Interview by Rafy Mediavilla, w/ director Michael Feifer from Lionsgate’s movie “Catch The Bullet”.
This powerful western starring Peter Facinelli (Twilight franchise) shows what happens when you push a good man too far. Britt MacMasters (Jay Pickett), a U.S. Marshal, returns from a mission to find his father (Tom Skerritt) wounded and his son, Chad, kidnapped by the outlaw Jed Blake. Hot on their trail, Britt forms a posse with a gunslinging deputy and a stoic Pawnee tracker. But both Jed and Britt tread dangerously close to the Red Desert’s Sioux territory, which poses a menace far greater than either can imagine.
“Catch The Bullet” Out Now On Digital & VOD, Blu-ray & DVD On Sept 14.
What is it about Westerns that all stories they just seem to connect and just work?
Well, Westerns are classic stories that reach back all the way to Greek mythology. They’re classic storylines that don’t have the complications of today’s society. You know of cell phones and cars and so you can really get down into the nitty gritty of the story and the character, because that’s what makes movies work as characters right. And so when you get rid of all that other exterior, all those other external forces and you get down into the storyline and the personalities and the characters and the motivations It works, plus everybody loves to see you know the sets and the horses and all of.
What is it about this story that caught your eye? This story written by Jerry Robbins.
Well, I mean I have to tell you any father son story is really powerful and this is really a father son story and so you know that’s the driving narrative throughout the whole thing. I mean, imagine being a father and you come back home and your kids been kidnapped and it’s he’s been kidnapped by a man, you know you have a history with, so he’s not going to kill your son. He’s going to work through your son and time is ticking, you know. And then we’re talking about the Old West and so what’s interest about the Old West? ’cause you know, you just can’t jump in a car and drive 120 while they’re driving 60 mph. You know you’re on a horse. There are scenes in the movie where the deputy, that’s with him played by Calder Griffith can’t sleep, he’s tired because they have to catch up to him, you know, so there’s this driving force behind it and that’s was a pretty powerful storyline.
I had the opportunity to talk to Gattlin Griffith a while ago and he absolutely blew my mind. What was it about him that you felt that he was the right fit for the character?
Well, first of all, just story wise, just want to mention Jerry Robbins who wrote the script ’cause it’s really his creation. It’s all Jerry but Gattlin Griffith so. I’ll be honest with you; I didn’t hire particularly Gattlin and Calder, I didn’t know much about them as actors. What I knew about them is that they’re Cowboys, they really are the real thing and their father Tad Griffith is a famous stuntman Wrangler and I needed guys who could ride horses and act. And Gattlin, I’m sure you’ve seen Gattlin, he’s been acting since he was a kid. Calder hasn’t been acting as much as Gattlin has been and the two of them look nothing alike. So they’re brothers, but they actually don’t play brothers in the film, and for me it’s sometimes with an actor you don’t really know what you’re going to get. Until you’re there in Wyoming on set, you know. But I needed actors who are so comfortable on horses that then they can stop worrying about the horses and do their job as an actor, and that’s what Gattlin and Calder were able to do. And I knew I had that going for me, so I knew no matter what those guys would be really comfortable. As Cowboys and then, we could really bring out their performances, but I didn’t have to do much. Gattlin and Calder are fantastic and so sometimes you get lucky. Honestly, I got lucky the guys.
Did the screenwriter and yourself that sit down and work this whole story and Jed arc, maybe with the idea of Jed getting away with it?
I mean, it’s all Jerry creation. It’s not mine. We didn’t really change much from the script. I mean, once you edit a movie, the movie when we first completed the movie was like two hours long. On and then you gotta trim it down, trim it down so scenes and pieces go away. So that’s where me sculpting it and onset sculpting. But it was Jerry script, you know verbatim. But you know with Gattlin it was really, first of all, you know you always want to make an actor feel comfortable on set to really become that character. There was this one scene that was early on that we were shooting were Gattlin, the boy gets away and Gattlin has to yell at his guys and get in their cases and Gattlin was getting in their faces, but I think because it was, you know he’s just met the guys and it’s one of the first scenes we’re shooting. I don’t know, If he felt comfortable and I said again, I said look, this is the way I want you to do it. And I said, just step away and so let me get in there and I just get in there and I like grab each guy by the shirt. I pull him, you know, and I grabbed the next guy and he’s like. Oh, you want me to get like really physical like, really? I’m like yeah just give it to them. You know everybody needs to feel like you are on edge and you could just lose anytime and kill any one of them, which he practically does. So I think Gatling got it right off the bat, and then he did so well just sticking with that the whole way and it’s a hard character to play because you don’t want to seem over the top, but you’re also really raging inside.
See the full interview below: