It turns out that I should have switched sides because by the time writer/director Burr Steers walks in and begins to talk… I have forgotten that I never switched sides.. Hey, at least I admit it. Burr first greats us with an English accent. He talks about how the script was NOT his life, but inspired by his upbringing in old money. The script was first a novel, and then he decided to adapt it into a more visual format. We also learn that he work with Quentin Tarantino in bit parts in films like Pulp Fiction, and some voice work in Reservoir Dogs. I then remember to switch sides and hit record!

[missing dialogue...]

BURR: That's the good thing about me is that I'm an actor, so while writing this I've acted out all of the scenes.

KEN: What was the most challenging thing about directing? Was it the camera work?

BURR: I had a wonderful DP and I sat down weeks before with him going through the script, and told him what I needed and wanted, and he would tell me what the choices were to visually communicate what I wanted. I refer to him as my uncle, because he knows so much about that. Very much about taking it to his medium, and transferring it. As everyone was doing. And the production designer as well.

KEN: You were making this film when the Royal Tenenbaums came out… did you think to yourself, "Oh shit."? There are a lot of things that people will compare it with your film.

BURR: I think the things that Igby deals with are different. Just different. And it's also something like a fairy tale with Tenenbaum. Wes Anderson is wonderful that way, because he takes you into his world. This film is set in New York, and what's going on UNDERNEATH the surface is deeper.

KEN: Igby Goes Down is really dark, isn't it?

BURR: Oh yeah. There's something really dark about it, in certain places. And it wasn't about redeeming characters. There were scenes in it that I miss that were cut. You have to do that for better characters sometimes. But I miss some of those.

KEN: DVD!

BURR (Laughing): Yeah!

KEN: Did you make those decisions for cutting? Or did MGM?

BURR: No, the movie was made independently. Totally independent. This was a script I needed to write. Then I got it out to studios. And that gave me my career when I started doing studio rewrites while they were trying to find funding.

KEN: What would your next screenplay be?

BURR: I actually have rights to a book called LIGHTNING OF THE SUN which I think is the book of my generation. It was something that really struck a cord with me. It's basically a reworking of DARK SOLDIERS, and I guess you could say it's about people of wealth in their thirties that realize they've pissed away their twenties, and they have one score that can set them straight. They try to smuggle heroin into the States and figure if they can do this one thing, they can set themselves straight and get back on their feet. The whole movie isn't really about heroin itself though.

KEN: It's the Macguffin.

BURR: Right! The Polish call it the Bone. It's what the dogs fight out after.

KEN: What did you learn from working with Scorsese and Tarantino as a director?

BURR: Quentin has such a visual reference for every little thing. It's already in film in his brain. I came from a different approach as far as working with the actors and getting them comfortable.

KEN: Is Igby an anti-hero?

BURR: Yeah. He's a kid who can do anything and get away with it. And that was so important in casting was finding a kid who can kill his mother, and still like.

KEN: Do you LIKE the characters you wrote?

BURR: I don't have to. That's the thing about Hollywood is that the first thing critics ask is, "Did I like the characters." You don't have to. They're entertaining.

KEN: You've said you've done rewrites on other films, are they uncredited or…?

BURR: I did HOW TO LOSE A GUY, with Kate Hudson. Among others.

KEN: Do you outline when you write? Or do you freestyle?

BURR: It's two different things. With Igby I really was free styling. If I'm doing a studio movie, I'm outlining. It's like building a house. Structure. Then the talent is in dressing it. How you cover up the things you've done.

Burr's time is up and he moves on to the next room. He seems like a very articulate person… out of his element in Hollywood though. Meaning that he's a bit more real than other directors I've spoken with and I think that comes from his background of theater. This was his first directing job, and he had never worked with a camera before. Seeing the film, you'd never believe that.

A few minutes later, Amanda Peet walks in. She's dressed pretty Hollywood casual, jeans and a tank top shirt. She is strikingly beautiful, but very thin. While I'll never judge a person by their looks, she does seem to need a few cheeseburgers. It's scary to think that Hollywood puts so much pressure on these young women to lose this weight. If Amanda were ten pounds heavier, she'd look better. Heck, twenty pounds heavier even.

AMANDA PEET and JEFF GOLDBLUM share a moment

KEN: You play a very unique role in this film. Is it difficult?

AMANDA: It wasn't the easiest thing in the world, but I trusted my director. He is incredibly liberating and helpful. I trusted the writing so much. You can just let go when you have writing like that. So brilliant. Burr made me feel very free and what was on the page was so incredible.

