Today we welcome Actor Kirk Taylor to the Late To The Game for the first of a two part interview where he discusses his journey into acting and his time working with film greats such as Julius Carry, Charles Bronson, Stanley Kubrick and how he cleverly gained a speaking role in the Francis Ford Coppola film, The Cotton Club. Kirk has been in numerous productions over the years and, when not acting, he has started teaching actors and even recording music of his own.
So allow me to present: A Life of Faith and Determination, a conversation with Actor Kirk Taylor. Part One, Loves and Fishes.
LTTG: Thank you for joining us today Kirk, we are happy to have you on Late To The Game Blog. You have had quite the career in film and television but before we begin, tell us a little bit about young Kirk Taylor and where you came from.
Kirk: Well, yeah, I’ve now I’m on the west coast where I think I belong but I was originally on the east coast in Connecticut, where I got my early schooling. That’s where I sort of got bitten by the acting bug when I was just a kid. I was into music, I played piano, I played basketball, was a very active kid. I remember, when I got to high school, my second year, my cousin Monica agreed to give me a ride home if I auditioned for the school play. I didn’t want to do that, so I tried to get out of it. She literally, I mean it’s not technically blackmail, but it’s real close. It was sleeting and it was cold outside. I was like, oh man, that’s like two to three-mile walk, I can’t do it. So, I auditioned for the play and it was a musical. I’d really never had musical ambitions on stage, I had just started playing piano and trumpet that year and I end up getting a role in Cabaret. They were doing Cabaret that year, the one that Liza Minnelli did with Joel Grey. I got the Joel Grey role.
So, I started actually in musicals, which is something I pushed away from on purpose at first. When I got to New York, I was going to be working with Lee Strasberg, who grew from the Actors Studio, and Stella Adler, Marlon Brando’s teacher. I didn’t want to be known as singer because as a musical performer, a lot of my Broadway friends have said that, once they got known it was very difficult for them to get any other type of type of work. I know some wonderful actors that, you know, their musical theater limited them. So, I separated those things on purpose and really focused on the craft and to really, you know, be able to go deeper in roles, etc.
Eventually came back to musicals when I did a musical called Five Guys Named Mo, which was done in London on the West End first and it came to Broadway. It ran for a year or so before they took it on the first Broadway tour which I picked up. We started in California, but that was one where I showed up and they knew me as a film actor. You know, I think, I had at that point already done Full Metal Jacket, School Daze, Death Wish 3, The Last Dragon, all those had already been done. I’m a film actor, they think, so when I walk in and schedule an audition, they are like ‘okay let’s see if this film actor can do some singing’. I started singing. Everybody lit up like ‘oh, OH, oh you could sing?’ I said, ‘yeah, yeah, I can but I didn’t want you to know that until it was the right time.’ (laughs)
So that kind of brought me back to musicals and also gave me my first trip to the West Coast and once I saw the palm trees… for the East Coast, they represent vacation normally. So, you know, when I was 12 or 13 we went to the Virgin Islands and it was the first time I’d seen palm trees, the first time I saw clear water. So when I saw the palm trees, it just gave me such great feeling I was like wow. Now, if ever I’m going through stuff and struggling, just get me to a palm tree because that’s like saying I’m on vacation, like I’m away. So I started using the palm tree as a symbol for that.
Before coming to California most of my film work was done from New York. Death Wish was shot a couple weeks in Brooklyn and then we went to London to shoot the rest. Then that’s what I had a chance to audition for Stanley Kubrick who was still casting Full Metal Jacket in London, which I thought was strange because it been before that. He had been sending out letting people send tapes to him and I was sure that it can’t take three years to cast a film. Well, if it’s Kubrick it can!
LTTG: Yeah, that guy was meticulous.
