DID YOU READ

“Judy Moody” and the Rarity of Indie Family Films

“Judy Moody” and the Rarity of Indie Family Films (photo)

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When John Schultz was in elementary school, his favorite classroom activity was when the teacher would hand out a vocabulary list of 20 words and he would have to write a story that employed all of them. “I loved that challenge of here’s what you have to work with. Make it work,” Schultz said.

It shouldn’t be all that surprising then that the director is making his third indie feature, but it is refreshing that with this week’s “Judy Moody and the Not Bummer Summer,” he’s aiming to entertain today’s elementary school kids by working in the indie world’s least prolific genre, the family film. Oddly, in the considerably more ungoverned area of the medium that’s wide open to personal coming-of-age stories and cinematic anarchy, few are made with the intention of appealing to all audiences.

Less unusual has been Schultz’s career path, though it still might strike some as peculiar. After directing the scrappy, amiable music comedy “Bandwagon” with Sundance staple Kevin Corrigan in the lead in 1996, Schultz followed it up with a steady stream of studio work that tended towards the young such as “Like Mike” and “Aliens in the Attic.” Disney has long mined the indie ranks for unusual choices: Joe Nussbaum went from directing the short “George Lucas in Love” to this year’s “Prom,” and when they looked for a director for “The Lizzie McGuire Movie” in 2003, “Trick” director Jim Fall wasn’t the obvious guy for the job. For Fox, this summer alone will see the director of the pitch black “The House of Yes” (Mark Waters) tackle Jim Carrey’s “Mr. Popper’s Penguins” and the romantic drama “Big Eden” (Thomas Bezucha) handling the teen fantasy “Monte Carlo.”

SarahSiegelMagnessJohnSchultzJudyMoody_06092011.jpgBut whereas most of those films have felt as if they were stepping stones for other gigs, only a handful of filmmakers including Robert Rodriguez, who will soon launch his fourth “Spy Kids” in August, and Schultz, a tall, lanky man in person with the goofy grin of an eternal 12-year-old, seem genuinely invested in making features for the young. As limited a number as that is, there seem to be even fewer production companies with the will to invest in them and the few that do, such as Walden Media, have gravitated towards larger-scale projects such as “The Chronicles of Narnia.”

Having already gone the indie route before for 2003’s “When Zachary Beaver Came to Town,” Schultz proved to be an attractive candidate to “Judy Moody” producer Sarah Siegel-Magness, who herself was fighting an uphill battle for the rights to the bestselling book series over production companies with studio support. After defying the odds with “Precious,” which had yet to premiere at Sundance during her pursuit of the “Moody” rights, Siegel-Magness won the trust of the similarly modest Massachusetts publisher Candlewick Press by offering the book’s author Megan McDonald a chance to write the screenplay and keeping the amount of cooks in the kitchen to a minimum.

“We both seemed to share the idea that you could make quality commercial films independently,” Schultz said of Siegel-Magness, whose company Smokewood partnered with Relativity Media to release the film. “Not have to dumb it down and make it with an independent spirit, but for a mass audience at the same time.”

Recalling how he once spent a week on a studio film discussing the color of a character’s T-shirt, Schultz says now that “Judy Moody” has been his most satisfying experience on a film since “Bandwagon” as far as maintaining his creative freedom, something that can be felt in the film’s go-for-broke visual style and even its score, for which the director was able to employ the all-too-rare luxury of an 80-piece orchestra. And having completed a film her own kids could watch without a major studio logo in front, Siegel-Magness hopes it’s music to the ears of both families and filmmakers, especially since while the “Harry Potter” series have already been turned into films, somehow the novels of cherished authors like Judy Blume haven’t been.

“We’re charting a brand new expedition into whether this works or it doesn’t, which is scary,” said Siegel-Magness. “But I feel like if it does work, I hope that we encourage other filmmakers not to be afraid to go after some of these bigger properties because what we bring to the table in terms of creativity and a more loosely run structure can make these films something completely new and different.”

Do you think there should be more family films produced independently? Let us know in the comments below or on Twitter or Facebook.

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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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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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