Capone sweettalks MY BLOODY VALENTINE's Jaime King about her first BNAT, THE SPIRIT, SIN CITY 2 and more!!!
Published at: Jan. 12, 2009, 3:32 p.m. CST by Capone
Hey folks. Capone in Chicago here.
After eight years of Butt Numb-a-Thon experiences sitting next to some real scumbags (don't even get me started on the sounds and smells that both Hercules and Moriarty emit regularly), Harry did me a sitting-chart solid for BNAT X (I missed the first BNAT, so I've been to nine total). I got to sit next to a couple of really cool cats--Kyle Newman, director of the upcoming (we hope) FANBOYS, and his lovely wife, actress Jaime King (BLOW; PEARL HARBOR; BULLETPROOF MONK; SIN CITY; THE SPIRIT; and the opening-this-weekend MY BLOODY VALENTINE 3-D). They are two of the nicest people I've ever met, and it was a real treat to get seated next to human beings for once…seriously.
A day or two before BNAT, I was contacted about possibly interviewing Jaime about THE SPIRIT, which I didn't want to do until I'd seen the film. Since I knew I was checking out THE SPIRIT shortly after returning from Austin, she and I made a tentative phone appointment to talk right after I screened it in Chicago. But for some reason, the interview never happened, and frankly I was relieved--but only because I wasn't a fan of the film.
But back to BNAT X for a minute. One of the funniest moments from the event for me personally came when Harry was just beginning one of his film introductions. There had been rumors that the group was going to be the first to check out the remake of FRIDAY THE 13TH, which would have been cool in theory, but I'm not really all that jazzed about seeing yet another '80s horror film remake. But then it became clear that our 3-D glasses would be required for whatever it was we were about to view. Jaime leaned over and said, "Any idea what we're seeing next?" And I mumbled something about, "It sounds like we're getting that crappy-looking MY BLOODY VALENTINE remake." MBV has been so off my radar that I didn't realize one very important fact about the film until Kyle whispered it to me: "Jaime's in this movie." Not only is she in it; she's the damn female lead of the film!
So now I'm hear to say that the single biggest surprise of BNAT X was not that we were the first audience to see MBV 3-D, but that the film went over like gangbusters to a crowd that has been burned by new horror at BNAT a couple of times in the past. And I include myself in the lovefest. This movie is a fucking blast, and a big part of the reason is that it defies expectations at every turn (except when it comes to tossing blood and guts and weapons and boobies directly at the audience). This is not a film about a bunch of teens getting knocked off. The age range goes from young to fairly old (the legendary Tom Atkins has a great role in this film, for example). And thank goodness the film kicks 17 kinds of ass, because I was able to honestly report to Jaime after she asked me what I thought of it that the movie was great and that she was particularly great in it.
So skip ahead about a week after our missed interview appointment (which wasn't really even an appointment since we never settled on a time, just a date). I get an email from Jaime looking to reschedule and focus the interview primarily on MY BLOODY VALENTINE. Jaime has had an interesting path toward acting in her nearly 30-year life. She began her professional career as a teen model (when her name was James King) and transitioned that into an acting career that has put her in some high-profile works considering her short time in the film industry. In doing my research for this interview, I wasn't really able to find a single interview with King that read like a profile both her career and her life. I hope I've pieced together questions that cover both arenas somewhat comprehensively. I've never really interviewed anyone like Jaime before to this extent. She's a great beauty who seems dedicated to learning her craft, paying her dues, learning as much as she can about the business and technology of filmmaking, and improving her talents whenever she can. I spoke to her the Tuesday before New Year's Day, while she was driving to Las Vegas for New Year's Eve festivities aplenty. Enjoy Jaime King!
Capone: Hi, Jaime. Is this still a good time to talk?
Jaime King: It's perfect. Is it cold there right now?
Capone: It's not too bad, not as bad as it was last week when it was the coldest it has ever been.
JK: Ever?! Oh my god.
Capone: Yeah, it sucked.
JK: I'm from Nebraska, so I know what the Midwest is like in the winter. I don't miss that part.
Capone: So how would you rate your first Butt Numb-a-Thon experience?
