Matthew McConaughey the shape-shifter!

'Failure to Launch is baffling'1

'This morning, Matthew McConaughey woke up to his first Oscar nomination. There's no denying

the McConaissance now, a bold second act in the American actor's life'2

Matthew McConaughey is an American actor born November 4th 1969, he was voted 'Sexiest Man

Alive' by People Magazine in 20053 and praised by TIME Magazine in their list of 'The 100 Most

Influential People' of 20144. The actor is well known for two distinct phases in his career, the

above quotes are suggestive of the difference in their reception. In the 2000's his body of work

comprised mainly of romantic comedies, but since 2010 he has been synonymous with more

serious, character driven roles resulting in critics nicknaming this second period 'The

McConaissance'. Writing for TIME magazine, Eliana Dockterman asks 'How did Matthew

McConaughey go from rom-com staple to Oscar frontrunner?'5. Considering this statement, in this

essay I will investigate Matthew McConaughey's ability to alter his screen persona whilst

evaluating why his opposing representations were able to be so successful. In what follows I will

analyse a selection of McConaughey's films and their marketing, starting with The Wedding

Planner6 and progressing through to Dallas Buyers Club7. I will link my own textual analysis of

these works to the comments of theorists such as Richard Dyer8910, who extensively discusses the

1 Anna Wood, 'Failure to Launch', Sight & Sound, 6 (2006), p. 50 2 Rachel Syme, 'The McConaissance', (2014) 3 People Magazine, 'Matthew McConaughey: The Sexiest Man Alive', (2005) 4 Richard Linklater, '100 Most Influential People: Matthew McConaughey', (2014) 5 Eliana Dockterman, 'Charting the McConaissance: The Evolution of Matthew McConaughey', (2014) 6 The Wedding Planner, directed by Adam Shankman (Columbia Pictures Corporation: USA, 2001) 7 Dallas Buyers Club, directed by Jean-Marc Vallée (Truth Entertainment: USA, 2013) 8 Richard Dyer, The Matter of Images Essays on Representations, (London: Routledge, 1993) 9 Richard Dyer, Stars, 2nd edition (London: British Film Institute, 1988) 10 Dyer, Richard., 'Heavenly Bodies', in Sean Redmond and Su Holmes, Stardom and Celebrity: A Reader (London: SAGE Publications Ltd, 2007) pp. 85-89

creation and function of stars; James Naremore11, who explores the categorisation of actors and the

perceptions that follow their character roles, Thomas Harris12 who examines the logic behind

stereotyping of actors, and Judith Mayne13 who contrarily states the appeal of actors lies in their

ability to reinvent their image.

Today's Hollywood stars are not so different from their early cinema counterparts. They may

spend more time with a personal trainer and be seen by viewers on different platforms, but their

ability to draw in paying audiences who profit production companies has remained equally as

valuable. Joshua Gamson discusses the structure of Hollywood in the 1920's and notes the

advantage to film manufacturers from the high integration of the industry, suggesting that: '… film

performers were essentially studio owned-and-operated commodities'14. This industry unification

may have splintered over time affording actors more control over their roles, but since then the

value in and platforms available for marketing have increased greatly. This enables producers to

exploit these channels to overwhelm prospective audiences with their marketable stars.

Investigating stars centrality to the cinematic experience, Andy Willis suggests: 'The drive to

include a familiar element within a film package is due to the ease with which distributors feel they

will then be able to promote it'15. Film stars allow for instant recognition in a potential audience

due to the saturation of their image in the media. There are many ways in which theorists suggest

audiences are attracted to stars. Chris Rojek offers an interesting explanation suggesting that

celebrities can offer feelings of belonging, recognition and meaning in audiences whose lives are

lacking16. But Robert Allen and Douglas Gomery's conclusion that: ' … stars form an aesthetic

intertext that audiences use to derive meaning and pleasure from films'17, is more applicable for an

