THE DEADBOLT: So, you mentioned Juno and that got me thinking - [Jason] Reitman can do whatever he wants now. I'm sure he's been offered huge $100 million comedies. Is that something you're interested in if Fatboy takes off or do you like smaller movies?

SCHWIMMER I think I'd enjoy working on a large scale as well. I'm not so worried about the pressure aspect of it but for me it will always be about the material. What is it about this particular material that's original or special? I don't want to do "the next" something, I want to do something original. Even though this is a genre movie, there's enough about it that I think is unpredictable and interesting that I was drawn to it. And the other thing that I'm really drawn to is talent. There are so many great actors I want to work with as a director. So, if I knew that Philip Seymour Hoffman was in anything, I'd want to direct it. You know what I mean? There are certain people that I'm such huge fans of that I'd want to do something just to work with them.

THE DEADBOLT: Let's talk about Simon [Pegg] for a second. I always find it interesting when people cross paths so many times. You were in Band of Brothers together and then Big Nothing and now this project. Can you speak a little about your relationship?

SCHWIMMER We started dating. [laughs] We met on Band of Brothers and he was one of the few friends that I really made on that set because my character was such a prick that I intentionally isolated myself from everyone except for Simon, who played kind of my right-hand man. So, we kind of became friends. And then I didn't know his series, Spaced, so he told me about it and I went and got it and became a fan of his work. And then I saw Shaun of the Dead and I was like, "Are you kidding me? This guy's a genius. I can't believe THAT'S the guy I worked with on Band of Brothers. He's a genius." Then I got the call about this little film called Big Nothing that Simon was already attached to. I was like, "If Simon's doing it, I want to work with him again." While we're shooting that movie, this script, which was originally supposed to take place in New York, got bought by a London company. I told Simon, "I'm supposed to direct this comedy and now it's going to happen in London. When we're done with this movie, I think you'd be great in it. I don't want it to be weird because we're friends, but I'd love you to consider it." I gave it to him when we were done shooting. With Simon, you get a great writer, too. He loved it. I hope I get to work with him again. We had a great time.

THE DEADBOLT: What's he like on set? With actors as talented as Simon and Hank Azaria, do you allow a lot of improv on set?

SCHWIMMER My feeling is, be really hard on the script first. Make sure that the dialogue is working and that it's funny first. My feeling is, let's get what's on the page first. We worked really hard on it, so let's shoot it the way it is and let's make sure I've got the scene and then let's play. Let's just go off. I absolutely give permission to actors to own it, to make it their own. I try also to do that before we start shooting in rehearsal. I don't over-rehearse, but I do enough to make it feel organic to the actors. On-set, we're wasting time and money, which we don't have. So, let's do it ahead of time. I think part of my job as director is to just cast really well and then stay out of the way - create the environment for them to flourish and then kick some ass. Have trust in the people you cast.

THE DEADBOLT: Thandie [Newton] might seem like an unusual choice for some people. Why her?

SCHWIMMER We felt really lucky that she would even consider it because it was right after Crash. I was concerned. I had one reservation having never met her - that she might come off a little too sophisticated and a little too out of Simon's league. She might seem too together. So, I met with her and I was struck by how lovely she is in person. In person, she is just the loveliest and funniest person ever. She's great. And I realized, "Wow, I never get to see this Thandie." At the time, she also had really straight hair and that made her look even more sophisticated and I said, even before she agreed to do it, "Look, I'm really frank as a person and as a director. I'm concerned but I have an idea to get around that. I want to soften your look." I went online and I found an old photo with these wonderful corkscrew curls and it made her fun and light and softer. I asked her and she said, "Yeah, let's do it." What you see is actually an amazing wig that really softens her. She's lovely in the film.

THE DEADBOLT: So, directing isn't a permanent move for you?

SCHWIMMER No, no. In fact, I just acted in a movie a couple months ago. It's called Nothing But the Truth, written and directed by Rod Lurie, and I play [next to] Kate Beckinsale in this political thriller.

Run, Fatboy, Run opens in theaters on March 28th.