Dermot Mulroney Takes Time to Exhale After “Inhale”

Dermot Mulroney Takes Time to Exhale After “Inhale” (photo)

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Nearly halfway through talking to Dermot Mulroney I asked about an indie film he made last year, though I struggled to remember the name. “‘The Family Tree’?” he said, while watching me squirm. Yeah, that’s the one. “I don’t know whether that hit the theater, maybe for a week here or there. I know it was at the Seattle Film Festival.”

“Really?” I wondered, thinking that I would’ve at least heard if the film co-starring Hope Davis and Christina Hendricks had been in theaters already. (It’s only played the festival circuit so far.)

“If that sees the light of day, I’d bet you enjoy it,” Mulroney assures me. “It’s definitely got some laughs in it.”

Uncertainty is not a feeling usually associated with the work of Mulroney, whose ability to exude a cool confidence has made him a go-to guy for Hollywood romantic comedies and auteurs such as the late Robert Altman, David Fincher and Alexander Payne. But in recent years, it has crept into how his work is presented. That’s why audiences may only be slightly more familiar with his latest film “Inhale,” which came and went from theaters last month.

Mulroney’s clearly proud of the thriller, in which he stars as an assistant district attorney who must question his principles when the only way he can save his daughter’s life is through an illegal lung transplant across the border. However, he’s also well aware that even with a cast of recognizable actors such as himself, Sam Shepard, Diane Kruger and Rosanna Arquette in a solid race-against-the-clock potboiler, “Inhale” is exactly the type of film that could easily slip into the void created by a shrinking industry and a wider array of film options where indies have trouble getting attention and distributors are less willing to take risks.

So there’s both notes of excitement and incredulity in Mulroney’s voice when he exclaims, “It’s doing really well on VOD,” which is where it can currently be seen through IFC Films On Demand [a corporate sibling of IFC.com]. As he acknowledges below, the realization that theatrical is just one of many different platforms is something that’s taken some time to adjust to and as a result, our conversation is as much about the state of the mid-level indie film as it is about his performance in “Inhale.”

12022010_DermotMulroneyInhale2.jpgWith this new world of how movies go out into the world, does it change your attitude towards the work?

That’s a great question. I think it just now did. I learned from the way IFC Films released “Inhale,” because the movie had sat for a while because it’s very grim and hard to promote. What I learned is that IFC Films wants as much to release it in the theater as it wants to use the theater release to platform where it’s actually going to make some of its money back, which is on the video on demand at home. So that went off like a light bulb for me. They didn’t intend necessarily to have this film grow in theaters and then open it in Chicago, then Dallas, and then Pittsburgh, which is what the old scenario used to be. I don’t think that’s ever going to happen again. If it does, it’ll be because people revert to it purposefully.

Consequently, the stigma — that’s a strong term — of doing a movie that doesn’t go into the theater is gone because everybody’s equal. I’ve done 55, 60 movies maybe, and until now, one of those didn’t get released in a theater. And that was back at a time when that was like ouch, someone’s going to find out that movie wasn’t good enough to earn a release in a theater. Now, half of the movies made don’t go out and if they do, they go out like “Inhale” did — two theaters, one in each city, New York and Los Angeles, and they close after a week. So it’s a whole new world. And I can make decisions differently now. In other words, I can take movies without having to worry about whether they’re going to be successful in the box office because there’s so many other outlets.

You were also in “Jolene,” which sat on the shelf awhile before it got a release this summer, but it seems like more people will find it at Blockbuster.

I hate to say it, but I think what happened is, especially independent financiers, not smaller film production companies that had their own money, but the guys that come in with cash out of their pocket to try and make a movie, I think that they all got used up. I think that they all finally learned that making a mid-range to low-budget movie is the wrong way to invest your money. [laughs] The secret got out. We’ve been doing it for 20 years and these guys just kept coming back with more money. But I think now it’s clear that’s why people aren’t willing to risk their money as much and the ones that had been risking their money learned that it’s a very, very tough risk.

12022010_DermotMulroneyInhale3.jpgSpecific to this film, the American cut was different that the international cut. Does that affect how you feel about your performance?

This is what happened with that precisely. It was written and shot to happen in chronological order and they had a delivery date for one of their European releases. I think it was Germany that in order to get the pre-sale money on the German release, they gave them that, presuming that it would remain that cut. If anything, they’d tweak it while they’re still looking for a U.S. distributor. Nobody took it. It’s already shown in Germany because they had a delivery date. So it’s really the first cut. So they went back in and recut it to see if that made it more appealing to domestic distributors. And it’s a better movie because it’s cooler – all the same content. They just shuffled the deck.

That would probably be the first time anyone’s ever said an American cut was cooler than the European version. Have you been in other films that had multiple versions?

No, I don’t recall that ever really happening. I’ve seen both cuts of this and I think the non-chronological version, the U.S. version, is marginally more interesting, but I don’t think they changed performance takes. It’s the same movie.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar


IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”

Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”

But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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