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In “Crimson Peak,” he played a pair of terrifying female ghosts.“When you are a storyteller, you curate a family throughout your life, and he’s family,” del Toro said, joking, “he’s the undernourished cousin,” “blessed with no shoulders and no ass.” With “The Shape of Water,” del Toro said he knew he needed Jones to “create the Michelangelo’s David of amphibian men,” yet he was unsure the actor, a practicing Christian, would accept a role in which he had to “get it on” in a bathtub.
If you don’t fit a certain small sliver of what’s considered normal in the Midwest, kids can be very cruel to each other.” Television, he said, was “where I found my friends as a kid,” rubber-faced, insecure goofballs like Barney Fife (Don Knotts) and Gomer Pyle (Jim Nabors) on “The Andy Griffith Show,” Gilligan (Bob Denver) on “Gilligan’s Island,” and the entire cast of “The Carol Burnett Show.” CBS All Access An aspiring sitcom star, he attended college at David Letterman’s alma mater, Ball State University, majoring in radio and TV broadcasting and minoring in theater.
When movies include nudity “just to get someone’s top off, then I’m not going to be interested in that at all,” Jones said.
The same holds true for “films that are just about splattering blood on the wall or torture porn,” which he continues to get offered “because I’ve worn so much rubber and been many creatures, people assume that I must love horror films.
“During that time is when I was established as tall, skinny, goofy guy who moves well, wears a lot of crap on his face, and does not complain about it,” Jones said.
“Actors are divas, and we all make too much noise and complain too much, so if you don’t do that, it makes you rather exceptional, apparently.” Nor does Jones try to add design input: “The most decorated and award-winning, brilliant artists in the world have had their hands on my face.
He argues that ideologists create “fake divisions between ‘us’ and ‘them'” via race, gender, sexual preference, religion, and geography.
“‘Them’ is a concept that’s created to control us, to make us afraid of each other, and the movie tries to embody that concept of the ‘other’ in this creature, the beauty of the ‘other,'” del Toro said. In summer 2015, Jones flew to Kentucky to appear as Raquel Welch’s butler in a Hallmark Channel movie called “The Ultimate Legacy.” “I drove an old Rolls Royce for her, I wore a three-piece suit with a bowtie and a watch chain, I had witty dialogue,” Jones recalls fondly, clapping between each of the following words for emphasis: “I loved every minute of it.” Yes, Doug Jones, the man behind more of today’s movie monsters than anyone, escapes from long, dark days on set with the Hallmark Channel’s “feel-good, happy-ending movies with low stakes, [and] pretty people telling a pretty story in a pretty setting.” Gang/WB/Kobal/REX/Shutterstock He’s given this a lot of thought: “I’m in an age bracket now where I can play the father of an adult daughter whose going through her life issues, and she’ll come to me for advice while I’m wearing my Christmas sweater and swirling a cup of hot cocoa. That’s what I want to play more of.” Jones and his wife have no biological children from their 33-year marriage. “We tried for three years and the doctor finally said, ‘It’s not going to happen,’ which was okay.” However, when Jones was in his early 40s, he attended a showcase in LA for theater students enrolled at his alma mater.An upperclassman who noticed him gesticulating in the cafeteria recruited him for the school’s mime company, Mime Over Matter, and Jones also spent two years anthropomorphizing the school’s fuzzy red mascot, Charlie Cardinal. Very few agents knew what to do with me.”)Then he found Wilhelmina Models.In 1985, he and his wife, Laurie, moved to Hollywood, where Jones’ resume boasted skills as a mime and contortionist. “That was one of my first experiences feeling pretty,” he said.“They saw beauty in my oddities.” His fourth booking was Mac Tonight, a piano player who sang “Mack the Knife” while wearing an oversize, crescent-shaped headpiece and shilling Mc Donald’s from atop a spinning hamburger.The campaign lasted three years and produced 27 commercials, although he was never paid above scale; the fast-food corporation argued anyone could wear the mask.“Those are small sacrifices to make when you look at the final product and say, ‘Okay, that’s what we made,'” Jones said at the Four Seasons.