This browser is supported only in Windows 10 and above.

DID YOU READ

“Bullhead”‘s director and star steer the conversation

bullhead-02132012

Posted by on

The race for the Academy Awards is a high-stakes, high-pressure game. But Michael R. Roskam and Matthias Schoenaerts, the writer/director and star of “Bullhead,” a brutal and beautiful nominee for the Oscars’ Best Foreign Language Film, seemed downright relaxed as we chatted in their New York hotel room three weeks before the big show. The Oscars, Roskam explained, are gravy. As far as he was concerned, they’d already won.

“Buzz is good,” Roskam told me, “but if you can’t see the movie, you can’t decide whether it’s good or not. So it’s all about making as many people see the movie as you can. That’s what we’ve been doing and that’s what we’re going to keep doing, whatever happens at the Oscars. That’s the rewarding part. If we win, it’s just an extra award.”

If Roskam wins, it won’t be undeserved. “Bullhead” is an unforgettable crime drama built around a remarkable performance from Schoenaerts. He plays Jacky, a Belgian cattle farmer with a dark secret. Through years of steroid abuse, Jacky has transformed himself into a massive mountain of a man; as the film begins, he enters into a deal with a shady meat trader to pump his livestock full of similarly illegal, similarly anabolic substances. When Jacky’s new business partners murder a cop investigating their so-called “hormone mafia,” he’s threatened with the loss of his business and the exposure of his secret, thanks to the return of a childhood acquaintance he hasn’t seen in decades.

Like the brooding, burly man at its center — Schoenaerts spent a year bulking up for the role — “Bullhead”‘s hard exterior hides a vulnerable core; the film is as moving as it is monstrous. “It’s not about the bad guys against the good guys,” Roskam said. “Everybody is a bad guy, in a way. But there’s good parts in a bad guy. It’s not black and white.”

During our conversation, I was curious where this morally murky story came from and how Schoenaerts prepared for his role beyond his obvious physical transformation. We also talked about Jacky’s connection to Frankenstein and why you could never remake “Bullhead” in the United States. Roskam and Schoenaerts were charming, funny, and totally at ease throughout, like a couple of guys with nothing to lose.

Where did the project begin, with the idea of this character or with the story of this Belgian hormone mafia?

Michael R. Roskam: Let’s say that the themes, like destiny, loyalty, impotence, powerlessness, manhood —

Matthias Schoenaerts: — redemption, revenge —

MRR: — redemption, revenge, those themes were already in my system as a writer. I was working with them in my short stories and short films. That’s one part. Then in 1995, we had this hormone mafia situation. They killed a very honest veterinary inspector of the Food and Drug Administration in Belgium. He was an Eliot Ness kind of character, doing his job, by the book, while all his colleagues were corrupt and part of the scam, this whole illegal network of trafficking and illegal hormone use. We woke up one day with the knowledge that some of our farmers were gangsters, which is very original and even exotic in a way. And then of course I wanted to make this kind of film noir movie, and you need two things for a good film noir: a crime scene and a tragedy. I knew that this hormone mafia would give me a good opportunity to charm people or intrigue them.

I did some research on the meat industry and the agricultural economy, and I found out lots of things and some of those things directly inspired things that I used in the film. It’s chemistry: things start to dance and connect and the process brings you to ideas that surprise you.

Matthias, obviously your role called for some serious physical preparation. What else did you have to do to get ready to play Jacky?

MS: Well, we had six years to work on it because Michael pitched me the part six years before we shot it. After I read the first draft of the script, I had this image of a half-man, half-bull kind of figure. So I thought his physical appearance was very important in evoking a lot for the spectators, to make them see this kind of Frankenstein being. And at the same time, I knew that once I got his physical appearance I could focus more on the vulnerable part of the character, which to me was more the core. I think Jacky moves through life through a deep existential pain and that to me was the most important thing.

It’s interesting that you mention Frankenstein, because as I was watching the film — particularly during the final act — I really began to think of that story. Michael, is that a text that really resonates with you?

MRR: The archetypes of the monster and the freak, you can apply it very much to this character. Beauty and the Beast. King Kong and the girl. Even Batman. Batman is traumatized as a kid by bats, so he becomes a bat.

On a Freudian level, Jacky becomes his bully. He’s attacked by something that is bigger than him; even though it’s just another kid, he’s huge compared to him. It was a force he could not resist. So to deal with his own trauma, he also becomes a force you cannot resist, in a physical way and a psychological way. And it’s something that protects him. His body, this incredible mass of meat —

MS: — It’s like a fortress.

