James Woods talked to Joblo.com on the set of 'Straw Dogs.' And there were mentions of Kristen and 'An American Girl.' along the way.
Director Rod Lurie’s gotten some great performances out of his actors in his other movies. Is that because he lets the actors add stuff, like you mentioned?
I’ve always noticed that the best writer directors, like Oliver Stone and Marty (Scorcese) writing with Nick Peleggi, Rod, the Polish Brothers…ironically the people that write are the people most open to improvisation with actors. The first little film I did, I did a little 7 minute film I wrote, and I was all for everybody trying different things because if it’s better, you know, I get the credit. One thing Rod does, one of his techniques that I absolutely love and that I’m going to borrow if I get to do this film with Kristen Stewart called AN AMERICAN GIRL, and we’re trying to get the financing but of course it’s about a woman who’s a hero in Iraq so who in Hollywood would want to make that movie? … Maybe I’ll make her a lesbian. Juuuust kidding. Just being provocative.
But seriously, Rod’s very good at—he was a critic, so he’s very prolific and voracious watcher and student of films, and he’ll often in a scene borrow a shot or an idea from another great movie. Like he says, “You can call it borrowing, but I guess I’m just stealing.” And then incorporate it and use it to kinda launch that scene. So he’ll pick just a classic shot that you might not have seen in some little foreign movie that works great for us. And I think that’s a great way to work because it's so situational when you make a movie that even if you borrow something…like the tone of our film is much like CAPE FEAR, the Scorsese version. Very big music and kind of odd in-your-face shots, very kind of expressionistic feel to this movie.
Director Rod Lurie’s gotten some great performances out of his actors in his other movies. Is that because he lets the actors add stuff, like you mentioned?
I’ve always noticed that the best writer directors, like Oliver Stone and Marty (Scorcese) writing with Nick Peleggi, Rod, the Polish Brothers…ironically the people that write are the people most open to improvisation with actors. The first little film I did, I did a little 7 minute film I wrote, and I was all for everybody trying different things because if it’s better, you know, I get the credit. One thing Rod does, one of his techniques that I absolutely love and that I’m going to borrow if I get to do this film with Kristen Stewart called AN AMERICAN GIRL, and we’re trying to get the financing but of course it’s about a woman who’s a hero in Iraq so who in Hollywood would want to make that movie? … Maybe I’ll make her a lesbian. Juuuust kidding. Just being provocative.
But seriously, Rod’s very good at—he was a critic, so he’s very prolific and voracious watcher and student of films, and he’ll often in a scene borrow a shot or an idea from another great movie. Like he says, “You can call it borrowing, but I guess I’m just stealing.” And then incorporate it and use it to kinda launch that scene. So he’ll pick just a classic shot that you might not have seen in some little foreign movie that works great for us. And I think that’s a great way to work because it's so situational when you make a movie that even if you borrow something…like the tone of our film is much like CAPE FEAR, the Scorsese version. Very big music and kind of odd in-your-face shots, very kind of expressionistic feel to this movie.
