DID YOU READ

Catching up with 2012 Subway Fresh Artists finalist Gregory Williamson from “Frat House Musical”

033012_frathousemusical

Posted by on

Suffice it to say that collaboration is an important of any kind of filmmaking. But for his entry in the SUBWAY Fresh Artists™ Filmmaker Series, “Frat House Musical,” producer Gregory Williamson discovered not only how essential a part of the process that it is, but how much it can actually strengthen the end result. Williamson is a member of one of two teams from USC that received funding and support from Subway Restaurants to create a series of webisodes for the company’s Fresh Artists™ competition, and in a perfect convergence of effort, form and content, he and his collaborators, writer and co-producer Billy Sullivan and director Jin Yoo-Kim, created a short, entertaining series about an idealistic singer whose determination to join a fraternity forces him to work together with other members to save their house.

IFC caught up with Williamson to discuss the process of putting together “Frat House Musical.” In addition to revealing the idea’s origins, Williamson offered some insights into how he utilized the competition’s resources to flesh out his group’s idea, and indicated how much it has inspired him going forward as he finds more creative opportunities in the field of filmmaking.

video player loading . . .

Watch the rest of “Frat House Musical” and learn more about the SUBWAY Fresh Artists™ Filmmaker Series by clicking here.


IFC: Just to get started, talk about how you first became aware of the Subway competition and then how you came up with the idea for Frat House Musical.

WILLIAMSON: I first heard about it last year, when last year’s groups did it. USC had been doing a project with Coca-Cola for a while and last year switched from Coke to Subway, so I heard about it through the general USC channels there. Why didn’t I compete last year? I think that I just wasn’t ready. I was working on some other projects last year and the timing wasn’t right. But this year, the other two people on my team came to me. I’d worked with both of them quite a bit before on other projects and they came to me with an idea. As far as the actual beginning of the idea, the writer on the project had moved here from Minnesota and he’d been kind of fascinated by fraternity life, because actually where all three of us came from, we didn’t really have fraternities at the schools. It was kind of something that we just saw on television and in movies. And we got here to USC and USC has this bona fide fraternity row. And I remember all three of us, at one point, walking down it and going, wow, this stuff really happens, like in the movies. So we were just throwing around ideas of what are the some [crazy] things that could happen and our writer was like, well, it obviously has to be a musical. I had done a lot of music and musicals before I had come to film school at USC, but since I started doing the film program I hadn’t done any music or musicals. I just jumped at that chance — like “you’re right, this has got to be a musical, and we’re calling it ‘Frat House Musical’.”

IFC: What was the process of putting together a story, and how did you sort of tailor it if at all to the competition?

WILLIAMSON: Well, this was the first time any of us had really ever worked in an episodic format and that’s one of the things that I think was really enjoyable about this project. In the film program, we generally work on short films or a television episode, but we hadn’t really worked on episodic storytelling. So it was a challenge but it was also a lot of fun to try and figure out how do we take this story and use what storytelling techniques you’d learned and then apply that to the episodic format of five-minute webisods. So it was sort of like making a short film and then two sequels to it.

IFC: Was there anything in terms of the criteria for the competition, maybe having to incorporate the branding of Subway into it, that affected your storytelling choices?

WILLIAMSON: The branding? Not in a big way. Subway was surprisingly and thankfully not interested in doing really heavily branded episodes. They didn’t want it to feel like a Subway commercial, which felt really good, in part, I suppose, because we haven’t really had to make commercials, but in part because it also gave us a little bit more freedom with the actual storytelling. We knew that we needed to have Subway present in all of the episodes. Subway told us that what they wanted to promote in this project was their breakfast sandwiches, so as we were throwing around ideas, it just kind of made sense to have each of the episodes start out with the characters starting their day with a Subway sandwich.

IFC: When you came up with this idea, was it something that you thought of as something that could continue beyond this, or was it something you feel like would be pretty self-contained to this competition?

WILLIAMSON: We loved the idea of continuing the story and doing either additional webisodes or doing like the feature version, something that would give us a larger platform from which to work. So, yeah, in the earliest stages, we were talking about how do we tell enough of a story in three episodes but still leave enough loose ends to continue this story should we ever find that opportunity. As the project went along and we were developing it, we did still keep some of those loose ends, but we didn’t want to feel like we were trying to pitch a larger webisode to anybody. We wanted to sort of give that completed feeling of the story or of the journey for the characters.

