me, and thats when The Cotton Club

(1984) happened, and then Peggy Sue Got

Married (1986), and all that stuff occurred.

And I liked working with him. I found him to

be very open to some far-out ideas. Peggy

Sue I didnt want to do. I actually turned it

down originally. He really went through the

paces with me on that. TriStar wanted to fire

me and he talked them out of it. I was going

for something different with that character,

and he didnt know 100% what he was getting

into when he cast me. I told him I didnt

quite know why he wanted to make the

movie, and he said, Well, its like Our

Town. So I kept turning him down, and

finally I gave in on the condition that I could

go pretty far out with the character. During

rehearsal, I came up with this idea to turn my

character (Charlie) into Pokey from the

Gumby show, and create this cartoon

character. Those were some very tense days

on the set. Every day I was going to be fired.

Kathleen (Turner) was not happy with the

performance. She thought she was going to

get the boy from Birdy (1984) and instead

she got Jerry Lewis on acid! [laughs]

But that interpretation was so appropriate,

because that guy, in every high

school in America, is a cartoon!

Exactly! Not only that, but the dreamscape

that we were playing in was very exciting to

me. So I thought since this is about the

visions a woman has when shes fainted,

maybe I could make Charlie a little more


Every time that movies brought up

today, its your performance that people

talk about.

Thats whats so ironic because at the

time, it was really lambasted critically. The

wart on an otherwise beautiful movie, is

what one critic said, I think.

Wild at Heart (1990) is one of those

movies that keeps getting better every

time I see it. Although I have to admit

when I first saw it, I hated it.

You know whats interesting about what

youre saying now, is Ive noticed this happen

with all kinds of art forms. Apparently,

2001 got slammed when it came out. Rock

Hudson walked out of the theater. The very

things that really kind of rub us the wrong

way at first, become the things we connect

with so deeply later. Thats why I think I get

as happy with the bad reviews as I do with

the good ones. I dont want to make people

too comfortable right off the bat. If I can really

do my job well and get to the truth of

something, inevitably that might be a little bit

painful. [laughs] And thats why I try to be

careful with the movies I choose. I dont

want to have one identity. I want to keep

looking for different points of expression.

Anytime you elicit a strong emotional

response from someone, you know youre

doing your job.

You know youre doing something right,

absolutely. Owen Gleiberman from Entertainment

Weekly gave Lord of War a D-, which is

60 venice october 2005

basically failing the movie. So I thought,

Okay, I know its not a D-, otherwise we

wouldnt have David Denby from Newsweek

saying its one of the most enjoyable movies

of the year. Denbys a very important critic.

So to me, those are very interesting polarities

and it says I know Ive gotten you, Owen. I

know Ive affected you in a way that youre

going to think about this down the road. So

its actually a good review, if you think about

it that way. I actually told them to put

(Gleibermans grade of D-) on the poster, but

Lions Gate wouldnt do it. [laughs]

Tell us about the experience of making

Leaving Las Vegas (1995) and working

with Mike Figgis.

It was just a great time, all the way

around. I had a great connection with Mike

and Elisabeth Shue. Mike is music. Hes free

form and rhythm and melody and it comes

out in his direction. Hes even got music on

the set that he was composing. So we had a

connection and I hope to work with him

again some day. We did the film very quickly,

in about four weeks, and it just was painless,

I dont know why. It just seemed like

everything was linking up. It was channeled

with the real guy, John OBrien, almost. (Ed.

note: John OBrien, who wrote the novel on

which the film was based, committed suicide

shortly before principal photography

started) I felt like I was making moves that I

later on found out he had made, like the way

hed light his matches. The car he drove.

Mike wanted him to drive an old Jaguar and

I said, No, he should drive a BMW, like

every other agent in town. And he had a

BMW, and I didnt know that. His parents

came to the set and would comment on

how much I reminded them of their son. I

dont want to get too spooky about it, but it

was a very special time. We were in Johns

mind somehow.

John Woo is one of my favorite directors,

and Im a big fan of Face/Off (1995).

Tell us about that.

Face/Off for me is a personal milestone

because I felt like I was able to realize some

of my independent filmmaking dreams in a

major studio film. I was taking a lot of the

laboratory of Vampires Kiss (1989) and

points of expression that I was working on

with films like Nosferatu (1922) or The Cabinet

of Dr. Caligari (1919): early German

expressionistic film acting, and with

Face/Off, I got to do it in a huge genre picture.

