DID YOU READ

“Bullhead”‘s director and star steer the conversation

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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.

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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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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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