DID YOU READ

Brit Marling and Zal Batmanglij Speak About the “Sound of My Voice”

Brit Marling and Zal Batmanglij Speak About the “Sound of My Voice” (photo)

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I’m afraid to say I may never see “Sound of My Voice” as perfectly as I did at its premiere at SXSW. Still shamefully without a distributor, there’s no title card to suggest you’re watching a film. Instead, there’s simply a white “1” set against a black background before you’re plunged into a suburban neighborhood in Los Angeles like any other where there are some most unusual things going on. Our guides into this world are Peter and Lorna (Christopher Denham and Nicole Vicius), who are frisked inside a garage of an average home and escorted downstairs, asked for a complicated handshake to gain entry and find themselves in a basement in the company of some regular looking people attired in hospital gowns. Soon after, a woman named Maggie (Brit Marling) emerges in a white shroud with an oxygen tank to lead the group as a prophet, explaining that she hails from the year 2054. To know much more about what follows might rob “Sound of My Voice” of a bit of its mystery, but what can’t be taken away is the fact that it’s one of the most exciting American film debuts in recent memory.

03182011_SoundofMyVoiceSXSW.jpgPerhaps the only story as exhilarating as the one going on in the film is that of the two people behind it, actress and co-writer Marling and co-writer/director Zal Batmanglij, who finished “Sound of My Voice” two days after this year’s Sundance Film Festival started and had to drive the master to Park City without ever having seen it on the big screen. It played well in the low-budget NEXT section of the festival, but SXSW appears to be where the film has really taken off, a place where a story awash in ambiguity and features a virtually speechless and bleached-blonde James Urbaniak can be appreciated full-tilt. But while “Sound of My Voice” could accurately be dubbed as a cult film, it would be wrong to think that description extends beyond its subject matter since it is a marvel of elegant, muscular filmmaking that touches on elements of science fiction while belonging firmly to tradition of great cinematic nailbiters. Marling, who took Sundance by storm by also appearing and co-writing the Fox Searchlight pick-up “Another Earth” for director Mike Cahill, and Batmanglij took time out from a busy SXSW to talk about making their first narrative feature together, filming Los Angeles in a different light, their future plans and the power of belief.

You were working on something else before. What made this the film you wanted to do first?

Brit Marling: We didn’t quite finish writing the other project we were working on and felt we had to go research it more fully, so when this idea came up and we started to write it and it came out as this entire universe – I mean, a lot of storytelling came out. There is an answer to the riddle of who Maggie is. We haven’t gotten there yet. Maybe we will in a trilogy of films. Maybe we will in a TV series. But when it came out, it really consumed us. We were obsessed with writing it and wanted to bring it into the world.

How much of that universe of the cult did you have to create before you started writing?

Zal Batmanglij: We just kept telling each other the story. Brit would tell me a part of it and then I would pick up from where she left off and continue it. and Sometimes that would end up in a dead end, so we’d backtrack and say what would we really do if we were taken into the valley into a basement and this woman comes out? And it kind of has to be someone like Brit because you’re just like whoa, who is that? And what would repel us, but also what would draw us in? What would make us question our own sense of reality?

Brit, were you regretting some of the rituals of the cult you put in the script when the actual day of shooting came since you’d actually have to do it as an actress?

BM: I think one of the best things about being an actor is that you get to live extreme circumstances. Most dramatic stories are cataclysmically climactic events happening back to back and that’s one of the most amazing things about being an actor is you get to do that stuff. You get to be a cult leader and lead a group of people in doing bizarre things. I would never have that experience in my life.

I understand you guys first met at Georgetown and took a screenwriting class – were you thinking of becoming filmmakers before that class?

ZB: That’s actually me and Mike [Cahill]’s story. We were seniors and Brit was a 17-year-old freshman, so we only overlapped for a year. We wanted to be filmmakers, but we didn’t know how to do that. How do you become a filmmaker? I still don’t know the answer to that question. How we made this film is…one day we just left. We left everything we knew with a backpack and we just started walking.

At first, I thought we would get someplace and that would be the destination of where we’re going, like here we are, we’re filmmakers now. We’ve arrived at this place and now I realize there are no destinations. It’s just walking. And you can spend the night somewhere nice – like you could make a movie – and then you have to keep walking. So it’s a very nomadic thing for us. We started that process not at college because we made shorts in college, but we still had one foot in the normal world. Brit worked at Goldman Sachs one summer. Mike and I did other jobs, but at some point, in my mid-twenties when we all moved to L.A., we just decided we’re going to do this and we’re not going to turn around and look back.

Coming from the east coast and going to Los Angeles, did a sense of discovery about the area play into how you decided to shoot the film?

ZB: I think that’s part of our job. People ask us did you research cults and it’s more like we have to be awake to life. We have to be hyperconscious and we were living in Silver Lake in different houses near each other when we were writing “Sound of My Voice” and we’d walk to each other’s houses to write and you’d pass by Forage [a restaurant where one of the scenes from the film is shot], which was just opening up. We went in there and we said, “Hey, look, we don’t have any money. Can we shoot here at night?” And the guys said, “Sure.” I was like, “Well, we first need to finish the script, raise the money, do all those things, but I’ll come back to you.” And so a year later, I came back to him.

BM: The same with La Brea Tar Pits. When we were coming up with the climax of the film, we went to the La Brea Tar Pits and were wandering around that space and all these prehistoric characters and this massive timeline stretching out on the wall, going from the beginning of time to NASA space shuttles lifting off. Real parts of L.A. inspired this story, so it’s like there’s an organic mystery of going into this subterranean universe of L.A.

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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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