11 James Naremore, Acting in the Cinema (Los Angeles: University of California Press, 1988) 12 Thomas Harris, ‘The Building of Popular Images: Grace Kelly and Marilyn Monroe’, Studies in Public Communication, 1 (1957) 13 Judith Mayne, Cinema and Spectatorship (London: Routledge, 1993) 14 Gamson, Joshua., 'The Assembly Line of Greatness: Celebrity in Twentieth-Century America', in Sean Redmond and Su Holmes, Stardom and Celebrity: A Reader (London: SAGE Publications Ltd, 2007) p. 144 15 Andy Willis, Film Stars: Hollywood and Beyond (Manchester: Manchester University Press, 2004) p. 2 16 Chris Rojek., ‘Celebrity and Religion’, in Sean Redmond and Su Holmes, Stardom and Celebrity: A Reader (London: SAGE Publications Ltd, 2007) pp. 172 17 Allen, Robert C and Douglas Gomery, Film History: Theory and Practice (New York: McGraw-Hill Higher Education, 1985) p. 173

analysis of Matthew McConaughey, especially in regards to his romantic comedy phase.

Their appeal then is obvious, but where does the actor end and the star begin, Dyer suggests:

'The star phenomenon consists of everything that is publicly available about stars. A film star's

image is not just his or her film'18. In a separate publication he progresses this notion and

highlights four locations where the star is constructed, those being: ' … promotion, publicity, films

and criticism and commentaries'19. Regarding the 'image' of a star, Richard Howells refers to Dyer

in his work concerning the function of the modern photograph and its comparability to ancient

relics in portraying 'celebrities'. He unpackages the word 'image' and suggests it is more than a

mere representation of someone, it is a: '… far broader, public persona which can be cultivated in

numerous ways'20, some of which Dyer has suggested above. Howells suggests that celebrities are:

'… as much image as actuality'21, this describes the condition for a star or celebrity who has been

constructed by images stitched together from multiple sources, with often opposing and incorrect

representations of the real person. In regards to McConaughey's screen image, which is a filmic

representation of the actual person, it can be seen to fluctuate between his two distinct career

phases. As such, it would seem to fulfil the dictionary definition of a shape-shifter, which is: 'An

imaginary person or creature that can change into a different shape'22. For this investigation of

Matthew McConaughey, I wish to highlight a further definition of the star as provided by Edgar

Morin. Whereas Dyer suggests the star is a combination of everything publicly available forming

one being, Morin believes the star is another entity existing separately but interacting with the real

person and the character. He states that: 'Once the film is over, the actor becomes an actor again,

the character remains a character, but from their union is born a composite creature who

participates in both, envelopes them both: the star'23.

The McConaughey persona from the rom-com cycle that Dockterman suggests ran from

2001-200924 was initially formed, before being reproduced multiple times, in The Wedding

18 Richard Dyer, (2007), p. 85 19 Richard Dyer, (1988), p. 60 20 Richard Howells, ‘Heroes, saints and celebrities: the photograph as holy relic’, Celebrity Studies, 2 (2011), p. 113 21 Richard Howells, p. 113 22 Cambridge Dictionary Online, ‘Shape-shifter definition’, (2015) 23 Edgar Morin, Les Stars, trans. Richard Howard (New York: Grove Press, 1960) 24 Eliana Dockterman, (2014)

Planner. According to Box Office Mojo, the film grossed $94,728,52925 worldwide, a large

financial success in relation to the estimated $35 million budget26. An outcome on this scale is

clearly desirable for the production companies involved, to maximise their potential revenue this

amalgamation of film elements that combined to attract audiences and therefore sell tickets was

replicated. Thomas Harris notes that the motion picture industry has: '… perfected the device of

stereotyping its stars … The successful stars have been those whose appeal can be catalogued into

a series of such traits, associations and mannerisms'27. Writing on the contribution of acting in

films, and progressing the role of stars to include their effect on the narrative of a film. James

