Even if you don’t recognize the name, believe me when I say you know Tim Thomerson. From the hilarious television show “Quark” to supporting roles in such films as “Iron Eagle,” “Rhinestone,” “Near Dark” and “Fear and Loathing in Las Vegas” to his starring performance as Jack Deth in the highly popular “Trancers” series, he has made good movies better and bad movies watchable.
While promoting his latest film, “Asylum of Darkness,” Mr. Thomerson took the time to talk about his long career and even indulged me in talking about some of my favorite films/performances of his.
Mike Smith: Can you give our readers a short introduction to your character in “Asylum of Darkness?”
Tim Thomerson: I play a detective named Kesler, which is a name director Jay Woelfel uses in many of his films (this is not the first time Mr. Thomerson has played a character with that name).
MS: Are those the roles you tend to gravitate too? Cop or soldier or someone else in authority?
TT: It’s really the paycheck that gravitates me to a role, you understand? (laughs) Any kind of money that they will give me that allows me to do what I like to do will count. No, no. I’ve known Jay for a long time and he’s a good guy to work with. Very easy to work with. I know his cameraman and I’ve done three movies with him. He knows my work and it was a pretty easy character to play for me. I just threw another trench coat on and parted my hair on the other side and wore glasses. I’m pretty sure in some scenes I’m wearing glasses. Probably because I’m reading my script off-camera. Like Brando. (laughs)
MS: It worked for him.
TT: It sure did, didn’t it!
MS: “Asylum of Darkness” features one of Richard Hatch’s last performances. How was he to work with?
TT: Richard was a good guy. I knew him for a long time. We had done a film together called “Unseen Evil,” which Jay had also directed. That was the first time I had met Richard. I knew who he was from “The Streets of San Francisco” and “Battlestar Galactica.” We’re both from California and he was an old-time surfer. I surf so we struck up a friendship. He was a real cool guy to be around. I would see him all the times at conventions and we would talk. He was a very mellow guy. The quintessential California person. The “Jeff Bridges” guy. Not from “The Big Lebowski” but Jeff in real life.
MS: I’ve got what I consider five of your best roles in films that fans may have missed but are definitely worth seeing. But before we talk about them, do you have a favorite role or performance of yours that you’re most proud of?
TT: Typically I never watch my work. If I happen to catch something, or if there is something I want to see to make sure I pulled it off…was I good in it or was I shitty in it? Did I do it how I was trained? (NOTE: Mr. Thomerson studied with the great Stella Adler for four years. Among her other students: Marlon Brando, Robert De Niro, Elaine Stritch and Harvey Keitel). I guess one of my favorite roles was a character I did on “Hill Street Blues,” where I played a slum-lord named Nat Rikers. The role was the farthest I’d ever gotten from myself. I worked really hard to become this character. That’s one of my favorite guys. Then there was a little movie I did that Bryan Cranston directed called “Last Chance,” where I played an alcoholic writer, kind of an Ernest Hemingway-type guy. He gets writer’s block and gets back on the booze. He goes to A A and becomes a truck driver. Bryan and his wife produced it and we shot it out in the desert outside Palm Springs in a place known as “Methadonia” because there are so many meth labs out there. It’s a good little movie about a guy who’s involved with a girl who’s stuck in a bad marriage. But working for Bryan, and the direction that he gave me, like I said I usually don’t sit and watch my stuff, but the best direction I got from him…I was kind of stuck because I usually play bad guys or comedy guys. But this was a real person and I had to drop all of the “tough guy” snarls and just BE this guy. So Bryan told me, ‘just say the words. Just talk.’ And I thought, “Wow!” Nobody had ever told me that before. Bryan took the time to say that and that’s all he had to say. So that is also one of my favorites. Those are two of the things that I actually saw and I said to myself, “I believe that guy is real.”
MM: OK, I’m going to give you the title of a television show or film that you appeared in and just give me the first memory that comes to mind.
TT: I’m ready.
MM: “Quark.”
