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Sundance 2012 Interviews: Paul Dano and Jon Heder of 'For Ellen'by Luke Hickman So Yong Kim's 'For Ellen' stars Paul Dano as a one-hit-wonder rock star whose 15 minutes of fame are just about up. Along with the loss of his dream, he's about to lose his wife and daughter in a nasty divorce. Trying to aid him on this rough road is his inexperienced lawyer played by Jon Heder, who not only does everything he can to help him with the legal matters, but shows his compassion by trying to help him out in his personal life too. [teaser]Paul Dano and Jon Heder teamed up to talk with me about their film right after the second screening of 'For Ellen' at the 2012 Sundance Film Festival last week.[/teaser] HDD – Luke Hickman: Hey, guys. How's it going? Paul Dano: It's been great. We've had a couple of really good screenings and today things are finally getting to slow down a bit. We get to hang out and chat with our friends about the film. HDD: Have you gotten to or will you get to go out and see any films? Paul Dano: I haven't gotten out to see anything, but hope to start seeing some tonight now that my press duties are finishing up. HDD: What about you, Jon? Jon Heder: I'm leaving today – but I saw 'Tim and Eric's Billion Dollar Movie.' It was fun. Interesting to see at Sundance because it's not what you typically see here – but that's what's fun about the festival, you can see all sorts of different stuff. HDD: You haven't been here in a long time, have you? Jon Heder: It's been eight years. HDD: Paul, you were here - Paul Dano: It's been a couple years, but I've now been here two or three times. HDD: 'For Ellen' – great movie. Paul Dano: Thanks! HDD: What drew you to it? Paul Dano: I knew So [Yong Kim], the director, a little bit and she sent me the script to read more as a friend. She said, "I wrote this character," gave [the script] to me, and I thought, 'Wow. This is an amazing part.' I immediately saw the character and what he looked like – the clothes and everything – I thought, 'I'd really like to do that. It feels like something that I know I can do – I'm not 100 percent sure that I can do – but I think I can.' It just felt like a different role for me, so I talked to her and we decided to do it together. It was such a delicious part. He's got a lot going on, an interesting guy. So it was great, a lot of fun. HDD: What challenged you? You say that you weren't 100 percent sure you could - Paul Dano: I just think that he's a lot different from me. I'm not a guy who wear a red leather jacket and tight pants who curses people out. He's sort of aggressive and agitated. He drinks a lot, smokes a lot, and is really a hard rock kinda guy – not me, but it felt like somebody that I should play. HDD: I truly loved your drunken lonely rock star moment in the bar. That was my favorite sequence in the whole film because it said everything without saying anything. Paul Dano: Yeah yeah yeah. My favorite sequence in the film is when I go to Butler - or Jon's character's house - for dinner and then go to the bar. Our sort of strange dynamic see-saws. There's a bit of levity, then all of a sudden – "Ooh. That was mean." HDD: Jon, what drew you into this dramatic role? Jon Heder: I loved the script, thought it was a chance to play a great role that was certainly a departure for a lot of roles that I've played. It was a chance to work with a director like So. After having read the script and watching some of her past films and knowing that Paul was attached, I thought, 'This would be a great project to work on – great people and the opportunity to return to independent filmmaking.' I'd done other independent films, but nothing of this caliber. I was excited to get to do this sort of project. HDD: Paul, you've worked with younger kids before. Was it any different this time around? The scenes between your character Joby and Ellen are awesome. Paul Dano: Thanks. That's great. You know, it always seems like it's going to be a little bit of a pain or something, but then you realize that they just keep you honest. You are kind of caring for them in the scene. Like if we're walking down the street, you're paying attention to them in a way that is the character, but you're also thinking, 'I gotta make sure this kid doesn't run out into the street.' It helps you lose self-consciousness and you forget that you're acting. You're taking care of a kid at the same time, so I actually really enjoy it. And [Shaylena Mandigo] did a great job. She's a local girl in the city of New York where we filmed. We went to the school where she goes and observed kids in kindergarten, first grade and second grade, talked to some girls and asked Shaylena to do it. We started hanging out in front of the camera just talking – and those are our scenes. HDD: Jon, was there anything that challenged you with the role? Jon Heder: I certainly felt the pressure