Naremore notes that audiences compare a film character to the typical role of that actor and

suggests: 'These perceptions can become part of a film's structure and meaning'28. A selection of

attributes identifiable from The Wedding Planner that continue through what I wish to term the

'RomConaughey' include: McConaughey playing charming and attractive characters, a formulaic

narrative structure culminating in romantic coupling; comedic situations involving McConaughey's

character being the recipient of embarrassment, and cringeworthy romantic dialogue. Returning to

stereotyping, it was the political commentator Walter Lippmann who first coined the term, its

original definition is contrasting to its current use and value to film producers. He described it as:

not merely a way of substituting order for the great blooming, buzzing confusion of reality

… it is the projection upon the world of our own sense of our own value, our own position

and our own rights29

Through his definition, stereotyping promotes individuality and not collective reductionism,

comparatively Dyer notes its contemporary use as: '… a short cut' and: ' … an ordering process'30.

Dyer progresses to highlight the problem it has in that it can lead to an extreme: '… belief in the

absoluteness and certainty of any particular order'31. This issue is ironically where the value of

25 Box Office Mojo, ‘The Wedding Planner’, (2015) 26 Box Office Mojo, ‘The Wedding Planner’, (2015) 27 Thomas Harris, p. 40 28 James Naremore, p. 263 29 Walter Lippmann, Public Opinion (New York: Macmillan, 1956), p. 96 30 Richard Dyer, (1993), p. 11 31 Richard Dyer, (1993), p. 12

stereotyping stars lays for production companies, and why the rom-com image of Matthew

McConaughey was a financial success. A character he portrayed and his narrative journey was

enjoyed once by audiences, then reduced to a set of comparable traits which were repeated and

carried the promise of the return of the original pleasures.

The next entry into the 'RomConaughey' was How to Lose a Guy in Ten Days32, as was the

case with The Wedding Planner, this film had its female star as the main character. However,

McConaughey's image was clearly understood to be valuable by marketing teams as his poster

presence was upgraded. Images 1 & 2 show this quite clearly, he moves from placement behind

Jennifer Lopez and hair cut off by the borders of the poster, to sharing equal space and mirrored

positioning with Kate Hudson. The poster for How to Lose a Guy in Ten Days (How to) also

introduces the lean, which is used again in promoting his later films.

Image 1: The Wedding Planner poster33 Image 2: How to poster34

32 How to Lose a Guy in Ten Days, directed by Donald Petrie (Paramount Pictures: USA, 2003) 33 Image 1: Fanpop, ‘The Wedding Planner Poster’ 34 Image 2: MoviePosterShop, ‘How to Lose a Guy in Ten Days Poster’

Within both films, McConaughey's characters fall in love with the main female characters; both

they and him have successful careers and are extremely talented in their occupations which

perform a role in the progression of the plot. These narratives are structurally very similar, for

example, the potential couples meet through a chance encounter, McConaughey's characters lie to

both of the women for his personal gain and he suffers embarrassment in the maintenance of these

lies. One such instance from The Wedding Planner is when he almost crashes the vehicle he is

driving after Mary Fiore (Jennifer Lopez) discusses the secret he is keeping from his fiancé. In

How to, the lie is the relationship he is in and this requires him to put up with a dog that urinates

more than once on a table. Further similarities comprise of scenes where the couples argue and

separate before eventually realising they love each other, McConaughey makes a vehicular based

pursuit, they kiss and the film abruptly ends with a camera pan away from them. How to is the

most commercially successful McConaughey film from this phase with an international box office

of $177,371,44135 from a budget of $50 million36. It can also be seen to start the connection of this

phases screen image with the later films fascination and more obvious portrayal of his body. Here

he is seen voyeuristically and briefly through his office window whilst changing his top, but in

later films his time shirtless increases. Failure to Launch37 offers one such example; in an early

scene he exits his bathroom after showering, walks directly towards camera and interacts with

objects causing his muscles to flex.

