There are SO many things going on during Twin Cities Film Fest! It’s fun to see filmmakers and talents coming to present their films and see them do the red carpet interviews! This year I’ve a couple of bloggers helping me out not just in reviewing stuff but also in doing interviews. That’s super helpful as I can’t be in two places at the same time (can someone invent something that enables us to do that?)
In any case, thanks to FlixChatter’s blog contributor Andy Ellis, we’ve got an interview with Lea Thompson and Madelyn and Zoey Deutch, her two daughters and fellow collaborators in The Year of Spectacular Men. So the film is Lea’s directorial debut based on Madelyn’s script and the three starred in the film together.
Take a listen to Andy’s interview below:
I first met filmmaker Jack Norton when his documentary Jug Band Hokum was playing at TCFF in 2015. I’ve seen Jack & Kitty at various events and film screenings since, but it’s so cool to see them back at TCFF, this time as musicians!
Jack and Kitty are high school sweethearts that play Organic Vaudeville and Jug Band Folk for All Ages. They are an Emmy Award winning musical duo that also makes critically acclaimed films and television. Based in Minnesota, they love to perform concerts nationwide and play a variety of folk instruments including: banjo, guitar, ukulele, washboard, jug, kazoo, harmonica, whizbang, rumba box and much more. The Minneapolis Star Tribune hailed them as “one of the most entertaining groups in the midwest!”
I remember that when I talked to Jack a few years ago how much he admired filmmaker Sean Baker (who made his breakthrough with his film Tangerine, shot entirely on an iPhone). So I’m so thrilled that he ended up working with him on his new film The Florida Project, starring Willem Dafoe!
Take a listen below on how the collaboration got started… and also specifically about their music.
Check out their Facebook page for events in the area and around the country. Subscribe to their YouTube page too, while you’re at it.
Watch them share their incredibly inspiring story of how they went from homeless to having four songs in THE FLORIDA PROJECT.
Jack & Kitty are the loveliest, funnest people you’d ever be blessed to meet, so thank you guys for chatting with me!
Stay tuned for another interview post tomorrow with Victor’s Last Class’s filmmaker Brendan Brandt … thanks Laura Schaubschlager!
It’s that time of the year again folks! Yep, it’s the time when I basically made Showplace ICON at the West End as my second home for the next eleven days. And for the eighth year in a row, Twin Cities Film Fest always opens up with a bang! This year we’ve got such a strong line up that there are not one, not two, but three strong films playing on opening night… Breathe, The Florida Project and The Year of Spectacular Men.
I saw Breathe and The Year of Spectacular Men practically back to back, but before I get to the films, I also got to interview talents (one of the major perks of a blogger’s life!), and even better if the talents are your friends!
I haven’t got a chance to transcribe the interview just yet (I got home around 11:30 and had to work the next day), but for sure it’ll be posted in the next few days. Congrats Jack & Kitty! How awesome that director Sean Baker himself picked the four songs they wrote to be in The Florida Project! Stay tuned on how that came about in the interview!
I wish I could be at two places at the same time! I was hoping I could do the red carpet interview w/ Lea Thompson and her two daughters, Madelyn and Zoey Deutch, but I was still in the theatre for Breathe. Thankfully, my guest blogger Andy Ellis was able to do it… so hopefully we’ll get the interview in the next few days.
Films based on a true story is a dime a dozen in Hollywood, but once in a while comes along one that truly tugs your heart strings. Breathe is Andy Serkis‘ directorial debut, who’s best known for his mo-cap work for Lord of the Rings and the ‘Apes’ films. Featuring two extremely talented performers, Andrew Garfield and Claire Foy, this film not only inspires but also sweeps you off your feet with its beauty. Beauty in terms of the visuals of the English countryside and Kenyan landscape, but also the beauty of the human heart.
