Clive Owen relies on his basic instincts to be a big-screen leading man

Clive Owen

Clive Owen is a man of instincts. He says that his instincts largely drive him as an actor and in the choices he makes in his work. So far, being an instinctive actor has led him to do a slew of films that have mostly been critically acclaimed. Tension and danger — whether emotional, physical or both — are at the forefront of most of Owen’s films, and the romantic thriller "Duplicity" (out August 25 on DVD and Blu-ray) is no exception.

In "Duplicity," Owen and Julia Roberts play an on-again, off-again couple named Ray Koval and Claire Stenwick, who are corporate spies working for rival companies. The cons that Ray and Claire have to pull on their respective companies pale in comparison to the mind games that Ray and Claire play on each other. (Owen and Roberts previously played an unhappily married couple in the 2004 drama "Closer," which earned Owen a Golden Globe Award and an Oscar nomination.)

A few days before "Duplicity" was released in theaters in March 2009, Owen participated in a question-and-answer session at the Apple store in New York City’s Soho neighborhood. Here’s what the British actor had to say when he answered questions from a moderator and audience members.

George Clooney recommended you to "Duplicity" writer/director Tony Gilroy, who worked with Clooney on the Oscar-nominated film "Michael Clayton." Can you tell us the story behind Clooney’s recommendation?

I went to a party halfway through the filming of "Michael Clayton." And I didn’t know this — somebody told me this afterwards — I hung out with Tony with at the party for a while and we talked, because Tony wrote the "Bourne" films, and I was in the first one. And we just sat down and talked and got on very well. And apparently, at the party, George said to Tony, "That’s who you should get for ‘Duplicity.’"

So I don’t know how many months later … I go crazy for the ["Duplicity"] script. The script was one of the best things I ever read. I was going through a phase where I was turning everything down. I couldn’t find anything I wanted to do. And then this gem landed. I literally finished the last page, called the agent and said, "This is the one. This is fantastic."

Clive Owen and Julia Roberts in "Duplicity"

Was it the dialogue that attracted you the most?

The whole script. The script was fantastic. The dialogue was to die for. It was a rare gem; it really was.

What made you say, "I can play this Ray character"?

I don’t know. I’m very instinctive when I read scripts. Dialogue is important to me. If it’s got really good dialogue, then I’m always pretty keen, because it’s rare to find great dialogue. But I’m very instinctive. That first read of a script … it informs the entire process from then on. That was one of those [scripts] that I just had this huge appetite and as I read it, I just I knew I wanted to get involved if I could.

How soon after you read a script do you know that you have to do it?

With that ["Duplicity" script], I finished the last page, I literally grabbed the phone and I said to my agent, "This is the one. This is fantastic." Again, it was one of those rare scripts. I haven’t felt this very often in my career. If, for some reason, we had tried to get the whole thing together and it had gone somewhere else, it would’ve hurt me, because I badly wanted to do it.

Julia Roberts and Clive Owen in "Duplicity"

How do you rehearse a movie that has a lot of fast-paced dialogue that has to be spot-on and sharp?

That’s really about us getting prepared. In some ways, it’s easier than if there wasn’t lots of great dialogue, because at least you’re equipped to go to work. It’s just about us doing our work and making sure we were prepared when we go on set. We had a rehearsal period but, really, that was just about ironing things out, making sure rhythms were right, making sure things played right. But you don’t sort of overkill the scenes. And really, it’s about Julia and I coming prepared and on top of that dialogue.

Did you and Julia Roberts have an instant rapport with each other, even though you had some not-so-happy scenes together in "Closer"?

Even if those scenes weren’t so happy, there was still a very strong rapport, because they were very uncomfortable, emotionally violent scenes; it still demanded that we played well together. And we discovered on that movie that we got on very well and we enjoyed working together, and it was a joy being able to do this ["Duplicity"] with her.

Julia Roberts and Clive Owen in "Duplicity"

What was it like working with Julia Roberts again?

It was really fantastic. We got on very well when we did "Closer," and I knew she was absolutely perfect for this kind of material. And it’s just a joy working with someone you like and respect and get on with.

What was the vibe on the set of "Duplicity"?

It was great. Honestly, for me, it was one of the best experiences I’ve had, because it was such a good script, and you’re surrounded by people you really trust and like. It just makes it a pleasure to go to work. I’d say that in most movies, there’s a couple of scenes you really look forward to — they’re very well-written or there’s just something about them that you think that’s a really key scene. And in this movie, every scene we played together is just so well-written, it was just a joy to go to work every day.

Was there anything about playing Ray that was a big challenge for you?

The deftness and the lightness and making sure it [the dialogue] is pitched in the right way. It is a very dialogue-heavy movie, and in some of the scenes there is a lot of dialogue to get through. And you have to be very prepared. You have to be very nimble and quick-witted with it. It’s not the kind of dialogue that you can labor for too long. So really, it was just about getting prepared properly.

Clive Owen in "Duplicity"

Do you read reviews of your work?

I read some of them. People point me toward the good ones.

Do you see yourself becoming a director someday?