IFC: Because of the money and/or resources that the contest afforded you, how did that affect your creativity or the things that you guys were able to do? Were things that you guys felt bolder about trying to include as a component of the storytelling because you knew that you might have a little bit more money to play around with or more access to things than you might if you were just doing a normal sort of student production?

WILLIAMSON: Well, Subway provided the funding for us and USC provided the additional resources, as far as equipment and insurance and general sort of production resources. I think that the benefit that we felt from this project was really more about sort of the profile of this project at school — there’s only two Subway projects happening at school and that gave us a little bit better opportunity to attract more and new people to work with within the program, as well as a recognizable brand, a recognizable name behind us that we could go out into the community and find a higher caliber of actor than we might be able to do just as a USC project. But I think the biggest limitation that we were up against was the schedule of the project because that was pretty crazy. You know, we went from pitching the project and then being notified that our project was selected to our first day of production in, gosh, it must have been like two and a half to three weeks — you know, not much time at all, and we had decided early on that we were just going to go for it. And with a musical, we needed to have the production value, so we weren’t going to cut anything that we didn’t absolutely have to in terms of music and actors and singers and dancers and locations. It was a pretty ambitious project and Subway kept telling us that throughout the project, so I’m not sure we really realized just how ambitious it was until we were on set trying to get it done.

IFC: How indicative do you feel like this project is in terms of the things that you want to do going forward?

WILLIAMSON: Well, personally speaking, I like a pretty broad range of projects. I don’t tend toward comedy. I like pretty much everything else. But comedy was always a little bit daunting to me, so it was kind of a nice opportunity to try that. I think that musicals, we’d all love to do a musical again; that part was a lot of fun. But I think that in terms of type of project I don’t think any of us had every really considered doing musical webisodes before, so I’m not sure I could say that’s really indicative of what we want to do long term. But, yeah, it was a complex project that will be, I think a great educational experience and a stepping stone to something else after that. This project was really the first opportunity any of us at school or any of us on our team had had since we’ve been at school to work with a client and to really have the input from a client, somebody else who has final say on scripts and casting and final cut. So I think that that was probably one of the best benefits of this experience was having all that collaboration. I mean, I know that some people sort of look down on having a studio or a client, just somebody to answer to in terms of creative freedom, but I think we actually really benefited from it.

IFC: What through this process and do you feel like you really learned? Were there any unexpected surprises from the production that you feel like you’ll take with you in your future work?

WILLIAMSON: I guess I’d have to continue with that same thought and say that working with a client – I mean, we kind of had our trio, which was the “Frat House Musical” team, and then we had this layer of USC and then beyond that we have this layer of Subway. So we had these three layers of collaboration that we would go through. And with such a tight time frame, sometimes it felt really crazy, having to go back and continuously revise the script or completely change our casting choices. But I think that all of us learned the value of that sort of collaboration, the value of having somebody else’s eyes on the project and with ideas that maybe we hadn’t thought of, because really we all wanted the best project we possibly can. And I think that our biggest blessing was probably just opening up to that sort of collaboration and embracing it in every way we possibly could and just continuing to run. I guess maybe that would be the biggest thing that we would take from this, just an enhanced, a higher level or maybe a more elaborate type of collaboration and how it benefited the project.

Watch More
The Breakfast Club Cast

Style Council

Ranking the Best and Worst ’80s Movie Fashions

Get retro with The Breakfast Club and Footloose during IFC's '80s Weekend.

Posted by on
Photo Credit: Universal Pictures

In the era of big hair, there were some big fashion mistakes. In honor of the non-stop movie awesomeness coming your way during IFC’s ’80s Weekend, we’ve rated your favorite ’80s movie characters based off a trusty Reaganomics Scale. Here’s how we’re scoring the duds worn by characters from The Breakfast Club, Back to the Future and more on a scale of one to five Ronnies:

Awesome!Ron RRon RRon RRon RRon R

Rad!  Ron RRon RRon RRon R

Tubular! Ron RRon RRon R

Bogus! Ron RRon R

Gag me with a spoon! Ron R

As Doc Brown would say, we’ve gotta go back… to the ’80s!

10. Chevy Chase, National Lampoon’s Vacation

Clark Griswold
Warner Bros.

Clark Griswold is a lot of things: A well-meaning family man, a slightly deranged Wally World enthusiast and a pretty solid dresser. Sure, his dad-attire is a little dorky, but what dad attire isn’t? Overall, Griswold’s look still make sense in 2016. And for that we give him one enthusiastic Marty Moose chuckle.

Reagan-meter: Rad!
Ron RRon RRon RRon R

Click here to see all airings of National Lampoon’s Vacation on IFC.


9. Jamie Lee Curtis, A Fish Called Wanda

Fish Called Wanda
MGM

Witty, scheming Wanda can’t pick a lane when it comes to fashion. This pink fuzzy sweater is the worst of her choices.

Reagan-meter: Gag me with a spoon!
Ron R


8. Kevin Bacon, Footloose

Kevin Bacon Footloose
Paramount Pictures

For his classic abandoned warehouse dance sequence, Kevin Bacon wears the blandest ensemble possible: a plain sweatshirt and jeans. The dirty duds made sense for his portrayal of Ren McCormack, an angsty teen with something to prove. However, his style does not inspire us to cut loose.

Reagan-meter: Gag me with a spoon!
Ron R

However, later on he rocks a sweet tux to the prom:

Kevin Bacon Footloose
Paramount Pictures

For that look, Ren scores much higher. This is our time to dance!

Reagan-meter: Tubular!
Ron RRon RRon R

Click here to see all airings of Footloose on IFC.


7. Jennifer Connelly, Labyrinth

Labyrinth Sara
TriStar Pictures

We love how brave Sarah Williams is amid creepy Muppets and David Bowie’s epic Goblin King hair. However, her fashion choices are as confusing as the labyrinth itself. Another victim of the vest-crime, Sarah would’ve been better off to lose it and stick to the basic pieces underneath.

Reagan-Meter: Bogus!
Ron RRon R

Much better is the dress she wears during the ballroom scene. If you can ignore the fact that Sarah’s a teenager being seduced by a grown-up, it’s a pretty stylish and timeless look.

Labyrinth
TriStar Pictures

Reagan-Meter: Rad! 
Ron RRon RRon RRon R


6. Jon Cryer, Pretty in Pink

Duckie Pretty in Pink
Paramount Pictures

Duckie’s clothing reflects his off-beat sense of humor and (unearned but still endearing) confident air. With the layers of color, fedora and glasses, he looks like he belongs more in Williamsburg, Brooklyn circa 2016 than 1986.

Reagan-Meter: Tubular!
Ron RRon RRon R


5. Corey Feldman, The Lost Boys

The Lost Boys
Warner Bros.

Possibly the coolest adolescent vampire hunter on the planet, Edgar Frog ain’t afraid of nothing. His camo shirt and red headband are a bit Rambo Jr., but Feldman’s youthful intensity makes it work.

Reagan-Meter: Tubular! 
Ron RRon RRon R


4. Melanie Griffith, Working Girl

Working Girl
20th Century Fox

Mixing power suits with big hair and the occasional fancy gown for formal events, Melanie Griffith’s Tess McGill defined ’80s workplace attire. Bonus points for tossing the heels and opting for comfortable tennis shoes.

Reagan-Meter: Rad! 
Ron RRon RRon RRon R


3. Michael J. Fox, Back to the Future

Back to the Future
Universal Pictures

Michael J. Fox can do no harm, but his outfits in BTTF are not so McFly. The orange vest reads like a life preserver drowning in an ocean of denim. Great Scott, this is one unforgivable outfit.

Reagan-meter: Bogus! 
Ron RRon R


2. Winona Ryder, Heathers

Heathers

Mixing business casual and country club chic, Winona and the rest of the Heathers created a look that is still a favorite Halloween costume theme.

Reagan-meter: Awesome! 
Ron RRon RRon RRon RRon R


1. Molly Ringwald,  The Breakfast Club

Molly Ringwald
Universal Pictures

Dubbed “The Princess” of The Breakfast Club, Claire rocks a stylish pink blouse and brown wraparound skirt with matching boots. We dig her poised ensemble and agree that she is fashion royalty.

Reagan-Meter: Awesome! 
Ron RRon RRon RRon RRon R

Click here to see all airings of The Breakfast Club on IFC.

Get the scoop on IFC’s ’80s Weekend from “The Gipper” himself!

Watch More
The Nutty Professor Eddie Murphy 1996

Weird Science

10 Weird Movie Substances That Had Hilarious Consequences

Catch The Nutty Professor this month on IFC.

Posted by on
Photo Credit: Universal Pictures/Everett Collection

If you’ve ever opened your refrigerator to find some seriously gnarly days-old potato salad, then you know that sometimes the most harmless-seeming things can turn freaky. Movies have conjured up some truly bizarre stuff, often the work of crazed scientists. Before you catch The Nutty Professor on IFC, check out some of the icky-est, gooey-ist and just plain weird substances on the big screen.

10. Flubber

Flubber
Walt Disney Studios

Professor Brainard’s “flying rubber” increases its speed every time it bounces, and increases the chaos, destruction and unlikely basketball-dunkage of anyone who uses it. Thankfully the movie ends before its thermodynamic impossibility cause the incineration of the entire universe.


9. Quantonium, Monsters Vs. Aliens

Monsters Vs Aliens
DreamWorks

In Monsters vs. Aliens, both action-packed parties are battling over Quantonium, an exotic material which massively empowers anyone who holds it. Literally in the case of Susan Murphy, whose exposure turns her into Ginormica and enables her to fight against Gallaxhar’s invasion force.


8. Sustengo, Little Fockers

Sustengo
Universal Pictures

After finally finding favor with his hard-bitten father-in-law, Greg Focker (Ben Stiller) finds himself strapped for cash and starts promoting Sustengo, an erectile dysfunction drug. Which means leaving boxes of ED drugs lying around a family who can’t even use a toilet without triggering a series of hilarious misunderstandings.


7. Iocane, Princess Bride

Iocane
20th Century Fox

Iocane is a deadly poison with no odor or taste that dissolves instantly in any liquid. The perfect tool for murder isn’t usually hilarious, but The Princess Bride makes everything funny. Hero Westley (Cary Elwes) tricks cunning Vizzini (Wallace Shawn) into drinking the poison in a game of wits. Vizzini lost, not knowing that the answer is “Don’t drink anything offered by someone who just talked about how awesome their poison is.”


6. PX-41, Despicable Me 2

PX41
Universal Pictures

The mutation compound engineered by PX-Labs turns anything into a purple, fluffy, indestructible killing machine. And when Despicable Me‘s famous Minions are dosed with it, look out. Dr. Nefario (Russell Brand) crafts an antidote, PX-41 Antidote, proving he’s much better with chemicals than he is with names.


5. Mood Slime, Ghostbusters II

Mood Slime
Columbia Pictures

When the Ghostbusters came back for their 1989 sequel, the slime they encountered was sillier and scarier. The “Mood Slime” was a special form of ectoplasm utterly saturated in the emotions of everyone and everything around it. And while our heroes energize some positive vibes with Aretha Franklin tunes, the entire city of New York’s psychic outpourings are filling the sewers with something distinctly less positive.


4. The Stuff

The Stuff
New World Pictures

A science fiction soft-serve satire, The Stuff is about an oddly organic treat which is utterly delicious and zero calories. In fact it’s negative calories, because if you eat enough it’ll take over your brain and hollow you out from the inside.


3. Miracle Weight Loss Serum, The Nutty Professor

Buddy Love
Universal Pictures

The core component of The Nutty Professor‘s plot is a miraculous weight loss serum, a simple fluid which re-engineers human DNA all by itself. This allows sweet but sizable Sherman Klump (Eddie Murphy) to transform into the tight, toned and turbocharged Buddy Love (Murphy again). The serum is revealed to be fatally dangerous, but anything which allows Eddie Murphy to play himself cranked up to the max is pure comedy gold.


2. Cobalt Thorium G, Dr. Strangelove

Dr Strangelove
Columbia Pictures

Dr Strangelove or: How I Learned To Stop Worrying and Love The Bomb is about a bomb built with Cobalt Thorium G. It’s a doomsday device designed to annihilate all human civilization and is, slightly worryingly, based on the least fictional materials on this list. Cobalt and thorium both have applications in nuclear weapon design. Luckily we haven’t got them up to G yet.


1. Ectoplasm, Ghostbusters

Ghostbusters
Columbia Pictures

The Ghostbusters live in a world where ghosts are real but physics is still in charge. So while the ghouls are flung around with proton packs, they get the boys in grey back with their appalling ectoplasm, or slime, trail. As Venkman says, getting covered in the stuff will make you feel all funky.

Watch More
Fast Times Jennifer Jason Leigh

Retro Grades

The 11 Best Movie Comedies of the ’80s

Catch Fast Times at Ridgemont High during IFC's '80s Weekend.