Garfield portrays Robin, a man stricken by polio at the age of 28, which left him paralyzed. But with the help of his loyal wife Diana and his caring family and friends, Robin is able to not only survive but truly live. The film perhaps feels decidedly old school and unabashedly sentimental at times, but I was engrossed throughout by the performances. It’s not all gloom and doom despite the protagonist’s grim prognosis, thanks some bits of humor peppered throughout. I enjoyed Tom Hollander‘s performance as well playing Diana’s twin brothers.
I wouldn’t be surprised at all to see Garfield as another Oscar contender next year, it was such a genuinely moving performance given the confines of his physical limitations.
The Year of Spectacular Men
I remember chatting to Lea Thompson last year when she came to visit TCFF and how excited I was when she said she’s making her first film! Well here we are… it’s so cool that TCFF goers are the first ones to see this. It’s so new there’s not even a trailer yet!
Talk about #womeninfilm… not only did Lea directed this, it’s also a family project with her two daughters Madelyn and Zoey Deutch. Madelyn wrote, star and scored the film as well, and her husband Howard Deutch produced the film. The story is about a young girl struggling to navigate life after graduating from college. So it’s a Millennial movie, but the themes of ‘trying to find answers’ and ‘wanting real human connections’ are something we can all relate to no matter how old we are.
The script is brutally honest and not afraid to show the pain and absurdity of millennial dating life. The two sisters have an effortless chemistry together, and the the joy and pain of sisterhood is genuinely moving. I like the scene towards the end where the two sisters laid down on concrete in front of their apartment and yelled out things that have caused them pain. During the Q&A, Lea revealed that is her favorite scene to shoot.
Madelyn’s certainly a talented writer, and like their mother, both Madelyn and Zoey have good comic skills. It’s so inspiring to see a family come together and make art together, it’s fun seeing the three of them come up for Q&A after the film. What a great film to end a strong opening night… I love that TCFF continues to support and encourage women filmmakers!
What’s in store for Day 2
Well I’ll be seeing A Midsummer Night’s Dream, starring another actress from Minnesota, Rachael Leigh Cook. It’s a Shakespeare adaptation set in modern-day Hollywood, where bold declarations, idiotic miscommunications and wandering amorous eyes feel right at home. That’ll be quite a contrast to the documentary A Human Flow which centers on the global refugee crisis – the greatest human displacement since World War II.
Can’t believe it’s just a little over a month away until the fun film festivities begins here in the Twin Cities! If you follow me on Facebook, then you’d already know that this year’s film fest is an extra special for yours truly… yep, I’m still in a daze that Hearts Want is actually premiering at TCFF in October!! If you told me around the same time last year that I would have my own film playing at TCFF in 2017 I’d say that you are nuts. Our film will be playing in one of several short blocks at the fest, I will update this post as soon as I know the exact schedule.
Well, if you haven’t seen the teaser yet, well here you go…
… This year’s fundraising gala’s theme is A Year of Spectacular Women… which is as timely as ever and it’s also a play on this year’s Opening Night film, A Year of Spectacular Men, a directorial debut of Minnesota native Lea Thompson and stars her daughters Zoey Deutch and Madelyn Deutch. The upcoming drama-comedy will make its world premiere at TCFF on Oct. 18 with both Lea Thompson and Zoey Deutch in attendance.
We don’t have a trailer yet but here’s a clip from the film:
The official 2017 Centerpiece film will be the inspirational documentary Purple Dreams, which follows lives of inner-city, at-risk students who succeed at their passion while embracing the transformative power of their arts education. The true-life adventure screens Oct. 23.
TCFF will continue its tradition of honoring a Social Cause this year by putting a spotlight on ‘Addiction.’ To highlight addiction TCFF will screen three documentaries (Chasing the Dragon, Addicted to Porn and Screenagers) and a drama called Tatertot and Patton which showcases alcohol addiction.
Some of Fall’s most-anticipated films are also amongst the lineup…
Acclaimed director Sean Baker’s The Florida Projectstarring Willem Dafoe:
Dramedy Last Flag Flyingstarring Bryan Cranston, Steve Carrell and Laurence Fishburne:
WWII drama The Darkest Hour, starring Gary Oldman as Prime Minister Winston Churchill.
