Sonny is the directorial debut of Nicolas Cage. It's the sexy and provocative story of a young man [James Franco] just discharged from the Army. He stops home to run-down, gothic New Orleans to kiss his domineering mother, Jewel, [Brenda Blethyn] before heading off to make a name for himself. Mom's a Madame, struggling to keep her business alive as she herself fades. Before enlisting in the Army, handsome Sonny had been her star male prostitute. Mom wants Sonny back in her stable, turning tricks, while Sonny wants to leave her, and the life she represents, behind. When Sonny falls in love with Carol [Mena Suvari], the newest, freshest prostitute in Jewel's bordello, he is forced to make a choice: will he stay and live the life his mother demands, or will he stand up for his freedom and his love?
Dan Epstein: This film is sort of reminiscent of films from the 1960s based on works from Tennessee Williams.
Nicolas Cage: I had not seen those films but I'm sure every film I've seen has influenced me. I've always had an affinity for movies that seem to gravitate towards performance and character driven situation. I'm sure [East of Eden and On the Waterfront director Elia] Kazan has influenced me. I didn't study any type of film before directing.
DE: Why was Sonny the film to do your directorial debut?
NC: It stayed with me for such a long time. I was going to star in it over 15 years ago and I couldn't find a director. I thought that any script that stays with me that long must have a connection with my psyche. I decided to look at it again and I was equally compelled. I felt that if I could do it on a smaller level and make it about actors and character but incorporate the soul of New Orleans that it would be perfect.
DE: Were you disappointed to not act in it?
NC: No I was happy to concentrate on the other performances.
DE: Did you have to fight the urge to say things like "If I was playing this role. I would do it this way."
NC: I understand actors coming into a role with their own instincts and I encourage that. But at the same time James and I work on scenes together and share ideas. It was always done in a way that was very adventurous and creative. We kind of played off one another. We both would come up with crazy ideas and encourage each other.
DE: Why did you pick New Orleans?
NC: New Orleans is a great place to film. The city was very excited that we were there. I chose New Orleans because I happen to have a relationship with that city from films in the 1980s. There's such an energy of music, food and fun. I wanted to capture that.
DE: What was your biggest challenge switching from actor to director?
NC: I'd have to say that it went surprisingly well. In terms of the shoot itself, things seemed to fall into place rather smoothly. We were able to do it ahead of scheduled and under budget because I had a great team of people. There weren't so many challenges on the production itself, maybe weather?. When you need rain and then it isn't raining that can be a problem.
DE: You got such an ideal cast.
NC: When I first read the script I knew I wanted Harry Dean Stanton because he was the voice I heard when I read it the first time. I called him and said "Harry Dean, I think you still have to play this part." He said he would think about it and then finally came on board. Brenda Blethyn is just a super talent I always admitted. I loved her in Little Voice and Secrets & Lies. I wanted to work with her. I had a feeling she could really embody this grand dame of the south larger than life persona. I was curious to see her do it. James [Franco] is someone whose work I did not know. But he came in and we read together. He was passionate about the part and he was in the moment and his emotion is at his fingertips. I said it was his part. Mena [Suvari] was exactly the right feeling. I needed someone you could care about and Mena I felt would be very heartbreaking in that role. It also came down to luck. There were a few moments where we didn't think Sonny would get made but at the end of the day it's always the right cast that makes it.
DE: What made you decide on the role as the gay pimp?
NC: Well I couldn't get all the cast I wanted so I guess I would do it.
DE: You were wonderful. Between this movie and Adaptation you are really going for some weird haircuts.
NC: I think Adaptation was one of my favorite haircuts. I don't want to talk too much about my cameo in Sonny because people might not know it's me.
DE: Did you feel any pressure with being a first time director not only as Nicolas Cage the actor but as a Coppola as well?
NC: That I didn't worry about. I actually thought about it the other day. I am the 7th film director in my family but that never came up for me. Once the movie was in a rough cut state I showed it to Francis [Ford Coppola]. He loved it and was excited about it. Not a lot came from that. The only thing he said to me was to think of it as haiku. Thanks Francis [laughs].
