WEBVTT

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Have you ever truly stopped to consider what

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it means to be a Renaissance man in our often

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kind of pigeon -holed entertainment industry

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today? We're not just talking about someone who

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acts. We mean someone who consistently writes,

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directs, and seeks profound artistic expression

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across a whole array of media. Pretty rare, isn't

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it? Yeah, someone whose curiosity just seems,

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well, boundless, whose artistic engine never

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really idols. Well, today we're taking a truly

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deep dive into the remarkable career and frankly,

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utterly fascinating life of an individual who

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embodies the spirit right down to his bones,

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Ethan Hawke. Our mission for this deep dive is

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to go way beyond just listing his filmography,

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which trust me, is long enough to fill an entire

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weekend. Oh, easily. Instead, we're going to

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unpack the interconnected threads of his whole

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creative journey. From his formative years, those

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early cinematic stumbles, through the breakthrough

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roles, his work as a novelist, a director, and

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his unwavering passionate commitment to theater,

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which he often calls his first love. You're going

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to discover how his diverse passions don't just

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exist separately, but how they constantly inform

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and enrich each other, revealing a deliberate,

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thoughtful artist, not just some celebrity chasing

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the next big paycheck, will connect his personal

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philosophies, his public stances to the very

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fabric of the work he chooses and creates. And

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I promise you there will be some real aha moments

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along the way that might just redefine what you

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thought you knew about him. Honestly, delving

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into Ethan Hawke's career, it feels like uncovering

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a hidden artistic continent. The sheer breadth,

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the sustained output across acting, directing,

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writing. It's just, well, mind -bogglingly rare

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in Hollywood. I mean, who does that and does

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it so consistently well? I'm genuinely buzzing

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to unpeel these layers with you today. It's an

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excellent framing. And what's particularly fascinating

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here, I think, is how Hawk's career path seems

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less about chasing that conventional road to

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superstardom and more about this persistent,

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almost relentless pursuit of artistic integrity

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and, well, just pure curiosity. So when we connect

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this to the bigger picture, you know, what makes

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a truly enduring artist, we should be looking

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for these patterns in his choices, the consistent

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collaborations he maintains, often over decades,

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people like Linklater, obviously. Yeah. The interesting,

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sometimes really surprising genre shifts he takes

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on and those recurring themes in his writing

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and directing that's so often parallel the deep

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human questions he explores in his acting roles.

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It really suggests a very intentional artist,

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someone who truly gets the long game of a creative

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life, valuing depth and experience over just

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fleeting fame. OK, let's unpack this right from

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the very beginning, then, because the seeds of

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this multifaceted artist were definitely sown

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early. Ethan Greenhawk was born November 6, 1970,

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right in Austin, Texas. His parents, James Hawk,

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an insurance actuary, and Leslie Green, who worked

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in charity, were actually high school sweethearts.

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They married really young. His mother was just

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17. Wow, 17. Can you imagine starting a family

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so early, especially back then? That alone sets

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a unique kind of family tone. It definitely sets

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a different stage, doesn't it? And this early

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dynamic, with his parents marrying so young and

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then divorcing relatively soon after, in 1974,

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when Ethan was only four, it meant he was mostly

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raised by his mother, Leslie. Right. And they

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relocated multiple times, moved around quite

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a bit, which undoubtedly shaped a childhood that

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was, let's say, less conventional than you might

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expect for a future actor. Sure. If we connect

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this to the bigger picture, this kind of always

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moving, it could profoundly influence a young,

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developing, creative spirit. It often fosters

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resilience, you know. keen ability to observe

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new places, new people, adaptability. Invaluable

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skills for an actor or writer. Exactly. Invaluable

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for both. It's like an early involuntary master

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class in empathy and observation. And what's

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intriguing, too, is that this early family background

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also holds a surprising literary thread. On his

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father's side, he's actually a second cousin,

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twice removed, of Tennessee Williams. Wow, really?

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The playwright. Yeah, the legendary playwright.

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And then on his mother's side, his grandfather,

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Howard Lemuel Green, was a notable public figure.

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served five terms in the Texas legislature and

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elected county judge. So it suggests this fascinating

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blend of like artistic depth and public service

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influences running through his family history,

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maybe shaping his own intellectual side and his

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later public stances. Absolutely. That early

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restlessness, that curiosity seems like it was

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channeled directly into a diverse intellectual

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drive. You can see it in his schooling. His educational

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journey really reflects those varied interests.

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He went to Packer Collegiate Institute in Brooklyn

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Heights, a pretty rigorous private school, then

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moved to the public West Windsor -Plainsboro

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High School in New Jersey. And finally, the Hunn

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School of Princeton, a boarding school where

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he graduated in 1988. So yeah, a diverse path

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mirroring his later career choices. What's truly

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fascinating here, maybe one of our first aha

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moments, is that while he was in high school,

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Hawk initially aspired to be a writer. Right,

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you mentioned that earlier. Yeah, this wasn't

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just a passing thing. It was a deep ambition.

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But this same period, undeniably, saw his interest

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in acting emerge, almost like a parallel path.

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His very first stage appearance was at age 13,

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a production of George Bernard Shaw's Saint Joan

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at the McCarter Theater. 13, in a Shaw play?

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That's intense. Right. Imagine stepping onto

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a professional stage then. He honed his skills

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in high school plays too, like Meet Me in St.

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Louis and You Can't Take It With You, building

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that foundation. So this raises an important

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question for us. Given that initial writing dream,

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was acting like a pragmatic step? a way into

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the storytelling world? Or did it truly capture

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his imagination as an art form in itself, totally

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distinct from writing? It hints at this dual

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creative pull. Well, his higher education choices

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really lean into that question and offer some

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interesting answers. After high school, he briefly

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studied acting at Carnegie Mellon in Pittsburgh,

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great drama program, but then famously dropped

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out after being cast in Dead Poets Society in

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1989. The big brain. You'd think after a role

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like that, his path was set, right? But then,

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even after that huge success, he enrolled in

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NYU's English program for two years. Still committed

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to writing. Still chasing that literary dream.

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And then he dropped out again to pursue more

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acting roles. It wasn't just a one -off decision,

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it was a pattern. This early pattern really reveals

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a foundational synergy, or maybe a gentle, persistent

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competition between the writing desire and the

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acting career. Yeah, like a push and pull. Exactly.

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The fact he twice put higher ed on hold for acting

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first for Dead Poets Society, then again, it

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highlights a profound commitment to performance.

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It suggests that while the literary ambitions

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were simmering, the acting opportunities were

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just too compelling to ignore. It wasn't just

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a means to an end. The work itself, as an actor,

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offered unique avenues for expression, collaboration,

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growth. Things he clearly valued deeply even

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then. It speaks to an almost visceral attraction

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to the immediate, collaborative nature of performance,

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even as that solitary writing process kept calling

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to him. It's a testament to his drive that he

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felt the need to pursue both paths with such

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conviction. So, with that fascinating foundation

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laid, let's talk about his actual entry into

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film. which was surprisingly a bit rocky at first.

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At just 14, with his mom's permission, Ethan

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Hawke got his first film role in Joe Dante's

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Explorers. 1985, starring alongside a young River

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Phoenix. Oh, River Phoenix, too. Yeah, he played

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an alien -obsessed schoolboy. Sounds like a dream

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role for a kid, right? Imagine that excitement.

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On the surface, yeah, absolutely thrilling. But

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the film, even though it got... favorably reviewed

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by critics, it ultimately suffered poor box office

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results. And this commercial failure, especially

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for a big sci -fi adventure like that, it really

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impacted Hawk profoundly. It caused him to quit

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acting for a brief period after it came out.

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Really? Yeah. He later described the disappointment

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as incredibly difficult for someone so young,

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famously adding, I would never recommend that

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a kid act. Now, when we connect this to the bigger

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picture, this explorer's experience wasn't just

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a film role. It was a kind of foundational disillusionment.

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It arguably sort of inoculated him against that

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typical Hollywood chase for fame and just surface

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success. Hmm. Interesting way to put it. Imagine

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being 14, experiencing that public failure after

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what should have been a huge debut. It's a crucible.

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While many child actors might pivot to safer

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roles or just disappear. Hawk's later choices

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show this contrarian artistic compass, guiding

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him towards projects that prioritized intellectual

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curiosity, collaborative depth, over guaranteed

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box office. So it wasn't just realism. It was

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like a redefinition of success for him. Exactly.

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Forged in early disappointment. He learned early

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that the commercial outcome was often out of

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his control, so he might as well focus on the

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work itself, the process. That's a truly profound

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insight into his early motivation. And speaking

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of motivations, it makes me wonder. How did he

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then go from that almost like independent artistic

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self -preservation to tackling something as huge

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and career -defining as Dead Poets Society? Because

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that really was a monumental role that brought

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him back. In 1989, he made his breakthrough appearance

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in Peter Weir's film, playing Todd Anderson,

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the painfully shy student opposite Robin Williams'

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amazing English teacher. And Variety noted Hawk

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as the painfully shy Todd. gives a haunting performance.

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It's a performance that really stuck with people.

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Indeed. And what's particularly striking about

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that move isn't just the ambition, but the sheer

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emotional intelligence needed to play Todd Anderson,

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especially after maybe feeling burned by the

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industry. It speaks volumes about his resilience,

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his capacity for deep vulnerability on screen.

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The film itself was a huge critical and commercial

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triumph, got considerable acclaim, won the BAFTA

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for best film, Oscar nomination for best picture,

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massive commercial success, $235 million worldwide,

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still his most commercially successful movie

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to date. And this monumental success dramatically

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shifted his perspective. He admitted he... didn't

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want to be an actor and I went back to college

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after explorers but then he said the film's success

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was so monumental that I was getting offers to

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be in such interesting movies and be in such

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interesting places and it seems silly to pursue

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anything else. That quote really is an aha. moment,

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it shows his pragmatism, not necessarily a sudden

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burning desire for fame. Exactly. He chose to

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keep acting because the work itself became interesting.

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It offered unique experiences, access to creative

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people, cool locations, compelling stories, things

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that were hard to turn down. It was about the

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artistic adventure. Precisely, not just the spotlight.

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Dead Poets Society definitely opened a lot of

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doors, led to a quick succession of roles that

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really defined his early adult career and showcased

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his merging versatility. After that, he quickly

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took on diverse projects. Comedy drama dad in

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89, playing Ted Danson's son, Jack Lemmon's grandson.

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Talk about acting lineage. Right, heavy hitters.

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Then his first leading role in White Fang in

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91, Yukon Goldhunter, Jack Conroy. The Oregonian

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praised how he made Jack's passion for the animal

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feel real. Next, the well -received war film

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A Midnight Clear in 92, and the survival drama

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Alive in 93, playing Nando Parado, the Andes

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plane crash survivor. A really intense role.

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Yeah, Roger Ebert highlighted that one as showing

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his convincing range. And even in these early

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years, Hawk actively avoided being typecast.

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You can see it. Clearly. These choices showed

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deliberate strategy, exploring different genres,

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different character types, Ted Danson's son one

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year, then a Yukon adventurer, a WWII soldier,

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a plane crash survivor the next. It laid the

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groundwork for his reputation as a versatile

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actor, someone not content to stay in one predictable

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lane. This approach wasn't just trying different

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things. It reflected an artist driven by exploration.