of trying to create a character that's not trying to make people laugh – which is what I'm used to doing – but at the same time, what I felt was most challenging was learning to trust my instincts. Because of So's filmmaking style, she would just let the camera roll. She wouldn't give you tons of direction, but she'd talk with you a lot about the character. For a scene, it would contain skeleton dialog and she'd say, "Let's just get this together," and it very much required me to jump into character and work my way – we didn't have any marks or anything. We didn't really have any hardcore studio direction, if that makes any sense. That was a challenge, but it was very rewarding and refreshing to do it. HDD: Did this process change the movie at all from script to screen? Paul Dano: The script was great. I don't think So needed to do anything. In fact, when I first saw it, I said, "You can take some of that [improvised] stuff out. Your script is good." The film did change from script to final cut - a little bit – but not a ton. Jon Heder: It was very much how I pictured it. HDD: Is it hard as an actor to trust in your director, that what you read and what you envision is what you're going to see in the end? Paul Dano: That's the most important thing and the hardest thing about being an actor. You step away from the film and it goes on and has this other life in the editing room. Sometimes you see it and you're really proud of who you worked with, other times you see it and you're like, "Oh, that different than I thought it would be." But that's what you try and work with people whose films you like. I liked [So's film] 'Treeless Mountain' a lot. I thought it was an interesting film with a very good script, so you trust that and choose to go for it. You can't worry about that on-set. Jon Heder: It's true. I just trust them and put it in their hands. I do my part and trust in whatever happens – especially with this project because it is so different from projects I've done in the past. With some, it's a little easier to predict what it's going to be like. So, she doesn't do a lot of cut-aways. She lets the camera keep rolling. It's interesting to see the film and see what she used – hearing my voice but not seeing myself. She made some really cool and interesting choices. You've really just got to trust. For me, I shot it and didn't see any of them for a long time. I was really excited to see the film. HDD: What's up next for you guys? Paul Dano: I have a film coming out in March called 'Being Flynn.' It's me and De Niro, based off a memoir called "Another Bullshit Night in Suck City" – another fantastic work. The film is really good. Focus Features is releasing it in March. Hopefully they'll get it out there a little bit and people will see it. For De Niro, it's his best work in a while. He's great in it. HDD: I've really liked Focus' film slate recently. Look forward to seeing it. What about you, Jon? Jon Heder: I'm still in the middle of promoting the 'Napoleon Dynamite' animated series for Fox, which has been great. HDD: How has it been revisiting your iconic character? Jon Heder: It's been really fun. It was nice to have a seven year break, then revisit it. It's like a reunion being back together again with the other cast members and the writer and director. It's really fun because it's a totally different process to do an animated show. So there's that and another independent film that I'll be shooting this summer called 'Alive and Well.' HDD: Can you talk about 'Alive and Well?' Jon Heder: I can't because we're still trying to secure the rest of the cast. Rob Rugan, first-time director and commercial director, is great. I've met with him several times and I'm excited to work with him and really look forward to it. HDD: Are you shooting to bring it here next year? Jon Heder: I don't know what his plans are with it, but it would be great. It would be awesome. It's really fun to come here with a film.Posted Fri Feb 3, 2012 at 11:30 AM PST by: -
Sundance 2012 Interviews: 'For Ellen' Director So Yong Kimby Luke Hickman Sundance veteran So Yong Kim has returned for the 2012 Sundance Film Festival after a several-year break with her latest film, 'For Ellen.' 'For Ellen' stars Paul Dano as an aspiring rock star named Joby whose had a taste of success, but his fifteen minutes of fame are almost up. Pouring salt on the wound is his soon-to-be ex-wife. While losing his dream career, Joby is about to lose his wife and daughter, Ellen, also. 'For Ellen' takes you through a few heartbreaking days of Joby's life as he says goodbye to his career and his family. [teaser]So Yong Kim took a few minutes out of her hectic Sundance schedule to tell me about her film, her inspirations, and how she landed Paul Dano for the key role.