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Interviews with Rick Rossovich



Auf dieser Seite findet ihr Interviews mit Rick Rossovich sowie Presseartikel




Presseartikel von EW.com

A Lover Man In Uniform from Entertainment Weekly EW.com


Profile of Rick Rossovich -- The ''Cover Me'' star chats with EW about his career and future aspirations

In uniform. Between the sheets. These are two places on screen where Rick Rossovich is often found. ''Why is it that everyone calls me Mike, acts like they know me, and thinks I'm a cop?'' jokes the 37-year-old actor, whose credits run from very military (Top Gun, Navy SEALs) to very hunky (Roxanne, Paint It Black). His highest-profile uniform of late, a white surgeon's coat on ER, was that of surgeon John ''Tag'' Taglieri, who left nurse Carol Hathaway (Julianna Margulies) at the altar in last season's finale. Currently Rossovich can be seen as a cop (not in uniform, often between the sheets) on the trail of a killer in Playboy Films' first direct-to-video feature, Cover Me.

In reality and out of uniform, Rossovich's sculpted build, angular face, and buzz cut do suggest something soldierly. But at home, in a black sleeveless T-shirt, brown jeans, and sneakers, he's an earthy, gregarious sort who does the gardening and most of the repair work at his family's home north of L.A. ''I'm the normal guy who goes to the hardware store really dirty,'' he says. His biceps come not from pumping iron, Rossovich says, but from lifting granite, chopping firewood, and laying patios and walkways (he spends three months each summer fixing up the farmhouse he and his wife, Eva, bought in her native Sweden). ''If I could have my wish, I would be Martha Stewart's houseboy,'' he deadpans.

The fourth of five children, Rossovich grew up on a Northern California ranch, tending to cows and trudging to school where he, of course, played football. (Big brother Tim played pro ball for a decade, mostly for the Philadelphia Eagles.) After studying art and sculpture at Sacramento State, he moved to L.A. around 1980 to work on set construction. His second day there he got a job as a (non-fighting) C.I.A. agent in a ''minuscule''-budget martial-arts movie. ''I got paid $90 for three days' work and bluffed my way along,'' he says.

He's made a nice living as an actor ever since. ''I'm in the middle of the pack,'' he says, ''and that's okay. I'm a journeyman.'' Rossovich, who admits he's happy if he gets a good part every five years, has already secured his next gig, starring as a bike-riding cop by the beach on the upcoming USA Network series Pacific Blue. His erratic schedule affords him lots of time to play with kids Roy, 9, and Isabel, 4, work on the house, or, as he did recently, throw everything off the kitchen counter, tell his wife to take off her clothes, then give her a full-body massage. ''It's just a career,'' he says. ''I don't worry about not having jobs in Hollywood — there's plenty of stuff to do here.''

Originally Dec 01, 1995 www.ew.com  



Pressarticel from the New York Daily News 1996



'Er's' Rossovich Now A Spokes Man For 'Pacific Blue'
New York Daily News ...
BY CHRISTY SLEWINSKI

RICK ROSSOVICH has become quite a prime-time operator, be it with a scalpel or a bike. The former "ER" doc who left Julianna Margulies' Nurse Carol Hathaway at the altar has found a new TV home on USA Network's action series "Pacific Blue," Saturdays at 8.

Rossovich plays Lt. Anthony Palermo, the commander of a squad of bike-patrol officers."That interested me: To be on the beach, to be outside of the studio, to be on the bike, to be physical," he says.

He also enjoys playing the guy who calls the shots.

"When I started, I was just a kid, and I was always playing the rookie," says Rossovich, who has also starred in such flicks as "Roxanne," "Top Gun" and "Streets of Fire."

While stunt-riding isn't his thing, Rossovich is a big biker. He has recently become involved in a project in his home community of Ojai, Calif., that encourages residents to pedal, rather than drive.

"I'm kind of eco-conscious, in my own quiet way," says Rossovich, who also gardens, recycles and avoids products with excessive packaging.

