We recently talked to the filmmaker about the movie's anger, the legendary "director's cut" of 'Jesse James,' working with Ridley and the late Tony Scott, hiring Brad Pitt via text, how the Maysles Brothers influenced 'Softly,' and why his latest film is slightly more "bubblegum" than the picture's he's made previously.
And thankfully, we hopefully won't have to wait five more years for his next film, the Marilyn Monroe picture, "Blonde" starring Naomi Watts. Dominik tells us he aims to shoot it next year, it's going to be Polanski-esque, and describes it as a "emotional, nightmare fairy tale." We can't wait. For more Dominik, check out our earlier, in-depth interview with the director from Cannes in May.
People describe this as an "angry" movie. Is that how you see it?
Yeah. I felt angry at the time of conceiving it.
What were you angry about?
About how the whole world revolves around the dollar. It's easy to feel when you're in Hollywood. Especially when your last movie didn't make a nickel.
I cut about seven minutes out of it, based on a test screening. I think most of those seven minutes were good cuts. There was one that I think, 'Well maybe I shouldn't have cut that.' But you get to the point where it all gets a bit murky. Nothing that I regret, really.
Do you plan on reinstating that stuff?
No. It's gone forever. It'll appear on the DVD maybe.
You've worked with Pitt twice now. How did he come to this one and were you at all surprised given the long, arduous process of getting 'Jesse James' to the screen?
Look, our relationship was intense, but everyone's intentions were fantastic with 'Jesse James.' It could get testy between us all but we all really liked each other. And we always had to deal with Warner Bros.' disappointment with the film, which tended to bond us. We kind of came out of it as friends with a great respect for each other. That didn't necessarily mean that Brad wanted to get involved in anything that I was doing. But this one resonated with him, for some reason. How he got involved was I had pitched this story to some financiers and they really liked it and I realized I could actually make this thing happen. And I sent Brad the book and I hadn't heard anything from him because he was knee-deep in 'Moneyball.' I was trying to get myself an actor attached over the weekend so I sent him a text to make sure he wasn't interested and it turned out he was. So we exchanged a series of texts about what the deal would be, how many weeks he'd be needed, and from that point forward he was on. This was before there was even a screenplay. That's how it happened.
Yeah, I was surprised at the time because I just thought,'He doesn't have the head space for this.' And I didn't know if it was the kind of thing he wanted to do. I remember at the time he was talking about the kind of characters he was looking to play and Jackie was kind of the complete opposite, since Jackie is just a prick, really. But that was the attraction for Brad.
How did you get Sam Shepherd to come in and do that one scene?
Well we got along really well on 'Jesse James' and we keep in touch. About once a year I'll get a phone call from Sam or I give him a call and I needed somebody because [his character] Dylan is someone who is talked about all through the picture and you're going to see him this one time. So I wanted to get somebody recognizable to do a cameo. And that's how I presented it to Sam. I think he was in New Orleans at the time so he just drove over and did a day's work as a favor, basically.