[does a good impression of a baying
soccer mob], and I would just be like,
“Alright, motherfuckers!” And they’d go,
“Oh, he’s American.”
Reynolds: I use it most as an expression of pain.
[Slowly] “Mother... fucker.”
Jackson: It’s so
versatile, it depends
how you say it. It can
express anger:
“Motherfucker.” It can
convey disbelief:
[shaking head]
“Motherfucker...”
It can be a term of endearment: [brightly]
“What’s up, motherfucker?” It’s a verb, an
adjective, a noun. It can do anything.
Reynolds: In fact, the only time you can’t say it
is when you are actually fucking your mother.
That would be weird.
Moving on. Ryan, there’s nothing like this film on
your CV...
Reynolds: Right. I’ve been the lead in movies and
I’ve been in an ensemble cast, but I’ve never been
in a buddy movie. I liked that it was a straight-
down-the-barrel, pure-bred action comedy.
No gimmicks, just character and action.
Jackson: Also, we were allowed to embellish
the characters in any way we wanted to, to make
them human. When you have two guys sitting in
a car together, they’ve got to have something that
keeps an audience’s attention.
One thing you do in the car is sing. Ryan,you were
all over All That She Wants by Ace Of Bass.
Reynolds: I made that song 10 times worse, which
says a lot.
And Sam, you do a rendition of Lionel
Ritchie’s Hello.
Jackson: Yeah, I actually asked for that song.
I called Lionel and he said, “Great, yeah, go
ahead.” I didn’t tell him that there’s a big-ass bar
fight going on behind it where you are seeing
a woman [Salma Hayek] kicking ass while
singing, “Hello, is it me you’re looking for?”
What was it like teaming up?
Jackson: It was as much fun as I thought it
would be.
Reynolds: [To Jackson] You went with the nice
answer. It was fun. Chemistry is not something
you can manufacture. It’s either there or it’s not. �