Kirk: He WAS Meticulous. It took him seven years to complete Full Metal Jacket. Matthew Modine, who plays Joker, he told me that his wife Cari and him came to London without children. She got pregnant in London, had the baby in London, and by the time they finished Full Metal Jacket, the baby was two years old. Three to four years in London, so Kubrick’s intense but it was a game changer in a lot of ways. I got real kudos from him. He was very very complimentary about my work and said such kind things that I was like, wow, that’s too much, Thank you. He said ‘I have a rare ability to act’, wow. He worked with Peter Sellers, Kirk Douglas, he worked with everybody. I was moved. Then I just continued up the food chain with Spike Lee in School Daze and it’s just been a real journey. It’s been very clear that there has been some design in it. Somehow the way the pieces came together, the way things moved, it’s been kind off a faith journey along
LTTG: I heard a story that you practically forced your way into a bigger role on a Coppola film (The Cotton Club), can you tell us about that?
Kirk: Looking back on it, I don’t know that I would even have the guts to do that again. It was really, really, really gutsy to do. They had just reopened the Kaufman Astoria Studios, which is where, I think, Buster Keaton performed. They opened again, in the eighties, and I heard that they were casting special ability extras and waiters and busboys. So, I got a job as a Special Ability Extra. It paid a little bit more because they train you in techniques, you know it’s silly, but cleaning tables off the way they want us to do it, that along with an understanding of the period. I was an extra and I (laughs) I was always trying to find a way to make the most of what little I had, to stretch it out, you know, like He multiplied the Loaves and Fishes. So, in this case, whenever the camera would come around, I would find a way to clean dishes and turn towards the camera. (laughs) So if you look, earlier in this film dude, I am so much in the camera. Flash the Waiter, I called myself, I am so much in it. One of the other busboys mentioned something about Champagne and I was like ‘whoa, that would be a great idea’ so I decided I was going to get a champagne bucket and improvise something insane.
This is Francis Ford Coppola, this is the Godfather Director, you don’t do that sort of thing, but I did anyway. I ran across, got an ice bucket and they saw me, caught me, the fist AD and the second AD caught me and said ‘what are you doing?’ I said, ‘oh well, I was thinking that because it’s such a big deal about Schultz, (played by James Remar, Dutch Schultz in the scene) it would be a great idea to have some champagne.’ And the first AD said, ‘we don’t pay you to think, we pay you to clean dishes off the table when we say so go back to One’
I walked away thinking I blew it. I was so discouraged; my tail was between my legs. What a stupid idea but then, I look to my right as I’m walking back to one, and there’s Coppola. Dude, he’s not that far and something in me said ‘Run’ and I started running toward him. I start running forward Francis. Ford. Coppola. and the AD’s saw me. Both of them. They both made a beeline to try to block me from getting up there. I got there a second before them in time to say ‘Mr. Coppola!’ and he looked up and I remember thinking ‘oh Lord now you’ve done it.’ I said to him. ‘Mr. CoppoIa’, I said, ‘since this is such a special occasion shouldn’t Dutch Schulz get some champagne? Compliments of the house?’
He looks at me and he kept me in thought about it. Then he said ‘this man has a creative idea put him in the scene and bring a case of champagne, bring four ice buckets with ice’. I had my first well, I shouldn’t have had lines because when I improvised lines the AD’s were furious. They even said to me, ‘Don’t ever do that again. You should ask us first’. I said ‘I did ask you told me to go back and clean dishes when you said go.’ So they didn’t have much to say. So when I improvised, James Remar is really in the moment, so I come into the scene and it looks like I’m going to just deliver some champagne, but I said ‘excuse me, Mr. Schultz.’ ‘What?’ And I turn the bottle toward him I said ‘sir compliments of the house.’ He said ‘Compliments of the house!’ and he slaps his girlfriend, I forget who it was, Diane Lane, I think, he slaps her. He says ‘Complements of the house. You know, if you hit the ceiling is 50 bucks in it for you’ or something like that.’