JK: Between 1 and 10, a 20. I've wanted to go for the past three years. I fell in love with Austin when I did SIN CITY. Actually before then even because I did another film there, and I just love it. And I love the idea that Harry does something like that where people really take the time to celebrate film and acknowledge so many different kinds of film, whether it's old films or new films or obscure films, and that you get to see them on a big screen, to me, is such a treasure. I lose myself when I watch great films. It's so different than seeing it on a small television screen. It's pretty hardcore. I was really determined to stay for the whole thing, but then when 5 a.m. rolled around, and I knew I had to do press the next day, it was so hard for me to chose whether to stay or whether to go. But I knew that CHE was going to take of four hours of that or more, and I'll go see CHE because my friend is in it, so I didn't feel so bad leaving early. It was so awesome. You know what surprised me, though? I'm surprised more actors don't go.
Capone: Well, we've had some actors show up, but Harry doesn't pick these films based on the guests he can get. We get more directors than actors, for sure. But from what I've heard, he's turned down some pretty major talent in the past because he didn't think the films would be that good or at least not appropriate for what he was trying to put together in a give year.
JK: And that's what I really appreciate about him, is that he keeps it real like that. It's not all politics, which I find refreshing and is why I wanted to go down there and be a part of it. I wanted to stay as a fan, because I love filmmaking. Here in Hollywood, so much stuff is political, and it's so refreshing to meet people who love film for the sake of filmmaking.
Capone: We've certainly seen films at BNAT that have not gone over well with the crowd. Were you nervous about being in the audience for the first public screening?
JK: Here's the deal. I think in the past I was more nervous about what happened with my films, and I think that over the past couple of years, it's been interesting for me, because I've been writing since I was 7 years old, and I've been focusing a lot more on writing. And the ironic thing is, of course, the more I concentrate on writing, the more work I've been getting acting jobs. The more detached you are from a pursuit, the more that people come to you. What I've come to realize is that all I can really do is choose projects that I think are going to be interesting and different for me to play, and something that I'm going to enjoy from all different sides. And then I can go and do the best I can every day on set. But I've had so many movies--so many people have--that turn out to suck or turn out not like you expected. And what I've learned from that is that all I can do is go in and do my part creatively and try to do an excellent job. And how it turns out isn't really my responsibility. I know that as an actor you can take a hit from it, but I just want to entertain people and give excellent performances and hopefully bring something to the screen that will really move people in some way.
I think bringing this film to Butt Numb-a-Thon meant a lot to me, rather than if I had a screening for people in L.A., because they are true fans. I knew that by screening it, I knew we'd get the truth about what the film was and whether they liked it or didn't like it. But most of my friends are hardcore fans, so I knew when I got the script, so many of my writer friends and my husband and his friends were like, "Dude, you have to this movie because it's a classic." For a lot people, it was their first horror movie. I'd heard really good things about [MBV 3-D director] Patrick [Lussier] and his history of filmmaking and editing, and I believed that there was no one better to do it with than this guy. I knew I was in safe hands. I was just hoping at the screening that people would enjoy it. The only thing I was really nervous about was getting up and talking in front of everybody afterwards.
Capone: I don't know if you remember, but I was less than enthusiastic when Harry told us that we were going to be seeing MY BLOODY VALENTINE. I had no idea you were in it, and I got really nervous about sitting next to you and facing you afterwards if I didn't like it.
JK: [laughs] I do remember. And I want people to be honest about what they think about it. I mean, you want people to tell me they liked it, but even with friends, I'd rather have them tell me the truth.
Capone: Do you have roots in the '80s horror scene? Did you grow up watching these films? What am I saying, you weren't even a teenager when the original film was released. But did you like these films as you discovered them growing up?
JK: I didn't have a lot of history with the '80s horror genre. I've certainly seen a lot of horror films from that time over the years. But Patrick is so obsessed with horror films, and the way he went about it and the way we went about it in the months before filming, I thought was really interesting. There's been this whole wave of this 'torture porn' shit that makes me want to puke. I see this stuff, and I think, "What the fuck is that?" And then I think about the guys writing those films, and I think, "Why would you sit hunkered down in some hole writing that shit for however many months?" I think that horror films should invoke a lot of different emotions. They should make you laugh, feel a huge amount of tension, they should scare the shit out of you, and they should have these very precise beats. It should be aware of what it's trying to do without the audience being self-aware. You've got someone like Patrick, who knows how to wind up the tension, have a great kill, and then give everyone a breather. Making the film with him was really interesting because I learned about the best way to get people going. And as for the acting part, I wanted to make it kind of grounded and make it something a little big more than the damsel in distress. I tried really hard not to let it move in that direction. I know it's not some high-end, avant garde film when you have to give an incredible performance, but it is important that you give a solid performance so you can have the scares and all of those other things going on at once.
