12.13.18

Matt Dillon Discusses "The House That Jack Built"

Boundary-pushing cinematic visionary Lars von Trier returns with one of his most daring, masterfully provocative works yet. In "The House That Jack Built," failed architect and arch-sociopath Jack (Matt Dillon) recounts the elaborately orchestrated murders-each, as he views them, a towering work of art-that define his "career" as a serial killer. Mixing pitch-black humor, transcendent surrealism, and renegade musings on everything from history to architecture to cinema, von Trier fashions a radical, blazingly personal inquiry into violence, art and the twin acts of creation and destruction.

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>>> THANKS, EVERYBODY. WELCOME TO BUILD. I'M YOUR HOST RICKY CAMILLERI. ONE OF THE FUNNIEST, SMARTEST, MOST FASCINATING MOVIE CAREERS HAS BEEN MATT DILLON'S. FROM "DRUGSTORE COWBOYS," SLEAZY PRIVATE DETECTORS AND NOW MAYBE HIS BEST PERFORMANCE TO DATE, A SERIAL KILLER. IN LARS VON TRIER'S "THE HOUSE THAT JACK BUILT," DILLON PLAYS JACK. LET'S TAKE A LOOK.

>> YOUR HOUSE IS A FINE LITTLE HOUSE, JACK.

>> ARE YOU ALLOWED TO SPEAK ALONG THE WAY? I WAS THINKING THERE MIGHT BE RULES.

>> LET ME PUT IT THIS WAY. VERY FEW MAKE IT ALL THE WAY WITHOUT UTTERING A WORD. BUT DO CARRY ON MERRILY, JUST DON'T BELIEVE YOU'RE GOING TO TELL ME SOMETHING I HAVEN'T HEARD BEFORE. \M\M

>> THAT WAS MAYBE A MISTAKE.

>> MAYBE A MISTAKE.

>> ME GETTING IN THIS CAR WITH YOU. YOU MIGHT AS WELL BE A SERIAL KILLER. SORRY, BUT YOU DO KIND OF LOOK LIKE ONE. \M\M

>> YOU LIKE SCREAMING. I DEFINITELY THINK YOU SHOULD. \M\M

>> MIND IF I TAKE A LOOK IN THE VAN, PLEASE, SIR?

>> I WOULD BE A BAD GUY IF I SAID NO.

>> SOME PEOPLE CLAIM THAT THE ATROCITIES WE COMMIT IN OUR FICTION ARE THOSE INNER DESIRES WHICH WE CANNOT COMMIT IN OUR CONTROLLED CIVILIZATION, SO THEY'RE EXPRESSED INSTEAD THROUGH OUR ART. I DON'T AGREE. I BELIEVE HEAVEN AND HELL ARE ONE AND THE SAME. THE SOUL BELONGS TO HEAVEN, AND THE BODY TO HELL. WHEN I THINK ABOUT ALL THE THINGS I HAVE DONE IN MY LIFE, WITHOUT IN ANY WAY RESULTING IN PUNISHMENT.

>> MATT DILLON, EVERYBODY. THE GREAT MATT DILLON.

>> HEY.

>> MATT, THANKS SO MUCH FOR BEING HERE.

>> IT'S GREAT TO BE HERE.

>> CONGRATULATIONS ON THE MOVIE.

>> YEAH. YEAH, IT WAS A LOT OF FUN MAKING IT. BELIEVE IT OR NOT. IN SPITE OF WHAT --

>> IT'S A SHOCKER. IT'S A DISTURBING MOVIE, ABOUT A SERIAL KILLER, BUT IT IS KIND OF A FUN MOVIE IN ITS OWN WEIRD, SICK WAY. YOU GET THE SENSE THAT YOU AND LARS HAD A PRETTY GOOD TIME.

>> OH, YEAH. WE HAD A PRETTY GOOD TIME. IN A WEIRD, SICK WAY. NO, WE DID HAVE A GOOD TIME. IT WAS THE ATMOSPHERE ON THE SET WAS VERY CREATIVE. AND IT WAS -- THE SUBJECT MATTER IS DARK. BUT THAT WASN'T THE VIBE ON THE SET.

>> A LOT OF THE WAY THAT LARS SHOOTS HIS SCENES, IT SEEMS LIKE HE'S DOING A LOT OF TAKES, THROWING A LOT OF IDEAS OUT. WAS THAT A WAY THAT YOU WERE USED TO WORKING? HAVE YOU EVER WORKED THAT WAY BEFORE?

>> WELL, IN THIS PARTICULAR -- YOU KNOW, WE TALKED A LITTLE BIT ABOUT, BECAUSE I HADN'T WORKED WITH HIM BEFORE, BUT WE TALKED A LITTLE BIT ABOUT THE WAY, AND HE TALKED A LITTLE BIT ABOUT THE WAY HE LIKED TO WORK. AND THAT HE WOULD SHOOT FROM A LOT OF DIFFERENT ANGLES. AND KEEP IT REAL LOOSE. WE DIDN'T REHEARSE. WE NEVER REHEARSED. NOT ONCE DID WE REHEARSE. SO THAT WAS VERY INTERESTING BECAUSE USUALLY, IF WE'RE TOLD BY THE DIRECTOR, LET'S SHOOT THE REHEARSAL, IT'S USUALLY A BAD SIGN, IT MEANS THEY'RE IN A HURRY OR SOMETHING. BUT HERE, IT WAS REALLY KIND OF PHILOSOPHICAL WAY OF WORKING, WAS THE IDEA OF LET'S SEE WHAT HAPPENS. AND THAT WAS GREAT FOR ME BECAUSE IT KEPT ME OUT OF MY OWN -- OUT OF MY OWN HEAD, MY OWN IDEAS. SOMETIMES IT'S BETTER TO EMBRACE THE MISTAKES THAT COME ALONG. AND WE'RE NOT DELIBERATELY TRYING TO MAKE MISTAKES, BUT WE'RE WILLING TO TAKE CHANCES, AND POTENTIALLY FAIL. AND I THINK THAT'S AN IMPORTANT PART OF THE PROCESS. WHICH WAS FOREIGN TO ME. IT WAS NOT A WAY -- IT WAS A REALLY -- IT WAS AN EYE OPENER, AND SOMETHING WORTH TAKING IN THE FUTURE.

>> YOU KNOW, AS A FAN OF YOUR WORK, GOING BACK TO DRUGSTORE, OR EVEN BEFORE THAT, WITH THE "OUTSIDERS" YOU HAD A LOT OF ROLES THROUGHOUT YOUR CAREER. WHAT I I LOVE ABOUT THIS IS IT FELT LIKE A CHANCE TO GIVE YOU ALL OF THOSE THINGS YOU PLAYED AND PUT THEM INTO ONE CHARACTER. WHERE JACK IS ALWAYS PLAYING A PART IN A LOT OF HES SCENES, WHETHER HE'S TRYING TO LURE SOMEONE OR PLAYING A WEIRD PART FOR HIMSELF OR HE THINKS HE IS SOMETHING HE'S NOT, YOU GET ALL OF THESE VARIATIONS OF WHAT YOU HAVE BEEN GOOD AT FOR SO MANY YEARS. DID YOU EVER SEE IT THAT WAY, THAT THIS WAS KIND OF THE CULMINATION OF A LOT OF YOUR PERFORMANCES?

