What made the story of Mystic River click for you?
I read a synopsis of the book. I knew about Dennis Lehane, the author, because I had read other things by him. I said: “Gee. I like that story.” And I have always been curious about that lost innocence — somebody you know loses their own childhood. It sounded like Shakespeare: fate is driving it and there is nothing anybody can do to stop it.
How would you describe the movie?
It is sort of an American tragedy. Hopefully, the story comes first, but we’re trying to be a little more stylised in some ways because we are bouncing back between 25 years ago and today.
What about the script written by Brian Helgeland?
It is very intelligent writing so I figured I had to get really good actors. I am the only one who can really screw it all up!
There is sadness too as an undercurrent to the whole story…
It’s about loss … it is not just a murder and a mystery, but about how everybody loses something in different ways.
What was the process for the casting of Mystic River like?
When it was announced that I was going to direct the movie, a lot of people were calling me and asking to be in this movie. I sent it to Sean Penn. He called me back and said, “Boy, this is a killer.” Kevin Bacon and Tim Robbins had expressed interest in working with me. Each brings something different.
How would you characterise Sean Penn as an actor?
Very instinctive. He prepares well in his mind but he doesn’t overwork the script. He is adaptable and he is ready to work — as soon as he comes to the set, we can shoot the first take. Once in a while we philosophise about the script.
And Tim Robbins?
Totally different. When actors have directed before, it makes them easier to direct because they know what you are doing and also have acquired a certain sympathy after having been on the other side of the camera. Laurence Fishburne wants to direct soon.
These actors have different approaches to the film. Do you have to adapt to each of them or do they have to adapt to you?
No, they adapt to the story, even though they have their own idiosyncrasies. These guys are well prepared, have their characters worked out and are just great. The good thing also is that most of them knew each other beforehand. Sean and Kevin worked in a play together 25 years ago. Sean has worked with Tim, who directed him in Dead Man Walking. When they got the script, they all went to readings on their own and went through it. I was up to my neck in preparation and they took it upon themselves to read and work on the screenplay. A lot of actors would never do that.
The female characters have more depth than one might expect.
They are not just there to be thrown intact at the end. That is why it was fun to watch Laura Linney’s performance at the end: she becomes Lady Macbeth … I think that is why the author named her Annabeth. We just talked and philosophised a little bit about it.
The three main characters are broken men in different ways…
They are scarred. One incident has affected these three characters in different ways. It is powerful material —it has a lot of depth to it.
Did you have a very clear vision of the movie you wanted to achieve before starting ?
You have a vision of what you want to do, but it is always evolving. Some things happen during the process — actors come in and, all of sudden, things start to happen. Going back to the book, I am trying to get everything the author had within a reasonable length.
Can you talk of the pathos you want to carry from scene to scene?
In this thing, every scene has a certain connection. Whatever red herrings there are in the story, everybody is telling the story — there is the Brendan story, the Silent Ray story, Sean and his estranged wife story and his relationship with Whitey, and Whitey is sort of the alter ego, watching over, sort of the professional detective. Tim Robbins is the character who is emotionally vulnerable.
Do you need to have seen all the movies of the actors you work with and direct?
I don’t. I’d rather not see too much. I have seen a few along the way. The last picture of Sean Penn I saw was Sweet and Lowdown, where he was playing a jazz guitarist. I liked it. It was an uncompromising performance. Kevin, Tim, Laurence Fishburne — these guys are all in their early 40s. They are in that area where they are very experienced; they should be in the absolute prime of their life because they have a lot of experience, but at the same time, they’ve got a lot of energy. I think they are the best around in their age group today, and the two actresses [Linney and Marcia Gay Harden] are the best around, maybe in any age group, of American actresses.
How would you describe the mood of the movie?
It’s got a pretty good pace. The detective-investigative part will go kind of fast. The emotional parts of the story will be slower, but I’m not letting any of it go sluggish!
You are only the director and producer this time, not the star.
It is easier because I don’t have to worry about somebody pulling my hair and brushing my jacket as when I am acting as well. It is especially very nice not to be in it! I don’t think I’ll ever do another one where I am in it too. I think it’s too hard.
Mystic River opens on December 12
Catch a sneak preview of Mystic River!
Friday readers in Johannesburg, Durban and Cape Town can attend a sneak preview of Mystic River at Nu Metro Montecasino (cinema 15), Nu Metro Pavilion (cinema 12) and Nu Metro Canal Walk (cinema 1). The screenings are all at 5.15pm on Sunday December 7. To get your tickets (limited to no more than four per person), collect them from the cinemas from Friday December 5 onward. They will be released on a first-come-first-served basis. Enjoy!