Wild card: Goodman’s roles, from a war veteran in The Big Lebowski to a jazz musician in Inside Llewyn Davis, are defined by an unpredictable energy. Image: Zed Nelson/Institute.
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Sunny with a chance of rain: the many moods of John Goodman

John Goodman, who plays a jazz musician and junkie in the Coen Brothers' Inside Llewyn Davis talks to Kate Mossman about wigs, panic attacks and reuniting with Roseanne.

John Goodman can’t get comfortable. The sofa’s too deep: it dwarfs him like a giant beanbag. It’s strange to see Goodman looking dwarfed. When he was a young actor in Manhattan, his quarterback dimensions and baby face got him his first auditions. From his breakthrough role as the blue-collar dad Dan Conner in Rose­anne, where he wielded his on-screen son like a tiny rag doll, to his mad, bad Vietnam vet in The Big Lebowski, Goodman’s size and strength have defined him. At 61, he is physically deteriorating: he’s currently awaiting a second knee replace­ment. “I’ve already replaced this right knee,” he says, gesturing, “with a kitchen utensil. So I’m looking for something matching to go with the other one. Possibly an item from the bedroom?”

In recent years, his physicality has taken on a new, threatening edge. The sense of a body starting to self-destruct is mirrored in his moods, which change like sudden drops in cabin pressure. His latest character for Joel and Ethan Coen – the jazz musician Roland Turner in the Greenwich Village saga Inside Llewyn Davis – might be his vilest yet: a wheezing misanthrope with a heroin works kit dangling from his arm. “He hates everything that isn’t him and can’t be fit inside a hypodermic needle,” he volunteers today, clearing his throat with three thumps to the chest. “The haircut was my idea. I had to throw something in there. It is modelled on [the saxophonist] Gerry Mulligan’s hair.” He adds with mystery: “It has been mentioned as a wig.”

Talking to Goodman about his work is a game of cat and mouse. Mention character creation or improvising – two things that he’s clearly quite good at – and he’ll claim to have no facility with either. He brought nothing to Inside Llewyn Davis, he says: “It was all on the page. The Coens don’t go for improvisation – they are too careful.” Then, five minutes later, he’s relating Turner’s imagined backstory like an enthusiastic drama student in the “hot seat”. “Joel thought I was a trumpet player and Ethan thought I played sax. But I knew I was a piano player.”

There’s something in him fighting hard against being unfriendly. It’s there in his explosive laugh and in sudden punctu­ations of surprise or sympathy that come at moments you don’t expect. He is a readerly man, turning words over on his tongue: that was always clear in Roseanne, when he’d throw cod-Shakespearian pronouncements from a doorway, an American football under his arm.

“What’s funny is that when I was in high school, I tended to get kicked out of classes a lot and sent to the library and for some reason I would read plays. I never could figure out why that was. I just liked dialogue. I suppose I should have it looked into some day but I’d have to care about it enough first,” he says.

What did he read?

“Thornton Wilder. Arthur Miller. Tennessee Williams.”

Why was he kicked out of class?

“For trying to attract attention to myself.”

Why did his teachers put him in the library, rather than somewhere more punitive, such as a cupboard?

“Oh, they put me in a cupboard, too.”

He’s on the other side of the room now, in search of a glass of water. The sense that Goodman is just about to walk out at any time is a major part of his energy. Fortunately, he has become one of those actors who can steal a film in ten minutes’ screen time (see Flight, The Artist and Argo).

“Who do you work for?” he asks.

“A politics and culture magazine,” I tell him.

“We have politics in the US,” he says. “They’re killing us.” But he won’t go any further into the topic.

His main place of residence is New Orleans; he lives in the Garden District, once home to his friend Dr John. He met his wife of 25 years in the jazz club Tipitina’s, which was a regular nightspot of the blues pianist Professor Longhair. “There was a Hallowe’en party there,” he says, seating himself back on his giant sofa. “We met briefly but she didn’t care for me much, because I was a little stunned that someone that pretty would say hello to me. So I didn’t really respond and she thought I was a jerk.”

Goodman lost his summer house and fishing camp to Hurricane Katrina. The place was within the city limits but “felt like it was in the middle of nowhere. People would come along and tie up their boats,” he recalls, “and you’d catch red fish, speckled trout . . . If you went out in the gulf, you’d get snapper and tuna. It’s all gone now, though.”