>> NO, TO BE HONEST WITH YOU, I NEVER THOUGHT ABOUT PAST PERFORMANCES UNTIL SOMEBODY MENTIONED, WOW, THAT GUY WHO KNOCKS ON THE DOOR AND TRIES TO PRETEND TO BE A POLICEMAN AND THEN HE TRIES TO SELL INSURANCE TO THE WOMAN WAS A LOT LIKE THE CHARACTER YOU PLAYED IN "SOMETHING ABOUT MARY.”

>> THAT WAS ME, I SAID THAT.

>> IT WAS YOU. RICKY AND I ARE OLD BUDDIES. WE HAVE BEEN DOWN THIS ROAD BEFORE.

>> I SAID THAT FOUR TIMES THAT NIGHT.

>> YEAH, YOU WERE THE ONE WHO SAID THAT. THAT'S EXACTLY RIGHT, WHEN WE WENT AROUND TO THE THINGS. WHERE I HADN'T REALLY THOUGHT OF IT THAT WAY, BUT YOU'RE RIGHT. IT REALLY IS THAT. BUT FOR ME, ONE OF THE THINGS I DISCUSSED, WHEN WE TALKED ABOUT EARLY BEFORE WE STARTED SHOOTING WAS THE IDEA THAT JACK IS MANY THINGS. AND HE'S MANY THINGS BECAUSE THERE IS NO SENSE OF SELF AT THE CORE BECAUSE HE IS A PSYCHOPATH AND HE LACKS ANY EMPATHY WHATSOEVER. SO HE HAS TO BECOME DIFFERENT PEOPLE.

>> HE IS ONLY THAT THING THAT GETS HIM WHAT HE WANTS IN THAT MOMENT.

>> PRECISELY.

>> THERE IS NOTHING BENEATH THAT.

>> EXACTLY.

>> WOW. ACTORS OFTENTIMES SAY THEY CAN'T JUDGE THE PARTS THEY'RE PLAYING AND THEY HAVE TO FIND THE CORE OF THE CHARACTER TO PLAY THEM, FIND WHAT THEY IN THEIR HEART WANT. DID THIS MAKE IT DIFFICULT FOR YOU AS YOU SAID YOU KNEW HE DIDN'T REALLY WANT ANYTHING IN HIS CORE, OR DO YOU PLAY IT SCENE BY SCENE THEN?

>> THE DIRECTOR IS VERY SPECIFIC IN THIS FILM, I MEAN, I ASKED LARS FROM THE VERY BEGINNING, NOT A SUBJECT MATTER SERIAL KILLERS IS SOMETHING I'M NOT THAT INTERESTED IN, THANK GOD. TYPICALLY, NOT INTERESTED IN. I ASKED, WHY DO YOU WANT TO DO A FILM ABOUT THIS GUY? AND HE SAID BECAUSE THIS IS THE CHARACTER CLOSEST TO MYSELF. BUT HE SAID, EXCEPT I DON'T KILL PEOPLE. YOU KNOW. SO IN LOOKING AT THE CHARACTER, ONE OF THE THINGS WE DID IN BREAKING DOWN JACK, BECAUSE IT TAKES PLACE OVER, I DON'T KNOW, 17 YEARS, I FORGET. 12, 17 YEARS. IT TAKES PLACE OVER A PERIOD OF TIME. AND WE SEE HIM AT DIFFERENT PHASES IN HIS LIFE. AND IN THE BEGINNING, HE'S SO BUTTONED DOWN, SO UPTIGHT, REALLY. AND THE OBSESSIVE COMPULSIVE, HE'S IN FULL BLOOM, BUT AS HE -- AS THE ESCALATION OF HIS CAREER, IF YOU WILL, AS A CRIMINAL, WE BEGIN TO SEE HIM REALLY CHANGE AND MORPH AND UNRAVEL. AND BECOME LIKE THE MANIA GETS TO HIM. BY THE END, HE'S JUST A VERY DIFFERENT PERSON THAN YOU SEE IN THE BEGINNING OF THE FILM.

>> AGAIN, THAT KIND OF GOES BACK TO THIS IDEA OF YOU GETTING TO PLAY VARIATIONS ON SOME OF THE PARTS YOU HAVE PLAYED BEFORE, WHERE WE GET THIS KIND OF OBSESSIVE COMPULSIVE PERSON ON THE PORCH OF ONE OF HIS VICTIMS WHO IS CONSTANTLY COMING UP WITH DIFFERENT RIDICULOUS LIES FOR WHO HE IS TO GET IN. TO THIS GUY WHO IS WITH RILEY KEOUGH, WHO IS IN SOME WAYS KIND OF A BAD BOY AND THINKS OF HIMSELF AS A HOTSHOT IN THE ROOM AND SEDUCING THIS WOMAN, UNTIL HE'S NOT DOING ANY OF THAT ANYMORE IN THE SCENE AND HE'S JUST GOING WILD. DO YOU JUST APPROACH EACH SCENE AS HE IS THIS IN THIS MOMENT?

>> YEAH, I MEAN, HE BECOMES MANY DIFFERENT THINGS. MANY DIFFERENT PEOPLE. YOU KNOW, AT DIFFERENT TIMES. AND EVEN IN THAT SEQUENCE WITH RILEY, HE TALKS ABOUT HOW HE, YOU KNOW, WOULD USE A CRUTCH BECAUSE IT WAS A GOOD WAY TO ELICIT EMPATHY FROM SOMEONE AND GET THEM TO HELP YOU BECAUSE YOU HAVE A CRUTCH, AND THEN YOU CAN GET THEM IN THE CAR.

>> HE ALSO HAS THIS INCREDIBLE MONOLOGUE IN THE SCENE WHERE HE TALKS ABOUT HOW HE'S THE VICTIM. THAT LIKE WOMEN ARE THE OPPRESSORS AND HE'S THE VICTIM, WHILE MEANWHILE, HE HAS HER TIED UP AND IS ABOUT TO KILL HER. IT SHOWS THIS MAN WHO JUST HAS SUCH A DERANGED SOCIOPATHIC VIEW OF THE WORLD, HE CAN ONLY VIEW IT FROM HIS PERSPECTIVE.

>> YEAH, AND I THINK IT'S IMPORTANT TO REALIZE THAT THE FILMMAKER IS VERY AWARE OF THAT.

>> YEAH.

>> THE IRONY OF THIS GUY SAYING, WHY IS IT THAT, YOU KNOW, MEN ARE THE VICTIMS, AND YOU KNOW, WE'RE ALWAYS -- AND MEANWHILE, I MEAN, LOOK AT THE SITUATION HE'S IN. HE'S ABOUT TO MURDER THIS WOMAN. AND SO ANYBODY WHO THINKS THAT'S COMING FROM THE FILMMAKER IS MISGUIDED BECAUSE IT'S REALLY, HE'S PUTTING THESE VIEWPOINTS IN THE VARIOUS CHARACTERS THAT HE'S CREATING.

>> YEAH, I HAVE BEEN VERY HAPPY WHEN I SAW THE FILM, I WAS WORRIED THAT WOULD BE MISUNDERSTOOD, THAT THE IRONY WOULD BE LOST, BUT I'M HAPPY TO SEE THAT PEOPLE ARE GETTING THE IRONY OF THAT SCENE.

>> THANK GOD.

>> OTHERWISE, IT WOULD BE HELL TO PAY, I THINK. BUT THANKFULLY, THEY'RE GETTING IT. WITH LARS, SINCE HE SAID THIS CHARACTER IS THE CLOSEST THING TO ME, DID YOU EVER THINK THAT YOU WERE PLAYING A VERSION OF HIM AT TIMES IN THE MOVIE?

