Talking With Paul Haggis

Paul Haggis has risen to cinematic prominence in just a few years. After a career writing and directing television, he broke into film in 2004 with his Academy Award-nominated screenplay for "Million Dollar Baby." The following year, "Crash," which Haggis wrote and directed, won the Academy Award for Best Picture.

Now Haggis has directed and co-written "In the Valley of Elah," a new film that tells the story of a couple investigating the disappearance of their son after he returns from serving in Iraq. Tommy Lee Jones, Charlize Theron and Susan Sarandon star in the drama, which opens in select cities (including Washington, D.C.) Sept. 14 and nationwide Sept. 21.

Haggis was online Friday, Sept. 7 at Noon ET to discuss "Elah" as well as his filmmaking career.

A transcript follows.

____________________

Philadelphia, Pa.: You write, direct, and produce. Do you have a strong preference doing one over the other, and if so, why? Would you prefer to do all three and have strong control over a project, or do you prefer to get a mix of ideas from other writers, directors, and producers?

Paul Haggis: Writing is the hardest of the three, so that's what I least prefer doing but in many ways it's most rewarding.

I do like to work with other people in order to get feedback so I often write or produce with someone else.

_______________________

Minneapolis, Minn.: Can't resist the opportunity to ask about your writing work on the James Bond series. Is the follow-up to "Casino Royale" going to be a direct sequel (which the series has never really had before), and is there any truth to the rumors that there's a desire to inject more humor into the next one (to which I say: no, please keep the tone of Casino Royale)?

Paul Haggis: There is no truth to that rumor. Yes, it's a direct sequel. It starts two minutes after the last scene in Casino Royale. It is not based on a book; it is an original concept that I worked out with the producers and director.

_______________________

Munich, Germany: WWII movies were filled with tales of genuine heroes and heroism and Vietnam movies depicted a more jaded view of war, sometimes through anti-hero-type personalities.

Will the Iraq War perhaps evoke movies related to a search for truth or meaning, or do you think that it's too early to tell which general direction Hollywood will take on Iraq?

Paul Haggis: I think that Hollywood will approach the subject in all the ways you mentioned. Mine is a piece that asks you some very difficult questions about the war but it is not a partisan film.

_______________________

Bethesda, Md.: As a director, do you go in with an idea of how parts should be played or do you let the actors create the characters, then sort of guide them?

Paul Haggis: I have a very distinct idea of what I want but what I'm truly looking for is that the actors understand the meaning and nuances of the scene. From that point they interpret it and make it their own.

_______________________

Columbia, Md.: Do you think "Black Donnellys" was given a fair chance on NBC before being cancelled? How much of a factor was the violence in the show in NBC's decision not to even finish airing the completed episodes? I enjoyed it and hope it can find a new home.

Paul Haggis: Thank you. I don't know how much violence had to do with it, they wouldn't tell me. But it was the low ratings that killed the show.

_______________________

Annandale, Va.: I've been a fan of your work going back to Due South, thanks for answering questions today. It seemed as if in the early days of the "Global War on Terrorism" that Hollywood was afraid (as was most of America) to recognize the hard realities that this war has wraught. Do you think that getting your film made signals a sea change in Hollywood towards asking Americans to reflect more upon the dark side of the neo-conservative agenda?

Paul Haggis: I certainly hope so. Many of these films you will see in the coming months started their lives in 2003 or 2004; it often takes that long to make a movie. So Hollywood's response was actually quite quick.

_______________________

Crash: Mr. Haggis,

Thanks for taking my question. Personally I loved "Crash". But "Crash" is a movie that appears to be either well like or well disliked. No in between.

Any ideas why?

Thanks.

Paul Haggis: No, I just know that my films tend to upset people and when you don't like the film's point of view or it makes you uneasy you'll find all sorts of ways to criticize it. Right-wing blogs, I am told, are already attacking my new film viciously and no one has yet to see it.

_______________________

Franklin, N.J.: Is it easier or harder to make a movie after you win an Academy Award? What's easier about it? What's more difficult?

Paul Haggis: It becomes a little easier to do passion pieces like Elah that the studios don't reall understand so you have to use your clout to push movies like this into the marketplace so I was truly happy to get those awards because without them Elah would have been much more difficult, perhaps impossible.