Sahara38 came after How to and maintained the comedy and romance for McConaughey's

screen image. It also added action and adventure in what can be viewed as an attempt to increase

his appeal to a wider audience. Conversely it can just be seen as a 124 minute vehicle showcasing

his body, with clothing revealing his arms and opportunities for his upper body to be fully revealed.

Image 3 reflects this with his stance and clothing, it also highlights the increasing value of his

screen image with his promotion from equal placement in his previous film, to centre stage above

his co-stars.

35 Box Office Mojo, ‘How to Lose a Guy in Ten Days, (2015) 36 The Numbers, ‘How to Lose a Guy in Ten Days’, (2015) 37 Failure to Launch, directed by Tom Dey (Paramount Pictures: USA, 2006) 38 Sahara, directed by Breck Eisner (Paramount Pictures: USA, 2005)

Image 3: Sahara poster39

Box office takings lower than the budget spent on Sahara are suggestive of why McConaughey's

screen image returned to its previous stereotype for his next appearance. The structure and content

of Failure to Launch combined with the use of already proven successful marketing techniques

achieved this. Image 4 shows a comical scene suggesting to an audience that what has happened to

the screen image of McConaughey before might happen again. Comparably, image 5 features the

return of the lean for the DVD release in what can be seen as an attempt to recall for viewers their

previous enjoyment, and the producers financial success, from How to. This association intended

from marketing, is as Andy Willis suggests, necessary for film producers to prosper as today's

cinema audiences: ' … increasingly decide what to consume based on choices dictated by their

awareness of star personas and the vehicles they are associated with'40.

39 Image 3: KapanLagi, ‘Sahara Poster’ 40 Andy Willis, p. 2

Image 4: Failure to Launch Poster41

Image 5: Failure to Launch DVD Cover42

41 Image 4: ATTN, ‘Failure to Launch Poster’ 42 Image 5: Covers, ‘Failure to Launch DVD Cover’

McConaughey's stereotyped image remains consistent, the narrative follows a very similar path as

set out by The Wedding Planner and How to. One particular comical link that can be interpreted is

the progression from the urinating dog in How to, to a series of animal based encounters intended

as comedic in Failure to launch. The first is an attack from a chipmunk resulting in a scuffle and

Tripp (McConaughey) falling over his bicycle. The next incident involves a dolphin dragging him

out to sea and the final one sees him being bitten by a small lizard whilst rock climbing with

predictable gravity related consequences. The final two films from this phase, Fool's Gold (2008)43

and Ghosts of Girlfriends Past (2009)44, were the second and third least profitable and potentially

the reason they were the last to be made. Images 6 & 7 suggest the continued intention from the

producers to stereotype McConaughey, as they are clear replications of previous posters.

Image 6: Fool’s Gold Poster45 Image 7: Ghosts of Girlfriends Past Poster46

43 Fool’s Gold, directed by Andy Tennant (Warner Bros: USA, 2008) 44 Ghosts of Girlfriends Past, directed by Mark Waters (New Line Cinema: USA, 2009) 45 Image 6: Moviefone, ‘Fool’s Gold Poster’ 46 Image 7: Traileraddict, ‘Ghosts of Girlfriends Past Poster’

One featuring the lean suggestive of romantic and also comedic situations, the other intent on

suggesting that a film comparable to the failure Sahara, will be enjoyable as McConaughey is

partnered with Kate Hudson whose previous collaboration How to was enjoyable for audiences and

financially lucrative for producers. Though his 'RomConaughey' persona was commercially

successful for the most part, it's critical reception was not as desirable. Variety's review of Fool's

Gold noted that: '… it's hard to envision Warner Bros. separating too many fools from their

money'47. His screen image was successful in this phase because it was manipulated into a

stereotype through his similar characters and comparable romantic and comedic situations. How

then was he able to enjoy a 'McConaissance'?