He's also an avid outdoorsman, preferring to while away his spare time in his gardens, or on his farm in Sweden, homeland of his wife, Eva.

Home life, which includes Roy, 9, and Isabel, 4, is his top priority. "I want to have it both ways. I want to work my career around a lifestyle that I find very gratifying," he says.

"Now that I've planted the seeds of my career, I just want to watch the fruit ripen."
And, maybe, eventually fulfill one secret wish.

"I want to be the next Martha Stewart," he says with a laugh.

Interview from May 24, 1996 www.nydailynews.com  also www.chicagotribune.com  





Interview from the Ojai Film Festival 2000


FILM FESTIVAL IS WAY FOR ROSSOVICH TO CONNECT
Ojai Valley News ...
by Kristy Dark and John Grant

Actor Rick Rossovich has appeared in more than 20 movies ("Roxanne," "Navy SEALS," "Top Gun," etc.) and starred in the network TV series "Pacific Blue." He lives in Ojai with his family and serves on the Honorary Advisory Board of Ojai Film Festival 2000.

Q: What are some of the things you like best about Ojai?

A: Seclusion. Just being away from everything and everybody in Ojai. 'Cause everyone's alone here. We're all loners in a way.

Q: What are your favorite activities here?

A: I like to panhandle in the Arcade area, if I can get any territory from the skatersÖ. I think Ojai has a lot to offer for residents and for tourists as well. My wife is really involved with the Art Center and drawing classes and the yoga scene in town and all that kind of spiritual stuff. I drink coffee, and I just like sit on my porch.

Q: What do you see as some of the benefits of a film festival held here in Ojai?

A: It's nice to have something that's really close and to feel part of the film community without having to even leave the Valley.

Q: The theme of Ojai Film Festival 2000 is "Horizons Lost and FoundÖ Enriching the Human Spirit Through Film." Could you name a few films that stand out for you as having this quality?

A: Well, I'm a real fan of foreign films. I'm a big fan of simple films that have kind of a different point of view from American culture. If I can just reach back and have one recently that I saw this last year, maybe something like "Central Station." If I go to a Swedish film, maybe "My Life As a Dog." Films that zero in on our human nature.

Q: When you watch a film, can you still be transported by the magic?

A: I'm probably a bit jaded with the mainstream stuff that we see and how it tries to sometimes pander to us, but it sounds like the Ojai Film Festival will probably get more of the kind of films I like than what's just put out there to sell tickets. Which is why I think it's a great idea.

Q: Do you think film will still be with us in 100 years?

A: It's probably going to be a lot different. But the spirit of it will be the same, to show us ourselves, and to elevate rather than keep us down. I think film always has a message of freedom even if it's a story about something that's not about freedom. It's always about freeing yourself and transporting yourself to somewhere else.

Q: Imagine you've just been selected to be one of the first colonists on Mars, and you can only take two movies with you. Which two do you pick?

A: Maybe it should be aÖyou know, India makes 600 movies a year, average. And they're about 4-6 hours long each.

Q: So how about Satyajit Ray?

A: Yeah, one of his deals. Maybe it should be like world musicÖ But I live on Mars. I live here. (laughs)

Q: Could you tell us about some of your recent and upcoming film or TV projects?

A: I just finished a movie for Disney calledÖoh, they're changing the title..."Miracle in Lane 2" or "Just in Time." It's a nice little movie I did with this kid Frankie Muniz fromÖyou know the show "Malcolm in the Middle"? He's a great young actor, and I had a lot of fun with this kid. There's a lot of poignant scenes, and it's a lot of comedy and irreverence.

Q: Lately there's been an outcry, people saying that the "reel violence" in movies causes violence in the real world. At the opposite end of the spectrum is the view that violence in films can actually be cathartic. How do you feel about this issue, and what do you see as some of the moral and social responsibilities of those involved with making films?

A: Well, I think your question's your answer. It's going to be both ways. If it's handled with sensitivity and understanding and a point of view that's actually showing what's happening or what results happen from violence, then it can teach us a lot.

