DID YOU READ

Roman Coppola on “A Glimpse Inside the Mind of Charles Swan III,” Bill Murray and wanting to work with Kristen Stewart

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IFC: Maybe he just draws it to him. One of my favorite moments of the movie was when you had the actors and crew recite their names at the end instead of having end credits. Why did you decide to do that, and how many times did you have to film it?

RC: I remember writing that as I was doing the script, like, “Oh, what would be a unique way to end the picture that would be in the spirit of what the movie kind of represents?” To me it’s kind of a collective of people coming together and making this. It felt kind of like a play, and a curtain call is very common in the theater — not that this is particularly theatre-like, my movie, but it’s kind of familiar. In fact I met someone who was like, “Every movie should have an end sequence like that,” and I thought, “Oh, that would be kind of cool, as it is in the theater.”

There’s a movie called “Candy” that inspired it. This movie is by Christian Marquand in which at the end of the film you see all the characters sort of some together out of the context of the story but just sort of as the actors. That inspired the idea and it was sort of a thank you and a way to acknowledge my crew and the whole team of people. I like the notion. It was a little sentiment to me that maybe only I care about but, in the story, these two characters Charlie and Ivana will probably never see each other again. It’s clearly over, and yet Charlie Sheen as an actor and Katheryn Winnick as an actress kind of came together as friends and meeting one another in the context of the movie, and I thought there was something kind of charming about they say farewell to each other but in the end they’re kind of holding hands, together again. It was a neat notion to me to acknowledge that there’s a new relationship that was born out of this. That meant something to me.

In terms of how many takes, we left ourselves plenty of time because it was a pretty ambitious shot and there was the sunset. I actually got a really great take which is the one we used, but I kept shooting a few more because the light kept going down deeper and deeper into the sunset. But I think ultimately we did like 23 takes and I probably used take 16 or something like that.

IFC: I know it might be a strange thing to pick out but it was strangely personal. Usually the end credits are so impersonal, I just thought it was an interesting way of bringing the cast and crew to the audience.

RC: Yeah. It means a lot to me because my little daughter’s in there and my longtime girlfriend and my crew. All the people who came together to help me out got to sort of take a bow, so to me it is rather personal. I’m glad you see it that way.

IFC: We’re huge fans of Bill Murray here at IFC and I know you mentioned you’ve worked with him many times and know him personally. How does the man compare to the legend?

RC: He is a titan, meaning he is larger than life. He is not just a regular human. He’s tall. He has such presence. He comes in the room and he just sweeps everyone up in his charisma and his spell. He’s just a one-of-a-kind, larger-than-life guy. I’ve gotten to know him and also privileged to hang out and see him and stuff, but he definitely evokes a feeling of awe. I’m just going to gush, but he obviously is a person to be around. He’s so incredibly funny and witty and he’s very generous and warm. All the things you would hope for, he is.

IFC: You’ve worked with and known a lot of great filmmakers. Are there any who you think inspired this film the most?

RC: I would say that there’s a few. Movies are very, what’s the word… they can be anything. It’s really magic. There’s certain filmmakers that have shown me, as I see their movies, I think, “Wow, a movie can really be anything or take you anywhere and evoke all sorts of feelings and spark your senses.” So movies that my film kind of aspires to that use sort of that freedom is a movie like “Stardust Memories” or “Annie Hall,” which are of course Woody Allen movies. He’s obviously one of the greats, we all know that. If you look at “Annie Hall” and you look at all the places it goes, it’s really staggering. It’s really just so free, so that really inspired me.

I love Bob Fosse in particular. “All That Jazz” is a movie that I always could just watch again and again, and it similarly has certain fractured narrative and use of fantasy and feeling rather free. I think both those filmmakers owe a debt to [Federico] Fellini. [He] is one of those master filmmakers who is particularly in touch with a sense of fancy and flights of fancy and fantasy and feeling that freedom, that malleability that film can sort of take you anywhere. So a film like “8 1/2” is something that really, deeply impressed me and kind of relates to things I’ve done, so those are the things that come to mind from more a sense of structure and sense of mis-en-scene.

