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“Take Shelter” director Jeff Nichols clears the air

“Take Shelter” director Jeff Nichols clears the air (photo)

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“I never considered myself going into ‘Shotgun Stories’ as a filmmaker with worldly aspirations in terms of the stories I’m trying to tell. In fact, it was quite the opposite; they were very specific and very regional. But I realized that there’s power in coming up with some kind of universal feeling and I was very much aware when selecting this topic for this film.”

The topic, in this case, is anxiety; the film is “Take Shelter.” And the man who made it, the man talking about his lack of worldly aspirations, is Jeff Nichols. He might want to find some and fast; “Take Shelter” is a very powerful film, even more powerful than his impressive debut, “Shotgun Stories,” from 2007. In my opinion, it’s one of the best movies of the year.

Michael Shannon stars as Curtis, a young husband and father paralyzed by nightly visions of the apocalypse. He sees enormous storms on the horizon, pouring weird, brown, oily rain. He sees his family dog trying to kill him. He sees people trying to kidnap and murder his family. These are more than just dreams; they feel like visions of the future. And in all of them, Curtis is powerless to stop what’s coming. Searching for some kind of relief and unable to discuss his condition with his wife (“Tree of Life”‘s Jessica Chastain), he starts building out the old storm shelter in his backyard.

“Take Shelter” is a rare kind of movie, technically impressive and emotionally devastating. And Nichols is a rare kind of director: intelligent, open, but not too full of himself and his work that he can’t make a joke or two at his own expense. Over the course of our half hour phone conversation, I asked him why he decided to make this film, how he directs an actor as good as Michael Shannon, and whether making this movie about anxiety alleviated any of the anxiety he was feeling in his own life. In some small way, it definitely helped me with some of mine.

What was the origin of the project?

The combination of a few things, the first of which was visual. I was standing in my backyard and I was struck by the image of a man standing over an open storm shelter. I wasn’t really sure what he was doing; I didn’t know if he was going in or coming out, or whether there was someone else in there. That stuck with me.

Whenever I write, I try and approach my stories from some kind of universal theme or idea or emotion. In my first film, it was revenge. I’ve been thinking a lot about anxiety, so I decided that might be an interesting idea or feeling to make a film about. In my life at the time, I was oddly struck with a lot of anxiety, because my life was actually going really well. I was in my first year of marriage, my first film had come out and people didn’t hate it. I was moving from my late twenties to my early thirties and I finally felt like I was starting to get my shit together. I didn’t want any of that to unravel. When I was writing this in the summer of 2008, it felt like everything was going wrong: our government was going to collapse, the dollar was going to go in the toilet, Iceland was bankrupt, not to mention constant reminders of polar bears leaping off icebergs that are melting. It just felt like there was this dull, gnawing dread, that I thought was palpable. I felt like it was something the rest of the world could identify with.


That, combined with this image combined with a little more pragmatic idea of wanting to make another film. It’s really hard out there to get an independent film made. I liked the idea of blending a genre film, in this case a psychological thriller, with the kind of pace and tone of “Shotgun Stories.” Whether you want to call that an art film or an independent film or just a boring film — I would say thoughtful film — if you combine those two, you could make something that was palatable, not just to an audience but also to the people who were going to put money into the movie.

You mentioned the movie was written during your first year of marriage, and the marriage between Michael Shannon and Jessica Chastain’s characters is a big part of the film. Did you solicit any feedback from your wife about the marriage aspect of the script?

I didn’t until I showed her an early cut and we were sitting on our couch watching it on the DVD player. There’s a scene where Curtis, Michael Shannon’s character, urinates in his bed. And the wife comes in and he’s kind of abrupt and short with her. And during that fight onscreen, my wife looked over at me on the couch. And the reason was because it was verbatim the kind of fight we would have. [laughs] Not that I urinate the bed a lot. Basically, my wife has an intolerance for being sick. She gives you one day, and then if you’re not out of bed after that, she’s pissed. We’ve had that exact fight. I’m in bed going “Just leave. Go away,” and she says “What is that? What is that face? What is that you’re doing?” That’s the closest I got to home.

To be very serious about it, I set out this tone or emotion of anxiety, but while I was writing I quickly realized that’s not enough. Anxiety is an effect, it’s not a cause. I needed the cause of all this stuff. As I built the character, I needed to give him a life that he loved and valued and arguably was respected by other people. Curtis begins this film in a good place. He’s kind of a guy that has his shit together. And as you start to dismantle that, that’s where the fear and anxiety comes from. I didn’t even know it but as I started writing, I was setting myself on a course to write a film about marriage, because separately from the film I’d been thinking about my marriage. How marriages work, why most marriages fail and what I have to do to be one of the ones that make it work. What do I have to do? The conclusion I came to was, I think it’s a lot about communication. We all carry these fears and doubts. They will always be there, whether it’s fear of the government collapsing, or the environment, or you can’t pay your bills, whatever. We’ll always have something to worry about. And I think where marriages maybe get damaged is in people not sharing those fears with their significant others. That seemed like an answer to me, and an interesting ending for this problem that I’d built up in this film. If that is indeed the ending or resolution then that kind of decides what your film is about; it’s going to be about these two people trying to put themselves back on the same page. They were on the same page at the beginning of this film. They were a happy, normal married couple. And then these things start to go off the rails.

There’s a few very memorable images in the film, but the one that I keep returning to is that motif of the brown, oily rain that falls in Curtis’ dreams. Where did that image come from? Was it developed over a long period of time?

It really just kind of came to me. I don’t see Curtis as a particularly religious man. However I do see him as a spiritual guy. And Curtis is very close to me as a character, the closest I’ve ever written in terms of my own belief system. I kind of want to think of myself as a guy who’s responsible and would support and care for my family, and if things go wrong that I would try and deal with them.

