Despite their significant age gap, Joseph Gordon-Levitt and Jeff Daniels share a remarkable and comparable fortitude for acting. Having started acting at the ripe age of seven, Gordon-Levitt has made a fine transition from TV to noteworthy Indie films. Better known for his adorable alien role in "3rd Rock from the Sun", he has also earned acclaim for A RIVER RUNS THROUGH IT, 10 THINGS I HATE ABOUT YOU and MANIC. In addition to commendable theatrical performances, Danielsí impressive career catapulted from a long list of outstanding roles in TERMS OF ENDEARMENT, THE BUTCHERíS WIFE and DUMB AND DUMBER to name a few. Gordon-Levitt and Daniels joined creative forces and transformed into disabled characters to collaborate in their latest crime thriller THE LOOKOUT.
Based on their friendly banter, Gordon-Levitt and Daniels displayed an eminent camaraderie and mutual respect that existed both on and off screen. Portraying damaged characters who are victims of unfortunate circumstances; they are faced with the challenge of outsmarting outlaws on a bank heist in their upcoming flick. I had the pleasure of meeting the talented stars to talk about the preparation for their respective roles, the attraction to the script and their acting careers. Daniels was extremely polite and engaging whereas Gordon-Levitt had an adorable face and boyish charm that could rightfully melt any girlís heart. Check out what they had to say about THE LOOKOUT.
|Joseph Gordon-Levitt||Jeff Daniels|
Have you been back to
Jeff Daniels: I havenít. But I liked working there; itís a nice place. I took the train every day to work, the 2 train. No limos, no budget. ĎIt would really help us if you took the train.í
I saw you on the street
the other day.
JD: In a fog, I bet.
You were wearing this
black hat. I didnít want to bother you.
JD: The hat from the Lookout! Iím doing a play right now
and itÖ I just have blinders on.
Speaking of blinders,
how was the experience of playing a blind character?
JD: [laughs] Very good.
Joseph Gordon-Levitt: Next table we do heís going to sit down and say, ĎIím doing a play, I have blinders onÖí [looks expectantly around the room]
JD: I really enjoyed it because I didnít know how to do it.
The script was well written; the character was well-written, really
good story, a passionate writer/director who couldnít wait to make
his first movie. I had never done blind before. I had never done the
aging crystal meth guy. There were a lot of specifics to him and I
didnít know how to do it.
How did you figure it
JD: First you say yes and then you figure it out, because then youíre challenged, then youíre motivated, then youíre into it. As opposed to, ĎOh, you want me to do that thing I did before, but this time for you.í I went to the Michigan Institute for the Blind, in Kalamazoo, Michigan Ė I live in Michigan Ė and they were very helpful. Very helpful not only in the externals, like how to walk and how to read Braille, all the external stuff that actors have to do to make it look it authentic so that you donít have to think about it, but also in what it does to your psyche. Your mental and emotional stuff. That was all very helpful.
Is it very technical
playing blind? Do you get caught up in the small details?
JD: You do all the research so you can forget it. It becomes
second nature. Plus, when I had the sunglasses on, I just closed my
eyes. When you go for the glass there isnít just reaching for the
glass, you sneak up on it. So you have to do it the way they taught
you, otherwise you spill the coffee.
Did you have any
accidents on set doing that? Did you ever spill the coffee?
JD: The kitchen scene was a disaster.
JGL: The tomato sauce.
JD: I was getting pissed off. I had to take the tomato can, find the [can opener], put it in there, vroom, and by the way donít cut yourself because youíre blind, and pour it over here.
JGL: And you had
JD: And do some
schmacting at the same time. Joe was very patient with me?
How is it now going
into a stage play?
JD: Itís the hardest thing Iíve ever done. Mainly because the play is so difficult, and the dialogue is so difficult. There is no easy, simple way to do this particular play. I tried to find a way to do the mule on the trail thing that actors do so they can work eight times a week; Iím going to pretend Iím in pain so I can go to lunch later with a friend of mine, and you canít. Itís pain, pain, pain, curtain call.
Joe, what kind of prep
did you do for your role in this?
JGL: Probably similar to Jeffís. I hung out with guys that had been through it. I did some reading also about what, technically, traumatic brain injury is, but more fruitful was hanging out with guys and letting it seep in. And learning that you canít put any of them in a box and no two of them were alike. These were all individuals, and hanging out with them, talking with them, was like talking to a person Ė which led me to not want to make the character a simple stereotype but instead make him a whole human being where one of the things about him was that he was in this accident, but there are plenty of other things about him. Heís a unique individual.
Do you find that you
keep aspects of the character in between takes or do you snap in and
out of character?
JGL: Thatís a hard one to answer because I donít know how
to answer it really.
JD: It depends on the scene, doesnít it?
JGL: It definitely depends on the scene. It also depends on
the character. This characterÖ I guess itís more of a mood. You
stay in the right mood.
How do you do that?
JGL: I would always have my eye on making sure I was in the right mood once I got to work. I didnít sleep a lot. To me music is a big part of it, choosing what music to listen to. Movie sets are just logistical nightmares with a million distractions all the time, so keeping focus is half the job. Put on headphones and listen to music. Any time I create a character, picking what music defines that character is a big part of it for me.
Is that music that defines it for you or music that the character would be listening to?
thereís an overlap, but theyíre not necessarily the same.
Both of you guys played
disabled folks. Were you afraid of crossing the lines of pathos at
JD: The thing that I found, and I think Chris [Joeís character] was coming to was, ĎIím normal, whatís your problem?í Thatís what the blind guys that I worked with said. ĎIím fine. Iím probably better off and happier and have fewer issues in my life than you do. I just canít see.í You get this onslaught of positivity from these people Ė not all, but a lot of those people. I think Chris was still struggling to overcome that.
