DD Interviews: Affleck
I know there is a vocal contigency out there who don't like Ben Affleck. I think there are even a few folks on our message boards who gripe about Ben. But to meet Affleck is to forget all about REINDEER GAMES and ARMAGEDDON and suddenly love the big lug. An instantly charming and funny guy that had a room full of press from around in the palm of his hands with a variety of humorous anecdotes, brutal honesty about his relationships and oh, something about a movie named DARE-something?...How does it feel to be in the eye of the hurricane, so to speak, with what Hollywood is calling the most celebrated love affair?
That's you calling it that. That's not Hollywood... It's a little weird, you know...it's a little strange. It's new for me I've been in relationships, public relationships before, you know, with Gwyneth, and it wasn't quite the same thing. I don't know what's different about it... I didn't anticipate that it would be different. I thought okay, there's a degree of publicity that kinda goes along with this. I was a little bit shocked, but I feel like I take a lot of comfort in the fact that there's only so much you can say about that stuff and then Colin Farrell's dating Britney Spears, and then you're off the hook entirely. (Laughs.)
There we go. I like it. (Laughs)
Playing a blind person, did that hinder or free you in any way?
I'm glad to get to some of the questions that won't make any of the copy. (Laughs.) But yes, we can all take a little break now. It was, DAREDEVIL, yeah it was interesting playing a blind guy. What was interesting about it as opposed to like, when you look at like RED DRAGON where Emily Watson I thought did a great job. I watched that playing a blind character. Pacino did it famously and won the Oscar in SCENT OF A WOMAN. There was a lot of, it was like a high bar for playing blind people out there. The interesting thing about this was that while he's blind kinda with his eyes, because of this superpower that he has in terms of advanced hearing that allows him to create this three-dimensional map using kinda sonar of his surroundings, that he's not in the way that we think of people blind, technically blind.
So a lot of times, as Matt Murdock, it's an act that he's having to play at being more helpless than he really is. But what I did was I worked with a guy named Tom Sullivan who's blind, who's extremely, you know, he's one of those guys who jumps out of airplanes and is a really good skier, and makes you feel really inadequate. He helped me in terms of talking about how one who's blind, who can't use their eyes uses their senses to navigate their surroundings. The big cheat for me was that I was able to use these contact lenses, which were completely opaque, which I couldn't see out of at all, which meant that I didn't have to consciously act blind, or try not to use my eyes. It sorta took that away. Then the challenge was really not walking into furniture.
As a true fan of DAREDEVIL, how did you feel about the character allowing the man on the train to die, and the prescription drugs?
That was a real controversial issue. The really hardcore fans, myself included, and I think probably even Marvel, felt that that was like stepping over a line in a way. We went back and forth on that many, many times. Ultimately what we decided, and that's the one way it kinds deviates from the heart of the book, where DAREDEVIL never killed anybody. He does that Bullseye drop in the comic book, and in this one, we throw him out the window. It's very consistent with the comic. But he was not as vengeful as we portrayed him in the beginning.
But for the sake of giving the character an arc, from letting him go from a guy whose seeking ultimately vengeance, to a guy who understands the difference between that and justice, and who understands about mercy and compassion largely through the love of this woman, we kept it in there. There's part of me that's ambivalent about it, that feels like, because it is the most significant departure from the tenor and tone of the comic book itself. But I think it works within the context of the movie, and I think ultimately, because he's not The Punisher, he's not a guy who just shoots bad guys or kills in the comic, and ultimately, that's not where he ends up. Where DAREDEVIL ends up at the end of this movie is very, very consistent with who he is in the comics.
Oh, and the prescription drugs, that's much more, I thought that was emblematic of a way in which this has its own tone. It's a little grittier, a little bit more realistic. It represented the fact that in this comic book superhero universe, when the guy gets hit and stabbed, he bleeds and there's consequences to it. Still it's a comic book movie, you have to kinda suspend your disbelief if you kinda add up all the injuries the guy takes over the course of the movie, it's borderline right? But we did wanna make the point that there were, and I really think that speaks to the violence issue, that there are consequences to violence, that this is not a wanton, graphic, random violence without consequence. That it hurts, that people suffer and so I supported that and I liked that part of the movie.
What sense do you think you could do without and why?
