Johnny, one of your trademarks of your performances has been the physicality of the characters and the look of your characters. This character undergoes a transformation but essentially keeps the same look. Does that make it harder or easier for you take on this role because you don’t have a facade?
Johnny Depp: It’s always more difficult and slightly exposing to play something that’s close to the surface, something that’s close to yourself. I always try to hide because I can’t stand the way I look. I think it’s important to change every time, and come up with something that’s as interesting as you can for your characters. In any case, it really depends on what the screenplay is asking of you and what your responsibility is to that character. You have the author’s intent to deal with and the filmmaker’s vision and then you have your own wants, needs and desires for the character. It’s collaborative, but I knew right off the bat that certainly there was no need to go into pink-haired, clown nose, Ronald McDonald shoes at the same time.
What was it like working with a first time director?
Morgan Freeman: I’ve known Wally for many years and worked with him on three other projects. His mindset is one that I’m familiar with. I think that his tutoring was of the highest order, and I wanted to be there for his first outing with the idea that he’ll be doing many more. You have to ask yourself what it takes for a first-time director to get this kind of budget for a movie. Somebody believed in him.
Rebecca Hall: I worked with Wally when he was a DP, and he was incredibly warm and kind to me in a moment when I was particularly frightened and didn’t know what I was doing, so I would’ve done anything for him anyway. I would argue that a DP observes an actor’s work far closer than a lot of people on a set. He gets it; he knew when to stand off, when to be there for you. He knows what’s he’s doing.
And Mr. Depp?
Johnny Depp: I met Wally, ironically, on a video clip for Paul McCartney. I was, of course, aware of his work as a director of photography. It’s legendary. He’s a legend. So I was very familiar with that. When the idea of this film arrived, I was beyond thrilled. Wally has such a drive and he worked nonstop. As Morgan (Freeman) says, you step into the ring with the guy and he snaps his finger and it’s just there. He’s definitely got enough years on set to sponge up the good bedside manner of a filmmaker and the bad ones, and recognize that. He came in like a champ, with the crew he’s been with for years supporting him, and it’s one of the greatest experiences I’ve had with a filmmaker, bar none.
He’s one of those guys who, if he wanted to film me staring at this (an empty can of Red Bull), I’d be more than happy to do it. In terms of a first screenplay, literally (he picks up his fedora hat from the table) my hat is off to writer Jack Paglen. I didn’t see any sort of virgin blather in screen direction or anything like that. It was just a beautifully executed piece and a complicated one. The mathematics involved in putting this film together and the great support of (the production company behind the film) Alcon, it was not an easy little operetta.
That concludes the press conference but we’d like to thank everyone for taking the time to participate. Be sure to check out Transcendence when it hits theatres this Friday!
For more on the film, take a look at our coverage from the world premiere in the video below.
