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Table of contents

Looney Toons: Back in Action, And on it went—in retrospect, far beyond where Fraser wanted it to go. The films, in addition to having diminishing returns, were causing a physical toll: He was a big man doing stunts, running around in front of green screens, going from set to set. His body began to fall apart. Screw-cap ice packs and downhill-mountain-biking pads, 'cause they're small and light and they can fit under your clothes.

I was building an exoskeleton for myself daily. And the lumbar didn't take, so they had to do it again a year later. Some more work on his back, bolting various compressed spinal pads together. At one point he needed to have his vocal cords repaired.

All told, Fraser says, he was in and out of hospitals for almost seven years. He laughs a small, sad laugh. Orwell wrote a character who was, I think, the proletariat. He worked for the good of the whole, he didn't ask questions, he didn't make trouble until it killed him. Whether it hurts you or not. In a few hours, a car is scheduled to pick Fraser up and take him to the airport to fly back to London, where he's filming Trust. Danny Boyle, an executive producer of the series, cast Fraser after seeing The Affair, in which Fraser was a prison guard who seemed to harbor some dark secrets.

You kind of just clock that, and it's both so sad and wonderful. Because we all share that same time line. It is an uncomfortable watch. Fraser seems morose and sad; for much of it, he speaks in a near whisper. The video went viral.

A TALE OF THE LAST CENTURY

In the months that followed, theories sprang up about what ailed him, focusing on his divorce and the fact that two franchises he'd once starred in, The Mummy and Journey to the Center of the Earth, had been rebooted and recast without him. As it turns out, what was behind the sad Brendan Fraser meme was…sadness. His mother had died of cancer just days before the interview. And I felt like: Man, I got fucking old.

Damn, this is the way it's done now? He was like one of the characters he used to play in the '90s, emerging dumbfounded into a new world. So what I'm saying to you sounds, I hope, not like some sort of Hey, I had a boo-boo. I needed to put a Band-Aid on it, but more of an account of the reality of what I was walking around in. Some kids were born. I mean, they were born, but they're growing up.

I was going through things that mold and shape you in ways that you're not ready for until you go through them. Fraser pauses, and his eyes seem to well up, and for the first time in this litany of surgeries and loss, he seems like he might not want to continue. I ask if he needs a break. He excuses himself as I ponder what this means. A few minutes go by.

When he returns, it's with a leather quiver full of arrows strapped to his back. He steps out onto his porch. Outside, he lofts a bow, nocks an arrow. Down below on his lawn, maybe 75 yards away, is an archery target. He releases the arrow straight into the target's center. Then nocks a second arrow, and does it again. Finally, he exhales.


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On a frigid December day a few weeks later, Trust is shooting in a studio complex in East London, on a little island surrounded by empty parking lots and gas stations. Inside, the set is full of pine trees covered in fake snow, glittering in the bright lights.

By William Makepeace Thackeray

Fraser is in costume—long white trench coat, white shirt, white suit, white Stetson, bolo tie—long legs stretched out, studying his lines. This afternoon, Fraser and Hilary Swank are shooting a scene inside a car. The set is made up to look like the mountains of Calabria, Italy, where their two characters have traveled to deliver ransom to Getty's kidnappers. The two actors sit inside a white Fiat, cameras still mounted on its hood, big soft lights surrounding it.

As various people fuss over the setup, Fraser and Swank discuss their lines.

I can only drive One thing you notice, re-watching his films from the '90s and early s, is how much they depend on the gravity Fraser exerts as an actor. But it's also true of Fraser's more ridiculous blockbuster fare. He exudes a kind of solid decency and equanimity that makes the implausible plausible. His presence in a scene makes you believe it. But in order for it to work, it actually has to have integrity.

It is in some way based on truth and honesty. On Trust, Fraser's character is essentially the show's narrator—even turning, on occasion, to address the audience directly. It's a risky conceit, but it works because of Fraser.

The Virginians, by William Makepeace Thackeray

There he is: amiable, slightly amused, solid, dependable. A few weeks after that day on set, Fraser calls me. There's something he wants to tell me that he couldn't quite bring himself to relate in London or New York. Certain pieces of what he tells me have already been told, it turns out—but this is the first time he's ever spoken publicly about any of it.

Online Library of Liberty

The story he wants to relay took place, he says, in the summer of , in the Beverly Hills Hotel, at a luncheon held by the Hollywood Foreign Press Association, the organization that hosts the Golden Globes. In the midst of a crowded room, Berk reached out to shake Fraser's hand.

And he starts moving it around. Fraser eventually was able, he says, to remove Berk's hand. I felt like a little kid. I felt like there was a ball in my throat. I thought I was going to cry. Fraser's version is a total fabrication. In the aftermath of the encounter, Fraser thought about making it public. As long as our people quote English standards they dwarf their own proportions. A Western lawyer of eminence said to me he wished it were a penal offence to bring an English law-book into a court in this country, so pernicious Edition: current; Page: [ 64 ] had he found in his experience our deference to English precedent.

The commerce of rivers, the commerce of railroads, and who knows but the commerce of air-balloons, must add an American extension to the pond-hole of admiralty. As long as our people quote English standards they will miss the sovereignty of power; but let these rough riders — legislators in shirt-sleeves, Hoosier, Sucker, Wolverine, Badger, or whatever hard head Arkansas, Oregon, or Utah sends, half orator, half assassin, to represent its wrath and cupidity at Washington, — let these drive as they may, and the disposition of territories and public lands, the necessity of balancing and keeping at bay the snarling majorities of German, Irish, and of native millions, will bestow promptness, address, and reason, at last, on our buffalo-hunter, and authority and majesty of manners.

The instinct of the people is right. Men expect from good whigs put into office by the respectability of the country, much less skill to deal with Mexico, Spain, Britain, or with our own malcontent members, than from some strong transgressor, like Jefferson or Jackson, who first conquers his own government and then uses the same genius to conquer the foreigner. The senators who dissented from Edition: current; Page: [ 65 ] Mr. Polk's Mexican war were not those who knew better, but those who from political position could afford it; not Webster, but Benton and Calhoun.

This power to be sure is not clothed in satin. But it brings its own antidote; and here is my point, — that all kinds of power usually emerge at the same time; good energy and bad; power of mind with physical health; the ecstasies of devotion with the exasperations of debauchery. The same elements are always present, only sometimes these conspicuous, and sometimes those; what was yesterday foreground, being to-day background; — what was surface, playing now a not less effective part as basis.

The longer the drought lasts the more is the atmosphere surcharged with water. The faster the ball falls to the sun, the force to fly off is by so much augmented. And in morals, wild liberty breeds iron conscience; natures with great impulses have great resources, and return from far. In politics, the sons of democrats will be whigs; whilst red republicanism in the father is a spasm of nature to engender an intolerable tyrant in the next age.

On the other hand, conservatism, ever more timorous and narrow, disgusts the children and drives them for a mouthful of fresh air into radicalism. Fierce and unscrupulous, they are usually frank and direct and above falsehood.