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When actress Maggie Gyllenhaal talks about Crazy Heart (see our review, here), she does so with a passion that's both endearing and contagious. Certainly, she did this movie as much for her soul as for the paycheck and acclaim. And all that has paid off with Oscar nominations this year for herself and co-star Jeff Bridges. In this roundtable interview for the film, Gyllenhaal freely muses on motherhood and on the role that got her into the Academy's category of Best Supporting Actress.
In telling the tale of down-and-washed-out country musician Bad Blake (Bridges), who is now reduced to playing bowling alleys, the film amply details the collapse of one career. But in intersecting his decline with novice music journalist Jean Craddock's (Gyllenhaal) own attempt at a career and at personal ascension beyond being just another struggling single mother, it caps a dual redemption.
Native New Yorker Gyllenhaal has played such deliverance roles before, and not always so successfully, as in the young drug addict of Sherrybaby. (Still, that role earned her a 2007 Golden Globe nomination, as did her 2002 screen debut in Secretary.)
Her signature strength and vulnerability, tempered with forthrightness, are a combination the thirtysomething thesp genuinely possesses — yet also wields as a laser to heighten the characters she plays. In Craddock — a single mom whose uncle owns the Santa Fe bar where Blake plays and who hopes to write about him to jump-start her journalism career — Gyllenhaal has found a worthy focus for her beam. The character imagined in the Thomas Cobb novel, Crazy Heart, and directed by filmmaker Scott Cooper poses an acting challenge if only for her crazy choices.
Q: You're a mother both in real life and onscreen here. What were the similarities, and was your character drawn from your actual child-rearing experience?
MG: I've played mothers before I was a mother and, I think, successfully — sometimes anyway. I've also played heroin addicts and have not been a heroin addict, but for me, in this particular movie, my state as a mother when I made the movie is a huge part of the movie for me. It's also a huge part thematically of what happened to Jean.
My daughter was almost two when I made this movie, and I was having that feeling that I think parents must have intermittently throughout their children's lives. I had it for the first time, like I had been focused almost completely on my daughter, on being a mother, and I had this surge of a feeling that I needed to do something for me. I was also a woman and an actress and not just a mother. I worked.
For some reason [maybe] in the production notes or something, it said that this was the first movie I've made since she was born. It's not, but everyone all day has been saying that to me.
I did The Dark Knight when she was seven months old and I also did Away We Go, but Batman was literally 15 days over eight months. It was very different. It was difficult, but my focus was on my eight-month-old. As much as I could, it was impossible for me to take my focus from her.
[The time it took to do] Away We Go was three days. So, this was in some ways the first thing [I've done]. If I say that I needed something for me it was this movie. I had so much built up and kind of welling in me that needed to be expressed after having become a mom. And it's in the movie.
Basically that's what's happening with Jean. I think she's been trying to be a good mom and pull it together after what must've been a complicated beginning with this child. I think she's at an emergency state of what I'm describing and I think she just feels like, "I need something for me. I need something that feels good to me. I don't care if it's bad for me. It's better if it's bad for me."
Q: How did it feel to take these intense emotions for your own child and apply them to some little boy actor that you've never met before?
MG: Well, I don't think it's that simple. I think it's the feeling of wanting to be free and to be an individual and be...
Q: Coming into your own...?
MG: That's sort of more where it resonated. I didn't feel anything like what I feel for my daughter for Jack Nation, the little boy who played my son. It's not like that for me. It's sort of a little more trippy or something. It's more that on a sort of bigger level I think these things were sort of very simpatico.
Or for example, like the scene where he's writing a song on my bed and I get upset, I think that scene is actually not anything that's actually expressed. It's not about what I'm saying. It's actually about...me kind of saying, "I'm completely screwed here. I'm in love with you already. It's over. It's done. It isn't good for me but there's nothing that I can do about it. It's over."
When you have that feeling, and there is a four-year-old involved, the stakes are massively raised. And I just don't think that I could've understood that before I had a child. But in terms of like the everyday stuff, I think you can sort of fake that if you're not a mother. I'm not sure.
Like in Sherrybaby, for example, I played a mother, but it didn't matter because I wasn't really a mother. I mean that woman had never put a bag of Cheerios in her purse and had never put her hand in her coat and pulled out like a squeaking giraffe ever. She gave birth but that's it.
