George C. Wolfe on 'You're Not You'
George C. Wolfe is a very talented man. With deep roots working on Broadway as a playwright and director, Wolfe lends his directorial skills to the silver screen in the film You’re Not You, an emotional and uplifting story about the delicate bond of friendship. Starring Hilary Swank and Emmy Rossum, Wolfe tells me in our exclusive interview that he couldn’t have been happier with his cast. Their talent is “dazzling”, but it was their shared willingness to create and open reception to suggestions that made them the “perfect actors to work with.” What struck me hardest during our talk was Wolfe's theory about the power of music in film, and life in general. His answer is extremely interesting, and gave me a new perspective on the way we interpret music. We begin:
WHAT DREW YOU TO THIS FILM, YOU'RE NOT YOU?
One- that it was about two women, and two- that they found a depth and a meaning between each other that they couldn't achieve in other relationships. I loved that, and I just wanted to see what that was like. That's what intrigued me.
YOU'RE NOT YOU WAS BASED OFF OF A BOOK, WAS THERE ANYTHING THAT SCARED YOU ABOUT DIRECTING AN ADAPTATION?
No, I mean I'm involved in a project right now that's about a book- a very famous book that everybody loves, and I went through a period of intimidation, and then thought, 'Get the hell over it.' When you read a book, you dictate your journey with it. With a film, it's telling you how you will go on the journey. So you have to be liberated and say 'Thank you for this great source material and now I'm off on my journey.'
VERY TRUE. YOUR PREVIOUS FILM, NIGHTS IN RODANTHE, WAS BASED OFF OF A NICHOLAS SPARKS BOOK. DO YOU FIND COMFORT IN THESE ADAPTATIONS?
No, not really.
[Laugh]
I don't know, I do select material but certain things come along at interesting times in one's life. I don't have any rules necessarily. I feel like if I can understand something inside of the story, then I feel as though I can help illuminate it. Like I mentioned, I was just fascinated by this incredibly intimate and powerful relationship between these two women. There are other projects that I'm working on that will trigger something in my brain that I will want to explore, and that's how I choose projects- [based off] what intrigues me as a director and an artist.
YOU'RE NOT YOU IS A GREAT STORY, BUT WHAT REALLY MAKES THIS FILM SPECIAL IS THE CAST.
Totally.
Check out our review of You're Not You here
PERSONALLY, I THINK OF HILARY SWANK AS THIS STRONG, POWERFUL WOMAN. HER PAST FILMS HAVE DEPICTED HER AS SUCH. IN THIS FILM, SHE IS SO VULNERABLE AND WE SEE A NEW SIDE TO HER. DID YOU HELP HER WITH THIS CHARACTER DEVELOPMENT?
Hilary is incredibly smart, very gifted with great emotional reserve. She did a lot of her own journey but we evolved together through this intimate and lovely way. What directors do, and what I did, is bring perspective. What was interesting, as much work as she did in the physical transformation, I helped to craft where [Swank and Emmy Rossum] were in their evolution as friends. So yes, I worked very intimately with her, but I also don't want to take anything away from the work that she did. I was just making sure that the story that needs to be told, at any given moment, was being told.
DID YOU KNOW FROM THE MOMENT EMMY ROSSUM AUDITIONED THAT SHE WAS GOING TO BE CAST?
It was one of those things where, we saw a lot of women! It was a very attractive role for very obvious reasons. During the audition, in retrospect, a kind of chemistry began to evolve between me and her, a director-actor chemistry, and one of the things that's really fulfilling is to watch that chemistry grow and grow. I adore her as an actor and I love working with her. Like Hilary, she's dazzlingly skilled.
Between takes I would go up and give Hilary and Emmy notes and then instantaneously I would see [the change]. I would drop an idea and they would let that organically emerge from the scene as if it were their choice, and that's a lovely type of actor.
I feel like if I can understand something inside of the story, then I feel as though I can help illuminate it.
YOU ALSO HAVE QUITE A HISTORY IN THEATER...
Yes, I've done 14 Broadway shows and ran the Public Theater for 12 years. So yeah, I've done a few plays in my day.
