Academy Award-winning actor Denzel Washington makes his directorial debut with the touching drama, "Antwone Fisher." The film is based on the true story of Antwone Fisher, a former sailor who was prone to violence. Ordered by the military to see a naval psychiatrist (played by Denzel Washington) to help with his volatile temper, his horrific childhood is revealed and with the help of the psychiatrist, Antwone (Derek Luke) undertakes a journey of self-discovery and recovery.
In this interview, Washington discusses working behind and in front of the camera, his personal commitment to bringing Antwone Fisher's story to the screen as honestly as possibly, and working with newcomer Derek Luke.
DENZEL WASHINGTON (Director/'Jerome')
Why did you want to make your directorial debut with this film?
It was a slow process. Todd [Black, producer] came to me with the script in about '95 or '96 and really wanted to talk to me about playing the psychiatrist. I had some ideas about it. We were talking and going back and forth. Somehow, he said I sounded more like the director than the actor. It was a long process of development with Antwone and myself. We would sit in the office, talk about ideas and work on it for a long time. I got offers to do other movies, back and forth, so it took quite a while.
What's it like working with a young, inexperienced actor like Derek Luke?
He came in and just won the part. We'd been reading people for years. Somewhere along the process I knew I wanted an unknown. He came in and he was exceptional. [He was] very quiet. He was kind of shy. When I started working with him I said, “Okay, he's got an edge to him as well.” I don't know how many times we brought him back, maybe three or four times. We just weren't sure. This guy has never acted in a movie before. I said to myself, "Denzel, well, you've been that guy at one point. It turned out all right for you." I just believed in him and I knew I could work with him, where he might be lacking - lack of experience.
Did you develop a mentor-like relationship like your character does with his?
I guess there's some of that. I directed him for 3-1/2 weeks before I actually got into the movie myself, so the relationship was really director-actor or even like father-son. I just wanted to share my 30 films of experience and help him to understand how I work. I suggested to him (and Joy Bryant) to develop a biography of their character to have more information to draw upon. To be real specific, write journals about who you are, where you grew up, what kind of food you like. All those things come into play later on. If her father was a Vietnam Vet, what happened, did he hurt someone, was he violent, had he seen a psychiatrist? All those things that help you make a richer character.
The Department of Defense set up a boot camp. They got to go out on the ships. They ate the food. They slept in the bunks. They had to march. They had to learn how to fold their clothes. They had maybe a week or so of that. That helps you. All those elements, just being specific. That's what I would always tell the crew, "Be specific. We don't have a lot of money but we can be specific about what we're doing. Let's make sure we've thought it through."
Ever consider having the real Antwone Fisher play himself?
No. I'd never heard of it. He's too shy and reserved.
Is this the kind of role you would have gone after when you were younger?
Yeah, sure. Any actor would want this part. The other thing with Antwone, one of the things I did was, Antwone is actually in his 40s. This story took place between the late-50s and mid-80s but I immediately wanted to bring it straight up to the now. I didn't want people to say, “Oh, well, that was back then.” I wanted young people to be able to relate to the young people on the screen and if they have issues like some of the issues Antwone had, that they can think about getting help. That's really what Antwone was saying. What he wanted from the film is that people who have been through or are going through what he's been through, maybe they can look at him and realize that you can come out of it or you can get help or you can speak up. I was amazed working on the film how many stories I heard from people. All of a sudden one day someone would sit down and say, “I have a similar problem.” One guy was telling me he just met his father at 40-something years old.
Did you do some research into psychiatry?
Absolutely. I went to naval hospitals around San Diego. We talked extensively. One of the things I couldn't get my mind around - and I talked to Antwone about this - to me it seemed the most traumatic experience would have been what happened to him in the basement of his house, but he said the most traumatic experience was [spoiler - withholding the answer so as not to give away a major plot point]. Somehow I didn't believe him. I talked with a psychiatrist about it, and she said it's probably true. Whatever was going on with him in that house, physical or sexual abuse, those were his relationships, that's what he understood relationships to be, which is why he would lash out and fight.
