James:
I have a
dream of filming the Scottish play because
I think that of all of his plays,
being the shortest one, being that fifth
act fragments into a lot of separate
scenes which for the stage, and a lot of
separate locals, different countries,
which on the stage is a headache. I've
seen directors just about have an
aneurysm over about how to make that
clear. But for film it's perfect.
And I also
feel like I haven't seen a production of
"Hamlet" or "Macbeth" ever on
stage or on film that I really agreed
with. And I feel like I have an
understanding
of it which is based in the text, which is
very simple, and which I think
the audience will really respond to, and I
think that if I'm given my chance,
that I can make a "Macbeth" that people
would understand.
But in all
honesty, I'm not to the stage of my career
yet, that just having my name
attached to a Shakespeare piece could
necessarily generate the money. I
don't really want to go for it until I
have the power to produce it.
I don't
necessarily want to direct it 'cause I
also want to act in it, and that
would be too dicey to act in a Shakespeare
as well as direct it, and if
you have any doubts about that Branagh's
"Hamlet". He's a great actor and
he's a great director but both together...
someone should have said "Kenneth
calm down".
So I want
to have the power to sit down with the
director and say "this is what scene
one is about, this is what it's not about.
This is scene two. If you agree
with me let's talk about coming onboard as
my director, if you don't let's
keep, keep interviewing people", and I'm
not quite there yet.
(Chicago Flashback
- May 2003)
JUNE 6, 2004 -
James told the attendees
at Moonlight Rising that he's got the financing
($50,000,000) for his dream
project — to film his favorite play ever, Macbeth.
AUGUST 29,
2004 - Unfortunately,
James said at Vulkon San Francisco Slayer that
the project "is now off
because the financing is shaky on that." He
believes, however, it
will be
eventually made and is continuing
to write it.
My favorite
Shakespeare play
is "Macbeth," and I would very much love to
direct (it). The play points
up that the common person shares more with the
beasts than we like to admit.
It is a big challenge to keep him the hero
right up until the middle of
the fifth act, when he does become the
functional villain. Until that moment,
you have a hero who's committing atrocities,
and that's not something that
people are used to. To make it work as an
actor, you have to respect him
and to use yourself and to realize that the
reasons that he commits these
murders is from ambition, which is one of the
most universal human feelings.
I'm very ambitious. I want the world. But it
also can lead, if one's not
careful, to cutting moral corners.
(Kansas City Star - September 1999)
***
In the speech
of 'Tomorrow, Tomorrow, Tomorrow', [it's]
understanding that he's not whining
and he's not sad, he's absolutely without
emotion. When you see how low
that the main title character sinks, that
speech is all about that life
is absolutely worthless, meaningless.
There's no meaning at all. And then
you understand that he's not whining about
anything, he's just commenting
on the way he sees life. He starts as such
an energetic and life-filled
character, and then he journeys and comes
to that point at which he's no
longer the hero, he's the villain. In
order to commit the crimes he did,
he had to cut out his own soul... he had
to numb himself as so many murderers
do. It's weird that Shakespeare knew that.
But that was the ultimate price.
For committing the acts that he did out of
ambition was that he had to
turn off his own connection to real life
to protect himself. So when his
wife dies, when he hears that his wife is
dead, he's just like 'Well, she
should have died tomorrow, we would have
had more time for that tomorrow.'
That's probably my favorite part of the
play because actually it requires
no acting at all. You get to that and it's
the big abyss of the role, you
just have to sit there and say it. You
just say it very simply. It's so
disturbing. (11th Hour - December
1999)
***
What I'd
like to do with "Macbeth"?
Just do it right. Just do a "Macbeth" where
Macbeth doesn't wuss out in
the second act. And just go to hell with
some courage. Do a "Macbeth" where
Lady Macbeth isn't a bitch, but, in fact, a
good person. Then they both
go insane because they do evil, but they go
insane for different reasons.
You know, just do it like it's written. No
one's done it well. I don't
get it! It's such a great play. It's so
simple, really. (Fangoria -
August 2001)
***
Who would
I pick to play Lady
Macbeth. Someone beautiful, and innocent and
very young. Someone naïve,
someone who would be forgiven for making
that mistake. The worst thing
about Lady Macbeth if you see her on stage
is that she is played as a castrating
bitch. Because it weakens both of them.
