INT: Scott Frank
penned some of
LOOKOUT unravels the story of a young man suffering with mental and
physical limitations, who finds himself captivated, manipulated and
recruited by a bad guy with a bank robbery scheme.
A screenplay containing such diverse and layered characters,
Scott Frank: ďI love JoBlo.com. I read it a lot. Iíve been reading it for a few yearsÖsince it first came out. There are a few sites I check out couple of times a week.Ē
cool, thanks! Now in
making your directorial debut, what type of challenges did you
encounter as a director?
enough, the hardest thing about directing this film in all honesty
was the weather. That
made it really hard. The
weather was so severe and cold.
We were four hours north of
I think the other hardest part about directing was, with writing if youíre stuck while writing, you stop. You stop and take a day, a month, and a vacation or do whatever it is you need to do until youíre unstuck. Youíre basically very gentle on your creative self and waiting for that new inspiration to come. When youíre shooting a movie and youíre stuck, there is a locomotive right behind you that youíre running in front of. If you stop, itís going to run you over. So you have no time to sit there, calm down and go take a nap and think about it. You really have to make choices right then and there. Sometimes the choices are really great Ė the choices that come out of that kind of pressure are often times really interesting choices that you might have not made maybe in the safety of your own room and sometimes theyíre the wrong choices because you made them too fast and just didnít think them all the way through.
In hindsight, were there any choices that you made in making this film
that you now regret?
Frequently. Oh yeah, everyday and in fact the other thing that was difficult about it is that you donít accept. Writers who direct often believe that because they are directing, theyíre not going to have total control and they want to direct because they want control. Theyíre tired of others controlling their material. First of all, I didnít direct for those reasons. Iíve been very happy with the directors Iíve worked for and have had great experiences. I directed because I wanted a personal, creative experience. The one thing that was so hard to control for me which I thought would be there, the one thing I didnít realize is just how disappointed you are on a daily basis. Just how, what you have in your mind at the start of the day, isnít what you end up with at the end of the day.
When you say disappointed, do you
in yourself or the film?
All of the above. Youíre not disappointed in the actors. Youíre disappointed in the fact that the machinery is such a big piece of machinery youíre using to paint with. Itís such a big complicated machine with so many moving parts but there are a million variables. It can be the weather, it can be the prop person showing up with a completely different prop that you now have to get your head around, the set is somehow different than youíd thought it was going to be or it had to be adjusted in order to accommodate the way we were going to shoot it or weíre going to shoot it completely differently because we tried to shoot it the way we thought about it but it doesnít work, the actor doesnít feel good, you donít have good extras, they donít look right so now you have to do without them.
All of these things, whatever it is, contribute to this sort of grand sense of disappointment and all mound up. I called up my brother in law, Phil Joanou whoís a filmmaker, and I called him one day from Canada asking him if heís disappointed all time on set. He said, ďYou know, if I get 5% of what I want everyday, thatís a great day.Ē Heís a very controlled filmmaker so thatís a really good day if he gets 5%. He said, ďIf you told me you were getting everything you want and were thrilled, I would say you were probably making crap.Ē There are some directors though who will do 50-80 takes like Kubrick over and over until they get it exactly right. I donít have the attention span to do that and I didnít have the time or money to do that either. I just couldnít sit there for 50 takes not knowing what Iím looking at anymore. Some directors can.
long did it take you to complete the film and what was the budget?
took forty-five days and it was 15 million.
Would you consider directing another film?
canít wait to do it again!
The minute I finished, I wanted to direct THE LOOKOUT all
over again knowing what I knew but I cannot wait to make another
film. I really canít
What inspired you to write THE LOOKOUT screenplay?
How did the story
It was from a couple of places. Ten-fifteen years I knew someone peripherally, not a close friend, who had been in a horrible accident and had essentially gone into a coma and come out of that coma an entirely new individual and I thought hmmm. Whereas before he was a very physical athletic guy and very interested in graduate school and so on, after the accident, all of that disappeared from his personality. He had no interest in any of that stuff not because he was depressed or the accident but because he was a new person. Yet he could completely remember his old self and experience through his memory his old self but he was stuck. He couldnít be that guy anymore so he had to get to know this new person. I thought wow, thatís an interesting place to be. I thought about him as a character but I didnít want to write about that issue because then it would be a TV movie if I wrote about that injury.
I filed it away and I was in Kansas thinking about writing about
farm banks Iíd been reading about in Nebraska, Iowa and so on.
Theyíre located in the middle of hundreds of farms of all
sizes and these little banks normally during the week would have
600-700 hundred dollars in the vault because of a hardware store or
cafť but thatís about it. Then
twice a year they would get all this USDA money and the agribusiness
cash would come to pay the farmers and pay them in cash.
So for a couple of weeks there might be a million or two
million sitting there in a bank thatís really old, in a very quite
town where if you set off a bomb, no one would hear.
