Yeah, because, even that, is part of the misdirection. Steven and I wanted people to walk in and go, "Oh it's this kind of movie" and then realize, "Oh it's not that kind of a movie, it's this kind of a movie." And so what I really wanted to do in the writing of this movie was try and provide the kind of rollercoaster ride that I've always loved in movies when you get that great moment of weightlessness when the rug is pulled out from under you. If you look at the end of "The Usual Suspects" or the twist in "Primal Fear" or the end of "The Sixth Sense," we love going to the movies and being fooled in new and interesting ways. That's what I really wanted – to try and create that feeling of weightlessness. That was the main thing in making the movie and to do that you need to do a certain amount of misdirection.
For me, the question of pharmaceuticals and all those drugs is really complicated because a lot of people are really helped by those drugs. You can't condemn medicine and science, so you make things that really help people. But then you have to sell them and profit motivation is involved and a whole new set of ethical questions pop up.
Yeah it's interesting how the Jude Law character sort of gets into that line of thinking very easily, about how to sell this stuff. Did you find many examples of that stuff?
Yeah I talked to drug reps… There was an article I read as part of my research in the New York Times about how drug companies recruit cheerleaders to be drug reps. And when you go to your doctor's office, inevitably there's some very attractive woman trailing a rolling bag filled with samples and that raises a whole bunch of questions.
Yeah, I mean, "Double Indemnity" is one of my favorite movies and that was in the back of my mind. I think the paranoia that "Rear Window" explores is something that I was drawn to. "Body Heat" was a movie that was a movie that was a really brilliant math equation that was parsed out in such a great way. And even a movie like "Primal Fear" offered a twist that I never saw coming and my mind was blown.
It's weird, too, that this subgenre has been so unexplored recently.
I don't know either and that was something that Lorenzo and I talked about for a long time – where did these movies go? I think, in our big rush to make comic books and sequels we abandoned what was a really popular and economically feasible model. And so that, to me, was really an observation about the business that pointed me in this direction. I was like, "Why did we stop making these? They were really entertaining and fun rides to go on and provocative." And if we had kept making them this movie would hardly be an outlier because just like "Double Indemnity" used the insurance industry as a framing device, I think this movie would have happened anyway, if we kept going.
It's funny because David and Steven are the best of friends but they couldn't be more different in some ways. Steven is very willing to take on all sorts of different sizes of projects and tends to work very quickly and David is much more methodical. In some ways, they're really different because they're really different personalities. But in some ways they're very similar because they're interested on a very conceptual, human level, on a lot of the same issues, which is probably why they're such good friends. For me, as a writer, it wasn't entirely different. There are a lot of the themes and ideas that I'm drawn to. It's just with Steven he may feel like he wants to go out with as few toys and as little gear as possible and have the project be as streamlined as he possibly can and find his originality through that, David is interested in doing such grand visual things that it requires a whole different support system.
Can you talk at all about the play that Soderbergh will be directing in the fall?
The play is called "The Library" and it's about a survivor of the Columbine shooting. It's a play that I wrote over the last couple of years and it's in development right now at the Public Theater in New York. Sometimes the Public sends the work to Broadway, sometimes they keep it in their complex. That much I don't know. But it all kind of happened at Steven's retirement lunch with me. We had finished "Side Effects" and we were just going to lunch. And I said to him, "Does your retirement apply to theater?" And he said, "No." And I said, "Well, I have to go to New York this week and figure out who would be the right director for my play and I would love it to be you." I think he thought about it as long as I thought about him directing "Side Effects." So I'm thrilled because I get to keep working with Steven and it's one of these things where, since we've spent so much time together, he knows a great deal about what I want that play to be about. So I'm really excited to see it go on.
"Side Effects" is now playing.