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Starting Small: Ten Notable Shorts That Became Features

Starting Small: Ten Notable Shorts That Became Features (photo)

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While some filmmakers spend their entire careers maximizing the succinct pleasures of the short film, others start out by making shorts that they hope will maximize their chances of becoming a feature film director. This week alone will see the feature debuts of two directors who have turned their short films into full-length one — Neill Blomkamp, whose 2005 socially conscious alien invasion tale “Alive in Joburg” has been turned into the Peter Jackson-produced “District 9,” and Paul Solet, whose 2006 horror short “Grace,” about a mother who refuses to give up on her miscarriage has morphed into a feature of the same name starring Jordan Ladd. Here’s a look at ten other notable shorts that got the full feature treatment.

“Bottle Rocket” (1992)
Directed by Wes Anderson

What’s another $4,000 after paying private school tuition? That was probably the pitch made by Wes Anderson and Owen Wilson to their fathers, a year after the two met in a playwriting class at the University of Texas at Austin and decided to pen a script together about a trio of unlikely hoodlums. Similar to the clueless would-be criminals they created — Bob (Robert Musgrave), Anthony (Luke Wilson) and Dignan (Owen Wilson) — Anderson and Wilson scored the initial amount of cash that they asked for from their parents, but only wound up shooting eight minutes of 16mm footage before running out of funds. As a result, the Wilsons’ father contacted family friend and “Paris, Texas” screenwriter L.M. Kit Carson to see if the kids’ work had promise, which led to Carson finding enough money to finance the rest of the 13-minute short, as well as producer Barbara Boyle getting in touch with then-Gracie Films vice president Polly Platt. The short got into Sundance in 1993, and though the unusually rhythmic patter of the characters didn’t make much of an impression on audiences in Park City, it got the attention of Platt’s boss, James L. Brooks, who would ultimately bankroll the feature — which ironically was rejected by Sundance, though there’s no question who got the last laugh.

So What’s Different? Beyond an expansion of the plot, not a whole lot is different except for a jazzier score and that it’s shot in black-and-white.

“Sin City” (2005)
Directed by Robert Rodriguez and Frank Miller

While it was never technically released as a short, Robert Rodriguez’s adaptation of Frank Miller’s graphic novel never would’ve happened without the film’s opening scene, which was made long before production started on the feature. That was partly because Rodriguez first wanted to get Miller’s blessing on the project, and figured there was no better way to do so than to show him some footage. So Rodriguez called up his “Faculty” star Josh Hartnett to star opposite Marley Shelton in an adaptation of Miller’s “The Customer is Always Right,” in which a monochromatic Hartnett plays an assassin hired to kill Shelton’s woman in red. On the film’s DVD commentary, Miller relates Rodriguez’s invitation to join him in Austin as they shot the scene, saying Rodriguez told him, “We’ll see how it works out. The worst possible thing is we’ll end up with a cool short little film and part ways. And you know, maybe you’ll agree to do this.” Ten hours later, the shoot was complete and Rodriguez got Miller’s yes. Afterward, the pair used the short to recruit actors for the film by listing their name in the accompanying credits, even if they hadn’t agreed to star in it yet.

So What’s Different? Not a thing.

“The Dirk Diggler Story” (1988)
Directed by Paul Thomas Anderson

In the October 2008 issue of Esquire, writer John H. Richardson did a fairly exhaustive job of piecing together how a high school senior named Paul Thomas Anderson corralled his friends and family to make what would become the inspiration for his second feature, “Boogie Nights.” The gist: with his friend Michael Stein in the lead, Anderson was going to make a mockumentary about the well-endowed porn star Dirk Diggler, based on “Exhausted,” the documentary of real-life porn star John Holmes, featuring interviews with Reed Rothchild (later to be played by John C. Reilly) and a pampered porn producer played by character actor Robert Ridgely, who also had a role in the feature. (Ridgely was a friend of Anderson’s dad, Ernie, who had a prolific career as a TV announcer and would also lend his voice to his son’s short). The short so obsessed Anderson that he used a Diggler quote for his high school yearbook — saying “All I ever wanted was a cool ’78 ‘Vette and a house in the country.”

So What’s Different? Not as much as you’d think, given that Anderson was only 17 when he made it, though having been shot on video, the short doesn’t have Robert Elswit’s lush cinematography to convey a certain elegance to the otherwise déclassé subject matter. Though it’s crude in other ways as well, the general story remains the same, including Diggler’s drug problems and desire to become a musician, though he doesn’t survive a fatal overdose in the end.

“Some Folks Call It A Sling Blade” (1994)
Directed by George Hickenlooper

According to Billy Bob Thornton, this 1994 short shouldn’t be on this list, since he considers the full-length “Sling Blade” as an extension of a monologue he performed as part of his 1986 one-man play “Swine Before Pearls.” But that’s a bit of revisionist history, since Thornton and “Some Folks Call It a Sling Blade” director George Hickenlooper had a falling out after production wrapped on the short about a simpleton who gets released from prison. Thornton has rarely discussed it since. In a 1997 interview with the L.A. Times, he said, “I would have been glad to have talked about the short if George hadn’t badmouthed me all over town,” shortly after he won an Oscar for best screenplay for the feature and MVP Home Entertainment, a video company looking to capitalize on the feature’s success, decided to release the short as a standalone video. Before all the bad blood set in, Hickenlooper and Thornton met after Thornton’s script for “One False Move” was produced and the director cast Thornton in a small part in the Civil War horror film “Ghost Brigade,” followed by a three-day shoot for “Some Folks” in the same Simi Valley hospital where “Terminator 2” was shot.

So What’s Different? For starters, the use of black-and-white skews the tone of the film and Thornton’s Karl Childers character towards a completely darker tone. Molly Ringwald plays a reporter who interviews the murderer on the day of his release in a role that was later inhabited by Kathy Sue Brown — the idea of the interview proved to be a leaping off point for the feature, which made Childers far more sympathetic.

“Peluca” (2003)
Directed by Jared Hess

Before he became Napoleon Dynamite, Jon Heder was Seth, an eccentric teen who comes to the rescue when his friend’s cousin gets a bad haircut, putting down his ninja books long enough to find the perfect wig. Heder actually was dabbling in animation when his BYU classmate Jared Hess cast him in the short, which was based in part on his childhood exploits in Preston, Idaho. With less than $500 and some black-and-white 16mm film stock, Hess and Heder went back to the land of potatoes to shoot the nine-minute short, which as Hess admits on the commentary track for “Peluca” on the “Napoleon Dynamite” special edition DVD looks especially grainy since he overexposed the film stock by accident. “Peluca” made a splash at Slamdance in 2003, a year before “Dynamite” would hit Sundance in 2004.

So What’s Different? Besides being shot in black and white, Pedro and his cousin Giel would be condensed into simply the Pedro character in the feature and Heder’s Seth would be rechristened “Napoleon Dynamite,” though Heder’s in full-on “Gosh…” mode in the short.

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

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Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

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Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

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IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

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IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

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IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

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IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

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Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

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Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.

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IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.

Jenn: I LOVE ISSA RAE!

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IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on IFC.com and the IFC app.

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