[/teaser] HDD – Luke Hickman: How has the festival been for you so far? So Yong Kim: Good. HDD: This isn't your first time here, right? So Yong Kim: It's my second time. I believe I was here in 2006. HDD: What were you doing in the interim? So Yong Kim: Let's see. I made my second film, produced my husband's film, and had two babies. HDD: That will surely strip you of some time. So Yong Kim: (laughs) Oh, yeah. HDD: I really enjoyed 'For Ellen' and I'm curious to find out how much of it came from your own life. Or did you simply just write it all fictitiously? So Yong Kim: No. I'm not like that. (laughs) I find writing so difficult. I started with this memory I have of meeting my father for the first time. Because my parents divorced when I was very young, like a baby or something. I don't know what made me do it because I don't ever think about him, but at the specific time in my life [when I wrote it], I was going through a little crisis about being a parent. We'd had our first daughter and I kept feeling like I wasn't a good enough parent. Then I started feeling insecure about being a filmmaker. I used that memory as a starting point and put a lot of my own insecurities and anxieties and bad habits into the character. It's a very personal film for me because whenever I see the film, there all these habits and narcissism that Joby has that I must have too. It kinda triggers something within myself. HDD: And I think that's what makes it so good. It's natural and real. One of my favorite scenes is Joby's drunken jukebox rock star moment. From me to you, thanks for keeping the uncut moment in there. It's powerful. So Yong Kim: Thanks! He's up there by himself, it's sad, he's in a small town. HDD: It's an unforgettable scene – and Paul Dano pulls it off. How and why did you cast him? So Yong Kim: I was really lucky and fortunate that we have some personal friend connections. I worked with his girlfriend Zoe [Kazan] on his second film and I felt comfortable enough. It was really nerve-wracking to ask him, "Hey, would you read this?" He really responded to the script and we started talking about the character. It seems like, upon reflection, it was organic. HDD: This is the second film I've seen in two days where a child actor gives an amazing performance. So Yong Kim: Great! Was the other one 'Beasts of the Southern Wild?' HDD: No, but I hear the same thing about that one. The other one was 'The End of Love' by Mark Webber. So Yong Kim: I hear that it's amazing. HDD: The footage between him and his son is brilliant. And I have to say the same about the material with Joby and Ellen in 'For Ellen.' Was it hard to get a great performance out of Shaylena Mandigo? So Yong Kim: My second feature was working with two young ladies. They were four and seven when I was working with them. I found that working with children is just such an enlightening experience. Luckily, I had that experience before working on this film. We knew that we were going to shoot a lot of footage because there was a kid on set, so basically we tried to roll camera as much as we could on-set and set up situations where she felt very comfortable, where she could feel like herself. HDD: Is it difficult shooting with children? So Yong Kim: No. Actually, no. There are challenges, but they're different challenges compared to working with [adults]. I wouldn't call it difficult. You have to be more playful and be on your toes a lot. If it's not working, then you have to switch to some other tactic - but I think that's also the same for adult actors. HDD: How quickly did you shoot the film? So Yong Kim: It was 18 days. HDD: Wow! So Yong Kim: Yeah, we had to shoot a lot each day. HDD: Where did you shoot? Because it looks blistering cold. So Yong Kim: New York. It was a lot colder than [Park City, Utah]. I was nervous about screening it here because the audiences are coming in from the freezing cold and seeing this frozen landscape that makes then feel colder than they did outside. I don't know if it's working for the film or against it. HDD: If you were trying give it a frigid mood, then I think you served your purpose. You nailed it! So Yong Kim: (laughs) Great! HDD: So what's up next for you? So Yong Kim: I'm working on another film about family, but it's more of an ensemble of characters. It's about this mother and her relationship with her two sons and daughter. It's about her and her connections with them. HDD: I'm noticing a reoccurring theme involving family. Has parenthood changed you? So Yong Kim: Yeah – but you know what it does? Parenthood makes me more focused on what I really want to do and what kind of stories I want to tell. I'm really thankful because I feel like I'm learning so much from them and I hope it comes through in my films. HDD: Where are you at in the process with your next film? Are you working hard on it? Or will it be a while before we get to see it? So Yong Kim: Probably not. For me, the script tells me, "Ok. I'm ready." So, it's kinda getting close to that, but not quite yet. HDD: The reception of 'For Ellen' seems to be going strong right now. The fact that your Q&A before our meeting today went long is a testament of that. So Yong Kim: (laughs) Yeah. The theater staff literally had to push us out. (laughs) So far, both screenings have been fun. The questions have been fantastic, insightful and thoughtful – not the generic usual. It's been quite good. HDD: I'm embarrassed for the filmmakers when riffraff audience members ask silly questions. So Yong Kim: Yeah, but it's a good starting point. I'm terrible at asking questions. When I'm on the other side, I get so nervous. "Excuse me. So, uh, how did you work with the actors?" (laughs) HDD: I'm the same way. I don't ask questions in public Q&As. I save them for the settings like this – conversation. I could chat with filmmakers like you all day long. So Yong Kim: Me too. I prefer this to a lot of people with their eyes on you.Posted Fri Feb 3, 2012 at 11:00 AM PST by: -
'Tinker Tailor Soldier Spy' Dated and Detailed for Blu-ray[teaser]Director Tomas Alfredson's adaptation of John le Carré's best-selling novel is planned for Blu-ray in March. [/teaser] In an early announcement to retailers, Universal is working on 'Tinker Tailor Soldier Spy' for Blu-ray on March 20. The star-studded thriller stars Gary Oldman, Colin Firth, Benedict Cumberbatch, Tom Hardy, Mark Strong, and John Hurt. The Blu-ray/Ultraviolet Digital Copy will feature a 1080p video transfer, a DTS-HD Master Audio 5.1 soundtrack, and supplements include: Feature commentary with Tomas Alfredson and Gary Oldman; behind-the-scenes featurette; Interviews with Tomas Alfredson, Peter Straughan, Gary Oldman, Colin Firth, Tom Hardy, and author John le Carré; and deleted scenes. Suggested list price for the Blu-ray is $34.98. You can find the latest specs for 'Tinker Tailor Soldier Spy' linked from our Blu-ray Release Schedule, where it's indexed under March 20.Posted Fri Feb 3, 2012 at 10:45 AM PST by: -
Sundance 2012 Interviews: CEO Logan Mulvey of GoDigitalby Luke Hickman As we all know, digital media and on-demand content are changing the way we watch movies and television. A major player in this technical transition is GoDigital, one of the growing companies that's making VOD (video on demand) content available today. Leading GoDigital is Logan Mulvey. In the past, Sundance films deemed unworthy of acquisition and theatrical distribution never saw the light of day after closing night of the festival, but now that it's so easy to stream digital video content, those films – as well as the bigger mainstream ones – are finding a home on the internet. GoDigital is actively pursuing becoming the digital distributor of these titles. [teaser]In a search for new content, GoDigital has been present at Sundance, and CEO Logan Mulvey took some time to tell me about his company, the future of the medium and the battle against piracy.[/teaser] HDD – Luke Hickman: Logan, you're 27 and at head of one of the fastest growing digital media companies right now. Logan Mulvey: (laughs) No. No. There's people out there much smarter than I am. HDD: But looking at what your company is doing – and in such a short period of time – it's impressive. You have over 1,000 titles now, right? Logan Mulvey: Right. We have a library of over 1,000 titles now. Two weeks ago we acquired Might Entertainment, that's where we got 750 of our 1,000 titles – from the Kino Lorber library. HDD: I reviewed one of their Blu-rays recently – 'Rapt.' Logan Mulvey: Yeah! We put that one out. We do all their video – digital and on-demand. And we also just got a Lionsgate output deal for all of their home videos, so if we wanted to utilize the Lionsgate machine, we can put movies out through them as well now. Our deal will allow us to give them our product occasionally. They are looking to us to supply some video-on-demand content. HDD: That's a great partnership! Logan Mulvey: Yeah, the Might [Entertainment] guys were really smart at locking in that deal. Before we acquired them, we were much more focused on the technology side and the workflow side because we wanted to get to the place where we could sell and actually deal with 1,000 titles in a cost-effective manner, so we built a software program called Content Bridge which manages all of the movie assets – the actual physical digital media, the compressed mezzanine file – and we built the cloud, manage the asset and deliver to all of the partners from that single pane of glass. Point, click, deliver. It does all of the transcoding in the back end and delivers right into iTunes. HDD: Awesome. With everything going digital, where do you foresee the future of the medium? Logan Mulvey: I think TVs are going to continue to get bigger and cheaper and high-speed internet is going to become more and more prevalent – everybody is going to have it at some point – and there's going to be four or five platforms where people consume everything. I'm thinking