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Kelly Reichardt on Surviving “Meek’s Cutoff”

Kelly Reichardt on Surviving “Meek’s Cutoff” (photo)

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“I don’t know what making a film is like,” Kelly Reichardt says near the end of our conversation. She’s referring to the way other filmmakers work, but it could just as easily apply to her own work since in the past few years, she’s been making experiences. In a celebrated run with screenwriter Jonathan Raymond that began in 2006 with the drama “Old Joy” and has continued on with two collaborations with Michelle Williams in “Wendy and Lucy” and “Meek’s Cutoff,” the director has become one of the most striking voices in cinema today by letting life take its course and gently adhere to Murphy’s Law when it comes to her characters who battle against the unforgiving nature of the elements in Oregon and the hegemony that’s been in place long before the protagonists ever enter the frame.

In fact, one of the most memorable shots in “Meek’s Cutoff” seems to stem from that very idea near the beginning of the film, as one wagon train exits to the left side of the screen as you get your first glimpse of Stephen Meek’s wagons in the distance. Meek, a blustery real-life explorer who led a group of settlers to a dead end of starvation and thirst, is a relic of the past, buried under a thicket of gray hair (making his portrayer Bruce Greenwood virtually unrecognizable).

KellyReichardtMeeksCutoff_04192011.jpgAs the trust unravels between the guide and the three families he’s been hired by to take through the Cascade Mountains, the film becomes a survival tale with several contemporary parallels, whether it’s the notion of a seemingly rudderless group of Americans or the discovery of inner strength from the women’s de facto leader Emily Tetherow (Williams), whose suspicions about Meek lead to an unlikely relationship with a Native American (Rod Rondeaux) she first greets by firing at him.

As Reichardt explains below, the film itself was nearly as unlikely, both as her largest-scale project to date and, it should be noted, her most accessible yet, and during our chat, she spoke about how the film changed her concept of time, showing a different side of Oregon and how historical accuracy lent itself to a low budget.

What drew you to this?

Probably some of the same things that drew Jon [Raymond] to it – just this idea of persuasive blowhard persuading a bunch of people out into the middle of the desert without really knowing the lay of the land or possibly being without any kind of real plan and just overestimating himself and the situation and then winding up at the mercy of people that he is culturally completely different than and is mistrustful of. It was interesting in that it had all these contemporary components to it — this idea of labor and just how we experience time and space, I think, in such a completely different way in 2010 than we did in 1845, which isn’t all that long ago. Also Jon and I had just driven through that desert when we working on “Wendy and Lucy” and knew we wanted to do something out there, so I really wanted to shoot in that particular desert.

MichelleWilliamsMeeksCutoff2_04192011.jpgPeople have made a big deal out of this film being a larger scale film than you’ve attempted before, but upon watching it, it becomes obvious this lent itself to a more stripped-down approach as the settlers rely on the limited resources. Still, was that something you had to overcome psychologically before making it?

That was the case with “Wendy and Lucy” too, where the fragility of the production kind of mirrors the situation of the people you’re making the film about and if just one thing goes wrong, it all could fall apart. And that was the case with “Meek.” Certainly, the landscape itself, we were shooting where the immigrants actually got lost and just the travel [to the set] every day and the dust and having the animals in these places is to be humbled by the landscape and the weather and all the elements out there. And the town we stayed in — Burns, Oregon — was a very welcoming town without a ton of resources for a film crew. So it stripped us all down to these bare necessities of what you need and really without any frills.

We didn’t roll under our wagons and sleep on the ground every night, but I think there were times, especially for the actors in those clothes, the women in those bonnets that give you no peripheral vision and dealing with the animals, it was haunting. You felt like okay, someone’s been here before us and Rod Rondeaux [who plays The Indian] realized at one point that we were at an Indian burial ground from things we were finding on the ground. It just changes your idea of time in the small ways because everything takes so much labor and everything is such a process. You just have to slow down yourself. There’s no Internet out there, so my producers can’t just be on their Blackberries. You have to climb a mountain to find a signal. You just couldn’t help but think about time when you were out there.

It was [also] just a great research project. My production designer Dave Doernberg and Vicki Farrell, the costume designer, they hand sewed all those clothes. The wagons were from that time. All those things, you had to figure out how to make things work in a different way and when we started researching, we would approach things where we’d be asking the experts how would you do this or how would you do that? And they just would always turn the question back to you: how would you do it? You had to just keep realizing it’s individuals with their particular resources. Just like we got a flat tire in the desert, we’d be like “What do we do?” We don’t have cell phone service, how do we work this? It would be the same thing in their case, like the wagon wheel’s broken and there’s no trees around and we need a new axle, how do we do it? I feel like the gap of years got closed. We just started to have some empathy for the situation.

When you’re making a film like this, do you feel an allegiance to history?

Not much of an allegiance. [laughs] It’s an art project. And it’s funny because on the one hand, Dave Doernberg, my production designer had a pretty big allegiance to period, but Jon Raymond doesn’t. I feel like we were very true to the period, but we weren’t true to one story of the period, so I would say that.

MeeksCutoff5_04192011.jpgAre you feeling more comfortable now with experimenting with form? Much has been made of the aspect ratio [which is 1:33, the frame size of traditional televisions], but the harshness of the editing — transitions from light to dark and smash cuts — was one of my favorite things about the film.

We’ve been able to make three features in five years and your filmmaking gets better when you’re making films. That’s just a fact because you can practice the art of what you’re doing. I think what’s hardest about filmmaking is when you have these huge gaps of time in between when you’re not able to do that. People ask me why I cut my own films, and it’s because it’s the place to learn filmmaking. I think editing helps my directing a lot and it helps you figure out what you should’ve done or what the possibilities were and it’s a place where you can keep rediscovering just the power of a shot. So I guess I feel like I’m becoming more articulate as a filmmaker. It also helps to some degree, getting in the mode of being able to have some working relationships that carry through over different films where you’re not starting a conversation each time when you begin. It’s mostly part of getting old though. [laughs]

When you carry over those relationships from one film to another and you’re bringing in new people on this film, is there a culture clash?

I always had a fear of working with a bigger crew and on some days, when we had the stunt people there and all, it was a crew of 50, but when everybody’s really good at their jobs, it doesn’t really matter what the size of the crew is. I just remember about over the halfway point of feeling really in a groove with the crew in such a way that’s a real high. Then a week later, as my assistant camerawoman Eliza, a super hardcore woman who worked on “Wendy and Lucy” and this film said, “I’m never not in pain.” [laughs] And I know what she means. She’s not complaining, but it was just really physically hard and also hard to let go of at the end because you feel yourself as a group. And I don’t know what else you could compare that to when just like 50 people…or on some days mostly 30, just start getting in a groove together. That’s so great.

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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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