So it was almost better that I wasn't a mom. Actually, I just watched this recently, I watched it at the premiere, and when asked, "What's the most important thing about you?" I say, "I have a child." So for me in this case, being a mother and the way I am a mother are all tied up in the performance.
Q: Was your daughter with you on the shoot?
Q: If Jean weren't a mother, would she have stayed with and gotten into that destructive role, or did being a mother lead her to protect herself ultimately?
MG: Yeah, I think so. What's so nice about working on a script that's so good and with an actor who's so good is that you don't actually have to make a lot of choices.
I think if you're working with a weak script you have to solve things often, and if you're working with someone who's not there with you and going to respond to you, you do have to make a lot of sort of actor choices. If you're lucky enough not to be in that position and you know where you're coming from and what you want and all these sort of basic acting things, you can kind of just let anything happen.
Usually though, even with a really good script or something, there will be one thing that I'll kind of think, like, "Oh, that's something to avoid or something that I kind of need to think through," one thing that I'll hold onto. I remember thinking before we started shooting, like, "Okay, how does," and this was way before we started shooting. "How does a capable, smart woman fall for like a serious drunk?"
Obviously, it's a much more interesting movie if she is a capable and smart woman than if she's just like a wreck. So how does that happen? Then, you know what, I never thought about it again. I think that's how I did it. She's just not thinking. I am a person who uses my brain and I don't think, too. It happens to us.
Q: When your character meets this guy, she's apprehensive. He calls and says, "Do you want me to come over or not?" She hesitates...
MG: Yeah, but it's over. It's done. The second I walk in the room it's done. I mean, it's done and that's how it is. There are a few moments, I think when I say goodbye to him and we've spent the night together. I say goodbye in the driveway; I played that scene like, "This was crazy and goodbye. I slept with Bad Blake. How did that happen?" But it's also kind of over.
Q: Was it her desire for adult affection that made her vulnerable? That's what makes this film seem so authentic.
MG: This is the thing for me on this movie. When a movie works for me — whether it's successful to other people, there are movies that I've made that work for me — and...usually when I read them I know, like, "I have to do this movie." I don't usually know why until later and I'm just figuring out why for this one.
I think the reason is that I had that feeling, that I had to do this and wanted to see why. And then it's so different, this role, for me than some of the other roles that I've played that I'm proud of. The other ones, some of the others I think about, I think I was fierce. I was so fierce and kind of like a powerhouse in some of my other roles that I like and I think when I was a little younger I thought that was the idea, just be as strong as you can be and that you could fight anything that got in your way.
Like Lee Holloway in Secretary, she's the submissive but she's a fucking powerhouse. This woman is not like that. When I watched it, sometimes I watched some of the things that I did in the movie, and when I first watched it I watched it with my best girlfriend because my husband was away and I was so ashamed watching some of it. I thought, "God, she seems so weak." Then I was looking at my girlfriend, who's a professor, and she's so great and so awesome and strong and I thought, "She's weak, too and so am I." Sometimes I'm not.
I think it's only recently really, like in the past couple of months even, that I see the real power in feeling your feelings and being vulnerable and not being so ashamed of the weaknesses in you and to expose them sometimes. So that's what I learned here and I didn't know that. I knew it in my work before I knew it in my life.
MG: It haunts you, yeah and it goes so down and dark and terrifyingly dark and then brings you back up again.
Q: This movie has a remarkable sense of place, which helps with the character and her role in the movie. In that way it's similar to Away We Go.MG: I think so. We shot really quickly in Sante Fe. The movie takes place in Santa Fe and we didn't have to pretend that part of it. You get there and you're like high...
Q: From the good air?
Q: Did you have trouble with Sante Fe's altitude?
MG: See, I don't like the desert. It's not my thing.
Q: So you don't go to the Burning Man Festivals in the desert?
MG: [laughs] No. That's not my thing. I was a little bit afraid of going to Santa Fe and being in the desert, and I loved it. I loved it. I did. It just went along with everything else in this movie, which was so intense and so fast and so open. I mean that's what happened with Jeff [Bridges] and I.
I just knew that the movie wouldn't work unless these people actually deeply love each other. It wouldn't have and I think he must've known that, too and we just met, didn't have any time and we just sort of went, "My heart is open. I'm up for anything." And I felt exactly the same thing from him and we just did the movie.
Q: One reason your two characters worked together so well despite the 25-year difference is that she has had as much trauma in her life as he had in his, except in very different ways...
