What’s changed the most, in both of your views, in the past, say, ten years, in the industry?
Matt Damon: It’s an entirely unrecognisable industry. When you asked the question about money, I’ve laughed with my wife recently about the things I turned down 15 years ago. The amount of money that was available. Because DVDs are gone, that’s why the $20 to $70 million drama is gone; it’s not coming back. All the movies that I made, basically, movies about people who talked about stuff. If you go above that, you get some of the production value that something like this [Le Mans ‘66] has, with those attendant bells and whistles, then you can make a drama. Or you have to go way below. When I produced Manchester By The Sea, we really struggled. We eventually had a really brave financier who put up almost $9m, but that’s a movie that in the Nineties someone would have given us $20m to make. It was about the size of Good Will Hunting on half the budget of Good Will Hunting. On the flip side, there’s this international market that rose up that’s every bit as big as the DVD market was – bigger, even – and so the ideal movie is a giant movie that doesn’t have a lot of language, doesn’t create any cultural confusion. Superhero movies, right? You’ve got a good guy and a bad guy. They’re going to fight three times. Good guy’s going to win twice. Everybody buys popcorn. But it’s a very different business than [the one] I came into, in the Nineties. In those old Miramax days it felt like independent film was really exciting. We were all raised watching De Niro and Pacino and all these guys. I mean, Dog Day Afternoon is a movie about a guy who robs a bank to pay for his boyfriend’s sex-change operation. It’s this heroic character and it’s like… it’s just a very, very different business. It’s really clear to me, having not worked a lot in the past few years, how much things have changed and how they’re just not coming back.