Which Ruines Foe Quick Draw Snap Shot Beloved
PARIS, the Day Before Halloween
He sits in the black leather booth of a Paris brasserie, a porcelain loving cup half full of cappuccino by his elbow, thumbing the screen of his phone with his left hand, which is caked with slashes of dried blood.
"Let's see, where is it," he says, scrolling. He's searching for a text bulletin he sent to Carrie-Anne Moss, his costar in the Matrix picture franchise, virtually 2 years ago. Keanu Reeves had appeared in the doorway of this eating place exactly on time, on nigh five hours' sleep, but a few minutes ago. It's called Le Grand Colbert, and he was concluding hither for ane very long night with Jack Nicholson and Diane Keaton, filming the end of the 2003 movie Something'south Gotta Giveast. He hasn't prepare human foot in the place since.
He was wearing a surgical mask, a blackness knit cap over his long blackness straw hair, a black motorcycle jacket, and jeans. He showed his proof of vaccination to the maître d'. And he walked into the bright salon of a identify, xxx-pes ceilings and big circular bistro lights and brass railings and clinking glasses and waitstaff in make clean white shirts and night aprons.
Equally he removed his mask and walked downward the centre of the eatery, diners (a good percentage of whom are tourists and are hither because of the picture), waiters, and bartenders watched him, a surreal, fourth dimension-warp moment. He was Meg Ryan stopping into Katz's Deli for a pastrami sandwich.
Is that—?
Does he actually—?
He stopped to chat at a table where someone happened to have worked with his girlfriend, the artist Alexandra Grant. He passed the booth where the famous scene was filmed. People always request that booth, so it's ever occupied. Today the adult female sitting where Keanu Reeves sat in the film she loves looked up and saw Keanu Reeves walk right past the berth where Keanu Reeves sat, and damn near high-strung on her escargot.
He'due south still scrolling, searching for the affair.
"That looks like information technology injure," I say after a minute. "Your hand."
He twists his hand around and looks downwards at it, showing a gash that extends from his little finger clear down the side of his palm, all the style to the wrist bone.
"Oh, yes," he says, and then gives a quick tilt of his head and smiles. "Movie shenanigans!"
Keanu is here talking with me to promote The Matrix Resurrections, the fourth installment in 1 of his gazillion-dollar picture franchises. Simply the reason he's in Paris is to film John Wick: Affiliate four, the fourth installment in his other gazillion-dollar movie franchise.
"We're filming nights now, and I finished at seven o'clock this morning time," he says, pulling back his hair, all the same damp from a shower. "I simply woke up." It's i:xv in the afternoon. He coughs a little.
This article appeared in the Winter 2022 outcome of Esquire
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I'thou notwithstanding looking at his manus. "Does information technology hurt?"
He looks at me, momentarily dislocated, then realizes I'm the one who's dislocated. "Oh, no, this is all moving picture claret," he says, amused. "Information technology doesn't all come off in the first wash."
He turns back to his phone, focused. He scrolls through dozens of messages, a blur of alternate blue and grey text bubbles, the gray ones—the other person's—punctuated sometimes with emojis and hearts.
"Sorry this is taking so long," Keanu says. An apology, which is surprising because he is doing a favor, searching for a text message I've asked him to find—a message that contains evidence of him doing a favor for someone else, in this case Moss. (She did the emojis and hearts.)
"It's weird going dorsum through these," he says, lost in the text messages the way you go when yous scroll back in time. "This is very on-point for Resurrections."
At present he scrolls in silence. Realizing that at that place will be a long dead space on my tape recorder, he leans down and says into it loudly, "I'thousand withal looking up the list."
