You’ve worked on big-budget projects, as well as independent films. Which do you prefer?
I do love the intimacy of a small set. I think one of the difficulties with the smaller films these days is because the producers that are on such time constraints, if they work out the budget of a low-budget film, you wind up racing through a lot of really important material. And there are obvious benefits to that because you don’t have time to be neurotic. You just have to go with your gut. And I wonder sometimes if it makes for bolder performances because people don’t have much time to second-guess themselves. But on the other hand, you don’t always have time to gestate an idea or to feel the freedom to try lots of different things on a small film.
It’s also quite impressive to me how someone like Ridley Scott is not just working with a few trusted crew members, a couple of actors on his big films, he’s editing as he goes and managing massive departments and employing lots of people. It can feel really inspiring to be a part of something that’s functioning and complex like that. The slightly more unusual stories get told, generally, on the smaller scale, and I’m drawn to the unusual stories. But I have really enjoyed flip-flopping between these kinds of films; it’s very stimulating. I learn from both, and there are lots of elements that are exactly the same. Sometimes it’s just you and a few people in a little room trying to make a scene work. And that can be on “Alien” or on “State Like Sleep.”
Speaking of “Alien,” has there been much talk with Ridley about the next installment?
No, basically. I don’t live in Hollywood, and I’m always usually the last person to know even what’s going on in my own career. So, [I’m] probably not the best person to ask. But I did get some sense of where they thought they might like to take it when we were shooting ‘Covenant,’ and it sounded really interesting. I would be absolutely game to do more if they wanted to have me. But that’s all I know. I’m sure they’ve changed their minds anyway. And there’s been probably loads of different ideas going around and everything. But just in case I spoil something by talking about it, I wouldn’t dare.
While we’re on the topic of big franchises, when can audiences expect another “Fantastic Beasts” sequel?
We plan to do another one over the summer, and I’m excited to see where Tina goes. She’s an interesting character, and I feel like she’s just kind of coming into her own. I’d love to see where she goes next. It’s so much fun working with the same people again and again. I’d never done that before. And your question about Mike Shannon [and] “State Like Sleep,” it’s just amazing on day one to have the shorthand and familiarity that sometimes takes the course of a film to develop. It’s a treat to be a part of it and such a cool cast. I hope it can continue.
In typical flip-flop fashion, you starred in the smaller scale “Mid90s,” which is a calling card for first-time director Jonah Hill. What was it like to see the actor blossom into a filmmaker before your eyes?
He was just so passionate about it. And I think all of us involved were just really happy to help him realize his decision. But I trusted him right away as a director because when we had our first phone call about the film, I asked him if he had hired a DP yet, and he had this very strong feeling about who it should be. But I figured he was far enough into pre-production that he probably had already hired someone and wasn’t sure if I should say anything, but I did.
“Have you hired a DP? Because I have this person in mind.” And he said, “Yeah. I’ve already found someone. But tell me, who were you thinking?” And then I said, “Well, there’s this guy I worked with a couple times. His name’s [Christopher] Blauvelt.” And he paused on the other end of the line, and then he’s like, “Oh my god. That’s my DP.” And that was the DP on “State Like Sleep” and also on two other films that I had worked on before. And from the first time I worked with him, I was just drawn to him and thought, “He’s fantastic and so well-suited for ‘Mid90s.'” So, when Jonah told me that he had already hired him, I thought, “I don’t know what movie we’ll make, but I know that we’re on the same page.”
That really sealed the deal for me. And then working with those boys who all were just so inspiring and cool and somehow mature enough to know that one of the greatest that things to ever happen to them was happening to them while we were shooting the film. They were keenly aware of how special it was while it was happening. And it just created a wonderful, exciting, sort of effervescent feeling on set. I just love those boys so much, so I was very happy to be a small part of it. I’m very curious to see what Jonah does next.
“State Like Sleep” is now in limited theatrical release and on VOD.