KEN: Do you find doing nudity uncomfortable?

AMANDA: Not in Igby Goes Down. It's like if you see something credible and beautiful that's being drawn into a story, because of this scene or nudity, then it's fine.

KEN: Did you know him before the film?

AMANDA: No, I just read it and said I love you! I love you. I love you.

KEN: Is it hard to get a part like that?

AMANDA: Yeah, it's very hard. You've seen the movies that are out there. Have you enjoyed a movie lately?

Her calm voice and her gaze when she asked ME a question probably made me blush… regardless of the stud I am (wink, wink). I'm just realizing that she's not the typical Hollywood princess. Either that, or she's putting up a good front.

KEN: Have you been in a film like that?

AMANDA: I can't really talk about that.

She seems really devoted to anyone she works with. She denies the question in a flash, even though it was a joke.

KEN: What was Burr like as a director?

AMANDA: Hey, he could have put the camera into a belly button, and it would've worked as a film. You can't fuck up that script. I just begged him for the role.

KEN: How did you get the script?

AMANDA: I have a wonderful agent. I know that sounds weird and corny but he's actually a really cool guy. He really chased it and chased it. I've been with him for my whole career.

KEN: It must have been difficult for Kieran doing that sex scene… did you guys talk about it beforehand?

AMANDA: I was really nervous about that scene. I kept trying to think what it was going to be like with him tomorrow. He's a 17 year old boy, I'm like an older woman. I'm gonna have my boobs out. What if he gets a… you know. So we get there, and I'm still nervous… and I'm wondering what I can do to keep him at ease. Should I tell him he can do anything… he can touch me. Like, let's put a pillow on your lap. And he was so calm. I was like, "Okay, I'm gonna take my shirt off now," and he was like. "Okay, I'm going to go to craft services." He was so mature and I was the one who was giggling. He was a professional. I think it's nature for him to be a gentleman and be so professional.

This surprises me because he was nothing of the sort during our interview.

He's really smart and kind. I trust him so much and felt protected by him even though he's so younger than me.

KEN: What about Goldblum?

AMANDA: I love them both. I'm IN love with Kieran!

What? Listen to this people…

I love Jeff and he's really fun and playful. They couldn't be a snob, it's just not them. They're not looking at themselves. They are always looking out. Asking, "Okay what's interesting about you? What's interesting about you?" Jeff was going around talking to the extras asking them if they've read Dante's Inferno. He would go around reading things to people, and starting sing-a-longs.

KEN: You're a young, attractive actress… and there's many of them out there.

AMANDA: I'll say!

KEN: Is it difficult to find this role? You seem very blasé about it.

AMANDA: You know, there's room for all of us. Sometimes it's meant to be, some times it's not. Sometimes I feel fine about losing a part. Sometimes I get hurt.

KEN: You've done a few films now though.

AMANDA: Yeah but every chance I get a script, I know it's gonna go to Cameron first, then to Julia, and then maybe I'll get an audition. But that's okay. That's what it is.

KEN: Did you do any research, especially about the drugs taken in this movie?

AMANDA: I watched some movies, some documentaries, had some phone calls. And I talked with Burr. I tried not to get too obsessed with it. I'd just go with the scene. The way it's written. I tried to not deal with anything that I didn't have to deal with.

KEN: Was it hard to let the character go?

AMANDA: It was hard to let Igby go. It was hard to say goodbye to Kieran. And Burr and everyone. I love Kieran. I love Igby. He's so cute.

KEN: He's also very angry.

AMANDA: Wouldn't you be?

KEN: Yeah, of course. Do you think this is similar to Holden in Catcher in the Rye?

AMANDA: Yes.

KEN: Do you think she's instrumental in the way Igby is?

AMANDA: Yes, in negative ways. I think she's treating Igby like she was treated by Jeff's character. She essentially is raping Igby. She's recovering from Jeff's character's treatment of her and is reenacting it with Igby with using the power side.

KEN: Is it going to be hard to find another dream project like this?

AMANDA: No, it's actually kind of liberating because I can say fucking no to everything. I was talking with Burr and I told him, "You've ruined me." Because now I don't like anything! I just want to be with Burr and Kieran. Maybe Wes Anderson.

KEN: Anderson's film are being compared to this… Rushmore and Tenenbaums. Do you think they are similar?

AMANDA: No, those film were kind of controlled and I think Igby Goes Down is a bit more… looser. When I read Igby I felt like I was in it.

KEN: Did you see any similarities in Igby and Burr?