Toward the finish of filming Resurrections, Moss had asked him to recommend a few good movies she could watch with her teenage kids. "In the Matrix movies, I've e'er felt like I was his partner, and he was my partner, in the execution of these characters," Moss told me. "It was never the feeling of, Oh, he'due south the movie star. His work ethic is dissimilar anyone I've e'er met, and I've seen it up close: He trains harder, works harder, cares more, ever asks more and more than questions to understand the depth of what we're doing. And while he was doing all of that for himself, he always had an eye out for me. Like when I asked him for those movies, information technology seems like a little thing, but he's so decorated, he's exhausted, and took the time to write this very, very thoughtful list."
"It's hither somewhere," Keanu says at the eating house. "Anything else yous'd like to talk well-nigh while I'm scrolling?"
One Month Earlier
Are we into October yet?
It takes him a second. Not considering of the pandemic blur, where time and place curve and fold over each other so that daily life has sometimes seemed distorted to the point of being unrecognizable. No, it takes Keanu a second considering he'south been in Paris for 2 days—no, wait it's . . . yep, this is the third day—and in Berlin for six months before that, filming nights and sleeping until midafternoon (he calls them vampire hours), and he'southward only packed and unpacked without a terminate at dwelling, and, well, you sometimes lose track. Only yes, it'southward October 2. Or iii. Something like that. Saturday. It's three o'clock, and he just woke up. He'due south had some toast with crunchy peanut butter and honey, and he's drinking java from a glass loving cup. He has the John Wick bristles, which he periodically trims with scissors to keep it the aforementioned John Wick length during the long months of the shoot, for consistency.
After his coffee—
Hold on a second.
He looks downward at his telephone on the table and smiles. Sorry. It's not 3 o'clock. It's four o'clock.
We're on Zoom. He'due south in Paris just sitting against a white wall. He could be anywhere, and oft is.
Soon the daily shooting schedule will get more rigorous. The nighttime shoots volition pitter-patter into the daylight hours. A 7:00 p.yard. call might become a ii:00 p.yard. call. He'south doing physical grooming. He'due south doing fight scenes. Running. Leaping.
So those nights are about to get harder?
"I mean, 'hard'? Come up on, human being. Nosotros're making a movie!"
He makes a face, laughs.
"Hard?"
Paris is cloudy today, depression sixties, and he's got the cap and a black zippered fleece. He always overpacks for these long expeditions—also many clothes, and a handful of books he won't accept time to read only likes having with him anyway, though he did just fly through Trouble Boys, a biography of the Replacements that a friend gave him for his birthday.
It's some other day in a place he doesn't live, working, sleeping, and, when he'southward non working, "working on work"—the time that goes into training, or running scenes, or developing the next project, or having conversations with people that might lead to something.
And if, amid the travel and the all-night shoots, he wakes up feeling crappy—tired bones, a trivial sore pharynx?
He makes the face once again, a disapproving smile.
"So? Beverage some hot tea with some lemon and honey in it. I don't know. Slap yourself in the confront." He slaps himself in the face. "Stretch. Concentrate, man. Concentrate."
He's 50-seven years old. It'south been more than ii decades since the get-go Matrix movie came out. Twenty-seven years since Speed. 30-two—thirty- two years!—since he gave Ted "Theodore" Logan to the world in Neb & Ted's Excellent Adventure. And here he fucking is: filming the new John Wick, promoting the new Matrix. "Just trying to have a career," he says.
Some of his characters over the years tin can seem, on the surface, like the doofiest of boobs—Ted, of course, merely run into also his lovely performance in a motion-picture show called The Prince of Pennsylvania. Some are stone-faced and hostage to the bespeak of seeming implacable—Thomas Anderson in The Matrix, Wick, Signal Break'south Johnny Utah. Just: You lot ever kind of know at that place's something else going on, some knowledge the guy possesses that no ane else does. He knows something, and we stick with his characters through the strangest places because they aren't frightened, and we want to know what they know.
He says this just comes from good scriptwriting, or from the directors. "I'm just one of the paints," he says. And y'all retrieve, Uh-huh, yes, only no.
At that place's something he'due south not revealing.
Does Keanu know something we don't?
