Emile Hirsch goes Into the Wild

Emile Hirsch gives a magnificent performance in one of the year's best films, Into the Wild. I met with him in Georgetown to ask him about making the film.


What does Sean Penn as an actor bring to directing?
He has that whole wealth of experience since he's done it on the actor's side. So you trust him so much. Everything he asked me to do, certain things I was hesitant to do, he did first. He ate squirrel. He went first on the Colorado River. He let me know I could do it. Sean was an incredible director. He let me learn for myself, He helps you bring out the best in yourself and there's no greater gift.


All of the movies Penn has written and directed are in some way about lost children. Why do you think that is?
He is a man of high intellect but also a very keen instinct. A lot of his choices are on an instinctual level in a very pure way. One of the things I admire about him so much is the kind of strong-willed instinct that he has and the confidence to trust that instinct and move forward. Where so many people are in the back rubbing sweaty palms, he is doing it. He wanted to do this movie because he always had a really strong wanderlust, as do I. It was infectuous, the idea that you want to go out and live your life all the way and have more meanng, live it while you have it.

You play a real-life character who died of starvation in Alaska. Did he have poor judgment? Was he self-destructive? Where would he have gone next?
He made a couple of really crucial errors, not bringing things with him like a map. But he purposefully did not bring them because he wanted to shave he margin of error. He shaved it a little too much. He had amazing wanderlust and also had a lot of personal problems.

Did he learn from the people he met or were they just way-stations on his journey to sever all ties?
He was very determined. The people on the road started to open his eyes, but it took the total solitude for him to find himself and what the meaning of his life could possibly be.

It's quite a contrast to go from this film to your next film, "Speed Racer." How do you prepare for such different genres?
The directors of "Speed Racer," the Wachowski brothers, the guys who did The Matrix, have a particular sensibility about performances they expect. It was like being in a sauna for eight months and jumping into an ice bath without a break -- with the lid locked!

Were there elements of the real-life story that were especially meaningful to you in portraying Chris McAndless?
The abandoned bus he lived in, which he called "the magic bus." It was like a waystation, always symbolzing the journey, Where he learns about himself. It symbolizes the question, "Where is he going?" And I read the books he was reading, Walden by Thoreau, Emerson, Dr. Zhivago by Pasternak, Jack London's Call of the Wild. What Chris did was very similar to what Thoreau did.

Duck-ing with writer-director Nic Bettauer

Nic Bettauer wrote and directed an independent film called "Duck," starring Philip Baker Hall and the duck from the Aflac commercials. We spoke by phone:

Philip Baker Hall is one of my favorite character actors and it was a real pleasure to see him in a lead role. How did that come about?

I’ve been known to try to do things backwards, but in this case there was no way other than protocol. I made an offer through his agent and the system worked. I did not have him in mind while I was writing it because if you picture a patticular actor you get lazy and think of all the wonderful things he could do with the role, but once I’m done, I like to think about what the actor can bring to it, sometimes things I never thought of. With Philip, this was different than a lot of the roles he’s been playing. I like to offer someone something he hasn’t done on every level. That’s how without having a lot of money you take a risk on people. It is also how you make it worth it for them in other ways than money.

He has a gorgeous voice, wonderful for this movie because so much of it is essentially a monologue.

His voice is a stunner, it just cuts to the quick, love to have him read the audio book.

Most directors worry about working with animals, especially those not easy to train. How did you come to write a movie starring the Aflac duck?

When I was writing I tried not to censor myself but then when it got to making it I was like wow. It was important that it was all live, so I went after the best quality duck. We had great ducks and trainers. Ducks are very social. Our "hero duck" #30 was the best listener and we had stand-ins with different personalities. So we would say, "Is this a job for #27 who liked to walk ahead?" or for another who loved to be held. You might have to switch ducks because you could not have it all in one shot. But they were very charismatic. We had to know the ducks and think like a duck in a way. With three different ages of ducks in the movie, we had 1-2 babies, some teenage, and about 6 big ducks, always more than one on the set just in case. At one point we wanted the duck to look grubby but we learned the derivation of the expression "water off a duck's back." They just always look pristine.

What is the duck's purpose in the story?

Philip Baker Hall is so real and his character's relationship with the duck was like the one I have with my dog, who is my writing partner. Philip plays it so straight. When he was working with the duck he was looking at his alter ego, almost speaking to the part of himself that was keeping him alive. He is almost speaking to himself or treating the duck like a replacement for his son or his wife. As long as he is teaching or learning life is worthwhile, so taking care of the duck gave him a purpose. Now Philip and I have been intellectualizing it but it’s not really the way I think when I write.

How did French Stewart become involved in this project?

I really adore him. He is so interesting. He came in and read. It is problematic not to be typecast when you are so huge on a TV show. He was doing a lot of theater, smaller projects. He was a bit different than I had thought of the character and that is so exciting, it brought so much to the film. People capable of being funny are usually capable of the exact opposite.

The one smart thing I did unbeknownst to myself at the time -- because the movie is a set of vignettes, we would end up filming one additional character a day. Some really interesting people worked with us because we only needed a day of their time. People really came through for us, a nice influx of creative energy, a breath of fresh air each day.

