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When you're on TV you get to see what you do a few weeks later. How difficult was it to wait a few years for this film to come out?
“Tough. This one I was like, ‘Come out already!’ Only for the fact that my hair is so different, I mean. Didn't you think I look really different? I just think I look like a whole different person. I always want movies to come out close enough to when you do them. I hate when it takes like three years.”
There seems to be a real trend in that a lot of A-list stars are doing more indie films.
“Harsh Times is a great example. It's all about the characters and it's all about the story. It's not about production value. It's not about the crane shots. It's not about explosions and cars. It was just really basic. It's about these three people who have these relationships. I think an independent film is really capturing that right now, and I think that's why everybody's so attracted to it.”
What kind of scripts are you getting now?
“Everything. I get porn to period pieces. I got the Dallas script to another independent film like Harsh Times to Dead Fiancé, which is a romantic comedy I just wrapped. It's been all over the place.”
How are things on the Desperate Housewives set? No more injuries?
“No. I'm finally almost healed. Nope, no more injuries. Everything's really good.”
Are you enjoying getting to really go at it with Ricardo Chavira?
“Yeah, I love the War of the Roses story. I told Michael Douglas, 'We're doing War of the Roses on Desperate Housewives. He's like, 'Oh no.' I've had a lot of fun. This War of the Roses" kind of arc has been giving us a lot of opportunity for some great comedy, so I really like that. It’s over the top and physical. I love that. That's my favorite.”
Is Marc Cherry more involved this season than he was last season?
“It's funny because it's almost opposite in the sense that, last season, Marc was writing everything and we were so behind that he couldn't tweak it. This year, he has really capable writers and now he's tweaking instead of writing. He's more setting the tone instead of him literally writing every word on the script. We were behind and then you have to shoot things and then reshoot things, because that's not how it should go. It was kind of a bottleneck at the end of the season last year. This year we're like five scripts ahead and there's a lot of time for rewrites. We're doing table reads, which is one thing we didn't do last season was table reads. But, this season we have so many sitcom writers that they're so used to table reads and hearing their joke. 'I gotta hear the joke. I gotta to hear the joke and I need to rewrite the joke.' So we do a lot of that.”
