David Duchovny on a new film based on a novel, a podcast and The X-Files

Like many agents seeing their clients' schedules become clearer following the 2023 strikes, David Duchovny suggested that they launch a podcast. Unlike many actors faced with this proposition, Duchovny had a hook: failure – or rather reevaluation of it. “This is the podcast that says, 'OK, David didn't make it as a movie star,'” the 63-year-old says, referring to the period following its wildly successful nine seasons. The X Files. “Well, it allowed me to be a novelist, a musician, a director. I don't really call it a failure. It's an opportunity.

Duchovny's relationship with failure might be so healthy because of his successes. Fail better debuted on May 7 and quickly made headlines for a viral interview with Bette Midler, during which the actress said she should have sued Lindsay Lohan for walking away from her 2000 sitcom, Bette. Indeed, Duchovny seems to find an audience for all his varied activities – and there a lot two. The Princeton and Yale-educated actor bounced back from his own fallow period by starring in another long-running series, Californiapublished five novels, released three albums (he sings and plays guitar) and directed his second feature film. Reverse the cursebased on his novel Bucky fucking Toothstars the filmmaker as a dying Red Sox fan reconnecting with the son he neglected and gets a limited theatrical release on June 14.

Speaking on the phone in late May from the Greek island of Paros, where he's filming the Amazon series MaliceDuchovny spoke about his friendship with Garry Shandling, misconceptions about Method acting, and the ever-present possibility of learning more. X-Files.

How would you describe your relationship with failure?

I'm not a perfectionist, but I'm never satisfied. Work is never what I imagined. Sometimes different is better. Sometimes it's worse, different. But it’s never that thing I have in mind. It's probably for the best, but there is a patina of failure in everything I do. Professionally, it's about whether or not you can accept criticism directed at you, when it comes from a good source.

What are these sources for you now?

Chris Carter, the creator of The X-Files, is someone I always come back to. I also listen to my children. I'm sure they were embarrassed when I tried to play rock and roll at my age, and I don't blame them. But two years after my first album came out, my son left me a message saying, “Hey, I really like your album. » That's all I needed.

When you tour with the band, how would you describe your audience?

I meet people before, and it's about 65% X-Files [fans]30 percent California, 3 percent various roles in film and television, then 2 percent music. (Laughs.) But that’s changing. And me [don’t care] why are you coming, I have a feeling I'm going to hook you.

Your new film opens with an editor basically telling a writer that it lacks substance. Any real feedback that inspired the scene?

Once I was talking to an agent. She's no longer my agent – ​​and not because of the story – but I wasn't getting the roles I wanted. I felt stuck. She said to me, “Well, do you want me to tell you the truth?” They see no benefit to you. A year later I do it California. Then I get, “There’s too much upside!” This is just bullshit. Perception can change with any role, any project. People put you in a box. The trick is to keep thinking outside of the boxes – if you have the energy.

Which box are you in now?

I have no idea. Put me in the writer-director box, please. (Laughs.) But, as we get older, we are good for different roles. How can I use this? It's a cool mystery.

Your novel and this film's festival release were both originally titled Bucky fucking Tooth. What do you think of the title change?

I was convinced that the asterisk that replaces the “u” in “fuck” was going to – excuse me – screw up the algorithm and the searches. It seemed logical to me.

There is something else to criticize the algorithm!

Exactly. I was also told that when this airs on a streamer they will hide it because of the title, even though it is suitable for children.

Was the scale of your work a response to being involved in something as important as The X Files?

For sure. I felt pressure towards the end of The X Files. But I felt then, and I know now, that there's no chance you'll make another one X-Files. Globally, it's one of the biggest TV shows of all time. You don't get two in your life. I therefore did not seek to compete with its visibility and influence.

TV success is different today than it was when you started. Have you ever felt trapped by the “TV star” label?

In 2002, I would have said, “I’ll never do TV again.” » But I would have just wanted to say: “I will no longer do 25 episodes a year. » Because that was all there was. When I did it California, television had changed. Between the two – making a few films that worked well but not very well and not getting the things that I thought I could really score and succeed with – that would have been the most difficult time. California I paved the way for comedy and allowed people to see me in a different light.

When you say “OK but not great,” what projects do you think could or could have been bigger than they were?

I think I've done some really good work in films that haven't been seen. And I've done some good work in films that have been seen a lot. Come back to me It's a very good film, but it's not a huge success. So all of a sudden I'm not going to be the next guy in romantic comedies. Evolution It was a very good film, and it did well, but it wasn't a huge blockbuster. So, I wasn't going to be a successful guy. It has simply never been possible to create this magical moment in a film.

I think a lot of people have associated you with the comedy community before. California. How did you fall into this world?

Even on The X Files, I always tried to introduce humor. It wasn't, “Hey, here's comedy gold!” It was, “I can try something here, I hope it doesn't ruin your show.” But in reality it was Garry Shandling. Do The Larry Sanders Show for the first time [in 1995], he said, “Hey, you’re funny.” It gave me a lot of confidence. But I knew comedy wasn't going to be offered to me. I was going to have to find this material or generate it myself.

Garry's Sunday basketball games have become a Hollywood tradition. How would you describe them?

Sarah Silverman was the only woman in the match. I think she describes it best, like Sundays when you were a kid. You knew Monday was coming, you had to go back to school, but somehow going to Garry's felt like an endless Sunday. He was getting all these takeaways afterwards, and people were hanging themselves. No one ever contributed. Garry paid for everything. We hung out in his kitchen where he was broadcasting the football game. You didn't want to go home.

You recently appeared on The sympathizer as an actor pushing the Method way too far. Haven't you studied Lee Strasberg?

I did it. I think people have a misconception about what the Method is. It's a lot more complicated than “Oh, someone who never loses their character.” This is not something they teach you in Strasberg.

People deviate from what they're told, and it's often crazy anecdotes about actors staying in character.

My feeling is that we shouldn't reveal the tricks. You will kill all the magicians. It's all that lights [on the work] for someone who is not in the business. Sometimes you concentrate very hard. Sometimes you won't be the nicest person on set because you just stay in your bubble and do your best. It may heat up in this state. I have experienced and witnessed many such situations myself. It's about trying to stay in a place where you can perform a magic trick, without a person thinking they're really that character.

You played Fox Mulder in two series and two films. East The X Files have you ever really done for yourself?

I don't wake up wondering, “Where is the X-Files stock today? But I love this show. I don't know what my character would look like at my age. That's an interesting question. This show can tackle the present as well as it tackled the 90s. It just depends on Chris [Carter] or other writers. I always say to myself, “Hey, let’s see. »

This story first appeared in the June 12 issue of The Hollywood Reporter magazine. Click here to subscribe.