He parlayed his art studies into a successful Soho graphics-design business. Rickman reclines on the gray dressing room sofa and pictures the pillar-box on Berwick Street outside his design firm in Soho where he mailed his application to the Royal Academy of Dramatic Arts (RADA). “My life changed the moment I posted that letter,” he says. There’s a voice inside you that tells you what you should do. I’d been doing some amateur theater. Our design group was very successful, but I could also see that it was just going to repeat itself. And then that voice came up and said, ‘It’s now or never to change.'”
Rickman did two years at RADA, earning his way as a dresser for Sir Ralph Richardson and Nigel Hawthorne and winning RADA’s highest performing award, the Bancroft Medal. But Rickman’s real reward was psychological. “Most of our lives, we function with a big divide between here and here,” he says, drawing an imaginary line between his head and torso. “When I went to RADA, my body was saying, “About time.” It was being used, and I was aware that I was where I was supposed to be, doing what I was supposed to do, and just in time. In acting, you can’t hang about too long.”
James Cameron has said that Endgame’s box office haul gave him hope that his Avatar sequels can be as big as the original. Have you spoken with him directly?
We haven’t. We’ve never met him or run into him socially. He was a huge influence on us growing up. We always say the script for Aliens is the template for most modern filmmaking. It spawned an era of commercial movies that owe their DNA and lineage to that script. He’s the godfather of modern commercial cinema along with Spielberg and Lucas. When someone says something like that about a movie you made, when you grew up on their films, it’s hard to process. The little kid inside of you certainly is ecstatic and validated. [Cameron is] not wrong in saying there’s hope. There’s certainly always hope. We have to look to ourselves to provide the right kind of entertainment to get people to come out of the house. It’s more competitive than it’s ever been. I think [audiences] want new and interesting concepts. They want it presented in a way that feels spectacular and worthy of walking out the door and sitting in a theater. They want a communal experience. I think Endgame was reflective of that as a communal experience that you couldn’t get in your house: the screaming and the cheering and the communal crying and the communal laughter. That’s why people go to the theater. There’s all different kinds of movies that can provide that. We have to work harder to provide that, to earn their trust and respect.
Not many people have reached this dose. It’s so psychologically and physiologically dangerous, that if you even have the slightest doubt about it, you should not take it until you are ready. Your visuals will be so strong that you will no longer be able see your own hand in front of your face. Your thoughts will be indescribable, and you will see everything. Your “third eye” will be wide open. You will meet beings and see architecture and patterns that appear to be made out of light and energy. This trip is much like a DMT breakthrough trip, as mushrooms are also a tryptamine hallucinogen. You will have no motor function, and may forget to do basic tasks such as breathe, which can cause you to pass out. You will no longer experience reality, as your vision will be completely covered in visuals so strongly that you can no longer see your hand in front of your face, and you will no longer hear anything but pure auditory hallucinations. You are transported to an entire new universe, and become a completely different being. Those who take this dose, usually never go back. If you’re the type of person who trips hard on 3.5g, then you should never think of attempting this dose.