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The challenge of inhabiting distinct realities

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rather than just fitting into some marketable

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box. He was a clear signal. He was interested

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in the craft, the story, not just the specific

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type of role. Then came the roles that truly

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captured the zeitgeist, that defining spirit

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of a generation, cemented his status as a cultural

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touchstone for so many of us. In 1994, he starred

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in the Generation X drama Reality Bites. playing

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Troy Dyer, the kind of slacker philosopher who

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mocks his girlfriend's ambitions, played by Winona

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Wright. The iconic role. Totally. The following

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year, he starred in Richard Linklater's Before

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Sunrise, playing the young American guy who meets

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Julie Delpy's character on a train, spends a

00:12:40.389 --> 00:12:43.250
night exploring Vienna, and, well, falls in love.

00:12:43.309 --> 00:12:44.990
Two films that couldn't be more different, yet

00:12:44.990 --> 00:12:48.289
both so defining for that mid -90s period. Exactly.

00:12:48.529 --> 00:12:51.029
They absolutely are pivotal, almost archetypal

00:12:51.029 --> 00:12:54.059
roles. Roger Ebert, praised Hawke's Troy Dyer

00:12:54.059 --> 00:12:57.220
as convincing and noteworthy. And the New York

00:12:57.220 --> 00:12:59.360
Times observed, Mr. Hawke's subtle and strong

00:12:59.360 --> 00:13:01.399
performance makes it clear that Troy feels things

00:13:01.399 --> 00:13:03.899
too deeply to risk failure and admit he's feeling

00:13:03.899 --> 00:13:06.720
anything at all. That nails Troy Dyer. Right.

00:13:06.779 --> 00:13:09.059
He became this archetype for a generation grappling

00:13:09.059 --> 00:13:12.220
with post -college disillusionment, identity,

00:13:12.580 --> 00:13:14.259
capturing that specific kind of intellectual

00:13:14.259 --> 00:13:17.100
charm and, well, malaise. Then before Sunrise,

00:13:17.200 --> 00:13:19.580
that marked the beginning of one of modern cinema's

00:13:19.580 --> 00:13:22.700
most beloved, critically acclaimed romantic trilogies.

00:13:23.379 --> 00:13:25.679
The San Francisco Chronicle loved the natural

00:13:25.679 --> 00:13:28.139
interaction between Hawk and Delpy, noting they

00:13:28.139 --> 00:13:30.500
seemed to have something personal at stake in

00:13:30.500 --> 00:13:33.019
their performances, which is a testament to that

00:13:33.019 --> 00:13:36.039
raw, almost improvised feel. You really feel

00:13:36.039 --> 00:13:37.960
like you're just eavesdropping on them. Totally.

00:13:38.279 --> 00:13:40.820
And this film established that significant, enduring

00:13:40.820 --> 00:13:43.039
collaboration with Linklater and Delby that would

00:13:43.039 --> 00:13:46.460
span decades. These roles were crucial, cementing

00:13:46.460 --> 00:13:49.340
his status as a voice for a demographic, showcasing

00:13:49.340 --> 00:13:51.860
that unique charm and intellectual depth that

00:13:51.860 --> 00:13:54.490
became his hallmarks. But even as his performances

00:13:54.490 --> 00:13:57.049
were shaping a generation, Ethan Hoff's restless

00:13:57.049 --> 00:13:59.830
artistic spirit just refused to be contained

00:13:59.830 --> 00:14:02.309
by acting alone. He was already quietly laying

00:14:02.309 --> 00:14:04.769
the groundwork for a truly multidisciplinary

00:14:04.769 --> 00:14:08.190
career, exploring other avenues. Away from acting,

00:14:08.429 --> 00:14:11.529
he directed the music video for Lisa Loeb's 1994

00:14:11.529 --> 00:14:14.850
song, Stay, I Missed You, which for many of us

00:14:14.850 --> 00:14:17.250
was the anthem of that era. Oh, yeah. Huge song.

00:14:17.389 --> 00:14:19.549
Loeb was actually a member of Hawk's theater

00:14:19.549 --> 00:14:22.169
company at the time, which underscores his existing

00:14:22.169 --> 00:14:25.190
network of creative collaboration. The video

00:14:25.190 --> 00:14:27.789
got critical recognition. Spin Magazine named

00:14:27.789 --> 00:14:31.470
it Video of the Year in 94. Wow. And Hawk later

00:14:31.470 --> 00:14:34.889
highlighted the song's unique achievement, the

00:14:34.889 --> 00:14:37.970
only number one popular song by an unsigned artist

00:14:37.970 --> 00:14:40.750
in the history of music, a cool piece of music

00:14:40.750 --> 00:14:43.210
history. And this ambition extended directly

00:14:43.210 --> 00:14:46.210
to his original deep -seated passion, writing.

00:14:46.519 --> 00:14:49.360
He published his first novel in 1996, The Hottest

00:14:49.360 --> 00:14:51.340
State, explored a love affair between a young

00:14:51.340 --> 00:14:54.539
actor and a singer. Hawk revealed the profound

00:14:54.539 --> 00:14:57.139
personal significance of writing this book, almost

00:14:57.139 --> 00:14:59.139
like a foundational act of self -definition,

00:14:59.279 --> 00:15:01.519
he said. Writing the book had to do with dropping

00:15:01.519 --> 00:15:04.200
out of college and with being an actor. I didn't

00:15:04.200 --> 00:15:06.120
want my whole life to go by and not do anything

00:15:06.120 --> 00:15:09.000
but recite lines. I wanted to try making something

00:15:09.000 --> 00:15:12.700
else. Take something else, that's telling. He

00:15:12.700 --> 00:15:15.080
continued. It was definitely the scariest thing

00:15:15.080 --> 00:15:17.440
I ever did, and it was just one of the best things

00:15:17.440 --> 00:15:21.360
I ever did. This period offers a potent aha moment.

00:15:21.860 --> 00:15:24.480
Here's an actor, celebrated for iconic roles,

00:15:24.899 --> 00:15:27.600
yet driven by this intense need to create beyond

00:15:27.600 --> 00:15:30.559
performing. While the book got a mixed reception,

00:15:31.139 --> 00:15:33.259
Entertainment Weekly kind of suggested he...

00:15:33.179 --> 00:15:35.860
work awhile, and less exposed venues, which is

00:15:35.860 --> 00:15:37.720
a common critique for celebrities venturing into

00:15:37.720 --> 00:15:40.320
other arts. The New York Times praised his ability

00:15:40.320 --> 00:15:43.000
to depict youth and confusion in what was ultimately

00:15:43.000 --> 00:15:46.779
a sweet love story. A mix. But this period is

00:15:46.779 --> 00:15:49.039
vital because it shows his early interest in

00:15:49.039 --> 00:15:51.879
writing wasn't fleeting. It was a profound self

00:15:51.879 --> 00:15:54.440
-preservation mechanism for an artist in a highly

00:15:54.440 --> 00:15:57.500
visible, often brutal industry. His motivation

00:15:57.500 --> 00:15:59.600
to create something entirely his own, beyond

00:15:59.600 --> 00:16:02.080
performing lines, speaks volumes about his artistic

00:16:02.080 --> 00:16:05.220
hunger, his vulnerability. It demonstrates his

00:16:05.220 --> 00:16:08.259
portfolio approach to creativity. If one medium

00:16:08.259 --> 00:16:11.259
hits a wall, another provides an avenue for expression,

00:16:11.500 --> 00:16:14.759
validation. He saw writing as a way to make something

00:16:14.759 --> 00:16:18.679
else. Indicating that deeper, more comprehensive

00:16:18.679 --> 00:16:21.159
creative impulse that would define his whole

00:16:21.159 --> 00:16:23.899
career, it's a courageous act, putting yourself

00:16:23.899 --> 00:16:26.710
out there in a totally new artistic domain. Okay,

00:16:26.710 --> 00:16:28.929
so as the millennium turned, Hawke continued

00:16:28.929 --> 00:16:31.830
to push boundaries, challenge expectations. He

00:16:31.830 --> 00:16:33.990
made some really interesting choices, exploring

00:16:33.990 --> 00:16:36.909
complex narratives in sci -fi and literary adaptations.

00:16:37.610 --> 00:16:40.129
In Andrew Nichols' Getaka, in 97, critically

00:16:40.129 --> 00:16:42.809
acclaimed sci -fi Hawke played a man infiltrating

00:16:42.809 --> 00:16:45.250
a society of genetically perfect humans. Great

00:16:45.250 --> 00:16:47.570
film. He found it one of the more interesting

00:16:47.570 --> 00:16:50.049
scripts he'd read in years, drawn to its themes

00:16:50.049 --> 00:16:52.970
about destiny versus free will. The Fort Worth

00:16:52.970 --> 00:16:55.769
Star -Telegram called his performance most impressive.

00:16:56.680 --> 00:16:59.700
Other big roles from this era, Alfonso Cuarón's

00:16:59.700 --> 00:17:01.840
stylish contemporary take on Great Expectations

00:17:01.840 --> 00:17:04.680
in 98 with Wineth Paltrow and Robert De Niro.

00:17:04.799 --> 00:17:07.359
Quite a cast. Another collaboration with Linklater

00:17:07.359 --> 00:17:09.960
in The Newton Boys that same year, a period crime

00:17:09.960 --> 00:17:13.380
film. And the visually stunning, but maybe less

00:17:13.380 --> 00:17:16.779
enthusiastically received, Snow Falling on Cedars

00:17:16.779 --> 00:17:20.220
in 99. Right. While Gotaka wasn't a blockbuster,

00:17:20.319 --> 00:17:22.700
it got great reviews and has become a real cult

00:17:22.700 --> 00:17:25.460
classic since then. Admired for its intellectual

00:17:25.460 --> 00:17:28.539
depth, its themes about human potential, genetic

00:17:28.539 --> 00:17:30.559
discrimination. Definitely makes you think. Hawk's

00:17:30.559 --> 00:17:33.299
choice there shows that consistent inclination

00:17:33.299 --> 00:17:36.279
towards films with profound intellectual underpinnings,

00:17:36.460 --> 00:17:38.579
even if they weren't guaranteed box office hits,

00:17:39.019 --> 00:17:40.859
it highlights his commitment to storytelling

00:17:40.859 --> 00:17:43.559
that makes you think, not just purely entertain.

00:17:44.259 --> 00:17:46.339
But, as you mentioned, not all these choices

00:17:46.339 --> 00:17:48.799
landed perfectly. Snow falling on Cedars, for

00:17:48.799 --> 00:17:51.200
instance, got a pretty unenthusiastic reception.