He starred in David Simon’s HBO drama Treme, which explored the impact of the disaster on a network of New Orleans musicians – “A good part for me, because I got a lot of anger out. They were running tours to the Ninth Ward [the area worst hit by the hurricane] while people were still suffering, which was disgusting,” he says. Because of work commitments, he has spent just four straight weeks in New Orleans in the past year. “Being away all the time is wearing on me. It’s really wearing on me now. I’m really getting tired of it,” he says, his eyes darkening.

He lifts his glass of water and blows bubbles into it. “Yak, yak, yak!”

“I’m very grateful now. I went through a period where I was tired of the business and I really let that get in the way. I let the whole picture slip away from me and I became less grateful. This is an impossible business and there’s a lot of trade-offs. But I’m 61 years old now and I’m still working, with some success, and that’s something.”

Goodman struggled with alcohol for 30 years and has been sober since 2007. Things got colourful on the set of Roseanne. In one interview, Barr denied there was “any tension” between the two of them, then added: “John used to go berserk on the set all the time, every Friday, just out of nervousness and all the shit . . . John would pound the walls and scream and we’d all be freaking out, scared shitless out of frustration.” In the final series, he was often absent and when he did appear he looked unwell. Barr wrote a heart attack into the script for him. How did that feel?

He grabs his left arm, eyes bulging, keels forward on the sofa and fakes a cardiac arrest. Then he collapses into a high-pitched giggle. “The show was ready to die after the sixth season and it lasted nine,” he says. “I tried to get out in the seventh. They suggested that if I did so, they wouldn’t mind taking my house from me. Thank you very much, I said, and I stuck around.”

For years, Roseanne represented a reality never seen before on American TV, capturing the ingenuity of a small-town family struggling with regular unemployment, unaffordable health plans and indecipherable income tax literature. Though it eventually descended into fantasy (the family won the lottery), its central premise – to show, in Barr’s words, that: “Just because we were poor didn’t mean we were stupid” – seems more relevant than ever. “Roseanne and I tried to do a show together about a year and a half ago but NBC were having none of it!” Goodman volunteers cheerily. Downwardly Mobile, which reunited the pair in a trailer park, never made it past the pilot. Surely it would have been network gold?

“I know! I don’t know why they didn’t want it,” he says, positively beaming. “It was certainly better than most of NBC’s fare! We had a grand old time!”

And you only made one episode?

“One was enough!” he says, bafflingly.

Goodman’s upbringing was blue-collar and middle American, too. The family home was in one of the first suburbs of St Louis, “where veterans returning from the war would have the GI Bill and get cheap housing, move away from the city so that they could have yards of their own with like-minded veterans. There were tonnes of kids, baby boomers running around,” he says. “And school was close by.”

His father, a post office employee, died of a heart attack when he was two: he never knew him. “All I know is that he was a hard worker,” he says steadily. “He fought in the war, everybody liked him – and that’s pretty much all I know.” Did his mother, Virginia, a waitress at Jack and Phil’s Bar-B-Que in town, talk about his father much? “She was still in love with him,” he says.

Goodman’s first ambition was to be a footballer: he went to Missouri State University hoping to “walk on” – “which is when you don’t have a scholarship but you try to get on a team, anyway. But with sport, you rely on your body,” he says, “and you have to keep your spirits up. And I didn’t care that much, to be honest. If I wasn’t doing this [acting], I always wanted to be a disc jockey . . .”

The picture he paints is not entirely convincing: this lazy, uncommitted jock made a fist of the world’s most neurotic profession. He started out in musical theatre, landing a starring role in the Broadway show Big River. “There was a week,” he recalls, “where every night backstage I would have a panic attack. I couldn’t remember the first line. Every night, I was preparing to come out and say, ‘I’m so sorry, ladies and gentlemen, I don’t know why I’m here.’ I’d open my mouth and the first line of the script would come out instead.”

He is keen to act in London’s West End but will not do so until he has a new knee. In Inside Llewyn Davis, his character can barely walk and spends most of his screen time stuck in the back of a beige Buick Electra in a snowstorm, with a silent valet and a ginger cat (long story). “When Roland Turner was much younger – and this is just me – he was in the vanguard of the California jazz scene,” he says, speculating again. “Now, he’s devolved into this person who rides around in the back of cars . . . He’s established but he’s definitely on his way out.”

“Do you think he dies inside that car?” I ask him?

“Let’s just say he does,” he says. “It’d be better for him. I think he’s found the next day all cold and blue and clinging to the cat.”

Close to the end of the film, there is a memorable shot of an injured cat limping across the road in the dark.

