" I wasn’t familiar with the character before I read the script. When the script came to me it had already changed to American so I didn’t know that. When I started doing research I found that out, but the important part is the essence of Constantine and we worked really hard to keep that aspect of it because that’s what it is all about. He is a hard-edged, hard-boiled, world weary, cynical, fatalistic, nihilistic, self-interested guy with a heart. I think we did it. I hope fans of the comic don’t feel we sabotaged something so well loved."
"They have no idea what they are talking about. The process for me is just writing down thoughts and working on the role. I wasn’t carrying around the path of the peaceful warrior in that sense. I think the film speaks for itself and that is what I was working on. It was mainly about the script and the journey the character takes learning about the curse, or gift, he was given in his youth. Part of the journey is Constantine understanding his life and the circumstances and he comes to an ambivalent peace of sorts."
"With Constantine, I think of it as a secular religiousness. The piece uses icons in a Catholic platform with heaven and hell and god and the devil, but I was hoping these concepts could become more humanistic that are hopefully relatable. It’s a man trying to figure it out. With the other roles, I think the hero journey or Siddhartha is a seeking that has some value to our lives. I think all of us in western traditions relate to the seekers and messiahs and heroes and anti-heroes. We all deal with that day to day and they are entertaining. I think they are worthwhile. Myth telling and story telling is always couched in this kind of engaging, entertaining manner, whether it’s a shadow play or a circle and a story teller. It’s all the same."
"I really enjoyed the character, but in terms of embodying it I worked with costumers and we tried on things and there were options. I found a jacket and shoes and it felt right. Then you go to rehearsals in costumes and it starts to feel connected and natural. When it feels right it is great. I knew his core, but I had to work on it. I lowered my voice and worked with the director and looked at the comic book and his deadpan humor. It kind of happened just a couple of days before we shot. The exorcism was the first scene and that helped a lot. I had to walk over and get on the bed and when I figured that out I felt like I had it."
"It’s for fun. You can see that in the couple that it can be there and yet it can’t be there because it’s not the time or place. I think it’s part of the enjoyment off the piece, it’s like an editing choice like when the car hits the men and you see the spirit of destiny. They want to kiss, but they can’t kiss, and at the end of the film they do say they want to keep seeing each other."
"My contract didn’t have a second film in it, but we all fell in love with this thing and I had a great time so we were talking about what happens next, is he a heroin addict in Morocco? We had other ideas, but ultimately it’s up to the audience whether the studio would put up the money for another one. I would love to do another one as long as it’s the same crew. Trilogy? Why stop there? We can have Son of Constantine! We’ll know two weeks after it opens. We won’t be able to afford Francis next time though."
"I first got the script when I was in Sydney working on The Matrix and I really enjoyed it. From my first reading of the script to shooting was over a year and a half. In terms of choices it’s good to have a variety, but I said yes while I was making The Matrix. I didn’t think I was repeating myself, it felt different. Constantine is a very extraverted role. It’s a great script and idea and character."
"I had some great times working with Francis and Mr. Goldsman. Spirituality is a word I don’t think applies to Constantine, he is more humanistic. There is more of a flesh and blood aspect. There is a line, ‘I guess there is a plan for all of us and I had to die twice to figure that out, like the book says, he works his works in mysterious ways, some people like it, some people don’t.’ That is my line and that sums up where Constantine ends up. There is still that ambivalence, but there is that acknowledgement that he doesn’t understand it. He takes his life and he goes to hell, he comes back and he doesn’t know why."
"I don’t think those are two different things. Any success I might have it comes from the work I do or am involved with. That is connected. I did Constantine with Warner Brothers and they hired me. I don’t know if they would have hired me if I hadn’t already had success with them on other projects. They’ve been a great supporter of me. The aspect of star and fame is a byproduct of the work I have done, hopefully."
"No, he’s very connected with God, but he doesn’t understand what is happening. His whole life is intertwined with God. If it’s an alienated character and an alienated culture I don’t know what else to say. Part of that journey is about connecting and he does connect. Hopefully part of the journey of the film shows that."
"I would like to have played John Constantine again. I liked playing that character and there seemed to be a way to continue that. That’s the only one that comes to mind."
"I always wanted to play Wolverine. But I didn't get that. And they have a great Wolverine now. I always wanted to play The Dark Knight. But I didn't get that one. They've had some great Batmans. So now I'm just enjoying them as an audience."