the big boys – Apple, Google, Amazon, Microsoft, and Sony – will be trying to fill that entertainment gap. HDD: With piracy being such a major issue right now, I've got to ask you how you plan to combat it. There are open source programs out there that only require the touch of a button to record anything that appears on your screen. How do you fight that? Logan Mulvey: For us, the shutting down of the peer-to-peer networks is a huge win. That is the start of the snowball that needs to effect the change. I think it's a generational gap where people under 20 years old don't even feel like sharing a file on the internet is stealing because that's just been commonplace since they were on the internet, their tablets, or whatever. HDD: They've never had to buy the albums or the DVDs. Logan Mulvey: Exactly! They've never had to pay the $17.99 for a CD that had one good song on it. We need to start educating the youngest and make sure that they understand that it's intellectual property and that it costs you money. HDD: Since GoDigital has been around, have you noticed the effects of piracy in your own business? Logan Mulvey: We try not to think about it. HDD: Sorry for bringing it up. Logan Mulvey: It's ok. It's everywhere right now with SOPA and PIPA. Business would surely be up if this wasn't a current issue. We just need to focus on supplying high quality content to the platforms that are legal, that cost money to purchase. This way we can give money back to the filmmakers and they can continue to make films for us to enjoy. HDD: What are some of the companies that you are currently working with? Logan Mulvey: Netflix, Hulu, iTunes, Amazon, X-Box, PlayStation, Time-Warner, Cox, Comcast, and so on. HDD: Since the merger, what's new? What's in development? Logan Mulvey: We're going to be acquiring movies here at Sundance and at the rest of the festivals. We're going to continue to monetize the 1,000-title catalog. And we're going to continue to deliver high quality cinema. I think right now it's about 100 million homes that we're getting into. HDD: So you have folks here [at Sundance] right now attending screenings and looking for new content to purchase? Logan Mulvey: Yeah. There are three or four people doing acquisitions as we speak. I haven't seen one movie and probably won't get to. HDD: You won't? Logan Mulvey: No! It's so lame. HDD: You'll own a bunch in no time so you'll see them soon anyways. Have you acquired anything here so far? Logan Mulvey: We've lobbed up some offers, but we haven't locked anything in yet. We're trying to stay competitive, so we'll continue to make offers on things that we like. HDD: Is there a certain genre of content that you're interested in? During the Press & Industry screenings, there are often walk-outs by industry acquisition folks when a movie takes a turn in a direction that studio doesn't usually want to represent. Is there anything is specific that you're looking for? Logan Mulvey: We're looking for anything. I know this sounds broad, but we are literally looking for anything good. We give everything a chance. We have foreign, horror, documentaries – we really run the gamut.Posted Fri Feb 3, 2012 at 10:30 AM PST by: -
'High Road to China' Announced for Blu-ray[teaser]The 1983 adventure film starring Tom Selleck will land on Blu-ray this April. [/teaser] In an early announcement to retailers, Hen's Tooth is preparing 'High Road to China' for a Blu-ray release on April 17. Selleck stars as a biplane pilot who is saddled with a spoiled industrialist's daughter (Bess Armstrong) on a search for her missing father through Asia that eventually involves them in a struggle against a Chinese warlord. Specs haven't been confirmed yet and the only supplement will be a trailer. Suggested list price for the Blu-ray is still undetermined at this time. You can find the latest specs for 'High Road to China' linked from our Blu-ray Release Schedule, where it's indexed under April 17.Posted Fri Feb 3, 2012 at 10:00 AM PST by: -
Vizio Announces $3,499 MSRP for 58" 21:9 CinemaWide TV[teaser]The real mystery is the price of the 70" version. [/teaser] If you love pulling out old 4:3 VHS movies, this TV isn't for you. If you focus primarily on videogames, this set isn't for you. If you're a movie lover however, you'll find something to love in Vizio's CinemaWide series. The TVs earn their moniker based on their 21:9 aspect ratio, which comes out to 2.33:1 - essentially the same as the 2.35:1 used in theatrical releases. CinemaWide sets feature a 2560x1080 resolution and upscale Blu-rays to fit. Vizio has revealed a $3,499 price for the 58" set, though we'll have to wait for pricing on the others. A $3,000 price point on the 50" model would put it in line with the 21:9 offering from Philips. The price for the 70" model is hard to estimate at this point, but don't expect it to be cheap. Source: EngadgetPosted Fri Feb 3, 2012 at 09:00 AM PST by: -