Capone: Speaking of your performance, you mentioned during the Q&A that working in 3-D doesn't really influence your acting style. But admit it, it has to a little bit, doesn't it.
JK: When you're filming in 3-D, you don't really know what's going to pop off and what isn't. It wasn't our intention in making this film that we were going to have some random series of gags. I knew that it was a different kind of 3-D. And I hung out a lot with the camera guys that made the 3-D cameras because I love that kind of technological stuff. It was really fascinating to watch them do this because it's a whole different process. When you're doing a scene, you never know how great the depth of field is, or how much you're going to be popping out. They did a lot of it pretty subtly and some of it pretty hardcore. From my point of view, if I get so self-conscious about the 3-D aspect of it, unless it's going to enhance my performance, I don't want to be thinking about it that much. I just want to focus on being present in the scene.
Capone: I'm just glad that 3-D is back and looking as good as it does without giving us a collective headache.
JK: Oh God, I know. 3-D for me was so hard to watch before. It gave me a really bad headache. What I'm excited about in terms of 3-D is that I really do believe that this is what all films are heading toward in terms of technique. It really is so intoxicating to watch it, and there are so many interesting things you could do with it. You can choose what you want to move forward and what you want to keep in the back of the frame. People have gotten really creative with it, and I couldn't stop thinking about all of the different worlds you could create, all the realms you could move forward.
Capone: For someone what used to make a living as a model, you really outdid yourself in this movie with the hideous, formless flannel clothes.
JK: [laughs] Oh, dude, I had to fight for that.
Capone: Why would anyone fight for that?
JK: Because when people are making movies and giving money to the movies, they want the girl to look hot. But I was like, "I live in a fucking mining town; I'm not going to be a glamorpuss." And I was really grateful that Patrick agreed. I dyed my hair really dark, and the costume designer was amazing--she'd worked with Clint Eastwood and those guys. And I said, "All I want is for it to be authentic looking." I grew up in Omaha, dude. We didn't have fancy clothes. I wanted to be in boots and flannels and jeans. And I think the studio freaked out a little bit. They were like, "You've got to put some makeup on her or tighter up her clothes." I think they were worried for a while that I wasn't being sexy enough. You know how it is? There's this line that they want to dance on. They want you to look real, but at the same time, they want you to look like the hot chick. I fought really hard, and I barely wore any makeup and I wore big baggy clothes. And to me that was the way I wanted to do it. I didn't want it to look fucking stupid. Sometimes you look at these movie and you say, "What is she in the 1800s riding a horse in a cowboy movie and she's got perfect skin, and perfect hair and makeup?" That drives me nuts. It was a pleasure to wear baggy flannels! Nobody wants to be running around in Daisy Dukes in the middle of a coal mining town at 4 o'clock in the morning.
Capone: No, but apparently running around naked outside in this particular town is okay.
JK: Wasn't that amazing?! I love that scene. That scene is so funny; it's one of my favorite in the movie. What doesn't want to see a crazy naked girl running around with a gun. I know it's maybe from a male point of view, but I thought it was pretty damn funny, because she's so uninhibited about it. She's like, whatever. She doesn't give a shit.
Capone: You aren't kidding. I also liked about the fact that it isn't about teenagers. You've got Tom Atkins running around. It's something you so rarely see, such a mix of ages in a slasher film.
JK: I know. I thought that's what made it more interesting for me too. I don't want to play a little scared teenager running around. It's good that we got that out of the way in the beginning of the movie, to show that there was some sort of history to it. But when you play a character that's more mature, in their late 20s or early 30s, you can at least bring some history to who it is that you're playing. Someone who's a teenager is going to react differently to these situations than someone who is my age. A teenager is going to run around screaming and acting like an idiot. Now we're a bit older running around acting like idiots, but there's some kind of history to it.
Capone: You mentioned that you'd done research on Patrick's career as a director and editor before you took this part. As a director, I don't know if he'd really set the world on fire with his DRACULA movie, but what was his pitch to you that sold you on his idea for MY BLOODY VALENTINE?