It’s a year of debuts it seems. Motion capture virtuoso Andy Serkis’ directorial debut Breathe, starring Andrew Garfield as a young man struck down with polio looks like a heart-warming tearjerker.
Those are just the studio films. There are plenty of indie features to be excited about…
The Bachelors stars J.K. Simmons dealing with an early death of his wife with his teenage son.
A grizzled, rugged looking Matt Bomer stars in Walking Out, where he plays an estranged father who faces a brutal encounter in the heart of Montana wilderness with his teenage son.
Little Pink House stars Catherine Keener and Jeanne Tripplehorn about a working-class neighborhood struggling to save their homes from political and corporate interests bent on seizing the land and handing it over to Pfizer Corporation.
I gotta give a shout out to Minnesota-made indie feature Twin Cities, produced by the filmmaker who directed my short film, Jason P. Schumacher. Hearts Want‘s lead actor Peter Christian Hansen also has a supporting role in the film. Directed by David Ash, its prequel 2021 actually premiered at TCFF in 2015.
The festival will close with writer and director Colette Burson’s Permanent, a film centering on a story of a hairstyle gone incredibly wrong and a young girl’s fight to fit in while encountering bullies at a new school. Burson will be in attendance for the red carpet and hosting a Q&A following the film.
Tickets will open up to members and pass holders on September 29th, with general public access the following week. To find out how to become a TCFF Member and for a full list of films playing at this year’s festival please visit TCFF official site »
Hope to see you at TCFF next month! Which of these films are you most looking forward to?
Autumn is in the air! It’s been a rather cool September, especially the past week, but I LOVE the crisp Fall air as the leaves are turning. In fact we’re going to drive up north this weekend to see some gorgeous Fall foliage.
Well September have been quite eventful, thanks to Twin Cities Film Fest special screening of the indie drama The Trouble With the Truth. It was so fun to get to meet (and interview) Lea Thompson and director Jim Hemphill. The film is available on Amazon Prime and it’s got a stellar reviews, so check it out!
October press screenings include The Girl On The Train, The Accountant, The Space Between Us, and Certain Women. Oh and of course a slew of films screening at TCFF! So excited about the lineup this year, so I’ll definitely be watching a ton of great films in October!
I’ve been working on a list of films by female directors I can’t wait to see, so be on the lookout for that in the next couple of weeks!
Naturally most of my re-watches revolves period dramas 😀
My hubby got me the 25th Anniversary edition of Beauty & The Beast so of course I watched it as soon as it arrived in the mail. It made me look forward to the 2017 live action version even more just to see how they’d pull it off!
MOVIE OF THE MONTH
Queen of Katwe
This film is such a pleasant surprise. A based-on-a-true-story that’s uplifting and inspiring and so full of heart, yet it’s not afraid to show the darkness of the protagonist’s story. My full review will be up next week!
Well that’s my viewing recap of September. What’s YOUR favorite film of the month?
Though it hasn’t officially starts until October 19th, the festivities of Twin Cities Film Fest has begun! Last Wednesday I got the chance to meet Lea Thompson just before her MN theatrical premiere of her indie film The Trouble With The Truth. I got to meet both Lea and the film’s writer/director Jim Hemphill, here they are at red carpet that night:
I’ve posted my interview with its director Jim here if you haven’t read it yet. I’m glad MN film fans got to see the film on the big screen, and they did a Q&A afterwards.
Thanks to Dallas & Jake for the great shots!
… Meeting Lea was definitely the highlight of my week! I was waiting for her at the Showplace ICON lounge waiting to talk with her and was chatting with a couple of people when she approached us. Being from Rochester, Minnesota, she certainly still has the warm Midwestern manner. It’s so lovely meeting her, I mean I grew up watching her films in the 80s… All The Right Moves, Back To The Future, Some Kind of Wonderful, etc. It’s been three decades since her big break in Back To The Future, yet she still looks as beautiful and youthful as ever, she didn’t look a day over 35! But it’s her wonderful, warm personality that will make me a fan of hers forever.
Speaking of Back To The Future, that very movie was playing on one of the TVs right above us. How cool is that! So here’s the transcript of my interview with the Lea:
Let’s talk about The Trouble With the Truth. I love your role as Emily. I find that as a female audience, I find that there are so few meaty roles for women out there. She’s not just the girlfriend, or the wife of so and so.
It definitely was a meaty part. When I got the script, I couldn’t put it down. I just couldn’t believe someone had written a part that interesting. I mean, her perspectives keep changing. At times it seems like a male perspective, and sometimes he’s got the more female [perspective]… So it’s very interesting which is like real life, because people often want to put us into little pigeonholes, but all of us are a lot more complicated than that. So it’s very rare to get great parts like that.
I’ve had four really great parts in my career. One is Lorraine from Back to the Future, this one [in The Trouble With the Truth, I’ve done Sally Bowles in Cabareton Broadway, and also the role in a TV movie called The Substitute Wife. So those are my great parts.
I also think Amanda Jones in Some Kind of Wonderful is a pretty great part. I mean initially you think she is this way but she has a certain depth the more you get to know her in the movie.
Yeah, Some Kind of Wonderful is close, but not as great as those other four. I do love that movie.
It is timeless. As a lot of John Hughes’ movies are.
It is. People love it. People love the music, the costume, etc.
… So back to The Trouble With the Truth. Is it because of the strong female role that made you want to sign on as producer?
Yeah. I helped cast it, I helped getting it together in some way. So yeah, I’m proud of that. I’m really proud of this film. Y’know, it’s hard to get films that weren’t made by studios to be seen by people, so it’s great to have these independent film festivals where they embrace it. They get people a chance to see it, talk about it, discover new filmmakers and meet new filmmakers. It’s so exciting and I’m so happy that the Twin Cities has a film festival now I spent time at the Guthrie, the Children’s Theater, MN Dance Theater, Chanhassen Dinner Theater, the MN Orchestra is wonderful, so it’s great to see films celebrated too in MN.
There’s a lot of dialog and long takes in this film. How do you approach a role like this? Was there any improvisation or ad lib at all?
There’s hardly any ad-lib, it’s all script. There’s only tiny bit parts when we got up and move to a different location, there’s a bit of improv there, but we stayed to the script. The process was that we rehearse every day for like 2 hours. I mean the shooting was fairly simple but the takes was like 12 minutes long. The takes was hard but it was fun. They had a camera on hand and a camera on me, so it was easier to improv things, not on the words but on how you act it. I can laugh in one take, and cry in another in the same place. So I don’t have to do the same things all the time.
I have to mention Caroline in the City which I love.
Oh thank you, thank you.
You worked on another TV series, Switched At Birth [on ABC Family], which was on fairly recently.
Yes, I’ve been doing that for the past five years. We still have 10 more episodes they’re going to air in January.
Is that season 6?
Yes and I directed the 100th episode which was really nice.
Between working in TV and movies, which one do you prefer?
Oh I’m happy to get whatever job I can get. I mean, I’m directing TV stuff, I’ll be directing The Goldbergs [ABC] in two weeks, and I’m also acting in Scorpion [CBS]. I also just finished my own independent film The Year of Spectacular Men.
I was just going to ask you about that.
So yeah, my daughter Madelyn Deutch wrote The Year of Spectacular Men, she also starred it in and scored it. My other daughter Zoey is starring in it along with myself. It’s a family project and I spent the last year doing that.
Is it too early to talk about the synopsis of it?
It’s about a young girl struggling to figure out what life is after graduating from college. So it’s a Millennial movie. It’s also a story about sisterhood, it’s a love story between two sisters and five horrible boyfriends. Something everybody can relate to.
