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Joseph Gordon-Levitt and David Koepp talk “Premium Rush” bicycles, bruises, and Batman

Joseph Gordon Levitt

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“Premium Rush” wheels into theaters this weekend, and it’s a fun, fast-paced thriller that stars Joseph Gordon-Levitt as a bike messenger who’s pursued from one end of Manhattan to the other by a vicious, crooked cop played by Michael Shannon.

The film is directed by “Mission: Impossible” writer David Koepp, who co-wrote the script with John Kamps.

IFC spoke with Gordon-Levitt, Koepp, and Kamps this week, and discussed the movie’s impressive stunts, its innovative visual elements, and the always-present threat of crashes (including one that put Gordon-Levitt through a taxi’s rear window). We also got some updates on the trio’s upcoming projects, including the live-action “Spy vs. Spy” movie, as well as the next Jack Ryan movie, and Gordon-Levitt’s uncertain future with the Batman franchise after “The Dark Knight Rises.”

IFC: Before we get into anything else, why bike messengers? What brought you to the world of bike messengers as the angle into this story?

DAVID KOEPP: I live here and see bike messengers a lot. You can’t help but think about them as they go by like that, missing you by 6 inches. [Laughs] But I’d had in my head that I wanted to do what’s called a “map movie,” where it’s all about a guy getting from point A to point B in a limited amount of time. So then John [Kamps] and I started talking and we wanted the guy to be on a bike, because it was uniquely cinematic. We’d seen a million car chases in movies, but hadn’t seen too many bike chases. And with the way cameras and technology have evolved, the ability to have a small camera in the middle of something like this is much greater than it used to be. It kind of grew from there.

IFC: What about you, Joe? What was the appeal of this character and the story for you?

JOSEPH GORDON-LEVITT: I was in the middle of shooting “50/50” when I read the script for “Premium Rush.” I was playing a guy whose body was giving up on him, so the idea of playing somebody who was strong, confident, and healthy in their body and getting fit and riding around New York City all summer felt like the perfect contrast to battling cancer.

IFC: One of the elements of the film that really impressed me was the “Wilee Vision” scenes, when the camera freezes and we see Wilee decide which route to take through an intersection. He sees all of the terrible things that will happen to him in each route he takes until he finds one that gets him through safely. What was the genesis of that storytelling element?

KOEPP: That was the one time when we were allowed to use effects — allowed by our own rules, that is. We wanted the movie to be a stunt movie, not a CG movie, and wanted it to be about what well-trained actors and stuntmen can do physically, and to have that joy of watching something like an athletic performance as well as the usual performance. So we didn’t want to use effects, but in those scenes, because we were in his head space and it was a fantasy anyway, we decided to give ourselves some latitude and figure out a cinematic way to show the decision-making process a person goes through in those moments. Obviously there are several different components in those shots, so you shoot bit-by-bit and assemble the shot.

JOHN KAMPS: It was like giving Wilee a super power. [Laughs] He’s got a super-active brain and he’s able to process these scenarios.

IFC: On the subject of stunts, there were photos of Joe floating around online that showed him bleeding from his arm after taking a nasty fall during filming. It seems like you really invested yourself in the messenger lifestyle…

GORDON-LEVITT: Well, I trained for six weeks leading up to shooting, riding every day, because I wanted to be in shape so that I wouldn’t be making a film crew wait for me while I caught my breath. I wanted to look natural and real on a bike, and I wanted to learn how to ride a fixed-gear bike — which is different from a bike you grow up riding. I actually grew to prefer the fixed-gear bike.

IFC: So you ended up taking the gears and brakes off your own bike?

GORDON-LEVITT: Well, there’s actually a difference between a fixed-gear bike and a bike with no brakes. A fixed-gear bike only has one gear, but you can have a fixed-gear bike with brakes, too. It’s common, though, especially amongst messengers, that they have a fixed-gear bike and take their brakes off. I rode around for a while without brakes and then got into an accident and got 31 stitches, so from that point on we put the brake on the bike and just figured we’d hide it. Because it’s an important character trait that Wilee rides without brakes, and I think it’s a clever metaphor for the whole story and who he is.

KOEPP: Crashes were a part of it, though, they were a part of it for everybody. Joe, because he’s the star, he had the worst crash. [Laughs]

KAMPS: [Laughs] He bleeds for his art.

KOEPP: Everybody went down at one point or another because bikes fall over. They’re dangerous. One day, I think we were talking about helmets during prep. In reality, maybe 2/3 of messengers wear helmets, and we were trying to make all our decisions based on what’s real. But on that day, I remember we were shooting some tests and someone fell, and I said, “Fuck it, they all have to wear helmets.” It’s the only area I think we depart from reality a teensy bit. And the day Joe went through a cab window, I was like, “Damn, I’m glad they all wore helmets.”

IFC: There were a lot of bike messengers on set, from what I’ve heard. What was the interaction like with the real-world bike messengers you used as extras and stunt doubles?