>> WELL, THERE ARE SOME TRAITS, LIKE FOR EXAMPLE, THE CHARACTER OF JACK IS OBSESSIVE COMPULSIVE, SO HE ACTUALLY SAYS, I CAN'T EVEN SLEEP ON A BED IF IT'S GOT A CREASE IN IT. YOU KNOW, LIKE EVERYTHING HAS TO BE -- IF THE SHEET IS LIKE WRINKLED EVEN A LITTLE BIT. AND I THINK THAT LARS HAS A LITTLE BIT OF THAT IN HIMSELF. IN FACT, HE CAME UP TO ME ON THE SET. I DON'T THINK A LITTLE BIT. I THINK A LOT OF THAT IS IN HIMSELF. SO WHEN WE WERE DOING THE SCENE WHERE I HAD TO BE CLEANING UP THE CRIME SCENE, EVEN THOUGH THERE'S NO BLOOD, THERE'S NOTHING THERE, JACK IS OBSESSED, AND HE KEEPS GOING. I THINK LARS SAID, YOU DON'T KNOW HOW CLOSE THIS IS TO MY LIFE. YOU KNOW. SO I THINK THERE IS AN ELEMENT THAT I'M PLAYING LARS, BUT I THINK ALSO, THOSE ARE THE THINGS THAT MAKE THE AUDIENCE FEEL COMPLICIT IN THE STORY. WHICH I THINK IS IMPORTANT FOR THIS TYPE OF FILM, TO GET YOU INSIDE OF JACK'S MIND. MEANING LIKE, FOR EXAMPLE, THERE'S A SCENE WHERE HE CAN'T EXTRACT HIMSELF FROM THE CRIME SCENE BECAUSE HIS OBSESSIVE -- HE KEEPS GOING BACK TO CLEAN UP SOMETHING THAT ISN'T THERE. AND EVEN WHEN THE SIRENS ARE COMING, HE CAN'T. AND I THINK THAT BUILDS THE TENSION, BUT IT ALSO, I THINK, WE CAN ALL IDENTIFY WITH A LITTLE BIT WITH, LIKE, DID I LEAVE THE LIGHT ON? DID I FORGET MY KEYS? EXCEPT THIS GUY IS DOING IT IN A SITUATION WHERE HE'S JUST MURDERED SOMEBODY. BUT SOMEHOW, IT KIND OF TRICKS OUR THINKING.

>> THERE'S AN ELEMENT, THE MOVIE IS CONSISTENTLY TRICKING OUR THINKING WITH TONE WHERE YOU'RE IN THE MIDST OF SOMETHING HORRIFYING, YET LARS AND YOU HAVE A SLAPSTICK WINK IN A TOTALLY UNEXPECTED MOMENT. AND I THINK THAT HAS A LOT TO DO WITH HOW FAR GONE THE CHARACTER IS AT TIMES. DID YOU GUYS EVER TALK ABOUT THE HUMOR OF THE SCENES OR DID YOU JUST FEEL LIKE IT WAS IN THE WRITING AND LET IT PLAY OUT THAT WAY?

>> I THINK IT WAS MORE ABOUT KEEPING IT HONEST AND REAL. AND I THINK THAT'S WHAT -- I THINK SOMETIMES, LOOK, THE VIOLENCE THAT'S IN HIS FILM, IT'S NOT MORE GRAPHIC THAN ANYTHING. IN FACT, THAN WHAT YOU WOULD SEE ON TELEVISION TODAY. I MEAN --

>> I WOULD SAY LESS EXPLOITATIVE THAN I SEE ON TELEVISION.

>> ABSOLUTELY. AND I THINK WHAT'S DISTURBING ABOUT IT IS WHAT HE WANTS TO BE DISTURBING ABOUT IT, WHICH HE IS RIGHT TO WANT IT TO BE, WHICH IS VIOLENCE IS -- IT'S DISTURBING. IT SHOULD BE. IT SHOULDN'T BE GLORIFIED IN THE WAY IT IS. AND THAT'S JUST HIS CHOICE TO SHOW IT THAT WAY. I RESPECT THAT CHOICE.

>> THE SCENE YOU HAVE WITH RILEY KEOUGH THAT WE WERE JUST TALKING ABOUT, I THINK YOU SAID THAT WAS THE HARDEST SCENE TO SHOOT, RIGHT? CAN YOU TALK A LITTLE BIT ABOUT THAT?

>> IT'S A DIFFICULT SCENE BECAUSE, WELL, BECAUSE THE CHARACTER HAS ZERO EMPATHY. AND I DO HAVE EMPATHY. AND SO -- AND I HAVE A WONDERFUL ACTRESS I'M WORKING OPPOSITE. YOU KNOW, RILEY IS GREAT ACTRESS. SO WHEN SHE'S TERRIFIED, IT'S HARD FOR ME TO NOT WANT TO TELL HER, NOTHING TO BE AFRAID OF, WHEN THAT'S THE OPPOSITE OF WHAT JACK WANTS. SO IT WAS HARD. IT WAS CHALLENGING. YOU KNOW, TO KIND OF TURN THAT PART OF MYSELF OFF. I THINK WHAT TROUBLED ME ABOUT DOING THIS SCENE BEFORE WE DID IT WAS BECAUSE IT'S NOT JUST THAT HE -- THE VIOLENCE OR THAT HE MURDERS HER, BUT IT'S MORE THE PSYCHOLOGICAL GAME HE PLAYS WITH HER.

>> THIS ISN'T THE FIRST TIME THAT YOU HAVE PLAYED, FOR LACK OF A BETTER WORD, A JERK. MAYBE JACK IS A LITTLE FURTHER.

>> HE'S BEYOND THAT. THIS GUY -- I ONE TIME SAID TO LARS, I SAID LARS, I THINK THIS CHARACTER -- THIS IS A REALLY BAD GUY. AND HE LOOKED AT ME LIKE, YOU CAN'T GET WORSE THAN THIS GUY. YOU CAN'T GET WORSE THAN JACK.

>> DO YOU EVER WORRY ABOUT AUDIENCES' RESPONSES TO YOU AS AN ACTOR OR YOU AS A PERSON, THAT THEY'RE NOT GOING TO BE ABLE TO SEPARATE THE TWO?

>> WELL, I PUT MYSELF -- IT'S VERY HARD TO BE OBJECTIVE WHEN YOU SEE YOURSELF IN A FILM. I THINK IT'S IMPOSSIBLE TO BE FULLY OBJECTIVE. HOWEVER, MY BIGGEST, I GUESS, FEAR IS THAT WITH THIS FILM, IS THAT I MIGHT REJECT SEEING MYSELF PLAY THE CHARACTER. AND WHEN I SAT WITH LARS, WE WATCHED THE FILM. HE GRABBED AHOLD OF ME. HE SAID YOU HAVE TO WATCH THE FILM WITH ME. AND THAT DIDN'T HAPPEN. I SAW IT, OKAY, THAT'S A CHARACTER. AND OF COURSE, YOU KNOW, IT WAS SORT OF -- BUT I GUESS THE FEAR IS THAT IF THE FILM DOESN'T WORK, THEN YOU HAVE JUST TAKEN A BIG RISK BY DOING SOMETHING LIKE THIS.

