TCFF Opening Night Film: ‘Blood Stripe’ – Interview w/ Remy Auberjonois & Kate Nowlin

Every year Twin Cities Film Fest selects a social cause to bring to light and this year the subject of the Changemaker series is veteran support. Five powerful films paint a picture of what our vets face post-combat and foster important discussions around how to better serve those who’ve given us their all, which starts with BLOOD STRIPE.

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A female Marine veteran, battling unseen wounds from her recent service in Afghanistan, flees her suburban life in search of solace and escape in the North Woods.

Directed by: Remy Auberjonois
Written by: Remy Auberjonois & Kate Nowlin
Runtime: 87 min
Cast: Kate Nowlin, Rene Auberjonois, Rusty Schwimmer, Tom Lipinski, Kristen Gregerson


Additional TCFF screening:
October 28 | 3:00 pm


I had the honor to speak to both the director Remy Auberjonois and lead actress Kate Nowlin, who also co-wrote the film. I interviewed them separately within the span of a couple of weeks. They are both so wonderful to talk to, I’m so inspired by their amazing talents, humility and generous spirits. I’m so thrilled to see the success of ‘Blood Stripe’, winning the Best Fiction Award at L.A. Film Festival is just the beginning. It couldn’t happen to two nicer people!

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Remy Auberjonois

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Q: What inspired you to that story about PTSD. Is that a personal thing for you is that something that somehow we come across something and then it’s like oh I want to make a story about this.

Remy: Oddly enough, the story was an organic outgrowth from the location in a way. We sort of decided to make a movie, first of all. Then we decided to make a movie on Lake Vermilion and then we were looking around to think about a story that we could tell that could feature Kate in a central role because I knew that I would have her full commitment and she would work all day every day. And I know what a wonderful actor she is. And and in doing that and figuring out what that character could be, we came upon the fact that there are a lot of veterans in that area. Once that opened up for us, then the story sort of took shape. There was been a tremendous amount of a lot of awareness about moral injury, about PTS, about veterans suicide and you know, it was sort of an undeniable aspect and military sexual trauma… there was an undeniable story where we felt that there was room to tell. It also appealed to me in the sense that I saw ways in which he could use the sort of tropes of a thriller film to get inside a sort of paranoid mindset. You know we’re not paranoid but hyper alert. So that aspect appealed to me as there are a lot of movies like that that I’ve really liked. Those that you know create a real sense of unease, and we wanted to try to get inside that.

I felt like the tools of both movies were a useful way to shed some light on that. And because we’ve seen a lot of documentary and we’ve read a lot about this thing that people call PTS or PTSD, we thought that telling a narrative story about it making a dramatic narrative feature about it was another way to contribute to that conversation, to that awareness. We were hardly aware of it except as regular consumers of news, but when we started looking into that character and things that that character might be burdened with, we started to really understand the scope of the really sort of epidemic of this thing. We thought ‘oh yeah this is something that we want to understand more about and we feel like the audience could as well.’

It’s me, Cinematographer Radium Cheung, and Underwater Camera Operator Steve Speers (who is a Minnesota cameraperson). – Photo by Andrew Messer
Remy, cinematographer Radium Cheung, and underwater camera operator Steve Speers (who is a Minnesota cameraperson) – Photo by Andrew Messer

Q: I think the fact that you are focusing on a female combat vet specifically sort of adds another layer of novelty to your film too, because there are so few meaty roles for women as it is. I know that’s what appealed to me immediately, I mean aside from the military aspect of it. And I’m sure it appeals to others as well.

Remy: Yeah, you know I’m a male filmmaker, and for me I didn’t really see a difference. I worked with a very high profile wonderful actress. At one point she was telling us, she was talking to a filmmaker friend of hers: ‘just write the part for a man and I’ll play it.’ And Kate and I in approaching this film, we wrote the part just for a person. It’s complicated… you know she does things that you don’t see women doing a lot of, but that women do. She’s chopping wood, she’s mowing the lawn, etc. She has a husband and then she has the potential connection with another man. She’d get to fight, you know. Not to give things away, but you know, we just wrote it for a good complex character for Kate who is a powerful, physically very strong woman and an emotionally deep actor.

Q: What a great combination, yeah. One of the reviews I read was from Variety, and the reviewer said that it’s kind of rare that you’re not using the method of flashback in this. And so narratively was that something that’s deliberate that you want the story to be in present but of course implies that something has happened in the past?