Then the AD’s came over and said, ‘Did he tell you to say lines?’ I said, ‘uh yeah, I told him complements of the house with the champagne’, then they tried to figure out how to get rid of me by saying I’m a busboy, so it doesn’t work. The Busboys wouldn’t be serving champagne. They would be just cleaning dishes, should be the waiters. So, they asked all the other waiters. ‘Can you do it? Can we get you to do it instead, you do remember what he did?’ And all of them were like no. ‘No, we don’t know what he did, no can’t do it. No!’
I found out later that they knew what I didn’t know which is that they were going to work for, the way he works, Coppola, It’s going to be a very very very long shoot for them because Coppola would have you get dressed for all these different scenes and he would choose which one but he wanted you ready. So, these guys worked every day for, you know, Monday through Friday for two, three months. In those days if you got upgraded to a day player you went up a rate, so instead of getting paid a hundred bucks a day, I was going to make like $275 which is sweet. Now they allow you to downgrade somebody back to extra if you upgrade them for particular scene, but back then they didn’t let you do that. So these guys knew when they were going to get let go and $275 is nothing compared to $120 bucks a day for you know, three four months. You can’t beat that, so they opted out, so None of them knew what I did.
Eventually Coppola said, ‘change his jacket give them a blue jacket‘ and they put the blue jacket on me. (laughs) So that was that’s a long version of how I got that but the ironic thing was I was doing a play at the time called Last One In Is A Rotten Egg and it was getting ready to go into production. It was called Theater in the Trunk, I don’t even know if they’re still around, but that was where there would literally be a trunk put in the middle of the floor, we’d open it up take out the props and start our show. So I had missed a rehearsal with them, but I was like, I can’t miss the film for this play! I have to go, so I said, ‘no, I’m sorry, I have to go because I have lines. They gave me lines.’ And they said ‘Oh, lines, okay fine’ and I stole the lines that day so, including that part of the story, maybe it was a meant to be, I think, because I actually prophesied ahead of time that I was going to have lines and I got them! Then they let me go so I went back to the rehearsal the next day and then two weeks later, I went to Kennedy Center in DC and my grandmother was out there at the time. So Grandmother Weeks (sp) came to see the show to see her grandson. So that’s why I’m saying that things have kind of lined up, like the stars aligned sometimes for me, and I thank God for it.
LTTG: Wow, That’s an incredible story. Wow! So right after the Cotton Club you ended up in the Last Dragon with Julius Carry, one of the biggest cult films of its time.
Kirk: Yes, it was. That one again, like I said, I’m always trying to make more of what little I have, and so I’m a special… Oh my gosh, I didn’t think about this, I was a special ability extra again, but this time I did martial arts and I could act so they said well, we’ll make you a special ability extra. So Michael Schultz would come off the NEC stage and I had worked at NEC. At some point I did a play over at Negro Ensemble Company and he was one of their primary directors, he directed Cooley High, The Disorderly, Car Wash (The original Car Wash movie) a real good actor director, super good. I’m sitting in the audience, we’re ready to shoot in this movie theater where the big movie scene happens and I’m sitting near the director, or near people that could help me, and I’m just listening, always listening, always watching. I heard Michael Schultz say to one of the guys playing one of Sho ‘Nuff’s Heavies. He said ‘Wait a minute, didn’t I tell you not to shave?’ This white kid said ‘oh, oh, yeah. Sorry. I had a commercial audition today and they wanted me to be clean shaven.’ He said ‘let him go fire him. Who else can do it?’ Like dude, that dude was gone in a heartbeat. He’s fired. I don’t even want to think about it man. It must have been… do you imagine what that was like for him?
LTTG: Yeah, oh man. That would be terrible.