Probably smell. I have a friend of mine, a guy named Chris Andrian, who I knew when I was a kid, who in fact introduced me to DAREDEVIL when I was 9 years old, it bears mentioning. And I just ran into him again. He e-mailed me, and said, "I can't believe that you're doing DAREDEVIL! It's amazing!" He sorta couldn't fathom it. So he came down to visit me on the set, and when he came down and visited me, he said, You know , it turned out that he had had this very rare, little known condition and I was like, 'well what's the story with this condition, what do you mean?'
And he said, Well one of the things is that I can't smell anything. I said, You have no sense of smell? And he was like, No. I said, I never knew that. I said, Didn't you And he said, Yeah, I would just kinda always go, people would say, 'Aww, that stinks,' and I would just kinda go along with it, you know. But like Chris never seemed to be lacking anything of any kind, and I have to say, and I never noticed it, so that has to be the most disposable of all senses, although if you have it, I think you'd miss it. But half the things you smell, though, you wish you hadn't.
It's hard to say, and I suppose it reveals something about like, you know, it's probably a conversation better suited to my shrink than, but why not, every other issue of my life I seem to be comfortable bearing with the world. I don't really know. I think it has something to do with, I know that when I was a kid, there was a contrast between that hero and others in the spectrum of this comic book universe, many of whom were really kinda very chaste, boy scout, black and white, kinda golden-age, 50s comic book heroes that were predictable. You always knew they'd do the right thing, they were fighting intergalactic foes, and it was fun in kind of little kid way, but it was nothing that I could ever identify with.
And as I got into pre-adolescence and into adolescence, this guy represented something to me I guess what I thought was more realistic. It sounds funny to say about a guy that puts on a red suit and fights crime at night, but it was like he was a flawed hero. He had his own struggles. Here was this hero, he was openly religious, he had these tragic love affairs, he struggled with himself as much as he struggled with the rest of the world. He didn't always win, he didn't always do the right thing. I guess that resonated with me a little more. It was also more, kinda like ground level guy. Like I said, he wasn't fighting various other intergalactic empires or traveling through alternate universes and he didn't have a ring that shot green rays, you know, he was just a guy.
A guy who had evolved, and also I think in particular, he had this handicap. So he had this peculiar vulnerability that I thought was really interesting. And I also have to just credit the writers and artists who worked on that comic then and now, and made it in my opinion a really significant work, and one that I was really drawn to. It's hard to say what makes a story good and another story bad, it's relative and subjective. If I polled all you in the room, you'd probably have all different opinions about various movies and novels. And it was just something that I thought was good.
Ben, you said that ultimately this was not a vigilante movie, it does set out to basically take the law into his own hands. How much of a 9/11 hero does that make him?
Well yeah, it's interesting. There's been kind of a seismic shift in...I saw an article, I think it was in the New York Times today, about how the CIA is now represented in a way that's like really different. If you look back at, what was the Redford movie, CONDOR, where he says, You people, you think not getting caught in a lie is the same as telling the truth. And there was a time where we were very, that the anti-authoritarianism and government scandals and the Vietnam War had made a generation of people very skeptical of authority and wanting to pull back and reign in secret government programs and the like.
And now, with Colin's movie that's out now, I haven't seen that actually, but they were citing lines from that where guys were saying, Do I get to kill people, and Pacino says, Do you wanna kill people? And it's kinda like very much like the Bill Casey kinda mentality where like, Give us free reign and we'll be able to fix the problems and don't ask questions. And I think it's a reflection of like, as people feel more and more in jeopardy, they want their kinda guardians, their watchmen, the policemen, even the vigilantes, there's more sympathy for them.
The NYPD went from dealing with the Amadu Diallo case and all these scandals, and segued right into people recognizing no, by and large these people are heroes. They're here to protect us. And I think probably that that trend means that people are more interested in stories about heroes and the conflict, you know, people being out there trying to protect us at large. I don't know if that'll help us or hurt us with the movie, or if it's really relevant, but I do think it's interesting to note that societally, we're kinda more willing all of a sudden to be less restrictive of the people that are protecting us, and maybe even less judgmental of them.
Kevin Smith seemed to have brokered the meeting between you and Mark Steven Johnson on this film. Can you talk a little bit about his influence on your life and career?