Remy: Yes. You know it’s interesting it was something that was unintentional in some ways and then became very important to us, as we’re going ahead. We’re going we actually have written an event that happened in the past and that was a factor of time and money that we didn’t get to shoot it. It was something that could happen in a totally discreet location. So we kept it out of our principal photography because our budgetary and time constraints were such that we couldn’t get that, in a way that satisfied me.

And then as we were looking at the footage and telling the story and cutting it, it really felt that there were there so much thing unsaid, I mean this is not a dialogue-heavy movie. Having that event felt like it would be incredibly limiting to what the audience’s understanding could be. I’ve since spoken to someone who made a comment about that very fact and said they appreciated that [the trauma] wasn’t pinpointed to one event. Kate was very interested in these people who were exposed to war time, in a foreign country for a year or 18 months, you know that kind of heightened experience is ongoing, extended… so what is that like. So to sort of narrow it down to say it was this one thing that created this condition is very limiting. There’s lots of things. Her relationship with a man in the film is very fraught. Maybe there was something there. She has some physical impact from the war that she carries. Maybe it’s that. We didn’t want to limit it. Plus, to shoot that [scene], it’s as if we’re trying to be a different kind of movie than we were. I had a scene that I could do that I could accomplish. We had it written and I knew how I was going to shoot it. But I eventually thought, you know Hollywood has made war movies. We’ve seen The Hurt Locker, American Sniper, we’ve seen a lot of great depictions of these wars and wars in general. Let’s trust that the audience has these associations and we’ll bring them in with that.

Remy, Kate, and producer Julie Christeas of Tandem Pictures – Photo by Andrew Messer
Remy, Kate, and producer Julie Christeas of Tandem Pictures – Photo by Andrew Messer

Q: I think that’s what they appreciate this reviewer appreciate. It’s like they just you know don’t spoon feed too much. You don’t want it to challenge the audience.

Remy: Yes, we wanted to respect and challenge our audience. I think some people find that infuriating because they want to be told something. And I think some people have really appreciated it. We had a guy on one of our screenings, he said I felt so smart watching this movie because I kept on being forced to make connections, to connect the dots. As a movie goer, I’m usually quite a head of a particular film. I don’t know that anybody is surprised by what happens in our movie, in terms of the sort of outcome insofar as you really know what the outcome is. And you don’t, we don’t make it very explicit.

Q:  For this film, did you talk to anybody like from the military field to make sure you get certain things right?

Remy: You know we did a lot of reading, we did a lot of watching. We also have a female Marine veteran on set with us. But we had already written the script by then and she was great in terms of validating a lot of the right thing. I sent it to that vet but because we weren’t shooting the war. It was a creative, imaginative exploration of the thing. So we watched some wonderful documentaries like the film Lioness, The Invisible War to see stories about female marines. A lot of really wonderful books, there’s one by Sebastian Junger called War. But we wanted to sort of imaginatively take the hallmarks and the symptoms and the sort of generalized story of what those people experience and then imagine it into our location and our story. We wanted it to feel authentic and we’ve been very gratified. You know, Kate spent four months in physical training for the film. We wanted to have a sense of authenticity but we also wanted to not be telling a certain story. And hopefully that that approach is the thing that makes [the subject] a little bit more universal.

Q: I see. It’s a character driven piece so it’s not about a specific event. 

Remy: Exactly. It’s a lot about the performance, about [Kate’s] understanding of it. There’s some of her own experience which she was able to bring to [the role], but she’s also just a very skilled actress and has a lot of technique.

Q: Last question. Is directing something you want to keep doing in the future?

Remy: Yeah I would love to get the opportunity to do it again. I have a couple of different projects in the beginning of story development and we’ll see which one I can get more traction on. I’m very much hoping to direct it again before too long. Maybe another film, and I’d love to direct episodic television actually. There’s a lot of exciting, wonderful thing happening in that medium, but it’s a difficult thing to get into. It’s hard to get a movie made, but at least it’s a discrete thing and in some ways it’s up to you.

Q: Yeah that’s true, but at the same time now it seems like there’s a blending between TV and films now, it’s not a big divide like was before. Lots of TV directors doing major, big-budget films and the other way around.

Remy: Yeah, who knows. We’ll see where it takes me.