“Oh, Jesus”, he says, suddenly disgusted. “That image, man. That image. I’d put it out of my mind. I have seen the film twice and it had a very strange effect on me. It raised a lot of questions about success and fear of success. Compromise. What does it cost . . .” He’s winding down, bored or depressed.

Later that day, the cast and crew – Carey Mulligan, Oscar Isaac, both Coen brothers – assemble at a West End cinema for a special screening. Standing alone in the foyer, Goodman spies an armchair – which, a member of staff informs me, should not have been left out: it was one of the chairs his team had rejected as too small. As he sinks into it, the head of events rushes up, flustered. “I’m jet-lagged,” Goodman says; then, brightening: “But you don’t need to hear that!”

In the Q&A session after the film, he gets all the laughs. An audience member observes: “You know when John Goodman appears in a Coen brothers film that something bad is going to happen.”

“In what way?” Goodman asks, innocently. He exits the screening laughing loudly and singing to himself.

“Inside Llewyn Davis” out now

Kate Mossman is the New Statesman's arts editor and pop critic.

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Rough justice: who is looking out for the wrongfully convicted?

How internet sleuths - and secret courts - have changed the reporting of miscarriages of justice.

The letter from Whitemoor Prison in Cambridgeshire was in poor English but its message was clear. The writer claimed he was serving a life sentence for a murder that he had not committed. What was also clear was that this was no ordinary case. Not only was the victim a respected author and photographer who lived in one of the most expensive streets in London, but his alleged killer was the grandson of Chairman Mao’s third-in-command and an informant for MI6 whose entire defence at his Old Bailey trial had been heard in secret, with reporters excluded from the court.

It took some weeks to unravel the story of Wang Yam, who was convicted of the murder of Allan Chappelow at his home in Hampstead in 2006. Wang had supposedly broken in to Chappelow’s letter box at his front gate to steal bank details and, according to the prosecution, probably killed him when confronted. The victim’s body was discovered several days later.

In his letter, Wang claimed that because the press had been barred from reporting his defence he had not received a fair trial. With my colleague Richard Norton-Taylor, I wrote a story about the case that appeared in the Guardian in January 2014. Shortly afterwards, a former close neighbour of Chappelow contacted us to say that, after Wang was already in custody, someone had tried to break into his letter box, too, and that the intruder, when discovered, had threatened to kill him and his family. In April, the Criminal Cases Review Commission announced that, as a result of this fresh evidence, the case was going back to the Court of Appeal. It is now expected to be heard soon.

Even though no murder trial had ever been heard in such secrecy at the Old Bailey before or since, the media largely ignored the story. Tales of alleged miscarriage of justice don’t make many waves these days.

As it happens, Wang Yam’s referral to the Appeal Court came just as a large book entitled The Nicholas Cases arrived in my mail. It is by Bob Woffinden and the slightly obscure title is a reference to St Nicholas, better known as Santa Claus, who in early Byzantine times halted the execution of three innocent men and could thus claim to be the patron saint of the wrongfully convicted. And, boy, do they need a saint these days. The author takes ten cases, introduces us to the accused, tells their stories and shares the frustration of the convicted men and women as well as their lawyers and families.

Some of the cases may be familiar. Jonathan King, the former singer and music entrepreneur, was sentenced to seven years in 2001 for sexual offences against boys aged 14 and 15. What is less well known is that he was convicted not of offences relating to his original arrest, but of others that came to light as a result of the media publicity surrounding his case. Another case is that of Gordon Park, convicted of the murder of his wife, Carol, who disappeared in 1976 and whose body was found in Coniston Water in the Lake District in August 1997 (the media named it the “Lady in the Lake trial”). Park was convicted in January 2005. He hanged himself in prison and in despair in January 2010.

Other cases, such as that of Emma Bates, received less press coverage. In 2009 Bates was convicted of the murder of her violent and abusive ex-partner Wayne Hill in Birmingham. She killed Hill with a single stab wound in a confrontation at her home, and it is hard, reading her story, to understand why she is now serving a minimum of 15 years. Woffinden believes that all ten suspects should not have been convicted but he tells their stories in enough detail for one to understand why they were. Each tale unfolds like an intriguing television drama, with our judgements and preconceptions
of innocence or guilt tugged both ways.

Woffinden has ploughed an increasingly lonely furrow on the subject, following in the footsteps of two other campaigning authors. The first was Ludovic Kennedy, whose book 10 Rillington Place, published in 1961, exposed the wrongful hanging of Timothy Evans. The second was Paul Foot, who campaigned relentlessly in Private Eye, the Daily Mirror and in books on many cases, including that of the Bridgewater Four, convicted of the murder of a newspaper boy, Carl Bridgewater, in 1978. Woffinden produced a volume called Miscarriages of Justice
in 1987, and in 2015 he published Bad Show, in which he suggests that Major Charles Ingram, convicted of rigging the TV quiz show Who Wants to Be a Millionaire? by placing allies in the audience who coughed strategically, was innocent.

