How much is actually you taking the hits in the film?
“Most of it. And a lot of the takes where they end up with the stunt guy, it’s only because I did the first three takes and we had to move on because of my back. Then they’d bring in the stunt guy to get however many more takes they needed to make sure they got it.”
And working with this young director…
“Jeff Wadlow – he just turned 29.”
He’s just a kid.
“I know. I’m like, ‘Dude, you’re not that much older than me, don’t act like my parent.’ No, Jeff’s a great guy. Incredible vision, so passionate. I’ve never worked with a director as passionate as Jeff Wadlow. Never in my life. I don’t think it’s possible to find another director that’s got as much passion as Jeff Wadlow does. The guy is freaking OCD over the film that he is doing at that time, and I love it. I respect it. There were a lot of times I was like, ‘Jeff, why are we doing so many freaking takes?’ He goes, ‘You’re going to love it when I cut it.’ And I said, ‘All right.’ I mean, there would be times when we’d done the take 10-15 times and he’s like, ‘Sean, that was awesome. That was amazing, now do it again exactly the same way.’ I said, ‘Jeff, we don’t need to do it again the same way!’ And he just said, ‘Do it!’ I did, and I can’t complain. I saw the premiere and the film is great.”
And now you’re ready to take on producing a film?
“I am producing The Glass Eye with my manager, Dino May.”
Where did that project come from?
“Two years ago we found it. It was a perfect script for me so we said we’re going to hold on to it, revise it, revise it, revise it, until it’s ready for me when I’m old enough to play the part. Hopefully that’s going to happen this summer.”
Is taking on a producer role something you’ve been looking to do or is it just because of this particular project?
“Essentially I would like to produce more and more further down the line. Right now I’m just doing it so I have more say in the creative process. I want my opinion validated a little bit more. And also too, because a lot of times the characters I’m playing, I’ve got producers, in all different projects I’ve done, I’ve got producers that are like mid-forties, sixties, fifties, whatever, and it’s like I know a little more about what these high school characters know about than those guys. It’s like, ‘No, we want it this way. We’ve got this audience, blah blah blah.’ And that’s something I need to have a better understanding of, obviously. So this gives me a chance to be on the creative side and give my opinion, have my opinion validated. But at the same time, without having all the pressure on me, I can watch and I can learn the business aspect of producing and still get the credit for it by just simply being there and observing.”
And it won’t interfere with acting?
“No, I won’t let it. I won’t let it because I’m here to be an actor, number one. Acting is my bread and butter. It is my paycheck. It has supported me for eight years. I am still not the best actor I can be, so I’ve got a long way to go. I’ve got a lot to learn, every actor does - I don’t care who you are. If you think you stop learning them, you need a swift kick in the ass as far as I’m concerned. I’m sure even Jack Nicholson learns things every day he works. So the sky’s the limit. I know I’m not the best I can be yet, that I want to someday be.”
What made The Glass Eye stand out as a project you not only want to star in but also produce?
“Right script, right time. It was something we could option and hold on to. We had another movie deal going with the guy, with the writer. It was there and we grabbed it.”