Q: What about the effect on kids? You have children of your own.

A: We let our kids watch everything. But we talk about it. And because they have that freedom, they're not like trying to eat sugar, you know? We should be really sensitive to it. A lot of people are drawn and swayed and pulled and pushed by these things, and I don't have the answer. How about that? I have no answer.

Q: Do you have any advice for people planning a career in film?

A: I think our culture's really driven by our media, and in a lot of cases everyone expects that to happen at the strike of a match. And sometimes it does. It happens, but prepare for the long road, is what I say. And look over the horizon and see what really matters to you, what you're passionate about, and then learn as much as you can and just set your sail.

Q: What do you love most about being an actor?

A: When it all kind of jells, comes together. When it works, that's when it's golden. And when it doesn't, then you're just waiting for the next job and you want to be back in the garden. That's when I come to Ojai and hide. I've been hiding a lot. (laughs)

Q: Any other comments on Ojai Film Festival 2000?

A: I'm behind it!

Interview from www.ojaifilmfestival.com  



Press Article from www.vf.se

by Linda Bengtsson


Tiotusentals kronor för att återställa efter vandalisering

Hagfors: I fem år har Eva och Rick Rossovich renoverat den gamla kraftstation­en i Stjärnsfors. Nu är flera av de 90 nyinsatta fön­sterrutorna krossade på kulturbyggnaden. – Jag är förbannad, ledsen och besviken, säger Eva Rossovich.

I onsdags när paret Rossovich kom till sitt renoveringsprojekt på den lilla orten Stjärnsfors, några kilometer norr om Hagfors, möttes de av en förskräcklig syn. Någon hade kastat mängder av sten eller cement och krossat flera av rutorna på husets norra sida. – Jag är besviken på att man inte han förstå att vi strävar efter att bevara ett kulturarv. Vi har lagt ner oändligt med tid här, säger Eva Rossovich. Trots att Rick Rossovich tagit bort de flesta av de krossade rutor­na syns tydliga spår i och med glassplittret på marken längs hela väggen. På dammen ligger en hög av cement och sten som vandalerna sparkat ihop. – Jag har skyndat mig att ordna till rutorna för att undvika att någon tror att de kan krossa de hela som finns kvar, säger Rick Rossovich. Över tvåhundratusen kronor har renoveringen kostat hittills och bara fönstren kostar tiotus­entals kronor. 2003 startade Eva föreningen Stjärnsfors kulturkraft för att få möjlighet att rädda byggnaden, som varit nedlagd sedan 1921. Då hade hon strävat i åtta år för att få till en nyttjanderätt på 50 år med Fortum. Fortum ville riva den fallfärdiga byggnaden men fick inte sin vilja igenom på grund av att det är ett kulturarv. Länsstyrelsen och Värmlands museum har också bidragit med pengar för att kraftstationen ska bevaras. Familjen bor vanligtvis i Kalifornien och livnär sig som konstnärer och skådespelare. Varje sommar åker de till Stjärnsfors för att renovera sin blivande ateljé. – Folk måste förstå att vi strävar efter att bevara det gamla som finns kvar i bygden. Kom och hjälp till istället för att förstöra, vädjar Eva Rossovich. Krossade fönster är inte det enda som drabbat dem, flera verktyg som legat framför huset har försvunnit. Vandaliseringen är nu polisanmäld.

Publicerad: 2008-07-03

Press Article from www.vf.se  



Interview from 614 Magazine


A Hollywood Sunset and a Columbus Dawn
Rick Rossovich rolls into Columbus, and a young filmmaker rolls tape
By Mark J. Lucas


A little more than thirty years ago, a young man by the name of Fredrick Rossovich made his way to Hollywood, intent on becoming a set designer for big movies, and then fell into acting. Going by Rick Rossovich, he played Sarah Connor's roommate's boyfriend in The Terminator. A few years later, he played the famously chiseled Slider from Top Gun, recognized for his power-flexing during the volleyball scene. Perhaps his biggest role was as Chris McConnell in Roxanne, co-starring with Steve Martin.

