‘Once Upon a Time in… Hollywood’ – A Quentin Tarantino Fairy Tale

Once Upon a Time in Hollywood movie poster

Quentin Tarantino once said he did not have an “Age of Innocence” in him like Martin Scorsese did, but after watching his 9th film “Once Upon a Time in… Hollywood,” I think he may be mistaken. Yes, it does have an R-rating like and features some truly brutal moments of violence where faces are literally pounded in, but this is largely a loving tribute to the Hollywood of the 1960’s and of the actors and filmmakers which inhabited it. Considering Tarantino’s attention to detail and his fetish for any kind of artifact from this era, I have no doubt he would have loved to have been a filmmaker back then if he could.

Tarantino and his longtime cinematographer Robert Richardson transport us back to the Hollywood of 1969 where we meet Rick Dalton (Leonardo DiCaprio), an actor and former star of a “Wanted Dead or Alive”-like television series called “Bounty Law.” After having a conversation with his agent Marvin Schwarzs (Al Pacino, more restrained than usual), he comes to see how washed up his career has become as he is reduced to doing guest spots as the villain on various television shows. The only person he can talk to about his troubles is his best friend and stunt double Cliff Booth (Brad Pitt) who is always around to have a drink with and drive him around town as Rick has had one DUI too many.

“Once Upon a Time in… Hollywood” is kind of like a Robert Altman film in that it doesn’t have a straightforward plot. Instead, it acts as a day in the life story as we watch Rick Dalton try to move on with his acting career as an important decision hangs over him, whether or not to move to Italy where he can star in low budget spaghetti westerns. When the story isn’t focused on him, it focuses on Cliff who seems content to live in a trailer out in Van Nuys with his dog who is a bit annoyed at him for serving him the kind of dog food which slides out of its steel can as if it were pure slime.

The only thing Rick seems fairly excited about these days is the fact Roman Polanski and Sharon Tate now live next door to him in the Hollywood Hills. But looming in the background is Charlie Manson and his cult of followers who look at first to be harmless hippies, but they later reveal themselves to be devoted to him in a most unhealthy way. Those of us who are familiar with history, and who have a deep respect for historical facts, know Sharon Tate and others were murdered by Manson’s followers, and that this shocking act all but ended the era of love and peace irreparably. But as I watched this film, I began to wonder if Tarantino would stay true to history, or if he would play around with it as he did in “Inglourious Basterds.” Whatever the case, the presence of Manson and his cult cast an ominous shadow over the proceedings, so we know the end of this story will not be the least bit pretty.

Watching “Once Upon a Time in Hollywood” reminded me of how much I love it when a filmmaker sucks us right into another time and place to where we don’t doubt the accuracy and attention to detail. Cameron Crowe did this with “Almost Famous,” Paul Thomas Anderson did wonders with the 70’s and 80’s in “Boogie Nights,” and Tarantino does the same as he brings us right back to 1969 with wonderful abandon. All the famous landmarks of Hollywood are here including the Cinerama Dome, Musso & Frank Grill, El Coyote Restaurant and the classic movie theaters located in Westwood. New Beverly Cinema can be seen from a distance as it is shown having a premiere for an adult film, and this was back when it was a porno theater.

This attention to detail also includes the kind of beer these characters drank, the type of books they read, television antennas and cars. This was back in a time when people smoked an endless number of cigarettes, drove and sat in cars without having to wear seatbelts, and when love and peace was in the air even as wars were being waged overseas.

It is great fun to see DiCaprio in this kind of role after seeing him be so serious in “The Revenant,” a movie which earned him the Oscar he should have received for “The Wolf of Wall Street.” He’s a gas here as he makes Rick Dalton into a study of desperation as he struggles to maintain what’s left of his image and berate himself while alone in his trailer. The scene he has with a child actress played by the wonderful Julia Butters is a special highlight as she shows him the kind of innocence and love of acting he once had before life, alcohol and a corrupted world view clouded his perception.