DE: That gets you an Oscar. You're known for preparing so well for your roles. What preparation did you do for your gay pimp cameo?
NC: I didn't have a whole lot of time to prepare. This was a very fast train that was leaving soon. I had a lot of faith in the energy of what was happening. My preparation came from my memory of New Orleans and the script. I had four days to rehearse the actors and get some sets built. While the actors were rehearsing I was picking lenses with my director of photography. It was like this crash course in making a movie.
DE: As an actor turned director, you get to undo all the problems you have had with other directors. Did you feel that?
NC: I think it was extremely valuable for me to be an actor. I know what I like when I act. I do like to come in with all my preparation and then do three takes and then sculpt. I let my actors do that. Nine out of ten times the actor's instincts are right. I also wanted an extremely quiet set because the actors need to concentrate. When you have to bare your soul with all these people in the room they need quiet.
Everyone involved was passionate about the movie. Also this movie was made after a drought of work because of a strike that had happened. There was a real energy to be working again.
DE: You once said "Without creativity, without life, then you are truly unable to go straight up the Devil's ass, look him right in the face, smile, and survive." Did you do that with Sonny?
NC: Maybe, maybe in my life I have. What I meant by that is that we are faced with hardships in our lives that aren't going to be pleasant and it's going to come up and as an artist you have one option. You can take that pain you feel and turn it into a positive and survive. It's like getting a snakebite. When you're snakebit you can take the poison and turn it into something positive. Also sometimes I says things in a visceral and guttural way. I like using imagery.
DE: Is it easier for you to act in big mainstream films with big paychecks as long as you are feeding your more artistic side with movies like Sonny?
NC: I think it's easier to be more honest in a smaller film because there is less concern from the studio to change it. It gives you a little more ability to stay true to your vision. Having said that when you do a big studio movie they have a right to make sure they get their dollars back. It's like a contract you go into and whenever I've made a big action I take their notes and I try to make it work. In the quest to make something truly fun and entertaining for people there is still the need to make their money back. I don't have an issue with that. I have taken some big chances in big movies but it was always with the blessing of producers or director.
DE: Is there another movie you would like to direct?
NC: I have some ideas but it's too early to talk but they will be dramas.
DE: Why'd you sell your comic book collection?
NC: I just felt I had my time with it and I had this period where I was downsizing. I didn't want to turn into Citizen Kane [laughs].
Dan Epstein: This film is sort of reminiscent of films from the 1960s based on works from Tennessee Williams.
Nicolas Cage: I had not seen those films but I'm sure every film I've seen has influenced me. I've always had an affinity for movies that seem to gravitate towards performance and character driven situation. I'm sure [East of Eden and On the Waterfront director Elia] Kazan has influenced me. I didn't study any type of film before directing.
DE: Why was Sonny the film to do your directorial debut?
NC: It stayed with me for such a long time. I was going to star in it over 15 years ago and I couldn't find a director. I thought that any script that stays with me that long must have a connection with my psyche. I decided to look at it again and I was equally compelled. I felt that if I could do it on a smaller level and make it about actors and character but incorporate the soul of New Orleans that it would be perfect.
DE: Were you disappointed to not act in it?
NC: No I was happy to concentrate on the other performances.
DE: Did you have to fight the urge to say things like "If I was playing this role. I would do it this way."
NC: I understand actors coming into a role with their own instincts and I encourage that. But at the same time James and I work on scenes together and share ideas. It was always done in a way that was very adventurous and creative. We kind of played off one another. We both would come up with crazy ideas and encourage each other.
DE: Why did you pick New Orleans?
NC: New Orleans is a great place to film. The city was very excited that we were there. I chose New Orleans because I happen to have a relationship with that city from films in the 1980s. There's such an energy of music, food and fun. I wanted to capture that.
DE: What was your biggest challenge switching from actor to director?
NC: I'd have to say that it went surprisingly well. In terms of the shoot itself, things seemed to fall into place rather smoothly. We were able to do it ahead of scheduled and under budget because I had a great team of people. There weren't so many challenges on the production itself, maybe weather?. When you need rain and then it isn't raining that can be a problem.
DE: You got such an ideal cast.