But when I sat down with him, it was on the set of the movie Sandbar, a dark comedy that represents the first major film for fledgling director and Columbus filmmaker, Nicholas Bushman. At the same time, it is the final film for veteran actor Rossovich.

"For me, it's like a postcard to myself," said Rossovich. "I'll have it as a remembrance of a last go, because I'll retire after this, tomorrow when I leave. I'll be done. I love acting, I do, but the process is almost too slow for me. Your life freezes. Time stops."

His previous film, Artworks (2003), would have been his last, if it were not for an unusual set of circumstances that brought him back in front of the camera. Having lived in Ojai, California, and Sweden simultaneously for years, he'd gone back to his hands-on passion of design, turning a grocery store in downtown Stockholm into a studio. While he was across the pond, he was made a rather out-of-the-ordinary offer.

"S.A. Martinez, the lead singer of 311, he knocked on my door, and he wanted to buy my house in California," recalled Rossovich. "It wasn't even for sale. I wasn't there. I hadn't been there for six months, so I said, 'Maybe this is a crazy thing happening in my life and I'll let go of this house after 20 years,' just north of L.A. there, and I went with it. I said, 'Okay, you take over.'"

Returning from Sweden for a short holiday, and to square things away with the move, he happened upon yet another unexpected turn of events, which would introduce him to a very persistent young director.

"I went back to L.A. just to do a little more clean-up work on the move, and there at my real estate agent's house was this script," explained Rossovich. "It was just in an envelope. My agent was resigned to the fact that I wouldn't take any more work, so they never sent me anything. I read it and it kind of hooked me."

Though the script was a little bit long, said Rossovich, it was very well written, and his role would be one that he'd never played before: a guy named Rodney, on a bender, who was at the end of his rope, but still had a lot of life left to him. Over the next couple of months, Rossovich and Bushman began a correspondence back and forth, and a creative relationship started to form. Unbeknownst to Rossovich, Bushman was a bit greener than he seemed.

"I thought he was a contemporary of mine, maybe some fifty year old guy," said Rossovich. "I didn't realize he was 25 years old, and had never had a big screenwriting career. I was just kind of exploring what the script really said to me, and we developed this relationship, and it felt good, but I wasn't really convinced that I would jump back into a movie, because it interrupts your life."

In the end, it was Bushman's passion and drive that would seal the deal for Rossovich. Bushman, in a big push to get him on board, took a bold move and a long flight, in the interest of his script.

"He said that he would fly over there and meet me. To Stockholm! That's probably what really cinched it," said Rossovich.

"This is [his first big] project, and they were doing it on a shoestring, but I really wanted to be his champion, too, because here was a kid that was really starting out. It seemed like he'd done all his homework, so he showed up and we just worked for two days straight, without a break. I had to finally get rid of him. I said, 'Go visit somebody else for two days before you go home. I'm burnt out, you know.' I could see that he wouldn't waver."

The nail in the coffin was a nudge from home.

"My wife said, 'You can't let that kid down. You've gotta go now,' so I got on the plane. I had no expectations, and I got here and dove right in and they've surprised me - their resilience, this young team of kids from different backgrounds. The technology is old school, in a way, but with some tricks they can give it the feel and the look. If our performances can carry the day, he might have a little jewel on his hands. Make the festival circuit, give him a little bit of a reputation and get his career started."

Rossovich said that what really earns the team the respect they deserve is their perseverance and fresh attitude toward their work.

"This team is making their own opportunity, and that's why I really respected them," he said. "It's on a shoestring, sure. It's low-budget. It's independent. All those things you could use to put it in a light that wouldn't be as favorable, but in a way, that kind of frees them up to be creative and spontaneous."