Because Macbeth looks like he's
taking it, that he's whipped, and Lady
Macbeth, by the time you get to
that damn spot nobody cares. But if she's an
innocent, who doesn't want
to think about what she's doing- she always
says if you don't think about
it Macbeth, it wont be bad, which is wrong.
But if she's an innocent and
loses her husband because of he can't tell
her the secret killings that
he's been doing, then she loses everything
and it drives her insane then
you have something. So someone around
twenty, something like that.
***
Macbeth
and Lady Macbeth are a
very happy couple, very sexy with each other
and everything. She’s a wonderful
wife, and they decide to commit murder,
which is the only way to become
king of Scotland. In Scotland at the time it
was not- it was not a kingship
handed from father to son. It was done, who
ever killed the guy would be
king. And so he decides to kill the king but
not on the battle field. So
that sets these chain of events going that
he has to keep murdering people
to retain power and he shuns her away trying
to protect her but they lose
their whole relationship. And he cuts
himself out psychologically to try
to deal with this evil he’s forced to do and
he ends up dead inside. And
we hear a scream of stage and he says…"go
find out what that is". They
guy leaves and the king just tells the
audience "you know I just can’t
even really feel anything, things that used
to just make my hair stand
on end do nothing for me anymore I just
don’t feel anything". The messenger
comes back and says what the noise
was. "The queen, my lord, is dead".
And so he kinda shrugs, and everyone’s
waiting for the howl, everyone’s
waiting for the "oh my god I’ve lost my
wife!" but he just says:
[monologue]
Shakespeare,
by the way, did not
believe a word of that. That was his, you
can really get depressed by that
monologue thinking Shakespeare actually was
thinking that. But that’s not
what he was thinking at all. That was his,
his character going straight
to hell. That’s the voice from hell. Yeah.
(Creation Con - March 2003)
***
You know,
with that play I really... this is going
to sound... OK, there's one play
in the world I feel like I know exactly
why he wrote it and I don't think
I need to ask him any questions about it.
I really think I know, uh, what
was going on in his world and... you see
the thing about Macbeth is...
The Catholics had tried to kill the King.
It was the gunpowder... the Guy
Fawkes incident... and they put a bunch of
gunpowder underneath Parliament
when the King was going to speak to
Parliament. So the whole Royal family
was there along with the King and all the
politicians, and the Catholics
were going to blow the whole thing up. The
King discovered it at the last
moment and defused the bomb himself, but
for a long time after that Catholics
were even more persecuted than they
usually were in Protestant England.
The Catholics actually held a mass the
night before the attempted murder,
which to the Protestant mind was a black
mass being that they were trying
to kill the King so everyone's blaming
Catholics at the time calling them
devil worshippers and everything else and
so Shakespeare writes a play
where the guy does go in league with the
Devil and yet the reason that
he may be evil on Earth was his own
decision. (DragonCon - August 2003)
***
Yeah, sure.
I'll just do the thing… OK, uh, this is
the most depressing monologue in
Shakespeare. This is not philosophy that
Shakespeare actually believed,
but it is a reflection of a lead character
having carved away his soul
to hold onto power… that's the great thing
about the play… what it says
about how murderers… people who do heinous
things have to cut away their
psychology so they can live with
themselves and you go down that road far
enough and you really can't feel anything
any more and if you read any
interviews with any serial killers — I
did, to do the role — it's something
they talk about a lot. So at the end of
the play… at the beginning of the
play we see Lady Macbeth and Macbeth just
almost having sex on stage, that's
how hot they are for each other. Then we
watch them go through this journey
where they decide to do evil. At the end
of the play, Lady Macbeth dies
and Macbeth has just said "I can't feel
anything anymore" and then there's
a scream off stage. Dude goes checks it
out, comes back and says, "The
Queen, my Lord, is dead." We're all
holding on for the reaction to Macbeth
and all he says is:
[monologue]
(DragonCon
- August 2003)