On the Thor franchise:
“Before we started on Ragnarok, I spoke to [president of Marvel Studios] Kevin Feige and said, ‘Why are we doing another one? I want to, but we have to change the game dramatically.’ Selfishly, I was bored of myself. I’d been boxed in and limited by what I could do with the character, creatively. When [New Zealand director] Taika Waititi’s name came up, I was already such a fan of his. I’d seen Boy and reached out to him to say, ‘Look, I’d love to work with you if something comes up’.
...After he signed [to direct Thor], I was so happy. I remember he called me and said, ‘Man, I don’t ever want to hear you say [Hemsworth does a deep, silly voice], ‘Loki, end this madness,’ again, and say goodbye to your hammer’. Instead, the world became about how far in the wrong or right or different direction can we send it? There was so much improvisation, that’s very much in his style and my vibe. That’s the style of humour I love and that set the tone for the whole movie.”
On making some bombs:
“You have blood, sweat, and tears in a project, and then in an hour and a half or an opening weekend, people decide if it’s a pile of shit or not. It’s gutting if a movie bombs. And I do feel responsible, but you have to develop a thick skin. You want people to enjoy it, so if it does occur, it’s a great feeling.”
On what's next:
“Mark [Ruffalo] was like, ‘It’s got to feel scary, man. It’s got to scare the shit out of you. I want to see you do something where you’re not in control.’ I was talking about what my next thing was. He was like, ‘Just go for it. Don’t play it safe. Don’t stick to your one thing.’ But the idea that it should be wildly intimidating, I think, is when something unique can happen. I’ve got to risk looking like a fool.”
On objectification:
“It’s funny, Chris Pratt once said, ‘Do you feel objectified about getting shown off, especially when you pick up the kids from school and stuff?’ I was like, ‘If it helps me get a job, why not?’ And I remember Kenneth Branagh, for the first Thor audition, asked, ‘How do you feel about removing your shirt?’ I was like, ‘I’ve been training for six months for this moment, I’ll be absolutely fine!’”
On sacrifice:
“My wife and I fell in love, had kids, didn’t really see each other for a few years, then fell back in love. In terms of work, she’s certainly given up more than I have. She’d like me to step back and be at home with the kids more, and of course, I want that too. But I feel like I’m at this crucial point in my career – I’ve just got to set up for longevity or I’ll slip off.
Once you have children, every instinct and every moment of your time is consumed by that. You’ve got nothing for each other – so make sure you have date night even if it’s once in a blue moon, because most of the time you’re just too tired and you’d actually prefer to sleep.”
On whether or not he writes love letters to his wife:
“I don’t, but maybe I should. There’s no shortage of how much I tell her I love her. But I guess there’s no detail in it, why or how...My mum tells this story about when she was younger and had been married to my dad for years. He’d write her an articulate and detailed letter and she said, ‘I remember thinking, oh, wow he loves me, which is so stupid, because I knew he loved me’. But when it was said with that much depth, it struck a different chord. It’s funny, I can be so attentive and listen to people I hardly know, then you get home and you’re like, ‘What was that? The ‘yeah, no that sounds good.' Why do we do that? But you’ve got to switch off at some point, you know?”
Read the full interview at GQ Australia.
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