DID YOU READ

“V/H/S” co-director Joe Swanberg talks horror, beer and independent filmmaking

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IFC: One of the things I noticed about the anthology and I’m sure was sort of a goal was that it took familiar horror conceits and subverts them. I’m curious what your inspiration was as someone who hasn’t done much other horror work beyond, say, “Silver Bullets.”

JS: And even “Silver Bullets” was very sort of abstractly related to horror, but definitely the closest thing I’ve done up until this point. Inspiration-wise, definitely YouTube videos, and imagery-wise, we just kind of tried to make it as realistic-feeling and looking as possible. And, honestly, the biggest influences for me right now in terms of that stuff are like Ti West and Adam and Simon, sort of like interesting filmmakers who I consider them to be filmmakers first and horror filmmakers second, you know? You could talk to Ti and Adam as much about boring art films as you could about horror films, and they know about all of it.

What these guys have been doing within horror is super interesting and, because they’re friends of mine and collaborators of mine, I’ve sort of gotten a window into their thought process and sort of why they work in the horror genre and what they feel like they can accomplish through that. And additionally, just in my own career, I’ve been making a lot of movies lately and I was fearing that they were all sort of starting to hit the same audience over and over and over, and that there wasn’t a lot of new ground being covered. That’s like my biggest fear as a filmmaker is to just sort of get comfortable within a certain zone and then kind of keep doing the same thing.

So this movie came along right at a time where I was really excited to kind of challenge myself and try something new, so I really went in rather than, for instance, subverting the genre by doing a mumblecore version of horror, “V/H/S” seemed like a really good opportunity to do horror horror, and to really surprise people. And so I took it really seriously, the opportunity to like really make something scary and not make something that was like more realistic than less scary.

IFC: You still stuck a little bit of the relationship stuff you love in there, so that was fun.

JS: Yeah, I can’t help it. [laughs]

IFC: Are there any other genres that you are interested in trying soon?

JS: Definitely. It’s all interesting to me at this point. I had a real sort of revelation experience working on this movie called “You’re Next” that I acted in that Adam Wingard directed. It was really cool to be on the set of my friend’s movie and to see him sort of like taking on a really big task of making an action thriller and sort of having to visualize and shoot these really elaborate action setups with multiple cameras and stunts and all these kinds of things and I realized as a director I really want to have that skill set.

Even if I never make an action movie, I would still love to know how to shoot an action sequence. How to effectively cover a chase scene, or something like that. So I’m kind of open to all of it right now. I would be happy to dive into more genre stuff and just keep learning as a filmmaker and as a director how to get better at certain things. And I feel like all of that carries over even to relationship movies. Knowing how to shoot an action sequence certainly would help me also know how to shoot a dinner table conversation in a more interesting way.

IFC: You’ve been a big part of the independent filmmaking and mumblecore community, and that’s a community that’s changed a lot in the past decade. What elements of the process do you think are the most important to preserve?

JS: For me, the independent films that inspired me and that I fell in love with were tackling stories that were too small or bizarre or whatever for Hollywood to tell. That was kind of like, in the ’70s and ’80s, that was where American independent filmmaking fit into the picture was like everybody wanted to make studio movies but certain stories weren’t going to be told by studios, so if you wanted to tell that story you had to figure out a way to do it yourself.

That’s changed a lot. So now I feel like a lot of independent films are just Hollywood movies told on a smaller budget, and oftentimes with the same actors that are in the Hollywood movies. So I’ve been really still interested in attempting to use independent films to tell stories that just don’t make sense on a bigger scale. Like I only need $20,000 to tell this story, for instance. I don’t need to try to go out and raise $2 million and get big-name actors. It’s been a really fertile sort of practice stage for me to be active as a filmmaker, and I believe the only way to get better at something is to keep doing it and practicing as much as possible.

On the bigger scale where it takes several years between projects, those directors are busy all the time but they’re not necessarily busy on set directing actors, and that’s the kind of thing I’m trying to be good at. The last three or four years for me have just been about making as much work as possible and really just trying to be active in that community as a director, as an actor, as an editor or whatever else it is. As I’m getting old — I have a son now, I have a family and a house — there are practical concerns that are starting to come in that will probably necessitate a change from doing just $20,000 movies.

IFC: I was going to say, it’s interesting you’re saying that about the big stars because “Drinking Buddies” has Anna Kendrick, Olivia Wilde, Jake M. Johnson and Ron Livingston. Those are really big names right now.

