How about Garfield? Can you explain that to me? Did you just do it for the dough?
No! I didn’t make that for the dough! Well, not completely. I thought it would be kind of fun, because doing a voice is challenging, and I’d never done that. Plus, I looked at the script, and it said, “So-and-so and Joel Coen.” And I thought: Christ, well, I love those Coens! They’re funny. So I sorta read a few pages of it and thought, Yeah, I’d like to do that. I had these agents at the time, and I said, “What do they give you to do one of these things?” And they said, “Oh, they give you $50,000.” So I said, “Okay, well, I don’t even leave the fuckin’ driveway for that kind of money.”
And it’s not like you’re helping out an indie director by playing Garfield.
Exactly. He’s in 3,000 newspapers every day; he’s not hurtin’. Then this studio guy calls me up out of nowhere, and I had a nice conversation with him. No bullshit, no schmooze, none of that stuff. We just talked for a long time about the movie. And my agents called on Monday and said, “Well, they came back with another offer, and it was nowhere near[$50,000.” And I said, “That’s more befitting of the work I expect to do!” So they went off and shot the movie, and I forgot all about it. Finally, I went out to L.A. to record my lines. And usually when you’re looping a movie, if it takes two days, that’s a lot. I don’t know if I should even tell this story, because it’s kind of mean. [beat] What the hell? It’s interesting. So I worked all day and kept going,“That’s the line? Well, I can’t say that.” And you sit there and go, What can I say that will make this funny? And make it make sense? And I worked. I was exhausted, soaked with sweat, and the lines got worse and worse. And I said, “Okay, you better show me the whole rest of the movie, so we can see what we’re dealing with.” So I sat down and watched the whole thing, and I kept saying, “Who the hell cut this thing? Who did this? What the fuck was Coen thinking?” And then they explained it to me: It wasn’t written by that Joel Coen.
Our favorite bit from GQ senior editor Dan Fierman’s electric Q+A with Bill Murray from August 2010, which the very excellent Longform.org just picked as one of year’s five best interviews. If you ask us, it’s one of the one best interviews of 2010, but we’re biased because we love Bill Murray, and Dan’s OK too. (Also: how bout that great Daniel Clowes illustration, huh?)