JGL: I think it would be easy to fall into that trap. Chris
is sad, and heís guilty and regretful and ashamed of this accident
that he causedÖEven though the story of THE LOOKOUT seems really
sad, itís actually a really fun movie to watch. Itís this
entertaining, snappy heist, and there are a lot of laughs. People
laugh at him [gestures to Daniels] all through the movie, and they
even laugh at me sometimes. We wanted it to be fun, itís not a
movie about being disabled at all Ė itís a bank heist.
What was it that you
saw about that story that made you want to be in the movie?
JGL: For me, as always, it was the script. I think good writing is hard to come by. I think writing has been under emphasized in our business, unfortunately, in favor of marketing gimmicks and special effects. But Scott Frank really knows how to write, and itís a rare gem to come by. And then I met Scott, and heís just an inspiring guy. We immediately started talking about all sorts of things, details he wanted to put in the movie and the camera and the music, as well as larger issues of that the movie could make you think. If I can creatively connect with somebody and I have some material that inspires me, thatís all I care about.
Is it all because of
special effects and marketing or does a lot of it have to do with
audience demographics that have changed a lot in the last fifteen
JGL: You know I donít believe that. I hear a lot of people
say that itís the audienceís fault and that the audience wants
to see bad stuff, but I donít believe it. They want to see good
Joe, this weekend in the New York Times there was a profile of you with the headline ĎFrom Alien Boy to Indie Darling.í Are you at the stage of your career where youíre sick of having this teen actor thing around your neck?
JGL: Iím really proud of Third
Rock From the Sun; I think itís great.
But do you feel like
you might still get pigeonholed into that teen magazine thing?
JD: Joe wonít allow that. He just wonít allow that.
Iíve seen it and he wonít allow it. That wonít happen.
JGL: I think Iím lucky that Scott Frank and some others that Iíve worked with in the past few years had their mind on whatís important, which is not ĎWhat magazine can we put you in,í but what part youíre going to play. When you make it about the work and not the other stuff, then I think that it all works out fine.
Whereís the line
between the celebrity stuff and the work stuff? Can you get rid of
all the celebrity stuff and still have a really great career in the
business, as it is these days?
JD: [raises hand] Yeah. Itís kind of freeing in a way, I
JGL: Making good movies is not a short cut but it works fine.
JD: Being around for a while I can say that having chops goes a long way. Nicholson told me on TERMS [OF ENDEARMENT], ĎThis is the pro game.í When youíve got a 100 million dollar movie, or youíve got THE LOOKOUT and youíre carrying the whole movie, itís two seconds left and youíve got to hit the three pointer. Itís what we do every day. [Joe] had to do that every day, and if youíre just a celebrity, just a hunk coming off a really popular television show where youíre photographed in gauze, you canít do that. The people around you can see that you donít have it. For as much as they want to make him into something like that, itíll eventually go away and theyíll find somebody receptive to that.
Scott Frank said that
one of the biggest challenges in this film was the weather, that it
was extremely cold.
JD: It was cold.
JGL: I liked how cold it was. It allowed me to focus Ė like
I was saying, keeping your concentration on a movie set and staying
in it is at least half the battle. Weíd have our jackets on and be
waiting, and then when it was time to roll weíd take our jackets
off and be fucking freezing. Itís not hard to be in it when
youíre really cold.
JD: The fewer things you have to act, the better. Thatís
the difference between stage and film. If itís supposed to be cold
and youíre out there and itís ten degrees in Winnipeg, oh good.
I donít have to shake, I donít have to make believe cold. You
use it. It all makes it easier.
What do you guys have
coming up next?
JGL: I did a movie called KILLSHOT, where I play a sociopathic killer in a Cadillac with Mickey Rourke, and I did another one called STOPLOSS, about soldiers coming home from Iraq.
Your grandfather was
blacklisted in the industry because of his politics. Youíre doing
this movie, which deals with how soldiers are treated by the
military, which could be very controversial, and has political
overtones. Do you think itís important to be political in
JGL: Thatís a tough one to answer. I think any good story
should speak about the whole world, and itís up to the audience to
make that inference.
JD: If being political means asking questions, getting to the
end and having questions and throwing that in the faces of the
audience so that as theyíre walking out theyíre asking
themselves, then yes.
JGL: One of the things I like about THE LOOKOUT is that
people do disagree about certain things. Theyíll talk about Luvlee
a lot. Did she really care about him or was she just using him? I
like movies that make people ask questions that make people wonder.
You couldnít really tell if Luvlee was good or bad but other than that she cared about you.
JGL: That speaks to Isla Fisherís talent as an actress. It would have been easy to play that character simplistically, but it was her finesse that makes it more mysterious.
Jeff, you have MAMAíS
BOY coming up. Who do you play in that?
JD: Diane Keatonís love interest. Itís John Heder and
Diane and me. Lot of fun. Comedy. Loved working with both of them,
but because of the whole Woody Allen connection and THE PURPLE ROSE
OF CAIRO, I loved working with Diane.
Did you compare Woody
JD: Not really. How deeply do you want to go into it? She would mention him Ė ĎOh thatís something Woody would say.í Itís strange because we had a walk and talk from the car to the door on our date (and she doesnít think sheís an actress; theyíre doing an AFI tribute to her in a couple of weeks and she says, ĎOh Iím not an actress. Iím a personality. I turn it up, I turn it down, thatís what I do. La dee da.í) and youíre walking to her door and you find yourself doing Woody! [begins a series of impressive Woody-like gestures and then slaps his own hand] Stop it! Stop it!
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