I’ve added 401 high quality screen captures of Walton as Baby Billy Freeman from the fifth episode of HBO’s The Righteous Gemstones. You will also find high quality episodic stills from the episode in the gallery too.
I’ve added 15 high quality screen captures of Walton as Baby Billy Freeman from HBO’s The Righteous Gemstones. Walton was only seen but a brief moment in the episode, sadly.
EW.com — Walton Goggins will do anything for Danny McBride — even play a creepy, milk-drinking, 70-year-old pastor named Baby Billy Freeman.
The third episode of HBO’s new comedy The Righteous Gemstones introduced the family’s alienated uncle, who returns to the fold when Eli (John Goodman) brings him on to run the Gemstones’ newest church. Best known for his turns in The Shield, Justified, and The Hateful Eight, Goggins, 47, takes on the hilarious role, reuniting him with McBride, the star and creator of Gemstones and Vice Principals, which the duo costarred together on.
“As soon as we sold this, I had the idea for Baby Billy and I wanted it be to Walton,” McBride recently told EW of casting his old friend. “I pitched him early, ‘I’ve got this idea, I want you to play an old man,’ I could just picture it in my head. He was like, “I’ll do anything,” but he was on the fence, he didn’t know what this character was, and I basically told him to let me write these episodes and I’ll send them to you to give them a read, and he got it and thought it was funny. He was just worried whether he’d be able to pull it off. It was amazing to watch him transform into this old man. Walton just disappears in every role that he’s in, I think he’s one of the most talented actors I’ve ever been around. He’s so damn funny and he can break your heart and we were honored to have him step into this.”
With Baby Billy officially out in the world, EW chatted with Goggins about his initial response to the part, why he’ll do anything for McBride, and how quickly we really got to know the old man.
ENTERTAINMENT WEEKLY: What was your first reaction when Danny asks you to play a 70-year-old pastor named Baby Billy?
WALTON GOGGINS: I started laughing, because I didn’t think he was serious. And then he was just looking at me while I was laughing, and was like, “No, I’m serious, I want you to play Uncle Baby Billy Freeman.” I said, “As a 70-year-old?” And he said, “Yeah, I’m not joking.” [Laughs] I’m like, “Oh, okay, alright, yeah, let’s do it. I don’t know how we’re going to do it, but let’s do it.” I’ll do anything he asks me to do, anywhere, anytime, because I’m such a fan of what [McBride and executive producers Jody Hill and David Gordon Green] do creatively, and Danny as a person. But I was really kind of blown away by the story, and I thought, like everything else that those guys touch, that they would just set the room on fire in this particular world, create a stir, probably piss a lot of people off, and then also make a lot of people laugh. They do those things simultaneously better than anybody, and so I just said, “Absolutely, are you kidding me? I’m in, buddy.”
You said you’ll do anything for Danny, so what is it that you love about working with him and what he brings out in you comedically?
I’ve been a fan of his for such a long time and admired his ability to convey his particular brand of comedy, which is not really comedy, it’s also drama. I was so unbelievably intimidated by it when I got the invitation to come and play on Vice Principals, even though I thought that something really special could come from it. Once I was there and got into it and the way he is as a person and the way they structure their sandbox, it just allows for real creative freedom, and it is so open and free from judgment — and you laugh. I’ve laughed harder with him, both onscreen and offscreen, than I have with any other person in my life. Whenever you find a situation like that, that allows you to express yourself with full support, then you run back whenever you can. It’s the same thing for me as working with Quentin [Tarantino]. Those are two people and environments that allow for magical things to happen. It’s sublime for me as an artist.
After a career of some heavier material, you’re on a pretty good comedy run with Vice Principals, Gemstones, and The Unicorn. What have you liked about getting to dive into these waters? Was that an intentional transition?
