"I was 30 years a leading man and a macho leading men. I was like, what’s up? Why me? I was genuinely curious. What was it about my performances in 'Face/Off' or 'Broken Arrow' that would make you think I’m good for a 300 pound woman?"
The man that became famous through “Saturday Night Fever” and “Grease” steps into his first musical in several years in a very big way.
John Travolta takes on the role of Edna Turnblad in New Line’s new adaptation of the 1988 film and subsequent Broadway musical “Hairspray,” now playing in theaters everywhere. “Hairspray” leads an all-star cast which includes Travolta, Michelle Pfeiffer, Christopher Walken, Zac Efron, Amanda Bynes, James Marsden, Queen Latifah and newcomer Nikki Blonsky as Tracy Turnblad. Both the movie and the Broadway musical have received acclaim for their story about a 1962 teenager who fights to include both blacks and whites in a national TV dance competition in a post-segregated society.
Travolta talks about taking on a female role, his dancing moves as well as what the importance of the story even in today’s world.
Q: Any thoughts now about what it is being a woman and having to dress like a woman?
JOHN: I don’t know how [women] do it. Of course, this is 1962. There’s a lot more culture going on, especially if you’re overweight. But I do remember my mother wearing stockings, girdle bra and then high heels. That was enough to exhaust her in getting ready. I remember her being exhausted every time she had to get ready and I said, “What’s up with this? Why are you getting exhausted?” Cut to 40 years later and I know exactly why it’s exhausting: I tried it! It’ll take your breath away.
Q: Did you base a lot of your feminine movements on your mother?
JOHN: I have a library of memories because I grew up with a lot of great women but also a lot of women in theater and films. I have that collective memory of watching women but I never thought I’d have to use it but it didn’t mean I wasn’t noticing it. I think that you watch your mother’s friends and ladies on stage and screen and you get to build up a knowledge of behavior.
Q: Was it nice to revisit the musical genre after so many years being away from it?
JOHN: I did. It was exhausting because I had a fat suit on. On the other hand, it was exhilarating because it got me in shape. I lost some weight so that was fun. I’ve wanted to do a musical for 30 years, honestly. At time they were offered – “Phantom [of the Opera],” “A Chorus Line,” “Chicago” – I didn’t see it [happening]. Craig and Neil, the producers of “Hairspray,” led me to a year and two months to think about it. By they convinced me that all departments were A+. Musicals are like westerns and other minority genres: they’re not a guarantee.
Q: There's a great dance scene where you dance with Christopher Walken but he is the one doing the leading. Was it tricky to have to be on the other side?
JOHN: There was a trick to undo that. There was a distinct rethinking of having to be led and what that was going to be like. But I fell into it pretty easily. I remember years ago when I was wanting to be a dance instructor, you have to practice both sides to teach.
Q: What about talking like a woman? Was there anything that helped you with that?
JOHN: What helped me there was the accent, the Baltimore accent. It was so specific. If I was asked to do a New York accent, which I wouldn’t have wanted to do, it’s a little bit more innately masculine. It’s also a Baltimore housewife. Why would I have a New York accent? I think that helped a lot. In singing, I just kept it at a higher register. That’s just a pop register – men and women sing at a higher register. That was easy to assimilate.
Q: Did you ever wonder why they went to you for this role?
JOHN: Well yeah. I was 30 years a leading man and a macho leading men. I was like, what’s up? Why me? I was genuinely curious. What was it about my performances in “Face/Off” or “Broken Arrow” that would make you think I’m good for a 300 pound woman? It was that kind of a thing. I was like, I’m not even going to look like me! But they said, “You can sing, you can dance. It’s because you’re the opposite that will make it more entertaining because you can pull it off.”
Q: Was there anything you wanted to change about the character, or any stipulations that you needed before you jumped on board?
JOHN: The criteria was that it HAD to be a woman. It couldn’t be a man dressed up like a woman. That meant big breasts, big ass, little waist, and a full prosthetic. You had to believe that there was no man in there and if I could do that, then I could do the acting part of it by my ability to move and dance. I can round out my movement to be more feminine. That’s just an ability. With the help of the visual, I could add to my character interpretation and dance movements. I knew I could add those layers.
Q: Do you think the themes in "Hairspray" still hold relevance and importance in today's world?
JOHN: I think that it does for a few reasons. 1962 was very different from 2007. There has been progress made but not enough progress. You can measure it at least. But you have to see where it came from. The ‘60s were filled with protests of war, racism and women’s liberation. It was a generation I watched with my own eyes. There has been tremendous movement, we have to admit, but is there ever enough movement? That’s a question that reminds us that this was around 40 years ago and it makes us ask, are there issues here? Should there be things we should be paying attention to? [This does it] in a light-hearted way. Let’s face it; it’s an entertainment piece and if you choose to go that deeply into it, it’s your choice.
Q: What's happening with the "Dallas" movie?
JOHN: It’s happening. I think they’re way too involved for it to not happen. I meet tomorrow with the director. It’s supposed to be next January.