Alison Stewart (3:55)

What were you doing when you first read it? You weren't a filmmaker yet?

Clint Bentley (3:58)

Oh, I was. I was a. Already failed musician and. And trying to write a novel that I also ended up failing at that. But I was just on the road. I was living in Montreal. I was. I was kind of hitchhiking around and. And. And, yeah, just kind of like living on the road.

Alison Stewart (4:18)

On the Pulitzer Prize site, the film, the novel is described as a novella about a day laborer in the old bearing witness to terrors and glories with compassionate, heartbreaking calm. Joel, why did you think that would make a good character?

Joel Edgerton (4:37)

By the way, Clint, you're not a failure in my mind in any form. I think I found the celebration of an ordinary life a very dignified thing to put on screen. As Clint said, it's not a typical thing that we. A typical protagonist for a film. You know, the film, like the book, you know, it spans 80 years of one person's life. I feel like 99.9% of any audience in a cinema views their own lives as relatively ordinary. We go to the cinema to dream. But I also think that we want to sit in that seat and see something of ourselves reflected. And I think what is really profound about Dennis Novella and the film and the character is that the experiences that Robert goes through are, I think, the great big things in life. Falling in love, the joys and the fears around becoming a parent. And, of course, some of the bigger, more devastating blows that we might be hit with in life. And I think that audiences and myself, when reading the material, could see a reflection of my own life. Even though we're looking back into another period of somebody else's life, it's a mirror to ourselves. And I think there's something really dignified about that. And I just felt I could really connect with it. I felt like more than any other character I've played in years, it felt like one of the most personal things I could do, given my life has somewhat intersected with who Robert is.

Alison Stewart (6:24)

I wanted to go on a picnic after watching this film just with a loved one, someone that you love, just sitting in a field.

Clint Bentley (6:31)

That sounds really nice.

Alison Stewart (6:32)

Yeah, it's a beautiful thing. And it's a very special moment in the film, which I think was interesting, stringing together all of these sort of special moments, which aren't particularly special, actually.

Clint Bentley (6:44)

I know. And that was kind of the conceit. And Joel was just speaking to it a bit of. We. A lot of times don't think about that moment of going on a picnic with a friend or having a beer in the afternoon with a friend, or just, like, waking up and having a lazy morning with your family. Those little, small moments, we don't often think about those as the big things. We're thinking about our next vacation, or we're thinking about this, like, big Christmas party we're gonna have or something like that. And yet, when you look back, those moments, the little quiet moments in the afternoon with a loved one or something like that, those are the things that end up giving our life depth along the way. And being the things that when you lose somebody, or just as we grow old and grow apart with people as we naturally do, that you look back and you really remember those times of, like, something that felt very mundane at the time, but has so much depth and beauty to it and are the things that end up defining our lives.

Alison Stewart (7:45)

Now, Joel, you originally wanted to adapt this. How did you hook up with Clint?

Joel Edgerton (7:51)

Well, it was a completely separate and serendipitous kind of thing. I mean, so I had read the novella had been given to me as a gift. And, you know, I think when people gift you A novella or a book, it means something more than if you just randomly go into a bookstore and select something. I read it, immediately fell in love with it, had tried to option it myself, immediately found out the rights were taken, and I, you know, grumbled a little bit, and then I put it at the back of my mind. And life, you know, way life got in the way, and I went on to other things. And then out of the blue, I was working in Chicago on an Apple series. I'd since become a father. Which, you know, if you've seen the film, means that playing the character meant so much more to me, so much more wrapped up in all my biggest fears. And Clint had reached out about would I like to play Robert in the film? And I remember thinking, had somebody tipped him off that I'm such a big fan of this material? And it was a completely separate situation. And then I started to get really nervous because I knew it was a difficult adaptation. I'm glad I didn't have to do it. And I thought he'd just done such a marvelous job. And now, you know, here we are. People are listening. But I'm now sitting next to one of my newest dearest friends. Clint is such a special, honest, decent, apart from all his wonderful creative, you know, attributes and virtues, he, like the character in the film, is reliable and decent. And I immediately was drawn to him and it was very easy to say yes.

