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You go into that set, and you’re, like, “Shit, I’m gonna be in this courtroom al day…with my ! BE: When you did “Big Night,” how odd or weird was it to be a co-director with Stanley Tucci? I had gone to high school with Stanley Tucci, so we knew each other, and it wasn’t anything that was planned. Success doesn’t make any sense to me, because it doesn’t exist. BE: And I was just curious: given your parentage (George C.In other words, he wrote that script with his cousin, Joe Tropiano, a very good writer, and the two of them had spent years writing it, and Stanley and I were old friends as actors and as high school mates, and we always just wanted to direct. By that, I mean, if you’re perfect, what are you going to do? Scott and Colleen Dewhurst), was there ever any real chance that you were going to do something of Hollywood as a career? I mean, my parents were, first of all, not Hollywood at all.So when I finally read the script, I was, like, “I’ll do anything, dude. They were real New Yorkers and theater actors mostly, until my father made “Patton” and started getting famous.So when we were kids, the theater was the world we kind of knew as their profession, and it’s very warm. BE: Well, I don’t have it in writing, but I’m basing it on the fact that I just got Season 5 in the mail the other day.I guess it’s going to be in eleven cities right off, which is good, and if they stick with it, then, obviously, like any movie, it can either go away or it can find…not even a niche, but a group of people that are going to keep going to see it. But those are some powerhouses there, Felicity and Patty. CS: Oh, not only that, but she manages to be different from her sister, but she’s just as talented, just in a different way. But without being one of those crazy automaton child actor types. Really funny, great sense of humor, which is totally important, especially when you’re doing a low-budget movie, and everybody’s running around and it’s really fast. ” BE: It’s a very strange fandom, because I’ve had people ask me that, too, and relatively recently. I know when I was there what I wanted to do and what I didn’t like, and you’re always challenged with something. Although, listen, Jesse (Eisenberg’s) character, the character that is your nephew in that movie, is…let’s face it, he’s the adult in that movie and the smartest one there. Everybody always says to me, “I love that movie,” or, “I love hating that character you play,” and they don’t talk too much about Jesse.It’s, as we said, obviously a certain kind of movie, but there’s a big audience for it, so we’ll see what happens. And, plus, that girl…you know, we haven’t talked about Elle nearly enough, maybe because you take her for granted, she’s so damned good. Because it seems to me that that profession is kind of anathema to what being a child is all about. That’s what you’re worried about: that they’ll lose their childishness both on and off camera when you’re there. I mean, I was only there for five days, and the rest of them were obviously there longer. There were fans, and occasionally I run into them, like on the subway or something. And I’m, like, “Well, it’s been off the air for almost two years now, so I’m pretty sure that, wherever it is, it’s not coming back.” CS: Uh, yeah, it’s probably gone. The thing about that show is that I actually liked everybody involved as far as creatively, but in a way, it was almost like we were in such a high profile situation to begin with that they never left them alone, y’know? You’re a guy with a daughter; that should be something you hope never happens. And I always say, “You know, that movie doesn’t work without that kid.” I mean, Roger’s great to watch, but you’re not going to watch him for two hours unless there are some stakes involved. "It was a no-lose situation for me, because A) it’s my first directing experience, B) I really wanted to be a director, but it doesn’t put all the pressure on me, and C) I’m not Italian, so it’s not my story. I just didn’t know if you thought that might be why it hasn’t achieved the same level of immortality. ((I won’t bore you with a transcription for the following 60 seconds, but I’ll describe it to further emphasize the coolness of Campbell Scott. Everybody can definitely go fill their play with something so that it’s not the same damned thing.And you’re right: part of it is so visual that, even for a low-budget movie, you’re hoping that they come through with that. BE: And you’re never entirely sure who you’re supposed to root for, and I think that makes it a very intriguing film. Yeah, ‘cause sometimes, with her parents, you’re, like, “Shut up! And even Patty (Clarkson’s) character is very mysterious. I mean, I see her on the screen, and I think, “I wish I had had her as a teacher! And then other people are, like, “What’s that all about? I mean, it doesn’t seem like that character is an accepted member of society, either, and yet, y’know, the little space – for lack of a better phrase – that she creates there for the kids is a safe haven.BE: I think it’s the cinematography of the film that’s going to sell it to people. And, yet, when you go and watch it, it becomes this…even if you’re g about being a parent or if you have a little sister, anything like that, it becomes this little journey. ” And sometimes, you’re, like, “Omigod, I totally identify with that.” You know what I mean? BE: I guess the intent was to make it seem as though perhaps she had gone through the same kind of things that Elle had gone through. CS: Yeah, they’re both just fascinating actors to me. Bill’s face, he’s very quiet, but I really believe him.

Usually what I do, as an actor, is try and figure out a scene and figure out what’s going on underneath the scene, and in that movie, it’s all right out there. Except that we knew actors who knew acting, and we knew how to encourage them, and, you know, you put a group like that together…? But that’s not to say that I’m not itching for more all the time in some different kind of way.And that’s not to say, by the way, that the cast and crew didn’t all the time try to make it as good as we possibly could. BE: I’ve definitely learned over the years that the problem tends to be the people behind the scenes, the people who think they know best even though they’ve never really had anything to do with the creative side of things. My feeling always is that it’s really, really easy to always blame, to say, like, “Oh, the studios suck,” or, “Executives are stupid.” Well, obviously, that’s not true, because some are really smart and some are really good at what they do. To me…I was much younger then, and that was a scene, one I hadn’t been in. You’re right, though: it’s not as remembered as Cameron’s other movies. BE: What’s your favorite version of “Hamlet” besides your own? I mean, when “The Exorcist” came out, that set the tone for the next forty years of filmmaking as far as real horror’s concerned, so you can’t really just repeat those beats.I think it has to do with so many other things, like timing, who you’re with, and…look, a lot of us are stupid a lot of the time. BE: You worked with Hope Davis on “Six Degrees,” and not for the first time. And I thought this was an interesting idea, then, to see what’s going to happen. I think I live in a world where…it’s funny, but people in your profession or in the audience might come up to me and say, “Oh, God, why didn’t I hear about that movie?But he’s one of those ten DPs out there who…he’ll do low-budget, he’ll do high-budget, it doesn’t really matter to him as long as he’s interested in it, so you know he’s going to do an amazing job. () Or, actually, no, I mean, in a way, there’s a little bit of a…without hitting it over the head, which is also good writing, and that’s Daniel, too…but here’s a little bit of, “Who are the children here?And he and Daniel had…well, it seemed like they had a great relationship. Plus, the few screenings that I’ve gone to just recently, including a couple given by Marshall Fine, who’s a friend and a critic, the audiences are sometimes parent age, sometimes older, grandparent age, and not only do they eat it up, but afterwards there are some psychologists or psychiatrists in the audience, and that’s what I’m always interested in, too. Not only is it not a disease-of-the-week type of movie, but it’s very mysterious, and once you find out what the family and the girl are dealing with, it puts a real human face on it. ” And god knows, between Peter, who plays the psychiatrist and Humpty Dumpty, and me, the authority figures are…well, they seem limited in their capacities to accept or understand. I kept to myself, and principals and persons of authority were always sort of people I either avoided or behaved well in front of, so the idea of playing somebody like that was very attractive for some reason.” BE: I would think that Patricia’s character is someone who, just by getting a person’s reaction to her, you could tell a lot about them. And that’s a testament to her performance, too, and the way she and Daniel talked about it.

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