Kirk: I hope that he got the commercial audition. That would make me feel better, to find out he got it. So, Torrance, who was one of the martial arts choreographers that was helping to coordinate things, He looked over and says, ‘well Kirk could do it. He’s does martial arts and he’s an actor as well.’ I got the role of the other heavy because again, I was I was upgraded in a sense and once we were on set… Julius Carry, man people don’t realize how great, I mean, maybe they do, but it’s that’s a great performance. He’s nothing like that and on top of that, Listen to this, He’s not even a martial artist, dude! He’s just a great athlete. He sold it, he sold it. He could have sold you ice in Alaska. I mean this dude, he was so convincing. At one point, we didn’t really have names, it was like, ‘Sho’ bodyguard number one, two, and three, four five and six as there were three girls as well. Julius Carry, I don’t know how it happened, but he started giving names the to us. He looked over one of the guys. He said ‘Andre, you said you are the Beast’ , then he turned to the other guy, David, and he said ‘your Cyclone’ and he didn’t say anything to me! So I said ‘hey, what about me? What about me?’ He said ‘your name is Crunch!’ So that’s how we got our names. (laughs)
LTTG: That is too cool.
Kirk: And guess what? He didn’t name the girls, and, if you look them up they have accomplished a lot but they will have to call themselves Sho’s girl number one, two, and three, because of that. They were they were martial artist too, but Julius didn’t name them. Being on set with him, dude, he was so intense that, he told me personally, that he was getting so into it that he started having Martial Arts dreams and he was fighting with people on set like Torrance. He was fighting with Torrance in his dreams and he would wake up in a sweat so he had gotten his head so far into character that it became fierce, It became just iconic. I mean what an iconic villain, Sho’nuff the Shogun of Harlem. (laughs) I read that the first time and I laughed! I was like, oh my gosh, is this gonna work? They pulled those costumes out for us, those costumes, they lost my costume, I wonder where it is. But they pulled those costumes out and we were in the middle of this… Phenomenon.
It’s interesting too because you know, it’s so popular, We had our 30th anniversary in New York a few years ago, and it was amazing! The people were moved, touched, influenced by that film and, even watching it again, there’s something about Taimak’s performance and just the whole construction that has integrity. We were doing a comedy and very often comedies will err on the side of being over-the-top and slapstick and a little you know, you have suspend your disbelief. Your like, okay, I believe Eddie Murphy’s dead, so I believe that you know this character is this, but you know, you go along with it. In that film I remember that Michael Schultz was a real director an actors Director,so he would find a way to bring an emotional support on a center, a need, in the scene. There is a scene where Eddie Arcadian and Faith Prince, I forget her character’s name, we’re speaking and he says he said ‘you’re nothing. you’re just a no-account dental hygienist drop out from Kew Gardens getting by on your tits.’ And Dude, they put the camera on her and you saw the tears start to stream down her face as she was wounded by that. She said ‘Eddie, you’re a midget asshole who’s dreams ruin the world also from Queens also getting by on my tits.’ I was like, you gotta be kidding me! Wow, it was so beautiful. She had great performances in that she did such a wonderful job in that and Vanity and Taimak gave great performances and some great moments in there for them.
So the question is always been for me, Why didn’t they make a Last Dragon Two? It was, just, it was a no-brainer. It was so good. It was so unique. It was a comic book, a black comic book, with martial artists. I think I know why. Because I know Ron Van Cleef, who was training Taimak at the time and he was the kind of the stunt person on set with us, he said he had written the script himself where he plays a character called the albino that was opposite Taimak. Then other scripts were submitted but TriStar just shelved it, no one could do it, like they literally blocked it! I remember hearing a story about how in Philadelphia, when the movie came out, the audiences, the Black and Hispanic audiences came out of the movie theater, and, you know how you act out [scenes in] films?
