COLONELSCRYPT: Norman, it’s good to see you again.
NORMAN REEDUS: Same here Scott.
CC: The last time was pretty crazy at the BOONDOCK SAINTS II premiere.
NR: Yeah, the cops showed up. We had about 2000 fans that had to be turned away. I thought it was all for Michael Jackson.
CC: Jonathan, it’s nice to meet you.
JONATHAN TUCKER: Thanks, nice to meet you as well.
CC: Now we’re talking about MESKADA. How were you approached for the film and what was it about the film that made you want to do it?
NR: I liked the story. I like to be part of an ensemble cast. I liked all of the actors involved. The shoot was only a train ride away from my house too (laughs).
JT: I was a big fan of WINTER SOLSTACE (Josh Sternfeld’s first feature film). The script came with Josh attached. The quality of the script and the actors attached made it easy to say yes.
CC: Who do you play in MESKADA?
JT: I play a character named Shane Loakin who is one of the two fellows who gets involved in this break in where the child dies. I keep from getting arrested, found out, and killed throughout the rest of the film.
NR: I play Dennis Burrows who is the father of a child who needs an operation. I’m married to Shane’s (Jonathan Tucker) sister. He lives in their house and he’s a disgruntled, blue collar worker who ends up finding out who committed the crime and with some of the townspeople tries to cover it up.
CC: The film really captures that small town life and the struggling economy on how people do stick together in times of tragedy. Did that theme juxtaposed with the crime element really strike you in making the film?
NR: I didn’t really think of that message to be honest with you. We all know what it’s like to look for work you know, but that wasn’t the key that brought me to the film. I can see how that could be the factor. I liked the tone of the film and how the pace of the script went more than the message but it’s definitely a factor in the film for sure.
JT: Well we’re here in New York City and it’s only a train ride away to the Catskills where we shot the film and it’s a very impoverished area. There’s some beautiful areas but that’s the other side of New York state that people don’t know of or don’t talk about. That disparity in itself was interesting to see and to be a part of when you’re working there. The same thing is reflected in the film, different communities that are next to each other; one wealthy, one working class. I’m sure Josh worked hard to get all those nuances but he just had to grab a camera and shoot because those communities were very hurt.
CC: You’ve done a few studio films but you’ve done a lot of independent films. Being that MESKADA was shot on such a low budget and you play such interesting characters, what is it about the independent spirit you like so much?
JT: (Laughs) Honestly I’d love to make an INDIANA JONES. You know, you get jobs and jobs get you. With a film like this in particular, nobody made any money on this movie. This was by far the lowest budgeted film I’ve been a part of. People can talk all day about being there for the right reasons. You’re not there for any other reason to make a movie. There’s just no money to be made. I’ve been on projects where people have made sixty grand for a few months which is a lot of money for some of these actors and they’re like “I’m just here for the movie.” You can say that and I’m sure for the financial scheme of it that might be the case but there was NO money on this so being a part of something where everyone is there for the right reasons is very rewarding.
NR: I’ve worked on a ton of independent films and just as Jonathan said, there’s no money in it. I like getting in there with a bunch of actors and acting. A lot of times you do a bigger budget films and there are moments where you’re acting and there’s moment where you’re just in the know. There are other things that are in the movie that are larger than the people that you’re looking at. I love independent films. I’m a big fan of independent films and I’ve done a bunch of them. They’re all sort of dark and creepy. My mom keeps saying “Can you please do a fucking romantic comedy with Jennifer Love Hewitt or something,” and I’m like, “Just don’t put me in those movies.” I like hanging out with actors. I think you have to have big jumbo balls just being an actor in the first place so it’s nice to all get into the same tent so to speak.
JT: My mom wants me to play a nice Jewish doctor. I’m like “Sorry mom, that’s not going to happen.”
CC: Obligatory question time. How was the premiere last night here at Tribeca?
NR: It was great. Tribeca is one of my favorite festivals by far. I like it better than all of them pretty much. I like that it’s in New York. I like that I see people I know at it. I love the vibe. I mean, Tribeca started because of 9/11 to bring the community together, that’s awesome.
JT: And this has been a big year for them because the director of programming from Sundance, Geoff Gilmore, came over here. I think this is his big coming out party being it’s his first. I’ve had four films here and it’s great to be a part of New York. It’s great to be part of a city and it’s great to have it interwoven into the city.
NR: And it’s gotten better every year. A lot of festivals started out small and Tribeca has just stayed cool.
CC: You’re a New York guy Norman.
NR: Yeah and like Jonathan I’ve had a lot of films at Tribeca as well. It’s different than other festivals where it’s all about schwag and people showing up for a photo op. This is actually about movies and directors.
