In a wide-ranging interview, the Oscar-nominated star of Tinker Tailor Soldier Spy cited "political correctness" when asked to comment on Gibson's predicament, and said people should "take a fucking joke".Added Oldman: "I don't know about Mel. He got drunk and said a few things, but we've all said those things. We're all fucking hypocrites. That's what I think about it. The policeman who arrested him has never used the word 'nigger' or 'that fucking Jew'? I'm being brutally honest here. It's the hypocrisy of it that drives me crazy."After defending Alec Baldwin for "calling someone an F-A-G in the street while he's pissed off coming out of his building because they won't leave him alone", Oldman continued to lament Gibson's predicament. "Mel Gibson is in a town that's run by Jews and he said the wrong thing because he's actually bitten the hand that I guess has fed him – and doesn't need to feed him anymore because he's got enough dough," said the British actor. "He's like an outcast, a leper, you know? But some Jewish guy in his office somewhere hasn't turned and said, 'That fucking kraut' or 'Fuck those Germans,' whatever it is? We all hide and try to be so politically correct. That's what gets me. It's just the sheer hypocrisy of everyone, that we all stand on this thing going 'Isn't that shocking?'"http://www.theguardian.com/film/2014/jun/24/gary-oldman-playboy-interview-antisemitism-mel-gibson
PLAYBOY: What’s your view of the future? Are you optimistic about where society is heading?OLDMAN: [Pauses] You’re asking Gary?PLAYBOY: Yes.OLDMAN: I think we’re up shit creek without a paddle or a compass.PLAYBOY: How so?OLDMAN: Culturally, politically, everywhere you look. I look at the world, I look at our leadership and I look at every aspect of our culture and wonder what will make it better. I have no idea. Any night of the week you only need to turn on one of these news channels and watch for half an hour. Read the newspaper. Go online. Our world has gone to hell. I listen to the radio and hear about these lawsuits and about people like this high school volleyball coach who took it upon herself to get two students to go undercover to do a marijuana bust. You’re a fucking volleyball coach! This is not 21 Jump Street.Or these helicopter parents who overschedule their children. There’s never any unsupervised play to develop skills or learn about hierarchy in a group or how to share. The kids honestly believe they are the center of the fucking universe. But then they get out into the real world and it’s like, “Shit, maybe it’s not all about me,” and that leads to narcissism, depression and anxiety. These are just tiny examples, grains of sand in a vast desert of what’s fucked-up in our world right now. As for the people who pass for heroes in entertainment today, don’t even get me started.PLAYBOY: Well, since you started.OLDMAN: It’s like the old saying about mediocrity: The mediocre are always at their best. They never let you down. Reality TV to me is the museum of social decay. And what passes for music—it’s all on that plateau. Who’s the hero for young people today? Some idiot who can’t fucking sing or write or who’s shaking her ass and twerking in front of 11-year-olds.I have two teenage sons and they occasionally turn me on to stuff—Arcade Fire, hip-hop or whatever. I go, “Wow, that’s interesting.” And I do watch television. I’m a huge fan of long-form TV. Mad Men. I loved True Detective; Matthew McConaughey gets better and better. Boardwalk Empire, The Americans, House of Cards—oh God, I loved it. It makes me want to create a show and sit back and get all that mailbox money.I’m trying to give my sons an education about movies as well. You sit there and watch a comedy, let’s say Meet the Fockers, and it’s Robert De Niro. You tell them this guy was at one time considered the greatest living actor. My boys look at me and say, “Really? This guy? He’s a middle-aged dad.” So what I’ve tried to do recently is introduce them one by one to the great movies of the 1970s—The Godfather, Mean Streets, The Deer Hunter, Dog Day Afternoon, the work of Lindsay Anderson, Francis Ford Coppola, Martin Scorsese, Gene Hackman, Al Pacino, John Cazale, Peter Sellers. I try to give them a sense of what cinema used to be like rather than just these tentpole movies that come and go on demand within five minutes. Don’t get me wrong; there are directors I would still want to work with—Wes Anderson, Paul Thomas Anderson. I’ve never worked with Todd Haynes. I love John Sayles. I’ve never worked with Scorsese.A great director is a great artist. I felt that way with Alfonso Cuarón on Harry Potter and the Prisoner of Azkaban. You could just tell being around him that he’s a master, partly because he isn’t afraid to say, “I fucked myself up over here.” I remember a scene where he was scratching his head for two days, figuring out eye lines on 11 characters. “So we’ve got Harry and Hermione looking that way, and now we’ve got Snape, we’ve got Ron, we’ve got Sirius.” Plus he had to match the movements to the mechanical set, which had walls that were moving and breathing. He was never embarrassed to say, “Christ, I’ve really got myself in a pickle here.” And he worked it out. I love it when a director says, “I really don’t know the answer to that.” The thing you don’t want a director to say is “Oh, it’s exactly how I imagined it.”The best directors are geniuses. I looked up the Playboy Interview with Stanley Kubrick, and it’s remarkable how much knowledge that man had at his fingertips. You need a Ph.D. to understand it. His access to the memory of names—not only could he talk about a theory, but he could talk about what institute the person who devised the theory was from. It’s a great read for a student of cinema like me.