Alison Stewart (9:40)

Is that unusual for you to become friends with the folks that you work with?

Joel Edgerton (9:44)

I feel like, you know, like Robert in the film, you know, just to. One of the other connective tissue aspects of the character for me is Robert is a contract worker. And, you know, I have slightly less calloused hands than Robert. I'm an actor, but I go away from people I love to work for large stretches of time. And I can really relate to that. And along the way, like, just a shout out to the wonderful William H. Macy, who plays a character I meet on the road. You know, on the contract, you occasionally collect people that you are magnetized towards and you know, will be in your life forever. And there's a whole bunch that won't, but they could be also a pleasure to be around. Clint, you're not getting rid of me that easy. I'm already like Clint. All right, let's do it again. This was such a great experience making the film. The process and the result, which is quite rare, that both line up to be top shelf experiences. So, you know, why not continue the process of working with people that you adore?

Alison Stewart (11:01)

Clint, what was important to you when you were adapting the film from the novella. Things that you. That were hard yeses and hard nos.

Clint Bentley (11:11)

That's a good question. A big. I mean, you know, thinking about what makes a good adaptation and what doesn't. I'd spend a lot of time thinking about that, just as a film lover and a film student. And I think the best ones, with exceptions to this rule, but the best ones are very loyal to the spirit of the book, but then kind of let the rest go and they let themselves become. You know, it's translating a piece of work and an idea and a story into a new medium. And so that was from the very beginning where I felt like we needed to be. And along with my co writer, Greg Kuidar, we needed to be completely loyal to the spirit of the book and to the spirit of this main character. And there's certain things like that that you just. You don't touch, you don't change, you know, but the rest of it, it's interesting. You learn it by doing it, and you learn it through trial and error of what can be translated and what can't. There are some of the. There's some amazing sequences in the book. There are some of the most affecting things I've read in literature. And some of them it feels impossible to translate. And some of them that became clear even in trying to translate it into a screenplay format. And then some of them we tried very hard to translate it and couldn't translate it, you know, even in making it. And it didn't make it into the final cut. And so there was that. The other thing is, like, there is a wooliness to the book that in the storytelling itself, that is an integral aspect of it. The story kind of goes wherever it wants. It takes its tangents. It kind of moves around. And I really wanted to bring that into it as well and, you know, translate the book into a narrative structure that works for cinema and this type of film specifically, without losing that kind of shagginess of the story that's so integral to the feeling of it.

Alison Stewart (13:16)

I'm speaking with actor Joel Edgerton and director Clint Bentley about their film Train Dreams, a film about a man and how he deals with the ever changing world around him. It's currently streaming on Netflix. I should say, Joel, when you're presented with a character who doesn't speak a lot, no external monologues, no huge fight scenes, what do you do first as an actor?

Joel Edgerton (13:38)

I find the challenge of that really extraordinary. You know, I had had the pleasure of being In a movie with, directed by Jeff Nichols called Loving. It was a great movie with Ruth Naga and in a similar but different way played a character who had a lot of feelings, a lot of impact from the world around him and didn't really know how or didn't think he was allowed to express himself. So, you know, I'd had an experience with a relatively non verbal performance before. I was saying earlier that, you know, my life in many ways has intersected with what Robert is like. What Robert's experience in the film is in that, you know, I'm a father of two young children. I wrestle with my qualities as dad daily. The joys and the guilts and everything that swirl around with parenthood. You know, my greatest fears are wrapped up in this film. And again, the work aspects of trying to kind of find a better union of work and family life. So I could also really trust that this is one of the most personal performances for me and that if I gave more of myself than I usually do in any performance, I like to, as I call it, sort of dive into the dress up box and funny walks and you know, but in honesty, like a lot of characters I play, I'm trying to stretch my imagination to play people that I'm not with rhythms that aren't really my own and voices that are not really my own. This was a different thing. So the non verbal aspect of it felt like the thoughts are all in my mind. The feelings are all just really under a very thin skin. And I could trust Clint to capture them with his incredible cinematographer, Dolphin Overlaso, who just, you know, pictures this world in such a divine way.