>> THE FILM WORKS.

>> I DO TAKE RISKS. YEAH, AND THE FILM WORKS SO I WAS HAPPY. HE'S A GREAT FILMMAKER.

>> THE FILM WORKS. AS A FAN OF LARS' WORK, I WOULD SAY IT'S ONE OF HIS BEST MOVIES. THE FIRST TIME YOU SEE IT, AND I THINK IT'S UNEXPECTED BECAUSE IT'S ABOUT A SERIAL KILLER AND PEOPLE ARE THINKING HE'S GOING TO TAKE CHEAP SHOTS, BUT NOT AT ALL. IT'S LIKE A WORK OF HIGH ART THAT'S REALLY SMART AND WINKY AND FUNNY BUT AT THE SAME TIME, A VERY SERIOUS DEPICTION OF A SERIAL KILLER, ONE OF THE MORE HONEST DEPICTIONS OF A SERIAL KILLER, IN LIKE WITH HENRY, PORTRAIT OF A SERIAL KILLER, IN THE '80s, WHICH IS A HUGE RISK FOR AN ACTOR TO TAKE.

>> ABSOLUTELY, BUT I DID IT BECAUSE I KNEW THIS GUY WAS A FILMMAKER WHO PAYS ATTENTION AND HE'S REALLY -- HE'S NOT GOING TO WALK AWAY FROM SOMETHING IF IT'S NOT WORKING. HE'S A COMMITTED FILMMAKER. AND WITH A VISION.

>> WHAT DO YOU MEAN WALK AWAY FROM SOMETHING IF IT'S NOT WORKING? DO YOU FIND SOMETIMES?

>> THAT'S THE FEELING I GOT. SO I HAD THIS SENSE OF RESPONSIBILITY AS AN ACTOR. I WANT TO DO IT RIGHT. I'M PROFESSIONAL. I WANT TO GET IT RIGHT. YOU KNOW. AND I WANT -- YOU KNOW, AND I THINK A LOT OF US HAVE THAT. AND HERE, I FOUND MYSELF IN A SITUATION WHERE THAT WASN'T SO IMPORTANT. WHAT WAS IMPORTANT WAS DOING GREAT WORK AND FINDING SOMETHING. AND DISCOVERY, REALLY FINDING SOMETHING. AND THE ONLY WAY TO DO THAT IS TO TAKE RISKS. AND YOU CAN TAKE RISKS WHEN YOU TRUST THE PERSON YOU'RE WORKING WITH. AND HE WOULDN'T WALK AWAY FROM A SCENE. I MEAN, THERE WAS ONE PARTICULAR SCENE THAT WE DID IN THE FILM, WHICH IS THE SCENE WHERE HE GOES TO THE WOMAN'S HOUSE THAT WAS REALLY FUN. IT WAS FUN AS AN ACTOR. AND THE FOLLOWING SCENES, THAT WHOLE SEQUENCE WAS A LOT OF FUN TO DO. AND THEN THERE WAS A LATER SCENE WHERE HE'S IN THE WALK-IN FREEZER. YOU'RE GOING TO LEARN ABOUT THE WALK-IN FREEZER WHEN YOU SEE THE MOVIE. HE'S IN THE WALK-IN FREEZER --

>> A MOVIE ABOUT A SERIAL KILLER WITH A WALK-IN FREEZER.

>> AND THAT SCENE WAS DIFFICULT FOR ME. THERE WAS A LOT OF DIALOGUE. LATER, WE'RE HAVING DINNER THAT NIGHT, AND HE SAID YOU KNOW, YOU HAD DIFFICULTY WITH THAT SCENE. IN THE FREEZER. BECAUSE IT'S NOT A WELL-WRITTEN SCENE, HE SAID TO ME. AND HE SAID, BUT IT'S GOING TO BE GREAT IN THE MOVIE. AND HE SAID, JUST LIKE YOU HAD A GOOD TIME WHEN YOU WERE DOING THE SCENE ON THE PORCH PLAYING THE COP, INSURANCE SALESMAN, BECAUSE THOSE ARE WELL WRITTEN, BUT THEY'RE GOING TO BE GREAT IN THE MOVIE TOO. SO THE FEELING I GET IS HE REALLY KNOWS WHAT HE WANTS. AND HE'S PAYING ATTENTION. AND SO -- IT'S SO IMPORTANT FOR US TO TRUST THE DIRECTOR.

>> THAT'S A WAY OF VALIDATING YOUR FEELING AS THE ACTOR AS WELL, NOT SORT OF PUTTING THE BURDEN ENTIRELY ON YOUR SHOULDERS BY HIM SAYING, LIKE, I DIDN'T WRITE A GREAT SCENE, BUT I KNOW HOW TO EDIT INTO SOMETHING.

>> IT'S GOING TO BE GREAT IN THE MOVIE. IT'S WHAT I NEED. IT SERVES ITS PURPOSE. SO THAT'S -- I MEAN, THAT'S REALLY KEY. SO IF AN ACTOR TRUSTS THE DIRECTOR, WE WILL GO FURTHER. WE WILL TAKE MORE RISKS AND TAKE MORE CHANCES. AND THAT WAS THE MOST IMPORTANT THING, THAT WHEN WE DISCUSSED THIS FILM, BEFORE WE VENTURED INTO IT, HE HAD ALREADY WRITTEN IT, SO, BUT BEFORE I WENT ON THIS JOURNEY WITH HIM, WAS ALL ABOUT TRUST.

>> DO YOU FEEL LIKE THIS IS THE RISKIEST ROLE, RISKIEST PART YOU HAVE EVER DONE?

>> YES. YES, BECAUSE IT'S A FILM THAT EXPLORES -- I MEAN, IT'S A MEDITATION ON EVIL. IT GOES INTO DARK PLACES.

>> THE DARKEST PLACES.

>> THINGS WE DON'T REALLY UNDERSTAND ABOUT, DISTURBING THINGS THAT WE DON'T COMPLETELY UNDERSTAND. AND YET, IT'S NOT AS IF THIS IS SOME LITTLE TINY CORNER OF THE WORLD. IT'S HAPPENING. IT'S STUFF THAT HAPPENS IN OUR LIFETIME. AND IT'S HAPPENING, WHETHER WE CARE TO FACE IT OR NOT. I THINK THAT IN THAT WAY, IT WAS RISKY. IT FELT LIKE, WELL, WHAT ARE WE DOING HERE? WHERE ARE WE GOING? WHAT ARE WE EXPLORING HERE? AND THAT WAS EXCITING FOR ME AS AN ACTOR. AS AN ARTIST, IT WAS EXCITING FOR ME. BUT ALSO, IT'S KIND OF SCARY BECAUSE YOU JUST DON'T KNOW. I MEAN, WHAT IF IT DOESN'T WORK, THEN YOU'RE OUT THERE WITH THAT IN SOME WAY OR MAYBE IT'S -- IT IS KIND OF SCARY.

>> WAS IT AS SCARY AS DIRECTING AND STARRING IN YOUR OWN MOVIE?

>> THAT'S A DIFFERENT KIND OF FEAR. YOU KNOW. BUT YOU KNOW, HERE'S THE THING. WORKING WITH SOMEONE, I BENEFITTED WHEN I DIRECTED AND ACTED IN A FILM THAT WAS, I THINK THAT'S THE QUESTION YOU'RE ASKING, DIFFICULT TO DIRECT AND ACT IN SOMETHING SIMULTANEOUSLY. THAT DIDN'T KEEP ME UP AT NIGHT A LITTLE BIT.