When Keanu was about 20-iv, Ron Howard cast him in 1989'south Parenthood as a rambunctious teenage dude who liked to race cars and dated a cool, bratty girl played by Martha Plimpton. Playing Plimpton's younger brother: Leafage Phoenix, who later changed his name back to Joaquin and whose real-life older blood brother was Plimpton's existent-life beau.
That'due south how Keanu Reeves met River Phoenix. River lived in Gainesville, Florida, at the time, less than two hours from Universal Studios in Orlando, where Parenthood was filming. Between his girlfriend and his trivial brother, River was on the set all the time. Plimpton and Keanu liked each other from the start, she introduced him to River, and and so the three older kids—and sometimes Leafage, who was but nigh xiii—started hanging out.
Onscreen, Keanu and Plimpton clicked as an earnest, tortured, heartsick young couple in ways that don't always result from the simple blow of casting.
"We just liked each other," Plimpton says, by mode of explaining why Tod and Julie became one of the more memorable teen couples of the tardily eighties, which is saying something. "Nosotros were friends. We had a good time together. We went to Disney World. Nosotros took road trips. Nosotros danced to Michael Jackson'southward album Off the Wall in our trailer together. Nosotros liked each other."
Bill & Ted came out while they were there, and Keanu, Plimpton, and River all went to a theater to see it. They all took a motorcycle trip to—where was it, Fundamental West? No one's sure—to encounter the indie-rock band the Feelies. Plimpton was merely eighteen, merely subsequently at the bar she was drinking a beer. "We were playing pool, and Keanu went to go to the bathroom or something, and all the sudden the lights came on and I looked up and in that location was a cop," she says. "And the cop said, 'Tin can I see your ID, delight?' And I was similar, Ohhh, shit, man. And just and then Keanu comes effectually the corner and goes, 'What did yous practice? Did you take a sip of my beer?' He tried to go me out of information technology."
When he was a petty boy, Keanu Reeves would sometimes get on the subway all by himself and ride information technology to the finish.
He was a latchkey kid, and he hung out with other latchkey kids, playing street hockey later on schoolhouse until dark in the tree-lined, bohemian section of Toronto called Yorkville. Or they would accept anecdote fights. The chestnuts would fall to the footing in their spiky green casings and you lot'd crack them open up and inside would be this beautiful hard orb that the kids would pelt each other with. But on some afternoons, he wandered off alone to take his rides. At that place were only ii subway lines in Toronto, and he lived most the middle, where they met. One direction dipped down into a U and then back again, or he could head all the way east out to the Kennedy terminate, or up and down—children rode for a quarter, and he could do this for hours.
At the end, when you had to become off, he would walk around in an unfamiliar function of the city, looking at the people and the buildings and the stores, an brainchild of the world he knew, like but foreign—his own neighborhood in a weird dream.
He was never frightened. He wanted to see what was out there.
To this twenty-four hours, when he finds himself dropped in some new city—which he often does—Keanu feels comfortable more than apace than you or I would. He looks around, like a character in an Elmore Leonard story who merely got off a bus, and he can find the loftier street or the expert café or the pool hall in the seedy part of town. If y'all were dropped in a new city and feeling disoriented, you would want him with y'all. Even when he'south lost, he'due south not lost.
"He's a listener," Sandra Bullock says. "And it drives. People. Crazy."
Bullock met Keanu on the set of Speed, which came out in 1994. They had friends in common. They had the same publicist, which sometimes meant they wound up at the same Hollywood event, and they'd get a drinkable later. They never got-together got-together—never. "Nope," she says. She has e'er maintained that getting-together getting-together would accept ruined a great friendship. "But who knows?" she says suddenly. "Keanu's a guy who, I experience similar, is friends with every woman he'south ever dated. I don't call up there's anyone who has something horrible to say about him. So maybe we could have survived. I don't know. But nosotros didn't have to survive anything. Nosotros only go to abound up together on parallel roads and tip our hats and meet for a dinner and try to piece of work together. And the longer time goes on, the more than in awe I am of the homo being. Would I accept been able to say that if he had dumped me and fabricated me angry? Probably not."