I also grafted on top of him a lot of my own personal belief system which is — and I promise this will make a point about oily rain — I’m not too big on organized religion. It just doesn’t do it for me. But something I very much believe is that if there is a God he’s somewhere in nature. Nature is the purest thing we can touch and observe. It can be the most beautiful and also the most devastating. I believe that there’s a natural balance to things; rain seems to be a very pure expression of that balance. And for that to fall out of the sky and be dark and viscous, that just seems to be a terrifying symptom of something out of whack. It’s the canary in the coal mine.

The first week we were filming, Deepwater Horizon happened. I got to a motel room one night and I turned on the TV after a long day of shooting, and Larry King was interviewing T. Boone Pickens, the Texas oil man. And I swear to God: I turn the TV on and the first thing Larry King said was, “T. Boone, can it rain oil?” I was like, “Shit! I’ve got to get this film finished. It’s already happening!” Of course T. Boone was like “No, no, oil is far too heavy to get caught up in the rain,” which I think might be true. But there were a lot of things that over the course of filming were just strange and ironic like that.

I loved the sound design in the movie as well. The way the sound of wind and rain were used reminded me of the way bird chirps were used in Hitchcock’s “The Birds,” that idea of innocuous natural sounds being rendered in this ominous and almost musical fashion. Was that an inspiration at all?

I didn’t take any direct inspiration from “The Birds;” I wish I could say I was that smart because I love that film. And I have to give most if not all the credit to Will Files, my sound designer and mixer. He is a genius. I went to school with him; now he’s one of the lead mixers at Skywalker Sound. He’s a phenomenal artist. A lot of that bird stuff, I just showed and it was already intact.

My approach to sound design, and this is something I had to develop on the fly during “Shotgun Stories,” is that everything has to come from a place of reality; with this film, you find ways to heighten that reality. I think this stuff is far creepier when it comes from an organic, naturally-sounding place. In Austin, where I live, you go to the grocery store and they have these huge swarms of grackles. And they make this insane sound. I remember using that as a reference. You don’t have to go far to find creepy stuff like that. The same with the wind.

We have to talk about Michael because he’s so incredible in the movie. Is he an actor that needs or wants a lot of direction?

We don’t talk much. I learned this on “Shotgun Stories.” He just shows up with things intact. We had a few very brief conversations over the phone about the kinds of clothes he wears, and we mainly had those conversations to delineate his character from the character he plays in “Shotgun Stories.” He just gets it, and I trust that he gets it. You don’t worry about Mike Shannon very much. I don’t worry about him at all.

When he shows up, we don’t rehearse. I’ll block the camera and we just go. As Mike puts it, he leaves the juice in the lemon. The trick with Mike is after you’re done, after he’s given away ownership of the performance, that’s when he starts asking questions. “How was it? How did it feel? How are you going to cut it?” Especially on this one; it wasn’t him being an annoying actor, it was because we shot this thing in four weeks, completely out of order, all in different pieces, and it’s an extremely difficult thing to track this character. Think about it: one day I say to him, “Today you’re going to wake from a dream you’ve been bit by the dog. We haven’t shot that yet, so you have no concept of what it looks like or how it feels or anything. We’re gonna shoot that part today.”

I know people watch the film and they’re like, “Wow he’s such a good actor. He’s there in all those moments.” From my perspective, he’s the most incredible actor in the world because he did all of that piecemeal, out of order. I just sit back and I’m in awe of him.

I read that when you cast Jessica Chastain you actually got to meet Terrence Malick and talk with him about her. What’s it like meeting Terrence Malick to talk about an actress?

Brief.

[laughs]

He’s a busy guy. My executive producer, Sarah Green, produced “Tree of Life.” She’s the one who recommended Jessica, but it was a very difficult thing for me to judge because I hadn’t seen her in anything. She said “Well maybe you can sit down with Terry.” So she arranged it.

He was extremely generous and polite. From the 10 minute meeting I had with him, he struck me as a very sensitive, very sweet man. He spoke about Jessica very highly, and from my perspective that was all I really needed. But just for the sake of things, I flew out to L.A. and met her. She was lovely, but I still hadn’t seen her act. And it wasn’t until we were on set and started rolling the camera that I did.

When you started the project, you were writing about all this anxiety you had. Did making the film lessen that anxiety? How did you feel after it was over?

For me personally, I’m always going to be stressed out. If it wasn’t me being stressed out about being married and being a good provider for my wife, now we have a son. What elementary school is he going to go to? What kind of man is he going to grow up to be? What kind of father am I going to be? There’s always stuff to worry about. There’s always going to be pressure. What I’ve taken away from the process of making this film is it’s all about how you process that anxiety and that fear and somehow stay productive.

Without spoiling it for readers, the ending of the film is somewhat ambiguous. Do you have a preferred way that you want viewers to read it?

It’s specifically designed to be ambiguous. That really riles some people and some people really love it. What’s funny and interesting to me — and not to sound too cocky about it, but I really do think it worked — is everybody talks about the specifics of what’s happening in that scene. And to me, the specifics don’t matter that much. And I’ll explain.

What is happening, what is going to happen, all that is just fun to talk about. But what’s important to me is that these two people are on the same page and are seeing the same thing. There’s several interpretations of where they’re at. And that’s great. But as long as they’re seeing the same thing I think there is a resolution and the possibility of hope in the film.

Some people get it, some people don’t. But by God, we’re the ones making independent films here. We’re the only ones that get to do this.

“Take Shelter” opens in limited release tomorrow. If you see it, we want to hear what you think. Tell us in the comments below or on Facebook and Twitter.

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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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