It began with The Lincoln Lawyer48, at least according to Dockterman's observation: 'If you

had to pick a turning point … that was the beginning of the new era'49. But what the

'McConaissance' actually was, according to Rachel Syme in her investigation of the phenomenon,

'… is the clever (and purposeful) undoing of a mythos and the embrace of a more authentic

McConaughey'50. This attitude to authenticity is reflected in his selection of character roles

performed in this period and suggests why he was successful in shedding his stereotyped image.

Conversely to prior notions regarding the appeal of stars residing in their ability to offer the return

of familiar pleasures. Judith Mayne suggests: '… inconsistency, change and fluctuation are

characteristic of star images'51, and that: '… the appeal of stardom is that of constant reinvention,

the dissolution of contraries, the embrace of wildly opposing terms'52. If this is where the desire of

stars resides then McConaughey's progression, or more accurately regression, from conscience

troubled lawyer; kind-hearted fugitive, immoral contract killer and homophobic hustler showcases

why he has received wide critical praise and profitable, if not entirely lucrative, cinema attendance

for his performances in this period. Discussing McConaughey's career to date, Jenelle Riley

suggests: '… nothing could prepare audiences for McConaughey's turn as the title character in

“Killer Joe"'53. The change this caused to the perception of his screen image and therefore, as

47 Brian Lowry, ‘Review: Fool’s Gold’, (2008) 48 The Lincoln Lawyer, directed by Brad Furman (Lionsgate: USA, 2011) 49 Eliana Dockterman, (2014) 50 Rachel Syme, ‘The McConaissance’, (2014) 51 Judith Mayne, p. 128 52 Judith Mayne, p. 138 53 Jenelle Riley, ‘Mister Sinister’, BackStage, 53 (2012), p. 11

Mayne suggests, his appeal could suggest desire to see him again in his next film Mud54.

Revealingly, it received a worldwide box-office of $21,590,08655, almost doubling its reported

budget of $12million56 and won 15 of the 40 awards it was nominated for worldwide 57. The

successful remoulding of his screen image would suggest the earlier observation of his

shape-shifting ability is correctly applicable. However, that term applies to an: '… imaginary

person or creature'58 of which the stereotype of McConaughey's rom-com screen persona was, but

his new authentic 'McConaissance' characters were not. More tangible is the application of the

term 'protean star' to suggest his versatility in performing different characters. In his exploration of

Hollywood's use of Greek gods in shaping stars, Michael Williams relates the origins of the term

to the Greek god Proteus known for his shape-shifting ability59. Whilst Marcia Landy applies the

term to suggest the appeal of a female character in a 1960's film resides in her: '… ability to

present herself differently to the different audiences she confronts'60. Relating this to

McConaughey, I would suggest the typifying characteristic of his 'McConaissance' is the

presentation of different characters who crucially, and comparatively to his 'RomConaughey'

characters, develop over the course of the narrative.

Richard Dyer suggests that we could label such characters as: 'novelistic'61, the opposite of

the stereotype, '… defined by a multiplicity of traits that are only gradually revealed to us through

the course of the narrative, a narrative which is hinged on the growth or development of the

character'62. The introductory and concluding scenes from Dallas Buyers Club occur in the same

rodeo arena, this provides audiences a visual marker to measure the character progression of the

54 Mud, directed by Jeff Nichols (Lionsgate: USA, 2012) 55 Box Office Mojo, ‘Mud’, (2015) 56 Melena Ryzik, ‘Storytelling Son of the South’, (2013) 57 IMDB, ‘Mud Awards’, (2015) 58 Cambridge Dictionary Online, ‘Shape-shifter definition’, (2015) 59 Michael Williams, Film Stardom, Myth and Classicism: The Rise of Hollywood’s Gods (New York: Palgrave Macmillan, 2013) p. 110 60 Landy, Marci., ‘Swinging femininity, 1960s transnational style’, in Melanie Bell and Melanie Williams, British Women’s Cinema (Oxon: Routledge, 2010) p. 115 61 Richard Dyer, 1993, p. 13 62 Richard Dyer, 1993, p. 13