MG: Yeah, of course. I think that's true. That's the thing, what brings people together? My friend who is a screenwriter and really smart and great and who I love came to see the movie at the premiere and liked it a lot and said, "I watched you walk into the room and I thought that if these people were supposed to be lovers the movie isn't going to work. If they pretend that they're going to be lovers they're cheating. Then I watched it work." I think that, too. I love that about it because it does make you have to be compassionate about why people love each other. I don't know why they [get together], but you're right, it's all those things. You can be so attracted to the thing that makes you the sickest.
Q: She's relieved in a way, not even telling herself that once Bad does something in losing her kid she can never forgive him for it and will never get back with him.
MG: Well, I do think that if my friend is right that you begin the movie thinking, "No way they're going to work," and then you watch it work, and then at the end it can't survive -- then that's a good movie. I think at the end it really can't. I mean, how can you make the movie so that they end up together and it's right? You can't. I mean, I understand what you're saying, but no, I don't thinks he's glad. But I do think that it makes it a little clearer.
Q: What are her priorities?
MG: Well, not just what her priorities are but like it makes it… The thing is that if someone were a responsible parent who was not drinking and thinking carefully and the child got lost for a half hour they could end up together. Somebody said to me, "He only had a sip of that drink, that's all you saw."
I think it makes absolutely no difference. If you're with someone who's a drunk they could be drinking and who knows, who fucking knows, maybe he only did have one drink. I don't know. He might've had one drink. He might've been drinking all day. He might've been drinking all the times in the movie that you think he's trying not to.
You just don't know and so it can't work because ultimately she knew. I mean, how about in the movie, which is so great what writer/director Scott [Cooper] did, where he firsts takes Buddy and she comes home and they're not home for two seconds and she thinks, she knows it's not safe and if she knows it's not safe then she can't do it. I don't know if I felt relief but I think it's just really terribly sad. At the same time they do reveal their love for each other, both of them, by not being with each other. I think she is loving him by telling him no.
Q: She can't find anyone else that she had that much fun with...?
MG: In order to be with him she has to not think, like I said, and that can't be good for anybody.
MG: Everyone was playing music all the time. Steven Bruton, who was[singer-songwriter] T Bone [Burnett]'s 's partner and passed away and to whom the film is dedicated, he was around and he and Jeff would sing "Falling and Flying" to me and it was just all the time happening. Everyone was practicing, playing. The musicians who were playing, most of them were real musicians and so music was really just a part of it.
Q: What did you talk about with the musicians?
MG: I did spend a lot of time with Bruton. The musicians, who were the day players... playing musicians in the movie, I didn't [talk to]. The only scene that I'm in is that one scene at night where I have another focus, which is really Bad Blake. But Steven and I did get to know each other really well and I hadn't listened to Lefty Frizzell before.
My husband [actor Peter Sarsgaard] listens to a lot of blues, which is actually where that question about Son House and Big Bill Broonzy came from because I'd heard a lot of that music. He played me music and we talked a lot about sort of some of the background of the music because I do think that Jean does listen to country music and knows more about it than I do, although not a great deal more. I think she does walk into the interview without a massive amount of information, but I think that's part of their connection, that she says, "I can feel that you must've liked Lefty Frizzell," not that that takes a genius, but it takes knowing more about music than just Hank Williams.
Q: Did you know who the late honky tonk-influenced country singer Lefty Frizzell — who is referenced in the movie — was before doing this movie?
MG: Did I know Lefty Frizzell as a musician? It's interesting that you ask me that because I actually to listen to country music and it completely came from me. I was born in New York and I grew up in California and I've lived here for fifteen years, in New York. There's no reason at all why I should like country music and I do.
The country music that I listen to though, I'm not sure what T Bone would think because it's not influenced by where I'm living at all and none of my friends listen to country. It's all my own thing. I didn't know Lefty Frizzell although I did listen to Merle Haggard and Hank Williams and some of the other old school guys that we talk about. I didn't listen to Lefty Frizzell until I started the movie and did the interview. But I do love Gillian Welch and Iris Dement, Emmylou Harris. I love The Dixie Chicks. I do listen to country music and I don't know why. I just like it.
Q: Did you ever go on the road with a band?
MG: No. No, I never have.
Q: Were you a big concert goer as a kid?
MG: Yes and no. I had a boyfriend who was really into music, very snobby about music and really kind of liked a certain indie rock thing and looked down on my CD collection. I was completely ashamed by it. I definitely thought at the time that my music wasn't cool enough.