00:17:51.779 --> 00:17:53.359
Entertainment Weekly noted his character was

00:17:53.359 --> 00:17:56.420
hard to understand, which just emphasizes the

00:17:56.420 --> 00:17:58.980
inherent risks of artistic ventures, right? Even

00:17:58.980 --> 00:18:01.220
a thoughtful actor can't guarantee every project

00:18:01.220 --> 00:18:03.339
resonates. It's part of the journey, navigating

00:18:03.339 --> 00:18:05.380
those mixed receptions. That's a great point

00:18:05.380 --> 00:18:08.400
about the risks. But from futuristic dystopias

00:18:08.400 --> 00:18:10.940
to classic tragedies, Hawke kept stretching his

00:18:10.940 --> 00:18:13.619
artistic muscles in really audacious ways. He

00:18:13.619 --> 00:18:15.720
took on the title role in Michael Almereda's

00:18:15.720 --> 00:18:19.490
Hamlet in 2000. a bold film that transposed Shakespeare's

00:18:19.490 --> 00:18:22.009
iconic play to contemporary New York City. Yeah,

00:18:22.130 --> 00:18:24.230
I remember that one. Very modern. Hawke felt

00:18:24.230 --> 00:18:27.130
the setting made the play more accessible and

00:18:27.130 --> 00:18:30.670
vital. Argued the themes, angst, revenge, existential

00:18:30.670 --> 00:18:33.589
doubt were timeless, resonated in a modern urban

00:18:33.589 --> 00:18:36.650
landscape. Salon noted that while he might not

00:18:36.650 --> 00:18:39.019
be the greatest hamlet of living memory, pretty

00:18:39.019 --> 00:18:42.299
high bar. His performance reinforces Hamlet's

00:18:42.299 --> 00:18:44.500
place as Shakespeare's greatest character by

00:18:44.500 --> 00:18:48.059
bringing this raw, relatable vulnerability. Interesting

00:18:48.059 --> 00:18:50.079
tape. He also appeared in two more critically

00:18:50.079 --> 00:18:53.599
praised Linklater films in 2001, the experimental

00:18:53.599 --> 00:18:56.319
animated film Waking Life, where he shared a

00:18:56.319 --> 00:18:58.660
scene with Julie Delpy continuing there before

00:18:58.660 --> 00:19:01.440
sunrise conversations, but in this dream -like

00:19:01.440 --> 00:19:03.740
state. Right, the rotoscopes one. And the real

00:19:03.740 --> 00:19:06.240
-time drama tape. Took place entirely in one

00:19:06.240 --> 00:19:09.569
claustrophobic motel room. characters, co -starring

00:19:09.569 --> 00:19:11.970
Robert Sean Leonard and Uma Thurman. Tape is

00:19:11.970 --> 00:19:14.930
fascinating. This period really solidified his

00:19:14.930 --> 00:19:18.109
reputation as an actor, willing to take significant

00:19:18.109 --> 00:19:21.950
artistic risks, reinterpreting classics, engaging

00:19:21.950 --> 00:19:24.829
in experimental indie cinema. Yeah. Especially

00:19:24.829 --> 00:19:26.930
with Linklater, who clearly got him. Yeah, that

00:19:26.930 --> 00:19:29.670
partnership seems fruitful. Hawk considered Tape

00:19:29.670 --> 00:19:32.980
his first adult performance. A sentiment Roger

00:19:32.980 --> 00:19:35.640
Ebert echoed, commending his physical and verbal

00:19:35.640 --> 00:19:39.059
acting mastery in that incredibly confined, intense

00:19:39.059 --> 00:19:41.420
setting. What's technically impressive about

00:19:41.420 --> 00:19:43.700
tape is the demand for continuous, high -stakes

00:19:43.700 --> 00:19:46.700
performance. No quick cuts, no elaborate sets,

00:19:46.799 --> 00:19:49.440
just raw acting. Listen and training. Incredible

00:19:49.440 --> 00:19:52.119
stamina required, meticulous attention to dialogue

00:19:52.119 --> 00:19:54.960
subtext. It shows growth not just in the complex

00:19:54.960 --> 00:19:57.299
roles he chose, but in his own self -assessment

00:19:57.299 --> 00:19:59.799
of his craft, his readiness to push his boundaries.

00:20:00.079 --> 00:20:02.559
And these artistic experiments, which undoubtedly

00:20:02.559 --> 00:20:04.920
sharpened his skills, were soon followed by a

00:20:04.920 --> 00:20:07.460
role that got him his first major industry accolade,

00:20:07.839 --> 00:20:10.160
thrust him further into the mainstream, solidified

00:20:10.160 --> 00:20:13.480
his dramatic gravitas. Hawk's next big role was

00:20:13.480 --> 00:20:16.200
Ricky Cup Jake Hoyt in Antoine Fuqua's Training

00:20:16.200 --> 00:20:19.299
Day, 2001, starring alongside the legendary Denzel

00:20:19.299 --> 00:20:21.839
Washington. Tighten to the screen. The film was

00:20:21.839 --> 00:20:25.880
a massive box office hit. $104 million worldwide,

00:20:26.420 --> 00:20:29.900
got generally favorable reviews for its gritty

00:20:29.900 --> 00:20:33.299
portrayal of police corruption, moral ambiguity.

00:20:33.839 --> 00:20:36.000
The critical acclaim for this role was almost

00:20:36.000 --> 00:20:39.220
unanimous, truly a benchmark moment. Variety

00:20:39.220 --> 00:20:41.660
highlighted how Hawk adds feisty and cunning

00:20:41.660 --> 00:20:44.519
flourishes to his role that allow him to respectably

00:20:44.519 --> 00:20:46.579
hold his own under formidable circumstances.

00:20:47.380 --> 00:20:48.960
High praise when you're sharing the screen with

00:20:48.960 --> 00:20:51.200
Denzel at the top of his game. Absolutely. Paul

00:20:51.200 --> 00:20:53.900
Clinton of CNN reported Hawk's performance was

00:20:53.900 --> 00:20:56.380
totally believable as a doe -eyed rookie going

00:20:56.380 --> 00:20:59.400
toe -to -toe with a legend, showcasing his ability

00:20:59.400 --> 00:21:02.470
to project vulnerability. moral fortitude against

00:21:02.470 --> 00:21:04.730
that powerful, corrupting force. Yeah, you really

00:21:04.730 --> 00:21:07.349
felt his struggle. Hawk himself described Training

00:21:07.349 --> 00:21:09.869
Day as his best experience in Hollywood. And

00:21:09.869 --> 00:21:12.109
this role was pivotal, brought him widespread

00:21:12.109 --> 00:21:14.970
critical and commercial success, proved his capacity

00:21:14.970 --> 00:21:17.190
for intense, traumatic work opposite an acting

00:21:17.190 --> 00:21:20.170
giant, firmly established his gravitas as a leading

00:21:20.170 --> 00:21:22.569
actor capable of holding his own in high stakes

00:21:22.569 --> 00:21:25.230
trauma, a physical, emotionally demanding role

00:21:25.230 --> 00:21:27.750
that clearly stretched him in the best way. It's

00:21:27.750 --> 00:21:29.970
incredible how he hit such a professional high

00:21:29.970 --> 00:21:32.769
point in acting. Yet still, that drive to create

00:21:32.769 --> 00:21:35.750
extended beyond just performing. Despite this

00:21:35.750 --> 00:21:38.789
huge acting success, Hawk kept exploring his

00:21:38.789 --> 00:21:41.430
other artistic ambitions, deliberately taking

00:21:41.430 --> 00:21:43.869
on more roles behind the camera and with the

00:21:43.869 --> 00:21:46.950
pen. Early 2000s, he made his feature directorial

00:21:46.950 --> 00:21:50.349
debut with Chelsea Walls in 2002, an indie drama

00:21:50.349 --> 00:21:52.609
about struggling artists in New York's Chelsea

00:21:52.609 --> 00:21:55.369
Hotel. Iconic location. But this film, while

00:21:55.369 --> 00:21:58.200
it was... critically and financially unsuccessful.

00:21:58.660 --> 00:22:00.579
A tough blow for a first directing effort. Yeah,

00:22:00.599 --> 00:22:02.680
that's rough. But Undeterred, his second novel,

00:22:02.920 --> 00:22:05.220
Ash Wednesday, came out the same year, 2002,

00:22:05.740 --> 00:22:08.200
and it found significant success. made the New

00:22:08.200 --> 00:22:10.920
York Times bestseller list. Wow, quite the contrast.

00:22:11.019 --> 00:22:13.799
Right. This period offers another really insightful

00:22:13.799 --> 00:22:16.500
aha moment about Hawke's artistic resilience,

00:22:17.079 --> 00:22:19.799
his inherent need to create. The novel A Tale

00:22:19.799 --> 00:22:21.900
of an AWOL Soldier and His Pregnant Girlfriend

00:22:21.900 --> 00:22:24.240
got strong critical praise. The Guardian called

00:22:24.240 --> 00:22:26.900
it sharply and poignantly written, an intense

00:22:26.900 --> 00:22:29.319
one sitting read. The New York Times acknowledged

00:22:29.319 --> 00:22:32.960
Hawke's novelists' innate gifts, praising his

00:22:32.960 --> 00:22:36.630
sharp eye. a fluid storytelling voice, and the

00:22:36.630 --> 00:22:38.890
imagination to create complicated individuals,

00:22:39.829 --> 00:22:42.710
while also noting he was, quote, weaker at narrative

00:22:42.710 --> 00:22:45.049
tricks that can be taught. A fair assessment

00:22:45.049 --> 00:22:47.470
for a developing writer, perhaps. Sure. But the

00:22:47.470 --> 00:22:50.049
juxtaposition of a failed directorial debut with

00:22:50.049 --> 00:22:52.730
a best -selling novel reveals this key aspect

00:22:52.730 --> 00:22:55.349
of Hawke's character, that persistent drive to

00:22:55.349 --> 00:22:58.269
create and express, regardless of immediate commercial

00:22:58.269 --> 00:23:01.269
outcomes for any single project. He's clearly

00:23:01.269 --> 00:23:03.390
not afraid to fail, doesn't put all his eggs

00:23:03.390 --> 00:23:06.269
in one basket, speaks to a deep inherent need

00:23:06.269 --> 00:23:09.210
for creative output that finds multiple channels.

00:23:09.470 --> 00:23:11.509
That portfolio approach you mentioned. Exactly.

00:23:11.630 --> 00:23:13.750
It allows him to absorb setbacks in one area.

00:23:13.609 --> 00:23:16.190
while celebrating successes in another, fosters

00:23:16.190 --> 00:23:18.509
a sustained creative life. That's a fascinating

00:23:18.509 --> 00:23:20.750
interpretation. After these diverse ventures,

00:23:20.970 --> 00:23:22.950
a beloved narrative called him back to the screen,

00:23:23.190 --> 00:23:25.329
a story audiences had been waiting almost a decade

00:23:25.329 --> 00:23:28.589
for. In 2004, Hawk returned to film, notably

00:23:28.589 --> 00:23:31.289
starring in Before Sunset, the highly anticipated

00:23:31.289 --> 00:23:33.789
sequel to Before Sunrise. Picking up their story.

00:23:33.980 --> 00:23:37.079
Critically, the film was a massive success, picking

00:23:37.079 --> 00:23:39.279
up exactly where the first left off, but with

00:23:39.279 --> 00:23:42.299
the added weight of year's experience. What's

00:23:42.299 --> 00:23:44.619
more, Hawk himself co -wrote the screenplay with

00:23:44.619 --> 00:23:47.279
Linklater and Julie Delpy. The reception to Before

00:23:47.279 --> 00:23:50.339
Sunset was ecstatic, cemented its place not just

00:23:50.339 --> 00:23:52.880
as a great sequel, but as a significant film

00:23:52.880 --> 00:23:55.740
in its own right. The Hartford Courant lauded

00:23:55.740 --> 00:23:58.119
the trio for keeping Jessie and Celine iridescent

00:23:58.119 --> 00:24:00.480
and fresh, one of the most delightful and moving

00:24:00.480 --> 00:24:03.279
of all romantic movie couples. Capturing that

00:24:03.279 --> 00:24:05.680
bittersweet reality of time missed opportunities.