protagonist. Ron Woodroof (Matthew McConaughey) begins the film by engaging in what we will

assume from later knowledge to have been unprotected sex, he then drinks alcohol; gambles, hurls

homophobic insults; steals money, and punches a police officer. Between this point and the

conclusion, Ron is informed he has contracted HIV, struggles to obtain life-lengthening

medication; meets and verbally abuses a transvestite homosexual, befriends that transvestite

homosexual; and forms a partnership providing medication to those in need. Highly suggestive of

this characters development is a scene involving the withdrawal of a gun and consideration of

suicide. Up until this point his resolve against the doctor's diagnosis has been firm and he has

aggressively combated any notion of dying, but in this surprising and unexpected breakdown he

emotionally reveals his true feelings. Returning to the rodeo arena the final image of the film is a

freeze-frame, a technique used to suggest an unaltering state. The frozen and fading image is of

Ron riding a bull, it can be interpreted as a metaphor suggesting his defiance in the face of certain

failure. Bull-riders are only expected to last several seconds on the powerful animal in much the

same way those suffering with the aggressive AIDS virus are given a very short life expectancy.

This counterpoints Ron's introduction as a selfish unpleasant individual to the indomitable and

selfless individual he becomes. If the financial and critical reception of the film is a gauge of

success then Mayne's suggestion of star appeal residing in reinvention is given considerable

backing. The film made a reported 1100%63 at the box office from its budget and provided

McConaughey with 18 best actor awards worldwide64. It could be suggested that Dallas Buyers

Club is the culmination of McConaughey's attempts to redefine his screen image. But whereas the

'RomConaughey' had identifiable traits linking films, such as similar characters or narrative

trajectories. This later phase is representative of change and fluctuation, therefore finding a

connecting thread is difficult but ironically also the requirement for their placement and success in

this category.

The poster marketing of both the 'RomConaughey' and the 'McConaissance' have the same

function, as Allen and Gomery note, of attracting audiences through the suggestion that they can

offer the return of familiar pleasures. Whereas McConaughey's stereotyped screen persona offered

the return of the same enjoyment through virtually the same character. Here the audience desire for

his screen persona resides, as Mayne suggests, in constant reinvention which is proposed

consistently through the different representations his screen image takes on posters. As such, the

suggestion that The Lincoln Lawyer was the first film of this era is reflected in the difference this

63 IMDB, ‘Dallas Buyers Club Box Office/Business’, (2015) 64 IMDB, ‘Dallas Buyers Club Awards’, (2015)

poster (Image 8) has when compared to the last film from the previous phase, Ghosts of Girlfriends

Past (Image 9):

Image 8: The Lincoln Lawyer Poster65 Image 9: Ghosts of Girlfriends Past Poster66

Notable distinctions include McConaughey's less central placement within the frame, the inferior

amount of space he occupies; his slightly slouching posture, off-screen rather than central gaze;

contemplative facial expression instead of smile, and grittier colour palette. The combination of

these elements suggest this character is different from McConaughey's previous representation,

there is an indication of depth that cannot fully be explained by this one image. Progressing further

from the stereotype screen image and utilising the ability of single image posters to vaguely

indicate and create interest in character and situation can be interpreted from the Killer Joe

(2011)67 poster:

65 Image 8: MovieInsider, ‘The Lincoln Lawyer Poster’ 66 Image 9: Traileraddict, ‘Ghosts of Girlfriends Past Poster’ 67 Killer Joe, directed by William Friedkin (Voltage Pictures: USA, 2011)

Image 10: Killer Joe Poster68

The blue, grey and black colour palette implies a feeling of cold detachment and when combined

with rain, puddles and evening setting indicates this to be a gloomy and dark film. The one visible

human is almost entirely blacked out with the only definable feature being a cowboy hat, therefore

creating intrigue in who this character is. The figure could be assumed to be the 'Killer Joe' of the

title as they appear to be entering a property, which may or may not be their own, for the potential

reason to kill someone. If this figure is assumed to be Joe and that the name is a males, he is

implied to be an intimidating character through the interpretation of the dog in the background.

