Josh Radnor Talks “Happythankyoumoreplease”

Josh Radnor Talks “Happythankyoumoreplease” (photo)

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No sooner than I sat down with Josh Radnor does he tell me that he’s going to give me an exclusive, as he scrolled through his smartphone. “I just found out I’ve been named to my high school’s hall of fame,” he says, clearly taken by the honor with a smirk that suggested a mix of nostalgia and bemusement. Oddly enough, it’s somewhere in between where “Happythankyoumoreplease,” Radnor’s debut as a writer/director, resides.

Not easily described as either a comedy, a drama or the usual variation thereof, Radnor’s graduation into film after years of starring on “How I Met Your Mother” is a bit more melancholy than one would expect from its emphatic title, tracking the lives of five New Yorkers all having to let go of considerable baggage if they are to face the commitments standing in front of them. Since Radnor wrote the film to star in himself, naturally he has the most on his plate as a creatively-blocked novelist who takes in a young boy he sees abandoned on the subway around the same time he becomes smitten with another stray (Kate Mara), a waitress he meets at a local pub. Meanwhile, his alopecia-stricken best friend (Malin Akerman) fights off the advances of a well-meaning but plain-looking co-worker (Tony Hale) and his sister (Zoe Kazan) fears her longtime boyfriend’s desire to move to Los Angeles.

Whether they’re successful at charting a new direction for their lives is something that needs to be seen in the film, but it’s clear Radnor’s own turn behind the camera has been, already having garnered an Audience Award at last year’s Sundance Film Festival. Thankfully, after a yearlong delay that can be attributed to a change in distributors [from the nascent Hannover House to Anchor Bay], audiences outside of Park City will have the chance to see it and I caught up with Radnor recently to talk about what went into making his directorial debut.

Are you relieved the film is finally coming out? It seems like it must be frustrating to do everything right, coming out of Sundance, and then discovering you need to find another home for your film.

I always had great faith that it would come out. I knew, given the Sundance reception and we kept winning audience awards at festivals, I felt like this is a movie that audiences respond to and someone’s going to want to put this out and get it to an audience. So there was confusion in the midst of it, but Anchor Bay picked us up a few days after we left the other distributor, so it was kind of immediate. It was a very smooth passage into this other [distributor]. Then the delay happened, which has actually been fine — it’s almost like you get to spend another year at home with your kid before he gets to go to school. There’s a sweet time before it’s released before the world gets ahold with it, so I got to spend a little more time with the film, which was okay with me.

03032011_Happythankyoumoreplease1.jpgThe end credits note a bunch of actors (including Chris Messina, Rosemarie DeWitt, Jennifer Westfeldt, Sarah Chalke, among others) that “participated in readings of the script…and helped immeasurably in its development.” As an actor yourself, do you think you developed the film in a different way than if you were strictly a writer and how did those readings impact the film?

The first reading I did was in New York with, I think, I had 80 pages or something. It was like two acts of the movie and every time I would hear it out loud, I would hear what was working, what wasn’t working, what needed to be addressed and then actors actually have really good instincts about story and about structure because they’re inside the script and kind of feel like “oh that didn’t feel right.” So I ended up doing about seven readings and they were all so helpful, both in New York and L.A. — it was really fun too, to gather all these great actors together and just hear this thing you had written take on some other life in the room. But the process of doing the readings was so invaluable to me that I felt like I wanted to thank them at the end. No one obviously did it for anything other than some wine and some crackers, but I wanted to tip my hat to that whole process because it felt important to me.

It just seemed like a different way of approaching a film.

It’s more because I come from the theater where you do a lot of readings, you do a lot of workshops. Before it’s on its feet, you might do like a one or two-week workshop where you just show it to people where you still have scripts in your hand and it’s a more fluid process where you allow it to be in process rather than a finished product, so I just learned a lot about the movie and I learned that I should probably direct a movie from those readings.

The script made the Black List and there’s usually some frenzy surrounding that. Were you hearing versions of it from other directors that made you think I really should do this?

I never had an extensive conversation with a potential director on it, so I didn’t really hear about other people’s visions. It was more my vision of it was so strong and so sharp that I felt it was probably best for me to assume to reins of the whole thing.

Other actors sometimes describe the transition from doing comedy on TV to film as being a bit rough since it’s a different rhythm. Did you actually find that affecting what you did as a director or writer?

It’s hard for me to say what this is. It’s certainly not a straight-up comedy because there’s moments of real genuine feeling and anguish and all those things and it’s also certainly not a tragedy. There’s a happy ending to the whole thing. So as a writer, if a scene was a little mopey, I would feel it was time for a joke and if a scene was really funny, I would try to end it on maybe a more somber note. But that was more reflecting what I feel what life is, which is both tragic and comic in equal measure on some level.

03032011_Happythankyoumoreplease2.jpgOn a multi-camera sitcom, you’re beholden to a certain rhythm when it comes to laughs. Like 20 seconds go by, you’re going to have a laugh. I think one of the things “How I Met Your Mother” does really well is it balances that, where we’ll go to some really serious terrain and we’ll let it live there for a while. And it’s bold in the world of sitcoms for a show to do that. That said, a movie gives you a lot more latitude in that I didn’t have to have laughs in a scene at all. And that’s okay because things aren’t funny all the time.

After seeing the film, the title makes perfect sense, but did you worry with something quirky announcing your film like that, along with some of the other superficial elements of the plot that scream “this is an indie film” that you were putting a target on your back?

I don’t know because I don’t feel like a great student of indie film. It’s not like I thought, “Demographically, I think there need to be more films about young people in urban environments!” I didn’t think that and I don’t think that. But I knew this was a story I wanted to tell and I’m not a cynical person. I think a lot of indie films get really dark and if I was doing any kind of subversion, it was flipping that on its head. But I think a lot of people go in expecting the film to be one thing and it’s really not that thing and most of those people are pleasantly surprised by that.

“Happythankyoumoreplease” opens in New York and Los Angeles on March 4th.

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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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