JK: One of my best friends is Jessica Alba, and she made the movie THE EYE. And it was apparently a disaster to make. And the first part of it wasn't working very well, so they brought in Patrick to try and help put it back together again; he reshot a bunch of the film and did as much he could. So I talked to her about him, and she really loved him as a director. I never saw the movie, but I know that she would be honest with me about what it would be like to work with a director. I loved the fact that he edited the SCREAM movies and worked with all of these amazing directors; he was their go-to guy. I knew that when I met with him and working with him, I liked the way he really directing, and I felt like he had a really clear vision of what it is that he wanted. And I've had experiences in the past where you do a movie because you think it's going to be really cool, but then the director isn't clear with his vision and you literally feel like you're drowning the whole time and it's a miserable things to experience.
But because he was such a strong editor, I knew he would be able to see what he needed and didn't need inside his head. It was fascinating watching him work because I could almost see his gears turning and cutting the scenes in his head, so we didn't have to waste any time or do a bunch of takes. He was really great that way, and very open. When I first got the script, there were a few changes that I wanted to make just to make her less like the thankless woman role in the film. And he was really great about letting me send him piles and piles of notes. Some directors really take offense to that because they think you're trying to control things. And for me it's not about controlling; it's about trying to tell the best story we can tell. I'm the kind of person who will cut their scenes if it's going to make the whole story better. But there were things that I thought needed to be working on with the female roles, and he was really great about that. The whole process with him was really cool.
Capone: Do you mind if we go back a bit into some things you've done earlier in your career?
JK: Sure, yeah, yeah.
Capone: When you made the decision years ago to go into acting, were there steps you took to make sure you were taken seriously and that people would maybe look beyond the world that you'd come out of. Were there steps you took to becoming a better actor?
JK: When I first started acting and auditioning, I stopped everything else. I'd saved all my money as a kid from modeling. I actually got into modeling because I was into photography. At a really young age, I was taking pictures, from the age of about 12 or 13. I would always go and get cameras from Goodwill and have them fixed, and I was really into all of that. And that's what I'd always loved about modeling was being around the idea of photography. When I turned 18, I felt dried up, that I wasn't learning anything or expanding. And I'd saved a ton of money, and decided I really wanted to go into filmmaking. I knew what I was going to have to do; I knew that I would completely have to quit modeling and literally changed my life. And everybody freaked out, all of my friends, because they knew I was changing everything they knew about me and my life into something that I really wanted to do. And it's interesting when you do something before other people, they all freak out and get scared about it.
So I studied really hard, and sought out the best acting teachers I could find, and I just worked my ass off. And I would read different scripts and try on different character even if I knew I wasn't going to play them. I would just work, work, work really hard, and trained myself so that I knew when I walked in the room, I knew I could rely on the work I'd done. It was really important to me that I achieve success based on my ability to play the role in an excellent way. It was weird, because it happened really quick, because I met Daniel Waters, who wrote one of my favorite movies, HEATHERS. I thought that was an awesome film when I was a young kid. He had this movie called HAPPY CAMPERS. I flew back and forth auditioning before I did that film. And I also me Teddy Demme for BLOW and did the scenes for that one. And then I read for Jerry Bruckheimer and Michael Bay for PEARL HARBOR for the lead role. I auditioned for it, but they ended up writing a role for me in that film. It was a really interesting thing, I didn't know what a producer was or an executive producer was; I didn't know the chain of command. So it was actually very liberating, because I didn't feel like I had anything to lose. All I knew is that I worked really hard and studied my craft and did a good job, that was the only thing that was important to me. I knew that people knew me as a model and that people have whatever stereotypes or preconceptions about that. But just like anything, if you do the work and study and do a good job, eventually that's what's going to reign above other things.
Capone: It had to be gratifying and encouraging right out of the gate that two of your first movies were BLOW and PEARL HARBOR.
JK: It was really gratifying. I felt so grateful. I look back at that time and it makes me almost want to cry. There are so many fine, fine actors out there that don't work, and I never take my life for granted. I remember the first time I stepped on a lot, I couldn't stop crying because I finally felt like I was home--and I know that sounds really corny. I grew up in Omaha as this weird, artsy kid that people didn't like very people. And people are like, "Really? People should have liked you because of the way you look." That really wasn't the case. I was kind of ostracized at school. I didn't fit in with the cheerleader crowd or whatever. I never really knew what it was I was going to be doing. And I remember when I stepped on the Fox lot, I was like, "Oh my God. This is what I've been searching for my whole life." It was an incredible experience, and I still feel like that to this very day. But I knew that I had to completely shift my career and cut out one thing and move to the other thing.
