Alec Baldwin is probably my favorite living American actor. (It's a very close race between him and Kurt Russell.) His work in Glengarry Glen Ross is hilarious and deserves its cult status, but The Edge and The Shadow are on my short list of "SuperStation movies," alongside Road House and, much as I hate to admit it, the Thomas Jane version of The Punisher - if I come across it on basic cable, no matter what point it's up to, I'll watch it to the end. He's also great in Malice and an assload of smaller roles in Outside Providence, The Aviator and The Departed. And I don't even need to talk about how great he is on 30 Rock - they could almost do that show like a Beckett play, with nothing but Fey and Baldwin on a bare stage, and I'd watch. But as this awesome New Yorker profile reveals, Alec Baldwin is also out of his goddamned mind.
Tuesday, September 02, 2008
SEE UNDER: THIN LINE BETWEEN GENIUS AND MADNESS
Alec Baldwin is probably my favorite living American actor. (It's a very close race between him and Kurt Russell.) His work in Glengarry Glen Ross is hilarious and deserves its cult status, but The Edge and The Shadow are on my short list of "SuperStation movies," alongside Road House and, much as I hate to admit it, the Thomas Jane version of The Punisher - if I come across it on basic cable, no matter what point it's up to, I'll watch it to the end. He's also great in Malice and an assload of smaller roles in Outside Providence, The Aviator and The Departed. And I don't even need to talk about how great he is on 30 Rock - they could almost do that show like a Beckett play, with nothing but Fey and Baldwin on a bare stage, and I'd watch. But as this awesome New Yorker profile reveals, Alec Baldwin is also out of his goddamned mind.
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