Movie News

Quint talks with director Mark Romanek about NEVER LET ME GO and what went down on THE WOLFMAN!

Published at: Oct. 9, 2010, 5:17 a.m. CST

Ahoy, squirts! Quint here with a really interesting chat recently conducted with Mr. Mark Romanek about his film NEVER LET ME GO, a science fiction flick you’d never guess is a science fiction film just by looking at it. Our three leads are clones, raised in a private boarding school essentially as vessels for spare parts as needed. The main focus is a love triangle between Carey Mulligan, Keira Knightley and Andrew Garfield, not the whiz bang of most science fiction. It’s a great character piece with some amazing performances, the kind of film that marks the beginning of the awards season and the riskier, less homogenized films. Romanek was very open about his process and towards the end of the interview he goes in-depth on just what went down with The Wolfman that forced him to leave the project. Hope you guys enjoy the chat!



Mark Romanek: Hi, nice to meet you.

Quint: Nice to meet you. I’m Eric, “Quint” on Ain’t It Cool.

Mark Romanek: Oh, Quint? Okay, I never knew your real name. Great. You’re famous.

Quint: No, you’re famous. I’m just a nerd that likes movies. Congratulations on the movie, I really fell for it.

Mark Romanek: I’m so glad.

Quint: It’s great. The first thing that struck me is I saw the movie and I saw the young version of Carey Mulligan’s character and I was immediately like “How the fuck did he clone Carey Mulligan?” So I think the most important question is if you have the Carey Mulligan cloning capabilities, can you make me one?

Mark Romanek: Make you a clone! (Laughs) I think I would have to get permission.

Quint: I don’t want to be creepy about it. A 25 year old version would be ideal.

Mark Romanek: Oh okay, well that’s still a little creepy, but I’ll ask her. She’s probably going to just want one of her around. (laughs) Except when she has to do all of the press junkets, maybe that would be helpful.

Quint: Seriously, I met her briefly last year and she’s a sweetheart and she’s so good onscreen. I loved her in An Education…

Mark Romanek: So did we. We loved her so much we cast her in the film.

Quint: What a great coup for you, because even before all of the Oscar buzz, because I know she must have been in demand even before she was nominated…

Mark Romanek: We got her pretty fast because we were having trouble finding a perfect Kathy and Peter Rice who was running Searchlight at the time saw AN EDUCATION at Sundance and midway through the movie he texted me and said “Hire the genius Mulligan!” He knew this was a big pressing thing. We were actually going to have to shut down the film if we couldn’t find the right actress because we had a very fixed start date because we needed to shoot all of the childrens’ stuff during half term in London, so school would be out and we would have access to these kids we needed. So, we were bumping up against the start date, so “hire the genius Mulligan.” I asked him, I said “Why was it such a terse email?” He said, “Because I was still in the movie.” He hadn’t even gotten to the end of the film and he went “This is her.”

Quint: And Christ, the end of that movie is where she pulls out all of the stops.

Mark Romanek: Right, and he was already blown away.

Quint: That’s awesome.

Mark Romanek: We knew of her, but there were two reasons why we didn’t audition her in advance of that. One is she was in New York doing a play and she just wasn’t available to audition and also before AN EDUCATION, we didn’t think we could get the movie financed with her, because nobody… She wasn’t “finance bankable.” Quote unquote.

Quint: Yeah, that’s always a weird game isn’t it? Where names turn into figures and those figures are what dictate whether the movie gets made or not.

Mark Romanek: On that point, that’s what’s so great about Searchlight, that they didn’t need a “bankable star,” they needed the right actress. That’s their mantra is “Cast the person that’s going to be great” and that’s really rare.

Quint: Yeah, and you’d think more affixed structures like that, even the studios or sub-divisions of studios, you would think that they would be more into the business of creating a star. Carey obviously has star potential and I think if she’s not already there, she’s well on her way.

Mark Romanek: Yeah, I think she’s pretty much there.

Quint: So many people now, they just want the top five actors, the top five actress, and if you can’t get those, then…

Mark Romanek: They’re just looking for insurance.

Quint: To cover their ass.

Mark Romanek: There’s no such thing… I mean sometimes there is I guess.