00:24:05.940 --> 00:24:08.339
Yeah, it felt so real. Hawk himself called it

00:24:08.339 --> 00:24:10.900
one of his favorite movies, a romance for realists,

00:24:11.299 --> 00:24:14.180
acknowledging its honest portrayal of love. adult

00:24:14.180 --> 00:24:17.180
compromises. And this deeply collaborative effort

00:24:17.180 --> 00:24:19.839
earned Hawk his first screenwriting Oscar nomination

00:24:19.839 --> 00:24:23.039
for Best Adapted Screenplay. That's huge. It

00:24:23.039 --> 00:24:25.200
really underscores his deep involvement, his

00:24:25.200 --> 00:24:28.039
talent beyond just acting. It wasn't just performing

00:24:28.039 --> 00:24:30.000
lines. He was crafting the narrative, shaping

00:24:30.000 --> 00:24:32.359
the dialogue, contributing to the soul of the

00:24:32.359 --> 00:24:35.180
characters. It showcases a true partnership in

00:24:35.180 --> 00:24:37.079
storytelling character development that's pretty

00:24:37.079 --> 00:24:39.359
rare in Hollywood. Shows how deeply he commits,

00:24:39.680 --> 00:24:42.539
even off screen, when given that creative opportunity.

00:24:42.839 --> 00:24:45.140
The success of Before Sunset was followed by

00:24:45.140 --> 00:24:48.079
a period of, well, diverse roles again, some

00:24:48.079 --> 00:24:50.539
critically acclaimed, others less so, further

00:24:50.539 --> 00:24:53.099
cementing his varied, often unpredictable path.

00:24:53.599 --> 00:24:56.180
He took on various roles. The action thriller

00:24:56.180 --> 00:24:59.880
Assault on Precinct 13 in 2005, the political

00:24:59.880 --> 00:25:02.880
crime thriller Lord of War in 2005 with Nicolas

00:25:02.880 --> 00:25:05.180
Cage. It's just embarrassing. A supporting role

00:25:05.180 --> 00:25:08.240
in Linklater's Fast Food Nation in 2006, exploring

00:25:08.240 --> 00:25:10.140
the dark side of the American food industry.

00:25:10.430 --> 00:25:12.609
He also directed his second feature film, The

00:25:12.609 --> 00:25:15.069
Hottest State, in 2006, based on his own first

00:25:15.069 --> 00:25:17.569
novel, which unfortunately got a tepid reception

00:25:17.569 --> 00:25:20.170
upon its 2007 release, another reminder of the

00:25:20.170 --> 00:25:23.289
challenges. Definitely. This period truly demonstrates

00:25:23.289 --> 00:25:25.210
Hawke's willingness to oscillate between commercial

00:25:25.210 --> 00:25:28.329
genre films and serious, critically lauded dramas.

00:25:28.640 --> 00:25:30.759
often collaborating with respected directors.

00:25:30.980 --> 00:25:33.319
Like, he's constantly seeking different kinds

00:25:33.319 --> 00:25:35.900
of creative nourishment. Yeah. A prime example

00:25:35.900 --> 00:25:38.500
of his dedication to challenging material is

00:25:38.500 --> 00:25:41.539
his role in 2007, starring in Sidney Lumet's

00:25:41.539 --> 00:25:44.019
final work, The Crime Drama, Before the Devil

00:25:44.019 --> 00:25:46.740
Knows You're Dead, alongside Philip Seymour Hoffman

00:25:46.740 --> 00:25:49.859
and Marisa Tomei. Wow, Lumet's last film. Yeah.

00:25:50.220 --> 00:25:52.859
The film got critical acclaim. USS Sade called

00:25:52.859 --> 00:25:55.440
it highly entertaining. Praise Hawks and Hoffman's

00:25:55.440 --> 00:25:58.359
performances as excellent. highlighting the intense,

00:25:58.680 --> 00:26:01.279
morally ambiguous stuff. Peter Travers of Rolling

00:26:01.279 --> 00:26:03.720
Stone noted, Hawk digs deep to create a haunting

00:26:03.720 --> 00:26:05.880
portrayal of loss in his character. This role

00:26:05.880 --> 00:26:08.039
wasn't just a part. It was working with a legend,

00:26:08.500 --> 00:26:10.859
powerhouse co -stars, signaled an actor driven

00:26:10.859 --> 00:26:12.960
by the quality of the project, the people involved,

00:26:13.339 --> 00:26:15.759
rather than just box office draw, even as he

00:26:15.759 --> 00:26:17.740
did more commercial stuff or less successful

00:26:17.740 --> 00:26:20.299
directing. He also started with Mark Ruffalo

00:26:20.299 --> 00:26:23.200
in What Doesn't Kill You in 08. Got a favorable

00:26:23.200 --> 00:26:25.279
reception, but struggled with distribution and

00:26:25.279 --> 00:26:27.460
appeared in New York. I love you in 09 and Staten

00:26:27.460 --> 00:26:30.299
Island in 09, just continuing to diversify that

00:26:30.299 --> 00:26:33.759
portfolio. OK, so as the new decade dawned. Hawk

00:26:33.759 --> 00:26:36.799
dove even deeper into genre films. Always, it

00:26:36.799 --> 00:26:38.819
seems, with an eye for character and story, not

00:26:38.819 --> 00:26:42.119
just spectacle. The 2010s began with roles across

00:26:42.119 --> 00:26:45.039
various genres. He played a vampire hematologist

00:26:45.039 --> 00:26:47.599
in the sci -fi horror Daybreakers in 2010. Right.

00:26:47.759 --> 00:26:50.519
A corrupt narcotics officer in Antoine Fuqua's

00:26:50.519 --> 00:26:53.279
gritty Brooklyn's Finest that same year. A role

00:26:53.279 --> 00:26:55.779
the New York Daily News said showed his evolution

00:26:55.779 --> 00:26:58.700
towards stronger, more intense acting than anyone

00:26:58.700 --> 00:27:01.039
might have predicted from him 20 years ago. High

00:27:01.039 --> 00:27:03.420
praise. He was Starbucks in the TV adaptation

00:27:03.420 --> 00:27:06.400
of Moby Dick in 2011, and had a role opposite

00:27:06.400 --> 00:27:08.380
Kristen Scott Thomas in The Woman in the Fifth,

00:27:08.500 --> 00:27:11.799
also 2011. His first significant foray into pure

00:27:11.799 --> 00:27:15.180
horror, a genre he hadn't fully embraced, was

00:27:15.180 --> 00:27:18.819
Sinister in 2012, played a true crime writer

00:27:18.819 --> 00:27:21.359
whose story leads him down a terrifying path.

00:27:22.000 --> 00:27:25.059
That movie was creepy. It was a significant commercial

00:27:25.059 --> 00:27:29.000
success, $87 million worldwide on a modest budget,

00:27:29.660 --> 00:27:33.230
established a new avenue for his career. Interestingly,

00:27:33.769 --> 00:27:36.049
Hawk had previously been turned off by horror

00:27:36.049 --> 00:27:39.009
because good acting is not always required in

00:27:39.009 --> 00:27:41.990
the genre. A blunt but honest assessment. Oh,

00:27:42.089 --> 00:27:44.150
yeah. But his longstanding relationship with

00:27:44.150 --> 00:27:46.529
producer Jason Blum, who actually ran a theater

00:27:46.529 --> 00:27:48.950
company with Hawk, was key. Oh, interesting connection.

00:27:49.130 --> 00:27:58.630
Hawk explained his rationale. This willingness

00:27:58.630 --> 00:28:00.849
to engage with genre, but only if the script

00:28:00.849 --> 00:28:03.650
and character were compelling and a serious filmmaker

00:28:03.650 --> 00:28:06.430
was attached. It highlights his consistent artistic

00:28:06.430 --> 00:28:08.869
principles. Makes sense. He doesn't dismiss entire

00:28:08.869 --> 00:28:11.549
genres. He seeks quality and depth within them,

00:28:12.069 --> 00:28:14.710
making his presence a marker for a film's potential

00:28:14.710 --> 00:28:17.630
for both entertainment and artistic merit, even

00:28:17.630 --> 00:28:20.150
in horror. After that period of diverse genre

00:28:20.150 --> 00:28:22.849
exploration, audiences were treated to a return

00:28:22.849 --> 00:28:26.859
to a familiar, beloved narrative. 2013 was a

00:28:26.859 --> 00:28:29.380
remarkably busy year for Hawk, marked by the

00:28:29.380 --> 00:28:31.660
release of Before Midnight, the third installment

00:28:31.660 --> 00:28:34.700
of the Before series, reuniting him with Delpy

00:28:34.700 --> 00:28:37.420
and Linklater. The culmination of almost two

00:28:37.420 --> 00:28:39.900
decades with those characters. Incredible journey.

00:28:40.500 --> 00:28:43.519
Like its predecessors, Before Midnight got overwhelming

00:28:43.519 --> 00:28:47.000
critical acclaim. Variety hailed it as one of

00:28:47.000 --> 00:28:49.880
the great movie romances of the modern era, achieving

00:28:49.880 --> 00:28:53.299
its richest and fullest expression. specifically

00:28:53.299 --> 00:28:55.500
calling that scene in the hotel room, one for

00:28:55.500 --> 00:28:58.140
the actor's handbook, for its raw, unflinching

00:28:58.140 --> 00:29:00.619
portrayal of a long -term relationship's struggles,

00:29:00.960 --> 00:29:03.339
complexities. So intense, that scene. The co

00:29:03.339 --> 00:29:05.680
-written screenplay by Hawk, Linklater, and Delpy,

00:29:05.819 --> 00:29:08.259
famously developed through extensive improv workshops,

00:29:08.779 --> 00:29:10.579
earned them another Academy Award nomination

00:29:10.579 --> 00:29:13.519
for best adapted screenplay. Amazing. And this

00:29:13.519 --> 00:29:16.099
period perfectly encapsulates Hawk's career duality,

00:29:16.240 --> 00:29:17.839
because he also starred in the horror thriller

00:29:17.839 --> 00:29:20.220
The Purge that same year. Right. Talk about different

00:29:20.220 --> 00:29:23.390
ends of the spectrum. Exactly. Despite mixed

00:29:23.390 --> 00:29:26.170
reviews for its premise, The Purge was a box

00:29:26.170 --> 00:29:29.210
office sensation. Topped the weekend with a $34

00:29:29.210 --> 00:29:32.190
million debut, the biggest opening of Hawk's

00:29:32.190 --> 00:29:34.670
career at that point. Wow. His third film of

00:29:34.670 --> 00:29:37.630
2013 Getaway, however, was both critically and

00:29:37.630 --> 00:29:40.890
commercially unsuccessful. So this year alone

00:29:40.890 --> 00:29:43.630
showcases his incredible ability to move fluidly

00:29:43.630 --> 00:29:46.829
between high art, award nominated, personal cinema,

00:29:47.190 --> 00:29:49.349
and mainstream popular entertainment. Sometimes

00:29:49.349 --> 00:29:52.059
hits, sometimes misses. but always exploring,

00:29:52.200 --> 00:29:55.519
taking artistic chances. That contrast, the artistic

00:29:55.519 --> 00:29:57.740
triumph right alongside the commercial blockbuster

00:29:57.740 --> 00:30:00.579
and the misfire, is so telling. But the true

00:30:00.579 --> 00:30:02.980
artistic zenith of the decade, a project unlike

00:30:02.980 --> 00:30:06.099
any other, was still coming. Mid -2014 saw the

00:30:06.099 --> 00:30:08.619
release of Richard Linklater's Boyhood, groundbreaking

00:30:08.619 --> 00:30:11.259
film shot over an unprecedented 12 -year period.