Is your husband [Howard Deutch, who directed Lea in Some Kind of Wonderful] involved at all in this movie?
He’s a producer, but he doesn’t do too much. I kept him out of the way.
Now that you have two of your daughters in the business. What tips did you give them when they told you they wanted to act?
Well it’s an ongoing thing. I’m always giving them advice, I’m kind of their acting coach. Y’know, we’re kind of contemporaries, we’re at times doing the same job. I’ve been through what they’ve been through or what they’ll go through. I know the ups and down of the business, so it’s nice in that way. I think a lot of people like to hire children of people who have had some success as the kids know it’s work and you have to keep at it. You never just get your big break and everything’s gonna be great. Look, we’re doing an interview under Back to The Future playing on TV right now. I did that 31 years ago and I’m still out here handling my movie that I’m doing.
It’s a testament to your talent and the fact that you’re so prolific in the business!
It’s about the work. It’s not about the fame and all that stuff that’s fake. It’s all about the people you meet and get to meet, the audience. I mean without art, the world is gonna be a complete disaster. We need to make people compassionate, we need to make people feel things, to help people understand how another person live and not be so quick to judge. Artists and stories are super important and I feel that it’s a noble profession. I feel honored that I get to do this for 32 years… no actually I started my first ballet I did here in MN when I was 11. So it’s been 40+ years that I’ve been in the biz.
THANK YOU so much Lea for taking the time to chat with me. It’s such an honor and privilege meeting you!
Hope you enjoyed the interview! What’s your favorite Lea Thompson role(s)?
Just a month away until the film festivities begin, Twin Cities Film Fest is hosting a Minnesota theatrical premiere of the indie drama The Trouble With The Truth.
Starring Minnesota native, Lea Thompson and written and directed by Minnesota native, Jim Hemphill. Both Ms. Thompson and Mr. Hemphill will be present for a Q&A session following the screening!
Date: Wednesday, Sept 21st @ 6:30pm Location: Showplace ICON Theatres, The Shops at West End
$20 per ticket (click image for more info & to purchase tickets)
Synopsis: Musician and starving artist Robert reconsiders his own failed marriage to Emily after his daughter announces that she’s engaged.
I had the pleasure of seeing the film last week and I really enjoyed it! The key to creating a film set in a single night with just two characters is that the script has to be extra sharp to keep your attention. Kudos to Jim Hemphill as The Trouble With The Truthcertainly accomplished that. The dialog feels very effortless and natural, and I found the conversations engaging. The story gets even better as the film progressed and never overstays its welcome. It certainly doesn’t hurt that they have to charming leads in a role that utilized their talents and charisma.
Jim Hemphill is an award-winning screenwriter and director whose films include THE TROUBLE WITH THE TRUTH and BAD REPUTATION. In addition to his filmmaking endeavors, he is a regular contributor to American Cinematographer, Filmmaker Magazine, and the Talkhouse Film site, among other outlets. He is also a programming consultant at the American Cinematheque in Los Angeles, where he has moderated discussions with Peter Bogdanovich, Jane Campion, William Friedkin, Elliott Gould, Barbara Hershey, Michel Legrand, Adrian Lyne, David Mamet, Paul Mazursky, Ron Shelton, Jim Sheridan, Paul Verhoeven, Wim Wenders, Haskell Wexler, and many others.
Check out my Q&A with Jim Hemphill below on how the story came about, the casting process, challenges of making the film, and more!
So you started out as a critic and script reader for David Fincher, did you start writing then? What inspired you want to make your own films?
Directing was always the primary goal, from when I was around nine or ten years old. I was a movie nut from a pretty young age, and as a little kid I was particularly obsessed with Clint Eastwood. At some point I realized that I was responding to something in his movies beyond his on-screen persona…I wouldn’t have been able to articulate it this way at the time, but I was connecting with his philosophy as a director.