AMANDA: Yeah! Yeah! He has that kind of fluffy hair. And he's handsome… like Kieran.

I role my eyes at her and she laughs.

No, it's like a crush… like an older sister really. Sort of. Mixed in with… with… you know.

KEN: He called himself a savage bastard earlier.

AMANDA: Now I love him even more. He's so funny. Who says that at a press junket?

KEN: What's coming up?

AMANDA: I just did I.D. with John Cusack. We're doing the Whole Nine Yards sequel with Bruce Willis.

KEN: When does that come out?

AMANDA: We haven't started shooting yet. You're excited about that one aren't you?

I sense the playful sarcasm.

Amanda leaves. She's been the most fun interview so far. We had respectable with Susan. Just plain weird with Kieran. Fun and full of laughs with Amanda. And now, here comes the one I dreaded. Ryan Philippe, as you loyal readers know, was a thorn in my ass. I hated this guy almost as much as I hate Freddie Prinze Jr. However, when I saw the film Igby Goes Down…that changed. Even going back to Way of the Gun, which would have been great if not for the awful script.

I still thought that Ryan carried himself, at least in the limelight, as a cocky, lucky SOB. But that is about to all change.

Ryan walks in with jeans and a cap that covers his eyes.

JEFF GOLDBLUM, RYAN PHILLIPPE and CELIA WESTON seek guidance

KEN: You enjoy playing the… well… asshole of the film?

RYAN (laughing): I do! I don't know. It's fun. The film was sent to me as a producer at first. I was set to play my character and also be a producer but my company didn't go for that for whatever reason so I realized that if I was the actor, then they could get more money and we could get this movie made. What appealed to me most was the brother aspect. It was something that appealed to cinematically. I have three sisters and I've never had a brother.

KEN: He's an asshole, but he's a redemptive asshole.

RYAN: He does care, yeah. Playing these types of guys is something I like because it's not like me as a person. I think there's a certain arrogance and a certain intelligence because of the schools he has gone through. And I was also trying to imitate Burr's voice. So I was trying to do this whole…

He does his characters voice.

KEN: Did you audition with Kieran?

RYAN: Do, I didn't. I think if I would have been in New York at the time I would have. I was busy for some reason.

KEN: Did you have a connection with him right away?

RYAN: I did because he was such a cool kid. I was skeptical at first that Burr was casting him because I hadn't seen any work of his that screamed Igby. I always remember him doing kid parts. He so impressed me from the very beginning. He worked so hard. I think he's the only young actor that nailed Holden from Catcher in the Rye. He did a great job.

KEN: What kind of work are you interested in from a production stand point?

RYAN: My production company has a film in the works based on the novel called WHITE BOY SHUFFLE, it's about a black boy. It's kind of like Catcher in the Rye as well… modern though. It's the thing I'm most proud of in my career.

KEN: Really?

RYAN: Yeah, it's a 12 million dollar movie with an all black cast and it's not genre specific. It's a really hard movie to get made. I found the novel, hired a writer, brought in Will Smith as a producer. It's something I built from the ground up. We have a studio that's about to take it on. As far as being a producer and actor, I look for originality.

KEN: Is that what drives you?

RYAN: Yeah, I've been so blessed with great movies like Godsford Park, and Way of the Gun. Just… different movies that I can be proud of as opposed to some of the movies I did when I was younger.

Can I get an AMEN?

That's why I picked Igby because Burr has an original voice and he's a great filmmaker. The last film I just did, I got it financed, it's a really cool suspense thriller with a really talented director. It's called THE EYE INSIDE.

KEN: GODSFORD PARK was filmed in Europe, did you feel that they treat actors differently there?

RYAN: Yeah. I love working in Europe though. I just did THE PICASSO THING there. It's more basic. They treat it like a trade. It's more sport than it is worship. It's not taken quite as seriously. A lot of actors here say though that they've been pigeon holed… and what not… that's a cop out. I usually say, "You did it yourself." The only power you have starting out as an actor is saying no. Once you're able to control your destiny you HAVE more control. Most people in this business are sheep, and they'll follow what they see.

KEN: Is it hard to say no?

RYAN: It depends. I'm miserable when I take a part I don't want to do.

KEN: So you've been in that situation?

RYAN: Yeah, three or four times.

Are you out there Freddie Prinze Jr.??? Are you listening? You CAN challenge yourself!

At 27 it's a good place to be in where I'm not an actor for hire anymore. I'm involved with the movies I make years from now. I won't make a movie for money again. I've done it and I'll never do it again.

