Susanne Bier Considers “A Better World”

Susanne Bier Considers “A Better World” (photo)

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In recent days, many people have thrown around the word “accessible” in writing about Susanne Bier’s work, a description that has no doubt has led to Hollywood interest in remaking at least two of the Danish filmmaker’s previous films including the already-produced Jim Sheridan take on “Brothers.” For some, it’s been a compliment and others, a curse – Bier deals in direct terms with her audience and while she tells stories that are easy to digest, it’s because they’re undeniably about the human condition.

Bier’s win for this year’s Best Foreign Language Film at this year’s Oscar for “In a Better World” was yet another confirmation that she’s working on a global stage, yet it’s long been evident from her films that it’s been a goal to cut across borders. In her latest film, she achieves the near-impossible with a parable about violence that spans from the small scale of schoolyard bullying in her native Denmark to the large scale genocide in Sudan, bridged by the story of a doctor (Mikael Persbrandt) who serves a refugee camp while his son (Markus Rygaard) must defend himself with the help of a new friend (William Jøhnk Nielsen) in the former, and in both cases, she’s quick to identify evil in the form of a debilitated warlord named Big Man and a blond teen terror named Sofus. As I wrote back when I saw at the Toronto Film Festival, “Whatever lack of sophistication exists for the aggressors in the film is reserved for the conversation that Bier and co-writer Anders Thomas Jensen would like to inspire about violence begetting violence and where the line should be drawn.”

Not surprisingly, Bier is equally engaging, if not more so when you speak to her in person, which I did a week before she collected her first Academy Award, discussing the difficulty of staging such continent-skipping films on small budgets, her pre-film school days at the Architectural Association in London, and why she likes to be a rule-abiding filmmaker.

What I was so impressed by is how you were able to capture a spectrum of violence with the two parallel stories – during the writing of the script, did one side emerge out of the other?

We came up with the themes at the same time. It’s always really difficult to say how you develop an idea, but [Anders Thomas Jensen] had written some scenes where some boys were being interrogated by the police. I really liked those scenes and at the same time, we had been discussing about how fragile the Danish ideal really is, and also the whole notion we live in a very privileged society, very safe in Northern Europe. We always tend to think the enemy always comes from the outside. The threat is always something alien, something exotic, something foreign. What if the threat is really from within and what kind of story would that be? So we had those more theoretical discussions and he wrote those scenes and they are not actually in the movie, but they were very inspiring in terms of the development of the story.

04012011_InaBetterWorld1.jpgYou walk a fine line here of making a film about violence without glorifying it, but is it much of a consideration is it that at some points in the film it’s a release for the audience?

The thing is you don’t want to glorify it, but on the other hand, you also don’t want to soften it. It’s always that dangerous thing that you deal with — you deal with a certain fascination and yet you don’t want to glorify something. I definitely don’t think the movie glorifies violence. Quite the opposite. But I think it understands the urge of violence at certain cases. When the doctor finally gives in and feels in his heart he can’t defend Big Man anymore, that’s a very violent moment, but it doesn’t glorify it. There’s a sense of relief, but there’s a sense of relief of getting rid of this guy who’s just going to go out and do more atrocities. I think it’s about understanding that even if you don’t really believe in violence and even if you don’t believe in revenge, you can also not accept anything. There are certain things you cannot accept. There are certain things that human beings cannot tolerate.

Your last three Danish films have all involved people relating their experiences overseas to the ones they have at home. Has there been something particularly appealing about that theme or is it coincidence?

I think there is an understanding that the bigger world is part of our world where we can’t just exclude ourselves from the rest of the world anymore. But also I think there’s this whole theme of how difficult it is, which my last movies have dealt with, in contemporary society to be a decent human being. That whole thing of wanting to do the right thing and actually wanting to help people and yet having issues at home and possibly being a flawed human being is to me very essential and interesting.

It was so interesting to learn then that you initially studied architecture, which is an art that seems as removed from dealing with human nature as one can get. However, did your education there inform your film work?

I think there are similarities, which have to do with both fields being in between art and craft in a way. There is a certain craftsmanship that you need to understand in order to make movies and also there is a certain technical thing you need to understand, which is the same for architecture. Also, I think as a director, your main thing is you have to understand the entire movie, even if while you shoot it or while you edit it, it’s very fragmented. You have to stay with the image of the entire story or the entire development and that ability to see something from above, which you also do as an architect, is where those two things play into each other.

04012011_InaBetterWorld4.jpgThat kind of foresight must come in handy – I heard you only had five days in Africa, which seems insane to me since it takes up such a significant portion of the film.

It is insane. [laughs] Here’s the thing, it doesn’t seem insane to you, it was insane and I can only say that I’m grateful that we actually succeeded and I would not do it as insanely another time because it was kind of crazy.

Since you’re working on a fairly limited budget, do you have a lot of time to scout the locations or is it purely instinctual?

No, usually my [director of photography] does a lot of scouting and the set designer. I don’t do that much scouting. Being economical in terms of filmmaking isn’t just about not spending a lot of money. It’s also about being accurate. And accuracy is extremely important. It’s a little bit like wanting to take a self-portrait and you can go and do 500 of them and probably not one of them is great, but you can go for the right one. I think being economical is going for that one right moment. So in Africa or India [where “After the Wedding” was partially filmed] or anywhere else, when you don’t have a lot of money, you’re forced to be economical and you’re forced to be accurate and I think it’s pretty healthy.

This film marks a return to Denmark after your first American production “Things We Lost in the Fire,” which while being a modest film for a studio was still a larger budget than you’re used to having. Were there things you took away from that experience?

04012011_InaBetterWorld2.jpgI did learn a lot from “Things We Lost in the Fire,” but I’ve learned different things from different films. The main thing as a director, you always want to have a bit of a worry about the material you’re going to get yourself into. You want to be a bit scared of it so that you have that excitement of having to climb the mountain. With this particular movie, I was scared of having two boys playing very important parts – two completely inexperienced first-timers – and I was also worried about dealing with these big themes because you can really end up falling flat if you do that. But I think that worry is incredibly stimulating because it forces you to not be arrogant with your material.

You’ve said before you approached this as a thriller. Is it really helpful to you to have a particular genre in mind, even if that’s not what the film turns out as?

It is. I quite like rules and I don’t necessarily pronounce the rules, and I can’t say what the rules are here, but I did think about it as a thriller throughout, even before shooting. I know it’s not a thriller, but it has elements — people come out of the movie and saying they were sitting on the edge of a chair watching the film and that’s exactly what you do watching a thriller. So I guess having that in the back of my mind somehow helped what could’ve been a much more slow, dramatic story to become something which is essentially exciting yet substantial.

“In a Better World” opens today in New York and Los Angeles.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


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

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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