The spring and summer of 2012 are forever ago — in movie years. And that suits Taylor Kitsch just fine. It’s a year worth forgetting, in a lot of ways.
The hunky star of the TV version of “Friday Night Lights” had his big-screen coming out party in 2012, a lead role in two blockbusters (“John Carter,” “Battleship”) that broke the bank, not box-office records.
Reviews of both films zeroed in on the budgets ($250 million for “John Carter) and the bloated silliness of the projects. And Kitsch got caught in the crossfire. Even in his native Canada, people were making fun of “the unfortunately named Taylor Kitsch” (Toronto Globe and Mail).
So the Kelowna, B.C., native changed direction. He went back to ensemble work, which his TV series had championed. He chose scripts that demanded more of a performance. And he went back to Canada.
- Roads could be a mess this weekend — and Monday
- Hope Solo’s domestic-violence charges revived
- Tenants of run-down building: Owner said pay more or get out
- Parents of toddler killed in Bellevue to return to India
- Woman held on $1 million bail in death of West Seattle toddler
Most Read Stories
“I don’t know if it’s a burden, carrying a film” Kitsch, 33, says. “You’d be an idiot to say ‘No’ to (“John Carter” director Andrew) Stanton. You’d be an idiot to say ‘No’ to Peter Berg (“Battleship”).
“But if you get to bounce off Gleason, Mark Ruffalo, Julia Roberts or Travolta — any of those guys — you dive right in. Surrounded by wonderful actors, you can just feel the weight off your shoulders. I don’t have to do the heavy lifting.”
“Lone Survivor” was an ensemble piece, a true-story combat film set in Afghanistan that was a hit back in January. “The Normal Heart” is a new all-star HBO adaptation of Larry Kramer’s play about gay activism in the early days of the AIDS crisis.
But the film that reminded Kitsch of why he loves “ensemble” is the first one he made, post-“Battleship.” “The Grand Seduction” is a Canadian remake of an earlier French-Canadian film (“Seducing Dr. Lewis”). It’s a whimsical comedy about a dying fishing village that tries to trick a hip young doctor into settling there.
“I felt I could do this guy justice,” Kitsch says of the role, a too-pretty plastic surgeon hijacked to tiny Tickle Cove, Newfoundland. “I could bounce off Brendan Gleeson (playing a townie in charge of the “Seduction” scheme) and not carry a huge film. No pressure working back in Canada. I wanted to work there because I’ve never a done movie there. And I like this guy. He’s dry and dorky and everybody else’s reaction to him is hilarious. There’s a charm about this script that is kind of infectious.”
“It’s refreshing to be standing in front of real people and a real waterfront, and not have a (bleeping) green screen behind me,” Kitsch cracks.
Better reviews have followed this change in direction, with “Seduction” moving John Hartl of The Seattle Times to call Kitsch a “self-deprecating hunk … who could be branded for life (in a nice way) with a line like “No one has cheekbones like that.”
The critically acclaimed “The Normal Heart” was “the most fulfilling job I’ve ever had,” Kitsch says. “It gave me so much to do, to think about and work on. The whole process of making it was rewarding, start to finish.” Sharing scenes with Mark Ruffalo, Julia Roberts and others, playing a character with “duality” and a real story arc “made me a better actor, I think. And a better person.”
But “Grand Seduction” may turn out to have the biggest long-term impact on Kitsch’s life, if not his career. The production put him up “in this place on a 100-foot bluff overlooking the ocean. That’s living … That taste of small-town living, the pace of really living, exposes you to all the negative things you’ve brought into your life. How much you add on that isn’t necessary, you realize that when you’re back to living at that pace.”
So he’s moving to Austin, Texas, with its “very hard, fast-paced lifestyle — tubing and wake-boarding and golfing … It reinvigorates you, I think. The tone, the pace, the people, just the simplicity of life gets to you, especially if you’ve been doing time in Los Angeles.
“I have two acres on Lake Austin that I’ve yet to build on, and I was there just the other day thinking, ‘THIS is what it’s about.’ You’re not listening to the city, the traffic, the phone. You’re listening to the changes in the wind. THAT’S living.”