JS: Yeah, absolutely. “Drinking Buddies,” I would almost call it my first film. It’s like a reset for me of taking all the things that I’ve learned and all the work that I’ve made over the past seven or eight years and now trying to apply that skill set to a movie that is a conventional movie. It’s still low budget and it’s still improvised and sort of taking the process that I’ve developed and applying it to a bigger movie. But it’s not “Silver Bullets” or it’s not “Art History,” these very sort of intensely rigorous art films that are very obviously going to appeal to a very small art house audience. Like, “Drinking Buddies” is a movie that’s meant to appeal to everybody, and it’s been fun to see if I can take the same way of working and apply that to a movie that’s aimed at everybody, including the art house audience.

IFC: Can you talk a bit about what “Drinking Buddies” is about?

JS: Sure. Olivia Wilde and Jake Johnson play friends who work at a brewery in Chicago and Anna Kendrick plays Jake’s girlfriend and Ron Livingston plays Olivia’s boyfriend. I won’t say much: it’s a relationship movie about couples. It’s about craft beer and love. [laughs]

IFC: What more does a movie need?

JS: That’s what I’m talking about! It was a blast for me to be able to shoot a movie in a brewery. I’m a home brewer and a real beer geek, so it was really just a dream come true for me to make that movie.

What do you think of Swanberg’s thoughts on independent filmmaking? Do you plan to see “V/H/S”? Tell us in the comments section below or on Facebook and Twitter.

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Forget Oscar

Find Your Spirit Animal

The Spirit Awards are LIVE this Saturday at 2p PT/5p ET.

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In just a few precious days, the greatest, most epic, most star-studded awards ceremony of the year comes to IFC.

And please, we’re definitely not talking about the Oscars. We’re talking about the Spirit Awards. Hosted by iconic comedy duo Nick Kroll and John Mulaney, it’s a relatively under-the-radar awards show with serious cred. And if the past is any indicator, we’re in for a wild night.

If you feel like doing your homework, you can find a full list of nominees and performance excerpts here. It reads like a who’s who of everyone that matters – those larger-than-life personalities with status that borders on mythological. Our celebrity spirit animals, if you will.

This isn’t hyperbole. Literally everyone who takes the stage at the awards show is spirit animal material. Let’s see if we can help you find yours…

Do you

Live in someone else’s shadow despite shining like the sun? Do you inexplicably vandalize your pretty-boy good looks with a sloppy-joe man bun and a repellent pubic-hair beard? Do you think sounding stoned and sounding thoughtful are kinda the same thing?

Congratulations, your spirit animal is Casey Affleck.

He’s the self-canonized patron saint of anyone who’s got the goods but doesn’t give a damn.

Do you

Have mid-length hair and exude a certain feminine masculinity that is universally appealing? Are you drawn to situations that promise little to nothing in the way of grooming or hygiene as a transparently self-conscious attempt to conceal your radiant inner glow? Does that fail miserably?

Way to go, your spirit animal is Viggo Mortensen.

He’s the yoga teacher of actors, in that what should make him super nasty only increases his curb appeal.

Do you

Get zero recognition for work that everyone knows is unrivaled? Do you inspire greatness in others yet get shortchanged when it comes to your own acclaim? Are you a goddam B-52 bomber in an industry of biplanes?

Bingo, your spirit animal is Annette Bening.

What does it take for this artist to win an Oscar? Honestly now, if her performance in 20th Century Women doesn’t earn her every award on the planet, consider it proof that the Universe truly is a cold dark void absent of reason or compassion.

Do you

Walk into a room full of strangers and walk out with a room full of friends? Have you been hiding under the radar just waiting for the right moment to leap out into the spotlight and stay there FOREVER? Do you possess the almost messianic ability to elevate Shia LaBeouf’s on-screen charisma?

You guessed it (or not), your spirit animal is 100% Sasha Lane.

If you haven’t seen American Honey, then you haven’t heard of her. She came out of the blue with a performance both subtle and powerful, and now she’s going to be in all the movies from this moment on. Or she should be, at any rate.

Don’t see your spirit animal there? Worry not. There are many more nominees to choose from, and you can see them all (yes, including Shia LaBeouf) during the Independent Spirit Awards, this Saturday at 2pm PT/5pm ET only on IFC.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

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This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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