00:30:11.299 --> 00:30:13.720
12 years. Hawk played the father of the protagonist,

00:30:14.019 --> 00:30:16.220
Mason, documenting the real -time life of an

00:30:16.220 --> 00:30:18.920
American boy from age 6 to 18, a concept almost

00:30:18.920 --> 00:30:21.710
unheard of. Boyhood wasn't just a film. It was

00:30:21.710 --> 00:30:25.329
a cinematic event. A bold experiment. It became

00:30:25.329 --> 00:30:28.569
the best -reviewed film of 2014. Named Best Film.

00:30:28.859 --> 00:30:31.819
by numerous critics' associations. Won the Golden

00:30:31.819 --> 00:30:34.339
Globe for Best Motion Picture Drama, the BAFTA

00:30:34.339 --> 00:30:36.759
for Best Film, nominated for the Best Picture

00:30:36.759 --> 00:30:39.859
Oscar. Huge accolades. Hawk himself expressed

00:30:39.859 --> 00:30:42.200
surprise at the attention. Noted that when he

00:30:42.200 --> 00:30:44.220
first got involved, it didn't feel like a proper

00:30:44.220 --> 00:30:47.240
movie, more like a radical 60s film experiment

00:30:47.240 --> 00:30:49.519
or something, which highlights the unconventional

00:30:49.519 --> 00:30:51.700
nature, the trust he placed in Linklater's vision.

00:30:51.779 --> 00:30:54.140
Yeah, a real leap of faith. Beyond the concept,

00:30:54.619 --> 00:30:57.140
Boyhood demanded an almost unprecedented technical

00:30:57.140 --> 00:31:00.259
performance from Hawk. Imagine inhabiting a character,

00:31:00.700 --> 00:31:03.420
evolving with him, maintaining nuanced emotional

00:31:03.420 --> 00:31:05.880
continuity over 12 separate shooting periods,

00:31:06.519 --> 00:31:08.740
often years apart. That's mind -bending for an

00:31:08.740 --> 00:31:11.319
actor. It wasn't just acting, it was a masterclass

00:31:11.319 --> 00:31:15.380
in sustained organic character development. requiring

00:31:15.380 --> 00:31:17.299
an actor to constantly reconnect with earlier

00:31:17.299 --> 00:31:19.980
versions of the role. Remember subtle vocal inflections,

00:31:20.400 --> 00:31:22.579
physical habits, the emotional baggage from fictional

00:31:22.579 --> 00:31:25.940
years. A unique challenge few actors could pull

00:31:25.940 --> 00:31:28.759
off, let alone maintain such authenticity. True.

00:31:28.960 --> 00:31:31.759
The role earned him multiple individual award

00:31:31.759 --> 00:31:35.079
nominations, Oscar, BAFTA, Golden Globe, SAG

00:31:35.079 --> 00:31:37.579
for Best Supporting Actor. Boyhood stands as

00:31:37.579 --> 00:31:40.220
a testament to immense artistic patience, a unique

00:31:40.220 --> 00:31:42.700
vision shared between Hawk and Linklater, and

00:31:42.700 --> 00:31:44.779
Hawk's willingness to invest deeply in projects

00:31:44.779 --> 00:31:47.619
that defy traditional filmmaking. It's truly

00:31:47.619 --> 00:31:50.259
a career -defining piece, perfectly blends his

00:31:50.259 --> 00:31:52.200
naturalistic style with a profound narrative.

00:31:52.430 --> 00:31:55.130
After such a monumental, unique achievement,

00:31:55.589 --> 00:31:57.710
Hawke didn't just, you know, rest. He continued

00:31:57.710 --> 00:31:59.730
to diversify both in front of and behind the

00:31:59.730 --> 00:32:02.210
camera, demonstrating that insatiable creative

00:32:02.210 --> 00:32:04.769
hunger. Following boyhood, he worked again with

00:32:04.769 --> 00:32:06.549
the Spierig brothers on the sci -fi thriller

00:32:06.549 --> 00:32:10.329
Predestination in 2014. Complex time travel story.

00:32:10.670 --> 00:32:13.210
Reunited with his Getaka director, Andrew Nichol,

00:32:13.250 --> 00:32:16.950
for Good Kill in 2014. Played a drone pilot with

00:32:16.950 --> 00:32:19.930
a troubled conscience. The Hollywood Reporter

00:32:19.930 --> 00:32:22.950
called it his Best Screen Role in Years, for

00:32:22.950 --> 00:32:24.990
its nuance on modern warfare's psychological

00:32:24.990 --> 00:32:28.130
toll, also appeared in a contemporary adaptation

00:32:28.130 --> 00:32:30.990
of Shakespeare's Cymbeline in 2014. This period

00:32:30.990 --> 00:32:34.150
also saw his documentary directing debut, Seymour.

00:32:34.410 --> 00:32:37.809
An introduction in September 2014, a deeply personal,

00:32:38.089 --> 00:32:40.549
intimate profile of classical musician Seymour

00:32:40.549 --> 00:32:43.390
Bernstein screened at TIFF, one runner up for

00:32:43.390 --> 00:32:45.589
People's Choice Award for Best Documentary. Oh,

00:32:45.609 --> 00:32:47.809
wow. The film's inception came after a dinner

00:32:47.809 --> 00:32:50.660
party. Bernstein, a private person, apparently

00:32:50.660 --> 00:32:52.640
couldn't decline Hawk's request because Hawk

00:32:52.640 --> 00:32:55.400
is so endearing. Led to a close friendship, Bernstein

00:32:55.400 --> 00:32:57.259
even performed for one of Hawk's theater groups.

00:32:57.279 --> 00:32:59.099
That's lovely. Shows his commitment isn't just

00:32:59.099 --> 00:33:01.440
professional, it's personal. Blending artistic

00:33:01.440 --> 00:33:03.200
pursuits with personal interests, connections.

00:33:03.880 --> 00:33:06.839
And his writing continued. November 2015 published

00:33:06.839 --> 00:33:09.539
his third novel, Rules for a Night, structured

00:33:09.539 --> 00:33:12.259
as a letter from a father to his kids, imparting

00:33:12.259 --> 00:33:15.000
moral values through a medieval allegory. Interesting

00:33:15.000 --> 00:33:18.220
format. This period truly shows Hawke's continued,

00:33:18.579 --> 00:33:20.799
deliberate expansion of his creative identity.

00:33:21.319 --> 00:33:24.339
Not just an actor, he's a director, writer, curious

00:33:24.339 --> 00:33:27.700
documentarian, actively seeking out shaping stories

00:33:27.700 --> 00:33:30.490
that resonate. often bridging personal interests,

00:33:31.089 --> 00:33:32.950
music, mentorship with professional endeavors,

00:33:33.470 --> 00:33:36.190
a holistic approach. It's remarkable how he consistently

00:33:36.190 --> 00:33:39.470
finds new ways to express himself, and Hawk further

00:33:39.470 --> 00:33:41.490
challenged audience perceptions by embracing

00:33:41.490 --> 00:33:43.809
more complex, sometimes darker characters in

00:33:43.809 --> 00:33:46.369
the late 2010s. Pushing against typecasting,

00:33:46.829 --> 00:33:49.210
he took on new challenges. playing the legendary

00:33:49.210 --> 00:33:51.549
troubled jazz musician Chet Baker in Born to

00:33:51.549 --> 00:33:54.490
Be Blue in 2015, got high praise from Rolling

00:33:54.490 --> 00:33:57.890
Stone for his extraordinary and fearless, vanity

00:33:57.890 --> 00:34:00.750
-free portrayal. Really captured Bader's fragility.

00:34:01.069 --> 00:34:03.549
Stared in Rebecca Miller's romantic comedy Maggie's

00:34:03.549 --> 00:34:06.730
Plan in 2015, showing his lighter side and the

00:34:06.730 --> 00:34:09.289
drama's 10 ,000 Saints in Regression. Then he

00:34:09.289 --> 00:34:11.829
deliberately portrayed what some might call unpleasant

00:34:11.829 --> 00:34:15.050
characters in 2016, an abusive father in The

00:34:15.050 --> 00:34:18.309
Phenom. the harsh, often cruel husband of Maude

00:34:18.309 --> 00:34:20.150
Lewis and Maude. Yeah, those were tough roles

00:34:20.150 --> 00:34:23.489
to watch him in. Right. While some critics applauded

00:34:23.489 --> 00:34:25.929
his unexpected turns, willingness to break from

00:34:25.929 --> 00:34:28.710
his charming persona, others felt he was miscast

00:34:28.710 --> 00:34:31.769
in these cruel roles, suggesting audiences weren't

00:34:31.769 --> 00:34:33.710
always comfortable seeing him in such dark light.

00:34:34.510 --> 00:34:36.960
But this reveals Hawke's artistic bravery. His

00:34:36.960 --> 00:34:38.940
commitment to exploring the full spectrum of

00:34:38.940 --> 00:34:41.420
human experience, even the uncomfortable parts.

00:34:42.000 --> 00:34:44.559
Not just playing against type for novelty, actively

00:34:44.559 --> 00:34:48.199
exploring darker facets of human nature. A courageous

00:34:48.199 --> 00:34:50.239
move, even if it doesn't always land perfectly

00:34:50.239 --> 00:34:53.159
with critics. True. He also reunited with Training

00:34:53.159 --> 00:34:55.579
Day director Antoine Fuqua and Denzel for the

00:34:55.579 --> 00:34:58.480
Magnificent Seven remake in 2016. Testament to

00:34:58.480 --> 00:35:00.860
enduring collaborations, his literary output

00:35:00.860 --> 00:35:04.579
continued. Fourth book, Indah. A story of the

00:35:04.579 --> 00:35:07.239
Apache Wars, a graphic novel co -written with

00:35:07.239 --> 00:35:09.920
artist Greg Ruth, another dive into a new medium.

00:35:09.940 --> 00:35:12.840
A graphic novel, wow. In 2017, delivered a career

00:35:12.840 --> 00:35:14.880
-defining performance in Paul Schrader's intense

00:35:14.880 --> 00:35:17.639
drama First Reformed, playing a military chaplain

00:35:17.639 --> 00:35:20.500
grappling with loss, climate change. Premiered

00:35:20.500 --> 00:35:22.739
to overwhelmingly positive reception at Venice,

00:35:23.280 --> 00:35:24.900
earned some of his best career reviews. That

00:35:24.900 --> 00:35:27.679
performance was incredible. Then his third feature

00:35:27.679 --> 00:35:30.920
as director, Blaze. about country musician Blaze

00:35:30.920 --> 00:35:34.820
Foley, premiered at Sundance in 2018. Further

00:35:34.820 --> 00:35:37.440
solidifying his directorial output. Other films

00:35:37.440 --> 00:35:40.659
included Juliet, Naked in 2018, Stockholm in

00:35:40.659 --> 00:35:43.599
2018. It's clear this artist thrives on constantly

00:35:43.599 --> 00:35:46.519
pushing his own boundaries. As the decade closed

00:35:46.519 --> 00:35:49.000
and a new one began, Ethan Hawke's career just

00:35:49.000 --> 00:35:51.659
kept going up. embracing new platforms, even

00:35:51.659 --> 00:35:54.860
bigger franchises, demonstrating incredible adaptability.