The animal appears to be unwilling to attack through the analysis of stuck up ears, non aggressive

pose and slightly tilted head. If this assumed information is taken to be correct, it can also be

deduced that this character is performed by Matthew McConaughey based on the evidence that his

name appears first in the cast list.

68 Image 10: GalleryHip, ‘Killer Joe Poster’

Image 11: Mud Poster69

Image 12: Dallas Buyers Club Poster70

69 Image 11: HeyUGuys, ‘Mud Poster’

Progressing to his next appearance in Mud (Image 11) and concluding with Dallas Buyers Club

(Image 12), both posters again present different characters with the most notable observation being

McConaughey's transition from unkempt and concerned to gaunt and determined. Comparing the

'McConaissance' posters to the films they advertise reveals the consistency of reinvention that

defines McConaughey's screen image and source of popularity. When compared to his stereotyped

rom-com screen image, they enable the recognition of the quality in this phase and justify the

renaissance label.

Matthew McConaughey suggested in a interview that with the recent additions to his family

he needed to start choosing his time more wisely, as what he was doing before had become a little

too monotonous (Matthews McConaissance)71. This would suggest that the performances during

the 'RomConaughey' were of his selection and that once he had enough, it was his decision and

within his acting ability to alter the McConaughey screen persona. An unfortunate connotation can

be made from this suggestion in that he was actively squandering his position by participating in

projects that even he felt were monotonous. It is true that he was commercially successful in this

guise, strongly attesting to this is the combined box-office earnings approaching $750 million for

the films analysed. However, if Joshua Gamson's assessment of Hollywood, making: '…

celebrity-admiration a coherent enterprise'72 is accurate. And the analysis of his rom-com

characters and their marketing is coherent, then it was not Matthew McConaughey who was

successful but rather those controlling the manipulation and stereotyping of his image.

Accomplished but in contrasting measures, the later phase or 'McConaissance' was vastly more

successful in regards to critical reception. Audiences were attracted to this more authentic

McConaughey through the contrary characters he performed and the promise of these characters

difference offered through those films posters. If Syme's observation is correct in that: 'What

moviegoers enjoy even more than an arc of redemption after a dramatic fall is a surge of energy

after a period of prodigal wastefulness'73. It raises the intriguing proposition that the

'RomConaughey' was necessary for the 'McConaissance' and the opportunity it provided to act as a

counterpoint showcasing just how bold a reinvention he could provide.

70 Image 12: BigStockPhoto, ‘Dallas Buyers Club Poster’ 71 Marlow Stern, ‘The McConnaissance of Matthew McConaughey: Mud, Oscar Buzz & More’, (2013) 72 Joshua Gamson, p. 153 73 Rachel Syme, ‘The McConaissance’, (2014)

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Filmography:

Dallas Buyers Club. Directed by Jean-Marc Vallée. Truth Entertainment. USA. 2013

Failure to Launch. Directed by Tom Dey. Paramount Pictures. USA. 2006

Fool’s Gold. Directed by Andy Tennant. Warner Bros. USA. 2008

Ghosts of Girlfriends Past. Directed by Mark Waters. New Line Cinema. USA. 2009

How to Lose a Guy in Ten Days. Directed by Donald Petrie. Paramount Pictures. USA. 2003

Killer Joe. Directed by William Friedkin. Voltage Pictures. USA. 2011

Mud. Directed by Jeff Nichols. Lionsgate. USA. 2012

Sahara. Directed by Breck Eisner. Paramount Pictures. USA. 2005

The Lincoln Lawyer. Directed by Brad Furman. Lionsgate. USA. 2011

The Wedding Planner. Directed by Adam Shankman. Columbia Pictures Corporation. USA. 2001