>> AND IN A FOREIGN COUNTRY, YOUR FIRST MOVIE IN A THIRD-WORLD COUNTRY AT THE TIME.

>> YEAH.

>> I WATCHED THE MOVIE RECENTLY "CITY OF GHOSTS.” IT'S AN INCREDIBLE MOVIE. IT'S FASCINATING TO WATCH YOU DO THAT. MOST PEOPLE ARE LIKE, I'M GOING TO DIRECT MY FIRST MOVIE. IT'S A LITTLE THING ABOUT PEOPLE IN L.A.

>> A KITCHEN SINK DRAMA.

>> YOU'RE LIKE, I'M GOING TO DO A NOIR IN CAMBODIA.

>> IT TOOK A WHILE TO GET IT MADE. IT WASN'T LIKE SOMETHING THAT HAPPENED OVERNIGHT. IT TOOK YEARS, REALLY, TO GET IT MADE. IT'S SOMETHING I'M VERY PROUD OF. I HAD A GREAT EXPERIENCE DOING IT. AND WHAT WAS SCARY ABOUT THAT WAS THAT I WAS DIRECTING. AND PLAYING THE CENTRAL CHARACTER. AND IN THIS PARTICULAR CASE, IT WAS FINE BECAUSE THE CHARACTER IS UNDER A GREAT DEAL OF STRESS. SO IT SUITED ME FINE BECAUSE I WAS UNDER A GREAT DEAL OF STRESS MAKING THE MOVIE.

>> ALL THE SWEAT WAS REAL.

>> WELL, WE DIDN'T NEED TO GENERATE MUCH FAKE SWEAT. IT WAS ALL THERE. IT WAS INTERESTING. BUT YOU KNOW, AGAIN, IT WAS A FIRST TIME FILM FOR ME AS A DIRECTOR, BUT I HAD MADE SO MANY FILMS AND WORKED WITH SO MANY FILMMAKERS, SO I HAD A LOT OF EXPERIENCE IN THAT RESPECT.

>> WAS THERE A PARTICULAR DIRECTOR THAT YOU HAD WORKED WITH PRIOR TO MAKING IT THAT YOU REALLY SOUGHT THE COUNSEL OF BEFORE MAKING THE FILM? OR YOU WERE THINKING OF WHEN YOU MADE THE MOVIE?

>> I SPOKE TO FRANCIS COPPOLA ABOUT IT. AND YOU KNOW, HE WAS GREAT. SUCH A BRILLIANT MAN, AND HIS IDEAS, EVEN WHEN I DIDN'T AGREE WITH HIM, THEY WERE LIKE BETTER THAN EVERYBODY ELSE'S IDEAS. AND HE WAS REALLY GREAT. AND HE WAS VERY GENEROUS WITH, LIKE, TALKING TO ME ABOUT IT, READING SEVERAL DRAFTS OF THE SCRIPT. AND WAS VERY, YOU KNOW, HE'S SUCH -- AND OF COURSE, I FEEL ALWAYS A DEBT OF GRATITUDE TO FRANCIS FOR WHAT HE'S DONE FOR MY CAREER WHEN I WAS A YOUNG ACTOR. YOU KNOW, AND SO BUT HE WAS SOMEBODY THAT WAS VERY SUPPORTIVE OF ME DURING THAT.

>> IS THERE THE CHANCE THAT YOU'LL DIRECT ANOTHER MOVIE?

>> WELL, I ACTUALLY -- I'M IN THE MIDDLE OF A DOCUMENTARY THAT I'M DIRECTING. DIFFERENT THAN A FICTION FILM. MUCH HARDER. DOCUMENTARIES ARE REALLY DIFFICULT, I FIND THEM TO BE -- THEY'RE MORE DIFFICULT THAN FICTION BECAUSE YOU'RE WRITING THE SCRIPT IN THE EDITING ROOM. YEAH, YOU'RE WRITING IT, YOU KNOW, IT'S CONSTANTLY CHANGING. BUT IT'S FULFILLING IN AN ENTIRELY DIFFERENT WAY. AND IT'S A MUSIC-BASED DOCUMENTARY. I'M A MUSIC LOVER. I LOVE MUSIC. AND IT'S A PERSONAL STORY, TOO.

>> A PERSONAL STORY FOR YOU?

>> WELL, IT'S PERSONAL IN THAT IT SPANS -- IT'S GOT DEPTH OF TIME. YOU KNOW, SOME OF THE FOOTAGE THAT I'M USING IN THE FILM IS FOOTAGE I SHOT IN 1999. SO IT WAS A CUBAN SCAT SINGER FROM -- HE WAS THE FIRST CUBAN SCAT SINGER WHO LEFT CUBA IN THE '50s AND MOVED TO MEXICO. AND LIVED THERE FOR 40 YEARS. WHEN WE GOT -- I WENT DOWN THERE, AND I HEARD HIS MUSIC AND THOUGHT HE WAS JUST PHENOMENAL. AND I HAD A FRIEND OF MINE WHO IS A MUSICIAN IN L.A. WHO WAS ALWAYS WORKING WITH OLDER SORT OF FORGOTTEN ARTISTS. AND I SAID, YOU SHOULD FIND THIS GUY. HE'S LIVING IN MEXICO. YOU SHOULD MAKE A RECORD WITH HIM. AND HE DID. AND THEN HE SAID, WHY DON'T YOU COME DOWN? YOU KNOW, BRING A CAMERA. YOU CAN FILM THE MAKING OF THE RECORD. AND I DID. AND SO I HAD THIS REMARKABLE EXPERIENCE WORKING, BEING THERE, AND THIS GUY WAS 77 YEARS OLD, SO HE WAS AT A VERY LATE POINT IN HIS LIFE, BUT HE STILL HAD IT ALL. THE MUSIC, HE BROUGHT SO MUCH WITH HIM. BUT THERE WAS ALSO THE SENSE THAT, YOU KNOW, HE WASN'T GOING TO BE DOING THIS FOR MUCH LONGER. IT TURNED OUT TO BE HIS LAST RECORD. AND THEN I RETRACED THE FOOTSTEPS OF HIS LIFE. AND THAT WAS VERY INTERESTING, TOO, BECAUSE HE WAS HISTORICALLY A VERY IMPORTANT GUY. IN A WAY, HE CAME FROM AN INTERESTING TRADITION, MUSIC IN CUBA. BASED ON AMERICAN JAZZ AND THINGS LIKE THAT. BUT HE WAS THE GUY WHO WALKED IN THE ROOM THAT YOU'RE NEVER GOING TO FORGET. HE WAS THIS PERSONALITY. HE WAS A SHOWMAN. HE WAS, I DON'T KNOW, A BIGGER THAN LIFE PERSONALITY. SO THE FILM IS THAT. AND IT'S ALSO A LITTLE BIT OF MY JOURNEY INTO THIS -- INTO THIS STORY. IT'S RICH. AND IT'S COMPLEX. AND I FEEL GOOD ABOUT IT, BUT IT'S NOT NECESSARILY SOMETHING THAT'S BEEN EASY.

>> YEAH. I CAN'T WAIT TO SEE IT. CAN'T WAIT TO SEE IT.

>> STILL WORKING ON IT. HOPEFULLY WE'LL HAVE SOMETHING TO SHOW.