A year or so after Speed came out, Bullock and Keanu were hanging out, talking about whatever, and somehow the subject of Champagne and truffles came upwardly, which is non actually a subject at all, but Bullock said, offhand, that she had never had Champagne and truffles. A nil comment. "Really?" Keanu said. "Nope, never had 'em," Bullock said. The conversation wandered to other topics.
A few days later, Bullock was sitting in the living room of the petty house she had bought—her showtime house—with a girlfriend. They were painting their nails. She heard an engine outside, which turned out to be Keanu's motorcycle. He rang the doorbell, and Bullock opened the door to find him there with flowers, Champagne, and truffles. He said, "I simply thought you might want to endeavor Champagne and truffles, to encounter what it'due south like." He sat on the couch. Bullock poured some Champagne, and they opened the truffles. Keanu put his hands out, without a word, and Bullock painted his nails black, same as hers.
He didn't stay long. He had a date, in fact. He called his appointment, said he would exist there soon, and left.
"That's what I mean that it drives you crazy," Bullock says. "When I start met him, I would spend as much time as I could filling a silence, but to feel comfortable. And the more I jibber-jabbered on, the quieter he would get. And I thought, I don't empathise what's happening! He'south looking at me with optics of defoliation. He's quiet. Did I say something to offend him? And so a day or ii later, he would get in with a note or a fiddling package, proverb, 'I idea near what you said.' And he would have his response."
Bullock, who sometimes speaks in spectacular streaks, is placidity for a moment. So she says, "How many people do you know similar that?"
"Anything else you'd like to talk about while I'm scrolling?"
A gray pelting has started to fall in Paris, but inside Le Grand Colbert, waiters whip around conveying plates of roasted chicken and chateaubriand, people are laughing and ordering more wine, a little male child in a bow necktie stabs a airship-sized profiterole with his tiny fork—information technology feels like a holiday. I enquire Keanu how he came to relate or connect to others so well—information technology'southward a theme, something you read about him and that people keep telling me nigh him. Of course, no one is pious and lovely every moment. ("I shouldn't make him audio like some kind of Zen fucking Buddhist fucking monk," Martha Plimpton says.) Rather, it seems like something we acquire.
"Is it?" he says. "I mean, of course that has to exist a function of information technology. But I recall there's a little nature/nurture in in that location. I guess what isn't nature/nurture?"
I really am interested in where it comes from for him.
"Yeah, in terms of the biological, psychological, cultural, genetic breakup of my upbringing, I'm sure you could put together a bunch of stuff there, but that'southward why I mentioned the idea of nature, considering even as a kid, I was pretty compassionate. Okay, look—here nosotros go. There was another listing, but this was the new list. 'KR New Recommends Picture show List.' Then permit's meet, it was similar a mix of Reeves movies, and other stuff:
The Neon Demon, A Clockwork Orange,
Rollerball,
The Bad Batch,
Dr. Strangelove,
Vii Samurai,
Amadeus,
Rosencrantz & Guildenstern Are Dead,
The Evil Expressionless,
Raising Arizona,
The Big Lebowski,
La Femme Nikita—the French version—
The Professional,
Young Frankenstein,
Blazing Saddles,
Monty Python and the Holy Grail,
The Outlaw Josey Wales,
The Road Warrior: Mad Max two."
He pauses, still looking at his phone. Smiles. "So yeah, that was for her."
When he's home for a stretch and has a day with nothing to practise, he sometimes goes to the flick theater and sees two, peradventure three movies in a twenty-four hours. He loves, loves, loves movies. Fifty-fifty on an off day while he's working—he went to see Dune the other nighttime in Paris. ("Awesome.")
