Werner Herzog journeys “Into the Abyss”

Werner Herzog journeys “Into the Abyss” (photo)

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For Werner Herzog, filmmaking has always been a life or death pursuit. The 69 year old director nearly died at least five different times making his 1982 film “Fitzcarraldo” — and that was just one movie in an almost forty year career! When you ask Herzog “How’s it going?” at the start of an interview and he replies “Well, I’m still alive,” it’s not just a cute line; it’s a personal accomplishment.

The struggle for survival in a mad world is a prominent theme in a lot of Herzog’s work and it’s crucial to the director’s latest film, the documentary “Into the Abyss.” Herzog travels to Texas where he interviews the survivors of a horrific triple homicide. He speaks with the victims’ families, reverends, and even convicted killers, one of whom, Michael Perry, was scheduled to be executed just eight days after Herzog’s visit. The subject matter — an unthinkable and pointless crime and the grim business of seeking justice through an execution — is dark, but Herzog sprinkles the story with what he describes as glimpses of hope: a woman who has found love with one of the convicted murderers, a former death row guard rejecting his old job because it made him unhappy. No wonder Herzog subtitled the film “A Tale of Death, a Tale of Life.”

Our conversation about “Into the Abyss” covered both topics: we discussed Herzog’s interest in Perry’s case and in the death penalty in general (he is currently working on a four-part television miniseries on the subject), as well as the mysterious nature of love and the pleasures of shooting a film in Texas. We wrapped things up with just a couple minutes on his upcoming acting work as the villain in Tom Cruise’s “One Shot.”

Were you looking to make a film about the death penalty for a while or was it this particular story that appealed to you?

Well I have been in contact with many men and one woman on death row. I avoided the average murder cases, where somebody robs a bank and there’s a shootout and a guard at the bank is killed and then they end up on death row, because there seems to be an aim or purpose to robbing a bank: getting the cash. In the Perry/Burkett case, what was so staggering was the amount of senselessness. And that really frightened me and drew my attention.

In making “Into the Abyss” you seem to have upended two of the biggest conventions of documentaries about the death penalty. First, they’re almost always about people who are very clearly innocent, and they detail how there’s been a miscarriage of justice–

Yeah, I’m not interested in this business. In our case in “Into the Abyss” you cannot really much argue innocence or guilt. A court of law has decided and a jury has decided and the evidence is overwhelming beyond the two confessions which were very detailed with knowledge only the real perpetrator could have. The film doesn’t really go deep into that, it’s not the business of this movie.

Exactly my point. It’s not about proving someone’s innocence, and it’s not about the other big death penalty documentary convention: trying to get someone’s wrongful conviction overturned. You interviewed Michael Perry eight days before his execution: there was no way you could have saved his life even if you wanted to.

I told the inmates right away: “This films is not going to serve as a platform for proving your innocence. Do you still want to talk to me?” I’m straightforward with Perry, who I knew would die within eight days. I tell him within the first 120 seconds of talking to him, “Destiny hasn’t handed out a good deck of cards to you. It doesn’t exonerate you and besides, it doesn’t necessarily mean that I have to like you.” After less than two minutes, it could have been the end of the conversation.

Were you worried it might be?

No, because if he had stopped the conversation, okay. But he should know my position, and they know if you’re a phony from miles away. They all like me for being so straightforward with them. Every single one wanted me back, not a single exception.

My favorite character in the film is Melyssa Thompson-Burkett, who fell in love with and married one of the convicted killers while working on his case. In the film she describes how she was convinced that her love for her husband was real when she saw a rainbow and took it as a sign.

Yes, a sign that he was innocent and that she belongs to him. Well, she had fallen in love. That was one thing. And all of a sudden a sign like full rainbow from the prison toward her. Some portents still carry significance to a man or a woman in the 21st century.

Have you ever done something in your life based on something you witnessed and interpreted as a sign?

[laughs] No. But I find it a fascinating concept. Unfortunately we have lost it from our everyday lives since the late Middle Ages or so. But of course in antiquity, beautiful signs could decide the course of a whole military campaign and change the course of history.

When you’re talking to Melyssa you also bring up the subject of death row groupies — women who are strangely drawn to these convicted murderers. That is such a fascinating concept.

Yes, but in a way, Melyssa doesn’t count herself among them. She’s too intelligent and articulate. And a groupie would not practically work for the legal papers of an inmate for more than two years before she even sees him. If you’re a groupie, you’re just out for fornication, period.

She’s certainly not in this category. But it’s all so mysterious. Something about love is mysterious. How does it work? How does it all of a sudden have you in its grip? How is it that a man and a woman recognize they belong to each other no matter what? So there’s lots of mysterious things about destiny, love, things that we can never understand fully.