Kevin is the reason why GOOD WILL HUNTING got made. Kevin is the reason I have a career kinda playing leading roles and not stuck playing obnoxious bad guy bullies. Kevin believed in me after MALLRATS cast me in the lead of CHASING AMY. We were doing CHASING AMY and he told Miramax who had already passed on GOOD WILL HUNTING initially that they should read the script when it was in turnaround from Castle Rock, and it was the reason why we got it made there. Kevin has always been a big believer in me. I owe the guy a big part of my career, if not the whole thing.
Don't tell him that because he'll ask for money. (Laughs) He's also seen, coincidentally, I guess he's kinda like the Godfather in some circles of the comic book movie connection. Because here he is a guy, such a comic book enthusiast, he owns a comic book store, he worked for Avi writing DAREDEVIL, and he's a filmmaker. So I think it was a natural connection for Mark to go to this guy in some ways, when you do something like this, like taking on a character that's already been built, you kinda seek people's blessings, who are people that have already worked on it.
Kevin did a great run of DAREDEVIL, and the people like Frank Miller and Kevin Smith, other people that I think Mark and I wanted to please with this because they represent the hard-core fans and the base support group. Kevin was very enthusiastic, brokered my connection with Mark, and has been a champion of me doing this. Very encouraging. Came in, sat and watched early cuts of the movie, gave feedback, is in the movie, and actually isn't nearly as bad an actor in this movie as he is in his own movies, which is curious. It kinda seems he should get like a guest director to direct him, tell him not to bug his eyes out so much. Kevin has like a weird Al Jolson kinda thing in his own movies, but he's kinda like grounded and down to earth in this one.
You originally wanted to be Bullseye?
Well, they wanted to go really early. I was shooting GIGLI. By the time I heard about this DAREDEVIL thing, that they were doing it and Kevin brought it up to me, I was already committed to doing this other movie and they wanted to go in that slot, which kinda broke my heart because I so wanted to be involved with this, but they had a release date they wanted to meet and movies, there's another whole side of them that hs to do with what quarter they come out, and where they fit. Movies, particularly with large multi-national corporations, they're basically these huge pipes. The pipes cost a lot of money just to maintain, an the pipes need to be filled with product, at specific intervals, so there was that issue.
And so I said well Jesus, I guess I can't play DAREDEVIL because I'm not available, but maybe this Bullseye, I always loved Bullseye. In the forward I wrote to Kevin's graphic novel, the run of DAREDEVIL he did, I talked about sympathizing with Bullseye. He's one of the great villains, and you kinda love him in a way, and Colin's a perfect choice for that because he is literally a lovable rogue. So we, I went in and sat down with them and said maybe I'll be able to do this, just for a couple of weeks they could compress the days, so on and so forth. Then Mark was like, you know, I think maybe I could work with you as DAREDEVIL with that. What do you think? I said, Look, I mean, that would be a dream come true for me. So that's how it sort of evolved from Bullseye to DAREDEVIL. I would've been happy to play Bulleye, that's a great part.
What happened to your slot?
What happened was I guess they just decided, a lot of times, they go, 'Well we really need to go, we really need to go, because the studio wants to go.' And then as it turns out they're kind of like, 'Well actually, we won't really be ready until a couple of months after that and we'd really rather have this much time to prep. And we could go that soon but it'll cost more money.' And the kind of urgency fades and they kind of go, 'Okay.' I'm sure what happened was that Fox rearranged some movies, you know you'd have to asked Tom Rothman and Rupert Murdoch.
I don't really know the answer to that. But they slide the movie, functionally is what happened. And they started shooting, they were compressed back to back. They started shooting two weeks of the origin stuff with the little kid while I was still shooting GIGLI. So technically I had two movies shooting at the same time. I just wasn't in that two week section of filming and then as soon as I wrapped GIGLI I went right into the next doing into doing DAREDEVIL. Which meant that a lot of the physical training I had to do for this movie was after work on GIGLI. I would wrap and then go train for 3 or 4 hours at night. And that was sort of exhausting.
DAREDEVIL is fearless. Do you have any fears?
I have so many fears that it would be hard to itemize them all. I don't know. My real superhero would be like Anxiety guy. It's like that movie Ben Stiller, you know what I mean. Yeah. . .
Are you scared of flying?
I was more scared of flying. I used to be really scared of flying until I took, actually for PEARL HARBOR - in fact, one of the good things to come out of my doing that movie - I took flying lessons. And that really got me past that fear. It's like a control thing. I don't know why I think I'd do any better flying the plane. Clearly I'm much worse. But it's just that thing of like, you know, you don't have control over it, you know, 'Are you guys alright up there? Everything good?' So that was a fear of mine.
