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A Spirited Q & A With “Winter’s Bone” Director Debra Granik

A Spirited Q & A With “Winter’s Bone” Director Debra Granik (photo)

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As a way of celebrating this year’s nominees for the Spirit Awards in the weeks leading up to the ceremony, we reached out to as many as we could in an effort to better understand what went into their films, what they’ve gotten out of the experience, and where they’ve found their inspiration, both in regards to their work and other works of art that might’ve inspired them from the past year. Their answers will be published on a daily basis throughout February.

Over the past few weeks, Jennifer Lawrence has complained of the cold, cinematographer Michael McDonough lamented an unforgiving schedule, and Dale Dickey spoke of the challenge of balancing a chainsaw while on a boat. And these were only a few of the obstacles that were overcome under the watchful eye of Debra Granik to make “Winter’s Bone” one of the year’s most unforgettable films.

02192011_DebraGranik.jpgThat might sound like needless hyperbole, but in the case of Granik, it’s accurate since along with producer and co-writer Anne Rosellini, she does not let you forget. In addition to the searing 2005 Spirit Award-nominated debut “Down to the Bone,” Granik continues to reach into the crevices of American consciousness to elevate intimate stories of struggle, whether it’s the hold of addiction in “Down” or the strength of blood ties in “Winter’s Bone,” to the epic emotional journeys worthy of the big screen as art and demanding of attention as social issues.

Needless to say, such rich storytelling isn’t easily achieved and Granik and her crew spared no detail in recreating the world first documented in Daniel Woodrell’s novel about the resourceful Ree Dolly, a teen who is forced to care for her family and, with her uncle Teardrop (a brilliant John Hawkes), save their home from repossession when her father disappears into the wilderness of the Missouri mountains after being busted for cooking meth. Three years of trips to the Ozarks produced countless pictures, stories and the strains of mandolins and banjos to draw upon for texture, not to mention some of the film’s cast — beyond the gender switch of one of Ree’s two brothers into a sister when the young Ashlee Thompson, the seven-year-old granddaughter of the landowner of where the film was shot, charmed the director during tours of the property, a touching moment on the film’s DVD making-of shows Billy White, a local cast as Blond Milton in the film, telling the camera, “I wake up and have something to be proud of now.”

That everyone who worked on “Winter’s Bone” can say the same is a testament to their hard work and their leader Granik, a Spirit Award nominee for Best Director and Best Screenplay, not to mention someone who has established herself in just two features as one of the best filmmakers working today.

Why did you want to make this film?

Two things attracted me to this story, primarily. First was the heroine, Ree Dolly. I was attracted by her moxie and the unexpected aspects of her character. Secondly, I was drawn to the challenge of depicting a life in a region of the U.S., the Ozarks, with which I was totally unfamiliar. I wanted to know what it might be like for a girl like Ree growing up in that area. Daniel Woodrell’s novel, which is the source of the story, is full of very specific observations, dialect and a clear point of view, so there was a lot of material there to get us started.

What was the best piece of advice you received that applied to the making of this film?

Get a local guide, someone who can help you in the long process of finding your way and winning people’s trust. We found that person in Richard Michael, who comes from the area in which we filmed. Also, do everything possible to strip the production needs down to the nub. No condors, no cranes, no snow machines, no giant lights. That allowed us to be more nimble, to film quickly and get into spaces that we wouldn’t be able to fit into otherwise.

What was the toughest thing to overcome?

I had to overcome my resistance to allowing Teardrop’s fate appear to be determined by a continuing cycle of revenge. This was an aspect of the story that I did not want to accept. I wanted Teardrop’s future to remain open-ended. The script originally left it that way, and we added the lines that are more definitive, partly at John Hawkes’ insistence. Ultimately, there was a debate among me and my colleagues in the editing room over John’s lines in the last scene. And it was Affonzo Goncalvez, the editor, who finally found the solution that resolved the question to everyone’s satisfaction.

What’s been the most memorable moment while you’ve traveled with the film, either at a festival or otherwise?

It’s been gratifying to see that diverse audiences can relate to this story, including people whose life experience is close to that of the characters in the movie, as well as those whose lives have been totally different.

What’s your favorite thing about your film that’s been largely uncommented upon?

It feels like almost everything has been commented upon at some point. Sometimes, the same loyal dog in one of our locations is seen on both sides of the frame. He got there not by CGI, but through his humble disregard of continuity. I loved working with an editor, Affonzo Gonzalves, who can make those kinds of anomalies work. Fonzie is one of our team’s heroes, yet his contribution has been largely unnoticed. It is hard to comment on editing, because of the old saying that when the editing is working, you don’t see it. But we all know how deeply his creativity runs through this. Another aspect is the collaboration between Michael McDonough, the director of photography, and Al Pierce, the camera operator. Working with two people putting their skills and smarts together to see how we can make this work — that is getting everything you want and more.

What’s been the most gratifying thing to come out of this film for you personally?

Roadside Attractions’ creative and humane distribution of the film really surpassed our expectations. They took a film that was regional and had no TV ads, and dared to open it not just in the major markets, but in locations from Paducah, Kentucky to Red Deer, Alberta that almost never see arthouse fare.

The warm response to “Winter’s Bone” overseas was also gratifying. Being told at first, “[An] indie film with no recognizable stars? No go,” but then one by one, the European nations came through, the distributor in Australia came through big time. And from this experience, I was able to meet filmmakers and journalists from many different places. Very invigorating. Cultural dialogues erupt when you leave home.

Also, many of the friendships we made have continued to nurture us, and working relationships that we established while making this film have carried over to new projects.

What’s been your favorite film, book or album from the past year?

Laura Poitras’ documentary “The Oath” is one of the best things I encountered in 2010. My favorite book this year is “Methland” by Nick Reding. My favorite music this year is from Southern Missouri. I got really turned on, got to see music made up close and it’s unforgettable what talent is pulsing in those parts.

“Winter’s Bone” is still playing in limited release and is now available on DVD, Blu-ray and iTunes. The Spirit Awards will air on IFC on February 26th.

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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

via GIPHY

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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