3 Questions for Danny DeVito

The Post’s West Coast editor chats with the actor who makes Taxi funny and Philadelphia sunny.

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After almost five decades in show business, Danny DeVito still gets a kick out of seeing himself on a movie poster. For the new live-action Dumbo, directed by Tim Burton, he’s sporting a top hat as the ringmaster of the circus that is home to the famous flying elephant. “I’m very at home in the center ring,” he laughs. “The part felt familiar because when I did Batman Returns with Tim I had a circus troupe.”

The Oscar nominee and Golden Globe winner has taken on roles of ordinary and extraordinary characters like no one else on screens big and small. He’s loveable even when what he does and says should make us cringe. Imagine encountering Taxi’s Louie De Palma in real life — especially in our politically correct environment. And then there’s Frank on It’s Always Sunny in Philadelphia: crude, rude, and funny as hell.

Now DeVito is working with Dwayne Johnson on the new Jumanji, and The Rock couldn’t help but gush about his newly minted co-star, saying, “The idea of Danny DeVito joining our cast was too irresistible.”

Jeanne Wolf: I just saw you on Michael Douglas series The Kominsky Method. Do you still go after the best parts, or do they come to you?

Danny DeVito: Both. But actors want to work. Maybe some are thinking about becoming big movie stars, but I always believed the best thing for me was to focus every day on trying to get a job. Moment to moment, you think to yourself maybe you’ll get lucky. Of course, for me, the big break was getting Louie de Palma in Taxi. You don’t know when it’s going to come, so you just want to be ready. What you live for as an actor is to get up there and be with other actors. Now I have the best gig in the world doing It’s Always Sunny in Philadelphia, which has been around a lot longer than Taxi. But every day I still call my agent and say four words: “Get me a job!”

But acting is not just a job, it’s a craft. My grandfather was a tailor. He could take a piece of cloth and make the most beautiful things. I like to think I’ve got some of that ability to take all the elements and work them into something beautiful, something that will grab people and entertain them. Also, I’ve gotten rid of my worst impulses by acting them out. It started with Louie. It’s like a license to kill. I was given this wonderfully diabolical, self-serving, self-centered character to play.

JW: Did you dare to dream as big as the films and TV shows that have made you a big star?

DD: When I was a kid I used to sit in front of the TV watching old movies and thinking I could do that but I couldn’t really tell my pals what I was planning. That would have been too tough. They would have said, “Danny what’re ya, nuts? Who d’ya think you are, Cary Grant?” So I had to keep my mouth shut. But I was learning about comedy.

My mother and father had what I guess you could call an explosive relationship. Everybody was always saying exactly what was on their mind. Sometimes, being funny was the best way to hold your own, and that can really develop your sense of humor. Now, I’ll do almost anything for a laugh. I don’t want to do any kind of dangerous stunts because I’m a chicken, but I will do anything if it is funny for the script. I’ve gotten thrown out of windows. I’ve been naked. I’ve puffed myself up in a fat suit with makeup. I’ve done everything.

JW: We’re in the middle of an immigrant controversy. Your family were immigrants.

DD: My grandparents came from southern Italy. They lived in cold-water flats in Brooklyn. My grandfather shined shoes. He didn’t have a skill. So it’s like a normal story for immigrants — coming here and not speaking English. They came because they had no money, not unlike the cases of the people from Nicaragua and from El Salvador who are coming to the border. And here we are in this big, beautiful country that has all these legends, like the Statue of Liberty, and it has all this land and is so wealthy. I would come here too. I would do whatever I could to try and get into the country.

But you can’t live in the past. What you gotta do is think of the future because what you’re doing right now is gonna be the good old days. If you sit around on your butt and don’t do anything, when you’re 90 you’re going to have no “good old days” to think about. You’ve got to do it now. You gotta get up and do something. Don’t sit around just listening to all the claptrap on television. Go out to the movies because going out to the movies is an experience in itself. Take a friend, go out to dinner. Don’t drink and drive, but have a good time.

Entertainment, that’s what we do. We are a release. You go into the movies and the lights go down and you become absorbed in the story. It’s like reading a good novel. It takes us from our reality and shows us, in our lives, something that we can hang our hat on and emulate. I like that people leave the theater and have a good smile on their faces.

An abridged version of this interview is featured in the March/April 2019 issue of The Saturday Evening Post. Subscribe to the magazine for more art, inspiring stories, fiction, humor, and features from our archives.

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