You haven't written a script since "Good Will Hunting." What made this something that you were compelled to write?
It was just something that John and I were ruminating on. We were looking to do something together. We started it and neither of us made any promise to the other that this was definitely going to happen. But we started writing and we wrote really fast together and it was really fun. So we just kept doing it. He was working on ["The Office"] and I was doing a movie, so we would meet on the weekend and write all day Saturday and Sunday. I think it was the progress we were making that made us stick to it.
Timing. It was really hard to find the time. Even this was done moonlighting. But John was tenacious and that really helped. He was tenacious – he would show up at my house every Saturday morning and we'd have breakfast and start writing and he'd stay until dinnertime. And Sunday – same thing. During the week I would go over what we'd written and mark up the script and come up with notes and sure enough the next Saturday morning he'd be at my door. Very quickly it started to take shape and looked like something really good. The original plan was for me to direct it and my excitement was in large part because of that. Plus the role started to get really good. It was one of those [Elia] Kazan protagonists with that self loathing streak that I was never able to play before.
Were there any other touchstones you were harkening back to?
No. It was a feeling. We talked about [Frank] Capra and Kazan but the main goal was to make sure the characters felt like real people, that we would regonize them all as people we know – the dude who gets the five grand and buys the Corvette. We wanted it all to feel contemporary and honest and be complicated, because the issues are complicated. You know you go to these rural places where we were shooting and ask them about fracking and they are very divided but it's not an intellectual exercise for them. If you think the recession is bad in the city, wait until you see it in the country. These are people who are going to lose their family farms. When we were shooting a couple farmers came up and said, "Is this movie about fracking? You shouldn't say anything bad about that." It was very intense. And that's where we are and that's what's interesting to us, because the stakes are so incredibly high with the potential gains and the potential losses.
Definitely. It was very hard, selfishly, for me to pass up directing this because I really liked it and was really happy with where we got the script. But it just didn't fit with my life. We wanted to go right away, we wanted it to come out this year. And that was that.
Why was it so important for it to come out this year?
It's all happening now. Just in terms of it being in the news and something people are talking about.
Was your involvement more based around the political discussion or because the character was so good?
It was the character. We loved these characters. They feel so real and that's the kind of movies I like.
[Spoiler alert] I heard from Gus that the reveal of John's character being a double agent was handled differently originally. How did that evolve?
Well we rehearsed it that way. The reveal scene, everything you know about the character you learn in that scene. So you can do ten different versions of that reveal scene and it will have totally different implications for the movie. So we rehearsed it that way where John's character is like, "Wait a minute you didn't know the whole time…?" And it was one of those. But the turn felt so much better the way we ended up with it. Because we also had a version that was similar but he was really driving the scene. But what really works is having your protagonist putting it together and driving the scene. And the line I love for John is, "I should have just gotten in the car."