The films so spoiled by talent it can afford to kill off Donald Sutherland after five minutes.

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The films refreshingly coarse.

Was that always on paper?

Was that something the studio always wanted when you came on?

I mean, theres a character named Motherfucker Jones.

Theres just not a hell of a lot you’re able to do.

Its a really R-rated movie, especially in the language and the themes.

Is that easier now, then?Bridesmaidshas just come out, weve hadThe Hangover.

Are studios more open to that kind of thing?

And youve got a great cast in here.

I thought Charlie Day and Jason Sudeikis were great as a double act inGoing The Distance.

Did you always want both of them?

Charlie was the very first person I offered a part to.

I think Jennifer was second.

I think it was like that.

But luckily he was interested.

But Ive been trying to find something with Sudeikis since forever.

But it was like, Yeah.

[laughs] If he wants to do it, thats great!

And there seems to be a lot of that, people whove worked together before.

Jennifer and Jason Bateman onThe Switch.

Youve got Julie Bowen in here, whom youve worked with onModern Family.

Did it feel easy to work on the film?

Or as easy as it can be?

Yeah, I thought so.

If you look around at peoples full filmographies, a lot of actors have worked with each other before.

You know, Bateman was also with Jamie Foxx inThe Kingdom.

Theres just a lot of cross pollination.

And that definitely makes it easier.

Theres an instant awareness of each other and awareness of timing that comes from that.

And a lot of them are writers, performers, directors in their own way.

Jamie Foxx having done stand-up, Kevin Spacey the director, Charlie and Jason writing.

Did that add any pressure?

Well, you cant get away with anything, right?

Theyre so smart and so experienced.

Was that something that appealed to you?

Yeah, I think the other thing it really has in common withKing Of Kongis a real antagonist.

Characterising the antagonist is something Im really comfortable with.

We tried to make three really different bad guys here, and I think it worked.

And I thinkKongis definitely part of why.

Its just good writing, for both this script and that show.

Dan Harmons [the shows creator] amazing.

And the film goes to some extreme levels.

Theres a dream sequence in there, and you think, Oh, okay, a dream sequence.

But it goes really far with it, and quite graphic.

Very fast, too.

Yeah, you think you see it coming, but it ups it a little bit.

Were you trying to shock, or see what you could get away with?

I just like the idea of that thing, of moving that fast.

And then youre snapped back to reality.

I think thats just the funnest way to do those.

Do people still come up to you aboutKing Of Kong?

Because its one of those films where those that see it instantly love it.

Id say, five to ten times a day.

Its just amazing the impact that movie had, given how we made it, you know?

Thats how we did almost all that movie.

That its had any kind of lasting impact, cultural or otherwise, is just amazing.

And after that, did studios come to you and say, We want you for this?

Or was it still a struggle to get your next project off the ground?

No, Vince Vaughn sawKing Of Kongand he opened the door for me to Hollywood, really.

And that wasFour Christmases, and thats how I got situated in narrative feature filmmaking.

Do you see yourself staying here now, then?

The blunt economic truth is that you cant make a living- and Ive got a family.

If I just did documentary, I couldnt feed anybody.

[laughs] So, its got to be a little bit of both.

Documentarys much closer to my heart.

Id rather do that.

But you cant- Its not really an option to have that be the only thing.

Is there one of those that you think will come first?

Its just a matter of shortening it and finding out if the studio has an appetite for it.

Obviously, thats a great story, and I think telling that story with actors would be really fun.

So, who knows?

[laughs] I dont write the cheques, you know?

Would you want to work on that yourself?

Would you want to direct it?

I mean, I love the script that was written and so thats really an important piece, obviously.

Without that youve got nothing.

And so thats really compelling.

Theres no point in asking any other questions until thats a yes.

And onWar Games, thats a different bang out of film.

People from my generation grew up on that.

AndProject X, actually.

Are you tempted by a remake of that at all?

Or it could snowball after that.

We could have a lot of monkey films.

There could be, there could be.

Would you follow online forums?

Whats your feeling about that kind of thing?

I definitely wouldnt seek anyones advice on that.

But my instinct would be tic-tac-toe would be earlier in the film.

I just think were beyond that.

So, I think tic-tac-toe was a great metaphor, but maybe in act one.

And its still relevant now.

There are big hacking events all over.

Sony the other month and weve just had a group breaking into The Suns website.

And theres so much more than gets reported in the press.

The stuff thats been hacked in the government and the military, its truly unsettling.

Seth Gordon, thank you very much.