For Now, Matthew McConaughey Is Just Playing Matthew McConaughey, Oscar Nominee
His time to shine is now, and an Oscar/Emmy double is far from off the table
A great deal has been written about Matthew McConaughey’s ‘career turnaround’ from perennial topless rom-com actor to indie film maestro and small screen true detective. And since the Texas-born 44-year-old started eschewing the mainstream offers to focus on some indie projects, he hasn’t looked back, despite the diminutive paycheques.
Matthew McConaughey and Jared Leto in Dallas Buyers Club, for which they both earned Oscar nominations
His change of pace has seen critical acclaim come his way, along with the respect of his peers, which, manifestly, have result in a fruitful haul from the past year’s awards season. Still to come, the big one: Best Actor in a Leading Role at this year’s Academy Awards ceremony on March 2nd.
“For the next two months, I’m playing the character of Matthew McConaughey, an actor proud of the films he’s been in,” explained McConaughey to Variety. “And if any of those films or his performances are in awards shows, he’s going to go, heart high and head up, and look them all in the eye and say, ‘Damn right this is a great time in my career.’ That’s the role I’m in now. I’ve got a lot to be thankful for.”
Of course, being favourite doesn’t guarantee you the statuette; Adrien Brody beat Nicolas Cage, Jack Nicholson, Michael Caine and Daniel Day Lewis to win Best Actor in 2002, much to everyone’s surprise. And with Bruce Dern, Chiwetel Ejiofor, Leonardo DiCaprio and Christian Bale in the same category as you, an ‘upset’ is always on the cards.
After those two months, though, McConaughey will go back to playing other people again. He’s locked in to Interstellar – the enigmatic sci-fi thriller project from Christopher Nolan. It doesn’t have a plot – just one mysterious trailer – and its lead star is divulging nothing more than he should.
“Matthew works from the inside out,” says Nolan of his new star. “He approaches a character from a deep human understanding, refusing to take shortcuts to an emotional connection with the audience — all while never losing sight of the demands of the overall narrative.”