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FutureStarrAntony Movie Starr
www.mensjournal.com)Growing up in New Zealand, Antony Starr spent his days with the surf and Shodokan Aikido. That martial arts background came in handy when the actor starred in Banshee and shooting his role as The Homelander in Amazon’s new hit superhero series The Boys. These days when he’s not filming, he still gets out in the surf. So while a few more people may know his name, not much has changed. (Source:
The Kiwi transplant made a sadistic, narcissistic sociopath one of the most interesting villains on TV in 2019. Now, he goes deeper. (Source: ew.com)
Emmy Wallin is a writer for Wealthy Gorilla. She is a young Swedish girl from Uppsala, who is currently traveling around the world. Emmy has a big passion for helping others and motivating people. Emmy has been studying celebrities careers, biographies, lifestyles, and net worths for over 3 years. She is the face behind the net worth profiles here on Wealthy Gorilla. (Source: wealthygorilla.com)
Antony Starr Net Worth: Antony Starr is a New Zealand actor who has a net worth of $2 million. He is probably best-known for appearing on the Amazon Prime show "The Boys", and on the Cinemax show "Banshee". (Source: www.celebritynetworth.com)
I got used to leaving set with aches and pains. I remember one scene in particular we shot over the course of two days; it ended up being cut into a five-minute fight sequence. My character was squaring up against an MMA fighter. I was completely rinsed at the end. I spent nights after in an ice bath, stretching, and doing body work.
I was intrigued by the idea of playing a superhero, but I was really interested by the characters in The Boys. They needed to find someone fast, because building the suits for the characters can take months. I shot a tape, sent it off, and got the gig. I didn’t really know what I was getting into at the time.
Antony Starr has his own form of laser vision. It's less flashy than his character, Homelander, on Amazon's The Boys who can actually saw a man in half with the beams shooting out of his eyes. But it's why, even against the cacophony of a church filled with extras, a zealous Aya Cash entertaining a skirmish of press cameras in the role of Stormfront, and Nathan Mitchell's Black Noir juggling rolls of paper towels off to the side, you feel the presence of Starr's dagger glare across the room. It's like a viper's penetrating stare, both beguiling and precise.
Starr has been taking risks from his very first scene on the show: a boardroom discussion among the Seven in the headquarters of Vought, the team's corporate backers. They started small. His audition had been like "putting on a blindfold," he remembers. "There was no context for the scenes that I was auditioning with" — which all happened to be from Homelander's conversations with Madelyn Stillwell (Elisabeth Shue), the head of PR at Vought from whom the character would, in later episodes, drink breast milk direct from the source as she coos about her "good boy." Context is key. When Starr arrived on set for Day 1, showrunner Eric Kripke and director Dan Trachtenberg gave the cast permission "to take risks and bring whatever we could." So, Starr ad-libbed a few lines that made it to the final cut. "Once you get inspired by that creatively, you start thinking in a different way," he says.
"When you see a big sequence like that, it's still anchored in the needs of character," he says. "The story is still being driven by the character's needs. The Boys are trying to get away and The Deep is trying to get back into the Seven. So, whilst, yeah, it's pretty whacky and kooky, it is anchored in very strong character needs and story."
“It’s interesting, because I always [thought] Homelander’s kryptonite if we’re comparing him to Superman, would be his humanity,” Starr says. “I think, more than anyone in the show, Ryan puts him in touch with that, which is a really uncomfortable place for someone as emotionally bankrupt as Homelander. It’s a very uncomfortable position to be in. The level of discomfort, in the beginning, is extreme. It’s really, he’s just looking at Ryan as an extension of himself. Whereas by the end, I think it’s Episode 8, when Ryan is really upset from being out in the world and getting swarmed by people, he really does try and connect with the boy. It is much more selfless, which is a new position for Homelander, again. To me, it’s always been about finding those moments with this character.”
Of course, Starr still makes it clear that he’s playing the bad guy of the show. It’s not about redeeming him. He adds, “It’s just about fleshing him out and finding moments where we can just keep him three dimensional, and make sure that we’re not missing things and becoming too mustache-twirly at any point because that would lead to a slow death of the character, I think.”
Anything that pushes characters into new spaces and keeps the characters evolving rather than just becoming…not a little bit boring, but quite often you see characters that just sort of function and people don’t know where to go with them,” Starr says. “In this case, it wasn’t that at all. Getting to go to work and have a meltdown was pretty good stuff. It was pretty fun.”
“Some of the things are so overt,” Starr says. “We’ve got a guy riding a whale. In Season One we had a dolphin flying through the window, just to look at The Deep [Chace Crawford], for example. But it’s all character-driven choices as well. It’s not a random thing that he happens to be doing. He’s trying to find a purpose, so he’s saving the dolphin. He’s trying to get back into The Seven, so he’s riding the whale. It seems absurd, and there is an absurdity to a lot of things in the show, but they’re grounded and anchored in the wants of the character. I think that makes it much easier for the cast to latch on to that and just treat it with a little bit more sincerity, as opposed to making a gag out of it.”