Are you afraid all of this will go away?
No, I'm hopeful. I'm hopeful that one day it'll go away. Yeah, ultimately I would like to be able to work in this business and make movies without being quite so, as somebody astutely put it, in the middle of the tornado of it all. And it means, basically the trade off is just money. It just means you don't make as much money. But you still can, based on the merit of your work, like right now, a big part of why I get cast in things, I suppose, I'd like to think it's because I'm a great towering talent of an actor, but I have to acknowledge some of it has to do with marketability visibility. You know name on a poster, sitting down talking with you folks.
And that's the tradeoff, right? You make a bunch of money because you kind of sell your life along with the movie and the story of yourself and that sort of thing. So there's a part of me that wants to segway from doing that kind of acting and work with movies to a kind where you get more a backseat and kind of somebody else is up here talking about their love life and all their personal details. And you know to do acting in the way that I did with like SHAKESPEARE IN LOVE or BOILER ROOM. Come in and out and do stuff and maybe direct and write stuff. Where it's not so much about, you know the work speaks for itself. And you know nobody wants to talk to directors all that much, you know.
For DAREDEVIL, love saves him. How has love changed you?
Ah yes. Well I will say that one of things, that it's hard for me, you know you do movies like this and they take place in this kind of alternate universe. And this one is unique in the comic book pantheon, comic book movie adaptation pantheon in that while they have this tonal thing of people dressing up in costumes and fighting crime and super villains and stuff. There is a dual tone, because there's also an element of realism in it. And it's not tongue-in-cheek. It dares the audience to take the characters seriously. And to really get invested in their emotional journey, which could be absurd, you know what I mean. So you sort of invest yourself in it and be convicted of it.
And in order to do that, it was hard for me, because it's a little far afield from my everyday life. You know putting on a costume, doing flips, fighting crime, people getting stabbed, just operatic, melodramatic scale of good vs. evil. But one of the things that I could identify with it, with this movie, was what's at the center of it in some ways, really, which is this love story. And the transforming power of love and the redemptive qualities that falling in love has. And without going into too much detail, I can tell you that that's the thing that I could really identify with and I used, as actor, as a center piece, to kind of hold onto when sometimes it felt like, 'Boy I'm trying to think what this is like in my life and I can't think of anything.'
What does Matt think of you being a superhero?
He's threatened. Like he feels intimidated, wishes he had made that choice. A little jealous, he likes the tights. What does Matt think? He's kind of like, 'Hey man, so you're doing the superhero thing?' You know Matt's, as you all know, I'm sure you've all talked to him, he's like a hale fellow, well met, pretty genial guy. But I think he's a little intimidated. I know that he feels a little bit comforted, because like on those lonely nights when he hears a noise in the room, he can say, "Honey, get up. Will you go look downstairs..." And you know, I'll go down and look downstairs. (Laughs)
Can you talk a little bit about Jennifer Garner?
Jennifer Garner is, you know it's probably hard for you guys because you sit there and you see all these actors that come up and people always say like they're great and so and so forth. And there are always actor who I'm sure are you guys and you see them sit down and you think, 'This person's an asshole. Clearly this is a charade, right?' But with Jennifer Garner it really is kind of one of those things. She is so up with people that you keep thinking there has to be some dark side, some twisted deep underbelly of something under here. And at least, as far as I can tell from the months we spent together, there really isn't.
She was professional, like really patient. I think if she has a flaw it's that sometimes she's too patient, too indulgent, allows herself, I think, puts out too much when she should really be saying, 'Wait a minute, this is not exactly my job,' or 'this should be being done better,' you know what I mean? She's kind of that nice.
I think it's a product of her upbringing, you know being this girl from West Virginia, very well mannered, very smart, you know, one of the great things about Jennifer Garner, she really doesn't know how beautiful she is. There are a lot of women who are not only aware of that, particularly in this business, subconsciously instructed to use their physical attributes in a way to sort of trade on their sexuality, trade on their beauty, that that's what's valuable about them. That's what's interesting about them, put it out there, keep it up, do plastic surgery, you know, go through this whole thing. And really it isn't about that for her.