MRR: Yeah, and that’s why I deliberately chose not show any other interiors in his farm beyond the bathroom. There’s nothing else. We always stayed outside. The bathroom was like his Batcave. That’s the place where he can lay down in the shower and be alone and be himself and vulnerable again. He is like Frankenstein — not knowing how strong he is, being naive and even childish.

The character has such a unique onscreen presence, and he exhibits both human and animal characteristics. Even his breath, the way we constantly hear him huffing, he almost sounds like a snorting animal. Matthias, was that in the script, or was that an idea you guys collaborated on together?

MS: That’s an example of things happening while you’re playing. It was just a very natural consequence of what happened to me. I gained an enormous amount of weight and I just felt heavy, and I was breathing like a whale.

MRR: If he would try to sneak up on you, you could hear him coming.

MS: [laughs] I was snoring so badly when I slept, it was crazy! I couldn’t avoid it. It would have been harder if someone had told me “Can you please not breathe like that?” I would have been in trouble.

Your character delivers some incredible looking headbutts in the movie. They look very real and very painful. What’s the secret to delivering a good on camera headbutt?

MS: You just shoot it on the day that it’s the other actor’s last day on set, and you do it for real.

MRR: [laughs]

MS: No, no that’s not true.

MRR: The actors are pretty trained but there was physical contact.

MS: We have a stunt coordinator who sets it all up with the camera. But the headbutts, that was also something that just happened during shooting too. It felt natural at points in certain scenes, instead of pushing someone, to just go at them with my head. It just happened naturally, it wasn’t conceptualized. The first time I did it we realized we had to do it again somewhere else in the film.

There’s a lot of discussion in “Bullhead” about coincidence: one character says they don’t believe in it, but there does seem to be an awful lot of coincidence in the film. Michael, I’m wondering where you personally stand on that issue.

MRR: I’m intrigued by destiny and coincidence. It’s a big subject in my short films as well. In the Greek tradition, if destiny exists, there is no coincidence. If you don’t believe in destiny, you have to accept that it’s coincidence. But it’s very hard to deal with that because it takes the purpose out of life, that you can’t control it. So if you control it, then you might control your own destiny, but then you believe in it, which you can’t. I love to play with that. It’s the roots of religion, what we’re doing and where we’re going. Is someone taking control of this or are we doing it ourselves? Or is it both? Sometimes people protect themselves by saying “I don’t believe in it.”

MS: Basically, you believe in it when it suits you. When it doesn’t suit you, you stop believing it.

All right, last question: has making this film exposing the corruption and dirty practices in the meat industry changed your own meat eating habits?

MRR: I just keep eating meat. The whole growth hormone discussion is a difficult one. In Europe, it’s illegal. In America, five types of growth hormones are legal to be used on cattle. Sometimes I think I’d rather eat meat and know exactly what chemicals are in it than eat so-called “hormone-free” meat, and not being truly sure.

MS: Basically nowadays everything is so manipulated. Fish is manipulated. Vegetables, fruit, everything.

Michael, you said there’s five hormones that are legal to use on cows in the United States. It’s suddenly dawning on me that this whole story about deceit and violence and death would have never happened in the U.S. because you could just put these hormones into the cows.

MRR: Yeah. That’s an important thing: you can’t remake this movie in the States.

[laughs]

MS: You’d have to make it about chemicals in vegetables.

MRR: Right. The legume mafia.

“Bullhead” opens Friday in New York, Los Angeles, and Austin, TX. If you see it, let us know what you think. Tell us in the comments below or write to us on Facebook and Twitter.

Watch More
IFC_Portlandia-AORewind-blog

A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

Posted by on
GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

via GIPHY

Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

Watch More
SistersWeekend_103_MPX-1920×1080

WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

Posted by on

Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

IFC_Comedy-Crib_Sisters-Weekend-Series-Image

IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

SistersWeekend_101_MPX-1920x1080

IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

IFC_Comedy-Crib_Sisters-Weekend_About-Image

IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

SistersWeekend_102_MPX-1920x1080

IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

Watch More
IFC_BVSS_203_birthday-song-celebration

Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

Posted by on
GIFs via Giphy

Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.

via GIPHY

IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.

Jenn: I LOVE ISSA RAE!

via GIPHY

IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on IFC.com and the IFC app.

Watch More