DO YOU FIND THAT THERE IS A DIFFERENCE DIRECTING FOR THE STAGE VS DIRECTING FOR THE SCREEN?
I think it can change- less so from medium to medium, but more so from project to project. I directed the first Broadway production of Angels in America and it was this [unique] robustness. It was seven hours of theater, and was [heavy subject matter], so it required certain muscles of myself. Then I did a two-character play that was much smaller, not in terms of depth. So I have to figure out what skill set I have, as a director, is appropriate for these stories.
THE MUSIC IN THE FILM IS VERY ON-POINT, EVERY CUE HAD A PURPOSE. IS MUSIC IMPORTANT TO YOU?
Very important. Of those 14 Broadway shows, I would say about half of them were musicals. Music is a language. When you hear music, you instantly trust it and then a part of you surrenders. If somebody starts talking to you, we're trained as human beings to question it, but somehow when we hear music we instantly believe it. For me, when you're working as a script-teller, you want to use music a lot because it's another way to seduce an audience into going an emotional direction.
AMAZING, VERY TRUE! SO WHAT DO YOU HAVE COMING UP NEXT?
Oh boy, well I'm working on a couple of theater projects, one of which is a stage version of Black Orpheus, and I have a couple of film projects that… we'll see, hopefully! One of the projects that I'm very proud of is that I helped to create this museum called the National Center For Civil and Human Rights in Atlanta, GA. And I'm writing a couple new plays as well. So I'm busy right now, which is good.
Review: 'You're Not You'
Hilary Swank reconfirms her place amongst Academy Award-winning actors with her portrayal of a classical pianist turned ALS victim in the film You're Not You. Based off Michelle Wildgen's book of the same name, You're Not You is both comical and touching, heartfelt and quirky, and an excellent performance piece about the power of friendship.
The film has many layers that only prove more interesting as the story unfolds. It begins as any typical rom-com does; Kate (Swank) and her husband Evan (Josh Duhamel) are hosting a dinner party with their closest friends in their architecturally-stunning home when Kate is asked to play one of her infamous songs on the piano. Suddenly, her hand begins twitching abnormally, and the screen cuts to black. At this point, it's clear that this is not a romantic comedy, but something much more.
I, like most people, am used to seeing Swank as the epitome of the strong and independent woman, so to see her so vulnerable is unexpected and powerful.
If you've read the book, you know that Kate is diagnosed with ALS, or Lou Gehrig's Disease, and is no longer able to live independently or take care of herself. Because of her restrictions, she and her husband Evan hire Bec (Emmy Rossum, Shameless), a twenty-something college student who is more interested in partying than being productive, as her caretaker. She is the manic pixie dream girl of the hipster subculture, although her character is extremely cliche, especially in the beginning of the film. Thankfully, Rossum finds the happy medium with Bec and becomes tolerable, and then extremely likable.
The first act of the film is "iffy"- I wasn't sure what direction it was headed, but Swank's fantastic character development and performance elevates the film. I, like most people, am used to seeing Swank as the epitome of the strong and independent woman, so to see her so vulnerable is unexpected and powerful. The loss of her motor skills is hard to watch, especially as she tells Bec she has "So much on the inside, but nothing comes out."
The friendship Kate and Bec develop over the course of the movie is the driving force behind the laughs and the tears; emotionally, these women grow together and the impact of their relationship on both of their lives is relatable.
You're Not You is emotionally complex and gratifying; the more the characters develop, the more we become interested in and begin to care for them. Music is also a big part of these character's lives, so those who enjoy musical subtleties with purpose will enjoy those moments. Case in point, the use of Bon Iver's Wash. will give anyone chills.
Without spoiling the end, I have to give credit to director George C. Wolfe for his choice of endings. It is the perfect summation for a film that leaves you speechless. All things considered, You're Not You is a great piece of work from all actors involved, especially Hilary Swank, and will leave you more than satisfied.
https://www.youtube.com/watch?v=SE0m-N-b1VA
Review: 'For Those In Peril'
In this rural fishing community in Scotland, the ocean is master. Respect for the sea runs deep (no pun intended) as generation after generation pass down folklore of the "devil in the ocean" to their children. This omniscient figure is the catalyst for the independent film, For Those In Peril- a surreal, slow-burning story about coping with loss and the internal struggle of letting go and moving on.