As I have said in the past, I love it when Pitt gets down and dirty in a role, and he does just this as Cliff Booth. In addition to being Rick’s stunt double, he is also a Vietnam veteran, and the violence he inflicts on others who wrong him can be described at the very least as punishing. Pitt also proves to be as funny as DiCaprio from scene to scene, and he has a classic scene opposite Mike Moh who is pitch perfect as Bruce Lee in which I saw something I never thought I would see or believe, someone getting the best of Bruce Lee.

But one performance I really need to single out here is Margot Robbie’s as Sharon Tate. While at the Cannes Film Festival, someone asked Tarantino why he didn’t give Robbie the same amount of dialogue he gave DiCaprio and Pitt. I don’t remember who asked this question, but whoever it was, they completely missed the point. It’s not always dialogue which aids a performance. Sometimes it’s just a look or an attitude, and Robbie gives off a look or two which is more than enough to capture the essence of Sharon Tate as well as her beguiling innocence.

Tate has long been relegated to history as one of the Manson family’s murder victims, but she deserves to be known for much more. As Robbie sits in a Westwood movie theater watching a movie Tate co-starred in, we are reminded of a talent which was taken away from this world far too soon, and it makes me want to check out everything Tate ever appeared in. Robie does a fantastic job of reminding us how fun it is to see ourselves, let alone our name, on the silver screen as others look on, unaware of who is sitting next to them in the audience, and she is as radiant as Tate was in her far too brief lifetime.

There are so many familiar actors worth singling out here, but some of them you may not see coming and I am not about to spoil any surprises this film has to offer. I will say it’s always a delight to see Kurt Russell in anything and everything, and he is great as a stunt coordinator who is not quick to warm up to Cliff. Margaret Qualley is a memorable presence as Pussycat, a member of the Manson family who does warm up to Cliff. Bruce Dern, in a role originally meant for the late Burt Reynolds, is fun to watch as George Spahn, a man whose ranch was used for many westerns and which later got used by Charlie Manson and his demented followers. And it is quite bittersweet to see the late Luke Perry as it is the last feature film he will ever appear in.

Seriously, as rough and tumble as “Once Upon a Time in Hollywood” gets, it really is a love letter to a Hollywood which time will never forget. As Tarantino nears the end of his long filmmaking career (or so he says), he continues to give us one enthralling motion picture experience after another. Even if his works threaten to be undone by self-indulgence, I am glad people are thoughtful enough to give him the freedom to make what he wants to make. If Tarantino ever had it in him to give us a fairy tale, this would be it. Even as its main characters threaten to be forever swallowed up by bitterness and cynicism, there is a light of innocence which helps lead them to the next stage in their lives. And if this film is any indication, this is time in Hollywood which Tarantino wishes lasted longer than it did.

Now, as with any Tarantino film, I have to go out and buy the soundtrack and then watch it again. And one other thing, I almost didn’t recognize Timothy Olyphant. Did you? Oh yeah, and sauerkraut will never be the same.

* * * * out of * * * *

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‘Django Unchained’ – Tarantino’s Down and Dirty Western

Django Unchained movie poster

WRITER’S NOTE: This review was originally written in 2012.

Every time Quentin Tarantino releases a new movie, a celebration should be in order. The man loves movies like many filmmakers do, but he always succeeds in manipulating genre conventions to where he can freely make them his own, and this makes his works all the more thrilling. There’s also no beating his dialogue which exhilarates us in the same way a play by David Mamet can, and words in a Tarantino movie usually prove to be every bit as exciting as the action scenes. His latest movie “Django Unchained” is no exception, but it does suffer from some of his excesses which have taken away (if only slightly) from the films he has given us in the past. But if you can get past its flaws, you are still in for a very entertaining time.