At around the same time that I became conscious of Eastwood’s role behind the camera as well as in front of it, I also discovered the movies of filmmakers like Stanley Kubrick, Brian De Palma, John Carpenter, Martin Scorsese, Walter Hill, and John Landis – I didn’t completely understand what a director did, but I could feel continuities in their movies that made me aware of the fact that there was an author responsible for the ideas I was responding to. By the time I was in high school the floodgates had completely opened and I was studying directors constantly – via their movies, interviews, books, etc. – and I always wanted to follow in the footsteps of my heroes. Script reading was just a way of paying the rent, and I wouldn’t really call my writing about films criticism… I’m not a critic the way that somebody like Matt Zoller Seitz or Violet Lucca is. I’m more of an enthusiast – or even a kind of evangelist, beating the drums for movies I feel passionate about. It’s a little more personal and less analytical than what a real critic does, though obviously some of our best critics are very personal writers.
How did the idea of The Trouble With The Truth come about for you? Can you share what inspired you to the story and/or the characters?
First off, I wanted to avoid the mistakes I made on my first movie, which was a teen horror flick called Bad Reputation. On that film I was straining against my resources the whole time – I was trying to make what should have been a $5 million-dollar Blumhouse or Screen Gems movie for ten grand. I think there’s a lot of good stuff in that movie, but it feels very, very ragged, and the unpolished look of it always bugged me. So for my second film I wanted to write something that I knew I could make look great even if I didn’t have an enormous budget. That meant minimal characters and minimal locations, because the fewer people and company moves the faster I could shoot the movie. So I knew off the bat I wanted to do something like My Dinner with Andre or Talk Radio, where you’re essentially in a few rooms the whole time.
In terms of coming up with the characters, Robert is slightly based on my grandfather, who was also a jazz pianist who kicked around playing in hotels and things and lived the life of the bohemian – some might say starving – artist more or less until the end. But really both characters are different sides of me…I certainly have a lot of the same fears and interests and feelings, though John Shea’s character represents my more realistic, cynical side and Lea is kind of the less rational, romantic part of me.
How did the casting of Lea Thompson & John Shea come about? Their chemistry is amazing and totally believable. Lea is the producer also, did you know her prior to making this film?
My only interaction with Lea prior to the movie came when I interviewed her on stage at a Back to the Future screening in Hollywood – I moderate these Q&As at the American Cinematheque, and Lea came to speak during a Back to the Future marathon. I always fantasized about making a movie with her, because when I met Robert Zemeckis in film school he said Lea was his favorite actress he ever worked with. This guy’s made movies with Meryl Streep, Michelle Pfeiffer, Jodie Foster, and other pretty major actresses, so that statement always stuck with me. I gave her the script for The Trouble with the Truth in the usual way, sending it to her manager or agent or somebody, and after we talked a little and I convinced her I wasn’t insane she agreed to do the movie.
The producing thing came about because over the course of the project she became more and more involved both creatively and just getting the damn thing out into the world, which is tough these days if you don’t have a multimillion-dollar marketing budget. Probably the most important thing she did was suggest John Shea – I have to give her full credit for that. When she came on board we talked about potential male leads and she gave me a list of four or five guys she thought would be good. John was at the top of her list, and I immediately loved the idea.
I had been a fan of his since Missing and was particularly fond of a movie he made with Alan Alda called A New Life, which as a great movie about marriage and divorce kind of influenced The Trouble with the Truth. John had worked with Lea before on a miniseries and was eager to do so again, so he agreed to do the movie and we were off. The fact that they knew each other saved me a ton of time and work, because they just jumped right in and, as you say, had instant chemistry.
The conversations, all the bantering between Robert & Emily is engaging right from the start. How long does the writing process take for you from the time you came up w/ the idea?
This was probably the fastest I’ve ever written anything in my life, aside from a couple for-hire writing gigs where I was under a tight deadline. It’s certainly the fastest I’ve ever written anything good. Once I had the general idea mapped out I gave myself a rigid schedule of writing four pages a day, no matter what – that way I knew I would have a first draft in a month. I wouldn’t be able to do that on every script, but for this one I could because everything was coming more or less out of my imagination – there was no research or anything like that. After that first draft that took me a month I rewrote a little, but the script didn’t change that drastically…I would say altogether it was a few months of writing.