IFC: “The Bling Ring,” which you produce, seems to continue Sophia Coppola’s trend of exploring fame and celebrity and the obsession with it. As a member of the Hollywood elite looking out, what do you think of that topic?

RC: That’s really a great question for Sophia to answer. She works in a very intuitive way so this is more of a concept, talking about that. I think it’s sort of the job of the viewer or the job of the critical world to consider, analyze and discuss themes or ideas. But just working with her, she gets something in her head and is like, “Ah, there’s something I like about this,” or, “Something is interesting about this,” and it’s very rare and frankly like never that it’s a discussion about concept. Like, “Oh, this is a story of our time.” But artists that are sensitive; art is like a membrane that sort of picks those things up, so I think it’s very reasonable to say that it’s a reflection of our sort of celebrity-obsessed culture and sort of a comment on it, certainly. I guess the distinction I’m trying to make is that’s not really the intention.

It’s a world that interests her and I think many people are fascinated by celebrity and we can all be above it, like, “Oh, I don’t really care,” but then you read something on TMZ and you want to read it, and People magazine, you see it on the airplane and you read it cover to cover. It’s just everyone seems to have this curiosity about fame. I don’t think it’s anything new. It’s certainly always been the case that there are those noted people that seem to kind of represent ideas. There’s the good guys, the bad guys, the villains, and you just sort of read into it. Anyways, I’m going sideways, but it’s actually playing very soon in Cannes and has an opening night slot so the world will get a chance to check out soon.

IFC: Lastly, I’m just curious if you have anything in the works right now that you plan to direct or write or produce?

RC: You know, I don’t really know. I don’t have an exciting answer for you. It took a lot of time and process to make this movie. It was very much a handmade movie in that I was very involved with all the phases and I did it with a lot of sweat and help from people that are close to me and so I’m kind of sort of taking a little breather. I’m expecting a baby soon and will enjoy that. Anyway, longwinded answer but I don’t really know. I’m kind of in that state of mind where you start to look around and you read something in the newspaper and you’re like, “Oh, is that a story kernel?” I’m in that state of receptive curiosity of something that will maybe pop into my mind soon.

IFC: Is there anyone specific that you’d like to work with going forward?

RC: I met Kristen Stewart not long ago because I was involved with “On the Road” and I found her to be so charming and interesting. That is someone I admire. Johnny Depp is such a talented person. I could just go on and on. But I don’t have any plans or designs. I’m just like everyone else; there’s these people that of course you’d like to work with.

Watch an exclusive bonus clip from “A Glimpse Inside the Mind of Charles Swan III” below!

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What did you think of “A Glimpse Inside the Mind of Charles Swan III”? Did you like the casting of Charlie Sheen? Tell us in the comments section below or on Facebook and Twitter.

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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.

car notes note

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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Dark Arts

Foot Fetish Jesus And Other Nightmares

Meet the minds behind Comedy Crib's latest series, Quirks and The Mirror.

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The Mirror and Quirks are really, really strange. Deeply disturbing yet hauntingly beautiful. But you really don’t need to read a synopsis of either of the aforementioned shows to understand the exact variety of nightmare-bonkers comedy these shows deliver — that’s why the good lord made links. Instead, take a peek behind the curtain and meet the creators.

Quirks

Let’s start with Kevin Tosi. Kevin does the whole show by himself. That doesn’t mean he’s a loner — Kevin has a day job with actual humans. But that day job is copywriting. So it’s only natural that his suppressed demons would manifest themselves in biting cartoon form, including “Foot Fetish Jesus”, in ways that somehow speak to all of us. If only all copywriters channeled their inner f*ckedupness into such…expressive art.

The Mirror

Onward to the folks at Wham City Comedy.

These guys aren’t your typical comedy collective in that their work is way more left-field and even elevated than your standard digital short. More funny weird than funny ha-ha. They’ve done collaborations with musicians like Beach House, Dan Deacon & Wye Oak, television networks (obviously), and others. Yeah they get paid, but their motivation feels deeper. Darker. Most of them are video artists, and that explains a lot.

See more of The Mirror and Quirks on IFC.com and the IFC app.

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