Quint: Can you talk a little bit about finding the rest of the cast? The movie lives or dies based on your three leads. If those three leads don’t work, then all of the effort and time you put into the gorgeous look of the film or the pacing. If you can’t get the right chemistry, even the great screenplay and everything that’s already there will just be kind of rendered okay.



Mark Romanek: Yeah and then you’ve got to do the kids, too. We had to do it twice. We not only had to do it twice, we had to do it twice and they had to look tremendously like these unbelievably unique older actors. We weren’t going to cast anyone until we cast Kathy. When we got Carey for Kathy, we got a phone call from Keira Knightley’s agent calling us saying, “Have you cast Ruth yet?” We said “No, why?” She said, “Well, because Keira would be very interested in playing that role now that Carey has been cast, because she’s so keen to work with Carey.” We were like “Oh my God…” That’s a good phone call.

Quint: Ruth is a fascinating character, but the movie is obviously not told from her perspective, you know what I mean? She’s not the lead I would expect Knightley to want a lead role.

Mark Romanek: No, but it’s got a really good… Her character’s arc as they say is pretty complete, to make a bad pun, but I think she relished the notion of playing an antagonist and playing something that was by nature going to be have to be deglamorized. And working with Carey. She wanted to work with Carey. So then we had those two and I always wanted to cast Andrew (Garfield), because I had seen BOY A and his performance in that film is as astonishing as Carey’s was in AN EDUCATION, it just wasn’t as widely seen. When I saw BOY A it was like the first time I saw Pacino or something. I think the first time I saw Pacino was maybe like SERPICO or something and I went “Holy crap, that guy is a fucking movie star.” I felt that way about Andrew. We met a lot of really great young actors, but he was at the front of my mind like “Until someone comes along that’s better than Andrew, Andrew’s got the role.” And then he did these great auditions. A lot of auditions are like “That’s pretty good. I could do it. I could see him in that.” And then there’s like “Oh my God, that’s the guy.” Those are the great auditions.

Quint: Again, that’s another really difficult part because he has to be a little slow, a lot child-like in the role, but he can’t be ridiculous. You have to see why Carey loves him. You have to see why he’s in the middle of this love triangle between two beautiful women.

Mark Romanek: That’s exactly right. There has to be something that a perceptive young woman would say, “That’s the interesting boy. That’s the sensitive boy.” He has to have a charisma, but kind of an oblique low-key charisma, so yeah he was perfect.

Quint: What’s the saying is “never work with children or animals.” How did you go about getting such great performances out of the kids? The young cast is incredible in the movie.

Mark Romanek: You know what? I didn’t get great performances out of anybody. I cast gifted people who were professional and if I was in any way helpful to them it was in organizing a rehearsal process that was fruitful and creating a lot of space and freedom in the shooting process and maybe immersing them in a world that felt complete so they had something to work with there. There’s very little direction on the set, like notes or adjustments, because we were all on the same page from a two week rehearsal process. A lot of the rehearsal the emphasis wasn’t on the meaning of the scenes or your character. We talked around that a little bit, but it was mostly them spending time with each other, so they formed a quick bond that you would might find in a boarding school sort of circumstance. We also did some acting exercises where the older actors played all of the scenes from the first act and I had the younger actors observe this, so it was kind of like I killed two birds in that the older actors developed a little sense memory of having played those scenes and the younger actors got to observe what an older, more experienced, actor might do with those scenes. Then I had to mix and match, like Carey played a scene with young Charlie, or Kiera play a scene with young Izzy [Meikle-Small] who plays Kathy as a child. They also went to the location and rehearsed scenes and they also just played. They played hide and go seek and Frisbee and Sardines and stuff on the location, so again they had a sense memory of being at Hailsham. Those kinds of things.

Quint: That’s really smart, actually. I think that’s really cool.

Mark Romanek: Well it’s fun, too. So yeah, there was nobody that benefited from any brilliant bit of direction on the set from me, they are all too good. It’s true though, I’m not being falsely humble.



Quint: Whatever you did worked, so keep doing it.

Mark Romanek: Well, you cast great people that are going to do their homework and are really good. Then you try to create a context where they can shine and you stay out of their way. It’s pretty intense and we had a lot of fun making the movie, because we all felt lucky to be doing it, but you know it was intense stuff and you just want to let them concentrate really.

Quint: One of my favorite aspects of the movie is the fact that it’s a science fiction movie, but you could never tell. You approach it in the same way you would approach any story from that time period.

