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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Brock Hard

Brockmire’s Guide To Grabbing Life By The D***

Catch up on the full season of Brockmire now.

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“Lucy, put supper on the stove, my dear, because this ballgame is over!”

Brockmire has officially closed out its rookie season. Miss the finale episode? A handful of episodes? The whole blessed season?? You can see it all from the beginning, starting right here.

And you should get started, because every minute you spend otherwise will be a minute spent not living your best life. That’s right, there are very important life lessons that Brockmire hid in plain sight—lessons that, when applied thoughtfully, can improve every aspect of your awesome existence. Let’s dive into some sage nuggets from what we call the Book of Jim.

Life Should Be Spiked, Not Watered Down.

That’s not just a fancy metaphor. As Brockmire points out, water tastes “awful. 70% of the water is made up of that shit?” Life is short, water sucks, live like you mean it.

There Are Only Three Types of People

“Poor people, rich people and famous people. Rich people are just poor people with money, so the only worthwhile thing is being famous.” So next time your rich friends act all high and mighty, politely remind them that they’re worthless in the eyes of even the most minor celebrities.

There’s Always A Reason To Get Out Of Bed

And 99% of the time that reason is the urge to pee. It’s nature’s way of saying “seize the day.”

There’s More To Life Than Playing Games

“Baseball can’t compete with p0rnography. Nothing can.” Nothing you do or ever will do can be more important to people than p0rn. Get off your high horse.

A Little Empathy Goes A Long Way

Especially if you’ve taken someone else’s Plan B by mistake.

Our Weaknesses Can Be Our Greatest Strengths

Tyrion Lannister said something similar. Hard to tell who said it with more colorful profanity. Wise sentiments all around.

Big Things Come To Those Who Wait

When you’re looking for a sign, the universe will drop you a big one. You’re the sh*t, universe.

And Of Course…

Need more life lessons from the Book of Jim? Catch up on Brockmire on the IFC App.

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Oh Mama

Mommie May I?

Mommie Dearest Is On Repeat All Mothers Day Long On IFC

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The cult-classic movie Mommie Dearest is a game-changer. If you’ve seen it even just once (but come on, who sees it just once?), then you already know what we’re talking about.

But if you haven’t seen it, then let us break it down for you. Really quick, we promise, we’ll even list things out to spare you the reading of a paragraph:

1. It’s the 1981 biopic based on the memoir of Christina Crawford, Hollywood icon Joan Crawford’s adopted daughter.
2. Faye Dunaway plays Joan. And boy does she play her. Loud and over-reactive.
3. It was intended as a drama, but…
4. Waaaaaay over-the-top performances and bargain-basement dialogue rendered it an accidental comedy.
5. It’s a cult classic, and you’re the last person to see it.

Not sold? Don’t believe it’s going to change your life? Ok, maybe over-the-top acting isn’t your thing, or perhaps you don’t like the lingering electricity of a good primal scream, or Joan Crawford is your personal icon and you can’t bear to see her cast in such a creepy light.

But none of that matters.

What’s important is that seeing this movie gives you permission to react to minor repeat annoyances with unrestrained histrionics.

That there is a key moment. Is she crazy? Yeah. But she’s also right. Shoulder nipples are horrible, wire hangers are the worst, and yelling about it feels strangely justified. She did it, we can do it. Precedent set. You’re welcome.

So what else can we yell about? Channel your inner Joan and consider the following list offenses when choosing your next meltdown.

Improperly Hung Toilet Paper

Misplaced Apostrophes

Coldplay at Karaoke

Dad Jokes

Gluten Free Pizza

James Franco

The list of potential pedestrian grievances is actually quite daunting, but when IFC airs Mommie Dearest non-stop for a full day, you’ll have 24 bonus hours to mull it over. 24 bonus hours to nail that lunatic shriek. 24 bonus hours to remember that, really, your mom is comparatively the best.

So please, celebrate Mother’s Day with Mommie Dearest on IFC and at IFC.com. And for the love of god—NO WIRE HANGERS EVER.

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Breaking News

From Canada With Love

Baroness von Sketch Show premieres this summer on IFC.

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Breaking news that (finally) isn’t apocalyptic!

IFC announced today that it acquired acclaimed Canadian comedy series Baroness von Sketch Show, slated to make its US of A premiere this summer. And yes, it’s important to note that it’s a Canadian sketch comedy series, because Canada is currently a shining beacon of civilization in the western hemisphere, and Baroness von Sketch Show reflects that light in every way possible.

The series is fronted entirely by women, which isn’t unusual in the sketch comedy world but is quite rare in the televised sketch comedy world. Punchy, smart, and provocative, each episode of Baroness von Sketch Show touches upon outrageous-yet-relatable real world subjects in ways both unexpected and deeply satisfying: soccer moms, awkward office birthday parties, being over 40 in a gym locker room…dry shampoo…

Indiewire called it “The Best Comedy You’ve Never Seen” and The National Post said that it’s “the funniest thing on Canadian television since Kids In The Hall.” And that’s saying a lot, because Canadians are goddamn hilarious.

Get a good taste of BVSS in the following sketch, which envisions a future Global Summit run entirely by women. It’s a future we’re personally ready for.

Baroness Von Sketch Show premieres later this summer on IFC.

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