I remember the first time I met Johnny [Depp] on BLOW. Oh, to get that role, by the way. I'm this little white girl, and I had to play a Latino girl, so I remember going down to Canal Street in New York and getting a bodiqua'd out. And getting door knockers [earrings]. [laughs] I remember a lot of my friends in New York were these punk-ass street kids, and some of them were Latino, so I'm just going to dress like they do. And that's when I went in and me Avy Kaufman, the casting director, and it actually worked.
But when I first met Johnny, I remember going into his trailer, and it was all covered in tapestries from the '60s and '70s, and he was fully in character, with the accent and he's smoking his fancy cigarettes. And I sat there and we just talked and talked and talked. And I'll never forget watching him watch me on the monitor, and how he was complimenting me and what he said about my acting. And he told me he might want me in THE RUM DIARIES--back then it was looking like the movie might get made. And I remember one time they had Hunter Thompson call me, which was amazing. So it was those sort of things that happened to me at a very young age that I will never ever forget.
Capone: One of the funniest things about hearing people's reacting to seeing Mickey Rourke in THE WRESTLER is that they are referring to the film as his comeback movie, which I couldn't disagree with more. He did great work in DOMINO, but his real comeback for me was SIN CITY. So you actually had a front-row seat to his return to greatness. What do you remember about working with him.
JK: I learned more about acting from my time working with him than at any other time in my life. He was always pushing me to do better, and he was 100 percent professional. I remember during our sex scenes, he was always the perfect gentleman and asking if I was okay and comfortable. And between scenes, he would pump iron and his pull-up bar was right next to the stage. And [director] Robert [Rodriguez] would play his music. It was the most amazing experience. He was so sweet, because he had his agent call me afterward to let me know how much he enjoyed the experience of us working together. You don't get that from many actors. But I would watch him during scenes where he was just by himself, he's just so powerful. I cannot wait to see THE WRESTLER, and I'm so happy that he's had this resurgence, because he studies his ass off; he's an amazingly well-educated actor.
Capone: When Frank Miller first told you about THE SPIRIT, what did he tell you?
JK: He started telling me about it about three years ago. I knew about it even before the studio knew about it. We're like brother and sister; we became really close during SIN CITY. So I knew about every project that he was doing, and he told me he was writing this thing. Originally he told me about me doing the role of Ellen [a role that eventually went to Sarah Paulson]. Then by the time it was time to shoot, there was a scheduling problem with my schedule, so I wasn't able to do that part. So my character [Lorelei, the Angel of Death], they were able to shoot in a day.
Capone: I've also seen your name attached to the SIN CITY sequel, which keeps getting pushed back. Is that actually happening?
JK: Yeah. I went down to work with Rodriguez and George Clooney on this commercial a couple years ago. But I remember Robert saying "Oh yeah, we're getting ready to do SIN CITY soon. Just be ready because you're going to be getting a phone call." And we're getting ready to start, and then all this stuff happened and it's hard. And I think it's hard because they want to make it with certain people, studio wise, and I think the studio has a different vision of how they want to make it, and that's not in line with Robert and Frank's vision. So they're working out the political part of it. But the great thing about they way he shoots it, is that he can get the actors that he wants and work out the scheduling fairly easy. Robert's smart that way. I'll be excited when that one goes.
Capone: Aside from being married to the director, you're in FANBOYS as well, so you have a stake in getting in front of crowds and having people finally see this thing. Have you been feeling the pain of this long, drawn-out process along with Kyle over the last couple of years?
JK: I can't even describe…my stake in it, when I went to do that film, Harvey Weinstein just said, "Will you got down and do a cameo in this movie FANBOYS?" And I was like, "Sure." I'd worked with Harvey on SIN CITY, so he sent me this script and I talked to people about the script, and a lot of people were freaking out over it. A lot of actors were obsessed with this movie and really wanted to be in this movie. Some of my actor friends were so jealous that I didn't have to go in an audition, that they just sent me this part. They let me choose the cameo. And so many guy actors wanted to be a part of this film. So when I went down to do it, it was really fun because I got to meet Dan Fogler and Seth Rogen, and that was the first time I ever met my husband. From my point of view, FANBOYS was great for me because I got a husband out of it.
