DID YOU READ

Anton Yelchin’s unscripted thoughts on “Like Crazy”

Anton Yelchin’s unscripted thoughts on “Like Crazy” (photo)

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If you’re impressed by the screenplay for the indie romance “Like Crazy,” here’s an important bit of info: technically, there was no screenplay. Director Drake Doremus and co-writer Ben York Jones penned a detailed outline then developed the characters and story with their lead actors, Felicity Jones and Anton Yelchin. The heartbreakingly authentic dialogue? Yelchin and Jones improvised it on the set.

“It was a 50-page outline that read like a short story,” Yelchin told me about the (non)-script he received from Doremus. “It was actually very detailed in terms of subtext and the emotional condition of the characters. There was enough there to figure out who these people were, and then by virtue of that, to fill in the rest of the blanks.”

These people are Yelchin’s Jacob and Jones’ Anna, twentysomethings who meet at college in Los Angeles and fall madly in love. There’s just one problem: Anna’s from England and once school ends, her visa expires. That drives the couple apart — Anna returns home to work for a magazine in the UK, while Jacob starts his own custom furniture business — and forces them to decide whether their relationship can endure a distance of 5,000 miles and seven time zones.

The 22-year-old Yelchin — who’s been acting professionally since the age of ten — told me he relished the opportunity to help create a character from the ground up and to improvise in a drama, rather than a comedy. During our conversation, which also included a few questions about Yelchin’s role in “Star Trek 2,” we talked about the challenge of improvising without speaking and just who the heck he’s talking to in all those scenes acting into a cell phone.

What inspired you to get into acting?


I was a horrible athlete. My parents [former professional figure skaters Irina Korina and Viktor Yelchin] are athletes; they tried me to get me to do that, but I just couldn’t. I sucked. First I wanted to be a scientist, and I set our bathroom on fire. Then I wanted to be a basketball player and I’m a not-very-tall white, Russian Jewish kid. So that didn’t work out either.

There wasn’t anything in my life that I felt really excited about. Then I went to an acting class. I was very shy but very animated in private, and a friend of ours who is an actor knew me well enough to tell my parents “You should take your son to an acting class.” My parents were of the opinion, because they had started skating very young, that you should have something that you do that you care about, because it structures your life as you’re growing up. I went to this class and I loved it and I told them I loved it, and they were super supportive because they thought “Great, he won’t just be playing with his friends all day, he’s going to be doing something.”

So “Like Crazy:” when you first met with Drake, what attracted you to the project?

I’d known about Drake for a couple years because his producer, Jonathan Schwartz, and I have been friends for a while. He would tell me about their last movie, “Douchebag,” how they were going to go out in a car for two weeks and make an improv movie for no money. I very strongly believe in the freedom to do that, to make movies for no money with whatever technology is available. So when Drake had this project, the idea of doing an improv film at that level in that way felt really inspiring to me. I always thought it was kind of a blessing for an actor to get to improvise a drama. So Drake and I connected over all these things, our ideas about what you could accomplish in independent cinema and also this idea of improv.

Have you done a lot of improv before this film?

No, the only thing that I’d done that was improv was an episode of “Curb Your Enthusiasm” when I was 13. That’s similar in some ways but different in a lot of other ways.

When you started working on the film were there any big things you brought to the character that weren’t on the page? Besides all of the dialogue, obviously.

I had no idea who Jacob was until I met Dakota, the furniture designer who built all the chairs in the film. He really was Jacob; he has a very powerful presence without saying very much and he’s very committed to this idea of permanence and being connected to these chairs he’s creating and the people they’re for. When I heard that, it really spoke volumes about our story, which is all about connections and the way they get destroyed by time. Before Jacob met Anna he was really obsessed with his art. Then he met her and she was the first person he opened up to; the tragedy is that the first person he’s actually willing to open up to he loses. That whole idea and backstory was in the script, but it was really developed through conversations with Dakota and then in my own thinking.

As a viewer, when I hear the word “improv,” the sort of acting that comes to mind is usually very talkative. But as you mentioned, Jacob doesn’t say much. How much of the challenge of the improvisation was finding the balance between silence and speech? You’re improvising, but you’re also improvising silence.

It’s funny. The first time Felicity and I got together, our first instinct was to just talk all over each other, because that felt like what people do when they’re having a conversation. On any other film, silences are where the editors start cutting. That’s a thing I’ve heard on many projects: “You need to keep the tempo up or they’re going to start cutting away.” Maybe silence is something we’re uncomfortable with as a culture, I don’t know.

What we realized very quickly was that the most honest thing about conversations can be the silences. So much is said in what’s not said, whether someone’s really happy and doesn’t need to speak, or whether they’re going through all these difficulties and they don’t know what to say. That fit so well with Jacob because he’s so reserved.

I’ve been lucky to play characters that are really broad. To sort of reverse that and study someone who’s all about what’s going on inside and often doesn’t say what he’s feeling was really interesting. And challenging, too, because that’s very different from me. It was so exciting to get to explore a character that was about those silences and more about everything being internalized rather than externalized.

When I saw the film I didn’t know much about its backstory, but I realized very quickly that it was made by someone with firsthand knowledge of long distance relationships because I have firsthand knowledge of long distance relationships and it got them absolutely right. Did Drake ever talk to you and Felicity about the experiences that inspired the story?

Drake filled us in on his relationship and I read some of his girlfriend’s letters to him, but it wasn’t so much to say “Hey, let’s make this autobiographical” as it was to just show us what that emotionally felt like for him and what he went through. Having all this information about Dakota and Drake’s life, the characters take on a life of their own and they become a little bit of this and a little bit of that, but very much their own thing. The goal was never to create a sort of autobiography for Drake, though I did borrow some things, little behaviors I noticed, gestures that he does.

Can you give me an example?

Drake does this thing where he puts his hands together, like he sticks one set of fingers into the other and does this repeated jabbing motion. I don’t know how to describe it, but he does it all the time. He does it when he’s excited, he does it when things are really intense. He did it so much that I was like, “I’ve got to put this in the movie. It’s such a Doremus thing that I’ve noticed every day.” There’s a montage in London and we’re walking down the street and you’ll see me do it. And I’m so grateful that it’s in there; every time I see it I get a kick out of it.

Did he realize you were copying his move in that moment?

Oh yeah. I think I had thrown it in a couple times before, but that’s the one that made the cut — and that’s the one that really works because it’s just us goofing off and it made Felicity laugh.

There are a lot of scenes between Jacob and Anna on the phone; Jacob in Los Angeles, Anna in England. When you’re shooting those scenes, who are you talking to? Is Felicity on the other end of the phone acting with you?

We shot the two sides of those phone conversations at different points in the shoot — we shot Felicity’s side when we were in England, and we shot my side when we were in Santa Monica. But she was always on the phone. When I was on camera, Felicity was like a block away in a car. When she was on camera, I was on the roof on her building with a phone.

The characters’ phones are one of the clearest markers of time in the film. At the start of the movie, you guys are using these ancient looking flip phones; later, you both have iPhones.

Yeah, Drake jokes that he’s going to see the movie in five years and it’s going to feel really dated because we’re using the iPhone 2 or something and by then it’ll be the iPhone Zillion.

[laughs]

It’s true though; the movie takes place before the ascendance of Skype as a kind of global communication tool. Had the story been set a couple of years later, Skype would have been the cell phones. So the cell phones are their attempt at feeling like they’re with one another. And I think people do do that when they’re in a long distance relationship. You Skype, and if you can’t Skype you’re always texting or sending each other pictures. You compensate in what is really a very closed-off, technological way that can’t really capture the emotions. In some ways, it may be even worse; it’s almost a tease.

“Like Crazy” is in theaters now. If you see it, tell us what you think. Leave us a comment below or write to us on Facebook and Twitter.

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Forget Oscar

Find Your Spirit Animal

The Spirit Awards are LIVE this Saturday at 2p PT/5p ET.

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In just a few precious days, the greatest, most epic, most star-studded awards ceremony of the year comes to IFC.

And please, we’re definitely not talking about the Oscars. We’re talking about the Spirit Awards. Hosted by iconic comedy duo Nick Kroll and John Mulaney, it’s a relatively under-the-radar awards show with serious cred. And if the past is any indicator, we’re in for a wild night.

If you feel like doing your homework, you can find a full list of nominees and performance excerpts here. It reads like a who’s who of everyone that matters – those larger-than-life personalities with status that borders on mythological. Our celebrity spirit animals, if you will.

This isn’t hyperbole. Literally everyone who takes the stage at the awards show is spirit animal material. Let’s see if we can help you find yours…

Do you

Live in someone else’s shadow despite shining like the sun? Do you inexplicably vandalize your pretty-boy good looks with a sloppy-joe man bun and a repellent pubic-hair beard? Do you think sounding stoned and sounding thoughtful are kinda the same thing?

Congratulations, your spirit animal is Casey Affleck.

He’s the self-canonized patron saint of anyone who’s got the goods but doesn’t give a damn.

Do you

Have mid-length hair and exude a certain feminine masculinity that is universally appealing? Are you drawn to situations that promise little to nothing in the way of grooming or hygiene as a transparently self-conscious attempt to conceal your radiant inner glow? Does that fail miserably?

Way to go, your spirit animal is Viggo Mortensen.

He’s the yoga teacher of actors, in that what should make him super nasty only increases his curb appeal.

Do you

Get zero recognition for work that everyone knows is unrivaled? Do you inspire greatness in others yet get shortchanged when it comes to your own acclaim? Are you a goddam B-52 bomber in an industry of biplanes?

Bingo, your spirit animal is Annette Bening.

What does it take for this artist to win an Oscar? Honestly now, if her performance in 20th Century Women doesn’t earn her every award on the planet, consider it proof that the Universe truly is a cold dark void absent of reason or compassion.

Do you

Walk into a room full of strangers and walk out with a room full of friends? Have you been hiding under the radar just waiting for the right moment to leap out into the spotlight and stay there FOREVER? Do you possess the almost messianic ability to elevate Shia LaBeouf’s on-screen charisma?

You guessed it (or not), your spirit animal is 100% Sasha Lane.

If you haven’t seen American Honey, then you haven’t heard of her. She came out of the blue with a performance both subtle and powerful, and now she’s going to be in all the movies from this moment on. Or she should be, at any rate.

Don’t see your spirit animal there? Worry not. There are many more nominees to choose from, and you can see them all (yes, including Shia LaBeouf) during the Independent Spirit Awards, this Saturday at 2pm PT/5pm ET only on IFC.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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