He'south fabricated threescore-eight movies, every genre. A Walk in the Clouds: treacly World War Ii romance. Constantine: supernatural demon stuff. Neb & Ted Face the Music: dudes at fifty. If he met someone who had never heard of him, never seen one of his movies, and wanted to get to know him, which 3 would he tell that person to start with? What is the Keanu Primer? "Getting to know me, or getting to know my piece of work? Because if you're getting to know me—" he says, because this. "I estimate y'all could do it through my piece of work." He frowns, thinking. "Yous're gonna give me 3? Okay. Three films. Man. Um. [Long interruption.] Oh my gosh. 3 films. Okay, permit's but start with The Matrix—and when I say The Matrix, allow'due south practise the trilogy—that'southward 1. [Pause.] Then allow'due south do The Devil's Advocate. And then let's do . . . we need something activity-y in there, so let's do Point Break."
He sits back in his chair and folds his artillery on his chest, tilts his head, and smiles on 1 side of his mouth.
"Start with the easy stuff."
The head tilt is a Keanu trick, which is perhaps the incorrect give-and-take because it implies likewise much calculation, or deception, on his part. But it's more than a tic, because it has purpose. It is calculated. He does information technology in character, and he does it as himself, and the ability of the head tilt is that it breaks the moment. If a moment is getting too serious or also weird or too ho-hum, the caput tilt tugs things back to reality, or Keanu'due south reality.
There is mystery in the head tilt, making him seem both very present and kind of elsewhere at the same time, and it makes us want to go along with him. ("He is a mystery, which makes him even more charming," Diane Keaton says.)
One time in the summer of 2022, Keanu went to a cinema to run across John Wick three. "I didn't know if I was going to go the take a chance to practise another i, and I but wanted to see if people liked information technology," he says. "It was cool when people started laughing during the knife fight in the opening." He laughs a mischievous, little-kid laugh, a tee-hee express joy. "I went with a friend. I was similar, 'Let'southward go run across John Wick 3 earlier it goes.' I dear John Wick movies! They're fun!" He is grin, optics wide, speaking faster, with more than excitement—speaking most equally if he were not the role player playing John Wick. "I wanted to be with an audience, considering I didn't know if I would get to run into it once more, or if another one would happen. I wanted to soak it in, to see it on the big screen—these movies are made for the big screen. Nosotros got popcorn—y'all gotta have popcorn. Some Peanut M&One thousand's. Sugariness and savory. Coca-Cola."
Head tilt.
He slips into an old-timey vocalism: "Watch a picture show show!"
He left dwelling at eighteen non having graduated from any of the iv high schools he attended, and at 20 he left Toronto, driving a 1969 British racing-green Volvo 122 direct to Los Angeles. He read Philip Thousand. Dick and The Hitchhiker's Guide to the Galaxy and William Gibson. Caput-tilt kind of stuff. He read Shakespeare again and again.
Old around 1990, having appeared in a dozen or so movies already, he read a script that was inspired by Henry 4 called My Own Individual Idaho, by Gus Van Sant, the story of a couple hustlers finding their mode in the earth, desperate to become closer to the point of information technology all. He made that motion picture with River Phoenix. And so, six or seven years later, he read The Matrix, a screenplay by Lana and Lilly Wachowski. "I but mainlined it," he says. "I thought"—Jimmy Cagney voice—"Well, this is up my alley! I'd had some of that idea training, reading nigh multi personality universes and perspectives. And so when I came across the script, thinking about this reality and this matrix, and so anime agents and the idea of idea control or what's reality, and virtual reality—aye, I felt pretty at dwelling house in those.