John had shown me his film Bullet in

the Head (1990) and I knew when I saw that

where he would let me go. I knew his

barometer and that I could put it up against

a wall of expressionistic acting, as opposed

to naturalistic acting. Id not done that to

that level before in a big studio movie, so it

was a real personal best for me. I got to get

way outside the box.

I forgot that you executive produced

Shadow of the Vampire (2000), which

was a fictional re-telling of the production

of Nosferatu. F.W. Murnau, who

directed the latter film, is one of my


He was amazing. Sunrise (1927) is one of

the greatest films ever made.

Nosferatu actually changed my life

when I saw it as a kid. Its one of the

movies that made me fall in love with

movies and scared me to the depths of

my soul.

Its kismet that were talking because

thats exactly the same experience I had.

My father used to bring the movies home

from Cal State and hed project them for us,

and there I was, looking at this terrifying

imagery. It was so uncomfortable and really

made me miserable, but again, like we

talked about, I began to fall in love with it.

Murnau shot it like a documentary,

which is what made it so interesting.

Wasnt it one of the first films to go on


I think it might have been, yeah. What we

did in Shadow of the Vampire was pretty

thought-out and accurate in terms of the

actual events, except of course that (actor)

Max Schreck wasnt really a vampire!

[laughs] All actors by some definition are

vampires, I suppose.

I have a theory that all great actors and

filmmakers have one overlooked masterpiece,

and I think 8MM (1999) is yours. I

think its such a brave, audacious, deeply

disturbing movie.

Thank you. Im sure Joel (Schumacher) will

be happy to hear that. In a lot of ways that

movie is kind of a milestone for me, because

its my first foray into horror. To me, its a horror

film, and I hadnt really done that before.

It does have weight in my library, but it was,

as you said, overlooked and wasnt something

people could respond to at the time

because it was so dark and disturbing. Its

not how people want to spend eight bucks

to get their minds off their problems. [laughs]

If it had been made in 1971, it would

have been a hit.

But you see, those are my favorite

movies, from the 70s. Im still kind of living

that fantasy, trying to do it in 2005. But that

was the time, and those were the movies

that propelled me into wanting to go for this.

The 50s and 70s movies, for me, are the

ones that got me on the track of wanting to

be an actor.

I was watching Klute the other day,

which was made in 1971. A movie from

1985 is more dated now than that film is.

Yeah, right. I believe that. If you look at A

Clockwork Orange (1971), its like virtual

reality now. Even if you take a single frame

of that film, the amount of time Kubrick

must have put into lighting that, it just pops!

The shot of the droogies as theyre walking

out of the milk bar, its lit in a way thats

nearly digitally perfect, and he did it in 71.

Its fascinating.

Tell us what directing was like, with

Sonny (2002).

That was a great experience, too. It was a

real highlight for me. I was surrounded by

some of my favorite actors. Ive never seen

James Franco hit a false note. Hes a great

actor, and hes just fantastic in the movie.

Its a great kitchen sink drama. Did you

study the films of Karel Reisz and Tony

Richardson before you did it?

No, I didnt. It just kind of came out of me,

the way I sort of felt it. I didnt want to take

too much away from the actors. I wanted

the film to look beautiful, but I really just

wanted to focus on performance, and I got

that. I was very happy with the results.



the mystery master

Status: Offline
Posts: 2316
Date: 11:46 AM, 08/11/11

Thank you for the heavenly treat, i honestly can't think of an adj. good enough to describe how i feel.i do hope i can find extra time and peace to read the whole interview

many thanks to y'allcastle


Faery Queen of Cagealot Castle

Status: Offline
Posts: 8403
Date: 1:30 PM, 08/11/11

Wow, thank you for posting this Meg, it is awesome to read it again! and thank you to our friends Mara and Bonnie, a.k.a Dame Ragnelle and White Fay here at the castle! I know they will be feeling our gratitude coming to them! flowerface

A wonderful interview that spans actoss Nic's career, it reminds me a little of the Inside The Actor's Studio interview! starry

A question,when the interviewer says s/he sees Nics' scenes from Fast Timess At Ridgement High on a tv version, can that be right? Does s/he mean 'Best Of Times'? or am i being slow here?




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