Review: 'The Theory of Everything'
I am usually drawn to biopic films on the whole. I admire any actor's attempt to become another, real-life person, and for their willingness to be overly-critiqued for taking on said part. More often than not, we unabashedly pick out the flaws in the performance since, well, since exists a literal person to reference against. And I was getting ready to do just that when I watched the trailer for the new Stephen Hawking biopic, The Theory of Everything. The trailer, as did the film, left me with visible chills down my arms; in fact, this is not just another typical biopic. Powerhouse performances from its lead actors, beautiful camerawork, and palpable emotional intensity make this film so much more.
The Theory of Everything begins when young Stephen, (Eddie Redmayne, delivering a revelatory performance) meets young Jane (Felicity Jones) at a University gathering. Wide-eyed and naive, the two quickly and early on fall in love. It is a case of "opposites attract"-Jane being an artistic and religious girl and Stephen being the nerdy astrophysicist and atheist, the couple soon discover their chemistry and future will know no bounds. But with a sudden (and subtly built) diagnosis of motor neuron disease (ALS, or, Lou Gehrig's disease) at 21 years old, with a diagnosis of having only two years left to live, Jane doubles down on her commitment to him, and the pair are soon married, with children to come, as Hawking continues to work towards his life's educational purpose- discovering an equation to explain the creation of the universe as understood by time's mathematical properties. His motivation to determine the relationship between space and time keeps him distracted from his debilitating disorder, but it's easy to see that it is Jane's love and support that keeps him alive.
Redmayne in this film is like Michael Jordan in the NBA Finals-I was awestruck at the execution and mastery on display. His portrayal of an aging and debilitating Hawking, one of the smartest men in history, is exacted and fully realized. His look, his mannerisms, his body language, and the light in his eyes, with complimentary soft-lit lighting and gorgeous camerawork to add, seems so personable and true. Redmayne is undeniably charming, his cuteness coupled with his raw talent makes him extremely attractive to watch onscreen. As Hawking grows older, his body continues to deteriorate and worsen, but his mind is still very much alive. Redmayne captures this challenging period in time with real bravado; he finds the humor in the grim, the joy in the sadness, and the brilliance in the silence.
Redmayne captures this moment so well; he finds the humor in the grim, the joy in the sadness, and the brilliance in the silence.
Not to be outdone is Felicity Jones, who grounds the film with her selflessness and agitated yet calm demeanor. She is relatable as a woman who commits as the caretaker, who stays with the love of her life despite the bleak outlook on their future together, not in the least of times when they bring in a Church music teacher Jonathan (Charlie Cox) to assist with Stephen and the family's life. Jane is a woman to be admired, and Felicity plays her with poignant sensitivities and warmth, driving the film ever forward.
To praise for this ambitious and heart-driven attempt is director James Marsh, whose previous films include documentary work such as 2009's Best Documentary winner Man on Wire. His approach to the film primarily focuses on the lovely, yet complex relationship between Stephen and Jane; his academic achievements and growing successes are circled back to, but it is not a distraction to the focal point of the film. Marsh humanizes the man we have all come to know as a somewhat mythical figure in history and paints him in a new, more vulnerable and unseen light. Much to our delight, this film isn't a giant history lesson meant to educate audiences about the work of Stephen Hawking; but rather, to give us a realistic look into his personal life.
Marsh could have easily turned The Theory of Everything into a grandiose, superficial film with the motivation to rack up countless awards, especially with such a grand title. Luckily for us, this film disposes of superficiality in all the best ways. In fact, the storyline is extremely accurate (and had the blessing from the real Hawking himself). The accompanying score by composer Jóhann Jóhannsson is the threaded heartbeat of the film, cinematic enough to transport us to another place and time, but not so apparent that it takes away from the film itself.
The Theory of Everything has all of the right components to be acknowledged come this awards season: an Oscar contender in many categories for sure. There's no doubt in my mind that Redmayne will receive praise for his work as Hawking. With all of this praise comes some critique; rushed storylines and incomplete emotional journeys cause the film to fall just short of perfection. With so much invested in our characters, it seems an injustice to rush them, although I understand Marsh's decision given the film's 2 hour run time. Overall, I am extremely proud of the film and Eddie Redmayne himself, whose career I've followed since the beginning. Yes, I'll admit it, a couple tears came to my eyes during one particular scene where, in the film's final act, Hawking tells Jane he is traveling to America, a sign of their ultimately distancing between them. If there's anyone who doesn't shed a single tear during that scene, please comment below. I'd love to know how that is humanly possible.