>> I'M GOING TO GO TO AUDIENCE Q&A IN A SECOND. SINCE WE HAD AN INTERVIEW BEFORE, AND I KEPT BRINGING UP "SOMETHING ABOUT MARY" AND I WENT BACK AND WATCHED IT. YOUR PERFORMANCE IN "SOMETHING ABOUT MARY" IS ONE OF, AND NOT JUST SAYING THIS BECAUSE YOU'RE ON STAGE AND I'M KISSING YOUR ASS, IT'S ONE OF THE GREAT COMIC PERFORMANCES.

>> DID YOU HEAR THAT? THEY DON'T CAST ME IN COMEDIES ENOUGH.

>> THEY DON'T. YOU'RE SO FUNNY IN THAT MOVIE. AND YOU OWN EVERY LINE AND EVERY UN-PC THING HE SAYS, YOU DO IT HILARIOUSLY, AND YOU SELL IT WONDERFULLY. I MEAN, THAT WAS KIND OF THE FIRST REAL COMEDY YOU HAD DONE AT THAT POINT, RIGHT? OR AT LEAST THAT BROAD?

>> YEAH, I MEAN, I DID THE FLAMINGO KID WHEN I WAS YOUNGER. IT WAS A COMEDY. I DID THAT. THAT WAS THE FIRST ONE I DID. YEAH, BUT THAT WAS REALLY -- WELL, THOSE GUYS, THE FAIRLEY BROTHERS WERE BRILLIANT WITH COMEDY AND VERY FUNNY.

>> DID YOU AUDITION FOR THAT OR DID THEY COME TO YOU?

>> NO, NO, THEY CAME TO ME. THEY CAME TO ME WITH THAT. THEY LIKED TO WORK WITH BOTH SERIOUS ACTORS -- THEY LIKE TO PUT IN THEIR COMEDIES SERIOUS ACTORS WITH COMEDIC ACTORS. PUT THEM TOGETHER. AND THEY HAVE DONE THAT ON "KINGPIN.” THAT'S HOW THEY DID THAT WITH --

>> WOODY HARRELSON.

>> WOODY AND RANDY QUAID. DENNIS -- RANDY QUAID. AND THEY DID IT WITH --

>> JEFF DANIELS.

>> JEFF DANIELS, YEAH, AND JIM CARREY. SO YEAH, THAT WAS A LOT OF FUN. THAT WAS A LOT OF FUN. AND WHEN THEY HIT ME WITH THE TEETH, WHAT'S SO FUNNY? I STILL HAVE THOSE TEETH, BY THE WAY.

>> DO YOU REALLY?

>> I HAVE THEM IN A JAR ON THE SHELF IN MY HOUSE. I HAVE THEM. I KEPT THEM.

>> WHEN YOU FIRST SHOW UP WITH THE TEETH, YOU DO THIS THING WITH YOUR HANDS TO SORT OF -- IN THE DOORWAY. I WAS LIKE WATCHING IT AT WORK DOWNSTAIRS AND I HAD HEADPHONES ON AND I WAS LAUGHING HYSTERICALLY, YOUR SILLY FACE WITH THE TEETH GOING LIKE THIS.

>> I THOUGHT ONCE WE DID THE SCENE IT WOULD BE IT, AND HE SAID NO, YOU HAVE THE TEETH FOR THE REST OF THE MOVIE. OKAY. THAT'S THE WAY WE FLY. THAT'S THE WAY WE DO IT. THAT'S THE WAY WE LIKE TO DO IT.

>> DID YOU HAVE TO IMPROVISE AT ALL IN THAT MOVIE?

>> WE DID A LOT OF IMPROVISATION, BUT I'LL SAY, THOUGH, THAT THEY AS WRITERS OF THE SCRIPT, PETER AND BOB FAIRLEY, THEY WERE IMPROVISING TOO. I WOULD BE IN THE MIDDLE OF THE TAKE AND HE WOULD THROW SOMETHING AT ME. WE WOULD TRY DIFFERENT STUFF ALL THE TIME. SOMETIMES THEY WOULD COME UP WITH SOME FUNNY STUFF, AND I COULDN'T SAY IT BECAUSE IT WAS SO FUNNY. IT WAS LIKE, I COULDN'T KEEP A STRAIGHT FACE. YOU KNOW. SOME OF THE STUFF THEY WOULD COME UP WITH.

>> LET'S GET SOME QUESTIONS FROM THE AUDIENCE. WHAT DO WE GOT?

>> HI, MATT.

>> HI.

>> MY QUESTION IS, DO YOU KEEP IN CONTACT WITH ANY OF YOUR CAST MEMBERS FROM "THE OUTSIDERS” STILL?

>> YES. TO A CERTAIN EXTENT. YOU KNOW, I SOMETIMES WILL SEE -- I'LL SEE, SOMETIMES I'LL TALK TO TOMMY HOWELL, OR IT'S FUNNY. THE TWO GUYS I FELT CLOSEST TO IN THE MOVIE WERE RALPH AND TOMMY BECAUSE OUR CHARACTERS WERE TOGETHER A LOT IN THE FILM. SO WE -- I PROBABLY STAYED -- I FELT MORE OF A BOND WITH THOSE GUYS. JUST BECAUSE OF THE WAY OUR FILMING SCHEDULES WERE. WE JUST CONNECTED, OUR CHARACTERS WERE TOGETHER A LOT.

>> RALPH JUST GAVE A GREAT PERFORMANCE IN THE LAST SEASON OF "THE DOOFS" AS A DIRTY COP. HE WAS GOOD.

>> GREAT ACTOR AND PHENOMENAL PERSON, TOO. GREAT HUMAN BEING.

>> NEXT QUESTION. RIGHT HERE.

>> HI, MATT. HOW ARE YOU DOING? I ACTUALLY PURPOSED THE FILM ALREADY ON YOUTUBE. IT'S ACTUALLY AVAILABLE, SO THE DIRECTOR'S CUT. AND --

>> YOU CAN GET THE DIRECTOR'S CUT. I DIDN'T KNOW THAT.

>> YOU CAN WATCH IT?

>> I DON'T KNOW ABOUT THAT. THEY'RE SHAKING THEIR HEAD.

>> IT'S $13.99. BUT ANYWAY, I SAW THE FILM ALREADY. AND I JUST WANTED TO KNOW IF THERE WAS ANYTHING AFTER FILMING THAT MAYBE YOU HAD TO COME DOWN FROM THE ROLE? I KNOW A LOT OF ACTORS, LIKE RECENTLY, THEY HAVE KIND OF BEEN ON TRENDS IN WHICH THEY DO LIKE VERY HARD ROLE TO TACKLE BECAUSE MAYBE THE CHARACTER'S IDEOLOGY IS SO OUT THERE, AND MAYBE OFFENSIVE OR WHAT NOT, AND THEY PROBABLY AFTER THE FILM, THEY DO SOMETHING, WHETHER IT'S THERAPY OR THEY FIND A METHOD. I KNOW AFTER HE PLAYED THE RACIST IN THE FILM, HE SAID HE HAD TO PUT TOGETHER THE THREE- HOBBIT FILMS TOGETHER AND MADE IT INTO A MOVIE SO HE COULD COME DOWN FROM IT BECAUSE IT WAS SO HARD. I WANTED TO KNOW IF THERE WAS SOMETHING THAT?

>> A MOVIE HE DID AFTER, YOU SAY?