I don't think she thinks that she is as drop dead gorgeous as she is. And I think that is what gives her this incredibly kind of appealing quality. You know what I mean? Where's she kind of, she's more than the girl next door, because she is so kind of va-va-voom. But also she's not threatening. And she doesn't seem like, I think women look at her and don't say, 'She's going to try to seduce my husband, either.' She's somebody I could trust. She's like a girl friend that I could get along with. As far as working with her, she was better at the action stuff than I was. Flat out, no questions about it. Just better at it. You know what I'm mean, it was humbling for me. It was something I had to address in my own life.
Can you talk about Jon Favreau?
Favsy just flat out killed it. You know what I mean, he just kills in this movie. And if there's one thing that I really argued, I'm very much in the school of, I find myself with directors always saying, 'Cut it down. Cut it down. Cut it down.' Pace is really critical. And Jon Favreau's stuff is the one thing I still wish there was more of. I could watch that guy sit there and kind of like punch holes in this character and tell jokes for hours. You know, maybe my tolerance is a little bit higher than everybody else, but I thought he was brilliant. A lot of that stuff, it was just fun acting with him. I'm a huge fan of his.
I love SWINGERS. I love his sense of humor. And he really got it. He understood that the brooding, hero guy who's got the weight of the world on his shoulders is so ripe for having his balloon popped by this sort of counter weight to him. You know, still my favorite moment in the movie is when he tells me that like the office looks like the set of "Sanford and Son" and he's waiting for Lamont to come in. That's just genius. And that was Jon's. And there's like so much other stuff in there that didn't make the movie which hopefully we'll see on the DVD with him going, 'Where do you go at night? You come home, you have bruises. You have an alternate life style you can tell me about it.' It's some great stuff that he did.
'What is it FIGHT CLUB, first rule don't talk about fight club.' He had these great jokes that didn't make the movie. I think it kind of ended up making it feel like the movie stopped for the Jon Favreau standup act. But the Jon Favreau standup is good.
Can you talk about working in Chicago?
Sure. Chicago I found to be colder than I ever want to be again in my life. And I grew up in Boston and it was still like nothing what even I remembered in Boston. It was an unremitting kind of savagery. Where I honestly felt nauseous from cold. I never felt that before. And I just thought to myself, it still amazing me having then lived in Los Angeles, that people who landed at Plymouth Rock, kind of stopped, and weren't like, 'It has to be warmer somewhere down the road.' The same could be said for Chicago. Those cities, like New York where I live, Chicago, Boston, when it gets like that, there's just no excuse for not staying in the house all day long. That would make me want to take one of those advertisements on the subway, 'Work from home. On the Internet.' It seems like that's the job to have in one of those cities.
If you could stop acting what alternative career would you do?
I think the coolest job to have, and I maybe just influenced by watching, "The West Wing" but I think that being a speech writer is a pretty cool job. I think it's fun. It's great. You get to try stuff and pitch your. . . And it's also substantive, you write a monologue or you write for a television show or something and it gets a laugh or it moves people but it doesn't you know, move the engine of the world and government and all that stuff. And I think that would be a pretty cool thing to write for a politician.
You've talked about how the press regards your relationship, yet you're the one who shows up in the "Jenny from the Block" video...
I will tell you why. And I was surprised that with so many astute, smart, sharp people in the press (laughs) that so many people missed the point of that. Which was to satirize the very thing that was happening. We were in the midst of this manic, crazy paparazzi hiding under the bushes, photographs coming out of the most mundane, bizarrely, everyday activities. And they would not only be published, but like bid on. It was madness. And I thought to myself, here's a really good example to hold this up this particular pop culture phenomenon to the light and ask, 'What is this thing that we kind of collectively engage? This group voyeurism? The act of kind of paparazzism that takes the very mundane and through the kind of grainy prism of a long lens cast this other sort of light on it to make it look sort of more glamorous, more sexy, or different or something. And why does it fascinate people?'
The idea of that video was to sort of make people uncomfortable. To have this degree of voyeurism taking place that the audience watching the video would almost feel uncomfortable, like, 'Oh this is sort of invasive and why am I watching this? Why am I seeing these two people do this?' And then kind of ask the question of themselves, like what is this process that we all kind of do. And in by doing it, satirize it. And, of course, as luck would have it, when we were shooting it, the actual paparazzi themselves, showed up, en masse, to photograph the satirization of the paparazzi. We said to (director) Francis Lawrence,'You've got to shoot these guys. You got to put them in the video.' So he turned the camera and then filmed them. We had to blur their faces but they're in the actual video. It sort of was dizzying.