Jamie Foxx stars as the Django of the movie’s title, and it takes place in the year 1858 which was just two years before the start of the Civil War. Django is being led through the freezing cold wilderness along with other slaves when he is freed by Dr. King Schultz (Christoph Waltz), a dentist who has since become a bounty hunter. King needs Django’s help in finding the Brittle brothers, ruthless killers who have a sizable price on their heads. In return for Django’s help, King promises him he will help rescue his wife Broomhilda (Kerry Washington) from slavery. She is currently in the hands of the charismatic but viciously brutal plantation owner Calvin Candie (Leonardo DiCaprio), and you know this will lead to a conclusion which will be anything but peaceful.

Tarantino always loves to mix genres, and he does this brilliantly with “Django Unchained.” On the surface it is clearly a western, but the “Pulp Fiction” auteur also combines it with the Blaxploitation genre which we all know is one of his favorites. Heck, we even get to meet the ancestors of John Shaft, the black private detective made famous by Richard Roundtree in the movie “Shaft.” Just as he did with “Inglourious Basterds,” Tarantino gleefully throws caution to the wind as he subverts both genres to create an exhilarating motion picture experience few other people can give us. He’s not out to make a historically accurate movie, but we’re having too much fun to really care.

Now many people including Spike Lee have complained about Tarantino’s overuse of the n- word in this movie as they have of other films he’s made in the past. In their eyes it’s like they’re saying Tarantino revels in the racist behavior of his characters, but I don’t think that’s even remotely true. All the insanely racist characters in “Django Unchained” end up getting their asses handed to them in the most painful way possible, and while Tarantino’s love of black culture might differ a little from others, the love is there all the same.

And again, Tarantino gives us a terrific soundtrack filled with many songs which are not from the time period this movie takes place in. I love how he complements scenes of Jamie Foxx and Christoph Waltz riding on their horses with songs by James Brown, John Legend and Brother Dege (AKA Dege Legg) among others. He also includes pieces of film scores by Ennio Morricone and Jerry Goldsmith for good measure, and there are even original songs to be found here as well, something exceedingly rare for a Tarantino movie.

Having said all this, the length of “Django Unchained” did drive me up the wall a bit. At a time where filmmakers push the limit and have their movies run longer than two hours, Tarantino proves to be one of 2012’s biggest sinners as this one clocks in at almost three hours and threatens to have as many endings as “The Lord of the Rings: The Return of the King.” Suffice to say, this movie could have been shorter. Perhaps it’s the absence of his longtime editor, the late Sally Menke, who was always good at reigning Tarantino in. Fred Raskin, who has edited the last three “Fast & Furious” movies, was the editor on this one.

Still, there is a lot to appreciate and enjoy about “Django Unchained,” especially the acting. Jamie Foxx has proven to be a terrific actor ever since he held his own opposite Al Pacino in Oliver Stone’s “Any Given Sunday,” and his talent doesn’t waiver in the slightest here. As Django, he gives us a western hero who has earned the right to seek vengeance for what has been done to him, and he is thrilling to watch as he makes this character a shockingly bad ass bounty hunter by the movie’s conclusion.

Christoph Waltz brings a wonderful mirth and a unique liveliness to the exceedingly violent characters he plays, and his role as dentist turned bounty hunter Dr. King Schultz is further proof. It’s fun to see him be so charming to others only to watch him blow them away when the occasion calls for him to do so. Waltz more than earned the Oscar he received for his brilliant performance in “Inglourious Basterds,” and his work in “Django Unchained” proves he is a gifted actor who is here to stay.

Leonardo DiCaprio clearly relishes the opportunity to shed his heartthrob persona to play the charming yet undeniably evil plantation owner Calvin Candie. In a year which has had a large number of unforgettable villains, Calvin is one of the most vicious as his power and wealth has turned him into a raving sociopath who has little hope of finding redemption in his lifetime. DiCaprio is enthralling to watch as he taunts everyone around him with a twisted glee, and he looks to be having loads of fun in playing a character few others would have chosen him to play.

