Does your character sympathize with the Horsemen at all?
No. [Laughs] No, he sees it as breaking the law. He’s kind of a black and white guy throughout most of the movie.

I feel like you’re saying this has some element of Occupy Wall Street in it. When you read the script, was that happening already?
No, that wasn’t happening when I first read it, but it was happening, you know? You could feel it boiling up, but it hadn’t exploded yet. And just by chance this movie’s somehow fit into that movement, some of the themes of the movement. I just think occasionally, culturally films reflect, you know, the time that they come out in without even intentionally doing that. They just happen to catch that, you know?

You’re a particularly politically active actor, so when you say you’re automatically drawn to these kind of scripts?
Some things yes and some things — I had no idea that this would tie into those themes, but, you know, it’s definitely fun to play that up once it is there. Like, The Kids Are All Right, that just came to me, but I also was like, “In two years when that movie comes out, that’s gonna have an impact. That’s actually gonna be part of the social conversation and in a really positive way,” I thought. And so sometimes it happens like that and sometimes it doesn’t.

? What makes Louis Leterrier different as a director?
He’s a very visual director. He sets up really beautiful, compelling shots. He tells the story visually. It’s a second language and so — there’s been a lot of collaboration on the script and he’s been very open to that. He’s just a very gentle, sweet guy so he creates an environment that’s a lot of fun, people are very nice, and I’ve had a very good time collaborating with him on it. He’s very open to ideas, you know?

Has he been interested in what you’re doing as the Hulk having directed the last Hulk movie?
Well, the funny thing is, is, yes I met with him on that Hulk. Yeah, and so, he came to me and he said, “Hey, we didn’t get a chance to do it then, let’s do it now.”

We heard that the story was changing a lot based on the strengths of each actor. Did you have some input yourself?
Well, yes. When we first met, I had a draft and he said, “Hey, what do you think about this? Would you like to see any changes? We’re about to do a rewrite. What would you do with it?” And that was our meeting and I kind of just told him some ideas and he really liked them, and then I met with Ed Solomon and we went through the whole script together and worked in some changes there. And then when we were rehearsing with the other actors, we were polishing stuff and doing rewrites during that time too. So it’s been a very -– like I said, Louis likes to collaborate and it’s been a very collaborative process from the first meeting to what we’re shooting today. And even the stuff we’re shooting today is changing minutely to fit the location and fit the action. Sometimes dialogue doesn’t work or you don’t need it, and so we’ve been doing that as we go along.

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