Posted by on
Photo Credit: Universal/Everett Collection

The ’80s gave us so many great things (Tab, anyone?), but when it comes to movie comedies, the Reagan years were a golden age of funny. In honor of IFC’s ’80s Weekend, we’ve selected the best big screen comedies from the decade that gave us Bill Murray, Eddie Murphy and other comedy greats. And like one of the movies featured below, this list goes to 11.

1. Back to the Future

“A high school slacker goes back in time, takes his mother to a dance, and gets dangerously close to becoming his own father.” The elevator pitch for Back to the Future doesn’t sound so charming, but the 1985 flick starring Michael J. Fox, Christopher Lloyd, Lea Thompson and Crispin Glover is declared by many as being the perfect movie. (Though we can’t officially say if the Eric Stoltz version would’ve been better.)


2. Ghostbusters

The sheer number of childhoods that were professed to be ruined by the recent reboot should tell you how beloved the original film is. A perfect blend of comedy, horror and fantasy, Ghostbusters has an indelible cast at the top of its game and a heap of one-liners worthy of countless casual references. They have the tools, and they have the talent.


3. Airplane!

Speaking of one-liners, it doesn’t get much more quotable than the 1980 Zucker-Abrahams-Zucker classic Airplane!. Almost a one-to-one parody of the 1957 disaster film Zero Hour!, Airplane! works so well because of how straight faced the zaniness is played — which is something its many imitators fail to notice.


4. This Is Spinal Tap

Rob Reiner, Christopher Guest, Michael McKean and Harry Shearer created the de facto mockumentary film with the hilarious 1984 rock diary This Is Spinal Tap. Heralded as one of the most accurate depictions of backstage life by actual real-life bands, the movie showcases an aging glam metal band struggling for the spotlight while keeping the group intact (especially the spontaneously combustible drummers).


5. National Lampoon’s Vacation

While Caddyshack and Fletch are quintessential Chevy Chase films, nothing beats the bumbling patriarch of the Griswold clan losing his mind en route to Wally World, America’s favorite family fun park. Yes, the sequels saw diminishing returns (aside from Christmas Vacation), but the one that started them all is endlessly watchable. Amen, let’s go!


6. Fast Times at Ridgemont High

Director Amy Heckerling and writer Cameron Crowe managed to capture exactly what high school life was like in the early-’80s. The awkwardness, the frustrations, the scares, the search for purpose and gratification, Fast Times presents its young characters as fully fleshed-out individuals (even the designated stoner shows nuance) and doesn’t talk down to its audience like many teen movies do. (Click here to see all airings of Fast Times at Ridgemont High on IFC.)


7. Beverly Hills Cop

A reminder of the days when Eddie Murphy was the edgiest comedian in showbiz, the one-two punch of Beverly Hills Cop and 48 Hrs. set the template for modern action comedies. We wouldn’t have the Rush Hour franchise and every Kevin Hart film without Axel Foley.


8. Trading Places

A treatise on the Nature vs. Nurture argument at the height of Reagan-era excess, Trading Places depicts the lives that are held in the balance when the mega-rich make friendly $1 wagers and just how joyous the retribution can be. Dan Aykroyd, Eddie Murphy and Jamie Lee Curtis are terrific as the leads, the Duke Brothers are delightfully evil, and in all seriousness, that is a nice purse.


9. Better Off Dead

This 1985 Savage Steve Holland movie is teen angst at its most surreal and affably goofy. John Cusack stars as Lane Meyer, a high schooler still reeling from the loss of his girlfriend to a cocky champion skier. (Is there any other kind in an ’80s movie?) With bloodthirsty paperboys, foreign-exchange street races and stop-motion hamburger interludes, Better Off Dead doesn’t let realism get in the way of accurately portraying pure teen heartbreak.


10. Midnight Run

Of all the critically acclaimed pairings that actor Robert De Niro has had through the years, few are as entertaining as his reluctant team-up with a persnickety Charles Grodin in 1988’s Midnight Run. Perfect foils, the bounty hunter and mob accountant race against time, the Feds and mafia hits until mutual Stockholm Syndrome kicks in and the partnership stops becoming merely professional. (The counterfeit bill scene alone is worth the watch.)


11. Heathers

Heathers is the kind of pitch-black comedy that would never get a major release in 2016. Unflinching in its satire of school shootings, teen suicide and the tragedies that come with the need to fit in, the movie remains relevant to the kids currently growing up in a cruel and judgmental world. And the fact that it’s laugh-out-loud funny while also making a sharp point about youth culture is a testament to how great the movie really is.

Watch More
Powered by ZergNet