Q: If you had a chance to do an interview with someone who would you like to talk with?
MG: That's one of the questions where later on I think, "Oh, I should've said...," but I have to say that I'd like to talk to David Lynch.
Photo credits: Brad Balfour
For more by Brad Balfour: http://www.huffingtonpost.com/brad-balfour
Born and raised in Portland, Maine, the hugely talented Anna Kendrick, now 24, was nominated for a Tony Award when she was only 12 for her work in the Broadway musical High Society. And her much-YouTubed performance of Stephen Sondheim’s Here’s to the Ladies Who Lunch in the 2003 indie movie Camp — a song written for a character twice her age — is a showstopper.The articulate and level-headed actress reprises her supporting role as high-school mean girl Jessica in the second Twilight movie, New Moon, and costars with George Clooney and Vera Farmiga in the upcoming Up in the Air, a serio-comedy about a corporate ax-man hired to conduct layoffs at companies all over the United States. Kendrick spoke about this and more at the Waldorf Astoria Towers Hotel in New York City.Q: Did you draw from your own memories of high school to play Jessica?AK: Jessica is just so different from me and so different from my high school experience. There's something very fun and liberating for me about playing a girl I would have seen as an enemy. And also about simultaneously playing the gossipy mean girl, but inevitably showing how needy she is and how desperate she is and how pathetic it all comes across. Because anybody that's doing that kind of [bitchy] thing is obviously very, very needy.Q: Maybe that vulnerability you bring out in her explains why audiences kind of like her.AK: Maybe. I mean, yeah, I think that's what [creates] the comedy; if she were particularly self-assured I don't think it would work. I think there's [humor] in her desperation.Q: In this second movie, does Jessica know Bella hangs with vampires?AK: No, no! None of the school kids ever, ever know anything about the mythology. That's true throughout the series. The young actors in the Harry Potter movies formed a bond of camaraderie and stay in touch. Has anything like that happened with the cast of the Twilight movies?I know that [for] the Harry Potter [movies], they have this big studio and they film in a lot of the same locations. For us it's a little bit more like going back to college, or like the first day of school where you see everybody again. You all hang out all the time while you’re there, and then it's like “OK, see you next fall!.” But it's nice. It's like returning to a place where you know what works and what doesn't… or at least hopefully you know what works and what doesn't. It's pretty rare to be able work with the same people again; so often you never see the people you work with [after the project is over], and that makes it very special.Q: What's next for you? Scott Pilgrim vs. the World has wrapped, right?AK: Yes. And I finished [the third Twilight movie,] Eclipse, so I think I’m done with the Twilight saga. There are four [movies], but I don't think I'll be in the fourth — my character isn’t really in that book. [Bella] graduates in Eclipse, so that's basically it.Q: See you next fall!AK: Yeah. So now I'm unemployed [laughs]! Interview courtesy Maitland McDonagh from MissFlickChick.com
For 26 year old actor Jesse Eisenberg--who was awarded lots of attention for his troubled teenager in The Squid and The Whale--becoming a zombie-killing machine offers a curious shift in gears. Interspersed with his first-person voiceover as the wussy Columbus, Zombieland spotlights two survivors who forge an uneasy alliance to live in a world destroyed by a plague that turns nearly everyone into zombies. Both are trying to get east to see if anyone is free of the infection. The multiweapon-toting, bad-ass Tallahassee (the darkly funny Woody Harrelson) distrusts bonding as much as he hates zombies--but that's only because he doesn't want to pummel a friend if they've morphed into the living dead.At first bamboozled by sisters Wichita (Emma Stone) and Little Rock (Abigail Breslin), they forge a relationship with this duo to form a dysfunctional and desperate ersatz family. All four have found their own ways to vanquish zombies, so when the sisters steal the boys' SUV and guns, they catch up to the girls and go along with their determined effort to visit their favorite amusement park in California.