What is striking about Woffinden’s latest volume, however, is his criticism of the media on three counts. “It is not merely that the media fails to draw attention to wrongful convictions when they occur; it is not just that trials leading to these injustices are misleadingly reported; it is that, in some instances, the media itself has played a key role in bringing about the wrongful conviction,” he writes.

***

For over two centuries, the media have been crucial to both freeing and convicting innocent suspects in murder cases. In 1815 Eliza Fenning, a household cook, appeared at the Old Bailey, charged with attempting to poison her employers with arsenic in their steak and dumplings. It was suggested that she had done so after being scolded for consorting with young male apprentices.

She protested her innocence and a radical writer, William Hone, took up her case, visited her in Newgate Prison and launched a newspaper, the Traveller, to fight for her release. It probably did no harm to her cause that she was young and beautiful; the artist Robert Cruikshank drew her reading the Bible in her cell. It was all to no avail: Fenning was hanged. And yet, ever since, writers and journalists have taken up such cases.

Arthur Conan Doyle campaigned in the Daily Telegraph for George Edalji, ­convicted on the bizarre charge of disembowelling a horse in Staffordshire in 1903. Edalji, an Anglo-Indian solicitor, served three years’ hard labour but was eventually pardoned and concern about his conviction led partly to the creation in 1907 of the Court of Criminal Appeal. (Julian Barnes’s book Arthur & George is based on the case.)

Conan Doyle, too, was active in the campaign to prove the innocence of Oscar Slater, a German Jew convicted of the murder in Glasgow in 1908 of Marion Gilchrist, a wealthy, elderly single woman. Class and anti-Jewish prejudice clearly played a part in the police investigation, and the initial press coverage of the campaign to free him was dismissive. “Efforts most harmful and ill-advised are being made to work up popular feeling and to receive signatures with the object of obtaining a reprieve,” the Scotsman sniffed. “However amiable may be the sentiments that may have prompted some of those who have taken part in the movement, it is one that cannot be otherwise than mischievous and futile.” It took nearly two decades to prove Slater’s innocence. Scottish journalists played an important part in keeping the story alive.

Yet for many years there remained the feeling that such miscarriages of justice were very few. Those who sought to question convictions in contentious cases were often mocked, as was the case when the earliest doubts were expressed about the guilt of the Birmingham Six. “Loony MP backs bomb gang” was the headline in the Sun when the Labour politician and journalist Chris Mullin challenged their conviction. But with the vindication of the Birmingham Six, the Guildford Four, the Maguire Seven and suspects in other so-called “Irish cases”, there was finally a recognition that something was very rotten in the justice system.

There followed a flowering of investigations into dubious cases. In 1982, the BBC launched the TV series Rough Justice, which carried out investigations over the next quarter-century. Some of its journalists went on to found Trial and Error, which did the same for Channel 4 from 1993 to 1999. Concerns about the extent of such cases led to the formation in 1997 of the Criminal Cases Review Commission. It has since referred 629 cases back to the Court of Appeal, 414 of which had been successful; a further 689 cases are under review. But both Rough Justice and Trial and Error were discontinued, victims of media austerity.

Investigations into such cases take time and money. With broadcasters and news­papers forced to tighten their belt, there is little appetite for researching complex claims that may lead nowhere. Meanwhile, the introduction in 2013 of new rules affecting funds for criminal cases has sharply reduced access to legal aid lawyers. Lawyers also suffer from the arcane effects of the Criminal Procedure and Investigations Act 1996, with some solicitors still unsure about what can be released to the media.

There has been a change in the political climate, too. Tony Blair encapsulated this in 2002 when he said: “It is perhaps the biggest miscarriage of justice in today’s system when the guilty walk away unpunished.” The subtext to this is that we shouldn’t be too soft-hearted with every plea of innocence. This attitude is reflected in the way that even those who are eventually cleared on overwhelming evidence are treated.

Previously, victims of miscarriages of justice were compensated financially for their lost years. No longer. Victor Nealon, a former postman, was convicted of attempted rape in 1996 and served 17 years – ten years longer than his recommended tariff, because he continued to protest his innocence. In 2013, after new DNA evidence from the clothes of the assault victim pointed to “an unknown male” as the one responsible for the crime, he was freed with just £46 in his pocket. The Ministry of Justice has declined to compensate Nealon financially because, under the new rules, his innocence has to be proved “beyond reasonable doubt” – that is to say, someone else has to be convicted of the crime. It is an absurd state of affairs.

