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But a scheduling conflict forced Lee to turn down the part; he was in France, shooting the never-going-to-be-released-in-the-States Cuisine Americaine. At the time, it seemed a lousy career move -- and Lee's acting career was only, oh, 3 years old. But when filming on Dogma was pushed back to the spring of 1998, Lee was able to sign on, this time as Azrael, a former muse since sentenced to spend an eternity in hell for his failure to take sides in a battle between God and Lucifer. (No, really.)
Surprisingly, Lee seems almost gratified he didn't get the role of Loki; his reaction is unexpected, since Azrael, whose desire to escape from hell sets in motion Dogma's hell-or-high-water plot, is but a bit player among nearly a dozen others. But Lee explains it this way: If he had played Loki as Smith originally wrote the part, he would once again be saddled with the role of wisecracking sidekick, something he had done already in Mallrats and 1997's Chasing Amy (not to mention 1998's Kissing a Fool, his first starring role outside of his movies with Kevin Smith). No way he wanted the part. Not again.
"In Mallrats, I played the cynical wise-ass sidekick, and in Chasing Amy, it was different, but similar -- Banky, the friend who's pretty cynical who cuts people down and wises off all the time," Lee says. "This role, Azrael, I'm on my own." He chuckles softly. "I'm not anybody's sidekick. And everything is different, from the way I act to the mannerisms to the behavior and overall attitude. It was more satisfying I could do something different in a Kevin Smith movie and knowing that his fan base would see me in a different light. Had I played Loki, I would have played it similar to a Brodie or a Banky -- the guy who's complaining a lot and cutting people down and having that similar edge. And it would have had similar inflections and stuff."
The inflections. When Kevin Smith talks about the 28-year-old Lee, he never fails to mention the way Jason Lee delivers a line -- the way he "emphasizes the sardonic," as the writer-director likes to put it. Lee energizes any scene in which he appears: In Mallrats, he delivers each line as though it were the most important thing to come out of his or anyone else's mouth, as though each thought were his last. Little wonder that in his online making-of-Dogma diary, Smith insists Lee is among the few actors he wants to appear in every one of his movies. "Aw, man, that's awesome," Lee says. "If he writes it, I'll do it, ya know? But the way Brodie talks defines the character: the way he goes up, and the way he goes down."
In Mallrats -- which now exists on video and special-edition DVD as a cult fave -- Lee talks like someone too bored to tell a whole joke, so instead he simply offers up the punch line, whether discussing the reasons Lois Lane's womb couldn't handle Superman's super sperm, or delivering an extended monologue about group masturbation on an airplane seemingly doomed for disaster. Mallrats may have been Lee's first film, but he carried himself like someone who had been making movies for a lifetime. He swaggered like an old pro -- or, perhaps more to the point, like a pro skateboarder used to going a hundred miles an hour.
"Brodie's a big character -- he's loud and says it like it is -- but for Mallrats, I basically put myself in Kevin's hands," Lee says. "I started off on the right foot. I mean, I'm not an asshole anyway, but I didn't show up onset cocky: 'Oh, I'm an actor now, I'm gonna be famous, I'm in a big motion picture.' I was the new kid on the block, and I didn't want to take it for granted. So I tried to be on time, and I tried to ask as many questions as I could. If I didn't understand something -- a word, a relationship -- I would ask him to explain it. Because if you go into a scene with something on your mind, it's going to distract you from what you're supposed to be doing. I didn't want to jeopardize the performance, so I made sure to be on the ball and ask a lot of questions."
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