Reeves returns a minute or two later. “Did I say Devil’s Advocate? …Devil’s Advocate, Dangerous Liaisons, I Love You to Death…” Clearly, he’d been thinking about it in the john.
I And myself wondering about the difficulty of trying to break into movies when your first name sounds like some little-known species of steppe-dwelling yak. Apparently, there were issues early on. A few years after the Coke and cornflakes commercials, Reeves drove with his then girlfriend from Toronto, where he’d been living since he was 7, to L.A., in search of acting jobs. Upon his arrival, his agent and manager called to say they were getting “ethnic feedback” on his picture and resume. “I don’t know what the fuck that meant,” says Reeves. “I guess it was a bad thing, because they wanted me to change my name. I was like, ‘OK, man, I want to work here, so if I’ve got to do that I’ll do that.’ So they took my first and middle initials and made a name out of that,” and the rugged-sounding all-American K. C. Reeves was born.
“But then what would happen is I would go into auditions and they’d call for K. C. and I’d miss the appointment. I wasn’t even looking up. Eventually I’d go up and say, ‘Hi, I came in at 11:15.’ They’d say, ‘Are you K. C.?’ And I’d be like, ‘Oh, shit, um, yeah! I guess I am.’ That lasted about a month, maybe. And I had all these pictures I had to pay for with fucking ‘K. C.’ on them. What was I gonna do?”
Reeves tells the story in that plummy, stentorian stoner voice of his, recognizable from almost every one of his movies. Sometimes it’s dead wrong for the role; why should the guileless chocolate salesman from A Walk in the Clouds always seem on the verge of a soliloquy? On the other hand, with a character like the high-born hustler in My Own Private Idaho, the voice is just right probably because he soliloquizes regularly, arms thrown wide toward his comrades.
No actor dead or alive has ever been better matched with a role than Reeves is with Neo. Apart from being a slick and credible action hero, he owned the movie because he committed so totally, fusing himself to its arcane internal logic.
Which is to say, the success or failure of a Reeves performance depends greatly on how well he’s chosenon whether the role flatters his uneven gifts. His character in Speed, for instance, was an inspired choice, actually benefiting from his uninflected earnestness; basically, he was required to look tense and buff from the first frame to the last. “I thought the film was ridiculous in such a beautiful way,” says Reeves. “A bus that can’t go under fifty-five miles an hour. A SWAT guy named Jack Traven. Who could resist?”
Which brings us to this work, this film, this art, this endeavor otherwise known as The Matrix, whose first sequel, Reloaded, opens this month. Indeed, no actor dead or alive has ever been better matched with a role than Reeves is with Neo, the computer hacker who comes to learn that humans are living in a sinister dreamscape generated by machines that are actually, systematically, turning them into batteries. Or something like that. Keanu critics thought he got awfully lucky with the part, which asked him to look cool in fetish wear that couldn’t missbadass shades and overlong black trench coats functioning as the world’s hippest tutus in the balletic fight sequences.
But that sells Reeves short. Apart from being a slick and credible action hero, he owned the movie because he committed so totally, fusing himself to its arcane internal logic. And his ramrod seriousness underscored the notion of profound questions lurking beneath the elaborate cinematic armature and the requisite blam blam. Reeves, who has a soft spot for heady, ambitious, slightly pretentious discourse, is very at-home with the movie’s philosophical musings about life, death, free will, fate, illusion, reality and, for good measure, creation. “Neo has a lovely line that he says a couple of times: ‘What truth?’ What truth,” he repeats. “It’s something that’s part of my makeup. One of my earliest phrases was How come? So I related to the piece.” Says Carrie-Anne Moss, “I don’t know if anyone else could have played that part, because he is so that guy. He is so committed, and yet he questions everything.”