The movie is set in 2009. Why set it in the future and why just a couple of years in the future?

I wanted it to be slightly in the future so that it was a bit of a cautionary tale about where we were headed but still with hope to make a change. I not want to make it so far ahead that it was irrelevant. It is a fable. It’s not what I necessarily predict. At one point he says the President is Jeb Bush. That was not a prediction. I did not want to use a realistic candidate because it would be distracting. By chosing Jeb Bush as the answer I was talking about this administration.

What's next?

Next is my version of a cop movie, a character piece, an anti-hero cop, and I am currently obsessing over Chris Cooper [to play the lead]. The character says everything I wish I could but shouldn’t in polite company. I would love to keep this character, maybe a series. I grew up on the 70’s NY cop films.

Duck is bittersweet, but also funny, isn't it?

I do think there’s a lot of humor in "Duck." It is a bit surreal, a bit acerbic, a little Sartre. You never know what people will see, absurdist kind of humor but also sad. I like to find the funny in sad, if you can do that in real life you’ll be okay.

Ben Foster and "3:10 to Yuma"

Ben Foster stars with Russell Crowe and Christian Bale in "3:10 to Yuma," one of this fall's two big westerns. This is a remake of an earlier film by the same name, starring Glenn Ford and Van Heflin, a tense thriller about a rancher who must deliver a captured outlaw to the train station, so he can be taken to trial. Both movies are based on a story by Elmore Leonard, better known as the writer behind stories of modern-day crooks and tough guys. This new version is directed by James Mangold of "Walk the Line" and "Girl, Interrupted."

Ben Foster took time to talk with me by phone between interviews when he was in Washington to promote the film. He was very engaging and very forthcoming about his tactics in approaching this role.

Jim [Mangold] really re-created and modernized the film and really delved into the character development. Fans of the original film will be startled. I decided not to watch the original film. I related to being in an accident where it seems like everything slows down. My research was going through the archival photographs of outlaws at the time. We concluded they were the rock stars of their day. They were like pirates or rock and roll stars, living outside of the law, where murder becomes your show, performance. So I watched glam rock footage, David Bowie and INXS. These outlaws were also indiginous to the environment and its elements. They were predators. That idea seemed to resonate the most, so we looked at mountain cats, how they move and approach their prey. We also thought of matadors because there is a certain elegance to the character. I play the second in command, so finding a certain kind of deviant loyalty was also important.

Foster started acting professionally when he was very young, so I asked him about his influences.

Gary Oldman is brilliant. Barry Levinson gave me my first job in Liberty Heights and really shaped me with his approach to work. I was hoping to be told what to do and his direction was by asking questions, making it your own. Nick Cassavetes (Alpha Dog) works in that same way and so does Jim Mangold.

His future plans:

I'm heading to Belfast to shoot a film called "50 Dead Men. I want to keep doing what I am doing. I'm fortunate to stay busy and not feel that I am repeating myself.
I've never avoided a genre or pursued one. It's always the material and who the other players are. What’s important is I've never taken a job because I know how to do it. I look for a sense of recognition. Ideally in conspiracy with the director you create a fouidation that lets the character come in, making room for that person to come through, so you’re experiencing through them rather than through you. I believe you do the research and preparation so you can experience what is going on for the first time.

He admires his co-star:

Russell Crowe was incredibly supportive. He went out of his way to make sure that I felt good on my horse. I had never ridden a horse before and that’s not something you can really fake. He is really misrepresented in the press. He is a remarkable actor. If you’re hardworking and you mean it, you’ve got him on your side.

And the most important thing to know about this film:

There's a stigma with westerns that makes people think there’s no dialogue and it's all people scowling at each other. This is more of a character-driven action film great acting, great ride, not a dated western, it really moves.

Interview with Kathryn Beaumont

My favorite childhood birthday party was my 6th -- we watched Alice in Wonderland. And yesterday I got to talk to Alice herself, Kathryn Beaumont, who provided the voice for both Alice and "Peter Pan's" Wendy. She was in Washington to talk about the new DVD edition of "Peter Pan" with all kinds of extras, including a 1952 featurette about the making of the film, a never-before-seen alternate opening, and a sneak peek of the new Tinker Bell movie. And, of course, a cover of one of the "Peter Pan" songs by a Disney-label pop group that just happens to have a new CD coming out.


It was a treat to talk with Ms. Beaumont, who still has that lovely, clear voice, and who remembers what it was like to sit with Disney's legendary "nine old men" and see them sketch out their ideas for the movie. I'm glad to be able to make it possible for viewers of this blog to hear our conversation here.
We chatted about how she got the job and how she provided not just the voice but the movement for her animated characters, how it felt to meet Walt Disney and Hans Conried (who played Captain Hook), what happened after she became a schoolteacher when her students asked her if she was really Alice and Wendy, and how it felt to get a call from Disney decades later when they wanted her to reprise her Alice voice for the Alice in Wonderland rides and parades at Disneyland and Disney World.