Kirk: You know, you think you’re in the Matrix, you know, you start trying to do the lean back and a lot of…so these minorities kids got so into this film that they were kicking in car windows and turning over cars, setting them on fire, people went crazy over and about the film. I think somebody said, because there are certain conspiracy theories that are actually true, I believe that somebody higher up said, you know what, we’re not letting us go forward anymore. We can’t control this and if this is the way they react after seeing themselves on screen, after seeing themselves represented as martial artists, and this is how they respond? We’re not even to do that. So somebody higher up said, we pull the plug on that and for years people have been trying to get another up and I heard, at one point, they were actually got the green light with Sam Jackson in the role of Sho’nuff. I can’t see him playing that though. yeah, nobody could do it like Julius.
I just think, you know been scratching my head for years, especially when we saw the response again, I was like, wow, this makes no sense at all. Unless something like what I dreamed up and what I kind of pieced together was true. I think it is, I really think that someone said this is too dangerous. You can’t empower these kids like this because they don’t know act, well at least we think they don’t know how to act. I mean, they would have to have guards outside, it ran for a while and it did well, but it was like they said, you know, they were like, no, we’re not hiring a National Guard just because of some black cartoon movie character, Bruce Leroy. Yeah, this guy, Louis Venosta wrote it and, oh man, he is just as funny as can be.
LTTG: I remember watching that as a kid and thinking how insane and fun that film was. So great! So, you mentioned Death Wish 3 earlier and you have one of the most iconic death scenes in that film as Giggler, can you tell us about your experience on this film with Charles Bronson?
Kirk: You know I had seen Bronson coming up, I had seen Death Wish One and I think I saw Death Wish Two. You know, to have a chance to work with such a legend was awe inspiring and, he was also really kind. When I got on set I took a picture with him, which I still have, and he called out to his wife, Jill Ireland, and he said, ‘Jill, Jill come over here. I want you to meet Kirk Taylor. He’s playing one of the heavies.’ That was the first time I had been called a heavy before and obviously never by Charles Bronson. So, he was very generous with me and we had a great time.
I remember thinking at certain points [playing Giggler] that the character can’t think and have guilt about things. So basically, you have to find a way to love the character and find a way to justify the nonsense they do. I did, but in watching it, I remember thinking, God just kill that guy! Kill the giggler! Like you gotta kill the giggler! I was like, oh my gosh, there was stuff that got cut out of the film that was so crazy, but because the powers-that-be had rated the film X, [even though] it didn’t even have those scenes in it. They had taken the scenes out anyway and rated it X and [the director] said ‘why are you rating it X?’ They said ‘well, look how many people are killed.’ [the director said} ‘Look how many people are killed in Rambo, way more than this.’ They said ‘ Well, in Rambo, they’re not they’re not Americans’ or something to that affect. ‘They’re Asians, it’s different’ So Michael Winner said ‘I’m going to put the scene back in at they give it an X rating’ and they brought it down to an R.
LTTG: What was the scene?
Kirk: There was a there was a scene where we accosted a woman in there. Eventually, all you’re seeing the film of that is that she dies, but we actually had a scene. In part of it I improvised with her arm, I did it in such a way that it looks so real. I just turned around and slapped it, but it sounds like a bone breaking. I said to Gavan O’Herilhy, who’s the head gangster, I said, ‘Can I can I go, can I do it? Can I do it? He says ‘come on man, We got to get out of here. I should call…’ ‘man, please, please. Just just for a minute. Just give me just…’ ‘go ahead man’ These guys walk to the front of the doorway and the camera is kind of on them looking into the room. It’s not to super close on me, but close enough you can see what I’m doing. I just basically, I grabbed her arm up and I slap it and I’d pull it down so it [looked like] it actually broke. Gavin almost dropped his cigarette. Everyone was struck. Everyone’s eyes, on camera and off camera, were freaked out because it looked real and she screamed. It looked real and she played it. Marina [Sirtis] who we know as Counselor Troi from Star Trek. She probably doesn’t want people to know that, but she played a great roll. So, you know the arm, and Gavan fumbled the cigarette, looked around and then I came back laughing. Then we left and that was the scene that was deleted which is okay with me. [Giggler] had done enough to deserve death.