When you’re looking for a topic for a film, are you looking for those elements, or are those sorts of mysteries happy accidents?

I’m a filmmaker and I’m a storyteller. I have my focus and I pursue things. I want to look deep into human beings, otherwise I would end up with 300 hours of mediocre footage, all small talk. I’m not into that. I’m not a surveillance camera in Wal-Mart, absent and unobtrusive, less than the fly on the wall. No, I’m a filmmaker. And I accept my duties as a filmmaker. And in a way, I’m good at what I’m doing.

What do you think about Texas? Did you enjoy being there and shooting the movie there?

Yes, I like Texas. I’m not in the business of Texas bashing. You hear this ugly term “the flyovers.” “Oh, this is all mid-America, they are the flyovers.” It is very, very ugly. I do not accept it and I speak up against it. Whenever I hear this term, I voice my outrage because you find some of the best of the best in middle America. Like Fred Allen, the former captain of the tie-down team [and interview subject in the film]: it can’t get any better. That’s what I like to see in America, men like him. Phenomenal integrity and such a big heart.

In “Into the Abyss” we hear your voice but we never see you onscreen. In other documentaries, like “Cave of Forgotten Dreams,” you appear as a character in the film. What determines the decision whether appear on camera?

When I am on camera, it is because it is inevitable. In “Cave of Forgotten Dreams,” we had to line up on a 2 foot wide metal walkway and you could never step off it because on the ground you had fairly fresh tracks of cave bears who, as a species, became extinct 25,000 years ago. You just don’t trample with your boots on that. So it became inevitable that the crew working became visible once in a while because you can’t step behind the camera and hide. This is the only reason you see me.

You would prefer it if you were never seen in your documentaries?

Yes, but of course I do commentaries, written by me and spoken by me. In “Into the Abyss” it didn’t feel right to have a commentary at all. So I do the discourses; you hear my voice, you never see me. In a way, the substance of a film dictates the form. So it’s very natural that there’s no commentary in “Into the Abyss.”

Is there something you hope audiences take from this movie?

You never know exactly, but it’s good for the movie and good for the audiences that there’s no commentary and you hear only the voices of the people involved as victims, families, tie-down man, you name it.

And now you’re working on a television series on the death penalty?

Yes, four hourlong films.

As you speak to these convicts on death row, is there something they all have in common?

I haven’t spoken to too many, but they are very different individuals. People tell me all the time, “They are monsters. They shouldn’t even have a trial, just shoot them,” or something like this. No, I respectfully disagree. Firstly, due process is a phenomenal achievement of civilization and we should not let it go down the drain. And secondly, I do understand the crimes are monstrous. But the perpetrators are always human beings. And I treat them like human beings.

Before we’ve got to wrap things up, I want to talk to you about your upcoming role as the villain in Tom Cruise‘s “One-Shot.” I’ve always enjoyed you as an actor.

Yes, thank you.

Do you get offered a lot of acting roles or is it a rare thing? I’m always hoping you’ll do more.

I have done quite a bit, but a lot of it is with my voice, like as a character for “The Simpsons” or a plastic bag in a film by Ramin Bahrani. And I’m good at that. For example, I did a reading of a children’s book for grown ups called “Go the Fuck to Sleep” which I never planned to do but my friend who runs the programs at the New York Public Library kept telling me “Please, please, just for this!” So I finally said yes. In the editing room we have a microphone; I did it in six minutes. Now people like it much better than the official version by Samuel L. Jackson.

Having heard both, I agree. I think you trumped him.

Well, what you have heard is only a very, very bad recording from a cell phone sitting with an audience and you hear their laughter. The sound quality is abysmal. But now apparently the publisher as a footnote to Sam Jackson’s rendering of it, wants to have mine as well.

So tell me about working on the Tom Cruise film.

I haven’t started; production started, but my shooting will start in December.

You haven’t played many villains onscreen before.

Well, I’ve played dangerous looking guys, let’s say. Dysfunctional, violent, debased. I’m quite good at that, like in Harmony Korine’s films.

I can only speculate, but probably the director [Christopher McQuarrie] and the studio and Tom Cruise have seen some of my acting. Otherwise you don’t run the risk just to cast a guy with a funny accent. You can’t afford something like that in a big studio film.

Absolutely. What’s your favorite Tom Cruise movie?

I think “Mission: Impossible” is impressive.

“Into the Abyss” opens in limited release this Friday. If you see it, we want to hear what you think. Tell us in the comments below or write to us on Facebook and Twitter.



Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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GIFs via Giphy

Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”


IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?

Betsy: I wasn’t sure I knew what it was, I just knew I loved it!

Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.

Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 


IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.


New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…


IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.


IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.


The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”


Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).



Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.


And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.