A Spirited Q & A With “Everything Strange and New” Director Frazer Bradshaw

A Spirited Q & A With “Everything Strange and New” Director Frazer Bradshaw (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.

Frazer Bradshaw has held nearly position on a film crew imaginable, from his beginnings as an editor to a cinematographer who continues to work on other people’s films such as “Babies” and the recent Sundance entry “These Amazing Shadows.” So after creating a collection of shorts over the past decade, it was high time for the filmmaker to put it all together for “Everything Strange and New,” his first feature that has added the adjective “best” since being nominated for a Spirit Award and collected likeminded notices from the Gotham Awards and its celebrated festival run with stops in San Francisco and Munich last year.

Naturally, the film itself is also about a man (Jerry McDaniel) who is attempting to pull together disparate elements, not in art, but rather in life as he supports his wife and two children as a carpenter who unfortunately can’t apply such craftsmanship to everything around him that seems to be falling apart. Set in Oakland, Bradshaw’s film is no ordinary tale of suburban woe, especially since the consummate filmmaker constantly challenges convention with the inventive ways he shoots “Everything Strange and New” and as a film, it never succumbs to telling an audience how it should feel, instead only allowing its audience to feel as its lead character Wayne contemplates his life in voiceover and ponders the ways he can change the direction of his narrative.

What’s exciting about “Everything Strange and New” is that Bradshaw is trying to change the direction of the way films are constructed, reminding us of the elasticity of the medium with the story of someone who must walk a very fine line.

Why did you want to make this film?

There are a lot of reasons. For one, I love the craft of cinema, and the experience of watching projected light; on a very immediate level, I just like to make films for the pure joy of making and seeing the aesthetic manifestation. On a deeper level, I wanted to talk about some of the profound complexities of human cultural/emotional/spiritual experience. Essentially, I wanted to give a voice to some of my personal struggles and experiences that I think are shared by many or are universal in human life. I also wanted to make a film about a huge cross section of America whose experience is radically underrepresented in America media: the working class.

02252011_EverythingStrangeandNew2.jpgWhat was the best piece of advice you received that applied to the making of this film?

In high school, an older photographer friend/mentor told me that if I made work that was truly honest, people would understand and appreciate that work. I took that to heart, and tried to make “Everything Strange and New” as honest a film as I could.

What was the toughest thing to overcome, whether it applies to a particular scene or the film as a whole?

It seems almost too simple, but the real answer is money. I’d wanted to make a feature for almost 10 years. I suddenly found myself with the most basic financial resources to make a feature, and with that stumbling block finally out of my way, I was able to write a first draft in three weeks and go into production a few months later. Of course, it turned out that the money I had in place really wasn’t enough, and in the end, my fabulous executive producer Steve Bannatyne of Lucky Hat Entertainment signed on, along with some minor investors to give me the resources to make a film that was uncompromised.

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

I think my favorite moments are in Q & As. The film is designed to illicit very personal reactions from it’s viewers, and it is very rare that I leave a Q & A without a new perspective on the film. Audiences bring themselves to the film in a way that often moves me, and they frequently observe things in the film that I missed in making it. In a way, I feel like the audience finishes the film for me, anew, in every screening.

In one specific case, a woman in the audience told me that she felt that the way women are represented in the film was problematic. Before I had a chance to respond, another woman on the other side of the theater responded by telling the first woman that her observation was ridiculous and that she was clearly not understanding what the film had to say. They had a short argument, back and forth across the theater, while I stood on the stage and watched.

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

I’d have to say the photography. I’m a director of photography for my living, and I shot “Everything Strange and New,” as well as directing it. Because I have the skill set of a DP, and I wasn’t working with someone else, I was able to craft the cinematography to be exacting, so that it completely integrates with the storytelling style. I intentionally made the photography both naturalistic and stylized. At the same time. It’s not showy and not “beautiful,” so it doesn’t stand out, but for me, the film and it’s cinematography are of a piece.

02252011_EverythingStrangeandNew3.jpgWhat’s been the most gratifying thing to come out of this film for you personally?

With “Everything Strange and New,” I tried to make a film that was really honest and to work from a vulnerable place. Though the narrative elements are largely not autobiographical, the film is very much true to who I am. Gratifying isn’t even an appropriate term to describe the feeling I have, knowing that people “get” what I put out there.

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

I’d probably have to say the the film “Mundane Life” by the Korean director Jao Nok Krajok. It’s almost guaranteed not to get any distribution in the U.S. (because it’s that good), so if you happen upon it at a festival, be sure to check it out. By the way, you have to hold out for the end to see the magic.

“Everything Strange and New” is now available on DVD and will make its New York theatrical debut at the reRun Theater starting February 25th. The Spirit Awards will air on IFC on February 26th.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

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

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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