"You lose that in Hollywood a lot of times. Different aspects are driven by people's egos, and money, and it's not about the day. After a couple years it comes out in me, too," continued Rossovich, observing our local film talent through the seasoned eye of a long-time Hollywood insider - and outsider. Rossovich has appeared in a number of movies that were made for the love of the game, such as Artworks, a quirky, kinky direct-to-DVD movie about an art thief's love affair, co-starring Virginia Madsen.

"They're coming from a different angle," he said, of Bushman's team. "And, when those two worlds meet, that can be the alchemy that makes stuff happen. They'll have their challenges in post-production and really try to polish it. I'll be behind them 100 percent, and they're Columbus filmmakers," he noted. "They did it here, and that's kind of interesting; and you guys have a great city here, I'll tell you that."

As for Bushman, he's confident in his work, yet almost surprised that it's finally panning out for him at the end of what's been a long, difficult road.

"I wrote the first draft three years ago," said Bushman, "and I've spent all this time scraping the money together and getting everything ready. It's actually really surreal to finally be here. This is one of our last days, so we've finally done it, but it took forever."

There's still a lot to do in post-production, and the release date of the film is not yet confirmed, but if Bushman's intrepidity holds, we should be seeing the finished result shortly. With some elbow grease and a little luck, Sandbar could shape up to be the break Bushman's been waiting for, and a fitting farewell for veteran actor Rossovich, as he retires to Sweden to stay busy with a simpler life.

Check out www.sandbarmovie.com for production updates.

Originally Published: May 1, 2010 614columbus.com  




Interview from wegotthiscovered.com


Interview With Rick Rossovich On Sandbar
By Karen Benardello

There are many instances in life when people decide to leave behind what they have come to know in search of a better life. Often, they return to their old lifestyle, looking for redemption. That’s certainly the case with actor Rick Rossovich, who rose to fame in the 1980s and ’90s in films and on television. He decided to give up the Hollywood lifestyle and move to his wife’s native country, Sweden, after a successful career. However, he decided to return to acting after a seven-year hiatus, in the upcoming comedy-drama Sandbar. Rossovich’s latest character, ex-Marine Ronnie McCubbing, is also looking for a way to redeem himself, as he looks to restore his relationship with his grown son.

Sandbar follows Ronnie as he spends a day with his estranged 22-year-old son. While they try to save their relationship, they embark on a wild ride that will push their bond to the limit. Ronnie’s young girlfriend is also along for the ride, and threatens to stop his plans. Along the way, they also encounter a drug dealer, a dead man and a vicious, violent gang.

Rossovich kindly took the time to speak with us over Skype from his home in Sweden to discuss why he decided Sandbar was the perfect movie to make his acting comeback with. He also spoke about what it was like working with filmmaker Nicholas Bushman, who made his directorial and screenwriting debut with the comedy-drama; what it was like filming on an extremely small budget; and whether he’d be interested in returning to Hollywood in the future.

We Got This Covered: After decidedly leaving Hollywood nearly a decade ago, you returned to acting to play ex-Marine Ronnie McCubbing in the upcoming comedy-drama Sandbar. What was it about the character that convinced you to take on the role?

Rich Rossovich: I think Sandbar might be a good little movie. It’s interesting, and maybe that’s why I decided to do it. It kind of came out of nowhere. I was just back in California, at a friend’s house in Malibu, my real estate agent, actually. The script arrived there.

I was in California for about six weeks, up and down the state. I was waiting for my wife, who’s Swedish, to be sworn in to become a citizen, who had been there for almost 30 years on a green card. We had to wait about six weeks to be sworn in.

So I read the script, and it really caught my imagination. During these six weeks, I was emailing Nicolas Bushman, who I thought was some 40- or 50-year-old man somewhere in Ohio. The last film I made (Artworks) was with a 40- or 50-year old man in Ohio, seven years before. Nic seemed like he was of that era, because he knew so much about film history, and how cinema’s evolved. I didn’t know he was 27-years-old until about three or four months into our relationship.

I finally asked him who he was, and we kept on a path of talking for the next few months. I never thought it would happen, because I was fully engaged here in Scandinavia. I was building an art studio, and he flew over, and spent three days with me. We went over the script over and over, and we talked about it.