TT: Oh man, that was fun. That was a lot of fun. It was really one of my first jobs. I mean a legit job. I had been doing stand-up for awhile and I think I had just done “Car Wash” before that. It was so much fun. We only did eight episodes. It was great to work with Richard Benjamin. Buck Henry created the show and wrote some of them. It was the first time I got to work with Geoffrey Lewis, the great character actor, and Henry Silva. And I got to work with Ross Martin, who was great. It was a fun show to do and it was fun to play that silly character. And it was pretty hip stuff. And it was funny. I mean, even doing it was funny. Richard Benjamin was such a funny person. And we had great directors. Directors who had been doing television comedy since the beginning. We had Hy Averback, who had done “Sgt Bilko” and “The Dick Van Dyke Show.” It was the 1970s but we had guys that had been working since the 50s and 60s. Everybody laughed on the show. The crew and the cast. It was fun. Really fun.
MM: “Carny”
TT: “Carny??” Nobody knows that movie. Any time you get to work with Gary Busey it’s going to be a trip. There were a lot of really fine actors in that film. Robbie Robertson wasn’t too bad for his first film, but we had Jodie Foster and Ken McMillian and Craig Wasson. We filmed it in Savannah, Georgia at a real carnival. We worked nights. For two months. And two months of night work – in Savannah, Georgia in the deep South – can make you crazy. Working on that movie was fun. I had known Gary so to work with him was fun. He was a real good guy. It’s so funny you picked that one. Nobody knows that movie, which is a shame because it’s a well shot movie. Jodie was still a youngster so, when we were filming at night, they’d shoot her stuff then shoo her off the set. Get her away from the insanity! Because when you work until 4 or 5 in the morning, that’s when the party started. Bunch of stunt guys and crazy electricians. It was pretty nuts. I had a lot of fun on that movie.
MM: “Honkytonk Man”
TT: Well, of course, I got to work with Clint (Eastwood). That was a mind blower for me because I’d always been a fan. And, of course, he was so cool. We shot it on the east side of the Sierras in the oldest city in California called Genoa. Working with Eastwood….I mean it goes by so fast. (Does a pretty good Clint Eastwood impression) “All right Tim, we’re going to shoot your close-up. Step on in here. Are you ready?” I said, ‘yes sir, I am” and we did one take. That was it man. We were gone. He flew me in and flew me out. What was fun about working on that movie was that Clint’s son, Kyle, was also in it. Years later I was skiing on a mountain one day when a guy ski’d up to me and said (gruff voice), “Hey, how you doing?” And of course, it was Clint and his son. I didn’t recognize him at first because he had a buzz haircut because he was working on “Heartbreak Ridge.” He had the G.I. Joe cut, you know? And I kept standing there thinking, ‘what is this big guy looking at me?” Then I recognized Kyle. The guy I was skiing with said, “You know Clint Eastwood?” And I just said, “Yeah.” It was just a great experience. I also worked on a movie he produced called “Ratboy” that Sondra Locke directed. It was just fun being around him, no matter how little the time was. And talk about a quiet set. No bullshit…everybody doing their job. That really impressed me.
MM: Finally, one of my guilty pleasures. I don’t know WHY I love this movie so much. “Rhinestone.”
TT: (bursts out laughing for quite a long time) Did you just say “Rhinestone?” You’re not from Kansas City. You must be from Dixie.
MM: I grew up in Tampa so maybe that helps.
TT: I’ve got to tell you, I once was told that “Rhinestone” and another film I was in, were called the worst movies of the 1980s. (NOTE: I’m thinking the other film was “Metalstorm,” a 3D extravaganza that is pretty much on every “Worst Films” list. But I got to work with Dick Farnsworth. Dolly Parton. Stallone gave me the job. I never knew that until years later when his brother, Frank, told me that. I’d known Frank for a while and one night he said to me, “you know, my brother gave you that job in “Rhinestone.” And I was like, “are you shitting me?” And he said, “uh uh.” Then one time, later, Sly walked up to me and said (Mr. Thomerson also does a fine Sylvester Stallone impression) “I really like what you did in that ‘Trancers” movie. It was a great set. Not complicated. No drama. We knew each other’s beats and rehearsed if. And then Dolly…you just don’t get any better than her, she’s such a neat lady. That was a lot of fun. And the fact that I got to work with Richard Farnsworth. Such a great man to work with.
