A Quote by Ethan Hawke
I really did Regression to work with Alejandro [Amenabar]. I found him very interesting. His movie, The Others, is one of the better scary movies of the last period of time.
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Alejandro Amenábar is a very interesting filmmaker. I had really liked The Others, which was a movie he made with Nicole Kidman a few years ago. He made a very compelling case about how much he wanted me to be in this movie. Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.
The script [of Regression] wasn't the draw for me. It was largely Alejandro [Amenabar] and his way of talking. To hear him talking about the script was way more interesting than the script. He wrote it, and so, English is his second language. It's an interesting thing. I've had that before. I was directed by Alfonso Cuarón before, too. It's always interesting when you're being directed by somebody like that. So much of directing is about communication, and finding the right words, and what it means, and how to convey certain emotions and ideas.
Have this Chet Baker movie coming out and in that situation, I went down the rabbit hole studying Chet Baker and being obsessed with the period and the music and the relationships and the dynamic, and everything, drug addiction. There was so much I wanted to get at to kind of get at the truth. With Regression, I was certainly in Alejandro's [Amenabar] hands.
When you make a movie with Alejandro Amenábar, he very quickly... it was very clear you're kind of operating in his dream universe.
I was in the very first Scary Movie and then the last Scary Movie 4, so I don't know. I heard they're doing another one, but I'm not sure yet. Of course, I'd love to work on Scary Movie 5. That'd be great.
Alejandro Amenábar has a unique way of approaching movies and thinking about something which was new to me. It was different. I have a lot of respect for him so I just took a gamble.
It was a really strange experience. It was very creative for Alejandro Amenábar. It was almost like it was the most I ever felt like I was helping someone paint. They had a very clear idea of what they wanted it to look like, sound like, be like. So, there was no operating outside the box. The only way to help him was to try to really be a part of his imagination and try to make it happen. He's a super kind and loving person. So, you wanted to help him. It just was none of my normal ways of helping a director work at all. So, it was a unique experience for me that way.
I've very rarely worked with somebody that had such a clear idea of what Alejandro Amenábar wanted to do and what he wanted to achieve. The guy is incredibly prepared. He was clearly making a movie for himself and his own dream. I just tried to be a part of that dream. It's a rare opportunity.
I don't have a lot of experiences like this where every time I thought I had a good idea it was totally wrong. I had to give in completely and just try to make the movie Alejandro Amenábar was trying to make.
I aim my movies, as much as I can, at myself. I think that those movies have an interesting quality. They're very movieish. They are movie movies. Like I think Watchmen is a very self-aware movie. 300. Dawn of the Dead definitely. That's really where I've ended up.
I try to work with people who you're not used to seeing in scary movies. I think it makes for a more interesting mix, when you're watching the movie.
Alejandro Amenabar is a different kind of director than I lot of the directors I've asked for. He really asks you to enter his dream as opposed to, you know, a guy like Sidney Lumet or something is going to ask you to create a character almost like a documentary. He wants you to make the people really real and he's going to capture it like a documentarian.
I really wanted to work with Luc Besson. I'm a big fan of his. Did you ever see 'The Professional.' It was very violent. But a fabulous story, a fabulous movie, very well done. So that and two or three other projects of his that I've seen, I just thought if I had a shot to work with him I wanted to do it.
I love scary movies and respect the filmmakers of scary movies, and it's just as hard to make a great scary movie as it is to make a great comedy or drama or anything else.
I'm a huge fan of the director, Alejandro González Iñárritu, and his work, and I knew he was going to be an amazing actor's director, based on the performances that I saw in his movies.
The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.
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