But my stake in it is not for myself; it's for my husband and [co-writers] Ernie Cline and Adam Goldberg, who are dear, dear friends of mine. I had heard things about the way studios could be with first-time filmmaker and this studio in particular [The Weinstein Company] from a lot of writers and directors. And I didn't understand it entirely, because the Weinsteins were always really great with me and we got along really well. I think Harvey is a great guy. But when this stuff started happening, it was baffling to me. I went through so many different emotions because I felt like something so important to Kyle and Ernie and Adam was being torn from them by motherfuckers--excuse my language--that don't even know what they're talking about. Kyle set out to make a movie that was a comedy that had heart and is based on friendship and love. It was a love letter to everything that he was a fan of, and that people all over the world are fans of. And I felt like they went in and shit all over it, without understanding what it's like to be a fan of something. It would be like taking the thing that is dearest to you and giving it to someone so they can just tear it apart. And then they did reshoots with new filmmakers to help "recut," basically they wanted to take the heart out of this story, and my husband refused. And they did sneaky things to get the kind of movie that they thought was going to be a hit for them because they weren't making any hits, and try to totally destroy the integrity of everything that had been made.
The most gratifying thing was seeing the fans revolt and seeing the power of the internet, and knowing that 300,000 emails went to all their personal blackberries is the most awesome thing in the whole world. It's terrible when you're so close to a film because they people that you love the most made it, and it's Kyle's first big film and they're tinkering with something that is really important for him. They just don't care. You get this people who are all about the money and all about the box office success, and they absolutely no integrity when it comes to what they're making. It's not about making the best kind of film we can make; it's about how we can add stupid things that don't make any sense to the movie so we can get more people to buy more tickets. It's a vile side of the industry that you don't want to be a part of. But it turned out to be such a blessing to see all the people who were avid fans to come and really stick by him. Literally because of the fans, they changed the movie back around. And if it weren't for the internet and for the fans, FANBOYS would be in a completely different place. And it's so nice to know that the old-school people are going to be shoved aside and there's going to be a new day and age where the people actually have a say, the people that matter.
And here's the other thing that's lame about the people involved in putting the movie out, so many people want to screen the movie and do amazing events around the movie, and they're like, "If we do that, that's less people that are going to buy the tickets." It's the most retarded point of view I've ever heard in my entire life. They want to do charity cancer screenings and things like that, because that's part of the plot, and the studio is like, "No, we don't want to spend the money."
Capone: I wanted to talk to you about one movie in particular that you've got coming out in the future--WAITING FOR FOREVER, that's got a great cast [including Richard Jenkins and Blythe Danner.]
JK: Yeah, I was chasing after that for a long time. [Director] James Keach, I love. These are the people who worked on WALK THE LINE. And it was one of the most beautiful screenplays I'd ever read. It was about to go, then it didn't go, then it was about to go and didn't go. And I wanted to be the lead role in it, but then I was on a series so I had a limited amount of time, so I literally flew in during my one-week hiatus to do the film. And they really seemed to want me in the film, so they said, "If we can't have you in the lead, then we can do this other role." It is such and awesome, awesome film with a great cast. We just finished that a couple months ago, so I'm hoping the film will be making the festival rounds in 2009.
Capone: When you're weighing certain non-genre films to do, what is you're looking for in that realm?
JK: I'm looking for quality. I'm the kind of person who doesn't care whether I'm in a movie for one scene or I'm the lead. That's not what it's about for me; I'm looking for work that feels creatively fulfilling for me. I feel it's important to work with the best actors possible and the best directors, and to continually explore different facets of the human consciousness. So when I'm dealing with smaller films, I feel I can explore a different side of me, where I can come in and contribute something that I hadn't done in the past. I'm looking to learn from the people around me, as well. I love drama and I love comedy, but there's nothing more fulfilling than working with a group of great actors who do their work because they love it. When you're on the set of a film like WAITING FOR FOREVER, that's the kind of cast where we sat there in a room and rehearsed and rehearsed, and that's what I'm all about. And then you get with some actors who are like "I don't want to rehearse," or they're on their Blackberries during rehearsals, and you want to take it and throw it off the roof of a fucking building. Those are the kinds of people that I gravitate towards, and I try to do films that I think will move people in some way.
Capone: Jaime, thank you for spending so much time talking today. I know you're on vacation, so get back to it.
JK: This was really fun, and we I really enjoyed hanging out with you at Butt Numb-a-thon; it was really cool. And I love that you guys love film so much.