Issue 59 Spring 1997
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SB: You’ve worked a lot, but in the past you were able to enjoy a certain amount of anonymity…
TR: Yeah, that’s gone. It went a little bit with Reservoir Dogs, a little bit more with Pulp Fiction, but it really went with Rob Roy. Once you get nominated for an Oscar you’re fucked. It’s a lot harder. You walk into the same places you’ve been going to forever and it’s all changed.
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SB: I like to go(to dailies) because it’s fun, and I also find it really useful. Some directors are concerned that actors might change their performance, and they want to have the freedom to talk about the actors when they’re not there. But if an actor wants to alter his performance based on the dailies, he should discuss it with the director.
TR: It scares me, because I start seeing things maybe I like or don’t like.
SB: Did you go on the Robert Altman film, Vincent and Theo? I know he really likes the actors to.
TR: No, I didn’t. I would sit and wait for everyone else to come out, and then say, “So, what was it like? Was it good? Was it good?” The only time I saw dailies was with Rosencrantz and Guildenstern, because of the language. I wanted to make sure the timing was right on the comedy acts.
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SB: Do you ever write?
TR: The only way I write is when I’m in cahoots with somebody, when I already have a book or a script, and then I can embellish. I used to write short stories when I was younger and I was always very embarrased about what I had written, so I would burn them immediately. But the actual writing was always an enjoyable experience. Do you write a lot?
SB: No, I’m slow. It took me seven months to write Trees Lounge. I think actors can be good writers, but the hard part is to just sit down and do it. I’m always jealous of these guys who have four scripts sitting in their drawer.
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