So on the day we shot my death scene, Mr. Bronson said for me to push him hard. He puts a Nikon camera on his over shoulder, he’s eating an ice-cream, and he’s trying to bait me. You see me coming unsuspecting. So I came and did the first take and I pushed him. And I mean I PUSHED him. And he said ‘no, son, push me harder.‘ I came and I push them harder and he said he had ‘no push me hard, push me HARD‘ So man I pushed him. I pushed him and he bounced against the fence and then reaches into his jacket for the longest draw in movie history. That gun is so long, you couldn’t even believe it was in his jacket. It looks like it took him like a minute for the gun and that barrel to come from under his jacket. It was a new handgun, it had just been introduced, The Wildey 475 which shoots a modified rifle cartridge that has a pistol action. You can kill an elephant with that! (laughs)
So when they were setting it up for my the final part, they followed me running and I’m like this old man’s not going to be able to hit me. They said the entry wound would be much larger than normal and the one on the other side would be enormous. So they said we’re going to have to do something a little different, so they said ‘we’re going to put a bulletproof vest on you’ and as soon as they said bulletproof vest I like, ‘what? wait. Wait what? this is this is blanks, right? ‘ They said, ‘no no just because precautions‘ then they put a metal plate on top of the bulletproof vest. Then instead of putting one squib with blood packs, they put five squibs with blood packs. That’s the entrance wound and when they had me run. I had this really cool, really heavy leather vest, I love that vest, it had no sleeves that we’re looking really cool. They had me with a wire up my leg and as I ran, they touch the wires together to make it explode. I felt it in my back, a punch, like boom! I fell and laid there and play dead ‘cut cut print that’ and they stood me up and took the jacket off me man. And when I saw how it had ripped this jacket, and it was a thick cow leather jacket, it ripped it and blood was pouring out of the pockets. I just, I almost passed out. (laughs) I got dizzy and I literally said to them, whoever was standing near m,e I said, ‘I think I just need to I just need to sit down for just a second.’ I’m not really great with blood and it looked so realistic. I knew what it would have done to my spine, it would have blown a hole through my spine and I would been absolutely dead. So the Giggler is not going to be making a return in any future Death Wish. So yeah, Son Of The Giggler. Giggler’s Revenge. (laughs)
LTTG: Then you ended up in Full Metal Jacket?
Kirk: While I was in London [on Death Wish], I heard that Kubrick was still casting Full Metal Jacket. So, I called his office and I did a British accent, I acted like I was a manager or agent or a representative of some kind and I said (Kirk takes on a British accent)
‘Hello, Kirk Taylor is here from New York City. Mr. Bronson loves him and believes you’ll love him too. Can we send him over for an appointment for Full Metal Jacket’. They were like, ‘sure sure send him over’. So I bulldozed my way into another, you know, trying to make the most of what I have, I’m there in London so why not try to make it on Full Metal Jacket? It might not happen but… So I show up at the office in he’s not there, but Leon Vitali, who became his right-hand man, he was in Barry Lyndon years before. He’s the dude that basically gave his career up to be Stanley’s assistant and he learned a lot. He was really good too. Leon had a camera there and he set it up and they were going to have me, I don’t know, talk to Mr. Kubrick and maybe read something.