One standout performance which really needs to be acknowledged, however, comes from Samuel L. Jackson, an actor who has played parts both big and small in Tarantino’s movies. Jackson plays Calvin’s head slave Stephen who is the Uncle Tom of “Django Unchained,” and he makes you want to hate his racist, backstabbing character with a passion. Jackson gives a spirited performance as a man who freely betrays the principles he should be standing up for in order to benefit his own desires and keep himself safe in a time where he is anything but.

Kudos also goes to Kerry Washington who plays Django’s kidnapped wife, Broomhilda. Her character suffers many indignities, and Washington makes her pain and fear so vivid to where she leaves you on edge every time she appears onscreen. The moments where she has no dialogue are among her most powerful as her eyes threaten to give away the secrets she is desperate to keep hidden.

Seriously, this movie is filled with actors we know very well, and they keep popping up here when you least expect them to. You have Don Johnson playing plantation owner Spencer ‘Big Daddy’ Bennett, you have Jonah Hill as Randy, a bone-headed KKK member who can’t seem to fix his hood properly, you have Walton Goggins playing an unapologetically vicious cowboy who enjoys the torture he inflicts upon others, and you have Dennis Christopher as the flamboyant Leonide Moguy. If you watch real closely you can also see Zoë Bell, Robert Carradine, Franco Nero, M. C. Gainey, Bruce Dern, Tom Savini, Michael Parks and John Jarratt pop up in roles which would seem small if they were played by anybody else. It’s all proof of how there are no small roles in a Tarantino movie, and all these people are clearly thrilled to be in his company.

Tarantino also has a small role as a mining company employee. While I have no problem defending him as an actor in some movies, his Australian accent could use a bit of work, and that’s being generous.

I’m not sure where I would rate “Django Unchained” in comparison to Tarantino’s other films, but I have to say I enjoyed “Inglourious Basterds” more. This movie’s nearly three-hour length took away from my overall experience, but I can only complain about it so much. When it comes to movies, Tarantino still provides audiences with the kind of enthralling entertainment which never plays it safe.

While it’s far from perfect, “Django Unchained” is a thrillingly alive movie filled with great acting, terrific dialogue and incredibly bloody gunfights Sam Peckinpah would have gotten a kick out of. If you can withstand its excesses and know what you are in for when it comes to a Tarantino movie, you are still bound to have a great time watching it.

* * * ½ out of * * * *

 

‘Chappaquiddick’ Revisits a Tragedy No Kennedy Can Escape

Chappaquiddick movie poster

“They eat their wounded upstairs.”

Lieutenant Al Giardello tells Detective Frank Pembleton this on an episode of “Homicide: Life on the Street” to describe the politicians who have invited Pembleton to help them out on a delicate matter involving a congressman. So eager he is to impress his bosses, Pembleton suggests letting a police report get buried, covered up, and the Deputy Commissioner orders him to do so. But when this matter is made public to where a scandal erupts in the news, the Commissioner denies his own involvement and lets Pembleton take the fall. Pembleton has become one of the wounded as the higher ups in the department hang him out to dry, and we see what politicians will do to keep their political currency protected at all costs.

I kept thinking about this exchange while watching “Chappaquiddick” which takes us back to the year 1969 when Senator Ted Kennedy was involved in a car accident. While attempting to cross the Dike Bridge on Chappaquiddick Island in Massachusetts, his car went off the side and plunged into the water. Ted was able to free himself, but his passenger, Mary Jo Kopechne, remained trapped inside and eventually drowned. Ted failed to report this incident to the police until 10 hours after it happened, and we watch as his closest advisers look for ways to spin the story to their advantage as the scandal threatens to derail Ted’s political career and forever tarnish the image of the Kennedy family.

