A Quote by Duncan Jones
We rehearsed for a bit for an Indie film, which is kind of unusual, we had a week of rehearsals before we actually shot the films so we were able to really break down the script and kind of work through all of the improvisational things that he wanted to do, so he had a chance to really feel his way through before we actually shot it and I think that helped a lot.
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I remember when we were in rehearsals and we were going through it because we rehearsed before we went to Toronto, and it's more of the same. She and I had to deal with a lot of stuff in this movie and we really have to take ourselves there. It actually started in rehearsals, and just revisiting that piece of it all. Just the way Monica is and what she says and the way she looks at me, it really affects me throughout rehearsals and throughout the scenes.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
We stayed very close to each other [with Leek Kirk], and Lee was amazing. We'd go through the script together, rehearsing it before every shot with the other actors. He was just easy to work with. We were able to put it in my language, which was really important.
[Before I Go To Sleep] script was a great journey with all the twists and turns that were kind of unexpected. I had to finish the script, and I thought if we can emulate this in the film, it's going to be a really good film.
I've had the pleasure of working in the U.K. a few times before. I've shot a few movies there before. One of them was Neil Simon's 'London Suite,' which was based on his play. I also shot a film in Dublin, a little film with Bernadette Peters, called 'Bobbie's Girl.'
We usually break the story first. For instance, on The Monuments Men, and this one is more complicated because there's a lot of history, so before we started, we sat down with Robert Edsel, the author of the book, for about a week, and basically, he just gave us a lecture and went through everything. And then, I had a researcher, somebody who we had actually used on Argo.
I did this thing for HBO called 'Strip Search' with Sidney Lumet, who was one of the best directors I've ever worked with. We actually had a rehearsal period before we shot, which is unusual.
I was the female lead in a romantic comedy. It's a little indie film that we shot in China called 'America Town,' starring Daniel Henney and Bill Paxton. I actually had to speak Chinese in the film. It was funny because I found out I was doing the film and then a week later, I was in Shanghai.
I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
I was really proud to be in that show. I will never forget. I got the script to 'Millie,' and I'm flipping through the script and saying, 'Boy, I have some lines... I have a big song.' I was 25 years old and had never been on Broadway before. I got to the end of the script, and I was really nervous and excited. I realized I had a lot to do.
I didn't know the term 'synesthesia' until I was working on 'Cruel Summer.' Halfway into writing that, I really understood that, my entire life, I had been trying to describe this condition of mine: through painting, through this seven-screen Surround Vision film we shot in Qatar, through all these things.
In the film work, I love to work mainly from the script and from talking to the directors, so a lot of the music, big portions of the scores that I've made, have been composed before the movies were even shot.
I've been so fortunate throughout my career, when I was doing theater, more theater than anything else, and when I was doing films that I got a chance just to do a broad range of things. In fact, a lot of my choices that I made were about that very thing. Every project that I had an opportunity to do or chose to do, I wanted it to be different from the last thing I did, and I think that's why I have a good, you know, I had kind of a diverse kind of résumé. I'm really - it's what I set out to do as an actor originally.
As a writer, one of the things we all learned from the movies was a kind of compression that didn't exist before people were used to watching films. For instance, if you wanted to write a flashback in a novel, you once had to really contextualize it a lot, to set it up. Now, readers know exactly what you're doing. Close-ups, too.
To have a second movie that you're proud of and that actually turned out the way you wanted, shot by shot, I realize I'm probably going to be able to do this for a little while for my living.
Oakland, by far, is really gorgeous; it still has these pockets that are really dangerous. Certain things are kind of normal. I think kids out there can be tested in a way where his right of passage ties into a bit of violence and how that has become these markers in masculinity and you being kind of validated after having to pass through things.
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