Catherine Hardwicke Rides Into SXSW

Catherine Hardwicke Rides Into SXSW (photo)

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One of the great elements of Catherine Hardwicke’s films throughout the years has been a sense of place and community, whether it was the loose-knit family of orphaned Southern California skaters in “Lords of Dogtown,” the tenuous, hard-won relationship between the warm-hearted vampire clan of the Cullens and the occasionally chilly human population of Forks, Washington in “Twilight” or even in her latest film “Red Riding Hood,” where Amanda Seyfried’s titular character goes from beloved daughter and belle of the town to an outcast whose societal freefall after her encounter with the big bad wolf feels particularly cruel given how strongly the director sets up the world around her.

So there’s little surprise that Hardwicke’s “Director’s Workshop” Saturday afternoon at SXSW, which is fast becoming a home away from home for the helmer who went to the University of Texas’ School of Architecture after growing up in the Texas bordertown of McAllen, had a most unusual vibe for an established filmmaker addressing a crowd of aspirants — one that felt as though we’re all in this together.

This was evident from the moment when the scrappy filmmaker in Hardwicke asked the crowd “Who had the best scam?” before moderator Hollywood Reporter‘s Jay A. Fernandez could calm all the hands that were about to be raised. It was the kind of panel where “Twilight” was oddly only mentioned once near the end, and Hardwicke felt obligated to detail the geography of the scene of Bella and Edward flying caroming from tree to tree, but where her first film “Thirteen” was celebrated and treated as a master class on shooting economically.

As Hardwicke demonstrated through a fast-forwarded version of the entire film, she demonstrated the very deliberate and gradual shift in colors from dull to vibrant to reflect her main protagonist’s increasingly wild life and then brought out floor plans of the house she used in the film, a form of preparation that was born out of her pre-directorial career as a production designer on such films as “Vanilla Sky” and “The Newton Boys,” and showed how every camera move utilized the angles available to her at that particular home.

Although she was a pro at figuring out landscapes early on, Hardwicke admitted when she first started she knew her way around an actor’s process far less, telling the crowd, “All the films I was a production designer, I didn’t realize I should respect the actors more.” With her “Red Riding Star” star Shiloh Fernandez sitting next to her on the panel, this led to a discussion of how Hardwicke took improv classes herself to realize what kind of space actors actually need, why she wants her actors to understand and personally connect to every line they say (Fernandez said the process gave him a personal way into the material), and in a moment of levity, how she navigates the “nipple zones” (what areas Hardwicke is respectful of while shooting during intimate scenes).

Afterwards, Hardwicke was kind enough to speak to me about taking on the role of mentor, something that she’s not only did with the panel, but as an executive producer on Janet Grillo’s drama “Fly Away,” which is making its premiere at the festival, what effect being the “Director of ‘Twilight'” has had on her, and why SXSW was a welcome distraction this particular weekend.

How did you feel being amongst all those aspiring filmmakers at the panel?

Wasn’t it wild? It was fascinating. It was a big, interesting crowd of people in there. Whatever happens, if I can get one or two people inspired, give them a good idea of the way I do it, they can change it and maybe they can do it better than me, but at least it shows them hey, this is one technique you can use.

Amanda Seyfried has talked about the extensively designed books you created as a resource that really sold her on making “Red Riding Hood” – is it something from your background as a production designer to plan in such a way?

On “Red Riding Hood,” it was a really big deal. Everything…we had to design all those sets from scratch. We’re trying to visualize a whole world. What could it look like? Nobody knows what it’ll look like and you have to do a sketch and you have to get a budget and how much will it cost to build that thing? So the studio has to get some clue if we can afford this project and how big does the set need to be and can a horse fit around there?

As a marketing device, it’s great, but as director of varied interests, how has it been to have “From the director of ‘Twilight’ appear on the poster?

It’s good and bad. I said, “Could I have ‘Lords of Dogtown’ on there and ‘Thirteen’ too?” And like “Nobody knows those movies.” [laughs] I was like…[shrugs shoulders] No, I said, does it only have to be that? But I don’t really get to choose what they put on the poster. I would’ve rather have some other movies too, but I think it’s good and bad when you say “Twilight.” Some people love it and a lot of people love to hate it.

The one connection the two films have is some very strong chemistry between the leads and one of your stars Shiloh Fernandez mentioned during the panel that you were very keen on asking the actors about what every line means to them personally. Do interesting things come out of that process?

Oh yeah, because sometimes I think it means something – that line – and they might’ve interpreted it in a different way and maybe we need to change it or shade it different. Or maybe it’s too serious and we need to give it a little spin and make it a little lighter.

I’ve never been able to talk to a director of such a big movie on an opening weekend – I know you’ve been able to distract yourself with SXSW, but is it a nerveracking experience?

It’s pretty nerveracking, but really at that point, you can’t do anything. The baby’s out there. Maybe you could run nude through New York City to get some free publicity, but besides that, it’s kind of like it’s done, so to me, I love Austin and I love this festival, so I was just trying to think of any excuse to come. I said to Janet [Pierson, the festival chief], “Can I do a panel or speak?” just to have an excuse to come. [laughs]

You also had another excuse as an executive producer on Janet Grillo’s film, “Fly Away,” which is here at the festival. Is being a mentor a role you embrace?

It’s kind of a nice privilege. I think Janet made a movie that is very much from her heart. It’s very intense and it’s very much about her life and it’s important for a lot of people to see that film, so I’m happy to support her in a little small way.

What’s up next for you? You’ve been attached to many things the past few years.

There’s “Maximum Ride,” “Maze Runner,” and “Hamlet” – I don’t know which one will go. I’m not trying to be coy. You just don’t know what the studio will decide. I thought a different project was going to go at Summit. I was doing “If I Stay” and then all of a sudden, they didn’t say yes and Warner Brothers said “yes” and you’re like, okay. So you’ve got to have a few things cooking and then maybe none of the ones you thought were going to go might go and suddenly another one will come from outer space. Or maybe I’ll make a little no budget movie. I don’t know.

“Red Riding Hood” is now open wide.

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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


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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