Susan Sarandon: “Did you see the cartoon? That's it. It's wild. I can't even begin to tell you about Speed Racer. The Wachowski Brothers are really brilliant and really fun and big-hearted, and I loved working with them. It's an international cast. We had Rain who's a Korean rock star and Hiro [Sanada] from the Kung Fu, but you're still kind of a cartoon. It's the first time I've ever really worked with a chimpanzee. It was definitely just a lesson in surrendering to a world that we couldn't even really comprehend because the way that it was being filmed and everything was so extraordinary. I have a tiny… I mean, I'm there all the time but I serve pancakes.”
Was there a mother in the cartoon? Did you have that to look at?
Susan Sarandon: “My hair's in a flip. If you didn't remember her, you'll think I am playing her faithfully. Yeah, we play it naturally. It's not exaggerated. We're all playing it naturally, but the whole world around us is crazy.”
Are you a cartoon in Enchanted?
Susan Sarandon: “No, that's different. I am a cartoon in Enchanted which then, as we pop up in Times Square, I become a person but we were cartoons. Speed Racer, we're playing it kind of for real in this world that's just kind of like The Jetsons meets I don't know what. It's very, very bright. Very infused. But in Enchanted, you see us as cartoons. Once I transform into the wicked whomever, I push her down a kind of vortex of some kind and Amy Adams pops up in Times Square. From that point on, everybody that pops up is a cartoon figure who's now got flesh. So that's a different style of acting. I look a little like a drag queen actually when I finally…”
And you’ve also got The Lovely Bones?
Susan Sarandon: “The Lovely Bones, Peter Jackson's movie, I start in October. I'm doing a film with my daughter first called The Middle of Nowhere down in Louisiana.”
Are you working on The Lovely Bones in New Zealand?
Susan Sarandon: “No, it's shooting in Pennsylvania and then after Christmas, I think heaven is in New Zealand. But I'm not in heaven so I don't get to go there. So I wrap in Pennsylvania.”
In the book, No Country for Old Men, the guy is a richly spiritual grieving character. Can you talk about playing him?
Tommy Lee Jones: “The thing to do is read Cormac [McCarthy’'s] book. And then the thing to do is read Joel and Ethan's screenplay. Then the thing to do is simply go to work as an actor. There's plenty to think about in Cormac's work and it's all well observed by Joel and Ethan in the screenplay. You have to just do your job, just somehow figure out a way to physicalize all of these indications of this character and his situation and where he's from.”
Was it easy to work with both of the Coens?
Tommy Lee Jones: “Storyboards are important to them and I certainly appreciate that. When I'm the director, I storyboard every frame of the movie. It's useful for the entire company. I make sure everybody has access to it. I also do shot lists with diagrams of where a camera goes, what size lens is on it and if it moves, the diagram will show you that.”