GORDON-LEVITT: There were five of us who played Wilee in the movie — me and four different doubles. And one of the doubles is a working bike messenger, arguably the fastest in the world, and he happens to look like me, too. Austin Horse is his name. We became friends, and I told him, “Anything you see, anything at all that seems odd or that I could be doing that’s more accurate, just tell me.” And he did. It was hugely helpful — right down to the details of where your bag sits or how you would take an envelope out of the bag.

KAMPS: And where do you put your helmet…

GORDON-LEVITT: And where the pen goes…

KOEPP: It’s not that you’re obsessing over details, either. You just want to make sure you have the details right so you can not think about them and the audience won’t, either. You want to make sure all that stuff is cold, so you can do your job.

IFC: The music in the film really stood out, too. There was a nice rock n’ roll tone that seemed to match up well with certain scenes…

GORDON-LEVITT: I agree.

IFC: The score could have gone differently, with a techno theme or something like that. Why rock n’ roll?

KOEPP: Well, that’s the work of a great composer named David Sardy who’s been a rock n’ roll producer for many years. When we were writing it, we just thought it felt like two guitars, a bass, and a drum. It felt like rock n’ roll was what it wanted to be. Then Dave came in and did a great score.

GORDON-LEVITT: And let me add that movies almost never get rock n’ roll right…

KOEPP: Yeah, it’s usually a Hollywood composer adding a little “rock n’ roll”…

GORDON-LEVITT: Exactly.

KOEPP: So instead of that, we got a rock n’ roll guy who only did one other score, the one for “Zombieland.”

IFC: Michael Shannon is fantastic in the movie, and Joe and Michael seem to play off each other really well in their scenes together. Give me some background on your interaction with him, Joe…

GORDON-LEVITT: He’s one of the best actors alive, and he’s a beast. He’s so much fun. There’s a real tradition of movies like this with villains played by extremely fine actors like Dennis Hopper in “Speed” or Alan Rickman in “Die Hard.” To me, he’s one of those types: a classic Hollywood heavy.

IFC: Do you guys find yourselves looking at bike messengers a little differently after filming this movie?

KOEPP: Absolutely — especially when I see them in the rain. You do a movie about somebody and you start to think about things the way they think about them and you develop a lot of sympathy for their way of life. I notice them a lot more now, and I know it’s really hard work, and perilous, too.

GORDON-LEVITT: I notice anybody on bikes now. This movie definitely reinvigorated my love for bicycles. I remember when I was a kid going to see “White Men Can’t Jump,” and coming out of the theater wanting to play basketball. I really hope this movie does that for cycling. The truth is, if more people rode bikes and fewer people drove cars, the world would be better for it, and the individuals would be better for it, too. It’s such a good, positive thing all around. I love that “Premium Rush” is a popcorn flick but it’s glorifying something so healthy, like bicycles — it’s not guns or cars or any of those destructive machines. Bikes are great, great things. You’re going to get healthy if you ride a bike a lot…

IFC: As long as you don’t crash…

GORDON-LEVITT: [Laughs] Hey, it’s better to crash on a bike than in a car…

IFC: So I just wanted to catch up with you guys about your next projects, too. David, you and John are working on a “Spy vs. Spy” movie based on the MAD Magazine strip, right?

KAMPS: I’m working on the draft now, actually.

KOEPP: Yeah, where is that draft?

KAMPS: Uh-oh. I have to get out of here… [Laughs]

KOEPP: We’ll be turning in a new draft in a couple weeks and hopefully we’ll get the go-ahead after that…

IFC: It’s going to be a live-action film, right?

KOEPP: Yes, it’s live-action.

GORDON-LEVITT: So they don’t have the crazy noses?

KAMPS: Nope!

IFC: And what about the Jack Ryan movie you’re working on, David?

KOEPP: We start shooting next week. It’s really good, I think. Kenneth Branagh is directing it and playing the villain. Chris Pine, Kevin Costner, and Keira Knightley are some of the other fine actors in it. It’s going to be a lot of fun. They shoot here for three days and then in Moscow and London.

GORDON-LEVITT: Wow. You’re shooting in Moscow?

KOEPP: For a week, yeah. Have you been there?

GORDON-LEVITT: Yeah, I was there in the dead of February. It was really intense, but it’s beautiful.

IFC: And what’s next for you, Joe?

GORDON-LEVITT: I’m currently editing a movie I wrote and directed and acted in, called “Don Jon’s Addiction.” Scarlett Johansson is in it, and Julianne Moore is in it, too. I had a ball doing it. Dave’s one of the first people who read my first draft of the script. I was writing it when we were shooting “Premium Rush.”

KOEPP: It’s a great script.

IFC: So I have to ask — and I’m not even going to try and find a clever segue into this question — what are the odds of us seeing you in the Batman universe again, Joe?

GORDON-LEVITT: [Laughs] I love being in the movie, but I don’t know. It’s not a decision I get to make.

IFC: Is it something you can see yourself doing, though?

GORDON-LEVITT: If there’s a great filmmaker and a great script, that’s what dictates all the choices I make for any movie.

IFC: Fair enough!

“Premium Rush” hits theaters this weekend.

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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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