Review: 'Third Person'
"Watch Me."
These first words, hauntingly spoken by a young boy we never see, sets the tone for the much anticipated follow up to Oscar-winning director Paul Haggis' film Third Person. Haggis recycles and builds upon the formula which brought him success with the 2004 Academy Award winner for Best Picture, Crash- a multi-storyline formula that saw a divide between audiences. Either it was too predictable, too unrealistic, or just too confusing. However, Haggis' vision is clear in Third Person, as much more of the film is left up to audience interpretation. Is it ambitious to attempt another film in this style? Absolutely, but with an obsessively creative genius at the helm and a cast of genuine A-List actors, Third Person is a rich cinematic experience.
"Watch me," the boy says, as the film opens on Liam Neeson (Taken, The Grey) sitting in solitude at a desk in his Paris hotel room. Neeson plays Michael, a former award-winning fiction author whose personal life has come crashing down around him. After leaving his wife Elaine (Kim Basinger- L.A. Confidential) he escapes to Paris to finish a book he's having trouble finishing. His affair with the sexually brash and aspiring writer Anna, played by Olivia Wilde (Rush, In Time), messes with his mind and his heart.
In Rome, an American con-man is finalizing a deal to bring copy written fashion designs back to the USA for reproduction. Scott (Adrien Brody- The Pianist) spends his last day in the city at a local bar where he meets a beautiful gypsy woman, clearly distressed. Monika (Moran Atias- The Next Three Days) tells Scott she is reuniting with her daughter, whom she hasn't seen in two years. Something about her seems off, but Scott's intrigue brings him to follow Monkia on a journey that leaves him questioning her intentions, and whether or not he is being conned himself.
Our last story takes place in New York- Julia (Mila Kunis- Black Swan) has fell from grace and is struggling to make ends meet. A former soap opera actress, Julia now works as a hotel maid to pay rent and rising legal fees, as she's currently fighting a custody battle with her ex-husband Rick (James Franco- 127 Hours) over their 6 year old son. A prior event that isn't seen in the film concludes that Julia tried to physically harm her son. Denying any wrongdoing, Julia and her lawyer Theresa (Maria Bello- A History of Violence) do what they can to reunite her with her son, but it's not without complications.
The "aha" moments aren't as spelled out as they were in Crash, forcing audiences to come to conclusions on their own as opposed to being force feed, a directing style I appreciate.
I walked away from this screening thinking "Crash meets Memento." The imagination teeters on delusion at times and much to the story's benefit, it's hard to differentiate what is in fact reality. The script is well fleshed out and does not present any conflicts that could easily arise when dealing with overlapping plots. The common threads that weave through each story- themes of love, longing, and betrayal, are equally strong. Whether in Paris, Rome or New York, every character struggles with a cat-and-mouse game these themes create. The "aha" moments aren't as spelled out as they were in Crash, forcing audiences to come to conclusions on their own as opposed to being force fed, a directing style I personally appreciate.
Michael's story is more of the focus throughout the movie. Not so much the puppeteer, but he is the driving force for the movie; He feels through the characters he creates in his stories. The other characters feel through their own personal experiences, a differentiation worth acknowledging.
The actors appearing in this film are all extremely talented and Third Person gives them the platform to explore very different roles. Liam Neeson's last films have been very physical and tough, whereas here, his dramatic acting skills are on full display. He can't and doesn't hide behind stunts. Mila Kunis is known for her girl next door, humorous roles. As Julia, Mila taps into a dark, emotionally unstable and extremely vulnerable girl who's performance is captivating. Other great performances come from Olivia Wilde as the sexual temptress, who leaves little to the imagination as she confidently bares all in more scenes than one. Maria Bello fully embodies her role as a lawyer in the same way Adrien Brody plays the caught-up tourist- both with passion and empathy.
Technically speaking, Third Person is a well executed film. The edit is seamless, editor Jo Francis cuts to the mood/ location/ action of the film in just the time it takes for us to blink our eyes. It's subtle, but extremely powerful. The score is highly cinematic, to be expected with any surreal drama.
Who is, or what is, this mysterious "third person" is never literally answered, but it's not hard to fill in the blanks with the breadcrumbs Haggis leaves throughout the film. I choose to believe this "third person" is the environment, the element in which our characters respond. Paris is the city of love, yet Michael is caught struggling to understand his feelings about the women in his life. In many successful films past, like The Talented Mr. Ripley and The Bicycle Thief, Rome is the setting that is predisposed to mystery, and Monika is an enigma to Scott. For many, the concrete jungle that is New York City creates a cold vibe- not welcoming and easily depressing. Julia has hit rock bottom and her internal woe adds to desperation and overwhelmingness of the city.
For fans of the cerebral drama, you'll find much to like in Third Person. The cast could not have been better, pushing this already intense script into very strong territory. It requires audience participation, or at least, attentiveness, to fully understand and appreciate the film, but if you're willing to put in the work, the reward is extremely gratifying.
https://www.youtube.com/watch?v=kDR5HYay2X4
Review: 'Supermensch: The Legend of Shep Gordon'
Shep Gordon is probably one of the most legendary men in Hollywood that you've never heard of. His work as a talent manager brought rocker Alice Cooper to stardom, as well as the likes of Blondie, Luther Vandross, and Raquel Welch. Not only is Gordon a natural businessman, but his infectious humor and genuine personality made him a friend of celebrities all over the world. From partying on the Sunset Strip to meditating with the Dali Lama, Shep Gordon has seen and done it all, making for a wild life story. Now, in funny man Mike Myers' (Austin Powers) directorial film debut, he turns the camera on one of the industry's most respected and insightful figures in the hilariously moving documentary SUPERMENSCH: The Legend of Shep Gordon.
A "Mensch" is the Yiddish term for a person of integrity, and that's exactly what Shep is- only more "Super." Shep recalls the moment his career took off in 1968; less than 24 hours after moving to Los Angeles, Shep finds himself staying at a hotel in the heart of Hollywood. He hears the screams of a woman, high pitched and loud, and thinking she is being attacked, Shep runs from his room down to the pool where he sees two people rough housing… or so he thinks. Turns out, it's Jimi Hendrix and Janis Joplin, and they weren't fighting (if you catch my drift). Joplin then punches Shep in the face for disturbing her and Hendrix. After clearing up the miscommunication, Hendrix and Joplin welcome Shep to LA with open arms, giving him the idea to go into talent management. The rest is Hollywood history that only the glamorous city could write.
Stories like these are just the beginning of the documentary's entertaining journey. Mike Myers' ability to capture Shep's essence on screen is reinforced with interviews from his famous friends, including Alice Cooper, Michael Douglas, Sylvester Stallone, Willie Nelson, Anne Murray, Chef Emeril Lagasse and many more.
Supermensch plays more like a tribute film than an observational one, so what it lacks in depth, it makes up for in light-heartedness and simplicity.
Kudos to Myers for creating an engaging story with eclectic antidotes while still keeping a singular narrative. The film remains cohesive throughout its entire 80-minute runtime. Because of pop-culture societies' overwhelming affection towards Shep, Supermensch plays more like a tribute film than an observational one, so what it lacks in depth, it makes up for in light-heartedness and simplicity.
With his Larry David resemblance, Shep is described as a "compassionate motherf**ker," who has remained grounded since the beginning of his career. Myers shows the glitz, and Shep talks about the glamor, but deep down we discover what really drives Shep: family, or rather, the pursuit of one. Even today in his old age, he still wants a biological child. It's heartbreaking to see a man who so seemingly has it all, except for the only thing that really matters: unconditional familial love.
However, Shep himself is the first one to say he still considers himself lucky. A particularly memorable quote is expressed towards the end of the film; reflecting on his life thus far Shep reminds himself, "Be careful what you complain about when you're damn lucky."
Even if they're not biological, Shep Gordon has certainly made a family out of his A-list friends. This is a man very deserving of a documentary and Mike Myers does a great job of bringing Shep's story to life in a truly entertaining and informative way. It's lighthearted, funny, and just the right amount of wrong to make for one memorable movie and life of Hollywood's beloved super-mensch.
https://www.youtube.com/watch?v=Zd0VOkPOrV0
Review: 'We Are The Best!'
Stockholm, 1982. A soft-spoken thirteen-year-old girl named Bobo painfully sits through another family function, all the while wishing she was hanging out with her only friend, the confident, mohawk-sporting Klara. Their bond is a special one- being dubbed outcasts from society, the girls don't mind the judgement. In fact, they welcome it. Together, they raise chaos at their middle school with their mature looks and "anti-everything" attitude. These girls are punks, rebels without a cause, and the protagonists of the acclaimed Swedish drama, We Are The Best!
Bobo (Mira Barkhammar) and Klara's (Mira Grosin) androgynous looks draw criticism from their peers, but it's no concern of theirs. The only thing on their mind is building their punk band, consisting only of the duo at the moment. Lacking any talent, they look at Hedvig (Liv LeMoyne), the blonde haired Christian "good girl" who catches their attention at the school talent show with her classical guitar training. Bobo and Klara befriend Hedvig who, hesitant at first, agrees to join their band and enter their world.
The casting could not have been better, and considering this is the feature film debut for all three actors, it amplifies the film's authenticity and heart.
A unique and engaging concept for a film, director Lukas Moodysson relates the present day feelings of social awkwardness and teenage angst with the rebellious musical scene of the eighties. This is no "Josie and the Pussycats," these girls are the epitome of badass: buzz cuts, Doc Martens and tattered sweaters are their shared signature style. Even with their disheveled exteriors, their look is so unique and naturally beautiful, we can't help but instantly fall for them.
We Are The Best! hits all of the right notes A quick paced story told in Swedish with English subtitles is met with that hand-held camerawork you'd want and expect from an artistic film with edge. The casting could not have been better, and considering this is the feature film debut for all three actors, it amplifies the film's authenticity and heart.
The talent is obviously there, and director Lukas Moodysson's ability to connect with his cast is evident by the quality he's produced.
We Are The Best! was a huge hit during the 2013 festival circuit and it's obvious why. This grungy story of friendship and self-confidence is both inspiring for an audience member as it is completely satisfying as a critic.
Playing in only a limited release, the film opens today at the Nuart Theatre in West L.A. and the Angelika Film Center & Elinor Bunin Munroe Film Center in NYC.
https://www.youtube.com/watch?v=Xtd5A9hnjaU
Review: 'Night Moves'
For me, a good thriller finds the balance between anticipation and intrigue, always keeping one step ahead without relying on quick edits to make the audience jump. Rather, by crafting a gripping story to build a giant crescendo that leaves you thinking about the consequences of even the best of intentions, director Kelly Reichardt creates an arrestingly suspenseful film with Night Moves.
Reichardt's latest finds it's lead in Josh (Jesse Eisenberg), an organic farmer in a picturesque, rural Oregon town. His awkwardness in social settings is brought out through his friendship with Dena (Dakota Fanning), a moody yet articulate outcast. Together, Josh and Dena have set a plan in motion that, unknown yet to the audience, seems elaborate and highly illegal. They meet up with Harmon (Peter Sarsgaard) the alpha male and obvious ring leader, and with a speed boat, a couple hundred pounds of explosives and a countdown clock, the trio set off into the night, determined to make a statement about the supposed environmental & social injustice going on around them by plotting to tear down an Oregon water dam.
The first act of the film is building the anticipation for the elaborate plan. The second act, and in my opinion the more heart racing part, is dealing with the aftermath.
Reichardt keeps the look and tone of the film cohesive by creating a very natural aesthetic. From the obvious beauty of the location to the way Eisenberg and Fanning effortlessly interact with each other, nothing seems forced or pressured. Night Moves is not a thriller just for the sake of it; the depth of the story is a psychological drama whose tension continues to build until the very last frame.
The first act of the film is building the anticipation for the elaborate plan. The second act, and the more heart-racing part, is dealing with the aftermath. Consistently looking over your shoulder. Never being able to take that long, deep breath. Not trusting anyone. These feelings Josh and Dena struggle with are all too palpable, and their consciously understated Ying/Yang relationship hits the perfect note.
Captivating performances from Jesse Eisenberg and Dakota Fanning propel Night Moves into a league of its own, whose tension is felt romantically, ethically and emotionally. This struggle between right vs wrong and staying true to your beliefs, even if they are crazy & radical, is what makes Night Moves a knockout thriller from Kelly Reichardt.
https://www.youtube.com/watch?v=s7-VqKLYZks
Review: 'The Angriest Man in Brooklyn'
On paper, this film seems to have all of the elements of a successful comedy, so it's no question that I walked into the screening with high expectations. It's been a while since Robin Williams was last seen on the big screen and emphasized by the fact that co-star Mila Kunis is always solid comedic relief, it seemed like a no-brainer for potential indie gold. Unfortunately, as I found out very soon into the film, The Angriest Man in Brooklyn is anything but.
Henry Altman (Williams) is an angry man. Living in New York City where nothing seems to go his way, his temperament gets the better of him and causes him to lash out at family, friends, and random strangers. During one particular fit of anger, Henry finds himself at the doctor's office, where substitute doctor, Dr. Sharon Gill (Kunis), has the unfortunate task of diagnosing Henry with a brain aneurysm. Just like a toddler throwing a tantrum, Henry demands Dr. Gill tell him exactly how much time he has left to live, and despite her admittance to not knowing, Henry continues to yell and scream. Fed up, Dr. Gill blurts out "90 minutes," and Henry's life (so he thinks) is changed forever.
The Angriest Man in Brooklyn is surprising, but for all the wrong reasons. Starting with the crew, director Phil Alden Robinson is the Academy-nominated director of the Kevin Costner baseball winner Field of Dreams and the cult classic Sneakers. His experience alone should have propelled the comedic vet Robin Williams and Mila Kunis' performances into genuinely memorable moments, however, the lack of authenticity and passion by all parties is very apparent; it's hard to root for a film that doesn't even seem to believe in itself.
I'm guessing all those involved in this film are hoping for The Angriest Man In Brooklyn to get quickly swept up under the rug and forgotten amongst the flood of soon to be released summer films.
The lazy attempt this film makes to be taken serious as a comedy is transparent. For starters, the jokes are poorly set up which results in a lack of laughter (and for a comedy, that's obviously not good). The sentimental moments seem off-timed and out of place. However, solid performances from Peter Dinklage and Melissa Leo help balance out the kookiness of Williams' character. I'm guessing all those involved in this film are hoping for The Angriest Man In Brooklyn to get quickly swept up under the rug and forgotten amongst the flood of soon to be released summer films.
If a different editor was attached to the project, I'd be curious to see how this film could be reworked. The potential is there, but it just doesn't quite make the cut here. Although, I have to give credit to Kunis- any actor that can pull off a half believable performance in front of a completely obvious green screened New York City bridge deserves acknowledgement.
There's no denying the film is getting a lot, and I mean A LOT of negative press and I hate to jump on that bandwagon, so here's a positive takeaway. Criticism aside, The Angriest Man in Brooklyn does provoke thought through Henry's character. We internalize his existential crisis, asking ourselves 'What would we do if we knew when we were going to die?' We may not have the perfect answer to this question, and to each his own, but one thing's for sure; I'd be disappointed if this was the last film I saw.
https://www.youtube.com/watch?v=PyR0gm36oOM
Kevin Spacey on 'NOW: In the Wings on a World Stage'
There aren't many people who can command a room by simply walking into it. With his reddish chambray button-down shirt, grey suit, Boston Strong woven bracelet, and a backpack of tennis rackets, Kevin Spacey is the epitome of cool.
Swiftly walking to our table, he sets his bag down and looks each of us in the eye as if to imply that these next twenty minutes are going to be both enlightening and fun. During our conversation, I notice that his answers aren’t just responses, they are stories, each one more vivid and colorful than the next. Even off camera, or stage, in this case, Kevin Spacey is a storyteller at heart, engaging and captivating our intimate roundtable, talking to us as if we are his fellow champions rather than “critics.” Spacey plays the devilish Richard III in the Sam Mendes directed play NOW, and it's for this reason why we're gathered together today. As excited as I am to hear about Spacey's experience traveling cross-country with a theater troupe performing one of Shakespeare's most notable works, there is so much more I wish I could ask him about his entire career (although I don't think his team would allow me the required twenty hours to do so). We do manage, however, to get in a few good questions about Francis Underwood and House of Cards, and the stories don't stop. We begin:
WHEN YOU DECIDED TO DO THIS PRODUCTION AND TAKE IT AROUND THE WORLD, AT WHAT POINT DID THE IDEA OF DOING A DOCUMENTARY COME INTO PLAY?
The conversations started a little bit with Sam Mendes [play director] in the first year of The Bridge Project. There were 3 seasons where Sam directed 5 productions… Richard III was the final. We started talking in the first season, I think it was probably after I went to Epidaurus to watch Simon Russell Beal do The Winter’s Tale and I was like, ‘Oh my God, whatever we do, we have to bring it to this theater. This is the most unbelievable theater.’ And then I said, ‘Maybe there’s a way we can capture this experience’ because… it’s probably been about 35 or more years since a theater company has gone around the world and done this kind of tour. It just isn’t done anymore. So then Jeremy [Director]… came to me and said ‘I think you should document this’ and I was like that’s exactly what Sam and I have been talking about. I was quite reluctant about what “it” was going to be, to give parameters and say ‘this is what we’re trying to do,’ it was more like ‘Just fucking capture it!’
When I was shooting last season on House of Cards, Jeremy and our editor came to Baltimore and for 11 weeks we cut what is now the film.
WAS THERE A PERIOD OF ADJUSTMENT FOR THE ACTORS TO GET USED TO THE CAMERAS?
There were some at the very beginning, like Gemma Jones, never wanted the camera in her face. She was like ‘Get that fucking thing out of my face.’ She was very clear about it. But, as time went on, she started to get to know Jeremy and she likes the boys as you get from the film. So she started to soften up and then by the time we’re halfway through she’s lifting up her skirt.
[Laughter]
Also, people didn’t know what it was for. It was never like, ‘Ok this is going to be a PBS documentary, or it’s gonna be on HBO… we just literally didn’t know how it was going to end up being and then how it was going to end being distributed if at all. It could have been just a very expensive home movie.
DID YOU FILM THE PLAY IN ITS ENTIRITY?
It wasn’t designed that way… and it wasn’t what we set out to do.
WHAT ABOUT THE EPIDAURUS EXPERIENCE?
I have to say the Epidaurus experience was unparalled; no experience I ever had in a theater has ever been quite like it. To rehearse in that space over a number of days was quite remarkable, but it’s a very, very different venue when it’s empty than when it’s full. The first time I saw it full was when, well, we had to wait for it to get really dark, it was like 9:15 at night when we could actually start the play. Also because you can’t get 14,000 people down to the bathrooms in less than 2 hours- there was no intermission in Epidaurus, we did it straight through. I remember I was backstage and the green light goes on and that’s your cue to walk out the door, and I remember I scurried across the stage and sat down in the chair and I went like this…
[Slowly raises his head towards the sky]
And I went [giant gasp] ‘ohhhhh fuck.’
[Laughter]
And Sam Mendes said to me after that performance, ‘Oh my god, it was the most terrifying thing to watch you for like the first half hour because you were like, breathing for four people. Literally, I looked up and it was like a wall of people, a human wall that went as far as you could fucking see.
It took us 2 performances to learn how to play that space. I guess I should explain that the difference in playing different theaters is that it's all about how you hear your own voice. That's what acoustics are. Acoustics are about measuring how much energy and vocal power you need to be heard and the only way you can measure that is when you hear your voice back. The audience sucks up a lot of that vocal power but in a place like Epidaurus, which has been built by geniuses, the human voice can carry all the way to the top. I had friends who came and, one night, sat very close and sat at the very top the next night and said they could hear better up there than the could [up close].
YOU'VE WORKED WITH SAM MENDES BOTH IN THEATER AND ON FILM, DOES HE CHANGE HIS DIRECTORIAL STYLE WITH THESE DIFFERENT MEDIUMS?
What was great about Sam when we first worked together was, even though American Beauty was his first film, he took the best of theater and applied it to making a movie. So we rehearsed it for 2 weeks like a play with the entire cast. Everybody was there, no matter how big or small the parts were. We taped all the sets out on this big soundstage and we rehearsed every single scene, so by the time we got to the set, we knew what we were doing. We had answered the big questions. We were ready to work and discover it on film. [Sam] is also one of those rare directors who not only give you a great direction, but they know when to give you that great direction. There are times when I would have been doing something for weeks in a particular way and then in the third preview Sam would go, 'I think tonight we try it this way, I don't think the way you've been doing it is right' and I'd go, 'Well didn't you fucking tell me that sooner!' He'd be like, 'It's because you wouldn't have been able to take the note 6 weeks ago, but now you can. You understand more now than you did then.' It's about a director watching how actors are developing and shifting and changing and when they're ready for a note, he brilliantly knows how to give it to you.
IT'S NOT UNTIL I SAW THIS MOVIE THAT I REALIZED THERE IS A CORRALATION BETWEEN FRANCIS UNDERWOOD [HOUSE OF CARDS] AND...
Not just a correlation! Michael Dobbs [author of the original novel] based the character of Francis on Richard III. That's why direct address exists in House of Cards. I know a lot of people think Ferris Bueller created direct address…
[Laughter]
But he didn't. There's a guy named William Shakespeare and he invented direct address in this play. That's why, for me, it was this amazing circumstance that I closed this play in March of 2012 and on April 28th, I started shooting House of Cards. I cannot tell you what that meant for me in terms of how I approached House of Cards.
DO YOU THINK YOU COULD HAVE DONE HOUSE OF CARDS WITHOUT COMING OFF OF RICHARD III?
I don't think I could have done House of Cards if I haven't spent the last 10 years doing theater. Absolutely… There is no doubt that both of these characters are investigations into the quarters of power, into the nature of power, and that they're both characters that have such a remarkable ability to predict the way someone will respond, that they're able to be 16 moves ahead in the chess game. That's why they generally get what they want.
When it came time for me to start doing the direct addresses in House of Cards, the memory of that relationship [during Richard III] was so burned in me, that it really helped me because now I'm just looking down the barrel of a lens. I don't have eyes. I've had to make a slight adjustment from thinking of so many people to just trying to think of my best friend whoI'm telling things to that I wouldn't tell anyone.
ONE THING I REALLY APPRECIATED WAS THE NOWNESS, BEING IN THE PRESENT. DO YOU FIND THEATER THERAPEUTIC BEING JUST SO IN THE MOMENT?
Yeah. Let me put it to you this way, one of the reasons why I wanted to make the movie was that a lot of times over the last few years people looked at me like a really confused puppy. Like, 'Why do you do theater?' Here's what's incredible about the comparisons between the experiences for an actor. Theater is organic. Film is not. Theater, you come everyday and work with a group of people and you all get to do the whole thing every night. In film, you work in 2-3 minute bits and it's never in chronological order, and then someone takes that away and makes it look like it all happened, or that you gave that performance. But you might have given that performance in one take that way, another take that way and the way they put it all together makes it look like you did it.
For all those people who think [theater] must all be the same, I often use the analogy of tennis. If you go out and play tennis for 8 nights, yeah it's the same rules, but it's a different game every time you're out on that court. You're working on a different part of your game and your partner is working on another part of their game. You add to that the act of being watched, and that changes it.
Theater is alive and it is now. And then it's gone.
Another thing I remember, is that no matter how good I may be in a movie, I'll never be any better. It's frozen. But in theater, I can be better tomorrow night. The journey you go through as an actor is incredible.
Review: 'Cyber-Seniors'
The thought of teaching senior citizens, many of whom are in their late 80's, how to navigate a computer, let alone the internet, sounds more like a punishment than a reward. Why anyone at that age would willingly subject themselves to such an ominous learning curve would make no sense to most elderly people, but to these seniors, the motivation of reconnecting with family members and loved ones is much stronger than updating their social media status. Director Saffron Cassaday documents the heartwarming journey of seniors learning all about the internet in the film Cyber-Seniors, a comedic story that is sure to bring a smile to your face.
Other seniors get confused when they can't access their email after typing "www.email.com" into the search browser.
In the world of these senior citizens, letters are written by hand, so the very thought of sending an email is mind-boggling. Luckily, there's now a program called Cyber Seniors in which teenage students sign up to guide the elderly in navigating the web. The comedic moments are organic; 88-year-old Shura is awestruck that she can "chat" with fellow Cyber Senior Ellard, 89, on Facebook. 76-year-old Annette is only concerned with dating websites and sets up a profile right away. Other seniors get confused when they can't access their email after typing "www.email.com" into the search browser.
To engage this group, a video competition is created to see who can get the most views on YouTube. With the help of their teenage mentors, the seniors set out to make a video based on what is important to them. 93-year-old Marion channels her inner Snoop Dogg and makes a rap music video about still having all of her teeth, as she sports a sideways baseball cap and all of her vintage art-deco necklaces. Shura loves to cook, and decides to demonstrate how she makes lunch, which consists of ironing her grilled cheese sandwiches (which actually works)! Other videos are just as funny, which include golf and exercise tips for seniors, how to pick up men, and gardening tricks.
Despite its amateur, low budget "look," Cyber-Seniors should be taken seriously as a documentary. There are unexpected emotional moments that affect the director, unintentionally pointing out the importance of family and desire for connection. You will fall in love with the men and women and can't help but laugh alongside them as they enter the vast world of technology for the first time. Cyber-Seniors is a heartwarming story that proves old dogs can learn new tricks, and then brag about it on Facebook.
https://www.youtube.com/watch?v=9p_kc6z8W3Q
Saffron Cassaday on 'Cyber-Seniors'
Talking on the phone with Saffron Cassady seems so natural, her laid back nature and confidence is just the sort of personality I would expect anyone to completely trust. It's no wonder why her feature documentary Cyber-Seniors is a successful first film from the director. Being an experienced comedy actress and editor, Cassaday makes an engaging film about senior citizens exploring the internet for the first time, learning all about Facebook, Youtube and online dating. A humorous plot line greatly executed for an equally funny and heartwarming film. We begin:
WHAT WAS THE CASTING PROCESS LIKE TO FIND THESE SENIORS?
We got into two retirement residences that allowed us to film. We did little presentations to the seniors to try and get them interested. I think we had 30-40 seniors sign up. So we started by giving all of them lessons and filming all of their lessons, and then we quickly narrowed it down to the ones that were really comfortable in front of the camera and were really fun and funny.
ONE OF MY FAVORITE PARTS IN THE FILM IS WHEN ONE LADY TRIES TO ACCESS HER EMAIL BY TYPING WWW.EMAIL.COM. WERE THERE OTHER MOMENTS THAT WERE AS FUNNY OR HEARTWARMING DIDN'T MAKE IT INTO THE FINAL CUT?
There's one storyline that didn't make it into the final cut. The one senior Annette, who's a major character, said in her first lesson that her reason to get online was to look up her old high school friend. She tried to find her on Facebook and couldn't find her and then she posted a Craigslist ad, looking for this person, and she got a response from the woman's son who said here's her Skype address, add her on Skype. When [Annette] added this woman on Skype the woman wanted nothing to do with her.
OH NO...
Yeah it was kind of sad, but kind of interesting. It was like the dark side of the internet because Annette was pretty hurt by it. In the end we didn't use the footage.
BEING THAT YOU'RE AN ACTRESS AS WELL AS A DIRECTOR, HOW DID YOU APPROACH THIS FILM?
Well I started working as an editor about 4 years ago as a side gig to my acting, and I really think having an editing background helped me with this film. I usually edit comedy shorts that I act in, so that was where my experience was… doing comedy short videos. I really went for the punch lines first [when editing] and that helped me weave the story together and focusing on things that really drew me to the project.
HOW DID THE YOUTUBE VIDEO COMPETITION COME ABOUT?
When Shura made her YouTube video, we didn't know what she was going to make. She was really into watching YouTube cooking tutorials and she said she wanted to make one but she was upset because she didn't have a full stove in her retirement residence so that's why she makes the grilled cheese sandwich the way she makes it.
[Laughter]
And no, we didn't know what to expect, we didn't know it would be that funny.
DID YOU GET ANY FUNNY MATERIAL THAT YOU WOULD USE FOR ANY SKETCH COMEDY VIDEOS?
Haha, I hadn't thought of that but yeah, definitely, there's a lot of material there. It's been my life for 2 years so it's constantly on my mind.
WHAT'S YOUR REACTION BEEN TO ALL THE PUBLICITY THE FILM IS GETTING?
It's fantastic, I mean we're so surprised. The main feedback that we usually get is that people find the film way more entertaining than they expected to. I think a lot of people think a documentary with seniors is going to be very educational, but it's not. It's got a lot of heart to it and there's a lot of funny moments so we're really happy that people are kind of recognizing that and enjoying it for that reason.
HAVE YOU KEPT IN TOUCH WITH THE SENIORS IN THE SOCIAL MEDIA WORLD?
Yeah I'm Facebook friends with all of them! Haha. Shura unfortunately passed away last November but she was the most active online. By the end of shooting, it was easier to get in touch with her over Facebook then by calling her. Even like a week before she passed away, we were having a Facebook conversation. It happened very fast, sudden and sad. But yes, we keep in touch still.
DO YOU HAVE ANY ADVICE FOR PEOPLE WANTING TO MAKE DOCUMENTARIES?
Just go for it. You can get so stuck not knowing what to do or when to start, and it is kind of terrifying. I thought that for a first film, a documentary would be easier than a narrative feature because I thought you don't have to have any set lists, you just show up, point and shoot. But the reality of it is the editing process is a monster because you have to come up with the story. Once you're into it, it becomes easier.