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TRECHOS DE ENTREVISTAS

Fama e Fãs

"Eu entendo por que as pessoas ficam um pouco malucas, mas isso é irritante também. Algumas pessoas agarram você.
Você está andando por aí em sua pequena bolha e de repente tem alguém agarrando seu ombro e você fica como "o que?" Sim, eu vou dizer, 'Não me toque'. E então a atitude é tomada como, 'Ooh, que idiota'. Não há forma de vencer em qualquer situação."
Hall, Carla. "A Man and His 'X'." Los Angeles Times 26 Oct. 1997.

"Eu sinto que nós todos trabalhamos tão duro, eu não quero elogiar a mim mesmo, mas nós damos muito para fazer o show. O que as pessoas ganham do show é o show. Eles não ganham a mim. Eu tenho que recuar e cuidar de mim mesmo. Às vezes as pessoas ficam com raiva por que elas sentem que, 'Nós assistimos seu show e agora você nos pertence.' É o que me obriga a puxar a corda. O que eu dou a vocês é o show, o personagem. Eu não dou a você uma experiência minha. Eu sinto que eu dei o bastante. Eu fico irritado e isso é muito ruim quando as pessoas pensam que eu não dei o suficiente por que eu não vou em convenções ou se eu não quero falar sobre certos assuntos, fazer certas coisas. Sempre vai haver esse mal entendido."
Dunleavy, Dagmar. "The Fox-Files." Playgirl Apr. 1997

" Há tantas coisas maravilhosas acerca do trabalho que eu faço. É criativo e desafiador, eu sou extremamente bem pago e eu encontro mulheres maravilhosas através desse negócio. A parte que eu não gosto é a trivialização do que é importante para você, como a sua família e sua vida emocional. É um sentimento estranho. Como pessoa pública é sua responsabilidade lidar com isso. Você tem que parar de querer aprovação, o que faz com que você ligue para o que as pessoas dizem sobre você. Mas eu quero que as pessoas gostem do meu trabalho. Eu me importo com o que elas dizem sobre mim. Eu gostaria de não ligar tanto.
" Koltnow, Barry. "David Duchovny Balances Pros, Cons of Fame." Orange
County Register. 19 Oct. 1997.

* "Quando eu me deparei pela primeira vez com a notoriedade do show, eu lutei contra isso. Eu queria dizer, 'Eu sou mais esperto que Mulder, eu sou mais interessante'. Mas aquilo foi infantil, e você vê isso acontecendo no primeiro ano e meio, e você se dá conta, é o que as pessoas querem.
Eles querem Mulder.
" Mundy, Chris. "David Duchovny and Gillian Anderson." Us May 1997:


Sobre um incidente em uma academia: "Eu sai do chuveiro, nu e pingando água. Um cara me apontou e anunciou que era Fox Mulder. Eu tentei me cobrir discretamente. Eu não preciso daquele reconhecimento.
" Hobson, Louis B. "Truth is Out There on the Fairways." Calgary Sun
Final edition 7 June 1998.

"Quando perguntado se GA é paga para aparecer em convenções de fans:
"Eu acho, todo dinheiro é bom, certo? Eu tenho certeza que aquele dinheiro não é diferente de outro dinheiro que ela tenha ganho. Há um certo aspecto de propaganda que eu não gosto. Eu não estou dizendo que sou o 'Mr Integridade'- (...) Mas eu não quero estar envolvido nisso.
" Heath, Chris. "Point blank refusal: Duchovny discovers who calls the shots In the first X-Files film." The Sunday Times (UK) 8 August 1998.

"Eu fiz. Eu fiz muito dinheiro - Eu não sou extravagante. Eu tenho orgulho do trabalho que eu fiz. Eu fiz alguns filmes dos quais tenho orgulho. Eu fiz um programa de TV do qual tenho orgulho. Eu alcancei o status de ícone cultural, se isso era algo que eu tenha querido - não - mas eu posso colocar no meu currículo se eu um dia precisar trabalhar no Burger King. Então o que o que eu tenho que provar?
" Heath, Chris. "Point blank refusal: Duchovny discovers who calls the shots in the first X-Files film." The Sunday Times (UK) 8 August 1998.

"Eu me dou bem quando eu tento fazer outras coisas. Eu fiquei orgulhoso dos meus Saturday Night Live. Ficou bom. As pessoas riram. Fazer The Larry Sanders Show foi sempre divertido. A metade do tempo as pessoas querem me
dizer que eu sou apenas Mulder, que eu posso apenas fazer Mulder. A outra metade eu venho e mostro as pessoas que eu não sou. Adivinhe qual a metade que eu prefiro.
Spelling, Ian. "Prince of Paranoia: David Duchovny still enjoys playing the alienated Fox Mulder" Sci-Fi TV September 1998.

"Quando eu consegui sucesso com esse show, eu pensei que as pessoas iriam começar a apreciar o que eu estava fazendo... Ao invés de ser chamado tedioso, eu passei a ser chamado sutil. Ao invés de ser chamado pouco enérgico, eu passei a ser chamado real. Mas toda vez que você tenta mudar, você será atacado novamente. É onde minha batalha está: em ou ouvi-los e decidir, 'Gee, eles estão certos, há alguma coisa para fazer aqui e eu não estou fazendo', ou manter-me firme aos meus princípios..."
David Duchovny, Vanity Fair, 1998

FROM Vicki Gabereau Show, 23 October 1997
A piada sobre a chuva em Vancouver que tornou-se uma crise de estado.

VG: Dave, Dave, Dave, Dave, Dave.....what happened?

DD: Oooh-kay. First of all the only reason I ever wanted to leave Vancouver was to go be with my wife in LA. In all seriousness. Not that it's anyone's business.

VG: But it's become everybody's business.

DD: Well, I opened my mouth. At some point. I was promoting this movie and somebody asked me about coming down to LA and I opened my mouth and said that. And then what happened was I was on the Conan O'Brien show, and he wanted to do this segment where he wanted to make light of moving the Vancouver. So he had a bear, a Mountie and a hockey player in the audience and they were weeping. So in order to get to that point, I had to say something derogatory about Vancouver. I hadn't even planned it.When we got there, I said something like it rained 400 inches a day.

VG: And? What's so incorrect about that?

DD: Well, I don't think it's quite 400 inches, is it?

was browsing at a bookstore and saw a book called

THEY SAID THAT!
The Wit and Wisdom of Modern Celebrity Culture
by Larry Engelmann
ISBN 1-58063-110-X

I thought I'd flip through it to see if THE X-FILES was quoted
(since many quotation books include "The truth is out there"
as one of the 20th century's most memorable phrases)
and instead found that while neither THE X-FILES nor
Chris Carter are quoted, both DD and TL *are*!

From page 41:

===>
DAVID DUCHOVNY (Actor)

"I haven't had any experience with UFOs. But paranormal life seems to
be all around me. I grew up on the Lower East Side in New York." 1993

"I think when I was younger, I wanted to tell everybody everything because
I thought I was so damn interesting. Then I heard the snoring." 1995

"Just total focus. Total concentration. Maybe
one ear goes back to figure something out."
1998: On what he's learned about acting from his dog.

