DID YOU READ

Michael Shannon on “The Missing Person”

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01222009_themissingperson1.jpgMichael Shannon was nominated for an Oscar today for his superb supporting role in Sam Mendes’ otherwise glossily imperfect period drama “Revolutionary Road,” so the world’s about to be paying him a lot of well-deserved attention. But if you’ve seen him act before, on the screen or on stage, you’ve already noticed him. Shannon’s established himself in the past few years as the guy who can walk away with a film under the noses of established stars — see “Before the Devil Knows You’re Dead,” see the aforementioned Mendes film, or better yet, see the edgier lead roles he’s taken in indies like “Bug,” “Shotgun Stories” or “The Missing Person,” which had its premiere at Sundance this year. Directed by Noah Buschel, the film finds Shannon playing John Rosow, a private eye in the most noir tradition who’s hired to follow a man who turns out to have been reported dead during the September 11th attacks. Delving into this mystery forces Rosow to confront his own trauma related to the attacks, and to return to the city he’d tried to leave behind. I sat down with Shannon in Park City on Monday to talk about the film, New York and his award chances.

How did you get involved with “The Missing Person”? What did you like about it?

I’m friends with Amy Ryan, and she was in a film that Noah made called “Cassady,” about Neal Cassady and Jack Kerouac. One afternoon, me and Amy were having coffee, just shooting the breeze and she said, “I gotta go. I was in this movie and the director wants me to see a cut of it. You could probably come, if you wanted.” I like the subject, because I guess all boys have a fantasy about being Jack Kerouac, so I went and saw it on a little editing bay and thought it was incredible, one of the best movies I’d seen in a long time. Neal was having a reading of the screenplay of “The Missing Person,” and he asked me if I would just do it. It was a lot of fun, and a couple months later, he’s like, “Well, I think we’re going to make the movie. You want to do it?”

Did you model John Rosow on the classic noir detectives? There seems to be a lot of that in him, from his suits to his gin-drinking to his ability to take whacks on the head without apparent brain damage.

01222009_themissingperson2.jpgA lot of it was from the outside in — originally in the script, John’s hair is white, so a big point of contention for a long time was about how we were going to turn my hair white, because it’s basically impossible. Even if you pour Clorox all over your head, it still only gets platinum blond. I got the spray-on stuff, and that just looks silly. It was poetic and whatever, but I said “I don’t think it’s going to work.” So we went to a salon in the East Village and there’s this person who makes $200 to cut somebody’s hair standing there, she’s like, “So what do you want?” And [Noah say], “I want Steve McQueen.” As she’s cutting my hair, I’m looking in the mirror, and started the whole process for me. When I had the haircut and I had the suit, it just clicked. I didn’t go out cruising around with detectives. I know this is probably frustrating to hear because it’s not very enlightening, but I usually find most of the inspiration is just in the writing of the script — that’s one of the reasons I wanted to do [“The Missing Person”], the script was so freakin’ good, you’d have to be a moron to mess it up.

A lot of people say “Oh, you’re like Elliott Gould in ‘The Long Goodbye.'” I’m like “I’ve never seen ‘The Long Goodbye,’ but that’s great.” It was very low budget and there were no amenities, as it were, so after 10 hours of sitting around smoking cigarettes, you get to that point naturally.

How stylized would you say John is? I was actually going to be one of those people to bring up Elliott Gould, because they do seem awfully similar — John doesn’t seem to know about cell phones that can take pictures, for instance, he seems a little out of time and place.

The thing about the character that’s revealed throughout the course of the movie is that he’s not so much a detective as he is…I know this is going to sound corny as hell, but he is the missing person. To me, the whole beginning of the story… it’s almost like he could be dreaming this whole thing, that he’s really just some drunk laying in his bed imagining that he’s a detective. Obviously, he’s desperately searching for something to fill the gigantic hole in his heart, [because] his wife worked at the World Trade Center and died there. The style of it is for me is very much like this could possibly all be an illusion to begin with.

01222009_themissingperson3.jpg9/11 has worked its way indirectly into a lot of films, but there still aren’t many that have taken it on directly. You’ve acted in two of the ones I can think of — “The Missing Person” and “World Trade Center.” What’s your opinion on those who’ve made the claim that it’s too soon to deal with it on film?

To me, that’s insulting to the passage of time. To say that Vietnam is more palatable now because it was a few decades ago is just as distasteful to me as saying that something isn’t palatable because it just happened yesterday. These things will always be tragedies. I was just at Machu Picchu in Peru and there were all these people walking around in little tour groups with their guides, taking pictures and looking at the mountains, and I just kept thinking [the Incas] met the most gruesome end imaginable, entire civilizations wiped out, and we’re walking around taking pictures of it. I think what’s important is not so much letting enough time pass so that things don’t hurt as much, but making sure that they still hurt 20 years from now. It shouldn’t be any less…painful maybe isn’t the right word, but it shouldn’t become more palatable because time has passed.

