Walton Goggins and Danny McBride Discuss Anxiety Crises and Enlightenment Experiences

Walton Goggins embodies a seeker. Whether on-screen or in real life, he is perpetually in pursuit of something—be it truth, connection, or that elusive perfect narrative. From the ruthless charisma of Boyd Crowder in Justified to the raw vulnerability of Venus Van Dam in Sons of Anarchy, Goggins has carved his niche by delving into uncharted territories of his characters. Recently, the 53-year-old Alabama native has teamed up with Danny McBride, showcasing his outrageous talent in HBO comedies such as Vice Principals, where he plays the scheming Lee Russell, and The Righteous Gemstones, embodying the wild-eyed grifter Baby Billy Freeman. Now, Goggins is stepping into Mike White’s sunlit, morally complex realm in the third season of The White Lotus—an experience he reflects on as one that exceeded all expectations.

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THURSDAY 2 PM JAN. 9, 2025 LA

WALTON GOGGINS: Wow, you made it, man!

DANNY McBRIDE: Are you throwing shade at me in here? Should I adopt a different way of speaking or something?

GOGGINS: A British accent would be nice, so it sounds like you know what you’re talking about.

McBRIDE: I can swing that. I’ve never had to prep for a chat with you before, but I did a wee bit of homework. First question, how much did that watch set you back? That’s some Fallout cash, isn’t it?

GOGGINS: [Laughs] It’s all from Righteous Gemstones, buddy!

McBRIDE: Exactly. Well, Walton, I’m eager for everyone to see what you’ve been up to. This is a broad question, but as we get older, is there something you haven’t tackled yet that you genuinely wish to do before it’s all over?

GOGGINS: Wow, that’s been on my mind a lot lately. My answer would have varied in my twenties, thirties, and forties, and we’ve touched on it outside of this discussion. I have four more years—if we’re lucky—until our child graduates high school and heads off—

McBRIDE: Oh, crap! I thought you were saying you had four years left to live. I was like, “What’s going on?”

GOGGINS: [Laughs] Just got the diagnosis today! I didn’t want to drop it on you like this. But yeah, buddy, it’s not looking too bright.

McBRIDE: [Laughs]

GOGGINS: I’m not sure, man. I feel there’s another chapter waiting for me, one that focuses on storytelling but in a lighter way. After my son heads to college, I want to simplify my life: find a spot to settle for a few months each year—maybe in Europe, or rent a budget apartment on Hydra or any picturesque island—and devote even more quality time to my loved ones, my son, my wife, and myself. I envision starting my mornings with coffee, going for a long swim, enjoying drinks at 3 PM, winding down by 8, reading a good book, and hitting the hay. Maybe even learning a new language. Who knows?

McBRIDE: Focus on enjoying your life. Don’t stress about picking up another language. You know your mental limits.

GOGGINS: [Laughs] I appreciate you cutting me some slack.

McBRIDE: I get that, Walton. You and I often discuss how swiftly time flies and how quickly our kids grow up, which can be overwhelming. As those moments become more precious, what do you think it would take to pull you back into acting? Is it a character? A director? A script? What would compel you to leave home and embody a character?

GOGGINS: Do you work for 60 Minutes or something? What’s going on?

McBRIDE: Just auditioning for a podcast! I hear they’re all the rage. [Laughs]

GOGGINS: Alright then. You asked what would motivate me to step out? Truthfully, I’m ready now, but I have commitments and I’m really enjoying my current projects. I’ve collaborated with many of my idols, you among them. I’ve had my share of opportunities to tell deeply personal stories that fulfill me. While I know there are stories that will come my way that I’ll feel compelled to share, in the absence of financial obligations and parenting, I could do this indefinitely, man.

McBRIDE: What fascinates me is how we barely knew each other beforehand. We met a few times, and when I sent you the Vice Principals script to portray Lee Russell, you responded almost immediately, sounding just like him on the phone. I still recall that call. I was curious, what stands out to you about these characters?

GOGGINS: It varies. Take Vice Principals for example. I recall reading for you for Eastbound & Down. It was my first time saying your words in front of you. Knowing you well enough, I understood that you had offered me this chance, but I wanted you to feel comfortable after our chat, as if you could envision me transforming the role beyond that initial 15-minute conversation. Throughout my career, the characters often reveal themselves on the page. I don’t spend time worrying about how they speak or move—those are choices that actors make, but I don’t adhere to that technique. I don’t see it as acting; I see it as storytelling. My passion for storytelling has consumed me for most of my life, so I instinctively know how to read a narrative. After the first read, I delve in repeatedly, getting more specific each time.