'Treme: The Complete Second Season' Announced and Detailed for Blu-ray[teaser]The second season of the HBO series is headed for Blu-ray in April. [/teaser] In an early announcement to retailers, HBO is planning to bring 'Treme: The Complete Second Season' to Blu-ray on April 17. From the creators of 'The Wire,' this series focuses on a recovering New Orleans in the aftermath of Hurricane Katrina and stars John Goodman, Wendell Pierce, Steve Zahn, Melissa Leo, and David Morse. The 4-disc box set will present all 11 episodes with 1080p video, an English DTS-HD Master Audio 5.1 soundtrack, and supplements include: audio commentaries on selected episodes, scene-specific music commentaries on selected episodes, two picture-in-picture features: - The Music of Treme & Down in the Treme, two behind-the-scenes featurettes: - Invitation to Set & Walking with Wendell, and Treme Symposium. Suggested list price for this set will be $79.98. You can find the latest specs for 'Treme: The Complete Second Season' linked from our Blu-ray Release Schedule, where it's indexed under April 17.Posted Fri Feb 3, 2012 at 08:00 AM PST by: -
UFC Going 3D - WWE May Follow Suit[teaser]The 3D version of UFC 143 will be a $10 premium over the HD version, which is a $10 premium over the SD version. [/teaser] This weekend will be the debut of UFC's first 3D pay-per-view event. UFC 143 will let you enjoy matches like Kosheck vs. Pierce, Nelson vs. Werdum and Diaz vs. Condit in full 3D. The event will cost $64.99, a $10 step up from the HD version. Just after the UFC announced a 3D event, World Wrestling Entertainment started looking into 3D event plans of its own. The WWE won't have 3D ready for April's Wrestlemania, but is instead looking forward to a possible 3D broadcast of Summerslam. Sources: Home Media Magazine TWNP NewsPosted Fri Feb 3, 2012 at 07:00 AM PST by: -
'The BBC High-Definition Natural History Collection: Special Edition' Announced for Blu-ray[teaser]The Blu-ray boxed set of four documentary series gets a double dip in March. [/teaser] In an early announcement to retailers, Warner Brothers/BBC has slated 'The BBC High-Definition Natural History Collection: Special Edition' for a Blu-ray release on March 27. This box set includes 'Planet Earth: The Complete Series: Special Edition (Episodes 1-11),' 'Galapagos (Episodes 1-3),' 'Ganges (Episodes 1-3)' and 'Wild China (Episodes 1-6).' Experience the best the Earth has to offer in stunningly clear high definition. Witness rare action, impossible locations and intimate moments with our planet’s best-loved creatures with the critically acclaimed, Emmy-winning 'Planet Earth Special Edition,' now packed with over seven hours of extras; travel the length and breadth of China and discover the fabulous diversity of its natural wonders in 'Wild China;' visit the home of the most astonishing creatures found anywhere on Earth with 'Galápagos;' and discover a kaleidoscope of color and energy as you explore the river that shaped the wildlife, culture and beliefs of India in 'Ganges.' It’s your world as you’ve never seen it before in dazzling Blu-ray high definition! Suggested list price for the Blu-ray box set is still undetermined at this time. You can find the latest specs for 'The BBC High-Definition Natural History Collection: Special Edition' linked from our Blu-ray Release Schedule, where it's indexed under March 27.Posted Fri Feb 3, 2012 at 06:00 AM PST by: -
Sundance 2012 Interviews: 'Frank & Robot' Director Jake Schreierby Luke Hickman Just like his friend and collaborative screenwriter Christopher Ford, Jake Schreier is a first-timer at the Sundance film festival. He and Ford grew up in the same part of the bay area and became friends at NYU film school. 'Frank & Robot' is also his first fully produced feature length film. [teaser]Just a day and a half after the world premiere, right before the film was picked up for distribution by Sony Pictures Worldwide Acquisitions and Samuel Goldwyn Films, Jake sat down with me to talk a little bit about 'Frank & Robot' and his filmmaking experience.[/teaser] HDD – Luke Hickman: I was at the premiere of 'Frank & Robot' in Salt Lake City the other night – awesome movie. Jake Schreier: Thanks! HDD: This is your first feature, right? Jake Schreier: Yeah. There are a lot of firsts here. It's my first feature film, [Christopher] Ford's first feature film, and the production company's first feature film. First-time cinematographer, first-time DP, and first-time composer. HDD: For being a first, it's fantastic – especially when you look at the abbreviated time frame in which it was conceived. Jake Schreier: Yeah, but that's probably true of a lot of other movies here at Sundance. We're probably not too unique in that regard. I actually think that 'Bachelorette' shot after us. They used a lot of our crew – and our James Marsden. HDD: You crew is awesome at multitasking – now they can