This dark drama focuses on a small community in Scotland and their inability to cope with tragedy. After a mysterious accident at sea (that is never shown, but alluded to), a town mourns for the "presumed" deaths of their friends and loved ones. What can only be assumed as a boating accident gone awry- five men are considered dead. Aaron (George Mackay), the only survivor, doesn't remember the accident or its cause and faces community backlash and resentment for his survival. Only his mother Cathy (Kate Dickie) and his late brother's girlfriend (Nichola Burley) support him as Aaron believes his brother and the rest of the crew are somewhere out in the ocean just waiting to be rescued. This stress forces Aaron into an existential crisis, and on the brink of disaster.
[George Mackay's] performance as lone survivor Aaron is powerful and raw; his pain is felt with his every move and his boy-next-door looks captivate.
BAFTA award winning director Paul Wright brings to the screen a story about love and loss while creating this ominous entity that is the ocean. Wright brings a unique voice to the film; incorporating character's "home videos" as flashbacks and subtle touches of the "found footage" technique to cinematically shake the linear story up cinematically. The dialogue was rather unconventional as well- at times, Peril feels as if it's packaged like a news story as Wright relies heavily on interviews with the aforementioned b-roll to move the story along. It's different, but it works well with this type of film.
However, an interesting story is nothing without a talented cast, and George Mackay truly carries the weight of this film on his back. His performance as lone survivor Aaron is powerful and raw; his pain is felt with his every move and his boy-next-door looks captivate.
For Those In Peril won Best Picture at the 2013 Scotland BAFTA Awards, and George Mackay took home the best actor award, as he should have. A widespread release isn't set yet, but it is showing at smaller theaters and is definitely worth seeking out.
https://www.youtube.com/watch?v=801FZ1Vxpuk
Review: 'Sewing Hope'
This gem of a movie appeared in my inbox last week while I was going through emails, and immediately I was fascinated by the woman in the picture. Her stoic face, the dreamlike quality of the color grade, and the title alone, Sewing Hope, piqued my interest. I quickly discovered that Sewing Hope recently made its festival run and doesn't have a set theatrical release date (although you can stream the documentary online, which is now available to watch). While we typically don't cover films outside of theaters, it's our mission to cover independent films, and if there was ever a socially relevant, emotionally moving film worth watching, it's Sewing Hope.
Sister Rosemary Nyirumbe is the woman in the picture and the subject of the documentary. Narrated by Academy Award winner Forest Whitaker, Sewing Hope centers around the women and children affected by Joseph Kony and the Lord's Resistance Army in Northern Uganda, and how Sister Rosemary gave these girls a second chance at life using just a sewing machine and soda can pop tabs.
"The guns have stopped firing, but the war still remains"
Recalling harrowing stories from child brides and rebels, these girls finally feel comfortable enough to share their story around Sister Rosemary. Ashamed, one admits she was forced to kill her younger sister by "cutting her up into little pieces," while another remembers the rebels putting padlocks through the lips of those who spoke out of turn. Its graphic nature is shown by animation throughout the film. Many girls admit that they will never be able to forgive themselves, and to this Sister Rosemary preaches hope- hope for today gives hope towards the future.
"The guns have stopped firing, but the war still remains," Sister Rosemary exclaims, as she introduces these girls to life skills that will help them reintegrate into society. Forever branded a "rebel" by their communities, many girls find solace at St. Monica Girl's School- the institution Sister Rosemary set up to rehabilitate and educate children.
These are powerful women; their faces show signs of heartache and sadness, but they persevere for the hope of a better life. Aside from the clothing and baked goods they make (and are subsequently sold throughout the community), Sister Rosemary has given the girls the skills needed to create handbags. They create beautiful purses made out of thread and pop tabs, which retail in the United States for around $300. The girls get paid per bag made- giving them the opportunity to decide how much money they make, but most importantly, they are instilled with a strong work ethic that will last a lifetime.
Sewing Hope is a platform to draw attention to these girls and their stories. Sister Rosemary is a fantastic subject; She became a nun at 15, stood up to Kony and the rebels, and continues to empower girls by teaching tough love, and giving them the confidence to be independent and self-sufficient. Essentially, she is giving them a future- or at the very least, giving these girls hope for a better future. Sewing Hope runs less than an hour and can be seen here: http://www.snagfilms.com/films/title/sewing_hope
https://www.youtube.com/watch?v=hUbGD6waqvs
Review: 'Fort Bliss'
If you're expecting an action-packed, high-intensity war drama, I can tell you right now, you'll want to skip Fort Bliss. However, if you're into "Lifetime Movie Network" type films about strong, independent women who struggle yet ultimately persevere, then maybe Fort Bliss is your type of movie. Maybe.
This isn't a movie about war- rather, it's about life after war. Specifically, about one woman's struggle to reintegrate herself into her son's life after returning home from overseas. Michelle Monaghan (True Detective) carries the film as Army medic Maggie Swann, who, after returning from a two-year tour in Afghanistan, discovers that the life she knew has drastically changed. Her ex-husband Richard (Ron Livingston) is now engaged to another woman, Alma (Emmanuelle Chriqui), and her six-year-old son Paul (Oakes Fegley) doesn't remember who she is.
Understandably, Maggie's confidence as a mother would be shaken given her devastating circumstance, but she never seems to come out of playing that distant mother.
Much of the film focuses on Swann's struggle to accept her new, post-war life. At one point, she has an intimate moment with her son, asking if they can start their relationship over. She playfully introduces herself ("Hi, I'm Maggie,") and shakes his little hand. This is the first major milestone in their rocky relationship. However, for all of the emotional moments that the movie tackles, there are equal amounts of lackluster ones.
Despite its positive message, I ultimately have a hard time believing Maggie's struggles. Monaghan plays the part of an Army servicewoman with conviction, but she seems to lack any and all maternal instincts upon her return from war to an unrealistic degree. Understandably, her confidence as a mother would be shaken given her devastating circumstances, but she never seems to come out of playing that distant mother. The script lacks the precise authenticity needed to give this film its staying power. It's unclear if the screenwriter (who also happens to be the director, Claudia Myers) had help from real Army veterans, but I'd bet that if she would have, the dialogue would not have been as lackluster. But perhaps that is the fault of the director. It's obvious that Myers has a personal interest in women in the military, and her casting choices for the film were great, although it lacks the substance to be a memorable war film and drama.
https://www.youtube.com/watch?v=kWLtr0xYI7E
Review: 'Keep On Keepin' On'
His music has been described as "happy jazz," and for those who know of the legendary trumpeter Clark Terry, "happy" seems like an under-sell. How about invigorating? Vibrant? Perfection? As one of America's most amorphous and celebrated genres of music, Clark Terry brings a whole new level of appreciation to the art of Jazz, which is beautifully captured in the documentary, Keep On Keepin' On. Even at 93 years young, Terry proves that no matter what life challenges come one's way, there's always peace in music.
Keepin' On not only profiles Clark but also his friendship with 23-year-old Justin Kauflin who, like Terry, is an extremely gifted musician. Kauflin is a piano prodigy, whose beautiful music is made all the more extraordinary after we discover that he is blind, and suffers from extreme stage fright.
Their perseverance is heavily coated throughout the film, one of my favorite subtleties being Justin's ringtone- Bobby McFerrin's "Don't Worry, Be Happy."
Both of their lives are full of challenges, although much to my delight, the audience is never made to feel sorry for the duo- we never feel as if they are suffering, even when going through some unimaginable hardships. They are not portrayed as victims; rather, they are pioneers for artists with disabilities. Their perseverance is heavily coated throughout the film, one of my favorite subtleties being Justin's ringtone- Bobby McFerrin's "Don't Worry, Be Happy."
The film does an excellent job of balancing the past with the present. Born in the 1920's, Clark Terry lived during the Golden Era of American Jazz and reflecting on its history is extremely interesting. For any music aficionado, watching old footage of Clark mentoring a young Miles Davis brings a smile to your face. It's obvious that even from a young age, Terry's joy came from helping other young musicians find their sound, and that is exactly what he continues to do today with Justin.
Aside from the gem of the story, the creative team behind Keepin' On is another reason for its successful outcome. The film was produced by Quincy Jones (a former Clark Terry student) and Paula DuPré Pesmen, whose previous films include the Academy Award-winning documentary, The Cove. In an interesting and humbling turn, Director Alan Hicks is not only a fan but a former student of Clarks'. As a drummer in Clark Terry's ensemble, Hicks makes the most of his "backstage pass" by getting unusually intimate footage of Clark in what would otherwise be an extremely vulnerable state.
Clark and Justin's unique bond is a special relationship to watch on-screen; they are best friends, mentors, and motivators. Their complications do not deter them, rather, it drives them further into the need for perfection (a lesson in perseverance many will take away at the film's close). Keep On Keepin' On is a testament to the power of music and how, in the right hands, it can truly change the world. A statuesque shot of Terry, a toothpick hanging from one corner of his mouth and a trumpet on the other is one shot from the film that is still in my mind, and I never thought I'd have the journalistic opportunity to say this, but Clark Terry is one cool cat.
https://www.youtube.com/watch?v=ndpos0P7F0o
Review: 'The One I Love'
"I don't wanna be perfect, I wanna be us."
I'm just going to come out and say it- after I heard that line, I knew that The One I Love would be one of my favorite films of the year. Wrapped up in what might typically be conflicting genres, the film succeeds in playing to both the "romantic comedy" and "sci-fi" audiences. As someone who can't help but root for the underdogs, I found inspiration from its "Little Engine That Could" film-making attitude. A truly independent film, director Charlie McDowell takes the simplicity of the script and creates a rich and colorful world that is sure to leave audiences affected.
For our interview with Mark Duplass and Elisabeth Moss, click HERE.
Relationship pitfalls and insecurities in movies are some of the most commonly seen story lines, and making them seem believable should be considered an art. In that sense, McDowell is an artist- in pairing up indie funny man Mark Duplass with Mad Men's Elisabeth Moss, this unlikely screen duo play off of each other's energy, which is sure to leave audiences mesmerized by their standout performances. They act alongside each other as husband and wife (almost) the entirety of the film, but not once does their presence dull or feel worn out.
Every person who watches it will take away something different, but all would argue it feels extremely personal.
Duplass plays Ethan, who is struggling to maintain his relationship with his wife Sophie, played by Moss. They seek counseling from their couples therapist, played by Ted Danson, who recommends the pair take a retreat to a beautiful vacation house, the ideal place to work out problems and fall in love again. Heading this advice, Ethan and Sophie find themselves in paradise and soon begin to reconnect. However, not everything is as it seems- upon realizing suspicious activity from the guest house, Ethan and Sophie are forced into self-reflection, for the first time acknowledging whether or not they have been living as who they want to be, or who they actually are.
This meta-eqsue situation fuels the rest of the film, creating a palpable tension that completely pays off in the film's ending. The One I Love touches on the cynical side of relationships that we have all felt at one point, but couldn't find the words to express them. Feelings of being in a relationship, but still feeling alone, is the most pertinent. Every person who watches this film will take away something different, but all would argue it feels extremely personal. Not only is this a well-executed film, it may be a therapy session you didn't know you needed.
For our interview with Director Charlie McDowell and Writer Justin Lader, click HERE.
I would be extremely humbled if I was McDowell; The One I Love is his directorial debut and from the very beginning, it has been met with positivity. His ability to take a light script and turn it into a heavy, philosophical, and extremely deep film is beyond talented. It's evident that most of the script was left open to the actor's input, as McDowell and screenwriter Justin Lader encouraged Duplass and Moss to improvise most scenes. This creates natural and organic dialogue that produces vulnerability within the characters.
Part of the film's brilliance evolved after it wrapped, and was due to the reaction from its Sundance premiere. As journalists wrapped up their positive reviews, a truly unique thing happened- no one wanted to spoil the ending. Even when I attended the screening a month ago, I was under a strict embargo to not discuss the film or its plot. At first, I didn't understand why, or bigger yet, how I was going to write a review about a film I couldn't freely discuss. However, after the screening, it became clear to me that the only way to get the best experience is going into it completely unaware. So for the sake of the filmmakers, the movie, and your own enjoyment, I can only highly recommend you see it for yourself.
https://www.youtube.com/watch?v=aH_4yfB-6vg
Mark Duplass and Elisabeth Moss on 'The One I Love'
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The room silences when Mark Duplass and Elisabeth Moss walk into it, dressed just as they are in the picture above. Nice, but comfortable- their personalities shining through the button up shirts and pinkish shade of lipstick. The publicist asks all journalists to go around the room and state their name and outlet. "Morgan Rojas, for CINEMACY," I declare proudly, as Duplass and Moss smile. This is the beginning of our conversation about the not-so-average indie film The One I Love, whose plot has been forbidden to talk about. Avoiding the main themes of the film, we find plenty more to discuss during our time together, which is both enlightening and obviously hilarious. We begin:
MARK, I CALL YOU THE KING OF INDEPENDENT FILM...
MARK DUPLASS: I'll take that!
[Laughter]
I really appreciate all that. The only thing I think [I] have to offer, for better or for worse, is that [my brother and I] are known as the people who, if you can't get your movie made for a lot of money, you can always make it with [The Duplass Brothers] really quickly and really cheaply. We can promise you two things: You'll be broke but you'll get to make the movie you want to make. That's basically what we did here. I met Charlie and Justin at a time when they were struggling to get the "old version" of the independent film model made- that $5 million indie that's just not being made. I brought them this very tiny concept and they fleshed it out into a really interesting, odd, romantic comedy.
DID YOU THINK THE MOVIE WOULD HOLD ITS SECRET REVEAL UNTIL THE RELEASE DAY? WAS THAT PLANNED?
ELISABETH MOSS: We didn't ask for that- we thought that everybody was just going to be talking about it right off the bat and then these critics came out with their initial reviews from Sundance, saying 'We really like this movie, we kind of don't want to tell you what happens,' and I think it gave Radius TWC and the producers this idea of, 'Wait, can we do this? Can we actually get people to just go watch the movie and have the experience that they're supposed to have,' which is almost an old fashioned idea.
MD: This movie was made with a bunch of limits in mind, and one of those limits was, a couple of characters, a couple of locations, and let's see how creative we can be with very limited resources...With Lizzie on board, she became quite the defender of the female voice of the film.
ELISABETH, HOW DID YOU ENJOY IMPROVISING?
EM: I love working on Mad Men and it's probably always going to be my favorite job, but you can't always just do the same thing over and over, so it's nice to have this freestyle atmosphere where you feel like everything you say is listened to, or an idea you have while you're sleeping or in the shower is something that could end up being in the movie. I haven't really had that experience [before], so for me it broadened my horizons in a way that I really enjoyed... I was nervous about the improv at first, but I trust Mark. My favorite scene in the movie is completely scripted.
WHICH ONE?
EM: Can't tell you!
WHAT WAS IT LIKE TO SHOOT THE FILM IN ONLY 15 DAYS?
EM: Mark is more used to it than I am...
MD: We had spent time together socially, we had pizza and beer together a couple of times and I knew- she's an emotionally involved person, a student of the human condition, she likes people, she's open minded- She's going to be great. Thank God I wasn't wrong because it would be really weird to fire your ass.
[Laughter]
EM: But this wasn't one of those, I had done Get Him To The Greek where it's so much about the punchline and the joke and making people laugh, and this wasn't necessarily that. This wasn't supposed to be every improv had to end in a joke... this was about making it real. Once I settled into the fact that I just had to be real, I wasn't nervous anymore.
MD: And it's not like we were anchor-less, the script was so well constructed in terms of the plotting and how [the characters] were feeling and what they were doing. It was everything but the dialogue.
I think it gave Radius TWC and the producers this idea of, 'Wait, can we do this? Can we actually get people to just go watch the movie and have the experience that they're supposed to have,' which is almost an old fashioned idea.
HOW DIFFICULT IS IT TO ACT WITH JUST ONE OTHER PERSON ON SCREEN?
EM: Being asked that question was the first time that ever occurred to me, I did not feel like it was weird at all. Maybe we were moving too fast, there was so much work to do all the time. I didn't feel limited by it at all. We barely had enough time to tell our story, so I was happy there weren't any other actors there stealing our screen time.
[Laughter]
MD: Yeah, Lizzie's like, 'I'll do this movie, but only if you're the only other person in it!' No more people!
EM: I no longer work with more than one actor.
[Laughter]
MD: I felt similarly, it wasn't a lonely experience. We're playing so many different shades, so much was asked of us as actors in this movie so it was hard enough keeping up with just the one character.
HOW DID YOU APPROACH YOUR CHARACTER?
EM: A good way to talk about it, without giving too much away, is the person that you present as yourself at the beginning of a relationship as opposed to the person that you end up becoming, which is really the person that you are, and we explored that so much in our initial conversations and getting together and talking about everything. On set everyday, we were just trying to figure out what was the ideal person. What are those qualities that everyone is looking for... what are the faults this couple has? There was all this exploration of the ideal traits that you would want in a partner, and it provided for a lot of interesting conversations about men and women and what men think that women want in men, and what women actually want in men, which is apparently really different.
[Laughter]
MD: You say that but I'm not so sure...
WHAT DID YOU LIKE ABOUT YOUR CHARACTER?
EM: It's funny, in a way there are parts of her that are the most similar to me that I've ever played, which you would think would be easy but in a way it's actually a challenge to allow yourself to bring [out] those parts of yourself- you tend to hide behind characters, so in a way it's challenging to actually have to be yourself a little bit. Then, of course, there were elements that were very different than me.
[My character] is like any girl in a relationship trying to figure out whether or not she should stay or she should go, whether or not this is working. Should she fight for it, or cut her losses and go find someone better, and I think man, women, whatever, we have all been there at some point in relationships and I really identified with that. That's why I think couples and people seeing this movie will identify with it when they see it.
MARK, WHAT WAS IT LIKE NOT BEING THE DIRECTOR ON THIS FILM?
MD: One of my favorite things to do is produce and act in films that I'm lucky enough to have a creative hand in, and shepherd filmmakers like Charlie and Justin into a new way of making movies cheaply and fun like I do, but then at a certain point take the training wheels off and be like, 'It's your movie guys, I'll support you when you need it,' but they were so great at taking the reigns from me. In that way, it's the difference between being like a parent to children that you constantly have to worry about and look out for. This is more like being the fun, drunk uncle that comes by who plays with them for a few hours and then is like, 'Ok, your problem now, I'm going home.'
HOW WAS CHARLIE AS A FIRST TIME DIRECTOR?
EM: I've seen plenty of people who have professional actors as parents and they aren't good at what they do, and I think [his upbringing] allowed Charlie to have that sense of comfort as far as being physically on set, but that doesn't make you a great director. I think his own talent has given him the chops for this job, wouldn't you agree?
MD: I totally agree, and I would say it was really fun to watch Charlie tell his stepdad what to do. It's always nice to see a little role reversal.
ONE SPECIAL MOMENT IN THE FILM FOR ME WAS THE LINE, "HAPPINESS IS SOMETHING WE HAVE TO RECREATE," WHAT WAS HAPPINESS FOR YOU ON SET?
MD: I know what it was for you (points to Moss).
EM: Hahah!
MD: Playing Catch Phrase after we shot.
EM: Yeah!
MD: We all lived and shot in the same location, so we'd have a big dinner together outside with our whole 25 person cast and crew. We would have diner, we discussed what we shot, what needed to happen tomorrow, down a couple bottles of wine and by the time we got a little too drunk to actually discuss the movie, Catch Phrase would come out, and Lizzie would lead these epic, epic rounds of Catch Phrase.
EM: Oh, it was so much fun.
MD: I never outlasted you, I was always in bed first.
EM: Yeah, cause you're a professional.
[Laughter]
EM: Then I took it to Mad Men and they became obsessed with it and we played it the entire last season.