By Anne Thompson | Thompson on Hollywood November 19, 2012 at 12:21PM
AT: So your agents at WME guide you?
JG: Yes and no. There's a select group who get to make those choices. I want to be a working actor, I have the opportunity to be given choices, it is not a conscious direction, 'I'm not going to do this kind of movie or this.' I do movies, find movies that I can get inside. I'm about to do a deal again with Denis Villeneuve, "Prisoners," playing a detective, l did his last studio movie, "An Enemy." I want to work with great directors.
I don't really know if it's a conscious move. It's a strange profession, at times absurd, acting. It's really a craft, it can be easily sidelined, as a business, away from craft. You can objectify yourself, the craft of acting, be able to observe and objectify, watch yourself, shape it, and fall back into it again. Uta Hagen was the first to say that a character eventually becomes you. That is what an actor is. As a result you can do that in a career. It's important to be savvy and smart and be involved in things you care about and deeply believe in. What works is caring what you do. That's where I'm at.
I said to myself, 'there are so many wonderful things coming from outside to take away from understanding and exploring yourself, internalizing.' I got into this because I adore acting with actors, as a team player, that's what I want to be. I wanted to devote myself to something that has actually changed my life. I want to make movies where I learn about life, to forever be a student.
AT: How did 'End of Watch' play into this period?
JG: I sat down with David Ayer. He said, 'if you want to make this movie you have to devote your life. It is going to affect your soul.' At the time, that was the reason I did the movie, which has been marketed as a big cop genre action movie. Ultimately it's not really, this movie is about the relationship between two guys and how much they love and would do anything for each other. That's why I did the movie, was the heart of it. The sense of originality is what inspires me to do something when I read something, not that it's a cop genre movie, which is done a lot. It's not to learn how to hold gun and shoot actual rounds at a target. At inception this idea has a huge beating heart, David was embarrassed about what he wrote about, that was it to me.
JG: We were buffered at all times by police officers who we worked with in the shooting area, which was patrolled, they'd come by, four sets of partners worked with us in areas as technical advisers. Three of them became our best friends, are my closest friends, I get texted by them. One sent me a photograph the other day of a gun pulled off a guy in the cartel, the same situation in the movie. We were constantly surrounded by them, on patrol, they rolled by while we were shooting, like family, excited throughout the shooting. It was real to us, we are shooting a movie, we are in the moment all the time, in cars for five months, shooting 22 days. They'd still be with us; it was as if we were given our own patrol car. We had to devote ourself to that idea in our absurd actor minds.
AT: How much did you shoot?
JG: 135 hours of footage in 22 days. Mike Pena is driving, there's a sound rig in there, microphones on the car, for a single shot there's a single mike, for two-shots there are small cameras on the dashboard. Mike and I could do these scenes like a play, rehearsed hundreds of times, we'd run scenes in the back of the cop car during ride alongs. Mike and I, while we were being shot, we had to be so on our game, during the day and into the night, with a lighting rig on top of the car. Mike drove the whole time.
We were rehearsing five months. He wanted 24 days but we got 22, he wanted to spend money on action. He had three takes on the first shootout, or else we were fucked.
AT: How much was improvised, or scripted?
JG: 15 % are improv, the rest are totally written by Dave. Things we'd add here and there, little things, like in a scene, 'Do I have to explain and put it into Hispanic?' That's all improv, whatever the fuck, in a very formulated scene. We'd go back and do that do scene, flip flop scenes, run, run, run it, hours of those scenes.
AT: How long could Ayer's cameras roll?
JG: Digital cameras. We could shoot for 20 minutes or more. We'd pull over and change shifts. He's fussing, he's laying down with the monitor and ear phones in the back seat. We'd do pullovers to talk to people, take the video camera out and film the interaction with someone, ask permission. Some things didn't end up in the movie. What we were doing was definitely walking the lines. We were trying to live in as much of the experience as possible, we never had to refer to the script, we always knew where we were. We had 22 days to shoot the movie, we were ready like an army with a plan. They had us so rehearsed and ready to go, Anna [Kendrick] and me and Mike. She's amazing, we all loved each other.
AT: Didn't you get exhausted?
JG: Well, it's a different definition of exhausted. Having worked with police officers, you get invigorated by those things, creativity does not tire, only inspires, energizes, I think that's the thing, when you find yourself getting exhausted sometimes, you put in so many hours and get so little sleep, physically it's that way. But this state of mind is exhilaration, recently for me that hasn't stopped. I worked so hard in the post-production process. The relationships were so committed with the actors and the technical advisers, all the guys we worked with. We don't talk about the movie, we talk about our lives, what's going on, it's inspiring every day.
AT: What changed?
JG: My philosophy has always been to be a diligent worker, have a good work ethic, more than anything. Now it's, 'how can what I do, or a movie coming out, what relationships can I make, be in people's lives I care about, how will it inform my life, when it comes out?' Reading reviews I don't care about, I know what I've done, I've gotten what I want, I've been totally fulfilled and then some.
AT: Are you plumbing more of your dark side?
JG: Of course I'm not running from it, not at all. I'm embracing it. I always have, just because you like to be good people and respect people, thinking about them outside yourself, doesn't mean you're running from darkness. I've always embraced that, played Donnie Darko. To suggest that a human being is more complicated than people assume objectively is a fair assessment. You will see in the future more things come out that will hopefully surprise you. It happens all the time.