Finally, I said, leave me alone, I can’t take it anymore. I was really in a huge construction project. I was converting a grocery store in the middle of Stockholm into an art studio with my wife and grown adult kids. My wife encouraged me to do the movie. She said, this kid caught your imagination, and you need to keep your connection with America and your career as an actor.

I knew it was low budget, but I never knew how low budget until I got there. I never asked. I was just going to go and get into this character, and it just turned out to be a handful of young men, a young actress and a dedicated writer and director and producer.

I think one of the things that did it for me too was that this kid really loved his mother. That really came through on a personal level. I knew that I wouldn’t crack up on this, and have a great time and explore acting again.

WGTC: Speaking of the low budget, Sandbar was shot on a budget of $50,000, which is how Nicholas envisioned it before he began filming. Did having such a small budget place any limitations on what you could shoot?

RR: No, he had his great-grandmother’s house, which we took over as the first set for two-and-a-half weeks. We were where he grew up as a kid.

That set was my mother’s house, which I was staying at, because my mother was away on holiday. It’s a reconnection with my son, who I’m estranged from. My marriage had blown up with his mother. I hadn’t seen him in awhile, and I was obviously on some spin, with substance abuse.

So we were nurtured in that environment. The set was there, we could play with the hand held. We had a little video camera, with a really cool lens. It looks beautiful, and you’d never know. That’s the beauty of where we are in the film world right now.

It’s the technology that has really leveled the playing field. It all comes back to, can you tell a story? Can you find a thread that engages an audience, and makes them feel something and moves them somehow?

I’ve been in some action movies, where you’re just waiting around to see something blow up or flip over. With television, it was the same elements, but on a different scale. That’s why after 25 years, I had enough as an actor, and I just had to be in my garden, because it was more engaging than on a set, waiting to be called. There are not enough great roles for everybody. You either make your own, or get lucky.

WGTC: Speaking of action films, you’ve been in such movies as The Terminator and Top Gun. Do you have a preference of low-budget, independent films or action-based movies?

RR: It’s interesting. I did the first season of the show ER (playing Dr. John ‘Tag’ Taglieri), when it really became this phenomenon. It was wild to watch that happen over 10 or 15 shows, after it started airing, to watch this momentum build. You see on a show like that, the layers of all the powers that be. It’s amazing all the pressure you see on that kind of environment.

It can also be said about something that doesn’t break out and become a huge hit. It might be expected to be special, but it turns out to not be so special. That pressure has a way of stopping something from finding its way or its audience.

The nice thing about a small audience is that expectations are much smaller. It’s nice to have a sound engineer, a boom man, the director on the camera and the actors. We were on the set, and that was it, nothing else. It was fun.

If I had to say what I prefer, I guess I felt that way when I made a movie called The Lords of Discipline (playing Dante ‘Pig’ Pignetti). That was for Paramount, back in 1983. We were a bunch of young guys, breaking into the movies, our first big movie.

We had a great chemistry on the set, and it was a lot of fun. You get that collegial experience that makes you want to pull a movie together, and putting in your best effort. You look forward to going to work every day. I guess I hadn’t had that feeling in a long time, but I had that feeling on Sandbar.

WGTC: After appearing in such more well-known movies as The Terminator and Top Gun, did you feel any pressure to continuously appear in these types of movies?

RR: No, never in my career. I did films the first 10 years of my career, then I went into television for a dozen or so years. I went back and did a few smaller movies. That was 25-years. I’ve had a really great marriage and kids. I’ve saved my money and invested.

I can do what I want. I guess that’s a blessing and a curse. It takes away some of your drive to go out and be a workaholic. I found that being on the set wasn’t where I wanted to be. I found it was just a lot of waiting around. Sometimes you feel your life is on hold. You wonder what it’s all about, is it just the end result?

You take a show like Pacific Blue, which I did like 60 episodes. I guess it kind of paved me into my old age. (laughs) But it doesn’t really do much for your soul.