"I really like gratuitous nudity. I hate when people go, 'I'll only do it if
it makes sense for the movie.' That's such a crock. It never makes sense.
So I like it -- the more gratuitous the better." 1998

"He said he had watched X-FILES but found the plots a
bit convoluted and couldn't always understand them."
1998: the X-FILES star, on meeting Prince Charles.
<===

(Incidentally, although DD and several other celebs are
quoted talking about Prince Charles throughout the book,
Charles himself is not quoted anywhere.)

On page 69:

===>
TEA LEONI (Actress)

"I sort of thought I wanted to be an anthropologist.
But my father suggested I go to a cocktail party full
of anthropologists first. I did. He's a very wise man."
1997: On how she became an actress.

"Men are like bulls; they gotta get the new cow. Maybe
you've got to get the bull after he's had a lot of cows,
so you might just be the last new cow." 1998: the wife
of X-FILES Star David Duchovny discussing her love life.
<===

The index says that DD is also mentioned or quoted in
the "Politics" section of the book, but I wasn't able
to find anything by or about him in that section.


from Diane Anderson's 1-31-95 interview, as reprinted in THE
DUCHOVNY FILES book:

===>
DA: Let's talk about basketball -- can you slam?

DD: No.

DA: How tall are you?

DD: Six feet. I mean it's possible that a 6-foot man could dunk,
but not this 6-foot man. I was just thinking about Melville for a second.
[pause] In MOBY DICK, there's a description of cutting up the whale
-- the overlong description.

DA: Which one?

DD: It talks about a whale's penis being 6 feet. So sometimes I think
of myself as a whale's penis 'cause I'm 6 feet. Sometimes I refer to
myself as a whale penis. It's conceivable that a whale penis could dunk,
but not this whale penis. Hey -- can you have that be the first line of
your story? Duchovny likes to think of himself as a whale's penis?

DA: You tell me. Can I?

DD: Yes! I'd be disappointed if you didn't use a quote like that.
<===

Not that DD can't rise to the occasion when necessary (1-97 GQ):

===>
... Duchovny, looking spent, smiles slightly. Instead of staying for a
drink, he decides to go home. As he hails a cab, a tall blonde woman
coming into the hotel eyes him and says, "I thought you'd be taller."
He looks at her. "I can be."
<===


Art

q On the relationship between popular entertainment and societal ills: "That's all pretty much a crock of shit. Nothing about us makes us fit oracles of social mores, and to say that an Arnold Schwarzennegger movie breeds antisocial behavior is pretty irresponsible and totally untrue. But then, everyone is searching for the answers that used to be provided by our parents, grandparents, ministers or rabbis or, if we were lucky, our teachers. Like what is moral behavior? The gray-area questions, you know? Certainly Hollywood isn't necessarily a fit environment in which to form answers to these questions, because show biz is as corrupt as the rest of society. For politicians to say it's our responsibility to guide America morally is completely wrong. Voland, John. "David Duchovny: The X-Files Star on Fame, Joe Truckdriver, and Why ID4 is Ruining Our Lives." Online. E!Online. Internet. 1998.

q "I don't want to rag on it, because, to be honest, I haven't even seen it yet, but the very notion that Independence Day was on the cover of Time before it had even opened in theaters is pretty bankrupt. What that is celebrating is how splendidly Fox marketed the movie, not the movie itself. It's like eating the sizzle and not the steak, you know? No wonder people are becoming cynical about Hollywood: It has become incredibly cynical about itself." Voland, John. "David Duchovny: The X-Files Star on Fame, Joe Truckdriver, and Why ID4 is Ruining Our Lives." Online. E!Online. Internet. 1998.

q "There's as much danger making nothing but nice movies, which is what certain politicians want us to do, as in making nothing but violent or cynical movies. Nice movies, in this political climate, will do nothing but make a rotten country, because everyone will wink and say, 'There they go again.' Movies and TV shows are not models for how we should behave. People are mistaking the messenger for the message. Greek audiences didn't look at the Oedipus plays and think, Gosh, that's a good idea: I'll kill my father and then have children with my mother! Fox Mulder, my character on The X-Files isn't proof that aliens or paranormal critters exist. He's just trying to order his own life and do the best job he can." Voland, John. "David Duchovny: The X-Files Star on Fame, Joe Truckdriver, and Why ID4 is Ruining Our Lives." Online. E!Online. Internet. 1998.

q "I was once up for a Rhodes scholarship. I made it to the regionals, which involved an interview. They put us all in a room and we're all sure we were being watched. When it was my turn I walked in the door and there were 10 people. As soon as I stepped into the room, the questions started--I didn't even get to sit down. The first question was: does a fiction writer have any responsibility to teach good morality? . . . I said no. But this was the Rhodes scholarship committee and the answer they wanted was yes. I'm involved in something similar now with discussions about violence. What is the effect of entertainment on morality? It's an impossible discussion. When the state decrees what art should tackle and how they should do it, you get the 70 years of Soviet realist art that no one wants to look at now. I always go back to Milton's essay on censorship, which basically said: the devil exists--is it our responsibility as teachers to show our children only God and leave them to be surprised by the devil and taken more easily?" Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Q: John Grisham [said] that [Oliver] Stone had to be partially blamed for the true-life murder spree committed by a couple who dropped acid and watched Natural Born Killers. A: "Well, see, Grisham can't write. He's an idiot for doing that. How many more people have taken machine guns to other people while quoting scripture? There's no accounting for human nature. If they hadn't been copying Natural Born Killers they would have come up with it on their own. You can't define causality in that way. Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q "I'm for violence occurring offstage, but you go back and look at the Greek plays--they're much more violent than anything we have. And so much more profoundly disturbing. When's the last time we've had a hit movie about some guy fucking his mother? And yet it's one of the central works of Greek art, and we now think of it as high culture. They've got a play about a woman going crazy and eating her son. Big hit! Try and get that one made. Unfortunately, you have the marketplace determining what's going to be made." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Q: Do you view acting as a job or an art? A: "I think it's both. I think any art form is also a job to you if you do that to pay the bills or make a living. It's not a hobby. And it's some kind of expressive form. You can nit-pick and call it an art or a craft or whatever. That's not that important to me. I know that it's tough. I know that some people can do it well and others can't." Abbot, Spencer H. "Scholar in the Rough." Internet. TNT Rough Cut 9 Oct. 1997.

q "When you start addressing art as if it has to be politically correct you are making a mistake. Art can't serve an agenda. By its nature it is disruptive, anarchic, mean. The best jokes are at somebody's expense." Brooks, Libby. "Agent Provocative." The Guardian (London) 31 July 1998.

q British television comedy: "I was flipping through the channels last night and they had this show Top Of The Pops on. They were funny. Very funny. Very witty. Two guys going on about the soccer. Then they got up and sang a song about soccer. About three stripes on the shirt? First I thought it was so corny: these guys were funny and now they're doing this kiss ass patriotic soccer song. Then I thought it was kind of better than the Bay City Rollers." Brooks, Libby. "Agent Provocative." The Guardian (London) 31 July 1998.