It reminded me, you know when you have a video camera and you hook it up to the TV and then you face the video camera at the TV and you get these like infinite boxes, you know, it reminded me of that. And that was the point. And still some people kind of recognized as that and some people said, 'Oh this is just exploitation of your personal lives.' But it's, I understand why. I think it's because like people in the press get tired of being bitched at celebrities who they have to cover and don't really want to cover all that much anyway. But they're editors say, 'People want to see it.' And so you kind of have to go out there and go like, 'So tell me about having your warts burned off,' or something.
And then it's sort of depressing, and then to further more, you have to kind of fight this uphill battle of the celebrities themselves who go, 'Don't intrude on my private life, but promote my movie.' Which is a kind of a contradiction in terms these days. So it's frustrating it. So I think we got a little bit of the press throwing up their hands, 'What are we supposed to do? You must be liking this. I don't know what I'm supposed to do.' That was the point of it. I don't know. That's my answer anyway.
You've always remarkably been candid with us, giving us some personal stuff but not too much. How do you balance it?
I feel an acute sense of dread that there's going to be some, not dread, but like a self conscious that thinks like people are going to grow weary of this. And it's almost like, I'm not out there sort of saying, 'You know, look at this. I go shopping. I'm just a regular guy. I buy pizzas with my girl.' That people do sort of follow you and take your picture. And I wish that it weren't out there so much. Just because I have a sense of like eventually there's a limit to it. After which it becomes nauseating. But you know, I can't really control that. And the big concern, really for me, as an actor, because I've kind of long since given up protesting the process itself.
It was more than I was aware before I had ever been in a movie, is that it kind of does get in the way of people being able to watch your movies. Because eventually they just see, if all you see or you're inundated with these other images of you as a real person, it becomes harder to suspend disbelief and see the person as the character in the movie. Or it takes you, where it might take you 5 minutes with somebody else, it takes you 15 with an actor that you're just like, enough all-fucking-ready with it. . . so that's how I feel.
Where do you draw the line between promotion and this insatiable curiosity?
It's a tricky thing, isn't it? Because you sit down and you want to talk about the movie, or this, or that. But then all the people ever ask you about, here we are, case in point, is your personal life. So honestly, if you're a sort of people pleaser, or you feel like being polite or even courteous, you want to sort of respond to those questions and hope the guy in the Superman shirt is going to get back to talking about DAREDEVIL, you know. (Laughs)
Back to DAREDEVIL. . .
Thank you. You're like a ringer from Marvel, I know.
I've heard that with each film that you work on you try to impersonate somebody in the cast.
Yeah, this one, I worked on, best imitation is Colin. You know the bigger the personality the easier they are to imitate. So I worked on my Colin Farrell, you know what I mean, but it won't be quotable at all, but if you want. . .[Ed. note: There's no way a transcription could do this imitation justice, so here's an audio clip that you can download to give you the full feel...] (Big laughs.) That's a caricature actually. But the truth, it should be said about Colin, interestingly enough is that, in a way he's actually not crazy or out there. He's actually just really friendly and sweet.
He has nothing but love. He's really open to everything. He really isn't that like actor guy who's putting on this demeanor of 'No, I'm remote and distant and ignoble to you,' as a mask to for their kind of like, 'I don't know who I am or what I'm doing.' He really is accessible, sweet and kind. And for all these rumors of carousing and going crazy, shows up at work everyday. Worked really hard. Never been anything but a prince. I got to really, really love Colin Farrell and if I could do my bachelorhood all over again, I would do it the Colin way.
Can you talk about the GIGLI reshoots?
The GIGLI reshoots are a simple result of the fact that I died in the end of the movie and we all kind of sat around and said, 'This will never fly. You can't have your protagonist die.' And then low and behold the movie played great. Everybody loved it and there was this great uproar of 'Whoa, we hate that he dies in the end.' It was almost too trite story to tell, so then you go, 'Okay, well, they want it. . .' And because it's a filmmaker of the caliber of Marty Breast, it wasn't like that we kind of dummied up some thing. It took 6 or 8 months to sit down and work on like, 'Okay, well I'm not going to die. But how do we maintain the integrity of the story still make it interesting and kind of change that dynamic and not betray the essence of the movie?' And I think we came up with a really good solution and I'm really excited about it. And it's a really good movie actually.
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