This horror comedy not only brings out the mayhem-making on Eisenberg's part, it shows he's capable of spoofing the kind of post-collegiate, sexually repressed geek he played in Adventureland who, lo and behold, worked in an local amusement park. Ironically though, as Eisenberg admits in this exclusive one-on-one interview, he's more of an arthouse rather than genre fan and proud of it.Q: You’re a healthy 20-something. How have you avoided watching your share of horror movies? Maybe you read little too many Greek tragedies—I saw a performance of The Bacchae by Euripides the other day and that could be translated into a horror film.JE: My friend directed a Greek play and then he did like a horror movie version of it. It’s not actually that different. I just don’t really like horror movies. They’re either scary, or if they’re not scary, they’re terrible. If they’re not scary then they’re a failure, and if they are scary then they scare you. So either way, you kind of walk out lost. But this movie is really not that. As you saw last night, it’s mostly comedic, and it’s a real fun experience. The horror of it is really secondary.Q: Now that you’ve done this movie, and you’re a zombie-slayer, are you going to investigate a lot more horror films? JE: I have my own narrow view of cinema, but no, not really.Q: You’ve got to see the Robert Rodriguez's From Dusk Till Dawn with the slaying of the vampires, or maybe John Carpenter's Vampires. Bride of Frankenstein is one of the great movies of all time. Didn’t making this film intrigue you as to what is behind the psychology of horror films like the old Universal pictures? What would you want to see?JE: I’m sure they’re great. There was a movie out last year that everyone said to go see, called Let the Right One In.Q: The Swedish vampire movie.JE: Is it really good?Q: It’s really great. For those who like indie films, you get your dose of indie art from of it. It’s teen angst via the vampire genre without too much teen idol-making. Now that you’ve done the kind of movie that might make you a teen idol, are you worried that Robert Pattinson's Twilight fans will switch over to you?JE: That’s not my nature or the character in this movie. The only people that will be interested in me from this movie will be grandmothers, and they don’t have websites. No, I think there’s no threat.Q: You don’t think that you've made a valid play for Wichita--Emma Stone--to fall madly in love with you?JE: Yeah, but he's not that kind of character. Thank God because who wants to be in the tabloids for anything, ever.Q: If this movie does well, you’re going to be doing lots of comic-cons and things like that now.JE: I know, I realize that... I know.Q: Do you collect anything that you might find at the comic-cons so you should be looking forward to them?JE: I had no idea what anything was there. We had to go to this year’s [San Diego Comic-con]. I was out of my element.Q: You didn’t get turned onto any cool graphic novels?JE: No. they couldn’t be further from my comfort zone.Q: You must collect something; what do you collect? JE: I don’t know. I don’t have any space for anything. We have collector’s half-photos of Fidel Castro at my house. I don’t know why. We have like three amazing collector’s editions.Q: How did you separate yourself from the character which plays on the type of characters you've done?JE: All the acting is very naturalistic, so it seems like we’re all these people. It takes a lot of effort to establish this tone of this movie. The movie asks a lot of you comedically in a very specific world and in a very specific way. It’s a unique world that the movie takes place in. I don’t see the character as exactly like myself, but I’m sure when people see the movie they will think that. Until one acts in a movie, they realize that it requires effort, even if it looks very natural or casual.Q: When you do a movie like this—you’ve handled guns, kicked ass on zombies—how does it change you? Are you inspired to be more of an ass kicker in some way?JE: No. I don’t want to be promoting violence to children or making it look fun. Luckily, my character does not want to shoot people. He might close a door on this girl’s foot and she’s trying to kill me, and [he'll] say, “I’m so sorry that I hurt your foot.” I’m glad that my character and I cannot have too much fun with the violence. People are going to see this movie who maybe have a proclivity towards violence, and we wouldn’t want to make it look that much fun where it’s inadvertently promoting it.Q: Woody does a damn good job of making it seem like it’s a hell of a lot of fun. It brought out your inner shit-kicker. Do you think you’re going to get offers now to do a lot more shit-kicking as a result?JE: No, no, I don’t think so, nor am I interested in that. It’s exhausting and technically difficult to shoot scenes like that. The scenes that I’m interested in are the scenes where we’re creating these characters. These other scenes, half the time the stunt guy is doing the thing that’s the most fun looking.Q: If you had to smash anything like you did in the film, if you had that opportunity to smash as a result of the freedom to smash, what would you have had in mind? JE: Probably a laptop computer, because you know how frustrating it is when it’s not doing the thing you asked it to do. It’s the most frustrating thing in the world, and you just want to throw it against the wall. It would probably feel good for one second—and after that, terrible. Again, the things that are most fun to watch are usually the things that are the most difficult to shoot. When