SANTA BARBARA - As "Argo" star and director Ben Affleck took the stage of the Arlington Theatre last night to begin a two-hour Modern Master Award fete at the 28th annual Santa Barbara Film Festival, he settled into that on-going self-effacing tone immediately. "Ben Affleck, career retrospective," he said. "That could go one of two ways."

Indeed, the usual reminder reel of accomplishments that kicked off the evening was set to the Foo Fighters' "Walk," with lyrics ringing a note of redemption: "I think I lost my way," "getting good at starting over," "learning to walk again," "I believe I've waited long enough, where do I begin."

And maybe that angle is slightly played out to some at this point. How much can you really feel for a millionaire who cashed in early on and wants to be taken seriously as a craftsman now? That's a point of view for the cynical, though.

Affleck, who talked with moderator Leonard Maltin about getting the acting bug early and relishing the responsibility and commitment of the job, said he was pulled aside once and given a speech of encouragement by an acting mentor that has stuck with him and gave him a leg up into the early stages of his career. Lately, as he's looked to transition from tabloid beefcake to respected filmmaker, another vote of confidence wouldn't be misplaced. And that's what he's been getting every step of the way this season -- well, from everyone save the Academy's directors branch.

Clips were shown in pairs throughout the evening, and the first tandem included Richard Linklater's "Dazed and Confused" and Kevin Smith's "Chasing Amy." Affleck noted the striking difference in the two filmmakers' approaches, how Linklater is open and fluid with improvisation and putting yourself into the role, yet Smith is so passionate about the words on the page and their power if delivered properly.

Quickly the discussion transitioned to Affleck's breakout, "Good Will Hunting," and how it came to Gus Van Sant via Robin Williams. Affleck and childhood friend Matt Damon wrote the script and were considering directing it themselves at a very low budget. Williams was working on an early incarnation of "Milk" with Van Sant called "The Mayor of Castro Street" and there's the connection. Like he would all evening, Affleck noted lessons learned from filmmakers that he would take to his own career in the director's chair.

"In retrospect, it's been clear to me that Gus brought a lot of maturity to that movie," Affleck said. "It could have been really adolescent if he hadn't pulled back on some things."

The "Good Will Hunting" clip was paired with a clip of "Armageddon," which Affleck said was a role he took because, point blank, he wanted nothing more to be in a "real Hollywood movie," the kind that he and his friends might have watched back at the Somerville Theatre in Boston while they were growing up. "A movie people would actually see, in essence," he said. And that, of course, launched his time in the blockbuster trenches. He marveled at how you could make 400 "Chasing Amys" for one "Armageddon" and that the money being spent on these projects was just "madness."

Films like "Pearl Harbor" and "Daredevil" would follow, but always sprinkled in throughout would be work in things like "Boiler Room" and "Changing Lanes" and "Shakespeare in Love." He wanted desperately to be a part of the latter because Tom Stoppard's script was the best he had ever read, but his career nevertheless bogged down in things like "Gigli" and "Survivng Christmas" (neither of which was uttered during the evening).

Then came the transitional point in the middle of the last decade. "Hollywoodland" was a project Affleck took very seriously. "It meant a lot to me," he said. "I worked really hard on it and felt intensely responsible to get it right for the George Reeves." The actor would listen to old "Superman" broadcasts on his iPod while working on Allen Coulter's film, marinating in the role, desperate for a change in his life. And that desperation would soon give way to a stab at directing.

"I got really overexposed and sick of the paparazzi scene," Affleck said of the years leading up to "Gone Baby Gone," his directorial debut. "I was getting disillusioned. The only thing I knew how to do was withdraw myself from this circus. And I was thinking about this movie. I didn't want to be in it, to spare myself the ugly exposure. And we just went off and made it."

He was terrified, he admitted. And he fretted over how to gain the confidence to tackle the job of directing a film. He reached out to some actor/director friends and acquaintances like Kevin Costner and George Clooney, but he got the best piece of advice from Warren Beatty. "He said, 'Look, look, look,'" Affleck recalled. "Have you ever been on a movie, looked over at the director and thought, 'If this fucking guy can do it…'" Say no more, Affleck thought.

Kristopher Tapley has covered the film awards landscape for over a decade. He founded In Contention in 2005. His work has also appeared in The New York Times, The Times of London and Variety. He begs you not to take any of this too seriously.