Mark Romanek: Yeah, it’s the context that’s Sci-Fi, but it’s not made manifest very much on the screen.

Quint: Yeah and that’s what I think gives the movie such an interesting identity and makes it different from everything that’s come before. So, what are you knocking around now? What are you going to move onto next? Do you know?

Mark Romanek: I’m not sure; there are quite a few things that are kind of good. I wrote a screenplay of my own, not that that’s good, but I mean I wrote a screenplay of my own that I’m trying to do and I have some really great interest from some amazing actors, so I have to kind of see if we can work out that schedule and maybe try to do it in winter, but then there are a ton of other things. Some of them I can’t talk about because I’m not officially attached, but I’ve made these two very controlled bleak movies, I think it would be fun to do something with a totally different energy. When I did my videos, I tried to make them be all over the place and I’m anxious for my movie work to be a little more all over the place now.

Quint: Not to delve into what you are doing, but is there something on the broader scope that you would like to try your hand at? Something crazy like a superhero movie?

Mark Romanek: You know, I’m not so into those to be honest. I don’t mind going to watch them, but it’s not my first… I don’t have a deep affinity for those stories, I don’t know why. I never read a lot of comic books as a kid. I was really into movies and I was into art films when I was a kid, really. I was never like a B movie guy. I liked some of that stuff, but I was always into Fellini and Bergman and Welles and Hitchcock and Herzog and Ashby and Kubrick. I was into the A guys. And not that I can’t enjoy schlockier stuff or kind of low-brow stuff… Not to sound like a snob, it’s just what I got excited by. So I was never a comic book kid. I think I read Archie when I was a little kid.

Quint: Yeah, that barely counts. (Laughs)

Mark Romanek: I never was reading the guys in capes, I was reading like CASPER and ARCHIE. (Laughs) But I’d like to do a film on a bigger, more ambitious scale. I tried to do something with THE WOLFMAN, but that was just a big mistake for me. (laughs)

Quint: I would have loved to of seen what you did with that. The result…

Mark Romanek: It was never going to happen.

Quint: The problem with the movie that we ended up with is that Joe Johnston didn’t really have much time to create his own identity and so it was kind of like this hodgepodge of what you had already set up and his own take on it. It makes this movie that’s trying to be two or three different things.

Mark Romanek: It was a producer driven project. It was not a director driven project. I tried to make it be a director driven project or have it be a director driven project, but it was never going to be that. I should say an actor-director driven project. Benicio and I wanted to do a certain kind of film and when we ran that up the flagpole nobody saluted. So, it was best to bow out because they knew what they wanted and it was better for them to have a filmmaker that was going to be more collaborative, I guess, toward that end. I saw it in the film. Some of the design remained and some of the locations I picked, but that’s about it, though.

Quint: Yeah?

Mark Romanek: Some of the cast. Some of it they recast when I left. Some of them they kept.

Quint: I’m thinking specifically in your vision you wanted a lot more practical stuff, that’s why you brought on Rick Baker, right?

Mark Romanek: Well, I wanted it to be simpler, more practical and more character-driven, more emotional, more archetypal and mythic and what they really wanted… And by the way, I want to make it really clear actually and this is a good place to do it, because I don’t talk about it that much, I don’t have any bitterness attached to it. I was actually supported fairly well, there were just a lot of problems about… There was the strike, for starters, which got it off on a really bad foot and then the film was dramatically under-budgeted. People say “Oh, he couldn’t figure how to make a movie for a hundred million dollars,” well you know what? If you are 30 or 40 or 45 million dollars shy of what you need that’s on the page and there’s a strike and you can’t change anything (in the script), what the fuck do you do? That’s a problem. It’s very easy for people that actually don’t make films to say “Oh, he couldn’t figure it out for a hundred million dollars.” You know, when we are three weeks away from shooting, we can’t change the script, and it’s clear that we are 30 or 40 million dollars light, what do you do? On top of that, no one could agree on what the tone of the film should be and no one wanted to unanimously support Benny and my’s version of it and Tony Hopkins’ (version), too. And so it seemed better to let them find a filmmaker that was more suited to their goals. And they are good guys, they are nice guys. I don’t think they are like evil bad guys, they just wanted to make a certain kind of film. That’s what they believed in and that’s really true. I would work with any of those guys again, it just didn’t work out. Sometimes you just can’t get on the same page, which is fine. I have no regrets about it. It was a very traumatic decision to leave that film because I worked on it for almost a year, but I don’t regret leaving because it was the right decision, but it was a hard decision.