"Those are stories and perspectives on storytelling that I prefer. In that location'south always a human relationship—a drama, a circumstance—in storytelling. But for me, it's cool when a work of art tin can entertain just too be inspirational or challenging or—I'm gonna bring up ye olde Bard—hold the mirror up. It'due south much more rewarding because it ways that you're getting into it. Asking questions. Looking at the diamond and seeing which ways the light refracts and reflects. Information technology tin exist everything from 'Be excellent to each other' in the circumstances of Bill and Ted, and those characters going against all odds, to The Matrix, which is, you know, 'What truth?' Against systems of command and thinking about volition, and love, and who we are and how nosotros are. Even back to River's Edge: a group of high school kids and a murder. What are the choices they make? And then the impact of applied science in storytelling: playing A Scanner Darkly, or even Johnny Mnemonic. The journey of Little Buddha, working with Bertolucci and being introduced in a very very very very very very very broad way to Buddhist practice and idea. The notion of impermanence and connection to one'southward own body and thought and feeling, and sensorially your human relationship to the world and meaning. And being confronted by 1'southward own anatomical mind. Existence introduced to meditation and what that is and to have mind-expanding experiences without any other stimulus also intention, idea, and sitting. It really does kind of unfold to: Wow, there is a lot more going on! What's going on?"
No head tilt. Keanu shifts in his chair and stares straight ahead.
There's a moment in Parenthood when Reeves's dude-bro character, Tod, gives a terrific little spoken language to his girlfriend's mom, played by Dianne Wiest. Now, throughout most of the story, Tod is the mom'due south enemy, a wannabe man, maybe not so bright, stealing her daughter into adulthood. Just and so he does his monologue while drinking milk from the carton in her kitchen.
"I judge a male child Garry'south historic period really needs a man around," Wiest'southward grapheme says, referring to how Tod has get an unlikely father figure for her thirteen-year-old son. "Yep, well," Tod says, guzzling milk. He stops, points a little finger at her: "Depends on the man. I had a human effectually. He used to wake me up in the morning by flicking lit cigarettes at my head. 'Hey, asshole! Become upwards and make me breakfast.' Yous know, Mrs. Buckman, you need a license to purchase a dog or drive a auto. Hell, you need a license to grab a fish. Just they'll let any butt-reaming asshole be a father."
He gazes off for just a second, snaps to, and looks Wiest right in the eye. And so he shudders and makes a bluurhrh sound, as if he's shaking off a large insect or a bad retention, and says, "Well, I'm gonna pick up Julie."
Thirty-two years later on, Plimpton remembers information technology: "That's him. That little shudder. He added that. That's his little touch. I thought it was fucking bright. It was hilarious. And then him. Then dear. So. Dearest. I merely honey that moment in the movie."
I ask Plimpton if she picked up any fleck of wisdom from her time with Keanu, a lesson that'southward stuck with her. Without hesitating, she says, "Oh, yeah. Oh, yeah. I think it's a sense of forgiveness. Of myself."
To hear others talk nearly Keanu, he seems almost Confucian in his ability to understand people. And to listen to them.
Is that the thing he knows? People. That it's about the other people. He loves movies, yes. Loves stories. He tin't stop working—sixty-eight films in thirty-five years. More stories, ever more stories. Ye olde Bard. Hold the mirror up.
Bad things happen in life, inexplicable things. Keanu has seen people disappear: his father, who wasn't effectually; later, an unborn child, lost in the cruel randomness of prenatal mortality; a life partner, lost in a car accident. And his friend River, to a drug overdose, when River was 20-three and Keanu was 20-viii. In our Zoom phone call, I ask about him.
"He's a—"
Keanu cuts himself off and smiles downward. Head tilt. What tripped him upward was the word he's. He is. Nowadays tense.
"It's weird speaking about him in the past," Keanu says, almost thirty years subsequently River's expiry. "I hate speaking well-nigh him in the past. And so I almost e'er gotta keep it nowadays. He was a really special person, so original, unique, smart, talented, fiercely artistic. Thoughtful. Brave. And funny. And dark. And lite. It was great to have known him. To—yeah. Inspirational. Miss him."
Bullock was close friends with Samantha Mathis, who by 1993 was dating River. All iii had starred in the Peter Bogdanovich land-music pic The Thing Called Love that twelvemonth. When River died, product had begun on Speed. Bullock was getting to know Keanu.
