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Toronto 2010: James Gunn’s “Super” Duper Achievement

Toronto 2010: James Gunn’s “Super” Duper Achievement (photo)

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Considering all the other subversive stuff in “Super,” it makes a certain degree of sense that in making a film about a self-made superhero of questionable sanity and suspect superpowers, James Gunn found the full command of his own abilities as a writer/director. Known for such cult faves “Tromeo and Juliet” and “Slither,” Gunn has been a master of the gross-out gag and the witty retort for quite some time, but in “Super,” he does the unexpected in making a delightfully obscene film where puke jokes and savage beatings are in service of something genuinely philosophical.

It’s a comedy first, every frame of which is as lovingly handmade as the costume of The Crimson Bolt, the alter ego of Frank D’Arbo (Rainn Wilson), a fry cook whose wife (Liv Tyler) falls back into her drug addiction and into the arms of a local drug kingpin (Kevin Bacon). Convinced he’s been touched by the finger of God, The Crimson Bolt has no talents to speak of, except a particularly good scrambled eggs recipe and enough money to buy himself a sturdy pipe wrench with which to whack local drug dealers, child molesters and thieves before taking on the thugs who’ve taken his wife. He is joined in his pursuit of cleaning up the community by a comic store clerk named Libby (Ellen Page), who reinvents herself as Boltie, an unusually frisky and enthusiastic sidekick who may be even crazier than Frank is.

However, Frank’s journey doesn’t end with blowing up bad guys and splitting their skulls in two – it is the start of a life where he begins to realize its full possibilities as well as even greater tragedies than he’s ever known before. “Super” also could be interpreted as a metaphor for Gunn’s own struggle to put the film together, having spent seven years developing it and stitching together a cast out of friends and family — as he’ll talk about below, he’s made a tradition out of killing his brother Sean on screen — that make this a labor of love that clearly everyone from Wilson to Page to Tyler to Bacon enjoyed working on. The wait was worth it: our sister company IFC Films picked up the film over the weekend, but before they did, I got to talk to Gunn and coincidentally, opened up by talking about its commercial prospects.

I don’t know what kind of success “Super” will have theatrically, but it feels like the kind of film that will live on forever – it’s already being referred to as an “instant cult classic.”

That’s what I hope for. Quite honestly, all I care about is that this movie really affects a few people in a big way and that’s so much more important to me than making a shitload of money. We made it for very little, so it’s going to make it’s money back. It’s just a matter of really affecting a few people in an awesome way.

Even though so much time has passed since you first wrote it, do you find the film’s themes resonate with you more now?

The ending of the movie is why I wanted to make this movie. That was the thing I couldn’t get out of my mind because I was writing it so quickly, but the ending, I know it’s difficult to talk about the ending in an interview, but the moment where Frank says to the audience, “I know you think you know what this is about, but maybe you don’t,” it really was a case of automatic writing for me where that was Frank speaking to me because I did think the movie was about something and it ended up being about something completely different. Those moments of revelation in writing and storytelling for me, at least, are few and far between where I’m taken to one place to another and I don’t really know where I’m going next. That’s what I wanted to do with this movie is to be able to have people not know where it’s going next and I think we succeeded in that, if nothing else.

If the script didn’t change, did the visual style for it change over the years?

It stayed exactly the same. In fact, to tell you the truth, I drew the storyboards for the finger of God sequence right after I wrote the movie and I have a big bulletin board in my office at home and I had those little tiny drawings of that storyboard on my wall for the past seven years. It really didn’t change at all.

The movies I like watching the most are these sort of cinema verite, handheld films where you really get gritty with people. But I also have this strange affinity for old Rock Hudson/Doris Day movies and things that sort of pop out where you see the frames, where you have these 2D animation moments and split-screens and things like that. So much of “Super” is about these contrasts, the gritty and the fake – and to be able to have those two things side-by-side throughout the movie is what I wanted to do from the beginning. Steve Gainer is the DP on the movie and he’s the DP I’ve always wanted. He understands my brain completely.