00:35:55.199 --> 00:35:58.099
The 2020s started with a significant TV presence.

00:35:58.380 --> 00:36:01.079
He created, co -wrote, and starred as the abolitionist

00:36:01.079 --> 00:36:03.559
John Brown in Showtime's The Good Lord Bird in

00:36:03.559 --> 00:36:06.099
2020. Fantastic series. A passion project that

00:36:06.099 --> 00:36:08.139
even included an appearance by his talented daughter,

00:36:08.300 --> 00:36:11.000
Maya Hawk. A wonderful generational collaboration.

00:36:11.460 --> 00:36:13.739
He also portrayed the enigmatic inventor, Nikola

00:36:13.739 --> 00:36:16.820
Tesla, in the 2020 biopic Tesla. Again, drawn

00:36:16.820 --> 00:36:20.389
to complex, real -life figures. his highly anticipated

00:36:20.389 --> 00:36:23.269
entry into the Marvel universe. 2022, Hawk joined

00:36:23.269 --> 00:36:25.429
the Marvel miniseries Moon Knight, starred as

00:36:25.429 --> 00:36:27.590
the primary villain Arthur Harrow. Playing the

00:36:27.590 --> 00:36:29.769
villain in Marvel, interesting choice. It's telling,

00:36:29.909 --> 00:36:32.670
right? Highlights his continued interest in complex

00:36:32.670 --> 00:36:36.150
characters, irrespective of genre or scale, avoiding

00:36:36.150 --> 00:36:38.949
the trap of always playing the hero. That same

00:36:38.949 --> 00:36:42.190
year, he terrified audiences as The Grabber.

00:36:42.360 --> 00:36:44.960
the chilling serial killer in Blumhouse's The

00:36:44.960 --> 00:36:47.440
Black Phone. Oh, he was terrifying in that. Marked

00:36:47.440 --> 00:36:50.280
his ninth collaboration with Blumhouse. Testament

00:36:50.280 --> 00:36:52.760
to a successful, fruitful partnership built on

00:36:52.760 --> 00:36:55.820
shared artistic values. Finding compelling roles

00:36:55.820 --> 00:36:58.840
within horror. He also appeared in Robert Eggers

00:36:58.840 --> 00:37:01.559
critically acclaimed Viking epic, The Northman

00:37:01.559 --> 00:37:04.820
2022, filmed in Ireland alongside Nicole Kidman,

00:37:05.019 --> 00:37:07.199
Willem Dafoe, showing his willingness to work

00:37:07.199 --> 00:37:10.000
with visionary auteurs on ambitious projects.

00:37:10.239 --> 00:37:13.500
Quite a run. This era. truly showcases Hawke's

00:37:13.500 --> 00:37:15.400
adaptability to the modern entertainment landscape.

00:37:15.820 --> 00:37:17.679
Seamlessly transitioning between prestigious

00:37:17.679 --> 00:37:20.420
limited series, big -budget superhero franchises,

00:37:20.639 --> 00:37:22.679
critically acclaimed indie films, choosing to

00:37:22.679 --> 00:37:24.820
play villains in major franchises highlights

00:37:24.820 --> 00:37:26.900
the continued interest in complex characters,

00:37:27.199 --> 00:37:30.019
challenging himself. Commitment to craft over

00:37:30.019 --> 00:37:32.289
pure hero worship. It's truly impressive how

00:37:32.289 --> 00:37:34.389
he navigates all those different worlds. And

00:37:34.389 --> 00:37:36.530
even with such demanding acting roles across

00:37:36.530 --> 00:37:39.510
film and TV, his creative output behind the camera

00:37:39.510 --> 00:37:42.389
as a writer, it didn't slow down. His latest

00:37:42.389 --> 00:37:44.349
novel, A Bright Ray of Darkness, was published

00:37:44.349 --> 00:37:47.650
in February 2021, another literary contribution.

00:37:48.150 --> 00:37:51.349
In 2022, he directed The Last Movie Stars, a

00:37:51.349 --> 00:37:53.590
six -part documentary on Paul Newman and Joanne

00:37:53.590 --> 00:37:56.610
Woodward for HBO Max. Steeped in film history,

00:37:56.969 --> 00:37:59.070
The Art of Performance. Really well done documentary.

00:37:59.190 --> 00:38:01.590
He even ventured into voice acting, lent his

00:38:01.590 --> 00:38:03.829
distinctive voice to Bruce Wayne Batman in the

00:38:03.829 --> 00:38:06.909
animated kids series Bat Wheels in 2022, showing

00:38:06.909 --> 00:38:09.250
he's open to family friendly projects, exploring

00:38:09.250 --> 00:38:12.469
new performance modes. Batman, okay. And in a

00:38:12.469 --> 00:38:14.750
surprising, utterly unexpected collaboration

00:38:14.750 --> 00:38:16.969
that highlights his diverse interests and openness

00:38:16.969 --> 00:38:20.269
in 2023, he contributed spoken word to the Fallout

00:38:20.269 --> 00:38:22.789
Boy song, The Pink Seashell. No way, Fallout

00:38:22.789 --> 00:38:25.269
Boy. Yeah, a spoken word interlude on a pop punk

00:38:25.269 --> 00:38:28.960
track. This continued output, writing, directing,

00:38:29.460 --> 00:38:32.159
even unconventional music collabs, solidifies

00:38:32.159 --> 00:38:35.679
the image of Ethan Hawke as a truly multifaceted

00:38:35.679 --> 00:38:38.840
artist. He's clearly not resting, constantly

00:38:38.840 --> 00:38:41.380
exploring new ways to tell stories, engage with

00:38:41.380 --> 00:38:44.199
culture, proving that early desire to make something

00:38:44.199 --> 00:38:47.880
else remains a powerful driving force, a continuous

00:38:47.880 --> 00:38:50.880
dynamic exploration. For many artists, especially

00:38:50.880 --> 00:38:53.340
those who find fame in film, one medium always

00:38:53.340 --> 00:38:56.320
holds a special, almost sacred place. For Ethan

00:38:56.320 --> 00:38:59.880
Hawke, it's undeniably the stage. He has consistently

00:38:59.880 --> 00:39:03.119
described theater as his burst love, emphasizing

00:39:03.119 --> 00:39:05.159
it as a space where he feels free to be more

00:39:05.159 --> 00:39:07.360
creative. That's a powerful statement from someone

00:39:07.360 --> 00:39:09.519
with his level of film success. It really provides

00:39:09.519 --> 00:39:11.460
a critical lens to understand his whole career.

00:39:11.630 --> 00:39:14.590
Despite film and literary success, theater clearly

00:39:14.590 --> 00:39:16.690
remains fundamental. It likely offers a different

00:39:16.690 --> 00:39:18.730
kind of challenge and media feedback that informs

00:39:18.730 --> 00:39:21.110
his other work. What specific elements allow

00:39:21.110 --> 00:39:24.050
for this freedom compared to the often more controlled

00:39:24.050 --> 00:39:26.230
piecemeal environment of film? Good question.

00:39:26.510 --> 00:39:29.329
Maybe the live audience interaction. longer in

00:39:29.329 --> 00:39:31.550
-depth rehearsal periods allowing deeper character

00:39:31.550 --> 00:39:34.610
exploration, the sustained performance arc without

00:39:34.610 --> 00:39:38.250
cuts, or the direct artistic control a more intimate

00:39:38.250 --> 00:39:41.110
theater production often affords. It speaks to

00:39:41.110 --> 00:39:44.050
a craving for a specific type of artistic engagement

00:39:44.050 --> 00:39:47.369
that film, for all his magic, just can't provide.

00:39:47.710 --> 00:39:49.650
That distinction really helps understand his

00:39:49.650 --> 00:39:52.460
motivations. Let's look at the foundational moments

00:39:52.460 --> 00:39:55.260
of this deep theatrical commitment. Hawk made

00:39:55.260 --> 00:39:58.480
his Broadway debut in 1992, playing Konstantin

00:39:58.480 --> 00:40:01.119
Treplev in Chekhov's The Seagull at the Lyceum

00:40:01.119 --> 00:40:04.019
Theater. The very next year, demonstrating leadership,

00:40:04.260 --> 00:40:06.800
proactive commitment, he co -founded and became

00:40:06.800 --> 00:40:09.380
artistic director of Malapart, a Manhattan theater

00:40:09.380 --> 00:40:12.219
company that operated until 2000. He wasn't just

00:40:12.219 --> 00:40:14.280
performing, he was building a platform. Founding

00:40:14.280 --> 00:40:16.539
Malapart is significant, far more than just taking

00:40:16.539 --> 00:40:19.340
a role. It shows proactive, community -minded

00:40:19.340 --> 00:40:21.809
engagement. not just a performer, but a creator,

00:40:22.070 --> 00:40:24.250
curator, providing a platform for himself and

00:40:24.250 --> 00:40:26.449
others outside mainstream commercial pressures.

00:40:26.889 --> 00:40:28.829
Outside New York, he actively sought challenging

00:40:28.829 --> 00:40:32.150
roles, appeared in a 95 production of Sam Shepard's

00:40:32.150 --> 00:40:34.929
intense Beery Child directed by Gary Sinise at

00:40:34.929 --> 00:40:37.769
Steppenwolf in Chicago. Known for ensemble work,

00:40:38.070 --> 00:40:41.070
Gritty Realism, starred as Kilroy in Tennessee,

00:40:41.869 --> 00:40:45.130
Williams' more experimental Camino Real at Williamstown

00:40:45.130 --> 00:40:48.440
Theatre Festival in 99. The New York Times reviewed

00:40:48.440 --> 00:40:50.980
his Siegel performance, underscoring his early

00:40:50.980 --> 00:40:54.079
promise on stage. Suggests he was recognized

00:40:54.079 --> 00:40:56.139
for talent and dedication in this realm right

00:40:56.139 --> 00:40:58.639
from the start, setting the stage, if you will,

00:40:58.780 --> 00:41:01.039
for a lasting relationship with live performance.

00:41:01.420 --> 00:41:03.800
His dedication to challenging, complex stage

00:41:03.800 --> 00:41:06.400
roles continued to grow through the 2000s, proving

00:41:06.400 --> 00:41:09.199
theater was no fleeting hobby. returned to Broadway

00:41:09.199 --> 00:41:11.679
in Jack O 'Brien's acclaimed 2003 production

00:41:11.679 --> 00:41:14.760
of Henry IV, playing the fiery, rebellious Hotspur.

00:41:15.059 --> 00:41:17.420
New York Magazine called his Hotspur a compelling,

00:41:17.719 --> 00:41:19.960
ardent creation, highlighting his ability to

00:41:19.960 --> 00:41:21.940
bring passionate intensity to classical roles.