NC: When I first read the script I knew I wanted Harry Dean Stanton because he was the voice I heard when I read it the first time. I called him and said "Harry Dean, I think you still have to play this part." He said he would think about it and then finally came on board. Brenda Blethyn is just a super talent I always admitted. I loved her in Little Voice and Secrets & Lies. I wanted to work with her. I had a feeling she could really embody this grand dame of the south larger than life persona. I was curious to see her do it. James [Franco] is someone whose work I did not know. But he came in and we read together. He was passionate about the part and he was in the moment and his emotion is at his fingertips. I said it was his part. Mena [Suvari] was exactly the right feeling. I needed someone you could care about and Mena I felt would be very heartbreaking in that role. It also came down to luck. There were a few moments where we didn't think Sonny would get made but at the end of the day it's always the right cast that makes it.
DE: What made you decide on the role as the gay pimp?
NC: Well I couldn't get all the cast I wanted so I guess I would do it.
DE: You were wonderful. Between this movie and Adaptation you are really going for some weird haircuts.
NC: I think Adaptation was one of my favorite haircuts. I don't want to talk too much about my cameo in Sonny because people might not know it's me.
DE: Did you feel any pressure with being a first time director not only as Nicolas Cage the actor but as a Coppola as well?
NC: That I didn't worry about. I actually thought about it the other day. I am the 7th film director in my family but that never came up for me. Once the movie was in a rough cut state I showed it to Francis [Ford Coppola]. He loved it and was excited about it. Not a lot came from that. The only thing he said to me was to think of it as haiku. Thanks Francis [laughs].
DE: That gets you an Oscar. You're known for preparing so well for your roles. What preparation did you do for your gay pimp cameo?
NC: I didn't have a whole lot of time to prepare. This was a very fast train that was leaving soon. I had a lot of faith in the energy of what was happening. My preparation came from my memory of New Orleans and the script. I had four days to rehearse the actors and get some sets built. While the actors were rehearsing I was picking lenses with my director of photography. It was like this crash course in making a movie.
DE: As an actor turned director, you get to undo all the problems you have had with other directors. Did you feel that?
NC: I think it was extremely valuable for me to be an actor. I know what I like when I act. I do like to come in with all my preparation and then do three takes and then sculpt. I let my actors do that. Nine out of ten times the actor's instincts are right. I also wanted an extremely quiet set because the actors need to concentrate. When you have to bare your soul with all these people in the room they need quiet.
Everyone involved was passionate about the movie. Also this movie was made after a drought of work because of a strike that had happened. There was a real energy to be working again.
DE: You once said "Without creativity, without life, then you are truly unable to go straight up the Devil's ass, look him right in the face, smile, and survive." Did you do that with Sonny?
NC: Maybe, maybe in my life I have. What I meant by that is that we are faced with hardships in our lives that aren't going to be pleasant and it's going to come up and as an artist you have one option. You can take that pain you feel and turn it into a positive and survive. It's like getting a snakebite. When you're snakebit you can take the poison and turn it into something positive. Also sometimes I says things in a visceral and guttural way. I like using imagery.
DE: Is it easier for you to act in big mainstream films with big paychecks as long as you are feeding your more artistic side with movies like Sonny?
NC: I think it's easier to be more honest in a smaller film because there is less concern from the studio to change it. It gives you a little more ability to stay true to your vision. Having said that when you do a big studio movie they have a right to make sure they get their dollars back. It's like a contract you go into and whenever I've made a big action I take their notes and I try to make it work. In the quest to make something truly fun and entertaining for people there is still the need to make their money back. I don't have an issue with that. I have taken some big chances in big movies but it was always with the blessing of producers or director.
DE: Is there another movie you would like to direct?
NC: I have some ideas but it's too early to talk but they will be dramas.
DE: Why'd you sell your comic book collection?
NC: I just felt I had my time with it and I had this period where I was downsizing. I didn't want to turn into Citizen Kane [laughs].
VIEW 5 of 5 COMMENTS
skizzyk:
This movie is good! I recently saw it and I liked it! He did an excellent job directing and acting. I loved the interview.
naty:
love the interview"