I’m also a much more confident filmmaker than when I did “Slither.” We planned out every tiny little move in that movie from the beginning and we memorized it and we knew it from the beginning. I was just much more comfortable. I think during “Slither” at times, I was probably a little bit afraid of looking like an idiot because my expertise is with actors and storytelling and pacing and it isn’t with cameras and I learned a lot through that process to really be more confident and I think that’s true of this film, so this film I think is a more accurate reflection of my own vision and how I see films.

Given the amount of time you spent on it and how many different media you used – you wrote songs, you’ve got animation — when you were talking to producers, how much did you bring into the room with you?

Everything. I told everyone straight up that this was the way the movie was going to be. We had original producers about five years ago who were on the film and it was the same script, but those guys were very afraid of the violence. We were going to make the film for a little bit more money and they were very afraid of the violence. The only substantial change in the script was there was another death in the movie where Boltie crushes that guy’s head with the bronze statue [laughs]. [The scene is here:]

That’s the one thing they talked me out of. That’s the one place where I pulled back and I think they were right about that. But I could tell even from the beginning, if the movie was made at that time, they would’ve been chipping away at the violence in the movie.

When I talked to the producers and even the foreign sales agents, from the beginning, it’s like this is not a movie for everybody. It isn’t. It’s a movie for some people. And it’s a movie of extremes and if this movie is going to be different or stand out, we make it for this budget, it’s got to be something that does more than other movies and for us to pull back, I actually think makes it less commercial in its own niche.

As for all the different superhero movies that came out in the interim, what were you thinking during that time?

I was thinking oh fuck, this sucks! I’m not going to lie. It sucked. And Mark Millar’s an online friend of mine and he told me he was writing the “Kick-Ass” comic and I’m like whoa…I’ve got this movie. So it sucked, but you know, there are 3000 bank heist movies, so I think we have room for four non-superpowered superhero movies, which are all pretty fucking different really. Tonally, they’re very different from each other.

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Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

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We’ve been fans of Funny or Die since we first met The Landlord. That enduring love makes it more than logical, then, that IFC is totally cool with FOD hijacking the airwaves every Saturday night. Yes, that’s happening.

The appropriately titled FOD TV looks like something pulled from public access television in the nineties. Like lo-fi broken-antenna reception and warped VHS tapes. Equal parts WTF and UHF.

Get ready for characters including The Shirtless Painter, Long-Haired Businessmen, and Pigeon Man. They’re aptly named, but for a better sense of what’s in store, here’s a taste of ASMR with Kelly Whispers:

Watch FOD TV every Saturday night during IFC’s regularly scheduled movies.

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Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

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Okay, so you missed the entire first season of Stan Against Evil. There’s no shame in that, per se. But here’s the thing: Season 2 is just around the corner and you don’t want to lag behind. After all, Season 1 had some critical character development, not to mention countless plot twists, and a breathless finale cliffhanger that’s been begging for resolution since last fall. It also had this:

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The good news is that you can catch up right now on Hulu. Phew. But if you aren’t streaming yet, here’s a basic primer…

Willards Mill Is Evil

Stan spent his whole career as sheriff oblivious to the fact that his town has a nasty curse. Mostly because his recently-deceased wife was secretly killing demons and keeping Stan alive.

Demons Really Want To Kill Stan

The curse on Willards Mill stipulates that damned souls must hunt and kill each and every town sheriff, or “constable.” Oh, and these demons are shockingly creative.

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They Also Want To Kill Evie

Why? Because Evie’s a sheriff too, and the curse on Willard’s Mill doesn’t have a “one at a time” clause. Bummer, Evie.

Stan and Evie Must Work Together

Beating the curse will take two, baby, but that’s easier said than done because Stan doesn’t always seem to give a damn. Damn!

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Beware of Goats

It goes without saying for anyone who’s seen the show: If you know that ancient evil wants to kill you, be wary of anything that has cloven feet.

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Season 2 Is Lurking

Scary new things are slouching towards Willards Mill. An impending darkness descending on Stan, Evie and their cohort – eviler evil, more demony demons, and whatnot. And if Stan wants to survive, he’ll have to get even Stanlier.

Stan Against Evil Season 1 is now streaming right now on Hulu.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.