Quint: At that point you had only had one feature under your belt, right?

Mark Romanek: Yeah.

Quint: So much of the business is a power play, the ability to have leverage and the ability to be bankable. Obviously people are flipping for this movie, NEVER LET ME GO… I guess the question is when do you think you are going to have enough built up to be able to…

Mark Romanek: I don’t know. I’ll know when I do if I’m lucky enough to get there, but I don’t want to make a big ambitious film again until I have the leverage that a Chris Nolan has or a Fincher has or someone, because there’s no pleasant outcome unless it’s that sort of circumstance.

Quint: Yeah, and you are powerless to do something about it, but it would have been on you if you had kept with WOLFMAN and it just hadn’t worked and your vision wasn’t on screen, people would have laid the blame on you.

Mark Romanek: I’m the one that’s going to get blamed or praised and so directors usually feel like “Well, then I should be the one making the salient decisions about what it’s going to be.” The only thing a director wants is to be supported. They want his idea of the movie to be believed in and then they want people there to support and facilitate them to do the job they were hired to do. It’s like what an actor probably wants from a director, they just want to be made to feel confident, to do their most daring work, and to be supported where they need it and left alone when they need it. That’s all a director wants from a producer, but when there’s that much money involved there’s a lot of fear and I didn’t feel like my idea of it was believed in at the end of the day.

Quint: Cool, well thank you so much for taking the time to talk with me, man, it’s a pleasure to finally see you face to face.

Mark Romanek: Sure, but I don’t want to end on such a kind of negative thing about like “THE WOLFMAN didn’t work out.” That’s a bleak ending. Can we come up with a better and happier ending? (laughs)

Quint: (laughs) A “happier ending.” Look, now you’ve got the studio notes coming in. “The ending’s a little bit too dour.”

Mark Romanek: It’s up to you. You’re right, that’s an irony.

Quint: No, no… We were on the track to talk about the bigger scope movie that you were more interested in doing.

Mark Romanek: Oh yeah, I don’t know what that would be.

Quint: Something that’s different from what you were.

Mark Romanek: There’s a project out there I love called CHILD 44 which isn’t maybe quite on the scale of like a big superhero movie, but it’s a brilliant conception of… There’s a great script too by Richard Price. It’s about a serial killer in Stalinist Russia. Everyone is paranoid and everyone is corrupt and the state doesn’t even want to acknowledge that these things go on and it’s a brilliant context for the procedural and the world could be so moody and interesting.

Quint: It sounds like you could tap a little bit into like THE THIRD MAN type feel.

Mark Romanek: Yeah, exactly. That’s a bigger scale project that I find really interesting.

Quint: That doesn’t sound much lighter, though…

[Both Laugh]

Mark Romanek: Yeah, it isn’t. (laughs) It’s not very light, but it could be cool.

Quint: It sounds really neat.

Mark Romanek: Anyway, I don’t mean to direct your interview. (Laughs)

Quint: That’s totally fine.

Mark Romanek: What have you seen at the festival that you have loved?

Quint: Have you seen RUBBER, yet?

Mark Romanek: RUBBER? I haven’t even heard of it.

Quint: It’s a French director who is actually a musician, Mr. Oizo. He’s a musician, but he directed this feature about a killer tire and you think, “What’s that going to be?” On the surface it’s about a killer tire, but the whole broad message of the movie is that things just happen for no reason. Everything happens in life. I think you might like it, because the opening of the movie is just this car driving through the desert hitting these chairs that are just randomly placed and hitting them and then out of the trunk comes a sheriff. He pops open the trunk for whatever reason, he gets out and grabs a glass of milk or something from the driver, walks up to the camera and starts addressing the audience.

Mark Romanek: Fuck, that sounds cool.

Quint: It’s awesome and he starts listing off things like “Why did the aliens come to our planet in CLOSE ENCOUNTERS? No reason.” No reason essentially dominates everything in life. It’s essentially what chance is, the odd chance that something will happen and we find out he’s addressing this group of people behind a red velvet rope, standing in the middle of the desert all by themselves behind a rope and they turn around and put binoculars to their faces and they become the Greek chorus watching this movie about this abandoned tire that gains sentient life and starts rolling around and discovers it can kill people.

Mark Romanek: Is it great?

Quint: It’s awesome. It’s fantastic.

Mark Romanek: Because that could be horrendously terrible or amazing.

Quint: It absolutely could not work at all and it also could be the kind of movie where you go “Oh funny it’s a killer tire that can psychokinetically blow peoples’ heads up or whatever. It’s like that could be a fun short, but because of that Greek Chorus thing, there’s this subplot about the people actually observing this movie that’s going on and commenting on it. It’s great.

Mark Romanek: Interesting. You’ve got to love stuff that just isn’t connected to any trend.

Quint: Oh, it’s totally its own thing man. I’ve never seen anything like it.

Mark Romanek: Those are the best things. That sounds amazing. It going to have a distributor here?

Quint: It’s getting so much buzz. I don’t know if anyone has picked it up yet, but I’m sure it will be.

Mark Romanek: Is there a print here, still in Austin?

Quint: Yeah.

Mark Romanek: I wonder if I could see it. Maybe Harry could hook it up or you could hook it up. Wow, that sounds cool. It’s in French? It’s a French film or is it a French guy?

Quint: It’s a French director, but I think it’s all in English.

Mark Romanek: Wow, that sounds cool.

Quint: There is a French lady. The tire falls in love with the French lady that’s driving cross country, but it works.

Mark Romanek: God, that sounds genius.

Quint: I think you would really dig it. It’s one of my favorite movies I’ve seen this year. But yeah we are getting the signal to wrap it up.

Mark Romanek: Good to finally meet you. I’m glad you liked the film.



I like this interview very much and I hope you guys did, too. Keep an eye out! Monday brings another epic chat with a legendary film actor and my next contribution to the AICN Legends column! Stay tuned! -Quint quint@aintitcool.com Follow Me On Twitter



Readers Talkback

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  • Oct. 8, 2010, 10:50 p.m. CST

    First?

    by Monroville

    Would have been interesting to see what his WOLFMAN would have been like.. then again, maybe not (if you ever listened to the rockish original score that he wanted on youtube, I can't imagine anything classic coming from that).

  • Oct. 8, 2010, 10:54 p.m. CST

    first!

    by nastee_flembot

  • Oct. 8, 2010, 10:55 p.m. CST

    I salute thee Monroville. I thought I was top douche though stil

    by nastee_flembot

  • Oct. 8, 2010, 10:55 p.m. CST

    I salute thee Monroville. I thought I was top douche though stil

    by nastee_flembot

  • Oct. 8, 2010, 10:56 p.m. CST

    jealous of your mad firstee skillz!

    by nastee_flembot

  • Oct. 8, 2010, 11:09 p.m. CST

    Good to hear about the wolfman stuff

    by BigTwinkie

    That movie coulda been so much better. Such a shame. Great interview though, Eric! Er.... Quint!

  • Oct. 8, 2010, 11:12 p.m. CST

    And I wish I had a clone of Keira Knightly.

    by BigTwinkie

    Weird Science style. Just sayin'...

  • Oct. 8, 2010, 11:16 p.m. CST

    And Natalie Portman, obviously

    by BigTwinkie

    I guess that probably goes without saying. Sorry.

  • Oct. 8, 2010, 11:25 p.m. CST

    Romanek truly has some of the best videos ever

    by BigTwinkie

    Perfect Drug, Closer, Cash's Hurt.... absolutely stunning, breathtaking work. He has a director's series DVD doesn't he? I need to pick one of those up. I feel his movies aren't able to have the creative freedom that his videos had, which I tend to blame the studios on, largely (and probably ignorantly). But I hope he keeps making films (in either long form or music video format) for many, many, many, many years. Cheers, Mark! Thanks for the amazing art!

  • Oct. 8, 2010, 11:49 p.m. CST

    Never Let Me Go. Read the book. Depressing.

    by Uncle Stan

  • Oct. 8, 2010, 11:53 p.m. CST

    What went down on the Wolfman?

    by BigTwinkie

    Mrs. Wolfman! Hooo! Zing! Heeyyyy!! Ow! Yeah, heh heh.... ......................................................................................................................................is this talkback turned on?

