DID YOU READ

David Robert Mitchell makes “The Myth of the American Sleepover”

David Robert Mitchell makes “The Myth of the American Sleepover” (photo)

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It took a while to find its way to theaters after its well-received festival run through South by Southwest (where it won a special jury prize for best ensemble), Cannes (where it was 2010’s only American film at Critics Week) but a year after its premiere, David Robert Mitchell’s beautiful debut film “The Myth of the American Sleepover” finally opens in theaters today. “I would have loved for the thing to come out a year ago,” Mitchell told me. “But this is when it’s coming out. And it’s still exciting.”

It is; a film this good is worth the wait. It follows the structure of teen ensemble films like “American Graffiti” or “Dazed and Confused” — a single but all-important day and night in the lives of a community of small town kids — but applies its own unique mixture of sensitivity and sweetness. Most of the stories are about the elusiveness of young love. One incoming freshman spots a pretty blonde in the supermarket and spends the rest of the day trying to find her again; an older college kid reeling from a disastrous breakup realizes he might have missed his opportunity to hookup with a pair of twins and sets off toward the University of Michigan to find them. The film dances from one vignette to the next; the stories are small, but their cumulative impact is huge. Working with almost no budget, Mitchell proves himself to be a talented visual storyteller (many scenes, like the one in the supermarket, are told without dialogue) and a good director of actors, or, in this case non-actors, who the director found himself through months of casting sessions.

Before he got back to work prepping his next movie (a similarly structured story about a young woman wandering the beaches of California), Mitchell spoke with me about his own experiences in high school, what to look for when casting a non-professional actor, and how to apply your skills as a movie trailer editor to cutting your own movie’s trailer.

What sort of kid were you in high school?

Oh gosh, that’s so hard. I don’t think I was a nerd, but I definitely wasn’t a jock. Boy, how do you define yourself in high school? I played music, and I liked writing stories, and I was already making short films back then. I hate to say this to anybody that was sitting with me back then, but I think we were kind of at the odd outcast lunch table. I’m not sure, maybe some of the people I hung out with would have issue with that. I guess I was sort of in-between, that’s probably the way I would remember it.

Well that’s interesting, because the characters in your movie aren’t easy to categorize either. There isn’t a stereotypical “jock” or a stereotypical “nerd.” Most could probably fall into the category you just described.

Yeah, those were a lot of the people I knew. Of course, everyone changes all through high school. At different points I remember there were people who you could say were like a jock or a theater person or band person. But making this movie those kinds of distinctions just didn’t seem that interesting to me.

There are almost no indicators as to what era this movie takes place in. The clothing, the language, the behavior, none of them are specific to any particular time. What was the thinking behind that decision?

I wanted to suggest that this could be any time. I think it’s closer to something in the 80s or the 90s with hints of things from the 50s, 60s, and 70s, and also the present day. The idea was just to blur the eras and not let it be timestamped by any one thing, by any technology or any sort of fad. I guess I was trying to avoid too much pop culture. You can’t avoid it completely; I’m sure there’s certain things in there that are. The idea was to make something that people of different ages might be able to see themselves in.

You did a pretty good job avoiding pop culture references. The only thing that really caught my eye was a LIVESTRONG bracelet.

Yeah, you’re right. There were other things too. We had a newer car in there in a few places, although we tried to mix them up a bit. It’s not 100%, but we did our best.

I have to imagine the casting process for a movie like this was not easy.

Yeah, it was hard. [laughs] And it was long. We wanted to find new actors and we decided to shoot the movie in Michigan; that’s where I grew up. I live in Los Angeles now, so about ten months before we made the movie, my producer Adele [Romanski] and I flew to Michigan on random weekends to do open casting calls that we promoted through a little community paper. So we had these auditions in community centers and church basements. My family helped out, but it was really Adele and I running the auditions ourselves. We read everyone between the two of us. It took a while but we slowly found our cast.

What do you look for when you’re casting a non-professional actor? I have to imagine that some of the kids in the film weren’t that good at auditioning — many of them have never auditioned before, they were probably nervous and uncomfortable. What do you see in someone that makes you think they could be right for your movie?

You’re absolutely right. There were some kids who did something really great in their first read, but most of the time it took some redirects and me trying to coax something from them that was closer to what we needed. Sometimes that happened in the first audition and sometimes it was about reading everyone and then going back through the tapes and trying to find kids that had a certain amount of screen presence or something unique about them. Sometimes we’d fine someone who was slightly against what we imagined for a certain character and we’d bring them back in. We’d have them read and try to talk to them more extensively about what we were doing and how to take an approach.

I know you shot the film in Michigan, which is where you’re from. Did you shoot it in your real hometown?

Yeah, we filmed a lot of it where I grew up, this city called Clawson. It’s a suburb near Detroit. We filmed there and all over Metro Detroit and in the city. We went there because it’s where I wrote the script, so I wanted it to take place there. But we also had support from friends and family and we had access to locations. The city I grew up in, they were super helpful. As long as we let them know, they basically gave us open access to film in the city and on the streets. It was pretty amazing to be able to do that, especially for not having any money.

Obviously there’s a long tradition of great ensemble teen films. Why do you think that structure — which often takes place in the span of a single day or night like your film does — is such an effective way to talk about teenage life onscreen?

I think there’s a lot of these movies because people enjoy them. They’ve meant a lot to me, and I think that’s why they get made. The structure itself is great because you have a very specific timeline of going into a night and the sun setting and setting out on some kind of adventure, and having some kind of change happen — even if it’s very small — and being someone slightly different when the sun comes up. I think it’s pretty simple in that way and pretty symbolic of what it means to start to grow up and be in that middle space between being a kid and being an adult.

There’s also something wonderful and magical about allowing people to reconnect to those kinds of nights we’ve all had. Going out as a kid, whether you’re sneaking out or going out with friends, can be really sad or really joyful times. We experience things in really deep ways. We all have memories from those moments — making a film that reminds us of those times is something that people connect to.

Your bio says you’ve spent time as an editor of movie trailers. Did you edit any of the trailers for the film?

I didn’t edit any myself. My good friend and former co-worker cut a bunch of the trailers and teasers for the movie and I worked with him pretty intensely. I definitely understand that world.

It was kind of fun and also challenging. We tried to do something kind of in the spirit of the movie. With a film like this, it’s very leisurely paced and so much of it’s about tone, it’s really hard to explain that or capture that in a minute or two. We had to work hard to get something that at least approximates that, while at the same time gets people excited about it. I think we did that but it was definitely a real challenge. I don’t think I’d be able to do it if I didn’t have that experience.

You’re right; it’s not an easy film to sum up in two minutes. I don’t know if I’ve seen the trailer you cut for the movie.

There have been some different versions; I’m only talking about the ones that we did. There’s a short one and a long one online that we did, or did the majority of anyway. Check out the long one, I really like that one.

“The Myth of the American Sleepover” opens in limited release today. If you see it, tell us what you think in the comments below or on Twitter and Facebook.

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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.

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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

Shopping

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.

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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.

Booger

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.

Ogre

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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