Jake does occasionally talk about Proof, but it's usually when his purpose is to discuss something else. For instance, in 2004, Jake said of Proof: '"I play a mathematician, which is ridiculous because I am horrible at math," Gyllenhaal said of the movie, which is based on a Broadway production. "Anthony Hopkins plays one of my professors — he dies at the beginning of the movie, and there are a lot of flashbacks, which is how he's in it — and I'm trying to search for this famous proof that I think he wrote, and it turns out that his daughter actually wrote it, and we have a love story."'
What's far more interesting is that this interview also tells us that 'After "Brokeback Mountain" finishes shooting this summer, Gyllenhaal will resume talks with Kevin Smith about starring in his "Green Hornet" movie. "I'm just waiting for the script, to read it and see if I like it, and that's all it's about for me," he said. "The Green Hornet as a character is amazing, but if the story doesn't work, I don't wanna do it, 'cause I know people don't wanna see it if it sucks. But I don't think it will."' I had no idea that there had been that much substance behind all those Green Hornet rumours of a couple of years ago.
Jake also discusses his reasons for committing to Brokeback Mountain: '"I was looking for a story that was actually about love, because I read scripts every day that are about, like, 'Love has no boundaries' and 'Love is universal,' and all these things that are now so cliché, Nike can just pick 'em up and use them as a slogan," Gyllenhaal said. "My generation, I think, doesn't understand it. I know so many kids my age who can't have any relationship at all — and I can only speak for people of my age, though I do see people of all ages not being able to have relationships — because we misunderstand the idea of love. That's what this movie's about. It's not about two guys going at it."' This is particularly special to me because it links together two of my favourite things - Jake Gyllenhaal and Nike.
'"[Director] Ang Lee told me that he wanted to make a movie that families could go see, so I think that's what he's going to do," Gyllenhaal said. "I walked out of 'Sense and Sensibility,' 'The Ice Storm,' 'Crouching Tiger, Hidden Dragon,' 'Pushing Hands,' 'Hulk' always feeling good. I always have when I walked out of an Ang Lee movie. And I think that the same thing will happen with this movie. And all of us are not in the interest of making anything shocking. It's a story about love, that's our clear intention through the whole thing. It's not a story about sex."'
At this site you can see Gwyneth being interviewed at the press conference for Proof held at TIFF in 2005. Jake is missing. The fates seemed to conspire against Jake and Gwyneth appearing together at such events because at the press conference held at the Venice Film Festival not long before, Gwyneth was missing because her plane had to turn back. In the press conference, Gwyneth notes, and not for the first time, what a hard time she had emotionally during the filming of Proof. She was pregnant, sick with it, and away from home.
Part of the problem must have been that at both Venice and Toronto, Jake had two films to publicise, one being Proof and the other being Brokeback Mountain, which was, of course, hailed as a masterpiece at both events. Inevitably, Jake's role as the mathematically-minded love interest in Proof seemed less intriguing. However, one of the best photographic moments of 2005 was thanks to Proof. At Venice we had the wonderful site of Jake arriving by boat at the Lido, where he happily posed with Anthony Hopkins. A problem at Toronto was that Jake cancelled some of his Proof interviews, the reason being his expulsion from his suite at The Four Seasons Hotel (not surprising, then, that Jake stayed elsewhere in 2007). I had heard about this before, and its relation to cancelled Proof interviews, but here is a fuller account:
'The only remotely “scandalous” issue this year was the way actor Jake Gyllenhaal was treated by the vaunted Four Seasons Hotel. Now, I didn’t witness this situation, but I heard repeated stories about it and read about it in the Toronto Globe And Mail. The Four Seasons is a luxury hotel that is the residence of choice for many movie stars, producers, directors, etc. I've stayed at the Toronto Four Seasons and it’s a swank place, but hardly on a par with the greatness of the Los Angeles Four Seasons, which is grandly run and as comfortable as a favorite pair of slippers. I’ve always found the Toronto Four Seasons to be a bit dowdy, sort of like an overstuffed English sitting room.
So Gyllenhaal, who was at the festival (the 30th annual) to promote his superb feature Brokeback Mountain, a perfect film about two male western ranch hands who fall in love with each other in 1960s America, had a deluxe suite at the Four Seasons. He was out in the city doing promotional things, and returned to discover that Reception had given his room to another guest. Some self-important VIP – a name was never mentioned – was handed Jake’s suite after demanding he be given his room ASAP. Hotel staffers actually went into Gyllenhaal’s space and packed up his clothing and toiletries and stored them where the concierge stores guests’ belongings, which is usually a backroom off the lobby. Gyllenhaal was understandably furious. Who wouldn’t be? I would be furious, too. Gyllenhaal was so upset that “others” had touched his stuff, that scheduled interviews with the soon-to-be 25-year old actor were cancelled. But it gets worse. Before the hotel’s front desk would give Jake his suitcases back, he was forced to show an ID proving who he was. Let me tell you something, that crap doesn’t even go on at a Motel 6. Frankly, I think the Four Seasons owes Gyllenhaal a massive apology and probably a week’s free stay. As someone who has stayed in a lot of hotels, I think the Toronto Four Seasons was mightily wrong in this regard and acted like an amateur operation.'
Jake was a big hit at the Roy Thompson Hall in 2007 as myself and several others here can vouch, and so he was back in 2005: 'Movie star Jake Gyllenhaal arrives and the Loudest Photographer shouting for the heartthrob's attention is barely audible over the shrieking young women waiting across the street from Roy Thompson Hall where the screening of the actor's latest movie Proof, in which he stars with Sir Anthony Hopkins and Gwyneth Paltrow.'