q Q: What was the best movie ever made? Top of your head, first one that came into your head. A: "That's...[thinks]...Last Tango in Paris." Duchovny, David. Interview with Steve Wright. UK Radio 2 15 August 1998.

q What movie makes him cry? "Brian's Song. Just the voice-over gets me. And when they're running through the park at the very end, and Billy Dee Williams [playing Sayers] is remembering Brian Picolo-not how he died, but how he lived. And the narrator says, 'And how...he...lived.' And they're tearing through the park, running. I'm gonna cry right now." Premiere Magazine, Dec. 1998.

q Which TV shows he watches: "I watch Larry Sanders, Dr. Katz, Professional Therapist. I love King of the Hill. I watch Seinfeld, I watch Naked Truth [laughs]. I watch NYPD Blue sometimes. All these are on tape, by the way, 'cause I'm working during all of 'em. I just saw this great cartoon, South Park -- I'd like to see more of that. Téa and I like to do this thing where we rent a really good movie and then we come home and we go, 'Hey, let's watch bad TV.' And we usually end up on the Animal Channel. In fact, I probably won't leave the house: I'll be watching the Animal Channel." Duchovny, David. Interview with Jeanne Wolf. Online. TV Guide Entertainment Network. Internet. October 1997.

q Q: What are your influences? A: "Music. If I'm doing a scene that I want to have a certain flavor or movement for, I think about the music I want for that. Sometimes music, sometimes painting. I have a photograph in my bag right now that's been influencing me. This is a photo I've been working with. [Pulls out a page ripped from a New Yorker, a photo of Tennessee Williams taken by Richard Avedon.] Things like this influence me a lot. I look at this face--I saw such combo of pain and will to keep going so amazing. It made me vow I'd never let Richard Avedon take my picture because he sees too much. I don't think I could handle being captured so truthfully." Duchovny, David. Interview with Diane Anderson. 1995.

q "If you look at the people in the militia groups and the conspiracies they believe, we kind of traffic in that [on The X-Files]. I think the show is simply of our time. I don't believe that art creates what happens in life. They are definitely connected, just not causally. There are literal-minded folks who say, 'You know, ever since Jurassic Park came out, people have been getting killed by dinosaurs, and it's Steven Spielberg's fault.' To me, that kind of connection never makes much sense. The people who advocate thought police have always been with us. They date as far back as Plato. . . . It's always scary to see who you really are. People are trying to ascribe blame--'If you hadn't made The X-Files, the world would be a better place.' I'm not saying the world's a better or worse place because of the show. I'm just saying that it's a little more crowded." Nickson, Chris. The X-Factor: The Unauthorized Biography of X-Files Superstar David Duchovny, p. 116, 1996.

q WHAT WAS THE FIRST MOVIE YOU EVER SAW? It was Le Mans with Steve McQueen. I remember it because it was incredibly loud and the colours were incredibly bright. There was also this storm going on outside the theatre which I remember because I ran out because it was too much. I don't know how old I was -- it'd be kind of embarassing if I was 14 or something."

DATE MOVIE? Oh ... I'm cheating, looking at the spines of my video collection in front of me. It'd have to be something with my wife in it. Flirting with Disaster. I take it that this date is with my wife. I could get into a lot of trouble otherwise.

BEST MOMENT? It's impossible to isolate one.

BEST LINE? That would have to be the last line in Last Tango in Paris where Marlon Brando dies: "I killed her ... I killed her ... I remember ..."

EVER WALKED OUT? Yes I've walked out of a number of movies recently, the titles of which I won't say. I may want to work with some of those people. Way back I didn't used to walk out of as many because I needed the $6.50. These days I don't. The time's more important.

EVER CRIED? Yes. Strangely the last thing I cried at was a TV movie. It was Brian's Song about a black footballer and a white footballer and one of them gets cancer and dies. It was kind of the prototype for all those movies. Anything with dying athletes will do it for me.

SCARIEST MOVIE? That has to be Don't Look Now. That bit at the end with the dwarf and Donald Sutherland bleeding to death. The beginning with the child drowning is incredible too. It's shot in this really cold, disturbing style.

FUNNIEST MOVIE? That's really difficult. I don't think I can name a funniest one.

SATURDAY NIGHT MOVIE? I like some of those action movies. Maybe James Bond. But not too many of them.

SUNDAY MORNING? Sunday morning is always for TV shows in my house. You just don't watch movies then. Smith, Adam. "My Life in the Movies." Empire January 1999: 51.

q "I love Barry Manilow. He's so schmaltzy. I also used to watch Melrose Place." "How the famous have fun." Jump April 1999: 66-67.

q "Let's relax about Star Wars. It was not the defining cultural event of our lifetime." Baerg, Greg. "As Heard Backstage." UltimateTV, Internet, 2 February 1999.

q David is working on a book of poetry: "It's for my own pleasure. If I felt good enough about it, I'd [do a book]." McIntyre, Gina. "Star Man." X-Files Official Magazine, Vol. 9, Spring 1999.

Literature and Writing

q Cliché Juice
by David Duchovny

Home is where the heart is and my heart is
out traveling. Up into the wild blue yonder,
wingless, prayerful that this miracle of flight
will not end, just yet.
Also at home, with you, on the ground
wherever you might be at the moment, grounded
like a highschooler, like a wire, a bird and a wire,
feet on the ground and my heart in my throat now, now
in my feet, lawfully descending with gravity
to the lower, lowest, most sought after
most beautifully bound, home.
Aspirations involve reparations, We reach
for the stars wondering what we are.
But my Reason has been found
by finding you and looking down. And it is there,
not in the stars of fantasized worlds, fifth
dimensions, sixth senses, holy parallel potentates of
potentialities--that my feet will trace
their slow as history itself dance:
a walking calligraphy so subtle that it will take 40 years
and more and a view from above
with an impersonal remove and lofty attachment I hope
to barely fail at that mythical two-backed beast; itinerant stasis;
like the one I enjoy up here in the well attended air,
to read the cursive strokes of my aggregate footsteps,
like some fairy tale dissolve, "Once upon a time" or twice
written on our little page of earth, ground,
wherever our home may be
will be
wherever we happen
to be.