Alison Stewart (15:48)

How do you direct an actor where a lot of it is internal?

Joel Edgerton (15:55)

He's very shouty.

Clint Bentley (15:57)

I'm. I scream a lot.

Joel Edgerton (16:00)

Come on, come on. Joel Emotes cry.

Clint Bentley (16:07)

No, it's very. I mean, I don't want to, I don't want to minimize the thought that goes into it and everything, but it is very easy with somebody like this, especially somebody like Joel, who is an incredible actor, everybody knows that. And, and, and a very deep and resonant actor. But then also is a great writer, director and storyteller himself and has made, made a lot of great movies and understands we can have very frank conversations about, okay, how many times should we cry and should this character cry in this movie? How big should the cry be at this moment thinking about what we need later on or, you know, just, just like those, those little nuanced decisions that you have to make in terms of calibrating a Performance that is a large part on the shoulders of the actor, but then is also on the shoulders of the director to think about and to try and think ahead to the edit, to. To help craft this performance in a way that's. To where the actor like. To help craft that performance in the edit, to where. To where it doesn't. To where it does justice to what the actor did. And so I will say, like, one of the things that makes this character work and makes this film work really is the fact that Joel can do so much with so little and can do so much with a look. And we had the. We talked about. Early on we had the help of having a narrator who could, who could narrate some thoughts in this character's mind. And I found a lot of times in the edit, we would shoot a scene that had narration over it of like, what the character was going through. And we were just pulling out that narration because what he was doing, not to embarrass you by sitting next to you, but like, what he was doing was so beautiful and so deep, it was taking the viewer much farther than whatever the narrator was saying.

Alison Stewart (18:08)

Joel, what were your challenges with how to embody his character? Because you don't speak so much, you have to have a certain position, how he stands, how he reacts to something. How did you develop that?

Joel Edgerton (18:21)

It's a real journey in the film from, you know, a very capable physical laborer, you know, building railroad, helping to build the railroads and, and, and, and in the logging world, you know, to go from a very physically capable person to the later decades of Robert's life. I found the phys. The physical challenge of playing him as, as he ages through the film, really interesting to think about how, you know, a person's physical life or their job shapes their body later in life, how they move, how they turn and the way they view the world. I saw Robert as a child that just kept getting older on the, on the outside. It's really quite an open person about all these things. He's not a judgmental person. There's. There's almost not a bad bone in his body, but. But his bones get fragile as he gets older, still allowing that physical capability to show itself even in the later ages. He's not just frail, he's frail because of his work. But the other thing was how experience in life, and I'm talking about the, the. The darker blows in life can really bear down on a person too, and their demeanor. And we see the joy stripped from him at certain points and, and, And Allowing when that the. Like the forest, you know, the metaphor of the forest regrowing. When joy returns to a human being, what's that sound of laughter in a person when you haven't heard them express joy for such a long time? So there's a lot of. We did have a lot of conversations about this, and then you get to set and you throw all the conversations away and let it happen.

Alison Stewart (20:17)

Clint, directors have to make decisions repeatedly from the minute they hit the ground. What was a decision that was hard for you to make?

Clint Bentley (20:27)

Oh, man, that's a great question. I'm trying to sift through the thousands of difficult conversations or difficult decisions. You know, I think there were. There were times where it was tough to decide. We found a lot of moments where, you know, we shot this film in 29 days. We moved very quickly, and we found ourselves in moments where, okay, we were going to cover this scene in, like, four takes or four setups and four shots, and now we've only got time to do it in two. And that always. We got into a rhythm, as Joel said, and shout out to our lovely cinematographer, Adolfo Veloso, where we could kind of operate almost more on an intuitive level and. And find our way through those things. One of the more difficult things was really just what to cut out from performances. There's so much. We kind of, like, let scenes breathe, and anytime we had a moment after we wrapped a scene, if we had 10 more minutes before we broke for lunch or something like that, we would just take Joel and Felicity and just kind of go off with some chickens or something like that and make a little scene. And there's so much, like, there could be a whole movie just of their life around the cabin. Like, we've got enough material for that. And so I think that was the hardest. The most difficult decisions were in the edit of just, like, cutting out beautiful things and thinking about that.

