DID YOU READ

“Looper” director Rian Johnson talks time travel, genre-bending, and capturing the essence of Bruce Willis

looper

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How do you hunt your future self? That’s the question posed by “Looper,” the new time-travel blockbuster from writer/director Rian Johnson, who first made a name for himself with the brilliant high-school noir mashup “Brick.”

In “Looper,” Joseph Gordon-Levitt plays Joe, a hired assassin in the year 2042, tasked with dispatching the mob’s enemies after they’re sent back in time and disposing of the bodies in the best hiding spot of all: the past. However, when Joe discovers that his future self (Bruce Willis) will be his next victim, things take a time-twisting turn that puts Joe, his future self, and everyone around them into the middle of an explosive chase that could change the present and the future.

IFC had the chance to sit down with Johnson for a brief chat about “Looper,” keeping track of Joe’s timelines, and why it’s so easy to believe Gordon-Levitt really is a younger version of his veteran co-star.

IFC: My first question for you is the one that everybody seems to be asking: How did you make Joseph Gordon-Levitt look so much like Bruce Willis?

RIAN JOHNSON: We had a really talented makeup designer, Kazuhiro Tsuji, who’s just a brilliant guy. But when we first showed him Joe and Bruce next to each other and told him what the challenge was, he basically said, “You can’t do it. It’s impossible.” He refused to do it. I had to pester him for a few months to get him to agree to do it. Because Joe and Bruce, they look so dissimilar. He showed me their faces and diagramed them out and said, “This is why they look different: their head shapes are different, their eyes are spaced differently…” Eventually, the way I won him over was I told him, “Look, we’re not going to try to make Joe look like Bruce in ‘Moonlighting.’ We’re just going to pick a couple of key features and nudge them a little closer to Bruce.”

IFC: Yeah, there’s definitely this confusing moment when you first see Joe, because you know what he looks like normally, but certain features of his face are very, very different…

JOHNSON: Yeah, it’s the nose, and then the lips and brow… We put these very uncomfortable contact lenses in Joe’s eyes, too. But it was all prosthetics. None of it was CG, it was all practical makeup.

IFC: I was particularly impressed by how much Joe sounded like Bruce — his inflection and general way of speaking were spot-on.

JOHNSON: Really, at the end of the day, if Joe feels like Bruce, it’s mostly because of his performance. It’s the voice and the mannerisms. He really dialed it in so that it doesn’t feel like a Saturday Night Live impression. He really captured the essence of Bruce. [Laughs]

IFC: One thing with time-travel stories that I’m always fascinated to know more about is how you, as the writer of the film, kept track of the different timelines and who needed to be doing certain things at certain times to make it all work out, and so forth.

JOHNSON: I did kind of diagram it out. The truth is that the diagram is fairly simple, though. If you step back and look at it, there’s really only one alternate element, and that’s Old Joe’s timeline. Other than that, it goes along in a completely linear way. I made it a little easier on myself than I could have with a time-travel movie. That was intentional, though. I’ve mentioned the first “Terminator” film before in terms of looking at a movie where time travel sets a situation going and then gets out of the way and lets that situation play out. That was the intention here, too.

IFC: Yeah, it felt like you were speaking to the audience at one point in the film when Joe and Bruce are discussing their characters’ timelines and how the actions Joe’s character takes affect Bruce’s character, and Bruce basically just says, “Stop thinking about all of that stuff. You’r just going to make your head hurt.”

JOHNSON: Yeah, I hope it’s speaking to audience, and to a certain degree speaking for the audience, too. Hopefully that’s where the audience’s head is at when we get to that point. As interesting as this stuff is and as many questions as we have in our heads at that point, we don’t want to see a 20-minute scene where he explains all of the time-travel rules in the movie. At least, I hope not. But at the same time, I’m always nervous because I’m a sci-fi nerd myself. I’m nervous that the line you mentioned is going to make people think we didn’t take the time-travel element of the movie seriously. Because I really did. I came up with a set of rules, and I can’t say that they’d hold up if you dig into them deep enough, but I had a set of rules that were consistent and that we applied to this story. And we showed the effects of those rules instead of having a scene where we explain them.

IFC: You have this great knack for superimposing one genre over another, or rather using the tone and setting that’s typical to a certain genre as the storytelling vehicle for a different genre. It was most obvious in “Brick,” but we see it again here in “Looper,” with the ’50s tone of Joe’s future world and the use of those “Blunderbuss” guns and so forth. Where does all that come from?

JOHNSON: I think when you’re working in a specific genre, it’s always nice to look for influence outside of that genre. It just infuses everything with a breath of fresh air and keeps it interesting for you. With sci-fi, a genre I’m such a big fan of, I grew up watching all these movies and I kind of know “Bladerunner” is going to be in there somewhere. I know that “Star Wars” and “Back to the Future” and “12 Monkeys” will all be in there and seep in naturally. So I try to push that out of my conscious mind and look for influences that are a little more far afield. In the beginning, I was looking at the [Jean-Luc] Godard films and the French new-wave films for the kind of loose anarchy of how these guys live their lives in “Looper.” But the back half of the movie probably owes much more to the film “Witness” than any science-fiction movie. For me, that’s always a way to keep things fresh and interesting: looking outside the typical range of inspiration.

IFC: You’ve mixed and matched so many genres at this point, so is there a genre you still haven’t worked in that you’d like to play around with?

JOHNSON: A musical would be fun to do. Joe has to do a musical, whether I do it with him or not. He needs to be in a proper musical. The truth, though, is right now I’m in the middle of coming up with ideas for the next film, and a lot of the things I’m coming up with are still in the sci-fi world — just vastly different from “Looper.” There’s such a breadth and range of what you can do there, and there are so many storytelling possibilities that sci-fi affords you. I had a lot of fun working with that in “Looper,” so I might actually stick around there for a little bit longer. I’m also a big Agatha Christie fan, and I have a whodunit idea that could be a lot of fun. I’ve got stuff all over the map.

IFC: What about television? I was pleasantly surprised to see that you directed some episodes of “Breaking Bad” a while back…

JOHNSON: Yeah, I did that and an episode of my friend Ted Griffin’s show, “Terriers.” It’s fun to do stuff like that when you’re a fan of it. So if something else presented itself that was awesome like that — the equivalent of Vince Gilligan knocking on my door — that’s hard to down. He’s Heisenberg, after all. [Laughs]

“Looper” opens Friday, September 28, and stars Joseph Gordon-Levitt, Bruce Willis, and Emily Blunt. Look for our review of “Looper” on IFC.com later this week.

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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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GIFS via Giphy

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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