The art of the Caan

"The truth is, it just seems today that the only time I can be selfish about what I want to do is to work with someone who's young," he explains. "They're the only guys who are writing stuff that's character-driven and not a bunch of digital crap. A lot of directors don't like actors much; they'd just as soon work with some digital head or animal. Put a head on some person, make his lips move -- know what I mean? So it doesn't distract from his directorial prowess. So you can be aware of his wonderful shots, his freak explosions and whatnot -- I say with all the bitterness in the world. I happen to like working with guys who like to do stories about people."

This may be crafting a virtue of necessity. After all, Caan's not exactly starring in blockbusters these days. Perhaps that's the result of turning down roles in films like "One Flew Over the Cuckoo's Nest," "Apocalypse Now" and the original "Superman" that could have enhanced his success.

However, Caan brings an authority to his performances that smaller films like "Bottle Rocket" and "The Way of the Gun" desperately need. Without Caan, "The Way of the Gun" would have lacked the anchor to keep its heavily plotted, bullet-riddled script from flying off into sheer fantasy. When Del Toro was getting pointers on how to handle a gun, his trainer told him to go watch Caan in "Thief." And when director McQuarrie seemed to be turning into a marshmallow on the set, it was Caan who took him aside and told him he was being "too nice" to the actors.

"You can't be nice to actors, 'cause basically we're all bums," laughs Caan. "He had to make a transition from being a writer and taking orders and being a director and giving orders. I pulled him aside one day and told him, 'Just tell them to shut the "f" up and go ahead.' He's basically a really sweet guy, though he writes about insane stuff."

In separate interviews, both Del Toro and Phillippe testified to Caan's importance to the production. "When you're working with Jimmy Caan, all you have to do is react, man," Del Toro said. Phillippe added, "Yeah, he's more energetic than both of us."

In view of his leadership role in the making of "The Way of the Gun," would Caan consider returning to the director's chair, a position he occupied for his well-received 1980 drama "Hide in Plain Sight"?

"Not a chance," he says. "I can't afford it. Well, I can't really say never, but I'd have to be passionate about it and I'd have to have complete autonomy. When I directed 'Hide in Plain Sight,' I came back to the studio to find out that someone put music to my picture. I go, 'Wait a minute. I've been doing this for a year, and you put music from the "Dragnet" library, some crap, to my film?' They say, 'Oh no, we're sorry. Don't make a stink out of this. It's only in 30 prints.' 'So what are you going to do with those 30 prints?' 'Oh, we'll show it where the people eat in caves -- Kansas City, or something like that.' That's what idiots these people are. I can't handle that."

But does he ever get bored with doing gangster parts -- the character role he seems assigned to of late? Does he ever get tired of being Old Mr. Badass?

"Well, this guy [Sarno in 'The Way of the Gun'], I didn't play like a gangster. When you look at this film, there's so much stuff that's going on. That's what fascinated me. And I hate violence, OK? Which is strange, 'cause this is as violent a film as you'll find," he says.

"There's a lot of truth in this film," he continues. "And the basic truth is they're all scum. The violence in this picture is the ugliest, ugliest violence in the world. Most Hollywood films glorify it, right? In this, they're telling you that the way of the gun is the lowest thing on earth to do. It's like quitting smoking. You know a good way to quit smoking? I'll make you smoke five packs of cigarettes in an hour. You'll get so sick of it, you won't smoke. Know what I'm saying? I think Chris McQuarrie was really true to that."

Caan says that in some ways, an old James Cagney film is more harmful than "The Way of the Gun." He grew up on Cagney films and the like, and many of his peers found the criminal life exciting because of them. The hot babes always fell for the tough mobsters. There was a mystique about being a gangster, but not in this flick.

"Know who the hero is in this film?" he asks. "Me, Joe Sarno. He's the only guy who has any moral fiber whatsoever. In the beginning, you think this guy's the worst. This guy's the devil. All of a sudden, it's like this guy's the voice of reason -- because he's been through the wars, you know? And he's got a moral dilemma. He's the guy who made it interesting for me, because he didn't have to bark real loud. You knew this son of a bitch could kill you if he wanted to."

Similarly, Caan is what makes "The Way of the Gun" interesting instead of just another derivative, cynical Gen X shoot'em-up. As for Caan: nice guy. But don't try him. He could peel the skin off your head if he wanted. Know what I mean?

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