I learned so much about myself from reading this script and doing this movie [Shelter] because the level of judgment and the lack of humanity I saw in myself was disgusting. I never took into account what a homeless person might have been through.
The world is split into two kinds of people, those who would go out for a drink with John Lennon, and those who`'d choose Paul McCartney... After The Beatles came back from India, Lennon wrote "Happiness Is a Warm Gun" and McCartney wrote "Ob-La-Di, Ob-La-Da." End of argument.
I come down as an actor and my marks are already laid out on the floor - somebody else organized what I'm going to do. I think, why am I here? And why I'm here is to express the words with some sort of vague emotion and make them seem real. I wanted to go back to how it was before.
In the old days when I first was coming up, you would turn up on set in the morning with your coffee, script, and hangover and you would figure out what you were going to do with the day and how you were going to play the scenes. You would rehearse and then invite the crew in to watch the actors go through the scenes. The actors would go away to makeup and costume and the director and the DP would work out how they were going to cover what the actors had just done.
An actor has so much less space and responsibility. Sometimes you come on, and there are already tape marks for where you are supposed to stand, and the dialogue is already decided on. If you want to make a change and contribute something, it has to be approved by a number of people.
I was always waiting for the secret to be handed down to me. Ron Howard asked me what I was waiting for and I went, "Ron, I'm waiting to know the secret. I keep feeling there's some sort of secret that's going to passed on from a director." He went, "Oh no. There is none. You've just got to on and do it and make mistakes and figure it out."
An agent friend of mine who will remain nameless said you can't make a romance about homeless people; nobody wants to see them kiss. And I thought, what a repulsive, repugnant, extraordinary thing to say. I had to think about the fact that the world is probably full of other people who feel like that. The very idea that we spend time trying to humanize humans is extraordinary to me.
I feel like the world we live in seems to be full of an increasingly grey area, but the culture that we live in seems to be getting really entrenched in black and white positions, and I think it's urgent to talk about that because it's going to kill us all.
People have suggested that perhaps we are too affluent to be telling this story, which is amazing to me because then I wonder what story I am allowed to tell. Having been working with the homeless for the past years, I noticed lots of things about them, but one thing I really noticed was that they were probably too busy just getting though the day to make a film about themselves.
I don't want to infantilize the actor; I want to empower the actor. Actors can be many things, but all of the really good ones are really great storytellers, and I'm interested in that. If you're not interested in that as a director then you better be Stanley Kurbrick.
I remember coming on my first set and it being a playground of things I wanted to ask questions about: cameras and lenses and what the lenses do, what's the focus puller doing and how does that work? Why is there less margin for error when there's less light? I was always asking questions and watching directors closely.
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