Where do you see the future of independent films heading? But the idea of getting up at four in the morning and going to bed at midnight on something I didn’t care about – I just said, God, there are easier ways to make a living! God! I mean, that is one thing – as an actor, you work six weeks on a movie, eight weeks, four weeks, whatever – it’s over, it’s fast. I have to admit I had lost track of Keith Gordon after his early films.

You could say that about Robert in a lot of different roles, and that's part of what's amazing about him. In "Midnight Clear," he cast Ethan Hawke, Matt Dillon and Gary Sinise when all of them were low on Hollywood's radar. My problem is that those were the movies I grew up thinking “that’s what movies are”. How do the producers want to work? That's the reward. I wasn't going to touch the script, but I had to find the sort of visual equivalents of the kind of playfulness Potter was doing with his words. What follows is the first half of the completed interview, covering Gordon’s career from his beginnings as an actor to his third film as a director, Mother Night. A couple of little independent films, one that barely got released and one that didn't get released, and that was the stuff where I went, Oh, oh. But I don’t want people thinking I’m claiming that they were saying, “Here’s the job!” Just because that could make it seem like I was lying, because it’s not really accurate.

The show’s style is quieter, less expressionistic than that. KG: I learned an immense amount from my father. KG: Well, what happened was, Fine Line had always loved the script. They just read it and were like, "I just want to be in it. Thanks, Jon. It’s good, though, that he has other projects on the stove, too, though–I always thought he was a talented director.

Public, Politics and Independent Documentaries in China: Independent Chinese Documentary: Stairways to Paradise: Youssef Chahine and, Waiting for Rain: Oppression and Resistance in Youssef Chahine’s, Keith Gordon on Keith Gordon, Part Two: Less Afraid of Happy Endings, Carlo Di Palma: An Appreciation and a Remembrance, The Appearance of Appearance: Absolute Truth in Abbas Kiarostami’s. That became the income and theatre continued to be his passion. Cable TV became a place for people who wanted adult, challenging, morally complex stories and characters that they used to only get from independent films. To do a bad studio movie that fails would be a year and half out of my life that I would not enjoy and not do much to help my “bankability,” either.

My agents sent me American Beauty. It was the acting. People went to the theatres less. It is one installment in an incredible series of interviews we are republishing on, for posterity and your enjoyment. People started making feature films for $50,000 to $100,000, and the risks were much smaller. So between all that, we managed to get an amazing bunch of actors, even though nobody got paid (Hollywood rates) -- everybody got scale and were doing it because they wanted to be a part of the project. KG: Oh, absolutely. Every actor is different. A lot of it was just creating a mood. No, the whole concept was for him to direct in that he had made a bunch of short films, he had been nominated for a student Academy Award, he had some access to money because his family had money and he had connections to money, so it was reasonable to think that he actually could put the money together to make a film. Keith Gordon and I spoke by phone on two separate occasions for this interview: December 31, 2002 and November 9, 2003.

When you’re shooting a movie in 24 days, you just don’t have time to do a lot of coverage, which was fine because it also meant you had to be disciplined about what you were getting and you had to find ways to get performances that would play all in one take. It’s very weird, but it just kind of seems to be the way it is. KG: Sure… now, again, I want to be very clear on that. He even provided a voiceover in a movie you wrote: Static (1985). I had to really seduce him with that a little. I had always been in love with movies and my heroes were Nic Roeg and Stanley Kubrick and Martin Scorsese. I found it again much like directing for TV in a different way. Another, "a 'Twilight Zone'-ish thriller" called "The Homing," will star Ed Harris if and when it's a go.

(Laughs.). Then it would never happen. I just felt like watching a scene like the elevator murder felt so silly while they were shooting it.

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