No, it wasn’t intentional. I just go where the best writing is, and it just kind of moved in this direction. With Danny and David and Jody, those guys make dramas as much as they make comedies, but it allows for this absurd behavior before it distills it down to the essence of what they’re trying to say. And that’s the kind of comedy that I feel like I’ve always been doing. I think The Shield was actually one of the funniest shows on television, and Justified is Elmore Leonard, so you don’t get much funnier than that, but it also doesn’t shy away from the emotional dramatic elements of that story. So, for me, it just fit. It was like, “Wow, this is what comedy can be. There’s artifice here, it’s still moving in a direction and we’re telling a story that amounts to something and says something,” and that’s what I’m always looking for in the work that I choose, certainly at this point in my life. When there’s a strong sense of direction and a filmmaker behind it like Danny that really have a purpose for doing what they’re doing, that’s when I’m most comfortable and where I think I can contribute the most. And so the fact that I wake up today and find myself in this new arena, somehow it all makes sense, even though it’s a big diversion from the way people normally see me — and that’s a good thing. I can’t believe it, to be quite honest with you. There is great joy in laughing 90 percent of the day as opposed to needing a shrink after work. Continue Reading →
The Righteous Gemstones: 1×03 ‘They Are Weak, But He Is Strong’ Episodic Stills + Screen Captures
I’ve added 300+ high quality screen captures of Walton as Baby Billy Freeman from HBO’s The Righteous Gemstones which aired this past Sunday. You can also find high quality episodic stills from the episode in the gallery too.
Walton alongside his wife Nadia attended the premiere of HBO’s new series ‘The Righteous Gemstones’ on July 25th in Los Angeles, California. You can check out photos from the event in the gallery below:
Walton Goggins on ‘Deep State’, the ‘L.A. Confidential’ Pilot, and ‘The Righteous Gemstones’
Collider.com — From co-creator/showrunner/writer/director Matthew Parkhill, the Epix drama series Deep State is a fast-moving espionage thriller that follows what happens after U.S. Special Forces are killed in an ambush in Mali, leaving it up to operative Nathan Miller (Walton Goggins) to find answers and resolve the situation, and to keep things business as usual in Washington, D.C. However, all is not as it seems, and it rarely is when it comes to the deep state, politics and government conspiracies.
During this 1-on-1 phone interview with Collider, actor Walton Goggins talked about the appeal of a project like Deep State, the challenges of making a solid thriller that spans three countries, understanding his character, why every day was a challenge, and what makes him and showrunner Matthew Parkhill soul brothers. He also talked about reuniting with Danny McBride for the HBO series The Righteous Gemstones (premiering in August), the heartbreak over the L.A. Confidential pilot ultimately not getting picked up, his upcoming half-hour comedy series The Unicorn (premiering in the fall on CBS), and which directors he’d love to work with.
Collider: This is definitely one of those exciting, edge-of-your-seat thrillers, where you wonder who’s going to make it out, by the end.
WALTON GOGGINS: I’m just so grateful for the opportunity, and for the invitation to come play on this kind of global experience. Matthew Parkhill, whom I’m now a very big fan of, both personally and professionally, was enamored with The Shield. It was one of his favorite shows. And also, Syriana is one of his favorite films. He is influenced by all of these stories that weave these multiple threads, and have these dense character arcs that overlap and intersect with one another. When he set out to do this, it’s very different than Season 1, and he wanted to layer in an origin story for the people that were there, from the beginning, and introduce this character, and then have him continue in the story. It’s very difficult to pull off something like that, but I think he did it. I was just so grateful and on board for whatever he had in his imagination.
It’s difficult to pull off a good thriller, and to make sure that the ending is just as good as the beginning.
GOGGINS: Yeah. And in some ways, the second season of any show, more often than not, is when you get the opportunity to broaden the definition of what a show is and can become, at least in my experience with both The Shield and Justified, although I think the first season of both were so unbelievably satisfying. And I feel that way about Deep State, and what it’s trying to say in Season 2. Season 1 was really about discovering that the Deep State exists, and Season 2 is about, “Okay, then what exactly is the Deep State? What are their motivations? How do they work? What becomes of the people that represent those institutions?” That’s where I got really excited. There’s a price to pay, morally, physically, emotionally and spiritually, for being an ambassador of institutions that ostensibly run the world,. That’s what you’re going to see, for this experience, from Nathan Miller.
It’s really interesting storytelling that we get to learn about your character and this team across two timelines, running concurrently throughout the season. You get to watch where he’s come from while seeing what he’s currently dealing with. Do you feel like that helps give the viewer an understanding of his motivations and actions, seeing those two timelines together?
GOGGINS: Yeah, I do. I think one would say that about themselves. If you explore a person two years ago, and you explore a person today, on the other side of a significant event in one’s life, you would be able to understand them more deeply. While that requires the viewer to be invested and on a level that is not unexpected really in today’s television landscape, it does give you a real interesting perspective on why a person has become who they’ve become, and it lets you do that pretty quickly. For the characters that I’ve had an opportunity to play in television, that’s taken six or seven years to reach those conclusions. By the end of this season, whatever you think of Nathan Miller, you will have a sped up timeline in which to view who he is and his place in the world, and that’s also for every single character in this story.