So I thought, Ďwhy isnít anyone robbing these banks?Ē
While I was researching that, my other story started to just come together to this one and became one story. I thought wow, what about locating the character in a very rural environment and I thought what if he could have a thrill because I didnít want to write about a bank robbery. Iím not interested in a heist but more interested in the characters around the heist and starting with this guy, thatís pretty interesting to me. The melodrama around the bank robbery is what I was more interested in. The relationship with his family, his roommate, with the girl was much more fun to write. So I got started from there. I really like to write from character. This was a ten year haul for me and the reason I stayed in love with the movie wasnít the idea for the movie but I just loved and cared so much about these characters.
How did a movie that took so long affect the casting process?
I had a specific type of person but never a visual because then youíre always disappointed. If you write a movie for Tom Cruise and donít get him, then everyone else is sort of second place and itís difficult because in the back of your mind you will always be wishing you had Tom Cruise. I tend to think of dead actors when writing, like Steve McQueen. But for this movie because I had so much time, when the actors came in, I talked to them about the material and helped them through the process of auditioning.
Has the script changed at all from the original ten years ago?
The basic plotline for the most part is very similar with one fundamental difference. The original script was longer and more ambitious. In this movie the bank robbery goes awry and the take Lewis in the last minute for their trade. Originally back in 1999 Sam Mendes was supposed to direct the film but left to do ROAD TO PERDITION. Then David Fincher came on to direct but that didnít work out because he wanted to make the film for the bargain basement price of 80 million dollars but Dreamworks had a problem with that and then I came on.
David and I changed the original concept so that Chris refuses to do the robbery and comes home to find everything gone including Lewis except for a phone which rings and Gary says from the other end ďI now have your whole life.Ē Lewis is being held with all his furniture in the basement of a farmhouse and the person watching him is Luvlee whom he develops a relationship with instead. At some point Lewis tries to escape and gets caught connecting to he plot in the way it unfolds now. So the original was much longer and it made it too much about a bank robbery.
How did you recruit such a great
ensemble cast and give a splendid actress like Carla Gugino
such a small part?
She did me a favor. She had two scenes and I cut one scene, which was a great second scene, but the movie had already established what I thought needed to be established so we didnít need to see anymore. If Iíd known I wouldnít have put her through that because people are going to wonder whyís sheís in the movie for that one scene. What I should have done is had her do some kind of unbuilt cameo because I love Carla, I just love her. I would put her in every movie I ever made. So I asked her to do me a favor and the second scene was actually wonderful. But we came to the point where the movie didnít need it or want it. So I cut it out. She really helped me out and the best thing of it all was that I shot that scene my first day. So having her and Joe (Gordon-Levitt) shoot, and having Carla this very calm and soothing presence there for me my first day of shooting made a world of difference.
What about casting Matthew Goode as a bad guy? It was quite a switch for him from his previous characters.
brought him over because my casting director had met him and she
said, ďthereís something about himĒ and I thought ďreally?
He doesnít seem at all likeÖhe seems like Rupert
said, ďJust meet himĒ and he came over and he was spectacular in
his audition and I just kept bringing him back to see how he read
with Joe and he was great. He just had this very dark, intelligent,
sexual side to him that I loved and he was funny.
What are you working on next?
Iím working on an original for Universal that I hope to write and direct again if they let me. Itís my midlife crisis movie called "44" and it takes place in the world of automotive design. Essentially a week before this guyís 44th birthday he runs amuck.
And whose life is this based on?
it could be mine (smiling). Letís
just say itís a cautionary tail.
Do you have anyone in mind to cast in it?
thinking about lots of people but I want to write it first and see.
OUT OF SIGHT was such a hit! Any
plans of reuniting with Clooney or Lopez again?
love to work with them again. Absolutely.
I had great experiences with all of them and they were all
incredibly good to me I remember.
Were you approached to write the sequel screenplay for BE COOL as a
follow up to your original hit GET SHORTY?
Yes. I was approached but I just felt like I didnít want to do it. I felt like Iíd already done the characters but I didnít like the book to be honest. The book was fun to read but I didnít think it was much of a movie. So I said I felt like Iíve done it before and it didnít feel like anything new to me even though they were all nice people and Iíd worked with the producers forever. I just didnít want to do a sequel.
Interestingly enough, Paul
Verhoeven said the same thing about ROBOCOP.
He believed MINORITY REPORT was the sequel for ROBOCOP.
Is that true?
but thatís interesting.
Is there anyone whom you are very interested in working with?
George Miller. I love to work with Steven Soderbergh and Steven Spielberg again. Personally Iím dying to work with George Miller. I just REALLY want to work with him.
Are there any other script ideas aside from 44, which you are working on?
Iím adopting a Jonathan Tropper book called AFTER HAILEY which is about a an old guy who marries a beautiful 40 year old woman but she dies after a year of marriage and suddenly heís left to raise her delinquent stoner son. Itís a very funny story. I also wrote a western called GODLESS that Iím also hoping to direct but itís a tough road these days with westerns. So IĎm trying to do that and weíll see. Iím working on a few different things.
Why do you think our culture isnít open to the western genre any longer?
They are into more visceral kinds of entertainment now. Itís also a worldwide audience now and in Japan, the last thing they want to watch is a Western and thatís where all the money is. Itís foreign value. Globally, action is probably the most popular genre. I know American comedy doesnít travel well either.
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