For Reeves, the allegorical dimension of The Matrix was as satisfying as its plentiful “cool shit,” like the airborne kung fu. Any movie that raises the sorts of questions Shakespeare and Buddha might have pondered while spawning a video game aimed squarely at the Bills and Teds and Dogstar fans (hitting stores this month, to coincide with the release of the first sequel) is making the most of him. Reeves deserves a lot of credit for recognizing its potential. “Keanu has the soul of an artist,” says Lorenzo di Bonaventura, president of worldwide production at Warner Bros, during the making of The Matrix, “and a lot of courage for taking a chance on very daring material and young filmmakers. Once he read the script, he was on board very quickly”unlike Leonardo DiCaprio, Will Smith and Brad Pitt, who flirted with the project but ultimately passed. “He never wavered, and he fought for the movie in every way.”
Reeves refers to himself as a “Matrix zealot,” in fact; it is his calling. As such he has been a willing servant to the Wachowski brothers, who wrote and directed all three movies. (The third one, Revolutions, opens six months after Reloaded.) Like everyone else, Reeves refers to the Wachowskis as “the brothers,” which lends an appropriate air of cultishness to the secretive proceedings. And a certain degree of zealotry was mandatory on the 270-day shoot in Australia, during which both sequels were made simultaneously. Although Reeves will be handsomely compensated for his trouble
$30 million against 15 percent of the gross for both moviesby Hollywood standards he’s earned it. “You just can’t even imagine how that guy showed up every day,” Moss says, describing Reeves’s shrieks of pain that accompanied long hours of stretching on the set before his fight scenes were filmed. “He’d have fights that were fifteen or sixteen days of shooting. You do one day like that and you don’t know if you’ll ever walk again.
“You can imagine a lot of actors doing action movies just to look coolyou know they’re not doing the work and they don’t care,” Moss says. “Keanu cares so much. He’s not looking to have it easy at all.” Or as Reeves himself puts it, “I love The Matrixlove it through and through. And so the sacrificeswhat it demands, what it hopes for had me body and soul. And to feel that is one of the more remarkable things in my life.”
Of course, the demands of making filmseven insanely ambitious, billion-dollar-grossing onesare dwarfed by the burden of superstardom when it is nothing you ever wished for yourself. With The Matrioc Reloaded and Revolutions upon usletting us fly vicariously at a time when we badly need tothe quest for Keanu is sure to intensify. But he’ll ward it off, as he always has, as he does the stiff wind blowing in his face after coffee one wintry morning last February. Stylishly underdressed, shivering in a thin black coat, eyes narrowed against the cold, Reeves escorts me a few blocks and wishes me well at the cornerone of the few famous actors to remember a journalist’s name and use it.
“And thanks,” he calls out as he turns to go, “for watching the movies.”
Keanu Reeves Hairstyles
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Keanu Reeves Hairstyles on Such abuse may include sleep deprivation; refusal of health care; threatened harm to family members; beatings, torture, and other forms of violent coercion; sexual abuse and humiliation; and enhanced interrogation techniques utilizing coercive means to extract information from a prisoner or detainee. Particularly since the events in 2003 and 2004 at Abu Ghraib, Iraq, where American military guards used harsh interrogation methods on Iraqi prisoners, there has been debate about the role of psychologists in military-run interrogations of prisoners or detainees (including those at Guantanamo Bay, Cuba). In 2007, the American Psychological Association issued a statement specifically prohibiting psychologists from participating in 19 interrogation techniques (e.g., waterboarding, forced nudity) and asserting that no psychologist should be either directly or indirectly involved in treatment of prisoners that could lead to their physical or psychological harm. prisoner of war (POW) a person held captive by an enemy during a war. Reactions to wartime captivity vary greatly from individual to individual but can include (a) depression due to loss of freedom and identity; (b) paranoia; (c) inertia and loss of interest due to confinement and debilitating conditions; (d) the effects of coercive persuasion, particularly if BRAINWASHING is involved; (e) loss of ego strength; and (f) occasionally, death. Keanu Reeves Hairstyles 2016.
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