Posted in: Directors, Interviews

Alan Ball: “It’s not my job as a filmmaker to make people feel comfortable”

I had the opportunity to talk to Alan Ball about Towelhead, his first feature-film script after American Beauty and his feature directing debut, when he presented the film at the Seattle International Film Festival in June, 2008. Now that the film is getting a limited release in New York and L.A. (with a wider release to follow), I share our talk about Towelhead, Six Feet Under and the differences in writing for TV and film.

Be warned: we discuss key scenes of the film and there are spoilers here.

Why did you choose this novel, Towelhead, about a thirteen-year-old Arab-American girl dealing with adolescence in a culture inundated with Desert Storm, as your next feature project and your directorial debut?

You know, it’s interesting. I actually had a spec screenplay that I was ready to go out with, it’s a screwball comedy set in the thirties and I was just putting the finishing touches on that when my agent called me and said, ‘I have this manuscript that I just got and I think you might respond to it,’ so he sent it over and I read it and I couldn’t put it down. There was something about the story and the characters and the tone of it that just really spoke to me and I could see the movie totally in my head when I was reading it. And I loved the story. I loved the fact that it was a not hysterical take on what is a very common experience for a lot of young women, and young men, for that matter, and also that when I got to the end of it, the character of Jasira had not been destroyed by what she went through. I found that really sort of refreshing, because usually any story that’s told about a young girl who has some sort of improper sexual interaction with an older man, the feeling at the end of that story is, ‘That’s the worst thing that could possibly happen to her,’ and she’s destroyed. Not the case when it’s about a young boy and an older woman, then it’s like, ‘Oh-ho, score!’ And so I found that there was something really interesting about that aspect of the story and that this traumatic experience she goes through kind of makes her a stronger, deeper person and also allows her to take control over her own life and her own body in a way that she wouldn’t have been able to had this not happened to her and I found that really kind of refreshing and I don’t want to use a word like revolutionary, but it did make me realize that I’d never really seen a story of this nature told in that way that didn’t fetishize the victim status of the girl and also was kind of sex positive and also presented a young female character who was curious and sexually assertive without punishing her for it or making it seem like she was “asking for it.” I just really responded to it so I called my agent on Monday and said, ‘I would love to option this book. I want to do it myself, I don’t want to take it to studio because I can only imagine what trying to develop this in a studio would lead to.’

Read More “Alan Ball: “It’s not my job as a filmmaker to make people feel comfortable””

Posted in: Directors, Interviews

Love and Death – Ira Sachs on ‘Married Life’

Ira Sachs’ Married Life arrives on DVD this week. His follow-up to his Sundance Grand Prize-winning breakthrough film Forty Shades of Blue is an ambitious challenge: a 1940s melodrama of adultery and murder played as wry comedy of manners and directed in a naturalistic style with a modern sensibility. Perhaps comedy is a misleading label. Call it an irony, and a deftly played one at that: a cool, wry noir cast in a sleek yet understated period décor and played with a maturity and introspection in place of overheated emotions. In April, I talked with Sachs about the film, his great cast (Pierce Brosnan, Chris Cooper, Patricia Clarkson, and Rachel McAdams), the period and that subtle alchemy of tone and genre (the biggest revelation was the film’s never-identified setting: “Married Life” takes place in Seattle!). A digest version of the phone interview ran in the Seattle P-I as a “Moment With Ira Sachs” featurette. Here is the complete interview.

What was it about the book, “Five Roundabouts to Heaven,” that made you say: “This is my next project.”?

I’ve always been interested in psychological stories and character-driven stories. Right before I started working on this, I’d seen a lot of Joan Crawford movies and Bette Davis movies and Barbara Stanwyck movies and Fred MacMurray movies, a kind of old-fashioned storytelling that was usually over-the-top and larger-than-life in terms of the plot, but something about them really resonated for me personally. So I decided that’s what I wanted to do, I wanted to make one of those kinds of films without being a retro film. I just liked the way those stories were told. I spent a summer reading old pulp mysteries. People often say that you can make a movie out of a pulp fiction better than a movie out of a classic and I think there is some reason for that because there’s something more you can play with. And what I liked about this book particularly was that in the course of the story, when you learn more about each of the characters, you realize that, at its heart, it’s a really humanist story about relationships. Even though it’s a genre film, it’s also a humanist film. What I thought was quite true about the emotional stakes of these people within their marriages, even again if it’s over the top in its structure, it resonated for me personally within my own relationships.

Read More “Love and Death – Ira Sachs on ‘Married Life’”

Posted in: Actors, Interviews

Steve Coogan: “Can we get away with this?”

I first “discovered” Steve Coogan through his film roles, first in The Wind in the Willows (aka Mr. Toad’s Wild Ride, directed by and starring Monty Python’s Terry Jones) and then taking the lead in Michael Winterbottom’s 24 Hour Party People. It was only later that I finally saw the creation that made him famous in Britain: Alan Partridge, the unctuous, self-absorbed wannabe TV personality flailing in the brilliant parody of a talk-show train wreck Knowing Me, Knowing You with Alan Partridge. (The title refers to the Abba song – but of course – and is pedantically worked into his every guest introduction. Ah-ha!). The series was one of the many he has created, written and starred in for the BBC but only recently finding their way to the U.S., thanks to BBC America and BBC DVD releases. (His latest show, Saxondale, is slated to run on BBC America in late 2008.)

I just want you to like me... and watch my show
Steve Coogan as Alan Partridge: I just want you to like me... and watch my show

I had the opportunity to interview Coogan when he came through Seattle to promote Hamlet 2 (opening August 22) for a small “A Moment With” piece for the Seattle Post-Intelligencer and a “What’s In Your DVD Player?” feature for MSN Entertainment. I wound up with a generous 45 minutes with Coogan, a man very serious when it comes to the business of comedy. That meant that, after carving out those little slices of interview, I still had more than half an hour of enlightening conversation with Coogan about Hamlet 2, his work with Michael Winterbottom and the business of creating shows for British TV. Here it is.

You made two films with Michael Winterbottom, 24 Hour Party People and Tristram Shandy. There had to be a lot of challenges on those two films, where there were so many levels of engagement with the character, and then stepping back and commenting on the portrayals.

With Michael Winterbottom, in those films, there’s a very simple thing I do that I don’t do in other films and other work I do. In other films I do, especially comic films, there’s a lot of control and craft involved in what I’m doing, whereas in those movies with Michael, I trust him enough to, if you like, let go of the controls and see what happens. And I’m never quite sure what I’m doing and that’s quite liberating because I can trust him. So I just sort of forget about almost everything and go with whichever way the wind blows and whichever way he pushes me and just dive in and don’t think about it too much. It’s just an organic, instinctive thing, there’s not much of an intellectual process going on for me in those movies. When I’m talking to the camera, I’m just talking to someone about what’s happening to me. I don’t over think it, I trust him. It’s a very different way of working.

In addition, you write and produce so many of your own projects for television. Do the Winterbottom projects give you a chance to stretch yourself in other ways?

It does. It allows me to because I don’t have the responsibility for what I’m doing, which is quite liberating, as long as you trust the person you’re working with and trusting them to be responsible. It enables me to do things I wouldn’t normally do because it’s a way not, even though I’m proud of working with Michael, it’s not my voice, it’s not my vision, it’s his and I’m just there to facilitate that and to help render that, which is nice, whereas when I’m doing my own stuff it is my point of view, it’s from me.

Read More “Steve Coogan: “Can we get away with this?””