By Sean Chavel in Los Angeles

Nicolas Cage, the wild card. Action hero. Romantic comedy star. Tragic dramatic actor. Occasionally, he’ll play an Elvis impersonator or a vampire. He’s an actor of unpredictable range, but now he’s trying his hand at directing. In discussing his film Sonny, a film of daring subject matter about the enduring prostitution circuit in New Orleans circa 1980, he gets emphatic when speaking of his lead actor James Franco (City by the Sea, Spiderman).

“I saw enthusiasm, passion, a dynamic of highly powered intensity,” Cage observed during of Franco in his audition. “[Franco] convinced me that he could be somebody that was vulnerable but that I could care about. He had a face that I could lead a story on. He was also somebody that could be unpredictable and dangerous.” His description of Franco mirrors a description a critic would muse about Cage. He also has a love affair with the movies that could only match the most thoroughbred critic. What Cage knows about film, and about acting, is that reckless passion for the art form is its most crucial component to brave creativity.

Have you always secretly wanted to be a director more than an actor?

No, I always wanted to be an actor. That was my first love and still is. Even the movie I’ve made is driven by performance and acting. My name still is Nicolas Coppola, I never changed my name legally. Cage is my acting name, or my surrealistic name. But, uh, when I decided to do this movie I just went and did it. Nobody from my family knew about it [initially].

Is it true that you have been trying to make this film for more than fifteen years?

No it’s not. What happened was I read this script fifteen years ago to star in it. I couldn’t find a director to commit to it, and it was shelved. And then I literally forgot about it for fifteen years until I decided I wanted to direct a movie. For some reason a bell rang, and I felt, ‘Oh, yeah. That script was interesting.’ I optioned it and re-read it. I responded to instinctively and wanted to try my hand at it. I doubt if the movie would have ever been made.

What were the difficulties of casting the movie before you found your group?

First of all, I believe the cast that winds up in the movie is the cast it is meant to be. I got lucky with getting Brenda Blethyn, James Franco, Harry Dean… they’re all the people that were meant to be in the film. Without mentioning names we looked at other actors as possibilities, one thing would lead to another, some actors didn’t seem like a safe bet – so I finally settled happily with my cast. I can’t see anyone else playing these parts.

How do you make your actors feel comfortable when they have to do long scenes in the nude?

I think that a lot of it was coming from a place of respect. And for them knowing that I am also an actor, knowing how it vulnerable it is to bear your soul, they know they can feel safe. I let them know they I can set up a quiet place, for them to concentrate in their [acting] instrument. I trusted their instincts and would shoot the film when they felt ready.

On the set as a director, how do you orchestrate the touchiest and most delicate scenes so that could be accessible for the audience?

I can’t stress enough how most of it comes down to instinct. Stuff will just feel right… Everyone has a secret, private connection with a film. I connected with the [story’s] sense of loneliness… The truth is that I don’t want to rob anyone of their own interpretation.

Is there anything about directing that you couldn’t stand about it?

I didn’t hate anything about it to be honest with you. I was very adrenalized by the experience. I was excited to be surrounded by so many creative people by all walks of the filmmaking process. So much talent – in the art direction, the camera, the actors – I was reignited myself as an actor, re-stimulated again by the art of [filmmaking]. I was also loved the editing process a lot, being in a room working on a puzzle, getting it down to a running time that is good the film. Which is a long process. It’s different for me since, well, I’ve never seen a film so many times in my life. [Laughs]

Where do you find your pinnacle of creativity?

I like being on the high wire. I like being at that place we’re you could either fall or stand. That’s the only place where you can succeed, and have a shot at doing something truthful and creative.

"Sonny" is in limited release in select cities.