Kate Nowlin

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Q: What I got from Remy’s was that the story grew organically from the location in Lake Vermilion. So I’m just curious how do you approach that role of the female Marine. I mean do you have any military experience or or was there any research. Do you have to do more to prepare?

Kate: Oh god no, no military experience before. Tremendous research.

Q: How long did it take you to do that? I mean did you have somebody on set?

Kate: I feel like I’m still doing research. I started when we started writing in October and we were shooting in August. I was doing research the whole, the whole time we were writing and learning about the subject matter, which evolved organically. Once we just decided on the subject matter, we felt obviously a real responsibility to this type of story, as we would to really any story. But this one was, we realized it was a large undertaking and something I knew nothing about, from a strictly military standpoint. In terms of dedication and exploration of her strength and her vulnerability, and just being a human being, I think there’s ways in which we can all relate. So the military part, I did my homework and then eventually yes I met I spoke to a number of servicemen and women. There’s one in particular, a woman named Amber Patton who’s a Marine herself.

Q: Is her last name spelled like the famous general?

Kate: Yes Patton, like the general. She’s a Marine veteran, USMC got her in. And she was on site. We met here in Minnesota and then we offered her I said ‘would you read the script and consult with us?’ We had some questions and we talked about some story points, and then I said ‘what are you up to this summer?’ As she was interested to get more into it. I mean she was in the film industry but she wanted to keep working on that, and so we said if you want a job, we’d love to have you on our set as a production assistant. So she came on as a production assistant but obviously she served as a consultant. She just was like my right hand she was, an assistant to me and in many ways and in the creation of the story.

Q: That’s cool because you’d want to make sure that the story is truthful and accurate and she’d have the experience.

Kate: Well there were there were things that we could research, but there were very practical things about like how the uniform is worn, things like that. She’s been an invaluable part of the process, and she’s still you know, we’re still close and and she was an invaluable part of the team.

Kate in a scene on Lake Vermilion
Kate in a scene on Lake Vermilion

Q: As for Lake Vermilion, it seems that you both wanted to shoot the film there and it works because there’s a lot of veterans there, so that makes sense.

Kate: Yes, there’s a tremendous amount of veterans. There’s a woman in the town, when we were just considering that idea [of filming at Lake Vermilion], she had just been named soldier of the year by Army Times in Cook Minnesota. And so we kind of thought… even though we didn’t tell her story but we wanted to give a little nod to keep moving in that direction.

Q: Remy mentioned that you both wanted to add to the conversation about the condition of PTSD. Tell us a bit more about that.

Kate: We want to add to the conversation about the traumatic aspect, but also really more about the female soldier, the female Marine. It’s rarely depicted even though they make up about 15 percent of our military, 20 percent of our reserves. So they should be more represented. I think as we were writing there was this great New York Times op-ed piece saying why aren’t we telling the story [of female soldiers] in film. So we were like, ‘we’re writing something, we’re doing our part, we’re trying to do our part!’ So it was so interesting how it evolved, but yes we were trying to add to a conversation about a lot of things… women in media, how women are portrayed in the media. The female fighter, the female warrior, representing them, representing veterans issues, across the board. You know, so we kept sort of packing the bag.

Q: That’s great. I just think female driven narrative is still rare, which you would think by 2016 that’s not the case. But yet it is. That is why on my blog I always champion female-driven stories, especially independent stories. I mean if it’s something like Wonder Woman or whatever, those already get the studio backing, but the smaller stuff I really want to support. So I’m grateful you are working on this. 

Kate: Yes me, too. You know, it wasn’t our intention, conscious intention when we started. I mean we know Romney wants to direct and I was a resource of his. But it evolved into that and it became a very significant to us too. And I was aware that there was a lack, just in the scripts that I was being presented or the roles that I would read. I was just like ‘can we create someone full-fledged, someone who’s fully-dimensional… who happens to be a Marine.

Q: I was just wondering as I was reading the cast list. Your character is described only as Our Sergeant. Is it deliberate that there’s no specific name given to your character?

Kate: Yeah it is. It is deliberate. We want her to stand in for a lot of people like her, to be able to sort of let the audience project a lot onto her. Honestly, creatively, as we’re working the name just never came. We never had a name and it always just felt like that there’s a sort of space around her character so people could project whatever they want to. Not necessarily a name but that she is, in some ways, unaccounted for and that she’s nameless.

Q: So the fact that she is nameless is almost a message in itself.