The Theory of Everything opens in theaters this Friday.
https://www.youtube.com/watch?v=74Cl_KOO-sE
Review: 'CitizenFour'
This screening was like every other; after the film ended I got my parking validated, grabbed a lollipop for the road and walked to my car. After leaving the parking structure, I turned on my phone and opened the Waze app. A message on the screen appeared, asking if I would like to go "Home." I hit "OK," and began following the directions. Then it dawned on me: I was leaving a screening about the total disillusion of privacy and here I was, putting out private information about where I was and where I was going. Although it was too late, I immediately closed the application, but the knots in my stomach remained. CitizenFour has that effect; its powerful and poignant story will leave you terrified, but on the same coin, it is absolutely stunning and fascinating. Before he was the infamous whistleblower, 29-year-old Edward Snowden, Ed (as he likes to be called), or CitizenFour (his online alias), was an infrastructure analyst at the NSA. In 2013, famed cinema verite director Laura Poitras documented, "A week in the life of Edward Snowden," which has now become her latest truth-bomb film, CitizenFour.
The burning question on our minds is simple, "Why?" Snowden tells the cameras from his hotel room in Hong Kong that it just hit him one day- while working at the NSA he realized he was getting paid to create ways to attain people's private information without their prior knowledge or consent. He couldn't believe this was the current operation standard and imagined a future where this type of "big brother" behavior would become more invasive. So he left; he took whatever documents he could to expose the truth about the government and its protocol. With the conscious intention not to put the country or citizens at risk, he took to the media. Speaking primarily to director Poitras and journalist Glenn Greenwald, Snowden raises alarming facts, like 300 million AT&T records a day are being monitored and drone feeds from abroad can be live streamed from the desktops at the NSA. New phones, like the one in the hotel room he is interviewed in, can actually be tapped into even when the receiver is down. Snowden literally unplugs the cord from the phone, saying, with the hint of a smile, it's the only way to ensure privacy. The information he shares is relayed from Greenwald to the major networks, claiming an "unidentified source" has proof of domestic intelligence abuse. For now, Snowden remains anonymous, but in a couple of days his identity is revealed, and obvious aftermath follows.
Laura Poitras took on a massive project when she set out to make CitizenFour, and she succeeds in capturing and unveiling this extraordinary moment in journalism that we, on the outside, never see.
To say this is just a "film" feels like a discredit to director Laura Poitras. It's hard to critique; there is no saying whether it is "good" or "bad," rather, it seems like an extraordinary glimpse into this secret world that must be seen, and not just by Americans. To this, I say the documentary is beyond expectations, a superior feet in cinema verite filmmaking. Poitras doesn't let the camera dictate the story, rather, she lets her subject be the only point of attention. She uses single long takes over voice overs to saturate the audience in the location while feeding us a bevy of information. An example of this can be seen in the film's trailer- Poitras narrates an email she received from Snowden while visually, we are staring into a black tunnel. This visual, mixed with those words, are beautifully haunting.
Snowden is extremely articulate and keeps a calm demeanor throughout the film despite the high stakes, and with a voice like Seth Rogen, he comes across as a likable guy. We feel like we are sitting on the bed next to him, experiencing the anxiety he feels. As the story unfolds, in real time Snowden is communicating with his girlfriend back in Hawaii who has no idea where he is or what he is doing. Keeping her in the dark was the only way to ensure her safety, and even though Snowden admits that he doesn't regret anything thus far, he does seem reclusive after hearing his house is being kept under surveillance.
Laura Poitras took on a massive project when she set out to make CitizenFour, and she succeeds in capturing and unveiling this extraordinary moment in journalism that we, on the outside, never see. Clearly, this film tells the story from a one-sided perspective but Poitras does her best to make a film that doesn't push a political agenda and just states the facts. And the fact is, privacy is gone.
