On Tony Scott’s Influence: “That’s one thing when you’re starting off as a filmmaker, is you want to try to define your style and figure out who you are and as part of figuring out who you are as a person, try to figure out what your style as filmmaker is. I’ve always kind of known that about myself because I grew up drawing and painting and stuff, so I knew I had a design principle in my head that I knew I liked. It’s defined.
I was hanging out on the set like a kid, like a fan, getting to sit next to Tony Scott. There he is with the cigar and the pink baseball cap - his uniform. And it was just like, ‘I can’t believe I’m sitting next to him.’ And part of me is like, ‘I hope people don’t think I’m some a**hole sitting here. I’m like honored to be here.’ It’s just watching him work and seeing his process, and I think that it’s inspiring to see someone like that who’s a pro.
He’s been doing it for so long and he’s still running around trying to get his day and stressing about the bond company and all these things - and hiding pages. Like pulling pages out from the bond company, ‘Don’t worry Rich. We’ll shoot it Rich. Let the bond company guy get the f***ing page count!’ It’s the same as seeing a guy like Tony Scott go through the real deal. You know, the bulls**t of making a film. It’s war.”
Richard Kelly on Keira Knightley as Domino: “Well Tony was always, I think he had lots of ideas in mind over the years. I mean, he’d been with the project for so long and at one point, I don’t know if was me who suggested Keira [Knightley] or my friend Brent Weinstein suggested her. In the end I know Tony was like, ‘It could never be anyone but Keira.’ He’s so satisfied with her. He’s like, ‘Keira is Domino. She is Domino.’ I mean, Tony’s through the roof, head-over-heels with Keira in the movie.
But I think Tony entertains every idea. He’s very open. Like, there’s no idea’s too absurd or off-the-charts for him to have an open mind about, and that’s the great thing about him. He’s fearless and he’s open about everything.”
Working with Tony Scott and the Editing Process: “Tony was really open with me and brought me into the editing room several times. I was happy to make suggestions. That’s the wonderful thing about Tony is he, for a guy of his stature, he doesn’t have an ego when it comes to being a collaborator and listening. He’ll take anyone’s suggestions or ideas and he’s a real gentleman in that way.
On Being Ready to Get Back in Front of the Camera: “…I’m dying right now. I can’t [wait]. We’re four weeks out from ‘Southland Tales,’ thank God, because I’ve been a screenwriter for hire here for a few years, sort of, and it’s been great but at the same time it’s just like, you know, it’s not really… I’m a director first and a screen writer second.”
Four Weeks Out – The Status of the Cast of “Southland Tales:” “Still [casting]. Casting is a big thing right now. There’s a lot of roles that are [dependent on] schedules and there’s a lot of exciting things happening with the cast, but nothing I can talk about officially.”
The Story of “Southland Tales:” You could see this answer coming a mile away… Kelly said, “Alright. Story...” followed by lots of hmmms.
“Southland Tales” the Musical?: Kelly laughs. “It might be. Who knows?”
The Plot and Bizarre Rumors: “There’s always been a lot of inaccurate information put out there. It’s… I mean you’re so close to something; you’re so deep you lose objectivity sometimes. I’ve lost all objectivity so if I even try to describe the plot right now, I wouldn’t do it justice. And I would probably say something wrong, so it’s probably best if I just don’t say anything.”
But It’s Set in the Future… “It’s set in the year 2008, over the Fourth of July weekend.”
PAGE 3: Richard Kelly on "Southland Tales," the Cast, and Writing/Directing
