Off-Broadway? A nice place to start
Jake on Today Show
More interviews from Toronto.
For this one from Getty many thanks to Gyllenbabble, amazing goodies finder.
From CELEBUZZ, about the murder scene Jake attended on his first ride along:
“It was a gang shooting,” Gyllenhaal, who starred in Brokeback Mountain, added.
“It was obviously drug related. One gang member was walking down the street and another one was pulling out of his car and it was having to do with some issues between two different sects of a gang.”
Of course it was scary, but it was also thrilling and also really life affirming,” Gyllenhaal added, during the interview at Toronto International Film Festival.
“It changed my perspective on my life and my perspective on my work.”
Gyllenhaal, who executive produced End of Watch with a mini-budget of $7 million, found several things flashing through his head as the car careened out of control.
“We only have one car, we only have one stunt car, we only have on dash-cam shot-car, it’s going to be hours before we can fix the hood of the car,” sighed Gyllenhaal, when he chatted to Celebuzz.
All of these things went through my mind as we were sliding into the other vehicle.”
“The car started bumping against the back of the van and then started rolling on the opposite side of the street,” said Gyllenhaal.
“Ultimately, as dangerous as it was, it was pretty fun, too.”
Interesting interview with Moviefone
Were you the one holding the camera during the point-of-view scenes?
Yeah, I shot every day.
How do the ride-alongs work? Being the LAPD, do they do these things pretty frequently?
No [laughs]. When I hear an actor say they went on a ride-along to do research for a part, it probably means that they went two or three times. Michael and I went over 40, maybe 50 times. We changed up partners. We kept circling around and coming back to different ones, four or five sets over that period of time. Two guys from that experience are some of my closest friends now. This is unlike anything that any actor I’ve heard in preparation to play a role like that has done. But I don’t know, I could be wrong.
I feel like when “Jarhead” came out in 2005, people were saying that you were “going against type.” But after that and “Brothers” and now this, do you find that you’re getting these types of roles more frequently now?
I am interested in anything that has a heart to it. To me, it’s about variation always. That’s what turns me on. I don’t know if I am looking for anything specific, I am looking to work with great artists — people who are committed and disciplined and ready to put in hard work, because that’s what I am ready to do. Inevitably, after you do one kind of movie, everybody starts thinking you should play this kind of role, the role you played in the last one. For such a creative environment, there’s not a whole lot of creativity in that.
It seems sort of silly too, because isn’t that the point of acting? Having the ability to play different types of roles?
Well it should be, but I don’t know if the craft is what’s important to the business, you know [laughs]? I think there are other elements. I just think it’s about the community and the family you make when you make the movie, and the collaboration and being able to support each other and cheer each other on and have no ego about it. And sometimes that’s rare to find.
How close were you to being cast as Spider-Man and Batman?
My whole thing with that is, I think that in passing, once actors get roles it’s their role. To talk about it in any other context is strange. Though I totally understand the interest. It feels like when you talk about a movie that somebody else has done and it’s their role and it’s the character that they created, then you’re glomming on to the character without having any justification or any legitimacy to doing that. Do you know what I mean? It’s theirs. I mean it’s fascinating, particularly for fans of those movies, but I was never apart of those movies, so it’s hard for me to talk about them.
Well let’s talk about a movie you were in: “Zodiac,” which I feel like is a bit of a forgotten movie in the David Fincher canon.
You’d be surprised. I find a lot of [people] widely admired that movie — a lot of filmmakers and students. In my experience, [getting credit] with some of the more interesting film that I’ve made and that I’m the most proud of, I think we all live in a world of immediate gratification, and it’s understandable, because I check my phone every five minutes as I am sure many people do too, and I think that translates out into the world of movies and in terms of how people respond to them. Even a movie like “Donnie Darko” or “Zodiac,” people find these movies and you’d be surprised how often I hear about “Zodiac” in my own life. But it’s a complicated movie. It doesn’t resolve itself like the way other Fincher’s movies do, and I think that was his dream and he succeeded in it, and that’s a success to me.
You mentioned the films you’re most proud. Which ones are those?
It’s funny, I see movies as representations of a period of time in my life — who I was, who I wasn’t — so it’s hard to pick a favorite or ones that are favorites because they were these experiences that have been in my life since I was 15 years old. There are times that I’ve had that have been amazing, like when I made “Jarhead,” it was an incredible experience. It was such an honor to be working with that caliber of director and to be surrounded by those types of people. But I am blessed to say that about a number of movies that I’ve been involved in. I look around my surroundings when I make a movie and I go Wow, how did I land up here with all these people?
Another review from JOBLO.COM
While it may all sound a little bland, END OF WATCH is actually fairly gripping entertainment. While the idea to shoot it with the found footage technique, which has been done to death, is highly questionable (especially as it’s periodically abandoned), it can’t be denied that when END OF WATCH works, it works well.
This is mostly due to the two leading men, with Gyllenhaal and Pena having the easy going chemistry that’s made many a buddy-cop bromance work. Gyllenhaal plays the alpha, Riggs-like character, being a touch ex-marine who’s quick to jump on any call, regardless of the risk. He softens over the course of the film due to his whirlwind romance with Anna Kendrick’s character, a sweet-natured college girl with a thing for cops.
Ayer’s screenplay, perhaps in an effort to make up for his previous criticism of the cops, is a little heavy-handed at conveying their nobility (with Gyllenhaal’s opening narration being bad enough to almost make me immediately dismiss the film outright). Luckily, it rights itself quickly, although the detours into melodrama are a little hard to swallow at times.
All in all, END OF WATCH, while not quite up to the best cop melodramas, is fairly gripping, and should play well to a receptive audience once it comes out. While a more balanced view of the boys in blue might have been appreciated, I guess that’s just not what Ayer wanted for END OF WATCH. As it is, I thought it was pretty good.
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And don’t miss Jake on ANDERSON LIVE next Friday, Sep 21.