This browser is supported only in Windows 10 and above.


Ry Russo-Young Takes Some “Me” Time

Ry Russo-Young Takes Some “Me” Time (photo)

Posted by on

When speaking to Ry Russo-Young, the adjective “abstract” will come up a lot in conversation in terms of the style of her films. But that shouldn’t be confused with the substance, which is so emotionally precise. Where many filmmakers have depicted the fear and uncertainty of twentysomethings with quirk and gorgeously lit indifference, Russo-Young portrays it in a grainy haze in her latest film “You Wont Miss Me,” the result of her practical use of a variety of formats, ranging from Flip cams to Super 8s, and the world-weary skepticism of her main character Shelly Brown (Stella Schnabel) that rarely allows for clarity.

As refreshingly tough-minded a character study as Brown is a character, the film was born out of Russo-Young’s desire to do something with Schnabel, a friend since elementary school, and developed from a three-hour interview where Schnabel first portrayed the wild, eternally frustrated Shelly into a loose-knit chronicle of the character’s exit from a hospital’s psychiatric ward that thrusts her into the playground of New York City where acting auditions, concerts and random hookups prove to be just part of a series of opportunities for rebellion. (Alison Willmore’s review of the film is here.) Recently, I got a chance to talk to Russo-Young about her unique cinematic style, blurring the line between reality and fiction and her next film, a collaboration with “Tiny Furniture” writer/director Lena Dunham.

12082010_ryrussoyoung1.jpgThis might not be dissimilar to your experience on your first film “Orphans,” but Stella Schnabel is credited as a co-writer on this film, so did having your lead as a collaborator on the script change your creative process?

I think when I was making “Orphans,” it was very preordained and very controlled in terms of the on-set environment and the relationship with the actors. It was almost like playing dress-up with dolls. It more reminded me of when I was a kid and I used to play imaginary games with my sister and be like okay, so you’re this princess and I’m this princess and we’re in this world and we’re running away from our orphanage. It was almost like putting people in straitjackets and I was just much more interested in what Stella had to bring to the project as an individual with ideas and with her own history. [For me] I think it was just a growing up thing, literally, and learning about the process of collaborating was really interesting to me. She was part of that. It’s not that the actresses weren’t interesting in “Orphans.” I think it was just I wanted to leave it a little more open and be a little bit more free.

12072010_YouWontMissMe4.jpgAs someone who has trained as an actress, does that affect what you do as a director?

I think certainly in the case of “You Wont Miss Me” and that whole me coming from that acting background is that if everybody had a really solid basis for where they were coming from, why they were in that scene and what the reality of that scene was, then you could be more free on set to improvise but it was steeped in character. Because that’s how I felt when I was an actor. I always felt like I needed to know what I was standing on.

I needed to know the origin of the carpet and why I was in the scene and who I was and what I was about. Then it was almost like the lines would play themselves out because there was a firm understanding of who I am. So what I tried to do for “You Wont Miss Me” is really prepare each person with like a backpack of who they are and what they’re about, why they’re there and why they’re in that situation and what the context is and then allow them freedom once in the scene within those confines.

One of the things I particularly loved about the film was all the different cameras you used. How did you decide that as a style for the film and did that make that filming more difficult or easier in some ways?

I think a little bit of both. After I did the interview with Stella, it was like okay, so what is this movie and how is this going to take a form – basically, who is this character? And the character was someone really outside of society and has such an emotional kind of range, an insane emotional temperature that’s oscillating constantly and is sort of always on the brink of self-destruction. So the best way to actually capture that, to feel that on an emotional level was to have these different textures and that is the different formats. Each format kind of is an expression of an emotional state.

Another texture you bring in is how you overlaid the dialogue over scenes of the experience. How did that become part of the film’s style?

12072010_YouWontMissMe2.jpgI love experimental films, everything from Stan Brakhage to Maya Deren to Jonas Mekas and that whole tradition and part of what I love about movies is the more tonal, abstract moments. That’s something that feels like you can do in film, so you need to film. You can have these musings and these impressionistic ideas – images that relate to concepts and the images can be very abstract and the way the way the aural consciousness connects to the visual can be really loose, but because you’re seeing those two things together, your mind automatically makes the connection. Have you ever seen that movie “Kurt Cobain: About a Son”?

Yeah, it’s a great film.

I think it’s kind of incredible and it’s all about how you hear this and you’re seeing these things that visually very loosely relate. At first when I started watching it, my mind was kind of freaking out. It was like [in mock bewilderment], “I don’t understand. I’m not seeing exactly what I’m hearing.” Now, the more it goes on, you’re starting to understand that departure’s okay. It’s like this nether zone of cinema that’s really exciting.

So that’s something I think with the more abstract things that [Shelly is] talking about and then seeing these images of her, they become these almost like subconscious dreams that she can access, or as an audience member, you access. Then it becomes about the kind of dichotomy between how we validate ourselves to ourselves and then the way we are in the rest of the world and usually the juxtaposition between those two things, how violent it can be sometimes.

There’s a great line in the film where a director (Aaron Katz) tells Shelly, “The distinction between reality and fiction may be hard for you.” Is that a theme you wanted to explore when you have many personal connections to the cast and to the city yourself?

It’s a heavy question and it operates on a lot of different levels. For me, a big part of that is the character couldn’t tell the difference between fiction and reality in a way. I’ve always been fascinated by documentaries and our societal obsession to understand what is real and what is not and it seems so irrelevant to me. I was interested in blurring those lines. The movies I’ve been attracted to in the past deal with that territory like “F is for Fake” or “Close-Up.” Those are films that really ask you to question of what’s authentic and what’s not and the origins of all those things, of even those questions themselves.

12072010_YouWontMissMe7.jpgI’ve read you’re already starting work on a film called “Nobody Walks.” Is that next?

Yeah, I co-wrote it with Lena Dunham and I think I’m going to direct it in March or April. It takes place in Los Angeles and it’s about a 23-year-old artist who’s a photographer making her first film about bugs, and she goes to Los Angeles and stays in the pool house of the sound designer. His family lives in the house, the wife and two kids, and it’s about her artistic process working with the father and sound designer on this film, but then also about how her presence affects everyone in the house. It’s going to be fun to shoot in Los Angeles, just visually for me because I’m so inspired by cities and locations.

How much does place inform the rest of a film for you?

It depends on the movie, but place and location is definitely a huge part of it. I think it’s characters, place and theme. Those are the three things that I can sink my teeth into first when I know absolutely nothing. Maybe everyone works like that, but it’s when conceiving of what you’re going to make a movie about, it’s such a desert. It’s like I can do anything and it can get really overwhelming. Well, what do I want to see? Do I want to see palm trees or do I want to see buildings? What kind of buildings are they? And just like that, you can start to anchor yourself back yourself into an idea.

“You Wont Miss Me” opens in New York on December 10th.


Hacked In

Funny or Die Is Taking Over

FOD TV comes to IFC every Saturday night.

Posted by on


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.


Wicked Good

See More Evil

Stan Against Evil Season 1 is on Hulu.

Posted by on
GIFs via Giphy

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:


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.


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!


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.


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.



Reminders that the ’90s were a thing

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

Posted by on
GIFs via Giphy

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.”


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. 


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.