"I watched how Keanu grieved. And oh, did he grieve for his friend," she says. "He's very private, but he couldn't hide that. And merely to see that a man like that was able to grieve. And I recollect thinking, God, if that's the tip of the iceberg of his depth, and his level of love and care for a friend—that but draws you lot in."
Of grade, nosotros've all lost people. And we all react in unlike ways. For him it seems to inform everything he does: We're all in it together, searching for . . . any people search for.
"I think yous exercise all you can for the ones you love," he says. "And that can turn into understanding a fiddling bit of what other people go through. Beingness able to sympathise that, and share some of it, you run across if maybe there are things that yous can do. Knowing that perhaps you tin offering something, if they're in a situation or in a moment that isn't clear, or they feel like they don't know how to be or what to do. If someone comes to you lot for assist—that shared experience, where you tin have a conversation. You oasis't walked in their shoes, but you lot know a bit of the road that they've been on."
I tell him I similar to think I've been there for people, but I truly don't know if I have.
"We tin can ever do more than. We can always do more. In that location's no ceiling on that." Caput tilt, smile. "And you can't do everything. You tin't practice it all."
Resurrections, who knows—the Wachowski sisters, Lana and Lilly, who wrote and directed the starting time 3, said they weren't fifty-fifty going to do this one. (Lilly was not involved in Resurrections.) Keanu says there'southward no dream projection simmering in the back of his listen, no favorite novel he wants to adapt and star in, no genre he's called-for to try.
Just trying to accept a career, he says. (Bullock has a idea: "I would honey nada more to do a one-act with Keanu before nosotros die. But express joy with him. He's funny. We tin be seventy-five—it'll be even meliorate so, like an onetime-people Cocoon affair. Nosotros play two funny onetime people. A road trip. Merely put us in an RV as old people. Information technology'll exist the bookend of Speed! We'll simply be driving actually slowly. Pissing the world off. In that location's our movie.")
Winona Ryder, who has known Keanu for thirty-five years and starred with him in four movies, says it'southward the stories that continue him going. "He's always ready to explore uncharted landscapes of both graphic symbol and storytelling," she says. "He understands that in telling the story, y'all have to allow that human mystery to live."
At Le Grand Colbert, I inquire him if information technology made him self-witting, my asking those questions nigh why people similar him and then much, and where his reputation for, well, kindness came from.
"Um," he says, smiling a picayune. "Aye. I mean, I don't call back I necessarily desire to be like, 'Yeah!' I don't know." He busts out a kind of Ted Logan voice. "I'm only livin', man."
When we lose people in life, maybe it reminds us that life is short and all that.
He changes voices once again, much quieter, and looking downward just a trivial fleck: "Aye, for certain." Then: "For sure."
"It's a cliche, I approximate," I say.
He looks upward right away and says, "No, merely information technology'southward existent."
He gathers his hat and a sweatshirt, everything black, and steps out to the street. He'll go directly from here to meet with a horse trainer. "There's a sequence—hopefully, knock on wood," he knocks on wood—"in John Wick 4, the opening sequence. John Wick is back in the desert on a horse. I'thousand going to hopefully exist able to fast-gallop and run."
"And you lot know how to do that?"
"Ish. That's why I'thou going to training."
A few patrons follow him outside, repent, and enquire for a selfie. A few people don't repent. The maître d' is trying to find out how long he'll exist in boondocks, considering he wants to introduce him to someone; Keanu says softly, kindly, more than politely than perhaps the man is to him, "Give thanks you, but probably not."
The man looks surprised. "Why not?"
"Time and work," Keanu says.
He walks downwardly the wet street, by buildings hundreds of years old, on his manner to see the horse trainer, so he can terminate telling this story, and and then another one, and and so another ane.
Lensman: Nathaniel Goldberg
Stylist: Anastasia Barbieri
Hair: Kerrie Smith Campbell
Skin: Stephen Kelley
Creative Director: Nick Sullivan
Pattern Manager: Rockwell Harwood
Executive Director of Talent: Randi Peck
Visual Director: Justin O'Neill
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