Kate: I think so yeah I think so. And we actually, there was one point when we made her uniform. So on the one hand she’s standing in for someone’s wife, sister, daughter, we keep that open. Once you’re in the military and you have a title, that’s an important part of the identity. That comes first, in that mindset you’re committing your life, you know, to serving your country and then that is an important part of the identity. So that felt like that was going to be an important part, maybe more important than the personal identification. So when we she was in uniform at one point we created a name tag that we chose to be nameless in Norwegian because I’m Scandinavian and there’s a lot of Scandinavian people in Northen Minnesota. At one point we did choose a name. So it was Navnløs, which is Norwegian for nameless.

Kate, 1st. Assistant Camera Yousuke Kiname, 2nd AC Chris Savage (Minnesota based) – Photo by Andrew Messer
Kate, 1st. Assistant Camera Yousuke Kiname, 2nd AC Chris Savage (Minnesota based) – Photo by Andrew Messer

Q: Now this question, it’s up to you whether you want to speak to this or not but given the subject matter, I was wondering if you have dealt with something similar to your character and whether that impact your approach to the role or not.

Kate: No I really haven’t. Not to that degree. But I think as we’ve said, trauma is a universal experience. It doesn’t have to be military-related. So I can understand it, but no, I have not dealt with it, nowhere near anything she had going through. It’s interesting because I’ve been asked that question a lot and I think that. I guess my answer is no, but I understand what I understand about struggle. It’s my job to be able to portray someone who’s different than I am. That I have to investigate and find my way in the way that I can to create something in an authentic way. I think there are universal things that we know and that we share and feel as human beings and that’s my job to explore that. Because I was writing her, co-writing and co-creating her, I was able to track her so to speak.

Q: Cool. So how was that process when you’re writing. Co-writing with Remy. I mean how do you do that division work goes?

Kate: I loved the writing. We really just sat across the table from each other and sort of plotted things out. Once we got off the note cards you know at first we put everything on no cards and then we sort of sat down. We each had a computer in front of us and we talk through scenes, we created dialogue. I would sort of think about her voice when she did speak. Remy was really good at writing the sort of what we saw, the breakdown the scenes. The emotional journey, in some ways was hard to do because it was all brand new. And because we were doing it in such a really a relatively short period of time. it’s hard to kind of understand or quantify what that experience was. We were just sitting down every day for three hours doing what we could.

Q: How about the physical training. I mean you kind of have to bulk up a bit don’t you? I mean you probably already are a fitness enthusiast.

Kate: Yes I’m naturally athletic. Being forced to play sports growing up and I was a dancer as a kid and all of that. And then of course in graduate school or whatever you do a lot of movement training and stuff. But no, I work from probably about three and a half months, not a tremendous period of time but I work six days a week. I worked with a trainer once a week starting in May, June, July, August, so about three and a half months. That’s on how to get into the role, that’s a mindset. I had to transform my metabolism, my metabolic system. I was inspired by how strong they are and the rigors that they go through in order to become a Marine. And so I knew I had to do something I hadn’t done before and get a kind of mental toughness and physical strength also to set an example, to represent how strong these women are. I just want to create a different portrait of a female in the film. Something we don’t get to see very often.

Q: So now that you’ve written a film that you start in, what’s next for you? Do you want to keep doing it, being a content creator on top of being an actress?

A: Absolutely. Oh that’s you can’t go back. I feel like it’s it’s a hard thing to come back from once you start oncw you start making your own stuff. It’s more challenging in ways but you get to say more… it’s a much more dimensional creative space and I find that incredibly gratifying. I have never been happier from an artistic point of view as when I was making this thing, as we’ve been making this thing. As hard as it’s been, it’s so fulfilling so. And I found that over the course of it that I have things I’d like to say. I really enjoy the writing. Not like a soapbox, but I think that there are I think that there’s room for all sorts of stories and I’m drawn to what I’m drawn to. I like the research, I like immersing myself in new world from scratch.

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THANK YOU so much Remy & Kate for chatting with me about Blood Stripe!


Hope you enjoy the interview! If you’ve seen Blood Stripe, I’d love to hear what you think!

Indie Film Spotlight: ‘The Trouble With the Truth’ + Interview with writer/director Jim Hemphill

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. 

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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 Truth certainly 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.

jimhemphillJim 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!

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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.

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Jim (center) filming with John and Lea

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.

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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.
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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.

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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.

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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.


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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?