The expectation of every American citizen is the right to freedom, however, the word "freedom" has morphed into the word "privacy." What was once the freedom to engage with the internet now comes with a price; it is virtually impossible to not leave a digital footprint everywhere. It's this reason why Edward Snowden reached out to Laura Poitras to tell his story, to bring awareness to this national and international story. In a sense, he gave up his life for the American public's best interest, and Poitras was there to capture it. If there is any one film worth catching this weekend, let alone this year, make sure it's CitizenFour.
https://www.youtube.com/watch?v=GiU2zinfotI
Review: 'The Overnighters'
What is the American Dream worth to you? Would you be willing to leave your current life behind by uprooting to a rural town in North Dakota for just a shot at gaining employment in some factory? For many Americans, unfortunately, they have no choice but to risk it all with no guarantee of a better future. It's a struggle that no one should experience, but as director Jesse Moss artfully captures in his documentary The Overnighters, this situation is all too familiar to many people. With help from Paster Jay Reinke, those who wander onto the doorstep of his church are given shelter, food, and much needed emotional support. Pastor Reinke's "Overnighters" program changed the lives of hundreds, however, the ultimate effect it had on the community was too much to bear. In a captivating story, Reinke and the overnighters face a harsh reality with dire consequences, as they discover that no good deed goes unpunished.
The town of Williston, North Dakota is the definition of a rural country community and the perfect visual companion to the desperation of the migrants. North Dakota, in general, isn't portrayed much in films, and it's not hard to see why this lone state is not the desired location for prospective projects, or people, for that matter. North Dakota attracts a wide spectrum of people hoping for their last shot, those who have struck out "back home" and are looking for a clean slate. Criminal history and sketchy pasts are overlooked by Pastor Reinke, who literally houses strangers in his family's home, which he shares with a wife and children. A naive move on his part, skeptical audience members (including myself) will find it extremely uncomfortable when the Pastor invites a registered sex offender to stay at his home. In his mind, he is living the word of God, but in the eyes of his neighbors, friends, and the community in general, he is one step away from a devastating outcome.
The motivational undertones make one want to invest the time to watch it- although it is hard to silently sit through Pastor Jay's naive actions without saying out loud, "Are you crazy?"
A timely film that shows the struggles men and women of all ages encounter trying to stay afloat in today's economy may hit pretty close to home, but this is a story about perseverance, not one looking for sympathy or a handout. The motivational undertones make one want to invest the time to watch it- although it is hard to silently sit through Pastor Jay's naive actions without saying out loud, "Are you crazy?"
Jesse Moss struck gold with this documentary; he tells the story that many people have experienced without exploitation or loss of dignity. To find a story this compelling in the tiny town of Williston is like finding a needle in a haystack, and while Moss does an excellent job with 95% of the film, it's the last 5% that really resonates with me. Without spoiling this unforeseen twist at the end, there is a loss of direction by trying to incorporate too many hot button topics into one film; the 'surprise ending' seemed forced and rushed. Though I can't take away its shock factor, nor doubt its credibility, however, I don't see how it helps propel the story that The Overnighters originally set to tell.
At the heart of the film, The Overnighters is not just about the nation's poor economy or the universal stereotype against the unemployed, rather, it is a film about humans and how our beliefs attempt to make the world and each other, better. With constant talk of how poor the economy is, and the hardships of the job market, it's clear that this film is an answer that serves as both entertaining and insightful about the current state of our nation from the perspective of those affected. The Overnighters has already screened in a variety of festivals and has taken home a slew of awards, including the Special Jury Prize at this year's Sundance Film Festival. This is one documentary not to be missed.
https://www.youtube.com/watch?v=S5ER9Yo5Bfg
Darryl Roberts on 'America The Beautiful 3'
From the very beginning of our talk, passion and enthusiasm illuminates from Darryl Roberts. Extremely articulate with the voice of a radio DJ, it is soon clear that this award-winning director has found his calling in the America The Beautiful documentary series, and we are talking about his third film which opens today, America The Beautiful 3: The Sexualization of Our Youth. He is known in the documentary world for making films about beauty and superficiality, and in this film, he specifically targets the media and its effect on society. Roberts is not making these films for just a paycheck, in fact it's quite the opposite. During our exclusive interview, he tells me his plans to screen the film for free to anyone who wants to see it, and hopes that Emma Watson will be among those in the film's audience. We begin:
I KNOW THIS IS THE THIRD INSTALLMENT IN YOUR DOCUMENTARY TRILOGY, BUT WHEN DID YOU FIRST BECOME INTERESTED IN THIS SUBJECT MATTER?
It started around October 2002, I was having dinner with a friend of mine at McDonald's in Chicago and we were just talking about women and beauty, and that kind of stuff. From that conversation, I realized that beauty played a large part in how we relate to other people, which is just shallow and superficial. I remember asking him, why does beauty have to play such a big part of attraction? Relationships would be much deeper if we could get past that. Why are we obsessed with beauty? And that question, 'Why are we so obsessed with beauty' is what made me do the first documentary.
IN YOUR APPROACH TO THIS THIRD FILM, HOW DID YOU DECIDE ON THE TOPIC OF THE SEXUALIZATION OF YOUTH?
The American Psychological Association released a report on the sexualization of girls, and they made a statement that this level of sexualization is creating a mental health crisis. My first thought was [disbelief], so I kept reading the report and they talked about depression, low self-esteem, and eating disorders. About two weeks after [I read the report], some guy at a university made this flyer called "Ten Ways To Get Away With Rape." He hung it in the bathrooms all over the campus of Miami University in Ohio, and initially [the administration] wouldn't do anything about it, and that's when I knew I wanted to do something. Things were getting out of hand.
EMBARRASSINGLY ENOUGH, IN COLLEGE, I WORKED AT AN ABERCROMBIE AND FITCH FOR A COUPLE OF WEEKS. I QUICKLY REALIZED IT WAS NOT THE TYPE OF WORK ENVIRONMENT I WANTED TO BE IN, AND I'M GRATEFUL YOU CALLED THEM OUT IN YOUR FILM.
This is what I want to tell people: We do have a voice. When you look at the protest that 17 year old Cali Linstrom did, Abercrombie now has reduced their sexualization in ads by 70%, they added larger sizes, and they're totally committed now to being a socially responsible company. I thought it was important to show that they could do it, because 10 years ago they were seen as the worst perpetrators of sexualizing young girls, and if they could change, then we have hope for society.
What we're doing now is throwing the parents into the child's world so they can see the culture in which their child is living in.
TOTALLY, IT'S ONE THING TO ACCOMPLISH MAKING A FILM, BUT IT'S ANOTHER THING TO SEE THE EFFECTS OF YOUR MOVIE SO QUICKLY MAKE THIS CULTURAL CHANGE. AS A FILMMAKER, YOU MUST BE REALLY PROUD.
I'm going to be honest with you, the commitment from Abercrombie [is huge], they're doing this big anti-bullying campaign and getting rid of the perfume in stores. Seeing that change in them, based on where they came from, was almost more gratifying than doing the movie itself.
OUT OF ANYONE IN THE WORLD, WHO WOULD YOU LIKE TO SEE THE FILM?
The actress, Emma Watson. She spoke at the U.N. three weeks ago. She did a campaign called "He For She," which is the [same message] I had with this film. I want men to watch it and start to get more of an understanding of what women go through and start becoming allies for women.
I HEARD THAT THE PRESIDENT OF MONTE NIDO, CAROLYN COSTIN, IS ALLOWING PEOPLE TO SEE THE FILM IN THEATERS FOR FREE BECAUSE THE MESSAGE IS SO IMPORTANT.
I was doing a regular theatrical tour and back in May, Carolyn and her husband saw the film. They asked me about the film's distribution [plan] and they told me they don't think people will go to the movies if it costs $12, so they were like, 'What if we made it so anybody who wanted to go, could go and it didn't cost them anything?' I thought that was a great idea so we made free premieres across the United States... 14 free screenings in the top 14 cities. I think their hunch is working because we're almost full in all of them.
HAS ANYTHING CHANGED IN YOUR LIFE SINCE MAKING THE FILM?
Before doing the film, I didn't realize how pervasive sexual assault and abuse towards women was; it's just not something I've ever personally been exposed to. One of the goals I have with this film is to use it to bridge parents and children. What I'm seeing is when parents bring their children to these screenings, they have these conversations afterwards that, without seeing the film, may have been too awkward and not have ever come up in conversation. What we're doing now is throwing the parents into the child's world so they can see the culture in which their child is living in.
Review: 'Advanced Style'
Those who are into fashion blogs probably know of Ari Seth Cohen, the genius behind Advanced Style Blog. This blog isn't the typical, "What I wore today," attention-seeking site that thrives off of the validation of strangers, rather Cohen turns his attention, and his lens, towards a different crowd, the elderly women of New York City. Women ages 60 and up are Cohen's models and inspirations; their street style being far more eclectic than the average senior citizen. In a brilliant move, Cohen takes his blog and, with help from director Lina Plioplyte, turns it into an even more colorful and joyous documentary, aptly titled, Advanced Style.
Ari is not your typical "fashion blogger." His fulfillment comes not from the latest trends or fashion week, but from the elderly women whom he photographs. These wild, wonderful women use the NYC streets as their own personal runways, it's no wonder why Ari is mesmerized by their glamour.
We laugh with them as they laugh at themselves, which makes for an all around fun movie.
In the film, we are introduced to, and spend time getting to know, seven women and their day-to-day routines. Some run their own vintage stores, others ride bicycles around town to get noticed. While their looks are quite unique, the one who cuts pieces of her red hair and uses it to make her own false eyelashes proves to be the most thrifty. We laugh with them as they laugh at themselves, which makes for an all around fun movie.
Since the Advanced Style blog began around four years ago, the handful of women Ari has captured all have unique stories and backgrounds, but there is one common thread running through them; their positive attitude and outlook on life. They explain that they dress the way they do because it makes them feel good; they are not dressing for anyone else but themselves. This feeling of empowerment will bring a smile to your face as they challenge the notion of getting older and look fabulous while doing so.
Advanced Style is non-offensive and when comparing it to other fashion documentaries it has the ability to hold its' own. Personally, I would be hard-pressed to find anything better than Bill Cunningham New York (which if you haven't seen, you must do so immediately), however Advanced Style does a fantastic job with its subjects and story. In an industry obsessed with youth, these women prove that being yourself is best way to live. What's life without a little glitz and glamour anyway?
https://www.youtube.com/watch?v=_oNGfUcS6IA
Review: 'America The Beautiful 3'
By now, we've become so immune to Miley Cyrus' crotch grabbing, pot smoking, and all around vulgar antics, that we shrug our shoulders in defeat. It's hard to believe that Cyrus is only 21 years old, and girls all over the world look up to her as a role model. In Award-winning director Darryl Roberts' America The Beautiful 3: The Sexualization of Our Youth, the third installment in the trilogy of documentary films detailing the effect of society on women today, he focuses on the old-fashioned theory, "sex sells," and the consequences it's having on our youth.
The timing of the film's release is perfect; ironically enough, it's Jennifer Lawrence who is quoted as saying, in the beginning of the movie, "Sex sells… and for some disgusting reason, young sex sells even more." Lawrence is at the center of the nude picture hacking scandal, which couldn’t be a better symbol of a society obsessed with celebrity, attention, and hypersexualization.
In no way does America The Beautiful 3 reinvent the wheel, but it is an important and eye-opening documentary that serves more as educational than entertainment.
This generation is growing up so fast, and a large proponent of the increasing dehumanization and debasing of women stems from the media. Roberts profiles the obvious, if not cliche, advertisers who abide by the "sex sells" theory, like Carl's Jr, American Apparel, and Pepsi. Overly explicit advertisements are no doubt a part of this world, and the television industry knows first hand just how lucrative sex can be.
Aside from the media influence, Roberts also talks to child beauty-pageant moms who are either oblivious to, or suppressing, the fact that these pageants are demoralizing and, in my opinion, just plain creepy. The facts presented in this film aren't necessarily new information, although presented in this condensed fashion, it makes the issue seem hopeless. Through various interviews from mature teenagers who protest against Abercrombie & Fitch for their customer "selectiveness," to grown women recalling the horrors of on-campus rape, it's clear that this crisis is not slowing down.
In no way does America The Beautiful 3 reinvent the wheel, but it is an important and eye-opening documentary that serves more as educational than entertainment. Nonetheless, it is worth the watch. Especially worth noting is the bombshell revelation at the end of the film that we definitely don't see coming. I also have to say bravo to the directing duo (and my friends) the DANIELS, whose commercial for Wheetabix made it into this documentary. Whether that's a good or bad thing is up for debate.
https://www.youtube.com/watch?v=oclf9bi9ZC8
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'
[soundcloud url="https://api.soundcloud.com/tracks/163933823" params="color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%" height="100" iframe="true" /]
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.
Director Charlie McDowell and Writer Justin Lader on 'The One I Love'
[soundcloud url="https://api.soundcloud.com/tracks/163868944?secret_token=s-kQuJj" params="color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%" height="100" iframe="true" /]
Charlie McDowell and Justin Lader look like regular guys; guys who could easily pass as friends of mine dressed in casual t-shirts and jeans, with a welcoming presence to boot. We sit at the roundtable in the SLS Hotel to talk about The One I Love, McDowell's directorial debut and one of my favorites of the year so far. Its twist has been preserved until the film's release, which makes for a very interesting press day. While we don't talk about the plot of the film, one key theme is prevalent throughout our entire conversation: Not everything is as it seems. McDowell's stepdad, Ted Danson, stars in the film. Lader doesn't know how to play poker, despite writing a scene that revolves all around poker. And as another interesting fact, credited costume designer "Bree Daniel" is none other than McDowell's real life girlfriend, Rooney Mara. We begin:
CAN YOU TALK ABOUT THE GENESIS OF THIS PROJECT?
CHARLIE MCDOWELL: Mark [Duplass] sent Justin and I a one-line idea that just hinted at the tone and genre to play in. I sent it to Justin and he was like, ‘I think you cut off the email ‘cause there’s no story here,’ and I was like, ‘No, that’s all he gave us.’ We took it from there and started building characters and ideas.
WHY WERE MARK AND ELISABETH [MOSS] PERFECT FOR THIS FILM?
CM: To me, they felt like real people, a real couple. There are so many actors in L.A. that are talented, but they just have a look of, “I moved to L.A. to be an actor.” I don’t really respond to that look because that doesn’t feel real to me. Mark and Lizzie feel like real people that we can all connect to. And they’re both incredibly talented. Mark feels very comfortable in this space of independent film and improving dialogue, and I think Lizzie was really excited to try this [improv] thing out. Also, we haven’t seen Lizzie really as a contemporary leading girl.
She had texted Mark saying she saw him in Safety Not Guaranteed and wanted to do something like that with him. So Mark brought up her name and the idea that she’s been on this iconic show [Mad Men] and people see her as this specific character, the idea of making her this contemporary leading girl was really exciting because it’s fresh and new.
WHAT IS THE TRICKIEST PART ABOUT KEEPING THE FILM UNDER WRAPS?
CM: It’s hard to discuss a lot of it in order to protect the twist that happens, which has become our marketing campaign. We like to keep it under wraps because we think the best experience to see the movie is to go in knowing very little.
There were a lot of challenges [technically] shooting this film; we shot in 15 days, so there wasn’t a lot of time to [waste]. There was a lot of preproduction work. Each day before we shot, we would go over all the scenes and talk about what we wanted to accomplish and let the actors [feel it out]. Justin would start scripting pages for the next day, so it was a really bizarre, interesting way to make a movie but it felt really organic and natural.
JUSTIN LADER: Something that I didn’t consider when I’m writing it that really surprised me when I watched it was what Charlie and our cinematographer [Doug Emmett] brought to it. [The film] is like a Ping-Pong match between the two locations, and one of those locations is much smaller than the other. The fact that Charlie and [Doug] were able to compose shots that were never redundant was something that blew me away.
IT SEEMS LIKE THERE WAS A BIG COLLABORATION BETWEEN YOU AND THE ACTORS, AND THAT'S ALSO BEING FELT NOW AS JOURNALISTS- WE'RE WANTING TO KEEP THE TWIST A SECRET SO AUDIENCES CAN ENJOY IT FOR THE FIRST TIME TOO. HOW DOES IT MAKE YOU FEEL WITH THIS OVERWHELMING SUPPORT?
CM: It's so cool, and wasn't even something we thought about. We thought we'd premiere at Sundance, the cat would get out of the bag, and everyone would know from there. The next day we started reading reviews, and [no one gave away the twist]. We [wanted to] continue that. The next screening we had at Sundance, there were like 300 people waiting in the wait-list line, whereas before it wasn't even sold out. We realized that was a cool, exciting and fresh way to see the movie. To get people that had that same feeling and agree with how we want people to see it is amazing. That's kind of the greatest compliment we could ever get.
It’s become a thing where people say, ‘Oh that’s such an ‘indie film’,’ and that terrified me. I didn’t want to make a generic “indie” film, I wanted it to feel like something bigger.
CAN YOU TAK ABOUT THE DYNAMICS OF THE FILM’S GENRE?
JL: We knew that we were dabbling in sci-fi, but a lot of people have been talking about romantic comedy. Of all the conversations Charlie and I had when we were creating the story, we never once said to each other ‘Let’s take two genres and smash them together.' I think if we did do that, at least for me from a writing standpoint, I might have drowned. I was never very good at math and I didn’t like puzzles, but for some reason I love thinking, ‘Ok, what if this happens… what if that happens,’ basically creating a puzzle of structure and making it connect. Charlie is amazing at grounding the characters and what they’re feeling within the confines of that [structure].
CM: I think it terrified us to go into something that didn’t have an actual definition, but it also made it really exciting because there are so many indie films being made now, it’s become a thing where people say, ‘Oh that’s such an ‘indie film’,’ and that terrified me. I didn’t want to make a generic “indie” film, I wanted it to feel like something bigger.
JUSTIN, WERE THERE ANY CHALLENGES IN WRITING A FILM THAT HAD A SHOOTING SCHEDULE OF ONLY 15 DAYS?
JL: There was only one day where I felt like it was going to be tough, and that was the poker scene. Originally it wasn't supposed to be poker, it was supposed to be… a board game, but there were issues about rights. The morning of, when we realized we couldn't [use the board game], now I had to rewrite the scene for poker.
CM: You freaked out! You were like, 'I don't know poker...'
JL: I play Blackjack! One of the people that worked on our set gave me the cliff notes version of poker, and to this day in the poker scene, we cut to the hand Mark's character has and, with every time I see the movie, there's an eruption of laughter when the camera cuts to his hand. It's a terrible hand, but to this day, I don't know why people are laughing!
[Laughter]
CAN YOU TALK ABOUT YOUR MUSICAL CHOICES FOR THE FILM, SPECIFICALLY THE MAMAS & THE PAPAS SONG?
CM: The score really defined what the tone was. I saw the movie Martha Marcy May Marlene and it was such a weird, atmospheric score with dark chilling tones, but there was also something really beautiful about it. My first obvious idea was, 'This is a quirky story, it should have a quirky score,' and then I quickly threw that away because it was the obvious idea. When I saw [Marlene] I thought to go darker, hit the dramatic tones and support the emotional journey of the characters.
The Mamas & the Papas song, called "The One I Love," was just, our editor Jennifer Lilly just looked it up in iTunes and she brought this song [to us] and I became so obsessed with it. Our poor producer Mel [Eslyn] was trying to get the [song] rights from six different people.
CHARLIE, IT'S NO SURPRISE YOU COME FROM A SUCCESSFUL ACTOR FAMILY- HOW HAS YOUR FAMILY SUPPORTED YOU DURING THIS FILM?
CM: Yeah, I come from this bizarre family- Ted [Danson] is my step-dad, my mom is Mary Steenburgen and my dad is Malcolm McDowell, but I grew up in this very normal house and they were just my parents, you know? For me, it was an incredible experience because I was exposed to being on a set and watching great directors work.
To work with Ted, it was one of those things where, I just called up my parents house and my mom picked up and I was like, 'Hey mom, so umm, I want Ted to be in the movie,' and she was like, 'Ok, hold on, let me put him on,' and he was like, 'Oh, are you sure?' I was like, 'Yeah, you're in it,' and he was like, 'Fine.' It was the easiest way to get an actor.
[Laughter]
Ted came on our last day of shooting and I think he was a little nervous 'cause we had all connected and he was coming into this thing so nervous. I was like Ted, you're the most veteran person here! He was like, 'I know, but what am I supposed to do?' But it was great! The only embarrassing thing was my mom- I let her come into the room where the monitor was and I could see her with this huge grin on her face. She was turning to people being like, 'That's my son directing!'