DID YOU READ

Sean Kirkpatrick Weighs the “Cost of a Soul”

Sean Kirkpatrick Weighs the “Cost of a Soul” (photo)

Posted by on

Independent filmmakers are always looking for their big break. Writer/director Sean Kirkpatrick found his, appropriately enough, in something called “The Big Break Contest.” Launched last summer by Relativity Media and AMC Theatres, the contest was designed to give one worthy filmmaker a shot at national distribution. A panel of judges that included Relativity CEO Ryan Kavanaugh and actress Kate Bosworth picked Kirkpatrick’s “Cost of a Soul,” a dark story of Iraq war veterans lost in the drug trade in Kirkpatrick’s hometown of Philadelphia, as their inaugural winner. Now the film’s opening in 50 AMC Theatres across the country this Friday (you can find a full list of locations and showtimes here).

It’s a move that could be one small step for a single indie filmmaker or, if the business model of movie theaters distributing smaller films to large audiences catches on, a giant leap for an entire industry. Kirkpatrick, a Penn State alumni making his feature directorial debut, says he understands the magnitude of the opportunity. “I feel an obligation to try to push this thing through,” he told me, “not only because I want to further my career but because I feel like this is hope for all independent cinema. Here you have one of the biggest power players in the business reaching out and saying ‘We want a good film. We don’t care how much you made it for, we don’t care what actors are in it. We want something that’s good.'”

During our interview, Kirkpatrick told me about the experiences that inspired his screenplay, the hardest thing to find when you’re making a microbudget indie in Philadelphia (hint: it rhymes with runny), and his experience as the test subject in this unique cinematic experiment.

You’re from near Philadelphia originally?

I’m from just outside Philadelphia. A town called Norristown.

And how much of making the movie was the inspired by the desire to shoot in Philadelphia?

It all comes down to the desire to shoot in my hometown. In this film, the city is really a character. And the story evolved from the city and my experiences in it, particularly in North Philadelphia. When I was writing the screenplay, Philadelphia was the murder capital of the country. There were more drug-related homicides, and more bodies, than days of the year in 2007. And I guess my goal was to portray the lives of the people living in these neighborhoods with as much truth as possible.

When you say you know these neighborhoods, what’s that mean? Did you live there? Work there?

Yeah, I used to work there. I had several jobs in North Philadelphia. One was I was a glorified garbage man; I worked for a junk removal service and drove a dump truck. I also set up surveillance systems in a lot of the drug neighborhoods. These were dangerous, dangerous places, so much so that I was required to get my license to carry, and I had to carry a concealed weapon.

Really?

Yeah. And we had to be out of the neighborhood by a certain time before it “awoke” and there were people on the streets because you’re talking about essentially coming in and putting up a camera that’s going to disrupt someone’s livelihood. If you sell drugs, and I put a camera on the corner, you can’t sell drugs anymore. So they didn’t like me.

Right. I guess that’s good research for a film like this though.

Yeah. It’s really a culmination of a lot of experiences, but I don’t want to make it seem like it’s all bad in this area. The communities in these neighborhoods are amazing. You have a lot of great people living amidst all this violence; in war zones, essentially. And they have to raise their children in war zones and face the challenge of keeping their kids off the streets. I really wanted to make this movie for them.

When you’re shooting this sort of movie in North Philadelphia, what’s the hardest thing to find? Is it the actors? The cinematographer? The caterer? What was the toughest thing to find?

Money.

[laughs]

The toughest thing to find was money. There’s so much untapped talent out there. When people see the movie they’ll see there are these amazing unknown actors in the film. They’re just mind-blowing; I think a lot of them are going to win awards someday. And ultimately it was mostly a Philadelphia cast and crew with a few actors from New York.

The biggest conflict we faced was finding money. We didn’t have money for anything so we had to get creative every step of the way in order to make this film possible. We shot it on a $100,000 budget in eighteen days. And we’re going into neighborhoods with a small but full cast and crew. You’re talking about camera crew, a lot of logistics, and a lot of expensive equipment. These are some of the roughest neighborhoods in America and we couldn’t afford to bring police escorts or security. And even if we could afford it, that can cause a lot of conflict in these neighborhoods when you start bringing police in.

