George Clooney is a household name, with dozens of film and TV roles including everything from ER to Ocean’s Eleven, and he’s also tried his hand at directing, writing and producing. He was recently in London promoting The Men Who Stare at Goats, also starring Ewan McGregor, Kevin Spacey and Jeff Bridges, where he plays an army officer who claims to have paranormal powers. Here he speaks about food fights with Ewan, supernatural beliefs and working with goats.

Were there long discussions about the tone of the movie?
George Clooney (GC): The book, and there was a documentary done as well which was also very funny, it had such a unique tone, and I thought Peter just nailed the script. This is a script that’s been around town for a while, and all of us have been aware of it for a bit, it was named as one of the best un-made screenplays, so we were all anxious to get our hands on it, and see if there was a way we could do it, and [director Grant Heslov] had the right ideas.

What was it like working with Ewan McGregor?
GC: After the restraining order, it was really hard to actually work with him. (laughter) It’s sort of shocking how absolutely fun and normal he is. We talk about the motorcycle trips he takes around the world and down through Africa. He fits into this group of actors that are really fun to work with, they’re all professional, they do all their work before they show up, and so by the time you’re on the set, there isn’t a whole lot of misery. There’s the work between ‘action’ and ‘cut’ and then the rest of the time, you remember the rubber band fights, it’s fun. Actual food fights. I’m a big fan of his.

Did you approach the characters as if you were recreating a real life person, or did you start from scratch?
GC: It was whatever the script called for. We’ve done films before, like Good Night and Good Luck, where we had a great responsibility for accuracy, but this is one where we thought there’s something funny to be had, and we could just do it.

Why has it been so hard to make films about the Iraq war, and are we now in a stage where we can make war films that will work?
GC: Any topical subject, if it’s Hollywood, will be a couple of years later, because you’ve got to write it, produce it and distribute it, so automatically you’re never going to be right on the cutting edge of stories. I think that we’ve been a little too close to the situation, and at times it’s such a polarising moment that it’s hard to make films that directly deal with that subject matter, since we’re in the middle of it still. We didn’t think of this as an Iraq war film, it’s a very different story completely. I’ve done an Iraq war film with Three Kings, which holds up and seems to be still relevant. I think this one is just a glancing blow at Iraq, it happens to take place there.

You can’t seem to stop working with Grant [Heslov], writing and producing. Directing you in this, what was that relationship like on set, and who’s the boss?
GC: Grant’s the director, he was the boss. That’s the fun of it, directors are the dictatorship. I had nothing but faith in him, he’s incredibly talented and smart, so I’m lucky to be his friend for almost 30 years.

Do you believe in the paranormal?
GC: I’m not a big believer in much of that. Everybody goes through deja vu and things like that, but I’m not a big believer in many of those things, I find them to be mostly coincidence.

On a similar note, did you go home and practise some of the psychic techniques that you learnt, or were you actively encouraged to do this by the director?
GC: We kept trying. Busted a few clouds. It’s funny, there’s things that are made up in this screenplay, but the wackiest things are actually the real ones. When you read the book and you read about them literally trying to run through walls, they really did that - they believed they could.

The script had been around for a while. Was there a eureka moment which caused you to take the script on as producer?
GC: These screenplays after they’ve been around for a while - even when they’re really good screenplays, things get attached to them and they get harder and harder to get made. There’ll suddenly be 30 producers and other people brought on, and it gets this baggage to it, that it really requires everybody being willing to come in. [So we were lucky to get] Kevin and Jeff and Ewan all being willing to come in and play ball and have fun on a film that isn’t necessarily a slam-dunk. It’s not Transformers.

How was it working with the goats?
GC: I tell you, this goat was a particularly nice goat. We spent a lot of time together. He wanted to go over the dying around me, so we worked on that for a while. The funny thing is, the goat was a great actor. He’d work it and really stare at the camera. If we could get Ewan to do that, it would help.

Do you think the media’s obsession with celebrity is out of control?
GC: I’m the son of a newsman, I grew up around news. I can understand the issue which is, as papers are losing subscribers and they’re getting less and less outlets - it’s a tricky thing. You’re going to have to sell papers. The problem is, there’s so little reporting anymore. Someone will write a story and it’ll be in 1,800 outlets from one person’s story. You’ll have no recourse, it’ll be false and you go, ‘It’s not true,’ and they’ll say, ‘We’re not saying that, a London tabloid has said it,’ and they’re reprinting and reprinting things that aren’t necessarily true. I understand why it happens, but it’s certainly an issue.