This is a show that was shot on location across three countries, and that also did a stint in the Sahara Desert. What’s the experience like, shooting something like this, in all of those places?
GOGGINS: For me, I have always wanted to be a part of a political thriller that intersected cultures, economics, and diverse interests from different groups. I haven’t gotten to play Jason Bourne in a movie, so for me, it was a dream come true. This is a story that takes place in three different countries, and there are seven different languages, with people from all over the world and one American, which is me. To step into that kind of sandbox is something that I’ve always wanted to play in, and it’s a show that’s not just made for a U.S. audience. It’s really made for all of the constituents that FOX International has, around the world. It has something for everyone. There are pebbles that are dropped into a lake, that make a very small wave, but that can turn into a tsunami. All of those waves intersect to bring about a change, which is sometimes for the greater good, and sometimes not for the greater good.
It seems like this was a shoot that was pretty high intensity with a lot of tension among the characters. Was there a hardest or most challenging day on this shoot? Were there days that were particularly challenging, especially depending on what locations you were in?
GOGGINS: Every day was challenging, and every day was exhilarating. Matthew Parkhill is a person not so different than myself. I think we’re soul brothers, in the way that he doesn’t like stages or sets that are built. He likes the reality of being in any given location. That really stimulates him. And so, when you don’t have the comfort of at least having a home base, and you’re moving every single day, for upwards of five months, that’s a challenge. That’s a challenge for the cast, the crew, and the directors. Matthew Parkhill created and wrote the show, and he directed half of it. And then, this wonderful British director, Joss Agnew, came onboard to direct the other half. And we had two DPs, Nic Lawson and Nick Dance, with all of the challenges that they faced. We all grew very tight, and it was about communicating in all of these different places. Some crew was there the whole time, but the crews changed, depending on which country we filmed in. It was an extraordinary struggle, really. It’s baffling that we were able to pull this off, for the budget that we pulled it off for, and all the while saying something that I think is really personal. It’s personal to me, I know it’s personal to Matthew Parkhill, and I think it’s personal to everyone involved.
I was so very thrilled to learn that you’d be reuniting with Danny McBride for The Righteous Gemstones because it would have been tragic, if you weren’t a part of that show. When and how did you find out that he wanted you to be a part of that series?
GOGGINS: He’s one of my best friends. Our experience together on Vice Principals formed a friendship that will last for the rest of my life, for sure. We talk all of the time, and we’ve been talking about this, for the better part of a year. For Danny, it was just figuring out, “Okay, well, how do we do this again? How do we do it in a way that isn’t repetitive of how we did it during Vice Principals? How do we fit in this story?” I won’t say much more than that. Suffice it to say, we’ve been talking about it for a long time, and when he found it in his magical imagination, it was perfect. He said, “I want you to play a 67-year-old man.” I said, “Damn, Danny, really? You want to sit in a make-up chair for how fuckin’ long?!” But, it worked and I’m so unbelievably happy. I am thrilled for this experience and what’s happening. It is so goddamn funny and so poignant, and it will cause a stir, in the way that Danny, Jody [Hill], and David Gordon Green do. They make big waves. There’s no place that I would rather be. It’s a real spiritual home for me, being with those gentlemen. Continue Reading →
Deadline.com — Vice Principals alum Walton Goggins will re-team with his former co-star Danny McBride on McBride’s new HBO comedy series The Righteous Gemstones. Goggins is set for a recurring role on the series, on which McBride also stars along with John Goodman.
Written, directed and EP’ed by McBride, The Righteous Gemstones tells the story of a world-famous televangelist family with a long tradition of deviance, greed and charitable work.
Goggins will play Baby Billy, a former child star who clogged and sang for Jesus. As an aging man, he’s fallen on hard times and comes to the Gemstones for salvation.
Cast also includes Edi Patterson, Adam Devine, Cassidy Freeman, Tony Cavalero, Tim Baltz and GregAlan Williams.
McBride executive produces with his Rough House Pictures partners Jody Hill and David Gordon Green. The trio were behind the McBride-starring baseball comedy Eastbound & Down, which aired on HBO from 2010-13.
Goggins won a Critics’ Choice award for his role as Lee Russell opposite McBride’s Neal Gamby in Vice Principals, which aired for two seasons on HBO. He currently stars on contemporary espionage thriller Deep State. The series premieres its second season on April 28 in the U.S. and will air on Fox Networks Group in the UK and across 50 countries in Europe and Africa in early May. Goggins also just wrapped shooting the lead role on CBS comedy pilot The Unicorn.
