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Some of that was, What am I going to do instead? Wait for the phone to ring? The phone rang! I said yes! But I was fortunate in that my sense of self and artistic thirst grew at the same time. I had been in movies for a long time until I had enough opportunities and experience to realize that I don’t have to say yes to everything just because they’re offering me the gig. You know, I was not an overnight sensation. What do you know about the performance of authenticity? Me? You mean career-wise? Tom Parker, with Austin Butler as the title character in “Elvis.” Warner Bros. Tom Parker, the same way that his hair and clothes and the music he loved was the secret sauce for Elvis. That was the secret sauce of living for Col. It is a dispassionate desire to always get this other thing. That’s got nothing to do with power, nothing to do with influence. He got the same pleasure from that as he did signing a deal for Elvis with the International Hotel in Las Vegas for millions of dollars. I owe you a dollar 10.” He would then take the customer’s hand, put the change in, close it up, say “Thank you very much” and cheat people out of that dime. He’d say: “That cost 90 cents and you gave me two dollars. I heard a story: When he was a carny, he had a dime welded to his ring. Tom Parker was the same exact type of thing on a crass, nonartistic level. Onstage, he wasn’t wiggling to say, “Hey, time to turn on the sex appeal.” It was instinct.
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Elvis dressed the way he dressed because he had to.
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What might a movie star like you know about what’s underneath that kind of self-presentation that the rest of us don’t? Well, I don’t think in show business there were more authentic-to-themselves personalities than those two. Both were careful to present very specific versions of themselves to the public. Elvis was a poor kid from Tupelo who turned himself into a superhero. Tom Parker was a Dutch guy who passed himself off as a Southern colonel. “All you can say is that he’s wrong,” he adds, “not evil.” There’s a useful lesson there. Tom Parker, in the director Baz Luhrmann’s biopic “Elvis,” which premieres June 24. “I’m not interested in malevolence I’m interested in motivation,” Hanks says about his role as the shadowy talent manager, Col. Is it telling, then, that in this time of declining trust in our institutions and one another, Tom Hanks is now playing a bad guy? One with a hand in the downfall of another American icon and myth maker? But in true Hanksian fashion he finds something unexpectedly hopeful even in this character. Such is the malleability of his gift that he has created trustworthy portraits of real-life characters (the heroic airline and cargo-ship captains of, respectively, “Sully” and “Captain Phillips”), cartoons (Woody the cowboy from the “Toy Story” films) and real-life characters who easily could have come off like cartoons (as Fred Rogers in “A Beautiful Day in the Neighborhood”). At other times, he has found ways to imbue with can-do optimism characters who are caught in the middle of seemingly unbearable situations, whether they’re alone ( “Cast Away”) or surrounded by enemies ( “Saving Private Ryan”).
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He has played honorable men on society’s then-margins (the discriminated-against gay lawyer of “Philadelphia”) and at the center of our history ( “Forrest Gump” “Apollo 13”). Over the course of his long career, he has found clever ways to convey a fundamental and aspirational decency. Ever since the actor broke out from a string of roles as a goofy, lovelorn leading man via the complicated innocence of his work in “Big” (1988), Hanks has gradually become an avatar of American goodness. There are some artists, and Tom Hanks is one, who go beyond mere popularity and instead come to embody some part of our shared American story.