DID YOU READ

A Spirited Q & A With “Tiny Furniture” Cinematographer Jody Lee Lipes

A Spirited Q & A With “Tiny Furniture” Cinematographer Jody Lee Lipes (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.

It would be one thing to say that Jody Lee Lipes had a beautiful year, but it would be equally accurate to say he made the year beautiful for the rest of us. Following the accomplishments of lensing Antonio Campos’ “Afterschool” in 2008 and directing the doc “Brock Enright: Good Times Will Never Be the Same” in 2009, 2010 began with a bang when Lipes landed at SXSW with the wondrous “NY Export: Opus Jazz,” the film he co-directed with Henry Joost that updates Jerome Robbins’ urban ballet that functions as a pure distillation of cinema and dance. He later headed to Cannes with the contemplative “Two Gates of Sleep,” Alistair Banks Griffin’s drama about two brothers transporting their mother’s corpse across rough terrain, and if there’s a common thread between the three vastly different films, it’s how Lipes can convey a sense of dignity in both the lightest and darkest corners of the world and of humanity in general.

02052011_lipes.jpgDuring his time in Austin, Lipes clarified to Aaron Hillis that he would prefer to be described as a filmmaker rather than a director of photography, a distinction that makes sense well beyond the fact he’s already worn many other hats besides that of a cinematographer. And yet his name has become a badge of honor on any film that lists him in the credits, a promise to the audience that their eyes will be dazzled.

Incredibly, as Lipes mentions below, he almost wasn’t hired for Lena Dunham’s “Tiny Furniture,” the film that garnered him a Spirit Award nomination for best cinematography. If there was any risk in hiring him, it surely paid off since it was his camerawork that brought focus to the writer/director’s cockeyed view of the world, operating almost as the prim and proper Laurel to the blustery Hardy of Lena Dunham’s Aura, the free-thinking, overprivileged/ understimulated New Yorker that barrels through the wilderness of post-collegiate life. Dynamic duos like this don’t come around often, so it’s no surprise Lipes and Dunham have continued their collaboration on the upcoming HBO series “Girls,” which in addition to his work on the Sundance winner “Martha Marcy May Marlene,” suggests 2011 may even be a more momentous year for the filmmaker than 2010. At this point, momentum may be the only thing that could widen Lipes’ scope.

Why did you want to make this film?

I had just finished working on “NY Export: Opus Jazz,” the largest production I had been a part of up till that point in my career, and I was looking to shoot a really small film without crew or any of the machine that comes along with a budget. So when Kyle Martin told me about Lena’s script and the scale he was imagining for the film, I really wanted to read it. I remember calling Lena when my plane was taking off as I was returning from some job in California, I sort of begged her to give me a try on that voicemail cause she had already decided against working with me. Luckily, she reconsidered.

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

Just watching Gordon Willis’ work prepared me for this film in a lot of ways. He is one of my favorite storytellers.

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

The toughest thing about “Tiny Furniture” was the camera we were using (the Canon 7D), it’s not very forgiving and it’s painful to operate. My longtime friend and AC quit the first day cause it was so difficult to work with. In the end, the movie got a lot of attention because we were one of the first couple features to work with that technology, but it’s not something I’m planning on doing again.

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

The most memorable moment was watching Lena on the Craig Ferguson show in December. It was kind of hard to believe a year after we starting shooting this no-budget film in her parents’ apartment that Lena had come so far and achieved so much. It’s really been a pleasure to watch.

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

My favorite thing about the film was the complete lack of expectation about the product we were making while we were making it.

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

The most gratifying thing to come out of this process has been the extreme pleasure of working with Lena, Judd Apatow and Jenni Konner on Lena’s new HBO show. It’s amazing to learn from and collaborate with such gifted and dedicated minds.

Your favorite film, book or album from the past year?

“Catacombs” by Cass McCombs is the album I’ve listened too most over the course of the last year, he is simply the best.

“Tiny Furniture” remains available on demand and continues to play throughout the U.S. A full list of screenings can be found here. The Spirit Awards will air on IFC on February 26th.

[Additional photo: “NY Export: Opus Jazz,” Credit: Yaniv Schulman, 2010]

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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.

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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

Shopping

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.

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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.

Booger

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.

Ogre

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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