American - Actor | June 17, 1975 -
Mike and Heather and I rapped once or twice in New York and then we all wound up on a train together on the way out to Maryland. I think it was about a month and a half from the time we got cast until the time we shot the thing.
Joshua Leonard
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We ended up with 19 hours of footage and had to narrow it down to an hour and a half. Our instructions were to film everything that came up, including the more mundane moments.
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Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.
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We hit a stride where all self-consciousness disappeared.
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Even in the realest American cinema that I see, there's still not that sense that this is reality. There's still that sense that you are watching a movie. And hopefully, if we did get our jobs right, that sense disappears when you watch this movie.
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Actors are such an insecure breed.
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In horror, character development is often pushed aside in favor of the shock value. The best genre movies to me are movies like The Shining. You had a connection to the characters in that film.
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I'm less interested in slasher, and go more for roles that can affect you on a personal level. I'm interested in human empathy in the movies I see, and in the ones I am a part of.
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Pain is pain, joy is joy - you can't avoid bringing pieces of yourself into a role.
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The first thing I do when I read a part is see if I can identify emotionally with a character. If I make that connection, everything else is just working on knowing their life circumstances and manifesting those through practice and research.
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Being behind a camera, in front of the camera, is my own little deconstructionist niche.
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I think as long as there are folks on the fringe who want to make movies, the indie scene will still be around. I do think it's getting harder to get them seen though.
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