  • Oct. 9, 2010, midnight CST

    Never gonna give you up! Never gonna let you down!

    by BigTwinkie

  • Oct. 9, 2010, midnight CST

    shit. there's a spoiler in this.

    by r_kelly

    if I'm assuming correctly about dude's "pun" oh well

  • Oct. 9, 2010, 12:02 a.m. CST

    Never gonna run around and.....

    by BigTwinkie

    CLONE YOU!!! Zowwwww!!!!!! He's hot tonight folks! Yessir! Folks? Hello...? Any folks here........?

  • Oct. 9, 2010, 12:23 a.m. CST

    B.T.W. Wolfman flopped big time.

    by hallmitchell

    At the box office. It's budget was something like $150 million. They should have listened to Mark.

  • Oct. 9, 2010, 12:32 a.m. CST

    Rubber is a Great Album

    by wilsonfisk89

    Wow, i've loved the album for weeks now, didnt even know it was a film..!? Great Interview Quint

  • Oct. 9, 2010, 1:08 a.m. CST

    'I would have loved to of seen..'

    by MaxTheSilent

    Jesus Fucking Christ! You illiterate cunt. It's 'to HAVE' goddamnit!

  • Oct. 9, 2010, 1:35 a.m. CST

    Hey Rubber, Funny Games just called...

    by mrgray

    it wants its self-important preachy meta horseshit back.

  • Oct. 9, 2010, 1:52 a.m. CST

    The Wolfman is like a incomplete movie

    by MegaStiffy

    Feels as though a chunk of it got cut out somewhere. Still like watching it, good score and emily blunt is a good catch.

  • Oct. 9, 2010, 2:05 a.m. CST

    Just saw Wolfman for the first time....MEH

    by mistergreen

    I didn't feel anything for the characters or scared. The actual wolfman was kinda cool.

  • Oct. 9, 2010, 2:06 a.m. CST

    And PODCAST this shit already.

    by mistergreen

    I don't want to read all of that painful text.

  • Oct. 9, 2010, 2:42 a.m. CST

    "[When]it’s clear that we are 30 or 40 million dollars light, wh

    by cameron1975willi

    You get creative. It's a good thing Speilberg did't just pack up and go home when the shark didn't work.

  • Oct. 9, 2010, 3:20 a.m. CST

    Joe Johnson will never have an identity.

    by Flip63Hole

    Generic filmmaker making generic films deserves no more of an identity than Uwe Boll. Heck, Boll has an identity. Johnson makes Paul W. Anderson seem like an auteur...

  • Oct. 9, 2010, 3:43 a.m. CST

    So mrgray you saw Rubber?

    by quantize

    otherwise you're talking out of your tailpipe..

  • Oct. 9, 2010, 4:14 a.m. CST

    Romanek has directed two features

    by clownparts

    One Hour Photo and Static(1985) w/ Amanda Plummer and Keith Gordan

  • Oct. 9, 2010, 6:59 a.m. CST

    Yeah, Romanek always ignores STATIC

    by Karl Hungus

    It's weird. I know he hates the film and is embarrassed by it but it does exist and there's no changing that. I guess it's like his FEAR AND DESIRE. But that automatically compares him to Kubrick, which you'd think Romanek would love. I'm surprised he hasn't hired some uber-hacker to go in and permanently erase STATIC from IMDb. I actually own STATIC on laserdisc. It's not the worst thing I've ever seen. Personally, I love when the directors I most respect start off with a clunky first film or an interesting misfire. They then come back with something to prove. It's often the ones who start off with a home run that eventually disappoint and disappear. In any case, Romanek is brilliant filmmaker. He has nothing to be embarrassed about.

  • Oct. 9, 2010, 7:16 a.m. CST

    Great interview.

    by blackwood

    Really.

  • Oct. 9, 2010, 8:36 a.m. CST

    Right on Big Twinkie on Kiera & Natalie

    by MRJONZ72

  • Oct. 9, 2010, 9:18 a.m. CST

    Great Interview, Quint

    by puto tenax

    Again. Keep the good ones coming. Not sure if I'll even watch The Wolfman now.

