DID YOU READ

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

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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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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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