The children in this film were simply wonderful!

──What is most important in making a film?

First, you need a well-crafted script. The script is the deciding factor in many ways. And when the script is by Alexander Payne, one of the top directors working today, all you have to do is entrust everything to the director and ask, 'Is this too much? Should I reduce the existential realism by 15%?' He'll support you. The director takes care of everything. But I just love making movies.

──It's unusual for you to play a father, isn't it?

Actually, I've played fathers before. I've played fathers in several films in the past, and I've also played husbands in a few. But "The Descendants" is different from my previous roles. It's much more emotional, and the connection to family is stronger. The only difficulty with this film was wanting to make the most of the material. It's a quirky film. The movie, in essence, begins when the wife falls into a coma. This is, in a way, a coming-of-age story, but the person coming of age is a 50-year-old man (laughs). So, there's a knack to playing this role appropriately. But, as I said, it was a very well-written script. Once you have a good script, there's nothing... right? If the script is good, the actor's job becomes much easier.

──What's the difference between your previous father roles and this one?

I played a father in "One Fine Day" (1996), and also in "O Brother, Where Art Thou?" (2000), "Syriana" (05), and "Fantastic Mr. Fox" (09). I've played the role a few times, but... in "The Descendants," the children were wonderful (laughs). By the way, Amara, who played the younger daughter, was in her first film, so she didn't know about doing multiple takes and just kept eating the ice cream she was given. By the time we finished shooting seven takes, she had eaten seven ice creams!

──You often make jokes on set, George.

I always like to be doing something. I was on the TV series "ER" for many years and filmed with children, so I know how to liven up a set.

My character, Matt King, has no insight into people.

──How did you come to be in this film?

It's possible to make a bad movie from a good script, but you can't make a good movie from a bad script. So, it's crucial to start with a well-written script. But in this case, I had wanted to work with Alexander Payne for a long time. When I had the opportunity to have dinner with him in Toronto, he said he would send me the script. To be honest, I would have appeared in it regardless of the script. As a filmmaker, he has never made a mistake. When I read the script, I felt very lucky. I only have two criteria when making a decision: the director and the script. That's it.

──What about your role and character in this film?

The brilliance of Gregory Peck's performance and his character in "To Kill a Mockingbird" is that he's not an obvious hero. The role is enhanced because he's reluctant to take on the role of a black lawyer. He's not keen on championing a cause, and it's difficult for him to act that way. I admire how he embodies the character. That Gregory Peck is not the one people know. He wears glasses, and his usual>──He's not the dashing Gregory Peck from "Roman Holiday" (53). That's precisely why I love Gregory in that film.

But my character in this film is easy to get into. He (Matt King) is a nice guy, and he's dedicated to his work. He thinks he's doing his best for his family. He believes he's doing everything right. People like that are easy to understand. I remember Robert Redford talking about "Ordinary People" (80), saying that the characters in that film, that family, were doing fine without any problems. Even though the marriage was strained, everything seemed to be going smoothly on the surface, but then a tragedy occurs. I like that idea. Because in "The Descendants," as part of life's process, the children make mistakes, and even if his wife was smoking, drinking, and having an affair, he's completely unaware of it. But then an incident occurs, and this man has to admit that he has lost everything he has claimed. He has no insight into people. I think this is an interesting character. Usually, the characters I play are strong individuals who gradually realize they are losing their minds. This character isn't losing his mind, but he's a kind man. He's just naive. I discussed it at length with the director, but what's needed is forgiveness, acceptance. Not just forgiving his wife or what she did. It's about forgiving human failings. I found this role interesting because of that idea.

>──So, about director Alexander Payne.

Alexander can change the tone of a story very quickly. Just when you think it's becoming funny, it turns sad, and then funny again. This is an innate talent he possesses; it's not something you can learn. There aren't many people with talent like his. Someone at Alexander's level can perfectly capture the shift from 'funny' to 'sad.' It's very difficult to do this transition well. Not many people can do it as skillfully as he can. For example, it works very effectively in a scene near the end. Julie (who plays the wife of his wife's lover) is very funny in that scene. Julie shows her comedic side. It's terribly sad, yet it's funny. Julie gives a truly outstanding performance. That's a testament to the director's skill. My role was to make sure I didn't ruin that scene. This is the truth. He is very intelligent, talented... he should be more active.

< Story >
Matt King (George Clooney) is suddenly struck by tragedy. His beloved wife, Elizabeth, falls into a coma after a boating accident. Furthermore, it's revealed that she was having an affair and he was considering divorce. Shocked that not only his friends but also his eldest daughter knew the truth, Matt is forced to re-examine and confront his family and his life. At the same time, he faces the momentous decision of whether to sell the vast Hawaiian land inherited from his ancestors, and a family meeting of his relatives is underway... Against the backdrop of Hawaiian music and the magnificent Hawaiian scenery that fills the entire film, George Clooney delivers a superb performance as a man confronting his roots, life choices, and family's regeneration, filling the audience with overwhelming emotion.

The Descendants
Director | Alexander Payne ("Sideways" (Academy Award for Best Adapted Screenplay), "About Schmidt")
Screenplay | Alexander Payne, Nat Faxon, Jim Rash
Cast | George Clooney, Shailene Woodley (Alexandra, eldest daughter), Amara Miller (Scottie, younger daughter)
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