At this point, my view on Ryan is changing. It's good to know at least one of these previous teeny bopper actors can evolve away from Hollywood's garbage.

KEN: Do you have plans to work with your wife (Reese Witherspoon)?

RYAN: Yes. Once mutually appropriate. I think right now she just needs to focus on, you know, being a movie star (laughs).

KEN: Your careers are very different aren't they?

RYAN: They are because we both have very different pursuits. I'm really interested having my own studio one day and being my own filmmaker. She's interested in becoming a powerful actress who can make a movie she wants as an actress.

KEN: How hard is it to have a life outside of this business?

RYAN: It takes work. We have between the two of us twenty years of experience dealing with it… so we've figured out what works for now. It's balance and work. And ignoring the unpleasant things written by tabloids.

KEN: How old is your child? How hard is it to work and be parents?

RYAN: Three now. We have rules. We don't work at the same time ever.

KEN: Tabloids haven't been that bad on you two.

RYAN: On me they have. I'm married to America's sweetheart now, so they're looking to shoot me down.

KEN: What was the worst thing written about you?

RYAN: I don't know. Probably the stuff where I've been running around on her which is ridiculous. Some weeks they'll write that I'm jealous of her success, and other weeks they'll write that I just want to loaf around on her money. The truth is neither. But, it comes with the territory.

KEN: You've worked with Altman now, and you seem to want to be a director as well… is there any thing you learned from him?

RYAN: Absolutely. Nothing really stylistic. Not that. But really how you treat people. He treats people with such respect. You pick up things like that. Watching him step back and look at a scene also. When he throws the pages away, and is like a painter almost.

KEN: Is there a timeline you have for you to direct?

RYAN: I've written something and want to direct it. Hopefully I do it by the time I'm thirty. Two or three years.

KEN: You're first two films you worked with Tony Scott (Crimson Tide) and Ridley Scott (White Squall), what was it like being in those type of productions for your first couple of films?

RYAN: Well, Crimson Tide was like extra work for me. I was hardly in it. It was great though. White Squall was really the first time I had a character to play. Working with Bridges and all of those other guys was wonderful. It's an experience that still hasn't been surpassed yet because we worked in eight different countries. An all around experience. Starting like that was really beneficial for me as far as me taking things more seriously as opposed to if I had started in some shitty comedy or whatever.

KEN: Do you enjoy working in independent films rather than studio films?

RYAN: I do. It feels more like work. You feel more connected to it. Less producers, less notes. I do like that better. One serves the other sometimes.

The end of the interview is nearing… I can feel the gaze of the publicist. My last question is one that I can't decide how to ask. Should I directly say, "Did you read for Anakin Skywalker for Lucas? Did you want that role?" Instead, I ask…

KEN: Have you ever had any roles that you've been up for, that you didn't get, that you really wish you had?

Come on fishy fishy… bite!

RYAN: Not really because I feel like things happen for a reason and there's so many films made per year. Even the ones that have the best package, can be a piece of crap. And the ones that I never expect, and can be made for 5 million dollars can be Memento. I don't think about it that way.

Damn… he dodged it. Oh, but wait…

If they would have said to me, "Would you do Star Wars?" I would have said yes! Do I ever regret it, or think about it? No.

KEN: Did you read for it?

RYAN: I screen tested for it. I went to the ranch (Skywalker Ranch), and did the whole thing. I was way too old for it. But, still, I'm making the point that it would've been cool But it's also cool not having done it.

KEN: Even going through the audition process was cool though right?

RYAN: Oh yeah! When you're a kid from the 70s and you're at Lucas' house… wow!

Ryan leaves. He was a fun interview as well… and as a filmmaker… a very informative one. It's good to see such an actor avoid the pitfalls of Hollywood and not getting stuck in the teen genre. My outlook on Ryan has totally changed, not just because of this interview, but because of the choices he has made in the last couple of years. The interview confirmed that he was well aware of his missteps in choosing previous films, and that he will never fall into those traps again.

I regret not being able to talk with Jeff and Claire, but there's no use looking back. The cast of this wonderful film, and the writer/director, confirms the talent that was seen while watching Igby Goes Down. It is a raw, edgy, and funny story with a whole lot of truth to it. Hopefully we'll see some of these people nominated for their dedication and work. Until then, I'm gonna raid the food they have out there, go home, and start work on my scripts. Big thanks to MGM, Susan, Amanda, Ryan, Burr, and Kieran…

Ken Miyamoto