Category : Uncategorized
Category : Uncategorized
Please note that Our Young, Roving Correspondent will be conducting a live conversation with the writer Marshall Klimasewiski on Thursday, February 28, 2008, at 7:00 PM.
The event will take place at McNally Robinson, located at 52 Prince Street, New York, NY. The event is free, the conversation will also be available later as a podcast, and we will also be taking questions from the audience. Thankfully, we have managed to duct-tape Mr. Segundo to his chair to prevent him from disrupting the discussion. (The idea was kindly provided to us by the gentlemen behind The Signal.)
For more details on this event, go here.
To listen to our previous conversation with Mr. Klimasewiski, go here.
David Bruckner, Jacob Gentry, and Dan Bush are the writer-directors of The Signal. AJ Bowen played exterminator Lewis Denton, Scott Poythress played Clark, and Chad McKnight played Jim Parsons. The film opens on February 22, 2008.
Condition of Mr. Segundo: Resisting the suggestions of broadcast signals.
Subjects Discussed: Setting down the rules for a dystopic horror film, maintaining a dramatic consistency with three different directors, being dependent on actors, thespic accountability, Lewis and Clark, the origins of Terminus, the original city names of Atlanta, mythology and character names, the profile shot of Mya driving, reality vs. illusion, humanism and independent horror films, varying levels of psychosis encouraged within the actors, encouraging pre-existing character conditions, the Jim Parsons character and “nascent colonialism,” how much one should read into The Signal, putting entertainment first, Stephen King’s The Cell, George Romero, ripping off a narrative to kickstart an allegorical horror film, being inundated by media, The Exorcist, horror as the last realm for commentary, Lewis’s resemblance to Ash from Evil Dead, being intimidated by cinematic influences, the use of everyday household goods in a disaster, wardrobe decisions, why everybody in Terminus has the same plasma screen television, the advantages of limitations, the importance of beating up actors who are friends when there isn’t a stunt team, finding the location for Terminal 13, and shooting in a blood-soaked hallway while apartments were being shown.
EXCERPT FROM SHOW:
Correspondent: Were there varying levels of psychosis that were encouraged in the actors here?
Poythress: (uncomfortable laughter)
Correspondent: Maybe they can respond. Were you encouraged to get in touch with your inner id in any particularly innovative or intuitive way? Or did this just come natural? The murder. And strange, also, the decorum of still eating a pretzel at a party while, simultaneously, the whole atmosphere is blood-soaked.
Correspondent: And now you’re eating almost a pretzel. Now a bagel.
Bowen: You know, there was some slight nodding and prodding. But for the most part, it was such a hands on experience that it wasn’t very difficult for me to get angry at Justin Welborn, because of how many times he hit me.
Bowen: But there were moments where — I remember specifically. This is AJ, by the way.
Correspondent: So soft spoken. I’m shocked.
Bowen: Very mellow. Wait till this cup of coffee’s gone. Dan pulled me off to the side in the middle of shooting a very important moment and said, “Hey, that guy’s fucking your wife!” And I was like, “What?” And I guess he was trying to motivate me to get me really excited.
Bowen: And I was like, “Oh, you just want to do more acting. I’ll act more, Dan. You don’t need have to go tell me that my wife’s having an affair.” I don’t think that answers your question!
Eran Kolirin is the writer and director of The Band’s Visit, now playing in theaters.
Condition of Mr. Segundo: Contending with the inflexible language demands of the Academy.
Guest: Eran Kolirin
Subjects Discussed: Using a great deal of static shots, Antonioni, the influence of comic books, creating a cinematic fable, contending with too many extras in a shot, the story behind the film’s most striking long take, working within a fixed frame, how sound conveys the feel of a location more effectively than visuals, the technical aspects of topography, the relationship between political and personal choice, approaching a girl with the pickup line “Do you like Chet Baker?,” ice skating rinks in Israel, police orchestras, the curves of the hats, epaulets, designing the band’s costumes, and the visual use of mirrors and identity crisis.
EXCERPT FROM SHOW:
Correspondent: But I wanted to also ask about the most striking shot, I think. The moment where you have the three figures, of course. You have the ladies’ man essentially suggesting to Papi, who claims that there’s sea in his ears and who is just completely incompetent when it comes to women. And you essentially have over the course of this shot — which never moves, this three minute shot, maybe four minutes — where he’s basically instructing him on what to do. You know, he takes a flask of alcohol out. This is very much something that is essentially stripped down to its basic elements. And I’m curious about this. Was this really the only way to depict this particular area…?
Kolirin: No, you see, a lot of things, they evolve over the course. To begin with, we had the more complex shooting for this scene. I had several shots to break this thing down. And I knew that it was a very important scene in the movie and had to get this scene. But we started shooting it. And we do one take. And we didn’t have a lot of material. We ran out of film stock. And I look at my photographer Shai [Goldman] and he looks at me. And we say, “Let’s be sure to have this one shot work.” Because we don’t have the time, not the money, to have the other shots. So we have this. And this shot should work. So let’s now concentrate on only this shot. So we kick out all the rest of the alternative shots. We stay with that shot. You know, it’s also one of those things that you know when you shoot them, you have to make it one take. Because otherwise you’ll cut it along the way.