JT: Yeah we don’t want free shit. We’re not movie stars. We want a Starbucks Mocha (laughs)
CC: How did the premiere go last night?
JT: The response was really good. I thought the response was really good. I just can’t believe that I’m sitting here doing this interview about this movie to be honest. I don’t think the budget was more than $500,000. I think it turned out very well. To know you can make a good film on such a small budget I think will inspire some folks. It’s a great story.
NR: The response was great. I had a lot of people telling me it looked pretty, the story was great, the acting was great and I agree with them. Yeah, it was definitely a ghetto shoot at times but I think it came out great.
CC: Being that you said MESKADA was shot on a relatively small budget and was shot in 35mm, there are a lot of films with smaller budgets that are shot on quality equipment. How do you feel about the accessibility of this equipment and the the digital age where movies can look great and be made for a lot less than they would 20 years ago?
NR: I’m not mad at it. I think it gives a lot of people opportunities to do stuff that they wouldn’t be able to do otherwise. I also shoot pictures with 35mm sometimes. I like both but I really like the fact that a lot of people can do cool stuff and have the opportunity to do it. I think it’s cool.
JT: We all have stories to tell and democraticizing this medium first of all is good for us as actors. It allows us to work with different storytellers, people who might not be able to get their hands on the best equipment like the Sony Red or something. The thing I like about New York is that there are so many artists to be able to shoot something great and can edit it on their Mac computer. It’s great.
CC: Do you find it harder for people to break into the industry with that method because it seems everyone is trying their hand at it?
JT: No because it’s just got to be good. You make a good movie it will show.
NR: It’s funny because you go somewhere like Los Angeles and you ask someone “What do you do?” and they’ll say they’re a photographer.
“So what are you working on?”
“I worked on the Chili Peppers video in 1992.”
I’m like “What are you working on now?”
In New York, I guess everyone is moving forward. If you have the will to do it, you’re going to do it whether it is shot on film or digital.
CC: What’s coming up for both of you?
NR: I just did THE CONSPIRATOR with Robert Redford about the assassination of Abe Lincoln. I did the pilot of HAWAII FIVE O. I leave tomorrow morning for Berlin to do a film with Christian Alvart, who I did PANDORUM with, cool German dude.
CC: I guess they’re allowing flights in Europe now with the damn volcano.
NR: Yeah it’s weird because I was supposed to go to Bottrop, Germany in three weeks and they cancelled this thing because they felt the volcano next to the one that erupted is about to blow. It’s a strange situation. It’s almost like that the Mayans were right.
CC: It’s sounding like it.
JT: People would be bitching if there weren’t any flights for six months. Can you imagine what the world would be like if you couldn’t fly?
CC: It’d collapse.
JT: It’d be unbelievable.
CC: Jonathan, what is coming up for you?
JT: I’m doing a movie called THE NEXT THREE DAYS, a Paul Haggis movie with Russell Crowe. I have a very small role in that. I’m shopping the rights for a really great script that I’m hoping to shoot this summer called THE DEPLORABLE DEEDS OF DARIUS DAY.
NR: I have a script I’m supposed to direct. It’s in the early production stages and it’s called I WAS A WHITE SLAVE IN HARLEM about Margot Howard Howard, she was a tranny here in New York in the 1970s. It’s based on a book.
JT: Big studio pic.
NR: Definitely.
CC: I ask this question, speaking about films, if you were both to show people the history of film, what films would you show?
JT: Oh man, I have to say no comment. I really have to sit down and think about that one. That’s a really big question man. It’s good but I’ll tell you though, I’ve been going back and seeing older movies that I haven’t seen in a while and a lot of them really stands up. I watched MARATHON MAN recently and it still stands up. THREE DAYS OF THE CONDOR also stands up.
NR: I watched it too. I love THREE DAYS OF THE CONDOR.
JT: I didn’t think it would stand up at all. What made you watch it again?
NR: I was going to work with Redford, I had to.
JT: Awesome.
NR: Thinking about your question, I’m thinking of BEN HUR. I’d show some old Buster Keaton films. APOCALYPSE NOW and such. There’s a bunch but ask me in 30 minutes and I’ll choose five new ones.
JT: I’m going to watch some old movies later. I think I’m going to watch CASABLANCA. In the past five years I’ve watched that movie like twenty times.
NR: Every time I get depressed, I watch PEE WEE’S BIG ADVENTURE. That has nothing to do with your question but it’s super weird, almost like it’s crazy in a way.
CC: I’m told I’m out of time. It’s been a pleasure gentlemen and best of luck with MESKADA and everything else. Thank you for the time.
NR: My pleasure man.
JT: You’re welcome.