00:41:22.019 --> 00:41:24.679
He has that intensity. Stared in the off -Broadway

00:41:24.679 --> 00:41:27.179
revival of David Rabe's dark comedy Hurly Burly

00:41:27.179 --> 00:41:30.340
in 2005, often known for more experimental stuff

00:41:30.340 --> 00:41:33.300
than Broadway, earned him a Lucille Lortel Award

00:41:33.300 --> 00:41:35.980
nomination for outstanding lead actor. The New

00:41:35.980 --> 00:41:39.019
York Times praised his merciless precision, capturing

00:41:39.019 --> 00:41:41.960
the play's chaotic energy. Then came a truly

00:41:41.960 --> 00:41:44.739
monumental theatrical undertaking, cemented his

00:41:44.739 --> 00:41:47.659
place as a serious stage actor. November 2006

00:41:47.659 --> 00:41:51.059
to May 2007, Hawke starred as Mikhail Bakunin

00:41:51.059 --> 00:41:53.760
in Tom Stoppard's epic eight -hour trilogy, The

00:41:53.760 --> 00:41:56.119
Coast of Utopia in Lincoln Center. Eight hours,

00:41:56.139 --> 00:41:58.960
wow. Not just a play, a sprawling, intellectually

00:41:58.960 --> 00:42:01.340
demanding exploration of 19th century Russian

00:42:01.340 --> 00:42:04.320
intellectuals required immense stamina. profound

00:42:04.320 --> 00:42:06.440
character work. His performance earned his first

00:42:06.440 --> 00:42:09.519
Tony Award nomination, best featured actor. The

00:42:09.519 --> 00:42:11.760
Los Angeles Times complimented his Bakunin as

00:42:11.760 --> 00:42:14.300
a strangely appealing enthusiast, capturing the

00:42:14.300 --> 00:42:17.239
charismatic yet flawed revolutionary. Beyond

00:42:17.239 --> 00:42:20.139
acting, November 2007, he directed Jonathan Mark

00:42:20.139 --> 00:42:22.559
Sherman's Things We Want for the New Group. New

00:42:22.559 --> 00:42:24.760
York Magazine praised his understated direction,

00:42:25.260 --> 00:42:27.440
ability to steer a gifted cast away from the

00:42:27.440 --> 00:42:29.840
histrionics, showcasing his vision behind the

00:42:29.840 --> 00:42:32.650
scenes. So directing too. This period highlights

00:42:32.650 --> 00:42:35.269
his deep engagement with prestigious, challenging

00:42:35.269 --> 00:42:38.510
theatrical works. Tony nomination, directorial

00:42:38.510 --> 00:42:40.769
successes demonstrate not just acting prowess,

00:42:40.889 --> 00:42:44.150
but leadership, clear artistic vision. He even

00:42:44.150 --> 00:42:46.809
received the Michael Mendelson Award for outstanding

00:42:46.809 --> 00:42:50.190
commitment to the theater in 2008. In his acceptance

00:42:50.190 --> 00:42:53.170
speech, he passionately argued, the arts are

00:42:53.170 --> 00:42:55.070
essential to our mental health as a country.

00:42:55.320 --> 00:42:57.900
powerful statement not just personal preference

00:42:57.900 --> 00:43:00.420
strong belief in the societal importance of art

00:43:00.420 --> 00:43:03.260
beyond personal gain solidifying his role as

00:43:03.260 --> 00:43:05.699
an advocate his commitment to directing and acting

00:43:05.699 --> 00:43:08.840
in theater continued robustly into the 2010s

00:43:08.840 --> 00:43:11.340
international collaborations acclaimed revivals

00:43:11.340 --> 00:43:14.760
proving it was deeply ingrained in 2009 appeared

00:43:14.760 --> 00:43:17.039
in two sam mendez directed productions for the

00:43:17.039 --> 00:43:19.659
bridge project toured internationally played

00:43:19.659 --> 00:43:22.650
tropham off in checkoffs the cherry orchard and

00:43:22.650 --> 00:43:25.449
Shakespeare's The Winter's Tale, earned a Drama

00:43:25.449 --> 00:43:27.829
Desk nomination for Winter's Tale. In January

00:43:27.829 --> 00:43:31.309
2010, Further showed his directing chops, directed

00:43:31.309 --> 00:43:34.010
the first major off -Broadway revival of Sam

00:43:34.010 --> 00:43:36.809
Shepard's Lie of the Mind. Hawk was drawn to

00:43:36.809 --> 00:43:39.250
the play's complex take on the nature of reality,

00:43:39.869 --> 00:43:42.809
its weird juxtaposition of humor and mysticism,

00:43:43.429 --> 00:43:45.769
showcasing his intellectual curiosity and directing

00:43:45.769 --> 00:43:48.280
choices. Seems like a perfect fit for him. The

00:43:48.280 --> 00:43:50.659
production got five Lucille Lortel nominations,

00:43:51.300 --> 00:43:54.000
earned Hawk a Drama Desk's nomination for Outstanding

00:43:54.000 --> 00:43:57.440
Director. The New York Times praised its scary,

00:43:57.699 --> 00:44:00.539
splendid clarity, his ability to elicit performances,

00:44:01.119 --> 00:44:03.539
connoisseurs of precision acting will be savoring

00:44:03.539 --> 00:44:05.579
for years to come. High praise for his guidance.

00:44:05.719 --> 00:44:07.619
Definitely. Later starred in the off -Broadway

00:44:07.619 --> 00:44:10.480
premiere of Blood from a Stone, 2010, 2011, won

00:44:10.480 --> 00:44:12.960
an Obie Award for playing Travis. The New York

00:44:12.960 --> 00:44:15.800
Times noted he was... Remarkably good at communicating

00:44:15.800 --> 00:44:18.380
the buried sensitivity beneath Travis's veneer

00:44:18.380 --> 00:44:21.340
of wary resignation, showing continued capacity

00:44:21.340 --> 00:44:23.980
for nuanced, rich acting. He kept playing classical

00:44:23.980 --> 00:44:26.300
roles, too, like the title role in Chekhov's

00:44:26.300 --> 00:44:29.380
Ivanov in 2012. Then both starred in and directed

00:44:29.380 --> 00:44:33.280
a new play, Clive, in 2013, an adaptation of

00:44:33.280 --> 00:44:36.239
Breck's Bail. Later that year, played the title

00:44:36.239 --> 00:44:38.559
role in Broadway's Macbeth at Lincoln Center.

00:44:38.969 --> 00:44:41.110
Though his performance got mixed reviews, some

00:44:41.110 --> 00:44:43.630
called it underwhelming. Highlights that even

00:44:43.630 --> 00:44:45.809
for an actor of his caliber, classical roles

00:44:45.809 --> 00:44:48.690
like Macbeth are immensely challenging. Not every

00:44:48.690 --> 00:44:51.789
artistic risk yields unanimous praise. True.

00:44:52.010 --> 00:44:55.130
His dedication shows, even facing critical challenges.

00:44:55.429 --> 00:44:58.389
He kept pursuing demanding stage roles. In 2019,

00:44:58.510 --> 00:45:00.550
returned to Broadway in a critically acclaimed

00:45:00.550 --> 00:45:03.389
revival of Sam Shepard's True West, co -starring

00:45:03.389 --> 00:45:05.679
Paul Dano. Got the New York Times Critics Pick.

00:45:06.119 --> 00:45:08.179
Powerful bookend to his stage work with Shepard.

00:45:08.380 --> 00:45:10.280
He remains a dedicated member of the Labyrinth

00:45:10.280 --> 00:45:12.179
Theatre Company. Further proving theater isn't

00:45:12.179 --> 00:45:14.820
just a side project, but a core, ongoing part

00:45:14.820 --> 00:45:17.199
of Hawk's artistic identity. His commitment to

00:45:17.199 --> 00:45:19.760
a creative community. Beyond the stage and screen,

00:45:20.079 --> 00:45:22.019
Ethan Hawk has always maintained a fairly private

00:45:22.019 --> 00:45:25.239
life. Choosing to live in Boram Hill, Brooklyn,

00:45:25.500 --> 00:45:28.079
rather than Hollywood Glitz. Owns a small island

00:45:28.079 --> 00:45:30.440
in Nova Scotia, Canada. Occasionally spends summers

00:45:30.440 --> 00:45:33.300
there. Clearly values retreat. connection to

00:45:33.300 --> 00:45:35.639
nature. Nice escape. As we mentioned earlier,

00:45:35.699 --> 00:45:38.599
his family history is rich. Second cousin, twice

00:45:38.599 --> 00:45:40.420
removed to Tennessee Williams on his father's

00:45:40.420 --> 00:45:43.659
side. Deep literary root. Maternal grandfather,

00:45:43.860 --> 00:45:46.659
Howard Lemmon Green, notable public figure. Texas

00:45:46.659 --> 00:45:49.639
legislature, county judge. Fascinating blend

00:45:49.639 --> 00:45:52.420
of artistic and public service influences. Perhaps

00:45:52.420 --> 00:45:54.539
contributing to his own intellectual, socially

00:45:54.539 --> 00:45:57.219
conscious leanings. His personal life, despite

00:45:57.219 --> 00:45:59.619
efforts at privacy, has faced public scrutiny.

00:46:00.280 --> 00:46:03.320
Common challenge for public figures. May 1st,

00:46:03.380 --> 00:46:06.699
1998, married actress Uma Thurman met on Kataka's

00:46:06.699 --> 00:46:09.699
set. Two children, Maya, born 98, now a successful

00:46:09.699 --> 00:46:12.539
actress herself, and Levon, born in 2002. Right,

00:46:12.699 --> 00:46:15.059
Maya Hawke is great. The couple separated in

00:46:15.059 --> 00:46:18.099
2003, amid allegations of Hawke's infidelity.

00:46:18.739 --> 00:46:22.059
Divorced August 2005. Very public, challenging

00:46:22.059 --> 00:46:25.679
period. In 2008, Hawke married Ryan Shaw Hughes,

00:46:26.139 --> 00:46:28.039
who had briefly worked as a nanny to his and

00:46:28.039 --> 00:46:30.400
Thurman's children before their separation. They

00:46:30.400 --> 00:46:33.179
have two daughters, Clementine and Indiana. Okay.

00:46:33.239 --> 00:46:34.940
Hawk directly addressed speculation about their

00:46:34.940 --> 00:46:37.940
relationship, stating, my first marriage disintegrated

00:46:37.940 --> 00:46:40.420
due to many pressures, none of which were remotely

00:46:40.420 --> 00:46:42.639
connected to Ryan. This highlights the immense

00:46:42.639 --> 00:46:44.519
challenges of maintaining privacy in the public

00:46:44.519 --> 00:46:47.380
eye, especially personal relationships, divorce.

00:46:48.019 --> 00:46:50.139
Hawk's direct statement, while brief, gives clear

00:46:50.139 --> 00:46:52.820
insight into his approach, choosing to clarify

00:46:52.820 --> 00:46:55.579
rather than remain silent, often with quiet dignity.

00:46:55.849 --> 00:46:58.610
These intense personal experiences, his family

00:46:58.610 --> 00:47:01.610
background, undoubtedly inform his broader worldview

00:47:01.610 --> 00:47:04.170
public stances, which he's never shied away from.