get double exposure during the same year at Sundance. There's a lot of folks doing that here this year. Jake Schreier: From our movie, James Marsden has two movies here and Susan Sarandon has three here, even though she's not physically here in person. HDD: Is she out filming? Jake Schreier: I think she's shooting 'Cloud Atlas' with the Wachowskis. Have you heard anything about that one? HDD: I just saw some concept art that went online that looked pretty amazing. Jake Schreier: Right! HDD: I like those guys. I even defended 'Speed Racer' when that came out. That's how much I enjoy their movies. Jake Schreier: (laughs) HDD: Back to 'Frank & Robot.' You and Christopher Ford have been buddies for a long time, how is it working together? Has it always been a working friendship? Jake Schreier: Kind of. We became friends in film school and have always had fun making movies together. We had this big group of friends in college and we all worked together, so it wasn't always just about the work. HDD: And you worked on the short film version of 'Frank & Robot' with Ford too, right? Jake Schreier: (laughs) Yeah. I produced – which in film school doesn't mean very much. It basically means that it was my uncle's house that we filmed in. That was the big thing that I brought to that table. I had to earn my credit. HDD: (laughs) Jake Schreier: A lot of people have said, "You should put the short film on the DVD of the feature film." We say, "No, no, no, no, no! Let's not give the illusion that we were brilliant filmmakers in college. It's pretty bad to go back and watch the version that we made." HDD: But some of us love seeing those types of special features – even if they are bad! Jake Schreier: It would be very humbling to put that on there. Maybe we should just put it on YouTube so it's not completely attached to the feature film. HDD: What's next for you now? Jake Schreier: I've been so focused on getting this thing done – since it's been such a rushed film – that I don't have anything locked in yet. I have some ideas, but I'd like to get this finished before getting into my next project. HDD: Do you write also? Jake Schreier: Nope! That's why I have Ford. HDD: Do you guys foresee a future of working together? Jake Schreier: Yes! It was fun for me to be able to be there developing the script from the beginning and getting a sense of how it works. Ford, from what I hear, is much more involved in the production than other writers. He was on the set everyday. He was almost like my story-checker. He had this list of key moments in each of the scenes, and it's such a rush making a film this way that checking in with him about each moment kept us on track. He would let us know if he got the key story moments that we needed. Having him around was a huge help. But I guess it works different ways within the industry. You hear these stories of directors saying, "You gotta keep the writer off-set!" They'd push him away once they got the script out of his hands, but Ford and I worked together on the film the whole time. If only I could have gotten him away from the craft services more. (laughs) I got very skinny during production and he gained weight. HDD: (laughs) You've got to take advantage of it when it's available to you. That's what I'm doing the whole time I'm up here at Sundance. Jake Schreier: Oh, yeah. HDD: Having lost weight, how stressful was the shoot on you? Were the days long? Jake Schreier: No more than any other union production. We didn't really go into overtime but maybe by half an hour or an hour here and there. We pretty much kept to the schedule. We worked in a way that was pretty smart that allowed us to stick to the actual schedule rather than hoping for the best, trying to shoot too much and not getting everything that we needed. We took a smart hack-saw to the script and cut it down to the really just the minimum of what we needed because that's what we knew we could achieve properly in the limited time that we had. It's better to do that than miss out on some other things. If we'd stretched ourselves too thin, we could have missed out on some opportune moments. HDD: How hard was that to cut it down? Jake Schreier: It was really more of a writer's challenge, but it made things better. Too many times we want to strive for limitless freedom, as much freedom as possible. But there isn't necessarily a great track record for those who get to have that freedom. I think that there can be inherent problems in having no limitations because that lack of limitation can force you into a bad way of thinking. Film is such a compromised medium to begin with. Unlike writing a book, you have to compromise on everything because you have to do it all in real life. Everything – like rain in a shot or no rain in a shot – is all working on compromise. Finding a way to make things better it an important part of the process.Posted Thu Feb 2, 2012 at 01:30 PM PST by:
