Run, David Schwimmer, Run

After several notable roles in film and TV, namely his unforgettable decade long stint as Ross on Friends, actor David Schwimmer is internationally recognized as an excellent comedy actor. Now, though, Schwimmer's about to be known as an excellent comedy director, too.

Over the years, Jennifer Aniston might have gotten all the press but for a lot of people, Schwimmer's performance as the love-torn Ross was the first reason they fell in love with Friends. Also, Schwimmer displayed a very interesting dramatic side in both Band of Brothers and Duane Hopwood. Schwimmer has also built quite an impressive theatre resume in Chicago and he recently returned to the "Windy City" to speak about his first turn behind the camera in Run, Fatboy, Run. The film has already been a huge hit in England, where Fatboy lead Simon Pegg is a much bigger star. In fact, Run, Fatboy, Run opened at number one in England and stayed atop the movie charts for four weeks.

After a Deadbolt-hosted event for Run, Fatboy, Run at The Apple Store in Chicago, we sat down with David to discuss his new movie and to find out what his Stateside expectations really are for the comedy.

THE DEADBOLT: You received hundreds of scripts to direct before this one. Why choose this one?

DAVID SCHWIMMER: It was just one of those things where I found myself laughing out loud through the reading. I can't tell you how rarely that happens to me. It was that, and I think I was struck by a couple of things - In the first few pages, you had your lead guy abandon his pregnant bride at the altar. I was thinking, "There's no way this script is going to work." That's what I was thinking. I was three pages in and I was like, "This is not going to work. You CAN'T forgive someone who does that." By the end of the script, I was completely changed. I was completely sold. I was actually amazed how I felt - that the writer pulled it off. And I thought, "That is a hell of a challenge." I appreciated the challenge of it. There was another challenge in it where I thought, "There are really three movies in here, three genres. There's a broad comedy, a wonderful character-driven drama/romance, and then there's a sports movie. There's like a Rocky in here." So I thought it was challenging on several levels.

THE DEADBOLT: What makes you different as a director having had so much acting experience?

SCHWIMMER I should qualify this by saying that there are amazing directors who have never acted a day in their lives. I'd like to think that it's an asset - having been and being an actor - in that there is kind of a short-hand in communicating with actors, giving them direction. I know how to put it in a certain way or in active terms that actors can relate to. Some directors speak very theoretically and intellectually about what's going on in a scene when all you really want to hear is, "He wants to f*ck her." That's it. Sometimes actors just need it broken down to the very simple objective. That's one thing.

THE DEADBOLT: It was interesting last night when you spoke a little bit about being just physically unable to challenge box office titans like Pirates of the Caribbean because of your screens, your marketing, and your profile. So, knowing that, what are your expectations for a movie like this one? What's your best-case scenario?

SCHWIMMER Best-case scenario is per-screen average - how many people actually show up to pay for a ticket in each theater - is really good, is really high, so that it gives the distributor enough confidence to keep it out in theaters. There's no way we're going to be the number one, the number two, or even the number three movie that weekend. You can't look at the opening weekend numbers. We can't compete with the big movies. But the best-case scenario is to have a track record and have word-of-mouth spread and that we have something like Juno or Big Fat Greek Wedding success. They started really small with very few A-list actors but became a word-of-mouth hit. That's the best-case scenario. Worst-case scenario is we just get swallowed by every other movie opening that weekend and we don't do very well per-screen average, we don't market it right, or publicize it right, and it just goes away after making no money opening weekend and it goes right to video. I have to say that, personally, I'll be really bummed if that happens, but I'm also really proud that the movie has MORE than made its money back. It did so well in England and on video there. In that way, I feel relieved that, on paper, it's a success no matter what happens, but it's a matter of pride. Of course, I want my own country to embrace the work that I'm doing.

Run, David Schwimmer, Run Page 2