[Originally printed in the article: Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.]

q Random excerpt from David's 1982 Princeton senior thesis, The Schizophrenic Critique of Pure Reason in Beckett's Early Novels: "In Murphy's theology, undifferentiated chaos confronts God with its unnameable yawn. Like a sculptor with flawed stone, God does his best with what he is given and puns on the word to create the world. It is not a great pun and certainly not one of Murphy's favorites. The only evidence of theophany appears as the verbal transformation of the lowly neurotic into the holy psychotic schizophrenic."

q About Harold Bloom, a professor and author of psychoanalytic literary criticism. "He wrote about the Freudian struggle between writers--the precursor father-figure-writer and the son. He wrote a book called The Anxiety of Influence in which he makes literature an Olympian struggle for fame and power. The true father-writer is almost efface. So, for example, if TS Eliot said the writer he was most influenced by, say, John Donne, that would be a dodge. The true father would be repressed and that would be that would be the one he would be in mortal combat with. That's where literary critic comes in and uncovers the true father within the poem." Gale, David. "X-Drive." GQ Nov. 1996, British ed.

q "[Harold Bloom] had a mind that was unlike any other. He's the librarian of Western Culture. Of anybody in the world to have a conversation with about books, you'd want to talk to Harold Bloom. If I could just have Harold in my car stereo and go, 'Talk to me about Milton today,' it would be fascinating." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Q: Saul Bellow said Harold Bloom has one of these souls that began to wither under the influence of too much education. A: "Harold Bloom's philosophy is about the soul withering under education. The Anxiety of Influence, his most famous treatise, is about being crushed by what came before. If you come to a strong writer too early, you don't write. That's one of the problems with my education. I don't think it's such a great idea to expose young creative people to the best that Western culture has to offer because then you go, 'What am I going to do?'" Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Reacting when the interviewer hands him a poem to read: "As Parmigianino did it, the right hand bigger than the head, thrust at the viewer and swerving easily away, as though to protect what it advertises..." "[laughing] Jesus, this is one of my favorite poems. How did she know? It's called Self-Portrait in a Convex Mirror by John Ashbery. It's about a man who's painting his self-portrait, but he's looking into a mirrored ball, and the closer he gets to it, the further away his image seems to be going. For me, that would be the acting style that I'm trying to do. I'm trying to protect what I advertise. That's my stance on any kind of self-expression. That's as far as I need to go. You could look at this poem for weeks, just weeks." Frankel, Martha. "Hiding in Plain Sight." Movieline May 1997: 46+.

q "I do write and I would like to publish eventually. I just don't know what. I wouldn't want to write a book about my job, a tell-all book or something like that. I wrote a book when I was 23, a little novel of about 150 pages; so I know that, at some point, although I won't get back to that particular project, I will try to write a novel. My father has been trying to write a novel his entire life. He's actually just finished his first novel at the age of 70, so I think I can beat him, but we'll see." Lambert, Sara. "I Want to Believe." Cult Times Aug. 1997: 28-35.

q Q: You also wrote a novel in college which you called Wherever There Are Two. Oliver Stone recently published his early novel. Do you have any interest in seeing yours published? A: "I would show it, but I know I wouldn't be interested in working on it. Did Oliver Stone go back and work on it?" Q: He did, but he tried to keep it in the voice he used when he was 19. A: "I think the only virtue of something like that is keeping it as it is. If somebody wanted to publish it, I guess I would. Why not? I don't think it would embarrass me. I'm more interested in a volume of poems I'm working on. I'd like to publish them." Q: That should make you a bundle. A: "Probably the best thing about poetry is you can't get rich from it. . . . " Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q "There's always five books around that I'm reading and I don't have any particular kind of book that I like to read. Right now I'm just finishing up a book called [Bastard] Out of Carolina and I'm also reading The Selfish Gene, which is this Darwinian biological book by Richard Dawkins from about 25 years ago. So it's all different stuff, and, of course there's my sex addict's handbook!" Lambert, Sara. "I Want to Believe." Cult Times Aug. 1997: 28-35.

q "I just read A Perfect Storm, which is an account of a fishing boat that sank in the Northeast a few years back. It's kind of a nonfiction, fictional account of that, and I'm reading it because my wife gave it to me and it was a real page-turner. I'm a drive-by reader: I see it, I pick it up, I start reading and if it catches me in five pages, I read it. But I rarely go out anymore and buy a book or go to the library and take a book out. People used to send me more books--either they used to send me more, or the people who work with me used to give more to me. I can't tell sometimes. Because they know that I write poetry, the fans often will send me books of poetry, which is really nice and actually that's the kind of reading that I can do on the set because you don't have to sustain hour-long spurts of reading narrative. You can just read a poem for five or 10 minutes and then move on." Duchovny, David. Online posting. TV Guide. 15 Oct. 1997.

q "I haven't published in any magazines that anybody would know. I guess if it counts, they were certainly in poetry magazines in college and things like that. But I've never tried to publish since then. That's a really good question, because just this past week I was trying to figure out something that I can do in the down time when I'm in my trailer. You know, you work really hard, but there's a lot of time when you're just waiting to work. And I thought I would love to collect all the poems that I've written over the years, maybe work on them, put them in some kind of order with the thought in the way, way back of my mind that maybe I'll put a book together." Duchovny, David. Online posting. TV Guide. 15 Oct. 1997.

q "One of the worst things you can do to a young writer is to make him read lots of good writers. I think Auden said he felt lucky his first favorite poet was Thomas Hardy, a great novelist but a mediocre poet. He said that if it had been Shakespeare or Wordsworth, he would have thought, 'What's the use? It's been done.'" Snead, Elizabeth. "The Truth About David Duchovny." USA Today 16 Oct. 1997.

q About his appearance at a poetry reading: "People are surprised that I could write. There's a certain charge in the room and you know when people are with you, and you know when they're thinking, 'When's the next guy coming up?'" Cohen, Scott. "The X-Man." Details 1995.

q [Joking reaction to his use of a Beckett quote in his senior thesis (Laughing)] "But Is It True Love in the Rectum: The Autobiography of David Duchovny. Do you think I could publish this? Like Paul Reiser published Babyhood? Do you think there's a market out there for a book on Beckett from a celebrity?" Heath, Chris. "David Duchovny." Us March 1998: 37+.Heath, Chris. "David Duchovny." Us March 1998: 37+.

q When asked why Joseph Campbell influences him strongly: "It isn't Campbell specifically, but Campbell is a structural anthropologist--he's like Levi-Strauss, boiling down all stories into archetypes." Shnayerson, Michael. "David Duchovny's X Factor." Vanity Fair June 1998: 165+.

q "Yeah, actually, over the last couple of weeks, I've been looking for a project for while I'm waiting around in the trailer between shots, which is a pretty considerable amount of time. And I thought about collecting all the things I've written over the years--which is pretty considerable--and putting them in a book. But I'm a little leery of publishing as a celebrity. I don't want to take advantage of that. And I don't want to be slaughtered because of it. Maybe I'll just write another book on couplehood." Duchovny, David. Online posting. E! Online. 16 Oct. 1997.

q "The critical mind is a creative mind. There are books of criticism that are more enjoyable than the books they are criticizing." Cohen, Scott. "The X-Man." Details 1995.

q "I have a wide frame of reference, so when someone shows me something and asks if it isn't the best thing I've ever read, I have to say 'It's pretty mediocre compared to Dostoyevsky.'" Mills, Bart. "X Marks the Star." Biography June 1998: 35-40.

q "An actor writing poetry is like saying 'Can you throw an egg at me? Here, I'll just paint a bull's-eye on my forehead.' So I want to work with an editor, give him some scribblings on napkins and just let him sort it out. I just want to make sure I'm happy with it." Monroe, Josephine. "Great Xpectations." Time Out (London) July 1998.

q Joking response when asked the subject matter of his poetry: "Oh. Pastoral odes." Monroe, Josephine. "Great Xpectations." Time Out (London) July 1998.