I always think that films that take place mostly in a single night & a single location are tricky. What’s the biggest challenge as well as inspired moments of making the film for you?
The biggest challenge is convincing everybody else that it can work, to be honest with you – there were times where I think the actors and crew were skeptical that the movie would remain interesting from beginning to end. But, you know, I don’t think you need a lot of locations or razzle-dazzle to make something interesting if the writing and acting is solid – I mean, that movie where Ryan Reynolds spends the whole thing in a box buried underground [Buried – ed.] is great! I think the upside of doing a movie like this is there’s a kind of concentrated emotional power; if the movie works on you, it’s because you’re so intensely focused on these two people and their issues, with no distractions.
There’s a lot of dialog in this film, which I found very natural and has an effortless flow about it. But I notice there’s no background music at all when they’re talking, despite the fact that Robert is a musician. Is that a deliberate decision? If so, why?
That sort of speaks to the no distractions idea; we actually had more music in the movie, and it was all terrific – the composer, Sean Schafer Hennessy, is incredible, and I’m hoping maybe he’ll get some of the unused cues out on iTunes as a soundtrack album or something. But throughout the post-production process, my editor Michael Benni Pierce kept stripping things away to focus on the essential, and I think it was the right choice – we had two great actors, and I felt like the way to go was to follow Ingmar Bergman’s example and just make the movie about these people and their faces and voices. So a lot of the music got dropped in the mix, though there is a lot of great jazz throughout the opening bar scene if you listen closely – you can hear it better in a theatre, where the sound mix comes off the way it’s supposed to.
You’ve directed and written your last two films. Which one do you enjoy the most?
Directing, by far. I don’t really like writing, but it’s something you have to do in order to have something to direct. But to be honest with you, the only part of the filmmaking process that I actually enjoy is being on a set and working with the actors and cinematographer. Everything else is kind of an ordeal.
You’ve tackled horror, drama and your next one is an adventure fantasy. Is there a genre you’d love to work on?
Well, I’m not doing an adventure fantasy, though I did work as a writer on a Hercules movie for, as Nicholas Ray would say, bread and taxes. Without question my bucket list genre is the Western – I have one I’ve written that I’d like to make if I can raise the money, and I might write a few more in the near future. I like all kinds of movies, but if I had my way I’d probably do nothing but Westerns, melodramas, and musicals – I’d have been a lot better off working in the Hollywood of the 1950s!
As a writer/director, who have been your inspirations (is Fincher one of them)? Would you share your top three fave films of all time?
There are so, so many, and certainly Fincher’s one of them – I think Gone Girl and Zodiac are two of the greatest movies ever made. Aside from the people I listed above, I’m inspired by the work of Francis Coppola, Oliver Stone, Sam Peckinpah, Ron Shelton, Paul Schrader, John Ford, Yasujiro Ozu, Kathryn Bigelow, Blake Edwards, David Lynch, Brian Trenchard-Smith, Paul Thomas Anderson, Budd Boetticher, Peter Bogdanovich, Michael Cimino, Nicholas Ray, Joe Dante, Elia Kazan, Steven Soderbergh, Alfred Hitchcock, John Cassavetes, George Romero, Terrence Malick, Michael Powell, Paul Verhoeven, Orson Welles… God, the list never ends. I hate to make one since I leave so many people out.
As far as my top three favorite films of all time, that’s a little easier: Boogie Nights, The Age of Innocence, and The Man Who Shot Liberty Valance.
The Trouble With the Truth is currently available on DVD from Amazon and Barnes & Noble, as well as streaming on Amazon Prime, iTunes, and Vudu. |||
Thank you Jim for taking the time to chat with me about your film!
Hope you enjoy the interview! Thoughts on The Trouble With The Truth and/or the interview?