The car accident is presented in bits and pieces throughout because, as anyone who has been in an accident can tell you, no one remembers everything in a linear fashion. After the initial accident, the story jumps ahead to a soggy Ted Kennedy walking slowly back to the house where he, his advisers and secretaries were having a party. When his close friend Joe Gargan sees him shivering in the back of a car, Ted simply says, “I’m not going to be President.” From there, everyone goes into damage control mode as they try to get a hold of the narrative and manipulate it to where Ted will come out of this accident in one piece. But there is still a dead body in the center of this tragedy, and some in the inner circle are not about to let this fact go away.

It’s fascinating to watch the political spin machine at work in “Chappaquiddick” as this kind of press manipulation is a regular thing these days, but even back in 1969 the truth was not so easy to bend as the truth still found a way to the surface. Still, we feel the pressure of the press as Ted and company scramble to come up with an answer which will exonerate the Senator in the eyes of his constituents and America at large. There are scenes where his advisers come up with ridiculous scenarios to explain Ted’s actions, like getting a physician to explain how Ted suffered a concussion in the accident even though he isn’t given a chance to examine the senator. Then there’s the story about how Ted was put on sedatives because of his concussion, but a reporter points out how taking sedatives in this condition could easily kill him. And let’s not forget the neck brace fiasco which Ted didn’t even bother rehearsing. There was no Facebook or social media back then, but there was still enough attention paid to where Ted could not walk away from this tragedy unscathed.

At the center of “Chappaquiddick” is Jason Clarke who portrays Ted Kennedy. Many actors could have easily fallen victim to simply playing the late senator as the icon we all see him as and saddle themselves with an accent which makes them sound like Mayor Quimby from “The Simpsons.” Clarke never falls into any of those traps and instead makes Ted as human as anybody else, full of flaws and passions which at times get the best of him. It’s a wonderfully complex performance as Clarke shows how Ted worked to control how the news of this tragedy coming out while wrestling with a conscience that will not let him escape the guilt he feels. Just watch Clarke as he phones Mary’s parents to inform them of her death. It’s a heartbreaking moment, and not an easy one to pull off.

Special mention goes to Kate Mara who plays Mary Jo Kopechne. It’s a small role, but Mara makes the most of her time onscreen as she forces us to see Mary as much more than a mere historical footnote. We learn Mary was a devoted supporter of Bobby Kennedy and his values, and she desperately wants to believe Ted can deliver on the same promises Bobby made before he was killed. This makes her final onscreen moments where Kate is desperately keeping her head above water as she hopes for a miracle which never comes. Whether or not you knew of Mary Jo’s existence before this movie, Mara’s performance ensures we never forget her once we leave the theater.

Indeed, the entire cast of “Chappaquiddick” is well chosen as each actor inhabits their role with a lot of passion and energy which makes this more than the average biopic. Ed Helms and Jim Gaffigan get to break free of their comic roles here as Joe Gargan and Paul Markham, two of Ted Kennedy’s closest advisers who are desperate for him to get his story straight before he does even more damage to his image. Helms is especially worth singling out here as he makes Joe the conscience Ted desperately needs to pay attention to, and whether or not Ted does is not worth revealing here as you have to look into Helms’ eyes to see what the answer is.

One truly brilliant performance worth singling out here comes from Bruce Dern who gives an almost wordless performance as Joe Kennedy, the patriarch of this famous family. When we meet Joe, he has long since become hobbled by a stroke and aphasia, and this makes Dern’s work all the more challenging as he has to express things to the audience without the use of words. The final scene he has with Clarke is brutal as the frustrations and disappointments these two have with one another come to their breaking point.

It’s great to see Clancy Brown here as the no-nonsense Secretary of Defense Robert McNamara as he cuts through the bull to make sure the narrative runs as smoothly as possible for the incumbent senator. From the first moment he appears onscreen, the “Highlander” actor shows the audience he means business as McNamara moves quickly into damage control mode and freaks when the most thoughtless of mistakes are made by subordinates.