What we did was build up community relations. We had a group of guys who were former… we’ll just say they were former knuckleheads who’ve seen the error of their ways. Their goal now is to keep kids from making the same mistakes they did. These guys have a lot of respect in the neighborhood, everybody knows who they are, and they protected us. They kept us safe, they were on our sets they made sure nothing happened to us. We didn’t have a single incident.

The film looks excellent. Not just for the budget either, it looks good period. What was the aesthetic you and your cinematographer wanted for the film?

Everything we looked at as research was film noir. I wanted a film noir, and my crew will tell you I’m very clear in my vision, so much that I can be anal at times. I got together with my director of photography [Chase Bowman] and all we watched were 1940s film noir. I don’t think we watched anything in color. With digital technology and the RED camera we were able to create a hybrid between the color film of today and the values and contrast and the chiaroscuro that you get in those old beautiful film noirs.

We see film noir today for certain stylistic choices but a lot of people miss the big picture of what film noir was. Most of them were films about World War II veterans coming back from the war, coming back and dealing with the dangers of the streets and the city. And I can’t think of a better place to set a film noir like that than my hometown and the streets of North Philly.

I thought the use of music in the film was really interesting too, particularly through the musician character DD, and the way that his music literally transports the viewer; when he starts playing, you start to show us images of the city. Do you have any sort of background in music?

I’m not a musician but I wish I was.

So you have that appreciation of people who do have that talent.

I have an amazing appreciation of everything from Beethoven, whose “Moonlight Sonata” is in the movie, to jazz and John Coltrane, who’s probably my favorite. He was a huge inspiration for the music in the film, and he’s actually from Philly.

I’ve read about this contest but tell me how you first heard about it.

My co-producer [Jonathan Risinger] — who was also my entire post-production team, did everything from editing to mixing — he went into an AMC one day. We had been on the festival tour and I don’t want to say it had been demoralizing but we’d been struggling to get the film out. We hadn’t been happy with any of the deals we had been offered. We’re having amazing audience reactions all over the country and we’d come to distributors and they’d give us a bunch of reasons, without even watching the film, why they couldn’t sell it.

So he goes into an AMC theater and sees this poster that says “Do you have a feature film?” And he thinks to himself, “I’ve got a great feature film!” So it was just blind luck and being at the right place at the right time. He called me and said “I want to submit the movie to this contest,” and I said “Sure, let’s do it.” So we did and the rest is history.

Wow. So when you win the contest, did the studio or the theater demand any changes or is this the movie that you brought around to festivals?

This is the movie that I finished. It’s incredible because I figured they would change something, because that always happens. And I nervously said to them “What are you going to change?” And they said, “Nothing, we love the movie.” I guess really it reflects on the movie because in the distribution contract we signed they got final cut.

So they really could have changed things if they wanted to.

They could have. And I figured they would, just because they can. But they’ve been really great.

I’m in a special position right now that doesn’t happen to first time directors. They’ve let me have creative control over everything from the selection of the movie poster to overseeing the 5.1 mix to overseeing the Technicolor prints, to everything. They could have easily just taken the movie, cut me out, and said “Thanks, have a nice day. Just show up to the premiere with a tie on.”

Is this the first time they’ve done this sort of thing?


It is. It’s the first time really anyone’s done it.

I thought so. So is there any pressure because you’re the first? Presumably if the movie does well you could open the doors to a lot of very independent filmmakers getting their movies distributed on a national scale this way.

Absolutely. There’s a huge amount of pressure. We’ve looked through a lot of statistics and as far as we can tell this is the largest theatrical opening for an ultra low budget film ever. So it’s a huge deal not only for these companies but it could potentially be a really big deal for the entire system as well.

So you’ve been touring with the film. Have you been back to Philly yet?

We have. We had the premiere in Philly and they couldn’t even fit everyone into one screening so they had a double-header of “Cost of a Soul” and they packed two huge theaters.

Did you have any of the folks that hosted you in their neighborhood there?

We did.

What did they think of the movie?

Every time someone from North Philadelphia sees the movie they come up afterwards and hug me and say “This needed to get out there. This is what it’s like.” And it feels amazing to do them justice because at the end of the day it’s their story. These are fictionalized characters, but it’s their lives.

Watch More
FrankAndLamar_100-Trailer_MPX-1920×1080

Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

Posted by on

“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.

Watch More
Brockmire-103-banner-4

Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

Posted by on

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.

Watch More
Brockmire_101_tout_2

Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

Posted by on
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.

Watch More
Powered by ZergNet