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A Spirited Q & A With “Tiny Furniture” Actress/Writer/Director Lena Dunham

A Spirited Q & A With “Tiny Furniture” Actress/Writer/Director Lena Dunham (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.

Of all the things written about Lena Dunham in the past year, a span of 12 months that has included a New York Times piece on her ultra-low budget feature “Tiny Furniture”‘s successful debut at SXSW in March and culminated with a lengthy profile in The New Yorker upon its release in November, the irony, which has surely not been lost on the actress/writer/director, has been the best teller of Dunham’s story is herself. Words have come tumbling out, just as they cascaded from the tongue of Dunham’s onscreen alter ego Aura, because it’s rare to witness a genuine phenomenon, a singular voice that captures the ambivalence of a particular time and age while wringing it for laughs with an honesty that is both courageous — which as Alison Willmore noted in her review, was due in no small part to “Dunham’s nigh-majestic lack of vanity” – and cringe-inducingly familiar.

02142011_LenaDunhamTinyFurniture.jpgThis isn’t to confuse what Dunham has done with “Tiny Furniture” as autobiography, despite the casting of her mother and sister in their natural roles onscreen in the suspiciously similar story of a young woman who moves back in with her family in New York to deal with post-college malaise. Although the parallels to her real life are well-documented, Dunham is hardly lacking ambition. At just 24, Dunham honed her observational style on Web series (“Delusional Downtown Divas”) and her first feature “Creative Nonfiction,” if not necessarily sharpening it — the charm of her style is in its disarming looseness, as if there’s no filter between her mind and her mouth. Yet “Tiny Furniture” is precise in the feelings it elicits, no doubt a product of Dunham’s script, nominated for Best First Screenplay, and the keen-eyed cinematography of Jody Lee Lipes, also nominated for a Spirit Award.

These days, if Dunham doesn’t know where life will take her next, it’s because of all the many choices in front of her — she’s already at work on her first TV series, the Judd Apatow-produced HBO series “Girls,” an adaptation of David Levithan and Rachel Cohn’s “Dash and Lily’s Book of Dares” for “The Social Network” producer Scott Rudin, and also co-wrote “You Wont Miss Me” director Ry Russo Young’s next film “Nobody Walks.” Whatever direction she decides to take, Dunham is clearly going somewhere no one else has, and quite possibly taking what we hold as the standard for great comedy with her.

Why did you want to make this film?

“Tiny Furniture” was doing laps in my head for almost a year before I wrote it. I waited until my desire to tell the story was almost unbearable before I started to write. The time between graduation and landing in the adult world is painful, frustrating, funny, oddly universal — many of the qualities I search for in a favorite film. I needed to give it a shot.

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

The film’s editor, Lance Edmands, encouraged me to show more private moments with my character. The DP, Jody Lee Lipes, gave me permission to take my time with scenes, breathe, even though they’re dialogue heavy. These bits of wisdom really aided the neither-here-nor-there dramedic tone I was hoping for.

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

There were benefits and challenges to the incredibly low budget. The benefits: creative freedom, forced resourcefulness, people doing it for the love of the game. Challenges: never enough time, manpower or snack foods.

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

Seeing the film play for the first time in front of an international audience in Israel. No one laughed and I was terrified, but afterwards people seemed to have liked it. (They just thought it was a drama.)

Also, the time I heard three octogenarian women discussing how much they hated it in a bathroom in Sarasota, Florida.

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

I love when people notice the costumes. Every actor dressed themselves, and it feels like a testament to how well they knew and loved their own characters.

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

The chance to work more, and with additional resources, and most of all with people I admire.

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

“Fish Tank”

“Tiny Furniture” remains available on demand continues to play around the country — a full list of screenings is here — and will return to Los Angeles at the New Beverly on February 16th and 17th. The Spirit Awards will air on IFC on February 26th.

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SO EXCITED!!!

Reminders that the ’90s were a thing

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

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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.”

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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. 

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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.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.