q After he'd told the interviewer that pretension made him angry: Q: Book you'd like to read but haven't had time yet? A: "Finnegan's Wake? Well that was pretentious! I hate myself!" Duchovny, David. Interview with Steve Wright. UK Radio 2 15 August 1998.

q Favorite French poet: [Translated back into English from French] "I like Baudelaire a lot, but you have to know that my French isn't good enough for me to read poems in their original version. And poetry is so hard to translate. A translation from a language to another betrays the rhymes and sonorities. So I think the best way to totally appreciate poetry in French is to read it and understand it in French. My father started learning French reading L'Etranger [Camus's The Stranger], which is easy to read. Actually, I think I could read it, too." Dauquier, F. "French Official Fan Club Interview." October 1998.

q PLAYBOY: If you had one wish, what would it be? DUCHOVNY: "It would have to do with writing. To be able to tell a story like Homer. To almost sing a story. Actually, I'd rather sing. If I could sing I probably wouldn't care about writing." PLAYBOY: What person would you like to be able to sing like? DUCHOVNY: "Many, many people. Ray Charles, Stevie Wonder, even Bonnie Raitt. It would be funny, Bonnie Raitt's voice coming out of me, but I would change my physical appearance to make it work." Duchovny, David. Interview with Lawrence Grobel. Playboy Dec. 1998.

q "It may be an act of snobbery to say, but I feel like the better the book, the worse the movie. I don't think an adaptation of a great book will ever stand up to that book. Movies do something a certain way that is specific to the cinematic form. They just can't be like a great book with a rich interior life of a character; it's just not possible." Perenson, Melissa. "Fox Mulder Goes Hollywood." Sci-Fi Entertainment Dec. 1998.

q [Translated back into English from French] "I have to say that I love above all poets like Wallace Stevens, Robert Frost, John Donne. Verlaine and Baudelaire as well, but, sadly, I've only been able to read those in translation." "Duchovny X-Rayed." Studio (c) (France) Nov. 1998.

q [Translated back into English from German] Q: Do you write poetry? A: "Yes, just yesterday I wrote one on the plane." Q: Can you recite it right now? "Unfortunately not, I have it in my hotel room. However, I plan on publishing a book soon with all the poetry I've written over the years." Q: Whatever happened to your novel Wherever There Are Two? A: "I've lost the original manuscript. The novel is set during the time I worked as a bartender. The title goes back to Jesus. When asked about the new church and people wanted to know how it could be recognized he replied: 'Wherever there are two congregating in my name, there is a church.'" Loessl, Ulrich. "Mr. X." German GQ Oct. 1998.

q [Translated back into English from German] Q: When did you last see a play by Beckett? A: "Fifteen years ago. It was called End Game. I've always considered Beckett to be very funny, as I have Kafka, by the way. I've heard that Kafka had to interrupt his public readings because he couldn't keep from laughing. I would have liked to have been there. I should read such things more often instead of staring at the ceiling of my trailer during filming breaks. Or write scripts for X-Files episodes--I had the idea for Colony--But for that I need tranquility and size [ed: space?]." Loessl, Ulrich. "Mr. X." German GQ Oct. 1998.

q "[Wallace] Stevens is great. I like Ashbery too although sometimes there's not enough like confession and sex in his poems. Sometimes I want more dirt. Although I respect poets for creating really powerful poetry without having it resort to any kind of personality which is kind of amazing--some poems have no charisma. It takes a lot of integrity when you think about it in this day and age where everything is sold on charisma and hype and things like that. So, as a matter of fact, I'm going to backtrack and say that I love the fact that there's no sex or personality in them." Duchovny, David. Interview with Diane Anderson. 1995.

q Q: Would you ever want to write an episode [of The X-Files]? A: "I'm not sure I'd ever want to write one of these. So much of my life is doing this show that the last thing I would want to do is write one. I would like to write something else--something, something, Something. The outside of a toothpaste tube, something, anything, a cereal box. I would like to write the Colgate copy. I don't know, I have a couple ideas that I've had for a few years that I'd like to write, but again that would be a fearful enterprise to embark upon because I really think that I'm a good writer and then to actually face the fact that I may not be. I don't know if I wanna face that yet. That's what I truly think is my natural ability. Like I said, as an actor I have these stumbling blocks. Inexpressiveness. Withdrawn. Reserved. In writing I have the opposite fault. I'm like totally mandarin; I overwrite. Mandarin. That's what Charles Berger (he was my advisor) said. I wrote a novel in grad school--an attempt at a novel--and he said the writing style was 'mandarin' and I always remember that. And now I like mandarin collars. So I'm mandarin. I'm inclusive--everything and anything I think of is in there to express and there's no narrative line. As an actor I'm much more critical of narrative line and editing--take this out, I wanna see it make sense and see it go there. In writing I throw everything in." Duchovny, David. Interview with Diane Anderson. 1995.

q "I wrote a novel about someone very similar to me. A bartender. In New York. At the Continental. It was like Bright Lights, Big City--or very similar. I wrote in the third person with the same drug-induced, sex, self-conscious, mid-80s, Bret Easton Ellis--need I go on? But it was okay. There was some really good writing and very good chapter titles. I really loved my chapter titles." Q: What was the best one? A: "The Spider and the Fly. It was about a dream the character had where every time he tried to pull down his fly, a spider would come down. The character had to urinate in the dream and he couldn't because every time he tried to pull down his fly, the spider would come down so I just thought that was funny, the spider and the fly." Q: Are you afraid of spiders? A: "No. I don't love them, but I'm not afraid of them. I don't like to walk my face through cobwebs because you don't know if the spider fell down your collar. But I think the book came from a dream I had. I'm not in danger of wetting my bed very often. Your subconscious edits you. So in my dream, something in my brain sent the spider to prevent me from peeing in my bed. I thought that was interesting--that, even in the dream world, the superego, or whatever you want to call society's restrictions, is powerful enough to prevent you from going." Q: Was The Spider and the Fly the name of your novel? A: "No, it was called Wherever There Are Two. People ask Jesus about the new church, 'How do we know when there is a church?' He says, 'Wherever there are two gathered in my name, that's a church.' Communication is an important thing. In a splintered family unit, two people making a connection was enough. I guess the book is autobiographical, but I wouldn't want to go into it." Duchovny, David. Interview with Diane Anderson. 1995.

q [Phone rings and interviewer asks if he's going to get it.] "Nah. I have people call just so that you think I'm important. So it's actually not even anybody that needs to talk to me. Like a character from a Congreve play who likes to make himself seem important who will often leave messages for himself with him as a driver and, not finding himself at home, sometimes sit and wait for himself. I can't remember. I just like the idea of him calling on himself and not finding himself home will wait for himself, so that's what I'm doing. Is any of this interesting? I need to know if I'm a big crashing bore." Duchovny, David. Interview with Diane Anderson. 1995.

q Q: What do you do with a degree in English literature? A: "You teach. Or you write. And I think that I still feel that I'm a writer. I feel that I have a career, and there's a lot about acting that's challenging and fun. But ultimately I want to write." Snead, Elizabeth. "David Duchovny, Top to Bottom." Cinemania Oct. 1997.

q "The state of mind that you need to have to write, and the state of mind that you have when you're acting are very different. You don't want to spend energy on things when you're writing. You're conserving everything. You're not even good to the people that you love. When you're acting, it's very similar. You don't know why you're saving it up, but you know you're going to have to put it out at some point. In order to do one of them well, you have to give it everything that you have. I'd like to write, actually, in this little time that I have now. I can't do both at the same time. I don't know how Sam Sheppard does it." Krafchin, Rhonda. "Coffee, Tea, and David Duchovny: An Afternoon Chat With the Star of 'The X-Files'." Pyrdonian Renegade. 1994.

q About his father's play, The Trial of Lee Harvey Oswald: "It was really long. Oswald just sat there and didn't say anything the whole first act. I remember asking my father how it was possible that he didn't have to go to the bathroom." Nickson, Chris. The X-Factor: The Unauthorized Biography of X-Files Superstar David Duchovny, p. 16, 1996.

