00:00Honestly, it's kind of in the script. You know, I'm only at the mercy of the parts
00:05that I'm offered to play or the parts I'm available to play. And for me, it's always
00:08been a director's driven medium. So in my mind, it's try to work with the directors
00:13that I feel are going to push me or that I get an opportunity to play something that
00:17is different than I've played before. But it's usually not conscious. It's usually chaos
00:23and haphazard. In my mind, Laos Carex, working with him is a no-brainer. Working with Francis
00:29on a huge budget, independent, experimental theater film is a no-brainer. That seems
00:36like it's, I got to know what that's like. It just happened that they were like that.
00:40There's not a lot of movies that I think are made in this world with this specificity, with
00:46the politics kind of subtle in the background like this is. And, you know, character-driven
00:53films I always gravitate towards, but I don't often have a say because if you don't get the
00:59script, you can't play them. It just happened that this worked out. I mean, I love playing
01:03those kind of characters. And James is unique in that, that regardless of how Greek the setting
01:12is at the core of all of his films, at the core of Ad Astra is a father-son relationship,
01:17you know. And The Yards and We Own the Night, there's all these great cinematic, ambitious,
01:25rare set pieces. But, you know, he's operating from a pretty obvious principle that if you don't
01:31care about the characters, then you don't care what happens to them. And it just happened to work out
01:35that I got to play something that's not in space. Or, you know, Terry Gilliam, you know, Don Quixote,
01:44it's just, you know, I don't know. But, you know, they're all different, and they're all unique,
01:50and different costumes, you know.
01:53I love working with Miles. He's an actor I always, he doesn't have to do much because he has such
01:59a
02:00rich internal life. He doesn't have to do much, and it's interesting. As far as working with him,
02:05he's prepared, you know, he's available, he's on time, and he'll go anywhere that you want to go
02:11and try anything. And he keeps the mood light, you know. It doesn't get too heady or, you know, dark,
02:19and it kind of keeps the room in the moment. It's, you know, really some of the best scene
02:25partners that you can ask for. I couldn't, I couldn't, I couldn't run fast enough to work with
02:31him again. You remember when you almost sent me to the hospital? No, I don't. No, I don't. I don't
02:36know that we should talk about that. Okay. I do have a scar. Oh, that's right. Okay.
02:44It's just in the mood. Yeah, yeah, yeah. I know. I saw it. Yeah.
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