we were filming the scene where we destroyed this store, you had to be very careful. And then when you watch it, it looks like the characters are having fun so spontaneously. But it’s a difficult thing to shoot. It’s so much fun to watch so you can relive it, almost, through your characters.Q: Did you talk about a back story as to how the zombie plague began? Did you elaborate--just for fun--on whether it was some sort of biological experiment?JE: It changed so much over the course. At first, we weren’t sure if people would be interested in knowing the back story. And then we did the test screenings of it and realized people actually want to know where it came from. So the final verdict is that it’s now like a mad cow disease. It came from contaminated hamburger, which is good because it has some kind of possible practical implications toward the food industry. Woody is really happy with that because he’s a strict vegan.Q: Woody Harrelson is an incredibly naturally funny guy. I don’t know how you get on set with him without breaking up all the time. Abigail Breslin can be funny too. But you must have had some interesting conversations with him, because he’s got that passionate, serious side about politics, philosophy, and other things?JE: I’ve admired him for many years. I work with a few animal rights organizations, I’ve been vegetarian for five years and I was vegan for a year. I’m not a vegan right now, but when we were filming I ate all the same food he ate.Q: You had so much fun with Woody there, that you must love to have a chance to work with him again. Do you see that as a possibility?JE: Yeah, I would love to. He kind of cast me in this, so I owe him a lot and would love to.Q: Not only as a result of this movie, but are there people you’d like to act with or work with? Now you’ve done such an interesting range of people, you’re moving on to a new plateau.JE: Yeah, that’s exactly it. I would never think that I would get to meet Woody Harrelson. It always ends up being more shocking than you would have expected had you tried to fantasize about it.Q: Do you ever sit there and fantasize about who you would have as your leading ladies?JE: No, I’m surprised that they stay on the set after they meet me. As you’re well aware, I’m more than lucky.Q: It must have been fun working with Emma. Did you know her from before? She really doesn’t take seriously that role of the sex kitten, zombie-slayer. It must have been fun to work with her.JE: It’s a great asset to the movie that she’s not the typical hot girl. She’s an incredibly funny person. The character that she has is a very strong and self-respecting female character, which is not the most common thing—especially in a movie like this, a horror-comedy. Q: You’re lucky that you’ve been able to get some really great directors. Are there people you want to target? Writers you want?JE: No. Once you start doing that, you just open yourself up to disappointment, because it doesn’t work that way. It’s best to just be open minded to whatever new opportunities present themselves, like in this case.Q: You must have thought about sequels. JE: No, no, I haven’t. If you’d asked me a week ago if I wanted to do a sequel, I would say that would definitely be the last thing that I would ever want to do. In fact, they asked me when I originally signed up for the movie, “Could you sign on for a sequel now?” I asked my lawyer at the time, “Please, please, don’t agree to something like that,” because the worst thing you want to be doing is a sequel to a movie that no one likes. When I saw the movie the other night for the first time in Miami, I was so blown away. I think it would be a great thing to do.Q: When you envision that sequel, can you imagine all the possible places to go, like zombies in New York versus zombies in LA?JE: I would love to do that, too, because I wouldn’t have to leave home to film it. That’s exactly right; there’s so much you could do. Although I imagine zombies in New York would be so much more expensive they’ll probably end up doing zombies in Tulsa. But there are so many possibilities because there’s such a free-flowing logic to the movie.Q: You were pretty young when you started, and you’ve naturally evolved. Where do you want to go from here? You’ve done comedies, but they’re with a more indie heart to them then some of the raunchy buddy stuff that 's produced and directed. Where do you see yourself going now that you’ve added this into the catalog?JE: Well, I never expected to be in a movie like this. But because the script was so good, I wanted to. So I guess it’s just project to project, regardless of what the genre is or the size of the movie. I feel like if it’s good, then that stuff is really not relevant, and that’s what I felt about this. I mean they’re sending me a lot of movies that are similar to this because people are liking this movie, but they’re awful.I have plays that I’ve written that I’m trying to get done, and it’s certainly helpful to be in movies that people see. The next movies I’m supposed to do happen to be dramas, but if something like this came along again I’d be happy to do it.Q: What about directing and other things?JE: That’s a whole different [story], to actually have some command of authority, and I don’t have any of that.Q: But then you'd rise to the occasion.JE: I suppose you could, but you need a deep voice or something.Q: Oh, you’re undervaluing your magnetic and influential skills.JE: Thank you, but you’re the same person that wanted to see an action figure of me.
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