  • Oct. 9, 2010, 9:51 a.m. CST

    Hey, grammar student "Quint"...

    by Disgustipitated

    It's not "I would have loved to of seen what you did with that." It's "I would have loved to HAVE seen what you did with that." Just doing my part for Grammatical Correctness Online™. Grammatical and spelling errors are at an all time high. If we don't do something about it, it could mean the end of intelligent online interaction as we know it.

  • Oct. 9, 2010, 10:27 a.m. CST

    Wolfman

    by KevinMuller

    Just extremely bland and lifeless. I loved "One Hour Photo" and am excited to see "Never Let Me Go"

  • Oct. 9, 2010, 10:51 a.m. CST

    GREAT INTERVIEW QUINT

    by BringingSexyBack

    I'm so glad he was booted from Wolfman if that meant doing Never Let Me Go instead, because that movie is a triumph.

  • Oct. 9, 2010, 10:52 a.m. CST

    I like this director. He's cool.

    by antonphd

    I'm afraid to watch Never Let Me Go though. It hits too close to home for me.

  • Oct. 9, 2010, 11:33 a.m. CST

    I Really Like This Guy's Video

    by MainMan2001

    But One Hour Photo was not a good film. It looked amazing. Truly amazing but Robin Williams was sooooooo not believable as a killer and very much laughable. I'm sure him being in the film was the only reason it was financed but it was it's undoing as well. Plus, that ending was way to simple and derived. I want to see his new movie but from what I see it still has that type of disconnect,

  • Oct. 9, 2010, 12:43 p.m. CST

    Makes me wanna see RUBBER

    by MaliceHighload

    Great interview.

  • Oct. 9, 2010, 12:44 p.m. CST

    I' am a monkey man & with my fist I shake so proud

    by TheJudger

    to the clouds above. I believe my god hears me, and that god can change the outcome of any events I may face. Aint I funny. Watch my pride. Thinking so highly of ourselves and our primitive abilities, believing in a life beyond, a heaven for those of us who obey and worship. Knowing deep down that the only life and reality we'll ever experiance is right now. Feeling superior to all other life on this planet. Thinking nothing like or better than us lives with ths infinite void. Shake that monkey paw, pontificate on everything you describe using the rarest associative terms to make yourself feel above all others. Silly monkey man.

  • Oct. 9, 2010, 1:03 p.m. CST

    Didn't that movie have robin williams eyes

    by UltraTron

    exploding blood everywhere in a dream sequence?

  • Oct. 9, 2010, 1:27 p.m. CST

    quantize: when has that ever stopped AICN?

    by mrgray

    Basing my snarky comment on Quint's comments on the movie. Which is why it was a snarky comment and not a full-fledged tear-down. Have you seen it? Am I wrong to think it parallels Funny Games in the "speaking to the audience about the techniques of filmic storytelling"? So... ya know... suck a tailpipe buddy. Maybe it'd be okay for me to snark if I named myself SonOfTheChoppah or MileyCyrus'CuntRag or whatever.

  • Oct. 9, 2010, 1:51 p.m. CST

    A more mythic and character driven Wolfman?

    by rabidfnark

    I would have liked to see that. That's exactly what I was hoping for. Alas, 'twas not to be. Oh, well... at least Never Let Me Go looks worth checking out.

  • Oct. 9, 2010, 3:33 p.m. CST

    What is worse....

    by The Dum Guy

    Having a clone of yourself, just to use for spare parts, or hiring an illegal immigrant from the Home Depot parking lot, then drug them and lock them in your basement, just in order to use for spare parts?<br><br>I don't have a basement, so I'd have to go with a clone.<br><br>Plus, I'm not sure how you would explain to a doctor that, "I just found this liver here, and figured I'd use it".

  • Oct. 9, 2010, 3:35 p.m. CST

    complete

    by The Dum Guy

  • Oct. 9, 2010, 3:35 p.m. CST

    by The Dum Guy

    pun?

  • Oct. 9, 2010, 3:36 p.m. CST

    by The Dum Guy

  • Oct. 9, 2010, 4:20 p.m. CST

    79 Days

    by William_Faulkner_Is_A_Ban_Mad_Mod_Sock_Puppet

  • Oct. 9, 2010, 4:40 p.m. CST

    MainMan2001

    by BadMrWonka

    Robin Williams didn't kill anyone in that film. he was just an obsessed nutcase. he wasn't meant to be a precise murderer.

