Contributing writer Dagmar Dunlevy caught up with Wesley Snipes at the Hollywood Foreign Press Association conference for his film One-Night Stand. As you see here, the charismatic actor was in rare and beautiful form…enjoy!
Wesley Snipes is the type of man that makes you glad you’re a woman. His expressive brown eyes show flashes of mischief, joy and pain that have been stirred together in an irresistible mix. Obviously a man who is comfortable with himself, Wesley’s career is in high gear, but his feet are firmly on the ground.
Though born in Orlando, Florida on July 31, 1962, the smoldering actor was raised in the South Bronx with his mother and three sisters. After attending the High School for the Performing Arts in New York, he returned to Orlando where he co-founded Struttin Street Stuff, a troupe which performed street and puppet theater. Playhouse performances of The Wiz and the East Harlem production of The Me Nobody Knows, along with Levi’s 501 jeans and Coca-Cola Classic ads, were the building blocks to what would become his phenomenal, and swiftly escalating, career.
The year 1985 brought Wesley to Broadway, where he debuted in The Boys of Winter, and Wildcats marked his big screen appearance in 1986. A convincing portrayal of a street thug in the 1987 Michael Jackson video, Bad, directed by Martin Scorsese, caught Spike Lee’s attention. Wesley was subsequently cast as a saxophonist in Mo’ Better Blues, followed by Jungle Fever. When Snipes-Fever broke out, his adoring fans couldn’t get enough of the athletic actor, who has proven equally adept at drama, comedy, romantic leads and action features. A random sampling of his screen successes includes Major League, New Jack City, White Men Can’t Jump, Passenger 57, The Waterdance, Boiling Point, Demolition Man and Drop Zone, and he now reportedly commands $10 million per picture. The funky drag queen Noxeema Jackson in To Wong Foo, Thanks for Everything, Julie Newmar has been begging for a sequel, but Wesley firmly nixed any return engagements. The Money Train, Waiting To Exhale, The Fan and One Night Stand have confirmed Wesley’s knack for keeping ahead of the pack. In addition, his production company, Amen Ra Films, has over a dozen projects in various stages of development.
Wesley, who is divorced and the father of a nine-year-old son, clearly loves women and is drawn to the spirited, well-read type. Said to be “color-blind” when it comes to matters of the heart, the ambassador of love has dated women of many races.
A free spirit, Wesley divides his time between homes in Los Angeles, New York and Florida. His musical taste includes hip-hop, jazz and reggae, and motorcycle riding is a hobby he’s quite passionate about.
With no plans for a second try at matrimony anytime soon, this available stud is concentrating on his career and hopes to continue alternating between action and romantic films. His deliciously sexy bedroom scenes as the married man gone astray in his recent film One Night Stand lend the perfect opportunity to launch our discussion.
PLAYGIRL: Max, your character in One Night Stand, had a solid career, beautiful wife (Ming-Na Wen), and two great children, yet found himself dangerously attracted to another woman (Nastassja Kinski). Could you identify with him?
Wesley Snipes: Never happened to me. (Very sexy grin)
Could you understand his motivations then?
I’ve been in situations where you planned on something and you thought you had it all figured out, but then when you finally get there, you realize there’s a bit more to it than you expected. You’re either not really prepared for it, or it’s not what you thought you needed or wanted. I’ve been in that predicament, which helped me actually create the character. But I haven’t been in his situation specifically.
Do you think this is primarily a man’s dilemma?
I think it can happen to women as well. Many of us have found ourselves in situations where we’ve been extremely and genuinely attracted to someone, but because of certain circumstances or particulars of our life, we don’t act on them. But we definitely think about it.
One Night Stand was originally a Joe Eszterhas script. Did you know about his version?
Let’s put it this way, it was a very different movie. It was a lot racier—the script, that is—very seedy and very much about a one-night stand, the sexual side of the film. Mike (director Mike Figgis) didn’t want to do that.
Mike Figgis made his mark with Leaving Las Vegas. How did he come to cast you?
I have to give Mike Figgis credit because he took a chance. The script was written predominantly white, but he said, “I’m looking for a good, strong actor.” The piece was originally scripted for Nicolas Cage, who wasn’t available. I think Annie Stewart actually suggested me to Mike, who told me that he wanted a strong actor to play the role, and asked if I would be interested. It wasn’t too hard to make a decision. (Laughs) We had to decide on who the wife would be. I’ve played roles with a white woman as my wife, so we thought maybe we’d go Hispanic or Asian. That’s how Ming-Na came about, so it actually was never an issue. He didn’t want to change the script one iota simply because I’m black.
Did you have a say in who would play the female leads?
With Nastassja, no, but Ming-Na was actually my suggestion to Mike. She was wonderful in The Joy Luck Club. (TV audiences will remember her from The Single Guy)
In the film, your wife had no problem telling you what she wanted in bed.
(Smiling) It’s the yin and yang. You switch roles every now and then. One Night Stand has some very sensual love scenes.
Do you think this film was a Figgis fantasy?
(Still smiling) We play out our own personal desires in our work sometimes, so I wouldn’t be surprised. Mike probably would have wanted to play the role.
Speaking of love scenes, I’ve often wondered how much is actually choreographed.
Some people need training for sex scenes, other people don’t. I fall in the latter category, expressing it the way it comes—no pun intended. I express it sincerely. Some people are very nervous about sex scenes when acting— maybe they’re nervous in their personal life as well. If I have to kiss, I kiss. If it has to be a wonderful kiss, I’ll make it wonderful. If it’s a nasty kiss, I’ll make it nasty.
What about nudity? Do you ever feel vulnerable?
I’m not streaking across the set or anything like that! (Laughs) It’s not as if I just wake-up in the morning and come out butt naked. I’m not uncomfortable with my body or using it in the respectful context of a character, or of a piece. I just do a couple of extra sit-ups and get over it quickly. But I’m not shy about it.
What makes you happy?
(Pondering, then smiles) Good sex is hard to come by. Good sex can make you come away feeling very happy.
Give us a glimpse into your everyday routine.
Usually I wake-up, but that depends on how late I’ve been out the night before. I do a small work-out, usually just some stretching, yoga type stuff and then I put on a piece of music that helps me start the day in whatever way I’m feeling. If I need a particular energy or vibration, I’ll put that kind of music on. I go right to the computer to see what time it is and then I start returning phone calls…
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