Walton made an appearance on the CBS show Big Bang Theory this month where he played Oliver, the husband of Beth Behrs character. You can find captures in the gallery now.
A big thank you to my friend Claudia for the captures!
I’ve added HD captures from the newest episode of Sons of Anarchy into the gallery.
Make sure you check out Walton’s interview in full over at EW.com – It’s a wonderful and insightful read. 🙂
EW: Venus and Tig’s heart-to-heart follows Jarry and Chibs’ combative love scene. It made me realize that while I understand Jarry’s and Chibs’ motivations as characters, I don’t want to relate to their volatile relationship. And then you have Venus, who is the most singular person on the show, and yet at this point, she really is the most relatable. What did you see in that conversation between Venus and Tig?
Goggins: I’m just blown away that you said that, and I know Kurt [Sutter] would be blown away as well and very grateful for that comment. I think that there’s something about two people that are looking for love from an honest and truthful place that is extremely appealing. Vulnerability that is not trying to be used in some manipulative way is something that we’re all attracted to and that we aspire to, I think, whenever we’re able to truly let our guards down. And that’s really what that is: It’s not gender specific. It’s more than a man and a woman, or a man and a man, or a woman and a woman. It’s just about two human beings who need to be seen, and that’s what Kurt wrote. He gave both of these people the words to articulate how they feel. When I read it, I just thought I’ve never really seen honesty in that way, with what is a perceived way of life that would be unacceptable to another person. Venus is understanding of that, and in some ways, accepting of the limitations of that kind of commitment from another person. And she is graceful enough to let him out, but she was also vulnerable enough to say, “But I let myself believe in it, and I do believe in it. And I’m not a fool for allowing myself space for that emotion. I’m a better person for it.” Because she was able to say that, Tig came around. I mean, I’m gonna cry right now talking about it. It was so organic and so beautiful, and that comes from the mind and really from the heart of Kurt Sutter.
I assume it was scripted for you to not use Venus’ voice in that scene since Tig, at the end, asks to hear her lilt again. Is that the case?
That was Kurt, and that was in the stage directions. Paris Barclay directed this episode. Paris has been a friend of mine well over 18 years. He did episodes of The Shield. I did a movie for him back when I was like 23 years old called The Cherokee Kid. I did NYPD Blue with Paris. I’ve known Paris for a long time. Obviously I’ve known Kurt for a very long time. And Kim I’ve known for a while. That it was this collaboration between these people who have been in each other’s lives just made it all the sweeter. It was just about creating the space for this to happen. In that moment, Paris said, “Walton, I think you have to even go deeper without Venus’ voice.” Which was so strange for me because I don’t look at it as “Venus’ voice,” that’s just the way she talks. To think about her sounding other than how she sounds, that was hard for me. It was really difficult. It was like, okay, let’s bring it down, and then it just made it even sweeter for me. I think it made it sweeter for Kim as Tig.
When we walked into do it and rehearse it, I’d just gotten back from filming a movie in Canada. I’d been back for not even 24 hours. I got off the plane, went home and slept, woke up six hours later to start the process. By the time we got to start shooting [the conversation], it was like six o’clock at night. We’d done the other stuff beforehand, and Kim really wanted to approach the making love scene in the montage in a very certain way. He was absolutely right, and I thought that was beautiful. And then [Venus] coming out of the shower, I really talked to Tracey [Anderson], our makeup artist, about where we are in the stage—what is right and what’s not right. And we did that scene, and Paris staged it so that Venus was looking in a mirror at herself at the end. For me, all the sudden for the first time, Venus is looking at herself and judging herself. She’s looking at herself for the first time through another person’s eyes, not through her own. And what she sees is not how she sees herself. It’s something less than perfect. And that f–kin’ broke my heart.
So by the time we get to the scene, we walked in and everybody was really quiet. We sat down to rehearse it with Paris, who Kim and I trust implicitly, and it’s all right there. I turned to Paris and said, “Can you shoot this at the same time?” And Paris said, “Absolutely. That’s exactly what we’re gonna do.” Paris set it up so there was a camera on both of these people as they were going through this emotion‚ and I say “these people” in third person because I don’t believe that I was there or Kim was there—it was them. It was their relationship. And Paris just let the camera roll. He came in and tweaked us as needed, and that was it. We did it maybe three times total. It was so pure and so without ego and so not result-oriented. It was just outside of all of us: Just let these two people heal one another, and then let’s walk away. It was one of the most cathartic experiences of my life as an artist.