HALLOWED HALLS: An interview with Chelsea Walls...

miregle

来自: miregle(养了只丢人的2货) 2007-09-23 02:55:23

标题:HALLOWED HALLS: An interview with Chelsea Walls star RSL
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  • miregle

    miregle (养了只丢人的2货) 2007-09-23 02:55:46

    You mentioned that you haven't really been involved much in the world of the film. How did you go about researching and getting into your character?

    As I do most characters; it was just nothing. I don't know. He was a Mid-western guy who came to city to record music -- there's nothing I don't understand about that. His friend was Steve Zahn -- I'm pretty familiar with that feeling. And he plays guitar with Steve Zahn -- another familiar feeling for me. There really wasn't that much for me to do; I wasn't playing a Latin scholar. I play guitar, I have friends, I like recording music, and I've been in love with people, who I've had phone conversations with. I've done everything my character has done. The drugs he was using, which is kind of subtle in the film; I'm always eating sugar or something. That I don't understand or know.

    Did you write the music that you and Steve Zahn's character play?

    No. We do one song called "Lonely One," which Jeff Tweedy wrote from Wilco. I play a hymn at one point; I don't know who wrote it -- I think it's traditional. We were just sitting around, I was playing and Ethan said, "Play that again. Let's just roll, I want to record that." One day Jeff said, "Let me play you some things I've never recorded that I think are interesting for the film." One was "Promising;" the lyrics are on the poster, "Lonely One," "Passenger Side," which isn't in the film.

    What was it like working with a husband and wife (Ethan and Uma)?

    I was never there on the set when Uma was there. I don't think I ever saw Uma on the set. I think Steve is the only one who crosses over into the other world. My character never left my room.

    For an actor, how is it different working on a digital video production, as opposed to a film production?

    There's just much less pressure, for obvious reasons: you can go back and record again. The lighting is simpler, the camera is smaller, the crew is smaller, it's a much more relaxed feeling. Film's expensive, lights are expensive and crews are expensive. The less money involved, the less tense it is.

    There have been actors like Jennifer Jason Leigh and Ethan Hawke, who have been so inspired by digital video productions that they've gone on to direct. Has that thought crossed your mind?

    No -- I'm not a director. I don't know what directing is, I guess. I don't really have a taste for it, but I like acting.

    How do you decide when to do a big studio movie like Driven?

    (Laughs). Hold on a second (takes a sip of coffee). That movie sent me to therapy. To be honest... New York's changed. Eric McCormack replaces Craig Bierko in Music Man; Debra Messing has the offer to play Viola in Central Park in Twelfth Night this summer. It's changed. Chris Walken and Kathleen Widdoes and Sam Waterston and Meryl Streep are not coming up through Yale and through the public theater anymore. Now, you bring people in from L.A. to do theater. You start losing roles to people who are well known. You work for 15 years, you know you're right for a role and then someone else gets it because they're on a television show. You say, "O.k., that's different than it was in the 70's with Chris Walken, Raul Julia and Frank Langella, but o.k., I've got to adjust to that." So, you do four movies in a row and they all go to video. You eventually call your agent and say, "Look, I need to do a movie that will come out. I don't want to hear it's from a first time director/writer again. I'm sure they're the next Scorcese and I'm going to blow it, but I've done that four times and they're not the next Scorcese, so give me a movie I know is coming out, is in some way good and in a part that will be right for me and fun to play and memorable." I read about ten scripts and I loved the part in Driven. I thought he was really funny, very clear, very, well, driven and well defined in the script. He had very clear intentions and he was a fun guy to play.

    Did that experience sour you on big studio films?

    No, no, no. It just was a bomb. I had a ball, I loved the character, this girl Stacy Edwards, who's great, was in it and I had a great time with her. I enjoyed playing that guy and it was nice to be in a movie that came out.

    You and Ethan have been friends since you were teenagers. What was it like to have him in an authority role?

    It was so relaxed. It's something I'm used to. He was the artistic director of our theater company, whatever that meant, which even he would laugh at. He's a leader. He's extremely proactive and gets things done -- that's rare. We're both very similar actors; we have the same language. It was in no way uncomfortable. It was a little odd, but mostly enjoyable to watch him in that power. I was more proud than anything else.

    You said earlier that you feel like a plumber when you speak to Ethan. Why is that?

    He's prolific and so multi-talented and refuses to ignore any of those places he can go. He bangs out tunes on the piano, writes a story and directs a film and produces a play. He's very impressive that way. The one thing I love about theater is that you're home in time for Seinfeld, which I've always loved. You have the day to see your family, go to the town pool and read a book. You have to be at work at 7:00, you're home by 11:00 and I love that.

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