I remember him telling me one time he'd have to fight with someone before he could become their friend. He thought that's the way you start a friendship: beat 'em up.
How did you like directing vs. acting?
I enjoyed it. It was the most frightening and the most fun I've had. I like collaborating with other talented people. One of the things I've learned in making 30 films is put the best people around you and let them do their job. I had Phillipe Rousselot, Academy Award-winning cinematographer. We did "Remember the Titans" together. Conrad Buff, the editor, cut "Training Day." He cut "Titanic." Willie Burton, the sound man, two-time Academy Award-winner. So I said even if I screw up completely, it'll look good, cut together well, you know? I don't think that they were there just because I was there. I think that they responded to this young man's story and his life and they all wanted to be a part of it. God knows, none of us made any money. I lost money.
Why is it hard to direct and act?
First of all, I don't like watching myself. I got tapes of "Training Day" and "John Q" and just watched it over and over and over so I could get used to watching myself, because I had to criticize myself, or fire myself (laughing). And Derek is such a young actor, I really wanted to be focused on him all the time and help him. Now here I have to fit in the scene, I'm not really focusing on him, but I have to and I also have to act and then I have to go and look at myself and look at him on the tape, so it was stressful.
Was Oscar night surreal?
I wasn't expecting anything; I was calm. I've been to the dance too many times, I've been kicked in the butt too many times. I said I'm not giving them my behind again to kick. I was just calm. And in fact, when [Halle Berry] won, I said, “Oh, I know I'm not winning.”
Did anything change in Hollywood after that?
I don't know. We'll see. The reason Halle won everything is because she gave the best performance, which means number one. She had a great role. That's where it began. Who will win again? I don't know. It depends what kind of roles they get. Maybe an Oscar does make people think about, “Maybe we should think about that actor.” There are some wonderful African-American actors out there that aren't getting a lot of great roles, like an Alfre Woodard or a Don Cheadle. So, maybe it will help them. I don't know.
What does surprise you in life?
I'm surprised I directed a movie. I tell you, I had to go to the chiropractor I was so messed up. Couple of days before shooting, I was just like, “I can't move, I can't move.” I literally had to go to the chiropractor to get cracked. And the night before, it was unbelievable. I'm sitting up and I didn't sleep.
What was it like when you first saw the film with an audience?
The first time I saw the film with an audience was when we took it up to Emeryville to test screen it, and there was about 400 - 500 people there. I had to sneak in with my hat down and sit in the back. I said, “This is not a film anymore now. This is a movie. It has a life.” People were laughing. I didn't know there was that much humor in it. [They were] obviously crying in certain places. Then you realize they like it, but I had to get out, so I didn't really get to see the “Directed By.” When you're in the post-production process, you're seeing that all the time. I've seen it 100 times. But I was so busy sneaking out, I couldn't stay to watch the end. Then they snuck me up to this little room and you have to wait for these cards. Talk about a long hour. You have to wait for the cards to see if they really like it.
And did they?
Yeah, we tested very well the first time. We only tested the film twice. Peter [Rice], the head of the studio, said, “You know, we could put this out tomorrow if you like.” I had a little more work to do.
Is that validation for you?
My prayer was just to take care of this young man's life. I promised him that I would. Every day in the trailer, I said, “God, don't let me screw this boy's life up. He's been through enough. Just let me take care of him. I don't care about me. It's not about me being a director. It's about the boy.”
What was the real Antwone's reaction?
He just said thank you. He just gave me a hug and said thank you and I was like, "Whew." I thought he was going to hit me or something. I mean, the whole trip for him, imagine what he's been through. He says, “But I can't believe you're here.” Every day, it was just like, “I can't believe we're making this movie.”
What's next for you?
I'm going to do a picture called "Man on Fire," which is based on an old book about a bodyguard who protects this young girl who's murdered. And he's on fire, he goes nuts. We're going to shoot that in Mexico City with Tony Scott. Then I just got an excellent, excellent script, a real chance taken. They're going to do a remake of "The Manchurian Candidate," but it's a really good script.
How can they remake that?
I've never seen the original, so I can't.