>> HE PLAYED DAVID DUKE IN "BLACKKKLANSMAN," AND TO COME DOWN FROM FEELING SO AWFUL ABOUT PLAYING DAVID DUKE, HE WATCHED "THE HOBBIT.”

>> HE WATCHED IT, HE DIDN'T PLAY ONE OF THEM. OKAY. OKAY. SO YEAH, WELL YOU KNOW, LISTEN. THIS FILM DEFINITELY, THERE WERE -- I MEAN, WITHOUT TALKING, GIVING AWAY TOO MUCH OF THE FILM, THERE'S ONE SEQUENCE IN THE FILM THAT WAS VERY DIFFICULT FOR ME. WELL, A COUPLE WERE, ACTUALLY. BUT IT'S FUNNY BECAUSE I WORKED WITH BRUNO GANZ, A GREAT ACTOR. HE HAD PLAYED, PROBABLY DONE AN INCREDIBLE PERFORMANCE AS HITLER, AND I KIND OF WANTED TO TALK TO HIM JUST A LITTLE BIT ABOUT THAT BECAUSE I WAS PLAYING SOMEBODY EVIL, AND HE'S PLAYING SOMEBODY. AND IT WAS INTERESTING BECAUSE, REALLY, I MEAN, I'M NOT JACK. YOU KNOW WHAT I MEAN? THERE IS A REAL DISTINCTION. IN DOING IT, I DON'T NEED TO EXPLORE SOME OTHER DARKER RECESSES, YOU KNOW. JACK IS JACK. I'M ME. SO HOWEVER, SOME OF THE STUFF ON SOME DAYS WAS VERY DIFFICULT. THE SCENE WITH THE SIMPLE, PLAYED BY RILEY KEOUGH, GREAT ACTRESS. THAT WAS DIFFICULT FOR ME. THEN THE SCENE WITH THE PICNIC, THE FAMILY WITH THE KIDS. THAT WAS REALLY TOUGH. AND IT WAS THOSE DAYS WERE DIFFICULT FOR ME. I WENT HOME AND, YOU KNOW, WAS VERY HARD.

>> WASN'T THE KID STUFF SHOT OVER THE COURSE OF A FEW DAYS, TOO?

>> SO IN THE FILM, THERE ARE FIVE EPISODES AND JACK SORT OF TAKING YOU THROUGH HIS LIFE AS A SERIAL KILLER. AND HE HAS FIVE EXAMPLES, FIVE EPISODES THAT HE USES TO EXPLAIN HIS WHOLE STORY IN LIFE. AND THEY ALL WERE LIKE, LIKE YOU SAID, THEY WERE DONE OVER FIVE DAYS, BECAUSE THEY WEREN'T JUST ONE SCENE. THERE WERE SEQUENCES. AND OF COURSE, IN THE FILMING OF IT, THE TOUGHEST ONES WERE DONE TOWARDS THE END. SAVE THE TOUGHEST FOR LAST. BUT YOU KNOW, I LIKE A CHALLENGE. BUT THAT COULD BE A LITTLE DIFFICULT. BUT I HAVE TO SAY, YES, IT WAS DIFFICULT MATERIAL. BUT WE HAD A LOT OF FUN. WE HAD A LOT OF FUN MAKING THIS FILM. I REALLY LIKE LARS. I LOVE THE CAMERAMEN, THE OTHER ACTORS. IT WAS A CREATIVE EXPERIENCE. YOU KNOW, I MEAN, NO DOUBT ABOUT IT, WHEN I SAY FUN, I DON'T MEAN IT WAS FUN DOING -- PLAYING A SADISTIC PERSON, BUT THE DISCOVERY THAT WAS HAPPENING. I MEAN, WE WORKED IN A WAY I LEARNED A LOT. I CAME AWAY, AND I'M NOT TALKING ABOUT THE CONTENT, THE VIOLENT CONTENT OF THE MOVIE. I'M TALKING ABOUT THE PROCESS AND THE WAY THAT WE WORKED. YOU KNOW, NO REHEARSAL. VERY LOOSE. YOU KNOW, FREEDOM, A SENSE OF FREEDOM. SO FROM AN ACTING STANDPOINT, IT COULDN'T GET ANY BETTER THAN THAT FOR ME, FOR THE MOST PART. THERE WAS ONLY SOMETIMES THERE WAS TOO MUCH DIALOGUE.

>> YOU SAID WHEN I BROUGHT UP "SOMETHING ABOUT MARY" YOU SAID IT'S FUN TO PLAY A LIAR. I IMAGINE IT WOULD BE FUN TO PLAY JACK BECAUSE HE'S KIND OF ALWAYS LYING TO EVERYBODY AND HIMSELF. THERE'S ALWAYS KIND OF A WINK YOU GET TO HAVE AS THE ACTOR THAT WOULD ALLOW YOU TO HAVE SOME DISTANCE BETWEEN THE CHARACTER AND YOURSELF, I IMAGINE.

>> YES, YES. AND I TOTALLY AGREE. IT IS FUN TO PLAY SOMEBODY WHO IS HOLDING SOME OTHER SECRET. OR AN ALTERNATIVE TRUTH THAT HE HAS, RIGHT? BUT IT WAS INTERESTING WITH LARS BECAUSE THERE WERE TIMES WHEN I FELT LIKE JACK MIGHT BE LYING IN PLAIN SIGHT, FOR EXAMPLE. THERE'S A SCENE WHERE HE BASICALLY CONFESSES TO A POLICEMAN THAT, YEAH, I AM A SERIAL KILLER, AND I HAVE KILLED ALL THESE PEOPLE. AND ON TOP OF ALL THAT, I HAVE BEEN A VERY BAD BOYFRIEND TO THAT GIRL. AND IT'S ALL TRUE. BUT IN MY MIND, MY FIRST IMPRESSION WAS, THIS IS A LIE. HE'S DOING THIS LIKE TO BE SARCASTIC. YEAH, I'M A SERIAL KILLER, YEAH, YEAH. BUT IN FACT, LARS' DIRECTION, WHICH WAS RIGHT ON, WAS THIS IS JACK WANTS TO GET CAUGHT.

>> HE'S CONFESSING.

>> HE REALLY IS TRULY CONFESSING. HE WANTS TO BE CAUGHT. AND THAT WAS INTERESTING. AND YOU COULD SEE THE UNRAVELING, AS THE MORE THE MANIA ESCALATES WITHIN HIM, THE MORE CARELESS HE GETS.

>> ONE MORE QUESTION FROM THE -- HI.

>> HI. I'M SARAH. MY QUESTION IS, WHAT WAS YOUR FAVORITE MOVIE TO FILM, AND WHO ARE YOUR FAVORITE CAST MEMBERS WHILE FILMING?