Music

q About his favorite "slow-dance song," The Rolling Stones' Wild Horses: "[T]o me it's the moment when he says 'We'll ride them someday' that's it. And Keith's guitar is so choice, spare, and perfect. Now there's a guy who doesn't play too many notes." [Interviewer comments that the song is more romantic than sexy.] "Anyone can have sex. Romance is harder. I'm not saying everybody can have sex when they want it. I meant that everybody is capable of sex, but not everybody is capable of romance." Udovitch, Mimi. "Lord of the Files." Details June 1997: 118+.

q "A sexy [song] is Let's Get It On. That's the best of all time. I know every sound in that song, every sound Marvin [Gaye] makes, every groan, every little addition to the line, I know. And there are some really hokey lyrics in that song. 'We're all sensitive people, with so much to give,' for example. But it doesn't matter, it's how he sings it. That's another thing about acting: You can say the worst lines, but somehow you can fill them the right way. It's like when you look at lyrics on a page and say 'This song makes me cry.' Did you know that the second or third time I did Letterman, I had them play me out to Bitch? I love to talk about music. Ask me more musical Questions." Udovitch, Mimi. "Lord of the Files." Details June 1997: 118+.

q "I've also thought long and hard about Mick Jagger. I used to think about what his appeal was, and there are theories. There's the androgyny thing. And Allan Bloom singled him out as the fall of civilization in The Closing of the American Mind. So I thought about Mick, and what I thought was that he offered the promise of premature ejaculation. I don't know [why], it just came to me and made sense. Well, for me, since I'm not interested in having sex with men, if I had sex with Mick I would hope he would prematurely ejaculate, because then it would be over quick. So maybe that's what I'm getting at." Udovitch, Mimi. "Lord of the Files." Details June 1997: 118+.

q [Author S. Cohen: What David looks for in any performance is the hamartia---an archery term for the way it misses, not the way it hits.] "Bob Dylan's song Blind Willie McTell is about that, in a way. It's a song about how nobody can sing the blues like Blind Willie McTell, yet Dylan is actually doing it in the song. [Author asks if David has heard Blind Willie McTell sing the blues] "I assumed Dylan made the guy up. I don't have a taste for straight-up stuff like that. I prefer the Stones to the people they are covering. there are people who listen to the Red Hot Chili Peppers because they never heard of Jimi Hendrix and George Clinton. There is no history now. Nobody cares to go back even two years. When growing up, the focus was on who were the originals and who were the visionaries. Originality is not something to agonize over anymore." Cohen, Scott. "The X-Man." Details 1995.

q Q: What rock musicians or groups would you pay to see? A: "Plenty of them. I always wanted to be Mick Jagger." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Q: What song would you like to have written? A: "I wish I'd written Wild Horses. Gimme Shelter. Or The Long and Winding Road. Or Tangled Up in Blue." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

Actors & Acting





See also 'The Rapture' analogue track with David's comments on the scenes as they unfold.



q On getting involved in acting at Yale: "I enjoyed myself more than I had for years, not since I'd played sports as a boy. It was like singing in church, passing the ball and the crowd cheers, kicking the enemy's head into the goal like the Aztecs. It was a peak experience. I couldn't get it from writing." Mills, Bart. "Duke of Prunes." Chicago Tribune, 12 Oct. 1997.

q "If I have a morality about performance, it's kind of a Protestant one. It's not celebratory; sometimes I wish it was more that way. When I look at my wife I see a physical expression of acting that is fun. Or when I look at an actor like Al Pacino or Nicolas Cage or John Travolta. And given the chance, I'd like to try that, because I recognize the joy in the performance. But my natural inclination is to keep it real, and to try at all costs to hide, which is what people do [in real life]." Shnayerson, Michael. "David Duchovny's X Factor." Vanity Fair June 1998: 165+.

q "When I got the success of this show, I thought that people would start to appreciate what I was doing[.] . . . Instead of being called 'flat,' I'd be called 'subtle.' Instead of being called 'low-energy,' I'd be called 'real.' But every time you try to move out, you're going to be attacked again. That's where my battle is: in either listening to them and deciding, 'Gee, they're right, there's something I have to do here that I'm not doing,' or sticking to my guns." Shnayerson, Michael. "David Duchovny's X Factor." Vanity Fair June 1998: 165+.

q " . . . Playing a doctor is kind of fun. Because you know, you watch those guys on ER and you're a little awed, like, 'Wow, they look like real doctors'. And then you realize all you've got to do is get yourself a real nurse, and you just put a mask on, so basically you can record all the dialogue later. If you could hear the soundtrack of what's really going on, it's: 'What the hell am I supposed to do next, my nurse?' And she says, 'Take the scalpel out of my hand, idiot.' In fact, it made me think that there aren't any real doctors, there are only nurses. The next time you go to the doctor, instead of asking for the nurse to be present, ask for the nurse to be absent and see if the doctor has any idea what's going on." Udovitch, Mimi. "Lord of the Files." Details June 1997.

q Q: What part of acting is the most rewarding? A: "Solving a character or a scene. It's fun, it's like detective work with a mystical solution. But I don't give 110 percent every day, it's not possible in series television. If there are two leads on a one-hour drama, and one of them claims not to have phoned it in from time to time just to retain his sanity, or hers, that person is a liar. But...there's a John Ashbery poem, where he says, 'The art part, leaving things out.' Anybody can put everything in; anybody can tell you, 'I'm sad, and that's why I'm crying, because, you see, crying is a symbol of sadness to us human beings.' But the art part is making you feel sad." Udovitch, Mimi. "Lord of the Files." Details June 1997.

q " . . . I was talking to somebody the other day, and I said, 'Oh, that fucker, he said I was one-note!' And he said, 'You're not one-note. You're more like one-chord. And it's a really cool chord.' And I said, 'Thanks, maybe I'll use that.' And now I have." Udovitch, Mimi. "Lord of the Files." Details June 1997.

q "Most of the times in the past when I've discussed my acting, I've talked about how I'm not that good, and I've found that people pick up on that, and then they say it like they discovered it. So I'm going to stay away from that from now on. I'm just fabulous. I like being put in the Keith Richards school of acting. The spare but well-placed note. Because Keith isn't the fastest or best. But . . . he's the best." Udovitch, Mimi. "Lord of the Files." Details June 1997.