***

The internet – social media in particular – has given platforms and publicity to those who claim to have been wrongfully convicted. Yet, as Woffinden points out, the web has also had a negative effect, because there are now hundreds of sites dedicated to claims of miscarriages of justice. “The whole history of miscarriages of justice in the UK in the postwar era was based on the ‘top of the pile’ principle,” he argues. “A case reached the top of the pile. It was focused on; it was rectified. Another case then took its place at the top of the pile. Now there are far too many cases jostling for attention, with the result that no case gets adequate attention. As the newspapers’ ability to campaign on these issues has been weakened, so they are less inclined to publish stories that they think aren’t going anywhere.”

It is also much harder for journalists to meet people who claim to be victims. When I wanted to visit Kevin Lane, who has long protested his innocence of the 1994 murder of Robert Magill, shot in a hitman killing in Hertfordshire, it took months before officials granted permission. I was accompanied by a Home Office official and our entire interview at Frankland Prison in County Durham was tape-recorded.

Wang Yam, the MI6 informant, was told at Whitemoor after his story first appeared in the Guardian that he was not allowed to correspond with us again, though the Ministry of Justice claims this is now no longer the case. In the United States, a prisoner who wants to contact a journalist has an automatic right to do so, making investigative reporting much easier.

What about the Innocence Project? This US organisation was founded in 1992 and harnessed the energy of law students to investigate cases of alleged wrongful conviction. For a while, the idea flourished in Britain, too; Bristol University launched a version in 2004. However, such projects now struggle to overcome the same hurdles of access and resources as the media.

Not everyone who claims to be innocent is telling the truth, especially if the crime is especially heinous. One case which received much publicity was that of Simon Hall, who was convicted in 2003 of the horrific murder of Joan Albert, aged 79. It was taken up by Rough Justice after an active campaign on Hall’s behalf but then, in 2013, he told prison officials that he was guilty. In doing so, he gravely undermined the claims of many of the genuinely innocent. He hanged himself in prison the following year. As the former armed robber Noel “Razor” Smith notes in his wry poem “The Old Lags”, prison is full of people who claim they were wrongly convicted:

Yeah, I been stitched right up

It’s funny you should ask

I’m here for what I didn’t do

I didn’t wear a mask!

But there is little editorial outrage about a murder trial being held in secret and scant concern that so many dubious convictions slip by, unreported for reasons of economy, indifference or fashion. Contrast those sil­ences about the law with the apoplectic response to the Supreme Court decision last year to uphold an injunction against the Sun on Sunday reporting the names of the “celebrity threesome”. The Sun called it “the day free speech drowned” and quoted the Tory MP Jacob Rees-Mogg, who described the decision as “a legalistic hijack of our liberty”. The Daily Mail informed readers soberly: “Supreme Court judges yesterday declared that people in England and Wales have no right to know about the sex lives of celebrities.” As if. All that was missing was Tony Hancock: “Does Magna Carta mean nothing to you? Did she die in vain?”

***

Where now for wrongful convictions? Louise Shorter, a former producer on Rough Justice, sees a glimmer of hope. She now works for Inside Justice, the investigative unit attached to the prisoners’ newspaper Inside Time, that was set up in 2010 to investigate wrongful convictions. She acknowledges the current difficulties: “Unravelling a miscarriage of justice case can take a decade or more. Television wants a beginning, middle and end to any story and wants it now, and that’s hard to achieve when the criminal justice wheels turn so very slowly.”

Yet Shorter says that her phone has been ringing off the hook following two successful American ventures: the podcast Serial and the Netflix series Making a Murderer. In September, she presented the two-part BBC documentary Conviction: Murder at the Station, in which she investigated the case of Roger Kearney, who protests his innocence of the murder of his lover Paula Poolton. Her body was found in her car at Southampton train station in 2008. “The media finally latched on to what the public has known for years: real-life whodunnits – or did-they-do-its – always have been and remain immensely popular,” Shorter says.

As Wang Yam awaits his appeal hearing and hundreds of others hope that their cases are heard, let us hope that she is right and that we have not returned to the days when only a “loony MP” or the “mischievous and futile” could challenge the law. 

“We’ll All Be Murdered in Our Beds! The Shocking History of Crime Reporting in Britain” by Duncan Campbell is published by Elliott & Thompson

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit