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Who are your favorite filmmakers?
Woody Allen. Hal Ashby. Kubrick. Cronenberg. Fincher. Scorsese. Mike Leigh. John Ford.

You were supposed to direct Lords of Dogtown for David Fincher, right?
Yeah, I worked on that for a year.

What happened?
David Fincher was producing it. He's been a friend of mine for a long time. But the movie just started to grow so big, so Fincher stepped over as director.

But then Catherine Hardwicke ended up making the movie. Was that painful for you?
Man, I knew that I could tell that story the best. And I look at it now and go, ''Yeah, they made a big mistake.'' I think she's very talented, but that movie should've been another movie.

David Fincher's been a mentor for you. Where did you meet, and what has he done with you?
We met on the development stage of a script called Runt, about a Columbine-ish situation. It was in 2000, probably. The script itself was bad timing; everybody was scared of it. But Fincher and I hit it off, and he knew how curious I was about being a director. He took me seriously.

He helped you out on Charlie?
Yeah, he gave advice. And battles to fight and not to fight, him saying, ''You gotta focus on it; you can't do both.''

Can't do both what?
Fincher said, '' You can't be that guy in Limp Bizkit and make films right now,'' because the bigger Limp Bizkit got, the more [the film people] couldn't take me seriously.

So it was hard for you to get this movie going because you were the guy from Limp Bizkit?
Yeah, it was the biggest speedbump.

Did people say that to you directly, or did you just feel that that was what was happening?
I just sensed it. At a lot of meetings, people would say, ''Man, how you gonna do this, and be on tour?'' And, ''Wow, you're so different than I thought.'' So I had to go on hiatus [from Limp Bizkit], and be serious and focus.

NEXT PAGE: Durst's tabloid past with Britney Spears, and the future of Limp Bizkit


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