>> WOW. THERE'S A LOT. YOU KNOW WHAT? WE HAVE A TENDENCY TO DO THIS, I MUST ADMIT. WHEN THE EXPERIENCE IS GOOD, THE MEMORIES ALL OF A SUDDEN LOOK REALLY GOOD IN THE REAR-VIEW MIRROR. IT'S TRUE. WHEN THE FILM COMES OUT AND YOU'RE KIND OF HAPPY THAT, YOU KNOW, ALL THAT HARD WORK PAID OFF, YOU START TO FORGET THE FACT THAT YOU WEREN'T GETTING ALONG WITH THIS ONE AND THIS WAS A PROBLEM, AND EVERYBODY GOT SICK, AND THIS HAPPENED AND THAT. YOU JUST KIND OF REMEMBER THE GOOD STUFF. BUT YOU KNOW, I HAD SOME GREAT EXPERIENCES. I LIKE BEING IN CAMBODIA WHEN I WROTE AND DIRECTED THAT FILM "CITY OF GHOSTS" BACK IN 2001, 2002. 2002, I THINK. THAT WAS GREAT. THE FEELING I HAD THERE WAS AS AN ACTOR/DIRECTOR, WAS I HAVE A SPECIAL BOND WITH THOSE ACTORS WHO CAME ON THAT JOURNEY WITH ME. SO I HAVE A REAL LOVE CENTER STELEN SKARSGARD, WHO IS A LARS VON TRIER VETERAN BECAUSE I DIRECTED AND ACTED WITH HIM IN THAT. AND NATASHA WENT ALONG WITH ME ON THAT JOURNEY. I FEEL A SPECIAL BOND WITH ACTORS LIKE THAT. I REMEMBER, YOU KNOW, I WORKED WITH SOME GREAT ACTORS. WAY BACK, I DID THE MOVIE "FLAMINGO KID" I STAYED FRIENDS WITH A LOT OF THE CAST MEMBERS OVER THE YEARS. AND THAT'S NOT THAT COMMON. YOU KNOW, OFTEN YOU DO A FILM AND EVERYBODY GOES THEIR OWN WAY. AND THEN YOU MAYBE SEE EACH OTHER IF YOU WORK TOGETHER AGAIN. ON THAT FILM, WE MADE A LOT OF FRIENDS. I MADE A LOT OF FRIENDS AND STAYED FRIENDS.

>> ONE OF MY FAVORITE FILMS OF YOURS IS "DRUGSTORE COWBOY.”

>> THAT WAS A LOT OF FUN, UP IN OREGON.

>> GUS VAN SANT'S SECOND MOVIE, AFTER A LOW BUDGET FILM ABOUT TEENAGERS AROUND OREGON. AND I'M CURIOUS IF YOU KNEW WHILE YOU WERE SHOOTING IT, THAT YOU WERE SEEING DAILIES THAT WAS SOMETHING THAT IS KIND OF AN ICONIC MOVIE NOW, ESPECIALLY WHEN IT COMES TO INDEPENDENT FILM AND AMERICAN INDEPENDENT FILM.

>> WHAT I REMEMBER ABOUT "DRUGSTORE COWBOY" BEFORE WE DID IT, IT WAS AROUND RONALD REAGAN, STILL PRESIDENT. THE END, I THINK.

>> BECAUSE THE MOVIE CAME OUT IN '90, '91.

>> WHEN WE WERE MAKING IT, IT WAS JUST SAY NO. THAT WAS THE BIG CAMPAIGN. JUST SAY NO. WE WERE MAKING A FILM THAT WAS, LIKE, AUTHENTIC. IT WAS ABOUT -- IT WAS WRITTEN BY A GUY WHO WAS SERVING TIME IN PRISON FOR ROBBING DRUGSTORES. PHARMACIES. SO THOSE PEOPLE WERE ALL BASED ON REAL PEOPLE. PEOPLE DONT TAKE DRUGS LIKE THAT BECAUSE IT'S AN UNPLEASANT EXPERIENCE, BUT INTERESTINGLY ENOUGH, ANY TIME YOU SAW A FILM ABOUT DRUG ADDICTION UP UNTIL THEN, IT WAS VERY, LIKE, IT WAS THIS HORRIBLE, PAINFUL THING. AND THE WAY GUS MADE THE FILM WAS THAT, YOU KNOW, DRUGS, THERE WAS THE WHY DO PEOPLE TAKE DRUGS, AN ELEMENT OF THE EUPHORIA THAT WAS THERE. AND THAT WAS CONSIDERED LIKE KIND OF TABOO AFTER THAT, TO SHOW PEOPLE INTRAVENOUSLY TAKING DRUGS AND THAT KIND OF THING. AND IT CHANGED AFTER THAT BECAUSE THEN FILMS STARTED TO ACTUALLY ADDRESS THAT PART OF IT, THAT IT WASN'T A TABOO THING, TO REALLY SHOW IT, YOU HAVE TO SHOW BOTH SIDES OF IT. YOU KNOW. SO THAT WAS -- THAT WAS THE ENVIRONMENT. I REMEMBER THERE WERE PEOPLE GOING, I CAN'T BELIEVE YOU'RE GOING TO MAKE A MOVIE LIKE THIS, BECAUSE IT WASN'T A CONVENTIONAL DEPICTION AT THAT TIME.

>> THAT'S SO FASCINATING BECAUSE THAT'S NOT WHAT I THINK PEOPLE TALK ABOUT AT ALL WHEN THEY TALK ABOUT THAT MOVIE ANYMORE. THEY TALK ABOUT THE FILM MAKING AND THE PERFORMANCE AND THE OBSESSION WITH SUPERSTITION AND, YOU KNOW, WILLIAM BURROUGHS.

>> THEY GET PAST THAT AND ACCEPT THE REALITY OF THOSE CHARACTERS. THEY'RE NOT RUNNING AROUND ROBBING DRUGSTORES AND TAKING DRUGS BECAUSE THEY DON'T FEEL AN URGE TO DO THAT. IT'S NOT LIKE SOME -- YOU KNOW WHAT I MEAN?

>> A SAD MOVIE.

>> NO, NO, NOT LIKE -- AND WELL, YEAH. AND IT'S A VERY SPECIFIC POINT OF VIEW. BUT IT WAS VERY REAL. THOSE PEOPLE REALLY EXISTED. IT'S NOT A NONFICTION STORY, BUT IT'S ALL THOSE CHARACTERS REALLY EXISTED.

>> WHAT WAS IT LIKE DOING THAT -- LAST QUESTION. WHAT WAS IT LIKE DOING THE SCENES WITH BURROUGHS?

>> BURROUGHS? WILLIAM BURROUGHS. HE WAS GREAT. I WOULD SAY THAT IT'S A UNIQUE -- THERE'S CERTAIN PERFORMERS. LIKE, YOU KNOW, WILLIAM S. BURROUGHS, HE'S NOT A PERFORMER BUT HE'S A CHARACTER. HE IS A PERFORMER.

>> HE PLAYS UP HIS CHARACTER.

>> TO HEAR SOME OF HIS POETRY READINGS AND STUFF ON TAPE, HE IS QUITE A PERFORMER. AND HE WAS VERY AUTHENTIC. WHEN HE COMES ON THE SCREEN, JUST GRABS YOUR ATTENTION.

>> MATT, THANKS SO MUCH FOR COMING IN. "THE HOUSE THAT JACK BUILT" IS A GREAT MOVIE. IT'S AN AMAZING PERFORMANCE.

>> NO ANIMALS OR HUMAN BEINGS WERE HARMED DURING THE MAKING OF THE MOVIE.

>> YOU SHOULD KNOW THAT WHILE WATCHING THAT. YOU CAN HAVE A LITTLE MORE FUN WHILE YOU'RE WATCHING IT BECAUSE YOU KNOW THAT NOW. IT OPENS THIS WEEK, THE 14th, I THINK, ON DEMAND AND IN THEATERS. EVERYBODY GIVE A BIG ROUND OF APPLAUSE TO THE GREAT MATT DILLON. LET'S HEAR IT. [ APPLAUSE ]

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