  • Oct. 9, 2010, 4:46 p.m. CST

    Cann''ttt wait to see this!

    by T 1000 xp professional

    Quint rock on, dude! Your interviews continue to stay yummy! Ahhh, I just remembered, October is here and I got the horror movie bug especially since you've been doing your AMAD and I'd love to hear some update about your "Home" flick that you've been trying to get off the ground. I asked a while ago, but I was wondering if there've been any developments since. Not the right talkback for this but w/e. Anyways, "Never Let Me Go" already has my money when it arrives around the greater Miami area. :)

  • Oct. 9, 2010, 4:47 p.m. CST

    Mark Romanek's director series

    by T 1000 xp professional

    is vedy vedy good.

  • Oct. 9, 2010, 5:09 p.m. CST

    Man, what a BLEAK FUCKING END to that interview!!!

    by idrinkyourmilkshake

    Just bustng da chops,Romanek...you always deserved more of the spotlight.Patience..Fincher got it...so shall ye!I can't wait till he MORE prolific.

  • Oct. 9, 2010, 5:22 p.m. CST

    Quint - WHERE'S THE SPOILER NOTICE!?

    by workshed

    C'mon dude. I have purposely stayed away from any plot reveals so cheers for the heads up on them being clones and everything else you revealed. I so wanted to go into this movie blind. Really. Why do that? So unprofessional.

  • Oct. 9, 2010, 5:33 p.m. CST

    Yeah, that was a spoiler Quinty

    by Robots In Das Guys

    Not cool. I was going into this movie clean. Now I cannot.

  • Oct. 9, 2010, 6:50 p.m. CST

    Good to hear about Rubber

    by Octaveaeon

    I just managed to get me a ticket; it's playing in this film festival in Ghent week. <p> http://tiny.cc/q27x2

  • Oct. 9, 2010, 9:12 p.m. CST

    Rubber

    by joelcrary

    Romanek: "I love Fellini." Quint: "OMG have you seen the killer tire movie??!"

  • Oct. 9, 2010, 10:31 p.m. CST

    joelcrary

    by antonphd

    lol. yeah. that's what i thought too. well, that's film geeks for you.

  • Oct. 10, 2010, 12:28 a.m. CST

    Thanks for spoiling NLMG, Quint.

    by Teddy Artery

    How about a bit of a warning next time?

  • Oct. 10, 2010, 1:09 a.m. CST

    It's Not a Spoiler

    by wilsonfisk89

    It's clear early on and even in promos.

  • Oct. 10, 2010, 5:01 a.m. CST

    Sad they got Johnston for Cap. Tom Hanks

    by Dennis_Moore

    would've been a better fit.

  • Oct. 10, 2010, 10:34 a.m. CST

    Eric/Quint, love your interviews.

    by Orbots Commander

    You're probably one of the best interviewers on this site, mainly due to your ability to get your subjects to obviously relax and be themselves. I'm surprised the celeb magazines or newspapers haven't come calling to hire you away.

  • Oct. 10, 2010, 2:12 p.m. CST

    quint, your clone comments are fucking weird!

    by idrinkyourmilkshake

    Dude, are you shy? Why would you say that??! obviously, it's a symbiotic relationship(you and these "famous" movie people),so you both need each other...otherwise, most actors/directors/writers would REALLY say "Dude, that is very weird.In fact, I want to end this interview.You've scared me, and I don't want to open my door to find you pantless, waving a knife and gesturing to the taped up hooker in your backseat someday." But otherwise, cool interview.Would've been COOLER to mention his videos.

  • Oct. 10, 2010, 2:19 p.m. CST

    TIRE sounds fucking LAME!

    by DoctorWho?

    Can it possibly be as bad as that description? Holy Christ that's awful. And shallow.

  • Oct. 10, 2010, 2:19 p.m. CST

    I meant RUBBER

    by DoctorWho?

    Whatever.

  • Oct. 10, 2010, 6:46 p.m. CST

    I would still like to see his Wolfman

    by chien_sale

    Maybe he could touch at a genre flick on a smaller scale a la Splice.

  • Oct. 10, 2010, 9:12 p.m. CST

    WTF

    by RUBBERSOUL12

    WTF, HOW ABOUT A SPOILER ALERT!