But that wouldn’t count for anything here. “Anyone who knows me can tell you that,” he liked to say. Of course, he was just Wahlberg, like a flood of new electricity at times, full of promise, but always to himself what he was, physically, and couldn’t change. Then, once again, as during the epochal Marky Mark days, the skank would likely be up against him, pawpawing to see what he had down there. I love him.” It was encompassing praise, and the movie would probably put him on the map in the way Fear and Traveller, his two previous leading-role flicks, had not. “Mark is a great actor,” Boogie Nights director Paul Thomas Anderson once said. “There are agents and studio people were talking about his performance: sweet, sexy, honest, raw, brutal and innocent, tender and mild, deep. He lit a smoke and leaned back in his chair. Wahlberg was having none of that, though. They had eyes like BB’s and precise aeronautic legs, and looked as if they would give up the miracle pretty quickly in the Sky Bar John. When you got big in the movies in Hollywood, you went to the Sky Bar, on Sunset Boulevard thus the place was altogether a riot of scantily clad, hopeful sluts. He asked for a beer, produced a pack of American Spirits cigarettes and a lighter, and looked around. Risky Business: Every Tom Cruise Film, Ranked - Updated 70 Greatest Music Documentaries of All Time
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