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Sometimes it’s an easy transition to go from one or another. Q: The producers said with the tax credits in New Orleans that makes it an attractive place to shoot, but how does Louisiana play as a character?Ĭassar: It’s an interesting question because the film was written for LA. I need that before anything else, before genre, before what I can do with it visually, before anything else. In a way that’s like “24,” but any script I look at I want that first. And I knew I could do something a bit sensual and thought provoking and that’s when I knew I could do something with it. And though this had one that at first seemed like, let’s say TV movie, when I started reading it and see how in depth it got and there was a dark side to it I really liked that’s when I got involved. I think most will tell you they’re just drawn to a good story and good characters. Q: Are you drawn to this sort of material?Ĭassar: It’s funny, I think any director will tell you that – well there are some who just do one genre. It definitely will raise those conversations. I always say that if there’s a husband and wife watching the show and one thinks it’s one way and one thinks it’s the other and they argue on the way home, I did my job. Not with death but with decisions that have to be made. Put Jack Bauer in a case of kill one to save 20 or do you kill one at all? It’s the same kind of thing. A choice to be made and for the audience to play along and go “what would I do?” That was a “24” thing. And then I think the other thing that really attracted me to this was putting characters in a situation that has a moral choice. That’s what interested me in the ship, there’s a tension, no one is black and white, they all have a grey to them, which was “24.” Was Jack Bauer a bad guy? I don’t know, so that’s part of it. Q: Besides the quality of production is there anything else comparable to 24 in this?Ĭassar: Absolutely. Jon Cassar: I do, and I worked… well, you know what show I did… you had to work very fast on that show, because we did the kind of quality that we’re doing now on films.
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Even just sitting and eating, Cassar is full of nervous energy.ĬS: We heard, since you’re used to TV, that you work fast. We’ve gathered in the boat dock of a well-appointed lake house which has been turned into an impromptu dining room and staging area for the crew, which is shooting on an empty road a short walk away. Which in this case is late dinner as they are shooting nights (it’s 10pm and they’re likely to be going until 5am) to cover the climatic confrontation which ends the film. After spending the ’90s developing a solid reel as a director of television action and adventure, he took on the job which will likely be etched on his tombstone (and he’s okay with that) – co-creator and executive producer of “24.”īringing a real-time feel to weekly TV, along with an adrenaline-fueled pace and a certain amount of nihilism on the part of the ‘heroes,’ Cassar – tall with close-cropped white hair and a misleadingly calm manner – and his partners created a new aesthetic for action adventure, using his “24” bona fides to attempt to launch a feature director career (“I think at one point every TV person wants to move up to feature films,” he says), culminating in his first studio picture, the Fatal Attraction-ish When the Bough Breaks, which is finishing its production period on a Louisiana bayou.Ī busy director on a busy set – the one thing everyone says about Cassar is that he shoots fast – the only time to get him for more than a second is lunch. Working his way up from a camera operator and solid crew hand to eventually be given the reins of complex television episodes on a regular basis.
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Jon Cassar could be a text book on how to make it as a director in Hollywood. Interview with When the Bough Breaks director Jon Cassar
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