Sep 19, 2012  2:39 PM
                                
                                         The Insane Things Joseph Gordon-Levitt Did to Become Bruce Willis in Looper
                                                                                                                                                                                                                                         Charlie Jane Anders                                                                                                                                                                               
                                 
                                                                             You've  already seen how Joseph Gordon-Levitt's face was altered to make him  look more like a younger version of Bruce Willis for the time travel  movie 
Looper. But that's just the most visible part of the  process that Gordon-Levitt went through to transform himself into  Willis. When we sat down with Gordon-Levitt and writer/director Rian  Johnson, they told us all about the secret to becoming Bruce.
 Spoilers ahead... 
 We  were lucky enough to join Gordon-Levitt and Johnson as part of a  roundtable interview here in San Francisco. We'll also have exclusive  interviews with both men next week, before the film comes out. And in  the course of our discussions, we found out just how committed JGL was  to becoming a young version of the 
Die Hard star.
 "
Looper  was probably the most transformative of any movie I've ever done,"  Gordon-Levitt told us. His "whole character" is based on Bruce Willis,  and he was determined to go beyond a simple Willis impersonation. Said  Gordon-Levitt:
  

I  studied him, and watched his movies, and ripped the audio off of his  movies, so I could listen to them on repeat. He even recorded some of my  voice-over monologues [from Looper] and sent me that  recording, so I could hear what it would sound like in his voice. And  then just getting to know him and spending time with him and letting it  seep in. It's a really, really fascinating way to become a character.  That's always my favorite thing, is to transform, become somebody else.  If I see a moment that reminds me of myself I always feel like I messed  that up.
The transformation process was "pretty  one-sided," added Rian Johnson. "Joseph wrapped himself around Bruce.  There wasn't a lot that went the other day. Joe could start getting to  work pretty early, before he even met Bruce." But he wasn't trying to  channel the real-life young Bruce Willis, but rather to create his own  younger version of the current Bruce Willis.
 
 
"One thing that I think was really smart that Joe did was, he didn't look at 
Moonlighting episodes," said Johnson. "He didn't look at the first 
Die Hard. He didn't look at Bruce when he was Joe's age, he looked at him today. He watched 
Sin City  quite a bit. He watched his recent films. That seems like a slight  distinction, but I think that was really critical. Because he was basing  his performance on Bruce today, instead of imitating Bruce as a young  man. He was creating a new a new character, whom you could buy as the  Bruce that's on the screen, instead of doing an imitation of what Bruce  was actually like when he was younger."
 
 
Also,  Johnson said that working with Bruce Willis was exactly like your dream  of what working with Bruce Willis would be like. He was cool, but  totally focused and committed to working on the part. "He was entirely  in it." Johnson was nervous at first, because he'd grown up watching  Willis' movies, but after Willis showed up, the nervousness dissipated  and he was just working with a great actor.
 
The China thing
 You've probably heard that 
Looper is a U.S.-Chinese co-production  the Chinese company DMG 
funded part of the movie's budget,  reportedly on the condition that some scenes be filmed in China and  Chinese actor Xu Qing be given a supporting role. (A similar deal was  struck for 
Iron Man 3, 
though it's run into trouble.) And in fact, 
Looper  seems to hint that in the future where time travel has been invented,  China is an ascendant superpower. So we had to ask Johnson: Did he feel  like he was putting a pro-China message into his film in exchange for  funding?
 Johnson responded:
 

Not  at all... Not a word of the script was changed, except just a  find/replace where we replaced "Paris" with "Shanghai." It's exactly the  same  except that well, we added that one line, that joke that Jeff  Daniels makes [about how he's from the future, and he knows that Joe  should go to China], just to justify it.
 What happened was,  originally there was that sequence where [Joe] goes off to Paris. That  montage, where we see his near future. Because we didn't have the money  to go to Paris to shoot, we were faced with the prospect of faking Paris  in New Orleans  and as someone who loves Paris, that kind of put a  dagger in my heart. That's when DMG, our Chinese distributor, said,  'Look, if you change it to Shanghai, we can actually bring you over here  for a few weeks to shoot in Shanghai.' And so, I thought about it, and I  realized that for a scifi movie, if we're going to have something that  shows the farther future and is a little more scifi-feeling, in many  ways Shanghai fits that more than Paris does. There's something more  romantic about Paris, but this actually makes sense to me. And there's  nothing else in the script [that was changed] except the setting.
Chinese  audiences will see a slightly longer version of that montage, showing  Joe changing from Gordon-Levitt to Willis in Shanghai  but it's not the  full-length version. According to Johnson, that sequence was originally  twice as long, and he kept cutting it down further and further for  pacing reasons, losing a lot of the stuff featuring Xu Qing as Bruce  Willis' wife. "The U.S. cut is my cut of the movie," added Johnson. "The  shorter version works better." But you may see the longer version of  that sequence on the DVD  especially if Johnson can get the music  clearances to include the Chopin Étude that he wanted to use as music  for it.
 
The origins of Looper
 Looper  started out as a three-page script that Johnson wrote for a short film,  years ago. It was very voiceover-driven, and was essentially the opening  monologue of the film, followed by a foot chase through the city after  Joe's older self appears, while the voiceover continues and Joe talks  about the moral conundrum he's facing. "At some point, I will put the  [script] on the Internet," said Johnson. "I won't put it up now, because  it does spoil the ending." A lot of the basic themes are there, but not  the second half of the movie.
 
 
"When  I wrote that short, it was right when I had discovered Philip K. Dick,  and I was in the middle of blowing through all his works, so my was kind  of steeped in that," said Johnson. He also always thinks about Ray  Bradbury, who's "the master of that thing that I always love most about  scifi": using science fictional concepts to "amplify a very human  emotion, a very human theme, to get to something that's going to leave  you crying at the end of it." The film's also inspired by 
The Terminator, for obvious reasons  but it also owes a lot to the Harrison Ford movie 
Witness.
 Johnson repeated something he's said before: that 
Looper  is not a film about time travel, it's a movie that uses time travel to  set up a situation that then plays out. At the same time, he didn't want  to use that as an excuse to be lazy about the time-travel aspects of  the film. 
As he explained to us at Comic Con,  he spent a lot of time figuring out the rules for how the universe  deals with time travel paradoxes. He didn't want to explain the rules,  or have a "chalkboard scene"  but you can see them playing out in the  film.
 And at the same time, "I wouldn't say it makes sense,"  Johnson admitted. "No time travel movie makes sense, if you look at it  hard it. But there was a consistent set of rules that we stuck to."
 
 
In fact, when he showed the script to 
Primer  director Shane Carruth, Carruth told him, "Well, to some extent, you're  taking this magical approach to it," in terms of showing how things  that affect a character's younger self immediately impact his older  self. But once you take that leap into slightly "magical thinking," the  film does stay consistent with it. "We're taking a linear, experiential  view of the time travel as it's happening."
 
The meaning of Looper
 Adds Gordon-Levitt, "
Looper  is a drama about what you would say to your future self if you could  have that conversation, and obviously you can't have that conversation  in real life."
 Johnson said that when Young Joe looks at Old Joe,  he's not seeing who he's going to be  he's seeing who he was. Young  Joe sees Old Joe as his past, because he represents a kind of  selfishness and expediency that Young Joe is trying to outgrow. Even  though Old Joe claims to be motivated by love, he's still the  self-centered guy, willing to murder people to hold on to what is his,  that Young Joe is at the start of the movie.
 
 
The  only really unselfish character in the movie is Sarah (Emily Blunt) who  is willing to sacrifice herself for her son  and her choices have a  huge impact on Young Joe, said Gordon-Levitt. Meeting Sarah is what  enables Joe to break the endless cycle that Looper is describing. "If  everyone just looks out for themselves, you just get this perpetual loop  of everybody pointing fingers, and everybody blaming each other, and  everybody killing each other. And it takes an act of selflessness to  maybe break that."