q Q: What work are you proudest of? A: "Certain episodes of The X-Files, usually ones where I have a wonderful costar. There's one called One Breath, and one from this year, Paper Hearts. Acting is a lot like tennis: If you have a strong partner, you're in luck." Udovitch, Mimi. "Lord of the Files." Details June 1997.

q On the relationship between failure and the great actors: "Brando always had a real self-loathing about acting. He though it was trivial, not masculine. But his work read wonderfully. Like today, for example, I think Nicolas Cage fails in a really interesting way. I'd rather watch him fail than other people succeed. Nicholson does than too. That would be the next level to go to - I don't have the security or confidence to go there yet. I may not have the ability." Gale, David. "X-Drive." GQ Nov. 1996, British ed.

q "Actors are made freakish by the attention that's given to them. You start to think of yourself as an object. Maybe children who are used to feeling like a subject--who have been objectified--maybe they become actors more easily, maybe they seek that feeling again." Gale, David. "X-Drive." GQ Nov. 1996, British ed.

q "I don't naturally gravitate to overstatement. My natural instinct is to make it as real as possible and as subtle as possible." Hall, Carla. "A Man and His 'X.'" Los Angeles Times 26 Oct. 1997.

q When asked whether he would characterize his acting style as laconic: "I like to think of it as real. I don't think people run around being dramatic all the time. There are moments of high drama in one's life, as there are in dramatic--in movies. I like to pick and choose the spots, rather than play it at a level that is dramatic the entire time. I like watching performances like that, and I naturally gravitate myself towards creating performances like that." Duchovny, David. Interview with Katie Couric. The Today Show 17 June 1998.

q "The best actors convey the idea that they never truly get there. The viewer senses failure and disappointment from them. I love when you can smell failure in an actor's performance, because acting is really about displaying yourself for money and for people you don't know. There is a great cost to your personal life. With Brando, for example, I always feel he's showing me that it's painful, certainly humiliating, maybe even wrong and bad to act. The best actors have an air of failure even at the height of their success." Hitt, Jack. "X-Factor Actor." Playboy

q When asked if he would oppose doing full frontal nudity: "No. Why should I? It's just what it is. It's just a penis, you know. . . . That would never be shown in an American movie, and I guess that would be the real test--if you're willing to with a hard-on in a movie. The other thing is, on the one hand, it means nothing, why not show it? On the other hand, who needs to see it? Why do you need to see a penis? Why do you need to see pubic hair? It's not a big deal for me to either see it or show it. Pubic hair does not turn me on. Penises, when they're soft, they're kind of ridiculous things, anyway, you know?" Higgons, Jenny. "Making Contact With David Duchovny: A Close Encounter with the X-Files' August Agent." Playgirl

q About doing a nude scene in New Year's Day with then-girlfriend Maggie Jakobson [now Maggie Wheeler]: "It's difficult, because a lot of times in acting, you express more than you do in life. You're acting more vulnerable, more this, more that. And sometimes, it's painful to portray that in front of somebody who knows you well. Then they go hey, why aren't you like that with me all the time? The world is warped." Unreich, Rachelle. "David Duchovny." CLEO May 1996.

q "As an actor you're always dealing with nervousness or anxiety and tension. When you're working on film or in television, you're just doing little bits and pieces . . . you have to deal with your nervousness and tension in each scene or shot. In a play, you come out, say your first few lines, and then you relax. You have an hour and 45 minutes of bliss. In television you don't get that. It's not like you ever relax. I'll have days when all of a sudden, I'll just be a basket case. I've been doing the show for eight months and I'll ask myself, why am I nervous? But that's just the way it is. Each actor handles anxiety in their own way. I just try and figure out why I might be nervous. If I can't do that, I'll try to yell and scream, do [yoga] positions. [Grinning] If that doesn't work, I get mad at somebody else." Krafchin, Rhonda. "Coffee, Tea, and David Duchovny: An Afternoon Chat With the Star of The X-Files." Pyrdonian Renegade. 1994.

q "I had a teacher that gave me a really good lesson once. He had a piece of paper, and he said, 'I like dogs.' And then he wrote down cocker spaniel, Saint Bernard, beagle, German shepherd. He circled beagle, and he said, 'I love beagles.' And that was my lesson. . . . What he was saying was that if I like dogs and I love beagles, if we're having a conversation and you mention beagle, I will perk up and pay attention. It's a way of creating a full human being with weird interests. That's the challenge of creating a subtle character that doesn't have to scream out, 'This is who I am!'" Mundy, Chris. "David Duchovny and Gillian Anderson." Us May 1997: 44+.

q "There's something different about working with an audience, because you're working with an audience. You're making an experience together in the present moment, rather than making something for future use or recorded use. There's a different feeling and a different pleasure that you get out of it." Krafchin, Rhonda. "Coffee, Tea, and David Duchovny: An Afternoon Chat With the Star of The X-Files." Pyrdonian Renegade. 1994.

q "Some actors have a total disregard for reality. Nicholas Cage is absolutely eccentric. He creates loony characters you've never seen that nevertheless seem believable. I'd need a lot of support to make that leap." Cohen, Scott. "The X-Man." Details 1995.

q "I also let my dog teach me about acting. [She teaches me] total focus. Total concentration. Maybe one ear goes back to figure something out." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Q: Anthony Hopkins [said]: "Actors are of no consequence. Most actors are pretty simpleminded people who just think they're complicated." A: [Laughs] "I don't think I'm simpleminded, which is different from being simple. I respect simplicity. I think I'm intelligent. I definitely think a lot, which is not necessarily an advantage for an actor. Intelligence and thinking are not what we want from our actors. We want spontaneity and instinct. We want them to do the things that we don't do. Anybody can sit and think. But acting is like any other profession: you've got interesting people in it and you've got boring people in it." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q "One of the best definitions of an actor I ever saw was Pauline Kael talking about Brando, where she said as an actor he always looked like he was about to say something more interesting that he eventually did. I think Nicholson has that too. It's a gift." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q "I'll go [out of my way] to see Pacino. Duvall. I'll always see Brando, even in The Island of Dr. Moreau. I like Nicholas Cage. Sean Penn. Travolta. There are a lot of famous actors who are good. And there are a lot of non-famous actors who are wonderful." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Asked what is the hardest thing about acting: "The waste of time. I like acting, but not living in the trailer and waiting for setup after setup. I haven't been able to make productive use of that time. It's not quite free time. There's work coming up--so it's like this tense boredom. It's not even just flat boredom." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Asked if he is a superstitious actor: "Yeah, but not so much that I can tell you what it is that I do. I save my scripts, I have a sentimental attachment to them, with the notes that I write in the margin. Some of them are personal: 'Think of Dad when you saw him peeing,' or something secret like that." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Q: Have you ever wanted to play Hamlet, supposedly every actor's dream role? A: "Hamlets are no good when they get close to 40. It's like, What are you whining about your parents for? If he's 40, you lose respect for him." Grobel, Lawrence. "An Actor and a Poet." Movieline July 1998: 45+.