00:47:04.489 --> 00:47:06.849
Hawk publicly identifies as a feminist, for instance,

00:47:07.250 --> 00:47:09.269
vocal critic of the movie business being such

00:47:09.269 --> 00:47:12.170
a boys club, speaking out against systemic sexism

00:47:12.170 --> 00:47:14.949
in Hollywood. Good for him. Also spoken out forcefully

00:47:14.949 --> 00:47:17.030
supporting Colin Kaepernick, individual rights,

00:47:17.550 --> 00:47:19.710
especially when Kaepernick's silent protests

00:47:19.710 --> 00:47:22.349
sparked national debate. He also identifies as

00:47:22.349 --> 00:47:31.579
an Episcopalian. Famously joked Uncle Bear. This

00:47:31.579 --> 00:47:34.659
humorous yet reflective comment contrasted with

00:47:34.659 --> 00:47:37.099
his deep dive into Catholic figures through his

00:47:37.099 --> 00:47:40.179
work like directing Wildcat, a biopic about devout

00:47:40.179 --> 00:47:42.840
Catholic Flannery O 'Connor. Starring Maya points

00:47:42.840 --> 00:47:46.519
to a complex, thoughtful belief system. not dogmatic,

00:47:46.920 --> 00:47:50.019
but deeply curious about faith, its role in human

00:47:50.019 --> 00:47:53.440
experience. His embrace of feminism, criticism

00:47:53.440 --> 00:47:56.179
of industry norms show commitment to social progress,

00:47:56.699 --> 00:47:59.000
fairness in his profession. Consistent support

00:47:59.000 --> 00:48:00.920
for Kaepernick highlights belief in individual

00:48:00.920 --> 00:48:03.800
rights, social justice, at artists not afraid

00:48:03.800 --> 00:48:06.489
to use his platform. These values extend clearly

00:48:06.489 --> 00:48:09.449
to his political engagements. Hawk supports the

00:48:09.449 --> 00:48:12.170
Democratic Party. Consistently endorsed candidates

00:48:12.170 --> 00:48:14.690
like Bill Bradley, John Kerry, Barack Obama,

00:48:14.909 --> 00:48:18.170
Hillary Clinton. Staunch supporter of gay rights.

00:48:19.050 --> 00:48:22.210
March 2011, he and his wife Ryan release a video

00:48:22.210 --> 00:48:24.289
publicly supporting same -sex marriage in New

00:48:24.289 --> 00:48:27.449
York during a pivotal debate. However, in an

00:48:27.449 --> 00:48:30.489
October 2012 interview, Hawk offered a nuanced

00:48:30.489 --> 00:48:33.440
perspective. stated a preference for great art

00:48:33.440 --> 00:48:36.119
to politics. Explaining his preference shows

00:48:36.119 --> 00:48:38.280
how little he cares about the latter compared

00:48:38.280 --> 00:48:40.760
to the former. Found excitement seeing people

00:48:40.760 --> 00:48:42.659
of my generation being fully realized in their

00:48:42.659 --> 00:48:44.980
work, citing Michael Chabon writing a great book,

00:48:45.280 --> 00:48:47.340
Philip Seymour Hoffman doing Death of a Salesman.

00:48:47.719 --> 00:48:49.929
Interesting perspective. It's not apathy. but

00:48:49.929 --> 00:48:52.210
a profound belief that artistic creation can

00:48:52.210 --> 00:48:54.829
be more enduring, perhaps more profound cultural

00:48:54.829 --> 00:48:57.670
contribution and societal impact than the often

00:48:57.670 --> 00:49:00.269
transient world of politics. Fascinating statement

00:49:00.269 --> 00:49:03.269
about where he believes true value lies. He was

00:49:03.269 --> 00:49:05.469
also critical of Donald Trump during his presidency,

00:49:05.989 --> 00:49:09.030
specifically his Make America Great Again slogan,

00:49:09.250 --> 00:49:12.530
threatening to jail Hillary Clinton, characterizing

00:49:12.530 --> 00:49:15.719
Trump's behavior as fascist. noted the personal

00:49:15.719 --> 00:49:18.480
impact of this divisive climate, revealing members

00:49:18.480 --> 00:49:20.960
of his family voted for Trump and were later

00:49:20.960 --> 00:49:23.780
disappointed with his administration, illustrates

00:49:23.780 --> 00:49:26.199
broader societal divisions, his personal experience

00:49:26.199 --> 00:49:28.460
with them, offers a glimpse into complexities

00:49:28.460 --> 00:49:31.139
of navigating such conversations without taking

00:49:31.139 --> 00:49:34.599
a partisan stance himself, merely reporting differing

00:49:34.599 --> 00:49:37.300
viewpoints, even within his own family, a very

00:49:37.300 --> 00:49:40.179
human perspective on a polarized time. Beyond

00:49:40.179 --> 00:49:42.739
his incredibly varied creative and personal life,

00:49:42.960 --> 00:49:45.260
Ethan Hawke has also made significant, enduring

00:49:45.260 --> 00:49:47.619
contributions to culture through philanthropy,

00:49:48.099 --> 00:49:50.320
especially in the literary world. He's been a

00:49:50.320 --> 00:49:52.400
significant figure in literary philanthropy,

00:49:52.719 --> 00:49:54.820
served as co -chair of the New York Public Library's

00:49:54.820 --> 00:49:57.360
Young Lions Committee, one of New York's major

00:49:57.360 --> 00:50:00.000
philanthropic boards, not just symbolic, involves

00:50:00.000 --> 00:50:02.500
active fundraising, advocacy. That's impressive

00:50:02.500 --> 00:50:05.000
commitment. In 2001, demonstrating commitment

00:50:05.000 --> 00:50:07.500
to nurturing new talent, he co -founded the Young

00:50:07.500 --> 00:50:10.659
Lions Fiction Award. An annual prize specifically

00:50:10.659 --> 00:50:12.900
recognizing achievements in fiction by writers

00:50:12.900 --> 00:50:17.280
under 35. Remarkable concrete commitment to fostering

00:50:17.280 --> 00:50:20.000
the next generation of literary voices. Indeed.

00:50:20.659 --> 00:50:23.039
This commitment is a tangible manifestation of

00:50:23.039 --> 00:50:25.340
his lifelong passion for writing and literature.

00:50:25.900 --> 00:50:28.519
A passion cultivated since high school, consistently

00:50:28.519 --> 00:50:30.920
pursued. It's not just about his own creative

00:50:30.920 --> 00:50:33.719
output, but actively fostering the next generation,

00:50:34.079 --> 00:50:36.340
supporting a vital cultural institution like

00:50:36.340 --> 00:50:39.699
the NYPL. Right. His dedication was further recognized

00:50:39.699 --> 00:50:42.000
when he was honored as a Library Lion by the

00:50:42.000 --> 00:50:45.579
NYPL in November 2010, an award for outstanding

00:50:45.579 --> 00:50:48.500
contributions. Demonstrating long -term commitment

00:50:48.500 --> 00:50:50.800
beyond mere celebrity endorsement, he joined

00:50:50.800 --> 00:50:53.079
the Library's Board of Trustees in May 2016,

00:50:53.460 --> 00:50:55.840
deeply involved in governance, strategic direction.

00:50:56.559 --> 00:50:58.340
The Board of Trustees illustrates a holistic

00:50:58.340 --> 00:51:00.960
view of artistic engagement creating, performing,

00:51:01.480 --> 00:51:03.940
and crucially, nurturing and preserving institutions

00:51:03.940 --> 00:51:07.119
that foster art and knowledge. This raises an

00:51:07.119 --> 00:51:09.539
important question for you, the listener. How

00:51:09.539 --> 00:51:11.559
does an actor of his caliber choose to invest

00:51:11.559 --> 00:51:13.739
philanthropic efforts so heavily in literature,

00:51:14.199 --> 00:51:16.699
a field often seen as less glamorous than film?

00:51:17.639 --> 00:51:20.280
What does this tell us about his values? His

00:51:20.280 --> 00:51:22.460
profound belief in the power of the written word,

00:51:22.739 --> 00:51:25.260
perhaps even more than visual arts, as a lasting

00:51:25.260 --> 00:51:28.340
cultural contribution, truly showcases the depth

00:51:28.340 --> 00:51:31.039
of his Renaissance spirit extending into active

00:51:31.039 --> 00:51:33.820
patronage. And there you have it. We've taken

00:51:33.820 --> 00:51:36.780
a truly deep dive into the life and incredible

00:51:36.780 --> 00:51:39.239
career of Ethan Hawke, one of the most compelling,

00:51:39.300 --> 00:51:41.860
multi -talented artists of our time. We've journeyed

00:51:41.860 --> 00:51:43.920
from his nomadic childhood, those early film

00:51:43.920 --> 00:51:46.179
struggles which paradoxically shaped his artistic

00:51:46.179 --> 00:51:48.539
resilience, to his current status as an Oscar

00:51:48.539 --> 00:51:50.980
-nominated actor and screenwriter, a critically

00:51:50.980 --> 00:51:53.780
acclaimed novelist and film director, and a dedicated

00:51:53.780 --> 00:51:56.780
award -winning stage artist. He truly defies

00:51:56.780 --> 00:51:59.360
easy categorization. Continually demonstrating

00:51:59.360 --> 00:52:02.900
profound commitment to artistic integrity, multidisciplinary

00:52:02.900 --> 00:52:05.940
creative expression, embodies the idea of an

00:52:05.940 --> 00:52:08.780
artist unafraid to explore, challenge, grow across

00:52:08.780 --> 00:52:11.880
decades in whatever medium calls to him. His

00:52:11.880 --> 00:52:14.099
career is less a straight line to stardom, more

00:52:14.099 --> 00:52:17.219
a complex intertwined tapestry of artistic curiosity,

00:52:17.820 --> 00:52:20.260
unwavering dedication to craft. His willingness

00:52:20.260 --> 00:52:23.119
to embrace varied genres, take bold risks with

00:52:23.119 --> 00:52:25.300
challenging roles, even those unpleasant ones,

00:52:25.320 --> 00:52:27.780
return repeatedly to his first love of theater,

00:52:28.579 --> 00:52:30.719
consistently pursue passions for writing and

00:52:30.719 --> 00:52:33.519
directing. It offers a powerful lesson in what

00:52:33.519 --> 00:52:35.780
a fulfilled creative life can look like. What

00:52:35.780 --> 00:52:37.639
stands out to you about an artist who, despite

00:52:37.639 --> 00:52:39.880
immense success in one field, continues to push

00:52:39.880 --> 00:52:42.500
boundaries, learn new crafts, embrace vulnerability

00:52:42.500 --> 00:52:44.920
in so many others? It's a compelling model for

00:52:44.920 --> 00:52:48.250
anyone with a creative spark. Indeed. Considering

00:52:48.250 --> 00:52:51.170
Ethan Hawke's deliberate choices, his unwavering

00:52:51.170 --> 00:52:53.590
commitment to his portfolio approach to creativity,

00:52:54.170 --> 00:52:55.889
his willingness to balance commercial projects

00:52:55.889 --> 00:52:59.409
with deep artistic dives, and his nuanced belief

00:52:59.409 --> 00:53:01.829
that great art holds a higher value than politics,

00:53:02.610 --> 00:53:04.929
what do you think truly defines a fulfilled and

00:53:04.929 --> 00:53:06.969
impactful creative life in our modern world?

00:53:07.469 --> 00:53:12.460
Is it accolades, versatility, consistency? impact,

00:53:12.760 --> 00:53:14.179
or perhaps something else entirely, something

00:53:14.179 --> 00:53:16.320
more personal, more intangible, like the sheer

00:53:16.320 --> 00:53:18.500
joy of making something new, something to mull

00:53:18.500 --> 00:53:20.320
over as you reflect on his remarkable journey.

00:53:20.679 --> 00:53:22.400
Thank you for joining us on this deep dive. We

00:53:22.400 --> 00:53:24.260
hope you'll take some time to explore more about

00:53:24.260 --> 00:53:26.579
Ethan Hawke's diverse and inspiring work on your

00:53:26.579 --> 00:53:28.860
own. There's truly a wealth of art waiting for

00:53:28.860 --> 00:53:29.000
you.