McBRIDE: I replay that call in my head. I was so apprehensive about what we were following up Eastbound with, and it felt imperative to have a strong partner. When you were on the phone, I knew instantly that I had found that ally. You’re my favorite type of actor: you make people laugh while keeping the character relatable and human.

GOGGINS: Wow, I sincerely appreciate that.

McBRIDE: The setting for The White Lotus was in Thailand. I’ve traveled with you before during our time in Italy, and you had a certain flair there—like you walked right out of a Fellini film. You cruised around in your rental car, vibing to [Ennio] Morricone through the dry roads of Sicily. What was your vibe in Thailand?

GOGGINS: I dressed like an Italian while listening to Morricone.

McBRIDE: [Laughs] So no change in style?

GOGGINS: Nope. When we started discussions, the first thing Mike [White] mentioned was, “I don’t know who your character is, so I’ll leave it up to you to figure it out.” The same went for our costume designer, Alex [Bovaird]. I began mulling it over and envisioned a mix of Hunter S. Thompson and Jimmy Woods in Salvador.

McBRIDE: Of course.

GOGGINS: Yeah. It was a fusion of those two personas. I can’t go into too much detail, but my character is an outsider, someone who’s spent much of his life traveling. His passport is worn out, and his attire should reflect that. The watch he wears and the lighter he carries should signify opulence, yet he wouldn’t be able to replace them if lost. He’s an effortlessly stylish traveler, and while I may not embody that perfectly, I have observed others move through countries that way.

McBRIDE: You’re across the globe, residing in a hotel for the shoot. Do the lines become blurred? What was the experience of shooting in such close quarters together?

GOGGINS: That’s a thought-provoking question. Each person had their own semblance of Apocalypse Now.

McBRIDE: [Laughs]

GOGGINS: It was surreal. I didn’t anticipate how unenjoyable it would be to live where you work. While I understood the convenience of staying in a five-star hotel and thought it was cool to roll out of bed, the reality is that when you’re not working, others are, and the lights stay on in various villas around the property. For me, that kind of exposure is unsettling. There was no division between my personal and professional lives. I thrive on immersing myself during work, but due to the filming setup, much of it feels detached, and you can’t really escape anywhere. We hadn’t fully considered how the social dynamics would play out when living sequestered together for an extended period. It was mind-boggling. As for me, I tend to be a social loner, finding myself torn between needing people and needing solitude; and since we shared meals together, I’d often wonder, “Why isn’t anyone inviting me anywhere?”

McBRIDE: [Laughs] Maybe because you looked like an Italian mobster, vibing with Morricone. They didn’t quite grasp your mindset.

GOGGINS: Then I would get invited to a party, but suddenly I’d leave without a word. The entire experience was bizarre. The nature of the show is also an existential concern, and Mike White navigates that deeply. This particular journey wasn’t mentally easy for me, which complicated interactions with colleagues in a casual context without repercussions. Small talk isn’t my strong suit.

McBRIDE: Yeah, you’ve never excelled in casual conversation, I’ve noticed. I’ve held back from saying it before to avoid making you self-conscious. [Laughs]

GOGGINS: [Laughs] And now it’s on the record!

McBRIDE: The White Lotus is among my favorite shows. So much love for it exists. Is there a unique challenge in stepping into the third season of a show where you’re new, and the audience has high expectations?

GOGGINS: Absolutely, that pressure weighed heavily on all of us. This was the third season and nobody wants to be the one who messes it up. Suddenly, the stakes rise, knowing people are eagerly awaiting the new installment. I’ve never faced that kind of pressure before, considering the audience’s perspective, and much like them, I’m a huge fan of the show. Honestly, as I prepared for season four of The Righteous Gemstones, I was a bundle of nerves the night before. You recall how my first day back unfolded this season—let’s not delve into that now, but suffice it to say, I hit a wall.

McBRIDE: I took that out of the show. [Laughs]

GOGGINS: [Laughs] But for The White Lotus, we grappled with significant insecurity because we wanted to honor our co-stars and not disappoint Mike, all while avoiding scrutiny from critics.

McBRIDE: [Laughs]

GOGGINS: No one voiced it, wanting to avoid appearing vulnerable, but it was something shared among us—an underlying tension in our rooms that eventually faded into the realization that we were there to engage with the story in an authentic, truthful way. Once everyone grasped that, we calmed down and focused on our work.

McBRIDE: It’s essential to navigate these situations. HBO marketing provided this question, so feel free to pass if you wish: Did you learn how to shoot a ping-pong ball out of your vagina while in Thailand?

GOGGINS: [Laughs] No, I didn’t, but my son did, and I witnessed it.

McBRIDE: [Laughs] He’s impressively talented.