It seems that a lot of the characters you’ve played have undergone some terrible trauma and are still trying to put themselves back together after it. What is it about that type of role that appeals to you?

Well, that’s what life’s all about, isn’t it? Everybody’s constantly being destroyed and rebuilding themselves, some more drastically than others. One of the reasons I got into acting to begin with is that I was trying to figure out how life worked. It was interesting to me to try and follow how other people, real or imaginary, would deal with problems, because I was trying to deal with my own problems. “Revolutionary Road” is seen as kind of relentlessly downbeat, but ultimately I think it’s very uplifting, because you’re getting to watch other people struggle with things that you may struggle with yourself. When you see a struggle that you may be having personally put on a big screen and in a roomful of people, then it makes you feel less crazy or alone, because you’re seeing that other people are dealing with it too. You get to see in this imaginary scenario how people might try and answer some questions or deal with some problems. So I think it’s the most constructive thing that can be done with films, really.

01222009_themissingperson4.jpgDo you get offered a lot of standard roles? Looking over your filmography, you seem to have a high percentage of ambitious projects with great directors.

I’m still not at a point where I’m calling the shots or anything — I do tend to find myself where people want me. There are certain things that I’ll say right off the bat I’m not even interested in, but it’s not like I’m getting scripts in the mail and saying “Not this one.” But, I’ve been really lucky and I’ve had the whole spectrum. Films like “The Missing Person” and “Shotgun Stories” really excite me because they’re from brilliant young writer/directors who have infinite potential and I get to be in on the ground floor. I think 23 years from now, Noah’s going to be the kind of director that people will go to MoMA to watch a retrospective of, and hopefully “The Missing Person” will be in it.

One of the things I liked about the movie is its fondness for New York, for, say, the cab driver playing his music loud and smoking out the window. As someone who lives there, are there aspects of the city you particularly love?

I love my neighborhood. I live in Red Hook in Brooklyn, which used to be apparently practically uninhabitable because it was so dangerous, but now it’s getting very gentrified.

IKEA.

Yeah, IKEA, exactly. I like it because it reminds me of the South a little bit. It’s quiet and not very crowded, it’s just a very easy place to live. I’ve had a lot of fun on Manhattan, it’s an amazing place on earth to go to, but I don’t think I’d want to live there. The thing about New York is, more than any other place I’ve ever been, you run into people on the street that you would never imagine you’d see, old friends, people just like there for a day or two. I find that all the time when I’m walking around Manhattan, running into people that I had no idea were even there.

I feel obligated to ask you an Oscary question — the announcements are on Thursday. If you get a nomination, do you have a pithy quote ready for when The Hollywood Reporter or Variety calls you to ask for a reaction?

Oh man, I don’t know. I’m pretty unprepared for that. It’s something that people have been talking about for a long time, but there’s this avalanche of awards leading up to the Oscars and I’ve been shut out of all of them. So I’m going to need to see it to believe it. I’ll probably say: “Yeah, I’m really happy. Thank you.” And then, you know, go back to my life. [laugh]

[Photos: Michael Shannon in “The Missing Person,” Visit Films, 2009]

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. 

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number! 

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time. 

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by. 

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo. 

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim. 

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t? 

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?” 

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud. 

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.

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Get Physical

DVDs are the new Vinyl

Portlandia Season 7 Now Available On Disc.

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In this crazy digital age, sometimes all we really want is to reach out and touch something. Maybe that’s why so many of us are still gung-ho about owning stuff on DVD. It’s tangible. It’s real. It’s tech from a bygone era that still feels relevant, yet also kitschy and retro. It’s basically vinyl for people born after 1990.

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Inevitably we all have that friend whose love of the disc is so absolutely repellent that he makes the technology less appealing. “The resolution, man. The colors. You can’t get latitude like that on a download.” Go to hell, Tim.

Yes, Tim sucks, and you don’t want to be like Tim, but maybe he’s onto something and DVD is still the future. Here are some benefits that go beyond touch.

It’s Decor and Decorum

With DVDs and a handsome bookshelf you can show off your great taste in film and television without showing off your search history. Good for first dates, dinner parties, family reunions, etc.

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Forget Public Wifi

Warm up that optical drive. No more awkwardly streaming episodes on shady free wifi!

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Inter-not

Internet service goes down. It happens all the time. It could happen right now. Then what? Without a DVD on hand you’ll be forced to make eye contact with your friends and family. Or worse – conversation.

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Self Defense

You can’t throw a download like a ninja star. Think about it.

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If you’d like to experience the benefits DVD ownership yourself, Portlandia Season 7 is now available on DVD and Blue-Ray.