So I said, ‘Is It alright, as he’s going to see this, is it alright if I tell a little story?’ They said ‘yeah. Sure.’ I said ‘Hello. Mr. Kubrick.’ They turn the camera on, I said ‘Hello. Mr. Kubrick. It was Show and Tell for little Johnny at his school and it was his turn to tell about his family. So the teacher said ‘little Johnny tell us about your family.’ He said ‘oh, yeah. Yeah. Aight, I uh, I had a brother. I have a brother that went to Vietnam. He got shot in the ass’ the teacher interrupted, ‘Oh Johnny Johnny. No, no, no, don’t say that. Don’t say that in school. Say rectum, Rectum’. He said ‘Rectum, Nothing! It killed him.’ (laughs)
That was the Vietnam joke that I put in for Kubrick and it not only got me a role but I mean, I actually had a different role at first. He actually gave me the role that Dorian Harewood ended up with, he played Eightball in that. That was my role but it was called Alice at the time after Alice’s Restaurant, which was by Arlo Guthrie. So, I had the role, I started researching Cape Hall. A New Orleans Chef was in town, he would come in once a year and bring all these Creole boys down, So, I went down there, since my character’s Creole, to talk to these guys. I worked on the accent. I had all kinds of interesting things I was going to do, how they used to wear a chicken foot around your neck to ward off Evil, I had all kinds of fun stuff I was doing. Then I got a call from Leon Vitali and he said ‘Kirk uh ya, please sit down.’ I’m thinking ‘I’ll tell him I’m sitting down but I’m not sitting down.’ I said, ‘okay’. He said ‘Kirk, Stanley’s been looking over the script and he, ah, he doesn’t think you’re black enough to play the role.’ I said ‘what?’ He said’ Well, you know, there are lines like jungle bunny, spear-chucker, jigaboo and its just, its just not going to work. So he has to rescind his offer’
I hung the phone up, collapsed on the floor and I cried, because I had run out of money too. I had budgeted my money so that I had enough, I was leaving next week! I budgeted my money so that I’d be cool and then the job is taken away, which I couldn’t understand. I remember I fell on the floor I cried for about 15-20 minutes, like I was devastated. Then I washed my face off and again that faith component came in and I was like, ‘you know what, not without a fight’ So I started fighting by praying and by calling folks. Calling people at British Equity, I called Michael Winner from Death Wish Three to see if he could be of some help. Then I got a call from Leon Vitaly two weeks later. He said ‘Kirk. Don’t misunderstand.’ He said ‘Stanley wanted you in the movie. You’re one of two or three guys out of tens of thousands of tapes, that even got that even got a role like that. So, he wants you in the film, he’s going to do give you a different role. It’s going to be the role of Sergeant Payback.’ That was, again just like the guy in The Last Dragon, somebody else had that role! He fired them! (laughs)
LTTG: Wow! That’s crazy!
Kirk: Oh man, years later I thought about that too. Just like, the Last Dragon guy, can you imagine, being, It’s worse than the Last Dragon in a way. I mean, Stanley Kubrick only made a film every seven years, his next film was Eyes Wide Shut and I, I took this dudes job but it wasn’t really his. I have to look at it that way, what is meant for you, you are going to get, my faith is always strong that way. Well usually strong, it can be shaken sometimes but that’s what I always come back to. That’s my default setting which is that something better is coming.
So, I got the role of Full Metal Jacket and it was supposed to only stay for two weeks because I was called a weather cover because it was one of the few indoor scenes and England’s always raining. So, they said ‘your scene is the weather cover you’ll be done in two weeks or less.’ You know, I was there for almost four months and it didn’t rain. I look a that like a God wink or a God nod or whatever you want to call it. Dude, it didn’t rain for three and a half almost four months, it was the driest period in English history, in 25 years! (laughs) So I made a lot more money than I would have made on, I mean not as much as I would have done if I’d gotten the role that Dorian got, Alice or Eight-ball, but it was a great vindication in a sense. They were trying to just get me in and out and I stayed and we rehearsed and it was glorious time man.
LTTG: It sounds like it was.
That is far from the end of Kirk’s story so be sure to join us next week for Part Two of this two-part interview where we continue our talk with Kirk covering his life on Television, his music and his current projects.
Thank you for reading, you can check out other interviews here and be sure to check out our weekly series called Key Movies Of My Life that comes out every Thursday and our ongoing series Scifi TV Review. For more TV goodness you can also check out Retro TV Reviews here.
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Late To The Game 3/21/2019