GOGGINS: It was odd; I thought, “Why not?” [Laughs] Reflecting on Thailand brings back memories. One night alone in Bangkok, I found this fantastic dining spot that quickly became a staple. I had a few whiskey sours and decided to dive into the more indulgent side of life. This isn’t my first time traveling solo internationally; I’ve been at it for years. However, during my previous visit to Thailand 18 years ago, I held myself back from exploring because I was in a different headspace. So this time, I threw caution to the wind. With that buzz of courage after stepping out of the taxi, I received a call from my manager congratulating me. I was puzzled and inquired what it was for—apparently, I had just scored an Emmy nomination, which felt surreal and probably steered me away from trouble. [Laughs]

McBRIDE: You must have thought, “You know what? I’m good. I’ve seen enough; let’s go celebrate.” I love it. You spoke earlier about your previous experience in Thailand. I’m curious about your journey and what brought you back—how should we orient this conversation?

GOGGINS: I visited Thailand 18 years ago during a period of personal turmoil that fueled a three-year quest for meaning in my life. I sought enlightenment and spirituality, a journey I’ve been on for ages. My mother introduced me to esoteric literature when I was just 13 or 14, exposing me to various faiths, both traditional and unconventional. Over a decade, I found what I’ve been searching for. Remarkably, a question popped up from this magazine: “Do you believe in spirituality, considering how it relates to The White Lotus?” I pondered that, uncertain if you’d bring it up, but my answer hinges on how spirituality is defined. Is it about finding God? Understanding happiness? What does happiness even mean? Ultimately, the overwhelming sense of peace I’ve arrived at in my life stems from genuinely falling in love with myself. I believe that’s at the heart of spirituality. You can discuss finding a higher power, but when you discover your God, you must still confront yourself. You either cross that threshold or you don’t, but that, too, is a form of theology. Arriving at a place where I could love myself enough to forgive my past and those who’ve hurt me has unlocked the ability to extend compassion and empathy to others. That, I think, encapsulates spirituality.

McBRIDE: That’s beautiful, Walton; now I feel a bit guilty for asking the ping-pong question.

GOGGINS: [Laughs] HBO nudged you to ask it, and I appreciate you indulging them!

McBRIDE: You’re 53 now. When you walk onto a set and see your colleagues in their twenties, does that feel difficult? Do you find it alarming when you reflect on how long you’ve been in this industry?

GOGGINS: There’s definitely a numerical distinction. When I was the youngest in the scene, I assumed that moving forward, my roles would be alongside established icons much older than me. Yet it can feel isolating sometimes; there’s a sense of being overshadowed. However, I also share this experience with some contemporaries, which amplifies the sweetness. Those glasses of wine and deep, meandering conversations about our existential dilemmas are enriching. It’s strange to be older in this field, but there’s a tranquility that washes over me once I begin, and as grueling as it may be at times, the space between “action” and “cut” is extremely enjoyable for me.

McBRIDE: I was interested in your views on aging. Personally, I frequently encounter people saying, “I grew up watching you,” and I remember the first time that hit me; I realized I have my feet firmly planted in the industry now. It shifts your perspective. For me, getting started was more about making it work, establishing myself, and then suddenly something clicks and you recognize how far you’ve come. New talent is emerging, which I find exciting.

GOGGINS: It is thrilling. I never fixated on the spotlight’s allure or its absence. My focus has always been on discovering impactful work or being excited about new material and participating in that storytelling journey with people who later become lifelong friends. There’s a certain pleasantness when you find yourself on the other side of that.

McBRIDE: We’re not old by any means.

GOGGINS: Exactly; we’re not! But I feel older in spirit sometimes. Do you think the film industry will collapse during our lifetimes?

GOGGINS: Oh, I really don’t think so. You probably have more insight since you’ve committed your life to this craft. I just recite my lines. The essence of storytelling has been a part of humanity from the start, and while the formats might change, or the methods of conveying narratives may evolve—perhaps we’ll see more primitive gatherings where people engage and connect, just like hunting parties—there will always be a need for stories that move people.

McBRIDE: I wouldn’t mind that. May I join your team?

GOGGINS: You’d be my first pick for sure. You’re undoubtedly the funniest person I know. Thanks for spending this time with me, my friend. I know life is hectic, and it’s hard to believe I can call Danny McBride my buddy. I genuinely appreciate you taking the time to ask me these questions. I realize it’s a substantial commitment for you.

McBRIDE: I’ve gathered a lot. I wasn’t even aware you worked on projects beyond “Gemstones.”

GOGGINS: [Laughs] Alright, brother, love you.

McBRIDE: Love you too, Walton. Best of luck, my friend.

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Grooming: Sebastian Scolarici at Tracey Mattingly Agency

Fashion Assistant: Nicholson Baird

Location: Parkside Lounge