THORNTON: When we went to the doctor's office, it had two entrances. It had colored only and white only. And that's what it said. That's what the signs said.
GIBSON: So if it's in your grandfather and, to some extent, in your pop, why isn't it—what is it that breaks that cycle?
THORNTON: Well, I think for myself and my brothers, we were raised at a time in the '60s when rebellion was the thing. I mean, you were rebelling sort of against your parents, you sort of didn't want to be what your parents were. And we were both into music. We were in bands, my brother and I, so, you know, we—we sort of wanted to be in the Buffalo Springfield or something. You know, that's what we were thinking about.
GIBSON: Yeah. Right.
THORNTON: Our — we actually, I think, fortunately, were raised in that time of rebellion, and I think we kind of went against what my dad wants.
GIBSON: Well, that's true. The '60s was an era when you had to throw everything out anyway.
GIBSON: And — and that was certainly on the way out by itself. But this is a character who has to go from what we saw there, at the beginning of the movie, to being in love with the character played by Halle Berry.
GIBSON: A transition that's tough to show, as you mentioned, to an audience in two hours.
THORNTON: Yeah. Well, I mean, part of it is, the director——a big part of it——the director, Marc Forster who is actually from Switzerland, you know, didn't——want's raised in any sort of environment like I was at all. He really got it. He got the story, and he knew that this movie was going to have to take its time. He knew that that transition was going to have to take its time. And we do have a scene in the middle of the movie where we start talking about our——our sons.
GIBSON: And that was the connection.
THORNTON: And that …
GIBSON: Her son, who's died, and your son, who's died …
GIBSON: … as well.
THORNTON: And during that, he let us actually talk about that until we were through. And directors usually don't let you do that, you know.
THORNTON: And I think that's — that's really what makes it work is the fact that he let us develop that scene.
GIBSON: Well, all the time in the movie, you're going out to get chocolate ice cream …
THORNTON: Yeah, that's right.
GIBSON: … which you eat with a plastic spoon.
GIBSON: Where——where's the chocolate ice cream? Oh, here it is. There we go. I want you to——I want you to feel at home, here (gives Thornton bowl of ice-cream).
THORNTON: Oh, thank you very much.
GIBSON: With the plastic spoon. When Halle Berry says, `With a plastic spoon,' right, you say, `Yeah, you got it.'
THORNTON: Well, here's the deal with the plastic spoon. Two things. Two things about — you know, I hate to, like, you know, bust myself here, but it's actually tofutti in the movie because I'm allergic to dairy.
THORNTON: And the plastic spoon thing, I —: I have some well-known, very publicized phobias and things.
THORNTON: One of those is I can't eat with silver and so …
GIBSON: OK. If you can't eat the dairy …
THORNTON: Go right ahead.
GIBSON: I'll put it down.
THORNTON: Here you go.
GIBSON: Thanks very much. We'll be back.
THORNTON: Thank you very much.