q Q: What difference do you think it made that you have this [academic] background, either in terms of how you approach acting or the perception of you? A: "I can't speak to the perception of me. I know that in the beginning, when I used to go on auditions, I would have agents that would say don't mention that you went to Yale because, for some reason, people-- it's not that people like their actors dumb, because I certainly met many dumb people along the way in these wonderful schools. You can find dumb--[b]ut it's almost as if we have this prejudice that, in this country that actors are instinctual and animalistic in this way, that education hurts actors. So in that sense, people would say don't intimidate them by saying that you went to Yale, and don't let them have an out, which is "he thinks too much" or "he's not impulsive enough" Duchovny, David. Interview. Charlie Rose. PBS 18 June 1998.

q "People like you do the job you do. Do people want a chef with a Ph.D.? If your meat is overcooked, they don't care that the guy went to Yale." Brooks, Libby. "Agent Provocative." The Guardian (London) 31 July 1998.

q "Comedy is fun; it's almost athletic in a way, to have to work on timing and pauses. Comedy I feel, I hear more easily in my mind when I read it. Drama is more work for me." Rubin, Sylvia. "The Human Side of David Duchovny: TV actor brings a reborn Mulder to movie version of The X-Files." San Francisco Chronicle 14 June 1998.

q About his reputation for a low-key, understated acting style: "It's up to me to break out of that persona. I mean, getting back to my wife, I think when I look at the kind of work she does, which is very physical and energetic, I'm inspired by that, inspired to try something like that. It's really what a role demands, and whether or not I get a chance to take the chance to do that. It would be alien to my nature so in that sense I think it would be a good idea. And if people would say, 'Hey, what happened to the other guy?' I find that the more I do in this business, the less interest I have in what other people think about what I am doing." Cummings, Jean. "Past and Future." X-Posé Special Issue No. 4 (1998).

q "As an actor, you want to play different roles. That's what you do. By its nature, series television is somewhat stifling because you are playing the same character week in and week out. So when actors yearn to do other things, it's often received as an insult to the show that they're doing. But it's not really, it's just human nature." Appleford, Steve. "Shifting dimensions: Adapting The X-Files and its life-forms to the big screen has been a budget challenge -- and a welcome diversion." Philadelphia Inquirer. 21 June 1998.

q Q: How much of [your academic training] do you have to set aside to be an actor? Acting is really feeling not thinking, isn't it? A: "Right. It's more instinctual. In fact, it was odd when I first tried to become an actor. I was almost at a disadvantage because of the many layers of analytical or critical thinking that I had to throw away. All these muscles that I developed were devalued and made me a more boring actor more than anything else. The most boring acting is intellectual, you know? The most exciting acting is instinctual. In terms of breaking down scripts and story arcs and things like that, however, my education helped, but not in terms of the heart." Duchovny, David. Interview with Tom Snyder. 7 July 1995.

q "The hardest part is combining the workman, punching in for 14 hours a day part with the creative, artistic side. No one says to a painter, 'You have to paint 14 hours a day, 10 months of the year' because a painter would be scribbling stick figures. The problem for me is to not doing the acting equivalent of stick figures. It's hard because you get empty. You are there every day and don't get a chance to rejuvenate. There are days when I go home and know I didn't do well, but I have to forgive myself because I know I am human." Duchovny, David. Interview with Tom Snyder. 7 July 1995.

q When asked if acting is removed from the 9-to-5 workaday life in the same way as college is: "Well, it is and it isn't. School's a lot easier than being on a TV show. You've got a lot less work. I mean, acting on a TV show is removed from the 9-to-5, but the hours are a lot worse and the food is worse. So there's a lot of stuff about acting that is tougher than working a 9-to-5 job, 'cause it's really the hours and the grind of it. And then most people who work a 9-to-5 job don't get scrutinized by millions of people, which you could do without. But I think, as sick as it sounds, I got out of going to school because I wanted to have a real life. I wanted to experience real life. That's why I went into acting right after that [chuckles]. Apparently, I didn't want to experience real life." Q: I was gonna say, from the neo-reality of school to the surreal world of acting. I'd say you pretty much bypassed experiencing "real life." A: "Well, you know, you're gonna experience real life no matter where you are. It's gonna jump up and bite you in the ass no matter what you do." Abbott, Spencer H. "Scholar in the Rough." Internet. TNT Rough Cut 9 Oct. 1997.

q His strengths and weaknesses as an actor: "I wouldn't say my weaknesses because I wouldn't want to give other people a clue. I used to say my weaknesses all the time, and then I found that people picked up on them like they thought of it -- and I didn't like that. I try not to do that anymore. My strengths? I think I have a believability and I think I'm relaxed and I think people believe what I'm saying. I think I have a good ear for speech rhythms and patterns and I think I sound like a real person. So that's a good head start. The rest of it takes more work or less work, more thinking or less thinking, but you just tackle each problem as it comes." Abbott, Spencer H. "Scholar in the Rough." Internet. TNT Rough Cut 9 Oct. 1997.

q Asked if he fears Mulder will bleed over into his future roles: "I don't know. I mean, there's so much of me that I put into Mulder that I think it's inevitable that I will bleed into the other characters as well. So much of me is in Mulder and I'm not yet or may never be, may never want to be the kind of actor that transforms himself. You know, I'm more along the [Jack] Nicholson line of 80 percent of every character I do is me and then you futz around with the other 20 percent. I don't go a 100 percent one way or the other. I'm sure somebody will make that accusation at some point, but again, there's nothing I can do about it." Abbott, Spencer H. "Scholar in the Rough." Internet. TNT Rough Cut 9 Oct. 1997.

q "What acting wasn't made me very passionate. It was not thinking, it was feeling. It was athletic, in the sense that it was instinctual. You could lose your self-consciousness, you become like an animal without notions of the past or the future. And that felt good." Brooks, Libby. "Agent Provocative." The Guardian (London) 31 July 1998.

q "I don't mind Mulder's straight face, because when I'm funny that's the kind of funny I am. I'm not Jim Carrey funny." Brooks, Libby. "Agent Provocative." The Guardian (London) 31 July 1998.

q "What I liked about Mulder is that I'd just done three parts that had to do with some odd sexuality, and here was a character who had no sexuality, or at least no superficial sexuality. To me what Freud said about all energy being sexual is the same as Indian chakra, which is about sexual energy starting at the base of the spine and moving up into different cerebral and emotional realms. I thought, okay, here's a chance to develop that energy, which I'm already comfortable with, bring it up the spine and create a character whose energy is channeled into some quest other than the physical. That's why I wanted to do the role. I didn't go, 'Finally, a script about aliens!' Chris Carter had this image of Mulder looking like Vitas Gerulaitis. I didn't think that was quite right. I made a decision based on all that silly mystical stuff about chakra, and I also decided that he was not going to be Dr. Who. I told myself that he was not going to be a mad scientist. He has to be reliable, even though he's insane. I knew he was crazy, but he had to appear sane." Braund, Simon. "The Unstoppable X Machine." Empire September 1998.

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David Duchovny would like to play me a song. It is the song that xxxxxx