Since playing Ulee, Fonda’s turned in a pair of good TV movie turns (in NBC’s otherwise tepid "The Tempest" and as the cuckolded husband in a soapy cable biopic of Ayn Rand), but now he’s back on the big screen in another dynamite, multi-dimensional role as a sympathetic villain – described by one character as "You’re not specific enough to be a person. You’re more like a vibe." -- in Steven Soderbergh’s new crime thriller The Limey.

WRE talked with Fonda by phone about his new movie, his past career and his resurrection. He sounded a little, uh, under the weather, but was open and easy to talk with. We’d love to meet him in person, and not only because he sounds like he’s always got some good stuff with him.

Where are you calling from?

My cabin house in Montana. I’m sitting here petting my golden lab.

The natural environment seems to be a powerful stimulus for you in your personal and acting life.

Yes, this place is a great release to take a vacation from everything. Even though vacation is when I get to work, too.

How has it been different working with Steven Soderbergh compared to the variety of other directors you’ve worked with?

Working with Victor Nunez [director of Ulee’s Gold] was gorgeous. It was like having the best sex I’ve ever had, and then I was stuck with the problem: "Well, how do I get laid like that again?" And that’s when Steven came along. He is so generous and exacting, like Nunez. And Steven wants to operate his own camera and edit the film -- be involved in the full scope -- and that gives you great energy and power.

Have you seen the finished product? What do you think of The Limey?

I love it. I’m a big fan of Out of Sight. Steven made [The Limey] so we’re almost overhearing these actors -- jumping back and forth from what they are feeling and saying. It’s all inclusive. And the crews and cast have been the whole company -- all equal in the process. It’s a great ensemble effect.

Have you brought some of Ulee into your character in the film, Valentine?

No, they are diametrically opposed characters.

Is Valentine anything like you?

I just know how to do him. The part was written for me, as an icon of the ‘60s and yet still having so much presence right now. He keeps that charming exterior even though he’s surrounded by situations of chaos. I’m from the approach that you make the character you -- you don’t become the character. The best example is Jack Nicholson as George in Easy Rider.

How have you seen the industry change over almost forty years that you’ve been involved?

Dramatically. The ways film can be made, with digital video tape in a motion picture style. All the technical advances have made it interesting for that inexplicable thing called acting and it’s allowing other directors to go out and do their thing. Terry Gilliam was cut loose -- and there’s nothing formulaic in there. Or Steven. Every director is so different from every other one.

Do you ever consider going into theater again?

I exercise regularly, so if I ever exhaust my favors in Hollywood, I’ll definitely go jump around in theater again.

Do you have a passion for acting over directing?

Well, they’re so different. It’s the 8-year-old in me that will relish in the acting. But I get to play all the characters when I direct -- and I don’t mind the challenge or responsibility -- I can appreciate the production and editorial process because I’ve been in those positions.

How have mind-altering substances affected your acting?

I don’t know. I hear Tony Perkins used to try all those different things. But I wouldn’t imagine for a second to be mind-altered when walking on set or stage. It’s a privilege to be out there and it’s hard work; you have to be aware, and never fall out of character.

How has your acting style changed over the years?

I’ve always internalized things -- from the beginning. Everyone was so surprised with my performance in Ulee’s Gold, but I was doing the same thing in Easy Rider.. But everyone always has a different perception of you -- which is great. But around 1990 I did make a change. I started paying attention to my daughter [Bridget Fonda], watching her choices, and listening to my sister, following her advice. And that led me in a different direction as an actor.

Is it ever difficult to mix your family relationships with your profession?

No. I love it. They’re thrilling to work with. I love to direct my daughter, and act with her, and we both want to work with Jane again.

Who, outside of your family, has been a strong role model for you?

Oh, God. There’s so many. Brando, any of those are like a backbone on which you can build a skeleton and put flesh and blood in. It’s that we all are professional; it’s work and it’s fun.

Do you expect to take on many new acting roles?

Yes, but there’s a high threshold of rejection because a script has to do something for me right away -- engage me visually. I just want to continue finding actors’ directors. I’m waiting for Terry Gilliam to offer me a script [laughs].

And your next project is a children’s film?

Yes, Thomas and the Magic Railroad. It’s fantastic, fun, not talking down to kids, right level with them, and it’s perfectly cast [including Alec Baldwin].

Are you ever eager to retire from the business?