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I’d say to this little girl, ‘OK, I want your really sad, scary face.’ And she’d be like [does a face] and I’d go, ‘Yeah, exactly like that’. And so she’s outed us all at seven. The first day of shooting we were in Iceland on the glacier and it literally was, you know, 40 below and 70 mile an hour winds and she’s covered in everything and she jumped right in. She’s a tough little kid, man.
So you were asked to pick six of your films and one you picked was ‘Out of Sight’, which is a great choice? It’s an interesting film. Steven Soderbergh, who’d all this success with ‘Sex, Lies and Videotape’, was coming off of a couple of flops and I was coming off of ‘Batman & Robin’ and we both needed a success, our backs were against the wall in a way. And I was still doing ‘E.R.’ at the time and there was always these conversations about whether you can go from television to film, you know? It was a big deal. And I was losing that argument. And after ‘Batman & Robin’ I sort of realised that I was going to be held
responsible for the movie, not just for the performance. And so we waited, and when I found that movie, we chased Steven down to direct it. There was a director attached and he walked away because he said I wasn’t a movie actor.
That’s harsh. It’s OK, it all works out. And we met with Steven at Danny Devito’s house and he said, ‘I know how to do this?’ His vision of it was to take the studio system that had gotten a little stale and inject all of that independent world that he’d been so steeped in into it and shoot it like an independent film, like the studios used to do in the ‘70s. And that’s why ‘Out of Sight’ has this really beautiful flow to it. He did a beautiful job with it.
Let’s talk about ‘O brother, where art thou?’ which is celebrating its 20th anniversary. Honestly, it’s pretty shocking because it feels like it was yesterday. I got a call from Joel and Ethan and they said, ‘Where are you?’ And I said, ‘I’m in Arizona’. And they go, ‘Can we come?’ I’d never met these guys before and they’re gods. Everything they touched was just spectacular. I couldn’t believe they were bringing me a script. They’re really smart, astute filmmakers and beautiful writers. I mean, they’re just masters.
Was there a pivotal point where you knew you would you wanted to direct? Back in television I did. When I was doing TV because there’s a thing about acting, which is it is you’re still subject to a lot of other things, an editor, a director, pretty much anybody. You can give the performance of your life and they can go [snip snip] it’s gone. And so I always liked the idea of having more control over everything and I watched directors that I respected in television and watched how they worked.
And what did you take from the experiences of ‘Confessions’ onto ‘Good Night, and Good Luck’, your second film you directed? Well, ‘Good Night, and Good Luck’ was different in a way because ‘Good Night, and Good Luck’ was more straightforward. at some point.
You wrote it as well? There’s not a single digital effect in ‘Confessions’. It’s all done in camera. So an actor’s here and then the camera goes there, the
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CE L EBRIT Y INTERVI EW GEORGE CLOONE Y
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