"When I told people I was going to work on 'The Big Bounce' with Morgan Freeman, everyone had the same reaction - 'wow, he is so amazing. I'd like to work with him.' There were a few times when we were doing scenes together when I'd look at the dialogue and think, 'This is tricky.' But when Morgan delivered it, it sounded presidential. He has instant credibility. We had a great time working together," says Wilson.
Catching up with the talented, critically acclaimed actor at the World Premiere of "The Big Bounce," I had the chance to find out what it is about Elmore Leonard's work that is so enticing to actors, and just what exactly a 'big bounce' is. I also had the opportunity to speak with composer George S. Clinton about his work on this comedy/heist movie.
MORGAN FREEMAN ('Walter Crewes'):
What was it like working with newcomer Sara Foster?
Great, but I didn’t work with her (laughing). I got to see her a lot but we had no intercourse.
What is it about Elmore Leonard’s material that makes it so attractive?
I don’t know. I think that he just tells a great story and probably writes some of the best dialogue. It’s so easy, so understandably dialogue.
Was it distracting working in Hawaii?
I’d say it was but actually it was just great fun working there. Everything about it worked.
What does 'the big bounce’ mean?
It’s a rush. That’s what they told me (laughing).
You get to dress pretty casual in this since it’s got the whole Hawaiian setting going on. Does wardrobe affect you as an actor?
Probably not much as an actor but once you get it, you kind of settle into your character. Once you’ve got the right clothes on, you’re in the right character. At least I feel that way.
COMPOSER GEORGE S. CLINTON:
How long did it take you to work on this film?
You know what? It took about 4 weeks, I think.
Is that normal for you?
It’s become normal. It used to be six weeks but most production schedules have gotten more and more compressed. That’s just the nature of the beast now.
When you’re doing something like this - a comedy/heist movie - is there a different mindset than when you’re doing a drama or a romance or some other genre?
Yeah, I think there is. Everything has a wink behind it. It’s serious, but you wink at the same time. That’s the way the movie was shot, that’s the way the story is – that you’re never sure of who is scamming who so that makes it fun. With the movie, I think the music has to be serious at times, it has to play the danger, but in the end it also has to wink at the audience and let them know that this is a fun trip you’re going on.
And it’s also set in Hawaii so there’s also that element thrown in. How much did that influence you?
A lot. I used sort of a breezy Hawaii steel guitar, a crazed ukulele, [and an] exotic percussion along with a big string orchestra that plays the lush part of the Hawaiian [experience]. It was fun to pull these elements together and make a sort of Hawaiian stew (laughing).
Do you have a favorite genre for scoring movies?
I love this kind of movie because of all the different aspects of it and because you can be as creative as you want to be about pulling in bizarre instruments, or instruments that may be from the area, and use them in unusual ways. I think that’s what I like; I like things that are fun. I think that’s my favorite genre – if there is a fun genre, that’s my favorite.
ADDITIONAL "THE BIG BOUNCE" MOVIE PREMIERE COVERAGE
Charlie Sheen, Denise Richards and Sara Foster / Special Premiere Guest Jeff Probst
"The Big Bounce" Premiere Photo Gallery
Additional "The Big Bounce" Resources:
"The Big Bounce" Production Photos
"The Big Bounce" Trailer, Credits, and Websites
