I think we're [me and my son] different. He plans, organizes and intellectualizes more than I do. It wasn't until I worked with Federico Fellini that I understood what my problem was.
Donald SutherlandI have no idea. I get involved because I think there's value in the project and because I love the character that is presented to me. I love the opportunity to examine a character, and to have him examine me, live inside me and move my hands. I love that. It's irresistible. It's a drug.
Donald SutherlandWhen you shoot a film, when it was film, there used to be rushes and normally a director would look at them the next day. All directors look at the rushes, except for Fellini. I asked him why he didn't and said, "Because it interrupts my fantasy." What he was trying to say was that he had a three-dimensional, vibrant, living, volatile fantasy going on in his head, and when he looked at rushes, they were two-dimensional and they killed it.
Donald SutherlandWhy don't you knock it off with them negative waves ?Why don't you dig how beautiful it is out here ?Why don't you say something righteous and hopeful for a change ?
Donald SutherlandI was so disappointed [with movie Forsaken], but maybe I hadn't talked enough with the director. I don't know. But, Kiefer worked it out. Kiefer took it and re-edited it. I don't know whether he talks about that. He's probably more discreet than I am because Jon is a friend of his. Now, it fulfills what I was hoping for, and what we were working on and doing.
Donald SutherlandWhen I do a film, the days before or the night before, I throw up. Sometimes it's just in my mouth and I swallow it back, but sometimes it's real. Whatever it is, it's hard. I don't do the first five or ten minutes of my character's appearance in a movie until the middle of the shooting schedule because I don't want him to be defined by my nervousness. So, we do the middle of the picture first.
Donald Sutherland