Jeff Goldblum on reinventing Greek myth for Netflix’s Kaos: “Zeus is horrible and cruel”

In reflecting upon the captivating life journey of Jeff Goldblum, I am deeply inspired by his remarkable ability to seamlessly traverse the realms of cinema and music, while maintaining a grounded sense of contentment and joy that is truly enviable. His resilience and adaptability are evident in every role he plays, be it a scientist turned fly, a mathematician navigating prehistoric chaos, or the almighty Zeus grappling with his own human complexities.

Jeff Goldblum’s portrayal of Zeus in Kaos is that of a character who is deeply insecure, sexually promiscuous, and brutally violent – yet paradoxically endearing. In his own words, “He’s horrible,” Goldblum admits about his role. However, it turns out that Zeus’s cruelty stems from a troubled family history. His father attempted to murder him, as well as his siblings. This ancient hurt has lingered for thousands of years, and he’s still grappling with its effects.

In the imaginative work of Charlie Covell, creator of Channel 4’s black comedy The End of the F***ing World, we find Kaos. This series is set in an alternate present-day Crete, under the rule of President Minos (with a Minotaur included), where citizens are on the brink of revolt. Contrasting this turbulent setting is the opulent life led by Zeus high above the bustling streets of Heraklion, which in reality resides in Malaga, Andalusia. However, Olympus, as depicted in Kaos, is a luxurious neo-classical wellness spa for the wealthy. Yet, paradise has its flaws. A line has appeared on Zeus’s brow, reminding him of an ancient prophecy that foretells his demise. As 71-year-old Goldblum puts it, “Zeus believes himself to be eternally immortal, but that’s a misconception.”

Clad in flashy West Coast casual and sunglasses, Zeus grapples with deep emotional scars and weaknesses, as Goldblum puts it. He worries and hurls lightning bolts into the sky. When not worrying, he receives phone calls from his brother Hades, who resides in the underworld, and orders meetings with Prometheus, the wisest of the gods – whom he has bound to a rock for endless torment as an eagle continuously pecks at his liver – for tense poolside discussions. Unbeknownst to him, Prometheus is orchestrating his own demise in these encounters.

Goldblum’s portrayal of Zeus seems somewhat reminiscent of a veteran, slightly disgruntled Hollywood star, struggling with a lack of major roles and feeling frustrated with his representation. “It’s somewhat similar,” he says, maintaining a cheerful demeanor. “Anyone who has experienced the tumult of showbiz egomania, or an over-reliance on media coverage, or the unpredictable ebb and flow of a highly volatile industry, but also anyone who isn’t sure about the length of their life,” he admits, which feels like a revealing statement. “These myths,” he continues, “were intended from the beginning to be human stories that help us humans better comprehend ourselves.”

Goldblum ponders that our tendency to identify ourselves with temporary aspects like fame, possessions, or profession may not truly reflect the core of who we are. In simpler terms, he suggests that one must reevaluate their values at some point for a healthier life, and instead of relying on material wealth or professional achievements, find harmony with nature.

Zeus is too busy handling pressing family matters to reconnect with nature. His son Dionysus desires more authority beyond his typical realm of revelry, while his wife Hera, portrayed with haughty disdain by Janet McTeer, is also his sister and is orchestrating Zeus’s demise. It’s no surprise he gets angry. Goldblum remarks, “Yes, I understand the origin of it all, but you can’t continuously lay blame on your family and father; you must acknowledge and take responsibility for, admit to, and make restitution for, your own aggression and violence.”

In summary, while it’s true that many male characters in Kaos might not fare well, it’s important to note that there are also strong female characters and morally questionable males. However, the character Prometheus, portrayed brilliantly by Stephen Dillane, is deeply good, virtuous, and ethical. Additionally, Goldblum praises his on-screen son, Dionysus, who is played by Nabhaan Rizwan. He describes Rizwan as an incredible source of dynamic energy and a talented actor with a striking physique.

In this series, an impressive array of talented actors deliver stellar performances. Notably, David Thewlis as Hades and Dillane’s portrayal of Prometheus are particularly noteworthy. Additionally, there are delightful appearances by Billie Piper, Suzy Eddie Izzard that add to the entertainment value. However, the scenes between Goldblum and McTeer are exceptionally captivating. As Goldblum puts it, “Janet is a solitary entity – she’s like a lighthouse, a planet, an entire powerful constellation.” Interestingly, Goldblum seems to have a warm connection with everyone he interacts with, but his admiration for McTeer seems particularly profound. He describes her as a source of something magical, stating that “looking into her eyes during our scenes felt like she was opening me up, revealing more than I ever had before in my life.”

That long life on screen began in 1974, with a bit part in Michael Winner’s Death Wish. After increasing attention brought by roles like the scientist who turns into a bluebottle in David Cronenberg’s The Fly (1986), Goldblum became a global star playing mathematician Ian Malcolm in the Jurassic Park films from 1993 onwards. He has also branched out as a jazz pianist of some repute, crediting his interest in the form to his brother Rick who died, aged only 23, in 1971. “Zeus is semi-musical with his throwing of bolts,” he says. “I think Zeus would probably like good jazz, but he’s got his challenges, stuff to work out.”

It seems that Goldblum appears to have found his personal balance, exuding a sense of tranquil satisfaction. His professional success notwithstanding, he appears to have mastered the complexities of family life, much like Zeus in mythology. Previously married to actresses Patricia Gaul and Geena Davis (his co-star from The Fly), Goldblum tied the knot with Canadian contortionist Emilie Livingston in 2014, who is 30 years his junior. The couple residing in the Hollywood Hills share two sons, Charlie Ocean, aged nine, and River Joe, aged seven. Their home life, as described by Goldblum, sounds harmonious and content. “Once we put the kids to sleep, we retire ourselves quickly, as we have to wake up the next day. I play the piano every day myself, have assignments to complete. And then I guide the children through their piano practice daily. Coincidentally, I’m reading a book about Greek myths to my kids each night and going over all these characters.”

Goldblum enthusiastically endorses Stephen Fry’s interpretations of Greek myths – Mythos (2017) and Heroes (2018). He mentions a friendly rapport with Fry, stating “He’s quite brilliant,” he says. Much like many Americans of his era, Goldblum, a native of Pennsylvania raised in the 50s-60s with three other siblings, where his father was a hospital consultant and mother worked on radio, first delved into the realm of Greek mythology through films. “I didn’t learn much about it at school,” he admits. However, he saw Jason and the Argonauts when it was released in the 60s and later caught up with Clash of the Titans (1981).

The Greek myths are versatile and open to multiple interpretations, and Covell’s portrayal in Kaos seems to reflect contemporary happenings in the western world. In this adaptation, the Cretans coexist with Trojan refugees who have sought refuge on their island following the fall of Troy. They are told that these refugees are their true adversaries, not the state ruled by Zeus-worshippers. When asked if it was a metaphor for current times during production, Goldblum replied, “It can be perceived that way, but I believe themes such as power, class, hierarchies, struggles for status, love, and family have been prevalent since time immemorial.”

Zeus’s problem isn’t his diminishing power as much as having power in the first place? “That’s what the interesting element is for me,” says Goldblum, pleased to find me approaching enlightenment. “His all-too-human struggling with psychological complications that arise from his not being able to accept his own vulnerability, frailty, and all the real sources of power. Not the made-up power to which he aspires, the position of authority, which is a fake authority, but real power and where it comes from.” Which is? “Vulnerability, or the acceptance of your alignment – even for the gods!” Zeus just needs to get more chill, like Jeff.

2024-08-27 02:37

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