My biggest problem with Proof is what I perceive as the lack of chemistry on screen between Gwyneth Paltrow and Jake. Quite possibly, this is due to bad casting: 'There is nothing wrong with Jake Gyllenhaal's performance, except that he is drastically miscast as a quiet mathematician. Imagine Raquel Welsh playing Adrian in Rocky… get it?' says one review which begins 'What went so wrong with Proof?'
The Guardian says: 'We are invited to believe that Hopkins, Paltrow and Gyllenhaal all have, in their various ways, alpha-brains. They look to me like they couldn't recite the three-times-table without smoke coming out of their ears. Gwyneth Paltrow does a kind of lip-biting anguished look that is possibly the result of trying to work out 20 minus 17 in her head. And it is particularly unnerving that her romantic interest is with Jake Gyllenhaal who here models a diluted version of the nerdy-vulnerable look that was his line before raising his game in Brokeback Mountain. Here it is Paltrow who gets to be Donella Darko without the rabbit while Jake does his best to connect with her. But really: Gwyneth and Jake - what a terrifying collision of sensitiveness. Any resulting children would be gold-medallists in the Emoting Olympics.'
In an interview with the Guardian, Gwyneth remarked on the casting of Jake: '"Of course, it's a little far-fetched that Jake Gyllenhaal is ..." A friendless weirdo too? "Yeah. But it's a movie. Harvey Weinstein was very keen that Jake be the guy. He was not really up for the quirky thing. And he was paying, so."' Reading further along, Gwyneth also says 'I don't really have drunk friends. My friends are kind of adult; they have a drink. But they hold their liquor. I think it's incredibly embarrassing when people are drunk. It just looks so ridiculous. I find it very degrading.' Oops.
British director John Madden cast Jake in the role because '“He’s got a very instinctive, unusual, loose kind of talent,” says Madden, who cast him in the part written for a slightly older actor. At a certain stage in Proof, notes Madden, Gyllenhaal’s character, Hal, fails to do the right thing, in the eyes of the audience as well as Paltrow’s tormented Catherine: “One of the qualities that one’s grateful for in Jake is that he’s extraordinarily appealing even when he’s doing something that is such an immense disappointment. It’s quite important to have an actor who doesn’t immediately forfeit the audience’s sympathy . . . obviously the story is on the side of Catherine, but it’s an interesting balance of where the audience awards their sympathy at a given moment.'
Madden goes on to say in this review of Jake's work, '“He has in common with Gwyneth that he’s grown up in a family that’s in the business. He’s been around it all his life, grown up in the hothouse of all that. And I think the family’s a very whole family, as Gwyneth’s was, and that gives you a kind of confidence, a sense that your feet are not going to be slipping unless you’re really careless. So—ego’s not quite the right word for him, but that sort of self-belief, that self-confidence, is very important. And it is a large part of his presence onscreen.”'
Further on: Jake 'recalls that Madden “ had auditioned a lot of people for Proof and he told me, ‘I’m trying to find someone like you, but older. And now, I realize—I think you can do it. Will you fly to London and audition? I said, ‘Sure.’ In London, Paltrow and Madden gave him his “sides” from a crucial scene and, as Madden recalls, “he nailed it. He was free with us, and as soon as we finished reading one very long scene he wanted to go back and read it again—and different things came out. So his passport into the movie was already assured.”
“I always felt a little behind,” recalls Gyllenhaal. “Because they had done it onstage, and I was somewhat in awe of the talent—which worked perfectly in the role. And I’m trying to dust off things that they had already dusted off, then passed by or refined. I’m still trying to dust them off, and they’re going, ‘No, there’s no dust on that,’ you know?” Madden was impressed that the young actor came to the shoot with his part, as a young mathematician who’s trying to rescue the legacy of Paltrow’s brilliantly deranged mathematician father, flawlessly memorized, and apparently no longer entirely in awe. “Jake fought his own—um, he took me to task over some of the writing and some of the beats in a very good, very assured way that was particular to his character’s point of view.” '
Off topic, my favourite part of this review, is the section in which Peter Sarsgaard and Ang Lee discuss Jake and what it's like to work with him: 'Sarsgaard, who’s virtually a member of the family, says he and Jake survived the rigors of the desert partly by crabbing at each other like brothers. Underneath the hard work—“a large portion of the movie is on Jake, and he was completely bushed by the end”—he watched his fellow actor grow up: “I think the interesting thing is that his character in Jarhead is traveling the distance between boyhood and manhood, just as Jake is.”'
'An interesting question with both personal and career implications for Gyllenhaal is what will happen when and if his seemingly indestructible innocence is lost? Lee was mindful of it.“He’s sometimes too smart, and you need a sympathy from the audience—a lot of the time I would sort of turn him down,” he says. “Because he’s so talented, has so many skills at such a young age, he might forget there’s still innocence on his side. He doesn’t have to fight against it. Sometimes he can just forget about ‘acting,’ about trying too much. So that would be my advice for him—which I did give him—and he was very appreciative.”'
'“I think you can have that innocence and still be a man,” says Sarsgaard. “I have an uncle who has that—to be able to see something that needs to happen and try to make it happen, even if you don’t succeed, you will die trying. I mean, that’s really all you can hope for. I hope he doesn’t lose that quality either, but, you know, I don’t think you could yank it out of him with a coat hanger. I mean, it’s lodged in there.”'
So the final word to Jake, who may not talk much about Proof these days, but he undoubtedly took what he needed from it, and, for its part in shaping Jake's career, I can appreciate it. 'I know it seems so adolescent to say it, everybody goes through this, but people try to change who they are, and—I’m not interested in not showing my faults anymore. I don’t want to pretend to be something . . . I’m not pretending anymore to fit somebody’s mold. That’s a long-winded statement but—why not do what you really think, even if it’s mistake?'
Includes pictures from IHJ and here.