_______________________

Washington, D.C.: I enjoyed Flags of Our Fathers but felt that the only character that I felt a real emotional connection to was Ira. I found that Ryan Phillipe's character didn't have enough going on for us to really feel for his character. Was there more of a story to his character that wound up on the cutting room floor?

Paul Haggis: Yes, that was quite a long script. Clint had to wind up cutting about 40 minutes out of it, so quite a few things did hit the editing floor.

_______________________

Washington, D.C.: Do you think there is a disconnect between the Vietnam generation of warriors and the current generation of fighters in Iraq and Afghanistan? It's as though Tommy Lee Jones's character can't quite penetrate the mindset of his son's generation, can't believe what he is finding out about them. Thank you.

Paul Haggis: I do believe that it's difficult for some men of Tommy Lee's generation and older to understand the intense cruelty of what's happening in Iraq. On the other hand, Iraqi veterans tell me that the only reason there isn't a much higher suicide rate in our troops returning from Iraq is that they are receiving help and support from the Vietnam veterans who's been there because they certainly aren't getting that support from our government (Veterans Administration).

_______________________

Paul Haggis: Paul Haggis is taking a brief break but will resume momentarily. Thank you.

_______________________

Harrisburg, Pa.: You produced what to this day I still count as the greatest television show ever produced: "EZ Streets." How was that show developed, who originated the idea for the show and how did to evolve? Finally, in looking back, what are your thoughts on the show? Are you happy with it, even if it did not find an audience to keep it on the air, and do you think it could have found an audience if the network had done anything differently?

Paul Haggis: That is my favorite show and it came out of some dark place in my mind and I can't recall anymore where. I did do two years of research on the nature of corruption and I spent many, many lovely weeks sitting at the New York Public Library going through all their files back before this stuff was on the Internet.

Yes, I think anytime between then and now it would've had shot; that's what happens when you're first out of the box.

_______________________

Overseas: Although overseas and will not be able to see the movie for some time, many of us are very concerned about the mental state of our soldiers as they move back into civilian society.

Can you comment on what you have learned about soldiers/Marines who are suffering from PTSD or other forms of mental illness as a result of service, primarily in Iraq?

Paul Haggis: IT is a great concern to many of us. And especiallyb bacause Iraq is a brutal war with so many civilian deaths.

_______________________

Washington, D.C.: What other directors do you most admire--either icons or contemporaries?

Paul Haggis: I try not to answer questions like that. I will always end up insulting somebody.

_______________________

Leesburg, Va.: Mr. Haggis,

Thanks so much for participating in this chat. Your films provide a strong contrast to the small screen concepts which pass for large screen projects these days. Was it difficult to convince studio execs to let you direct a film that you had written?

Paul Haggis: It was difficult with Crash, not difficult after the nominations. It was difficult to get this film made and it took some very brave people at Warner Bros., and the financiers to make it happen.

_______________________

Bethesda, Md.: Tommy Lee Jones, Charlize Theron, Susan Sarandon, Paul Haggis. I don't even need to know any more, I am ready.

Paul Haggis: Thank you so, so mich, we won't disappoint you.

_______________________

Richmond, Va.: your films all deal with real intense pain or intense issues. What is the root source of that? a desire to right wrongs?

I'm a great lover of film, but sometimes avoid films I know to be great because I don't know if I can handle the intensity. Took me years to watch Schlindlers list, for example. Yet once I watch them, I'm glad I finally did.

Paul Haggis: I try to make films that deal with questoins that gnaw at me, questions that I can't answer, and I've found many of those questions so far to be of a social or political nature. But really, my films tend to be about exploring who we are as human beings and our relationship as Americans to the world. But my first duty is always to entertain or to give you a fulfilling experience and that's what I hope to do with this film. I think you'll leave agreeing that you got your ten dollars worth.

Thanks so much.

_______________________

Submit a Question or Comment

_______________________

Editor's Note: washingtonpost.com moderators retain editorial control over Discussions and choose the most relevant questions for guests and hosts; guests and hosts can decline to answer questions. washingtonpost.com is not responsible for any content posted by third parties.