Alison Stewart (22:07)

Robert does fall in love in this film, as you mentioned. Felicity Jones plays Gladys. What does she bring to his life?

Joel Edgerton (22:17)

Love is joy, and they're for anxiety. And I think. And why I say that, I'm not trying to equate love with anxiety, but the moment you stop living life as an island and you care about another person, suddenly there's a whole new bunch of things that can be concerns for you. And one of the things I love is there's a line of dialogue where Robert, who we find out is an adopted child, which can be a profound thing that I can't relate to, but I can start to wonder about he's playing with his child, his baby on the bed, and says, you know, do you think that she knows that I'm her daddy? And I just find that idea really profound because, you know, as a child of parents, I always look up and see parents as protectors. But it reminded me, because I am a dad, how how much anxiety goes in to the idea of being a parent and being in love and that suddenly you have the moment, you have people to really care about. That can be the best thing in the world. But it can also suddenly be fill you with all sorts of fears, paralyzing sometimes. Yeah. And the film really dives in to that. And I think it's one of the reasons why people can reach into it more than any other film I've ever been in. I think this film finds or expresses or feels it has different meaning for any different individual that watches it because they can, they can hold a mirror, it holds a mirror up to your own experience.

Alison Stewart (24:14)

It's subtle in the film, but the film shows how manual labor became automated fairly quickly. And we see this with your character and Robert has to adapt and it feels sort of topical given the AI of it all. Now was that on your mind when you were adapting this or did it just was a happenstance?

Clint Bentley (24:34)

No, it was. I mean the AI specifically when we started working on this and Greg and I started adapting this, it was back in 2021, I think. And so AI was just like, it's insane to think about how quickly it has developed. But like we were just starting to talk about it at that point. But it is no new thing in the past 200 some odd years to talk about how labor and how working people are ground up in. In capitalist societies. Right? And not just capitalist societies, but the way that economies have grown in the past 200 years. Whether you talk about coal miners or whalers or Amazon delivery drivers. I saw this with my parents.

Alison Stewart (25:29)

Who.

Clint Bentley (25:30)

Went through this in their various ways. And so that was top of mind in, in the adaptation to just show, hopefully in not a heavy handed way, but to show, not only to show how our little lives a lot of times are defined by these systems that we have no control over. They might as well be tornadoes or Greek gods or something like that that can upset our lives in ways that we have no impact over. And so Greiner and Gladys, Robert and Gladys, all they want to do is be together and have their little house. And yet they've got to try and figure out like, well, how do we make a living? Is it better for me to be gone and make more money or to be in town and be present, but we can barely get by. They've got their dreams that they can get upset by natural disasters. And that's as big of an impact on his life along the way as the fact that as technology progresses, it leaves him as a relic in his own time, which I think, you know, a lot of us are feeling younger and younger.

Joel Edgerton (26:38)

You know, unfortunately, it's incredible how the film, then the novella and therefore the film kind of reflects so many things. Again, we're looking, you know, the early 20th century. These other things that occur within the life of Robert, the, the kind of his observation and awareness of the kind of use and mistreatment of immigrant workers is a thing that has not changed. In fact, it obviously is intensifying our relationship with harvesting the planet and the naivety around some of the characters point of view. And as we evolve towards the end of the film, Kerry Condon's character, a conservationist, and her expression around the interconnectivity of all of us with all things and our connection with the planet. You know, there's these things that we think we wouldn't see in historical documents and pieces of writing. And of course, they're very, very relevant as they swirl around in Robert's life, as he observes them with this sort of, like I said before, almost like childlike kind of naivety. Yeah, naivete.

Alison Stewart (27:53)

The name of the film is Train Dreams. I've been speaking with actor Joel Edgerton and director Clint Bentley. You can watch it now on Netflix. Thanks for being with us.

Clint Bentley (28:02)

Thank you, Alison.

Joel Edgerton (28:03)

Thank you.

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