The role Woody Harrelson only took for the money: “It’s been a long time before I could acknowledge that”
Woody Harrelson seems completely immune to the usual traps and failings of Hollywood, occasionally dipping in to make a weird independent movie or high-stakes action blockbuster but often doing his own thing. Whether that be his avocation for legalising marijuana or regular practice of Brazilian jiu-jitsu, Harrelson tends to stick to his own path, no matter how bizarre it is to others. However, there was one moment during Harrelson’s time in Hollywood when he didn’t stick to his guns.
Money Train, directed by Joseph Ruben in 1995, follows a New York cop who decides to steal a trainload of subway fares with his foster brother and fellow cop trying to protect him in the aftermath. Wesley Snipes stars in the film, with Woody Harrelson and Jennifer Lopez in the supporting roles, which is a surprising ensemble cast. It’s a silly and unserious type of heist story given that the people doing the heist are members of law enforcement, but it has a niche fan base that no doubt watched it for the presence of Harrelson and Snipes alone, making a charming comedic duo.
Harrelson admitted that he accepted the project for the chance to work with Snipes again, with the pair previously collaborating on White Men Can’t Jump in 1992, playing two street basketball players who try to con each other before eventually teaming together. It developed a huge cult following and is one of Snipes’ titular roles, with an undeniable chemistry between both actors that has led even Stanley Kubrick to praise it.
However, Harrelson recently admitted that there was an ulterior motive behind Money Train, saying, “But I also did it for the money, and it’s been a long time before I could even acknowledge that out loud. I’ll never do anything for money again.”
While this perhaps seems out of character for Harrelson, and he clearly does not feel pride over the decision, it is understandably something that many actors would be tempted by. In a world of fame and excess, many people would surely entertain the idea of working on something they’re not thrilled by for some financial stability and freedom.
But Harrelson’s regret over this decision and transparency about it speaks to his character and unconventional way of working within Hollywood. I’d argue that most actors would not admit to something like this (besides Hugh Grant, who is often weirdly honest and self-deprecating about his creative choices, openly berating his decision to star in movies that he only signed onto for a cheque), but Harrelson is at least authentic in the reasons behind his choices.
Since then, he has seen new levels of success with magnetic and deeply satirical performances in Triangle of Sadness and The Hunger Games, aligning himself with characters that often mock the very same forces that tempted him in 1995, commenting on the greed and selfishness of the wealthy elite in both projects. The irony of being tempted by money in a film called Money Train is not lost on Harrelson, but at least he’s willing to admit it.
