The 56-year-old Academy Award winner strides into Variety’s office the morning after participating in a For Your Consideration panel for HBO Max’s “The White Lotus,” where he portrays Frank, a former associate whose monologue in episode five, focusing on sex addiction and sexual identity, became a viral sensation. Once he settles in, he notices a February 2018 Variety cover featuring Ryan Coogler and Chadwick Boseman promoting “Black Panther.”
“I just watched an interview with him,” Rockwell remarks, gesturing towards Coogler. “It was fascinating. I hail from the Bay Area, and he spoke about the experience of watching a film with his father.”
Naturally, I inquire if he has seen “Sinners,” the box office hit that has emerged as an early contender for the Oscars.
“Yes, I did. I really enjoyed it. The technology behind the twin concept has advanced significantly since I attempted something like that a while back.”
He refers to his celebrated performance in Duncan Jones’ 2009 film “Moon,” where he plays Sam Bell, a man grappling with a personal crisis at the conclusion of a three-year solitary mission on the moon’s far side. In a standout scene involving a ping-pong table, two Rockwells appear on screen — a remarkable technical achievement for that time.
As our conversation flows, we delve into our shared appreciation for 1970s cinema. About 21 minutes in, Rockwell flips the inquiry back to me, asking, “What are your thoughts on the current state of movies and what’s unfolding?”
Some journalists might hesitate when being questioned by their subject. I don’t. Often, such questions unveil their true interests.
“I can’t help but think about ‘Sinners,’” Rockwell states after I answer. “It was uplifting because it was rated R, you know? The sexual themes felt genuine. And the fact that it made a substantial profit while blending genres — ‘From Dusk Till Dawn,’ ‘Sounder,’ ‘Devil in a Blue Dress’ — I found that inspiring. It’s a bold move. And it raked in a lot of cash, just like ‘Wonder Woman.’ That was a significant gamble too, created by a woman. It did exceptionally well.”
He continues, elaborating on how unconventional success stories inspire him.
“‘Birdman’ is another example. On paper, you’d think, ‘That film won’t go anywhere.’ But it was incredible. The same goes for ‘One Flew Over the Cuckoo’s Nest.’ Everyone passed on it — Gene Hackman, James Caan. But just look at its success. So yes, I’m optimistic about certain trends.”
At that moment, Rockwell spots a Chucky doll perched on the shelf behind me, voiced by “Cuckoo’s Nest” Oscar nominee Brad Dourif.
“Is that Chucky? I’d get rid of that thing,” he chuckles.
Rockwell reflects on belonging to what he describes as “an incredible generation” of actors: Billy Crudup, Michael Shannon, Jeffrey Wright, Liev Schreiber, Mark Ruffalo, Josh Brolin, and the late Philip Seymour Hoffman. “Phil was our guy,” he notes. “He was our Charles Laughton.”
When talking about some of his most iconic performances — his Oscar-winning role in “Three Billboards Outside Ebbing, Missouri” and his nominated performance as George W. Bush in “Vice” — he visibly tenses when asked about the nation’s current condition.
“It’s a mess,” he replies candidly. “Honestly, I don’t even know where to start. It’s not good.”
Does he retain any hope?
“I wouldn’t know where to begin. It’s tough out there. I’m an entertainer. But hopefully, through your work, you can offer some sort of catharsis for people via movies and theater.”
When the discussion shifts to his long-time partner, Leslie Bibb, who is also receiving Emmy buzz for “The White Lotus,” Rockwell’s demeanor brightens.
“I’m so proud of her,” he beams. “This is a significant moment for her. I think people are viewing her differently. She’s excelling. She transformed a character that could have been quite unlikable into someone with a moral compass.”
Regarding the scene in “The White Lotus” where Frank pursues Rick (played by Walton Goggins) while clad in leopard-print underwear — another viral highlight — Rockwell dispels an online rumor about whether it’s women’s underwear.
“It’s not lace,” he laughs. “It’s a white-wall kind of style. But you know, that was really a nod to Richard Gere in ‘American Gigolo.’ I recall the cheetah print. I think I was just being playful. It was somewhat humorous underwear — very ’80s briefs. I chose them myself.”