WGTC: Do you have a preference of appearing on television over films, or vice versa, or do you just enjoy acting in general?

RR: I think there’s probably less pressure on a film, in the sense that you have more time to focus, and do less pages per day. It’s kind of a different vibe, and the director has more power. So I probably prefer that.

Television, you have seven or eight days, sometimes less, like five, to get it in the can. It gets a little intense that way. It goes on for six months, and at the end of that, you’ve had it. (laughs)

WGTC: What was it like working with Nicholas on Sandbar, as he was a first-time director? Did you get along with him on set?

RR: Yeah, it’s great. The nice thing was that he was young. He really had a context going back, knowing the history of film. I could really relate to him, on that level. I could help him see, coming from my background and doing it for so long, it was a chance to let me help him. I could get him through times where he might need a better idea. We collaborated, worked together. We both took something good away from that.

WGTC: Nicholas also wrote the screenplay for Sandbar. Do you find it easier to work with a director who also wrote the script?

RR: Well, I’ve done it a few times. As long as they’re not so tied to it, so that when a more interesting moment happens, they won’t stop it. Take Steve Martin, for example, he wrote Roxanne, and adapted it from Cyrano de Bergerac. What a great script, and what a great guy, what a generous man to let me work with him.

I was having a hard time getting to a point where I wanted to be, and we worked within parameters to get myself there. He let me add a little bit of my own sense of humor, and that was great.

Nic was certainly open to improvising once in awhile, find something organically and let it happen. When a director has written his material, it’s so tied to something in his head, it expands on something. I think it works for everybody that way.

WGTC: Speaking of Steve and Roxanne, what was it like working on that film?

RR: I loved it, loved working with him. Like I said, he’s just a generous guy. Everyday was just working with a master. He’s the Buster Keaton of our time. I really enjoyed it. The director was great too, Fred Schepisi. That was really an enjoyable experience.

WGTC: What was your experience like on Top Gun, as that is one of your more well-known roles?

RR: That was about 25 years ago. It was a lot of fun, a lot of great young guys. I became buddies with them at the time, and for many years after, before everyone starts to go their own way in life. You get a camaraderie going when there’s a bunch of young men. Those were great memories.

I got to fly the jet, and be a soldier again. I got to do that with Navy Seals, too, and that was a different experience. Top Gun was probably more fun. With Navy Seals, I already had a young son by then, and I was maturing. The director wasn’t as gifted, and it kind of brought down that studio, Tri-Star.

Top Gun was a high-water mark for me, we had a lot of fun. They sent me a copy of the Blu-ray disc, and there was a lot of commentary and pictures I sent them. I was kind of the oldest guy, I was a few years older than everybody. I kind of became a mentor to some of the younger guys.

WGTC: With the release of Sandbar, would you be interested in returning to Hollywood and appearing in more films?

RR: I actually haven’t been back to California for two years now. It’s the longest I’ve ever been away. The nice thing about my acting career was that I got to travel so much. I got to go to India, Egypt, South America, Europe several times, Canada and Mexico a bunch of times. I got to see so much, and enjoyed it.

Then I took about 10 years where I just kind of stayed in the Los Angeles area, in Ojai, near Santa Barbara, and I did studio work. I did television shows. Then I fell away from that, because I didn’t want to make the drive anymore and sit on a set, I got tired of it. I wasn’t motivated to make a four or five-hour round-trip drive and get rejected.

I think if I did come back, I would probably take a place in L.A. part-time, and try to resurrect something. I’d probably try to make my own movies. I think that’s possible now, since I have a son, Roy, who’s making films here in Sweden. There are guys like Nic Bushman, reaching out and saying, why don’t you do this one? If someone else reaches out and says let’s do something, I’ll be there.

That concludes our interview, but we’d like to thank Rick Rossovich for taking the time to speak with us. Make sure to check out Sandbar when it’s released later this year.

Originally Published: March 11, 2012 wegotthiscovered.com   


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