I do sometimes think it about, yeah. But, to be honest with you, the rhythm of acting and directing [is] so different. It’s like I do movies, and the director can go off and do two other movies, and the director is still in that tunnel. Do you know what I mean? The rhythm is so different. I haven’t found anything that I’m passionate enough [about] to stop the whole acting train and begin directing, but I do think about it sometimes.

What’s next for you?

I have no idea. I’m literally reading scripts and trying to find something.

Do you want to do theater?

Again, I think about it … I’ve been offered a few plays, but nothing I’ve been particularly passionate about.

Clive Owen (pictured at far left), Julia Roberts (pictured second from left) and Tony Gilroy (pictured at far right) on the set of "Duplicity"

Are there any directors you want to work with whom you haven’t worked with yet?

The great thing about movies is that there’s a world of brilliant directors out there. They’re all incredibly different and all incredibly talented. If I had to pull a name out? I was one of the many millions who was a huge fan of "There Will Be Blood," and I think Paul Thomas Anderson is a pretty rare, unique talent.

What kind of research did you do for "Duplicity"?

I think this film in particular delves into that side of it, that sort of double dealing. The movie really is about two brilliant liars — that’s really what the film is at its heart — and they fall for each other. And they struggle with that, because it opens them up and makes them vulnerable. And they’re used to be ruthless, cynical and brilliant liars. In terms of the research for ["Duplicity"], I felt that Tony had written it all out there. It was very clear. It was very much one of those scripts where you play the thing. It was like a play. You play the material. I didn’t feel the need to go off and find more about corporate espionage.

Julia Roberts and Clive Owen in "Duplicity"

What do you think made Ray tick?

I think in the beginning of the movie, he’s the best at what he does. Or at least he is, until he meets her. And what makes him tick is he’s top dog and always has been. He’s brilliant at what he does. And he’s respected, and he has a great life because of that. And suddenly, he meets his match. And this movie for him is coming to terms with that, really.

What was the funniest thing that happened on the set of "Duplicity?

I suppose the steamier the scenes got between Julia and [me], the funnier we found them, and the more patient Tony had to be.

Julia Roberts and Clive Owen in "Duplicity"

It must’ve an acting challenge for you and Julia to play a passionate couple when you’re friends in real life.

Exactly. We coped.

How did you prepare for your role in "Duplicity"?

I’m very instinctive. I trained in the theater, and for me, it’s about getting as comfortable and familiar with the text as possible. I’m not one of those actors who likes the free will. I don’t think I’m a great improviser. I’m much more about getting great text in front of me and reading it a thousand times, getting really familiar with so that when you do it, you’re so on top of it that you can make it seem more alive.

Anything more than that, I don’t like to think about too much. I know what it is that I do, but I do prepare. I don’t like to be thrown things. I’m not one of those actors who likes to be thrown things on the day or given a whole new thing to do.

I think that gestation period, even if it’s a very small, economical scene, is hugely important to just sit and think and think and think. Tiny things happen. I don’t know what they are, but to sit with something for a while is very important. It is to me.

Clive Owen and Julia Roberts in "Duplicity"

Is this the direction you hoped your career would take?

It’s beyond anything I could’ve imagined, really. For me, success is getting the opportunities to work with the best people. That’s always what it’s been about for me. And the opportunities I’ve been given over the last few years and the people I’ve worked with — directors, writers, actors, actresses — is beyond anything I could’ve hoped for.

Can you compare and contrast your experience working on "Duplicity" with Tony Gilroy and working on "The International" with director Tom Tykwer?

They were obviously very different movies. I rate Tony and Tom super highly. I had great experiences on both of them. It’s very hard to put one film up against another, because they’re completely different animals, but I certainly had a really great time on both.

How do you build your characters in general?

I’m pretty instinctive. I trained for three years. I went to drama school. I treat scripts like I would treat a play. For me, it’s always about the material more than it is anything outside of that. I’m very honed in on what you’re trying to execute … I think any approach, any method is valid if at the end of the day, you believe people in movies …

I have my own way of doing it, and I’ve seen people go off and immerse themselves in worlds for six months. The bottom line is: When you watch a movie, do you believe them? And if you believe them, it doesn’t matter how you get there. I’m very much material-led. I’m very much about understanding what needs to be executed and trying to do it well.

Clive Owen in "Duplicity"

Conversely, do you know pretty quickly when a script isn’t a good fit?

Very quickly. There’s a lot of bad scripts out there, I have to say.

Is there anyone you consider your mentor?

No, not really. I’ve had some pretty key influences. I’ve had a series of breaks that have led to where I am, I think. And one of them very early on, I did a school play and got very passionate about acting. And the local theater in my hometown had a little theater for the kids to do plays. And I joined and got totally obsessed, and all my schoolwork went out the window. And all I wanted to do was theater.

And the guy who was running that theater at that time now runs the Royal Shakespeare Company — a guy called Michael Boyd. And I didn’t realize, obviously, at that time that that was the kind of influence I was getting, as this young kid who was crazy about plays. I worked with him a lot. I did a number of plays with him. And he’s the guy who helped me with my speeches to get me into the Royal Academy. So that was a very fortunate thing.