Olivia Thirlby also shows up here as Rachel Schiff, another loyal Kennedy secretary and close friend to Mary. It’s fascinating to watch Thirlby here as she takes Rachel from being totally devastated upon learning of her friend’s death to racing into damage control mode. Whatever you may think of her actions, Thirlby shows how devoted she is to the Kennedy family as she feels the country cannot suffer over one person’s mistake.

Also worth mentioning is Vince Tycer, a noted theater director in Connecticut, who plays David Burke, an individual known as a aide to powerful men. It’s fascinating to watch Tycer in “Chappaquiddick” as he hovers in the shadows next to Ted Kennedy and looks ready to defend the senator’s honor in any possible way. This is another character who could have been played in too broad a fashion, but Tycer plays David in a thoughtfully subtle way as this is a character who is more than willing to set aside his own thoughts and desires for something he considers to be the greater good.

“Chappaquiddick” was directed by John Curran who previously helmed such movies as “The Painted Veil” and “Tracks,” and he wrote the screenplay for Michael Winterbottom’s highly controversial “The Killer Inside Me.” Curran gives this film an underplayed feel as he wants us to see these characters not as historical figures forever defined by their public images, but as people like you and me. The more we see ourselves in these characters’ shoes, the more we get sucked into the story to where this becomes more than your average biopic or just another movie which is (sigh) “based on a true story.”

The only real problem I had with this movie was it felt a little too underdone to where an infusion of energy could have come in handy. I kind of wish Curran had livened up the proceedings at times, especially when it came to watching the walls close in on Ted. There is passion on display here, but that passion could have been stronger in retrospect.

Regardless, “Chappaquiddick” proves to be a fascinating look into the broad scope of political power and at the life of a man born into privilege who uses it to escape a harsh punishment with his career mostly intact. Ted did go on to become the “Lion of the Senate” as he fought long and hard for social justice and universal health care, but I left this movie wondering if his actions were taken to atone for his part in Mary Jo’s death. In the eyes of many Americans, he earned his forgiveness, but a closeup of Clarke’s eyes in this movie’s final moments suggests Ted never fully forgave himself. Did he truly earn a redemption in the years following this accident? We may never truly know, and this makes “Chappaquiddick” especially haunting.

* * * ½ out of * * * *

Exclusive Interview with Matt Shakman on ‘Cut Bank’

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Matt Shakman has had quite the journey through show business so far. He started off as a child actor doing commercials, and he played the role of Graham “J.R.” Lubbock, Jr. in “Just the Ten of Us,” a spin-off of “Growing Pains.” From there he went to Yale University where he studied theater, and while there he directed several plays. Upon arriving in Los Angeles, he founded the Black Dahlia Theatre which American Theatre Magazine later called one of “a dozen young American companies you need to know.” Eventually, this led to him directing television for such shows as “It’s Always Sunny in Philadelphia,” “Mad Men” and “Fargo.” Now, he makes his feature film directorial debut with the thriller “Cut Bank,” a film noir along the lines of “Blood Simple.”

Cut Bank” stars Liam Hemsworth as Dwayne McLaren, a former high school football star who is desperate to escape his hometown of Cut Bank, Montana. Then one day, while filming a video for his girlfriend, he witnesses the town’s mailman Georgie Wits (Bruce Dern) being shot to death. From there a scheme is uncovered where some people look to get rich very quickly, but it all comes to spiral out of control in horrendous ways. The movie also stars John Malkovich, Billy Bob Thornton and Michael Stuhlbarg.

I got to speak with Shakman over the phone about “Cut Bank,” and he discussed what it was like working with actors like Malkovich, Thornton and Stuhlbarg, how he managed to shoot the movie on 35mm film, and he spoke of how he went from being a child actor to a theater and television director and now a film director.

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Ben Kenber: I read you approached this movie as a play more than anything else.

Matt Shakman: Yeah, I tried to cast actors who I’ve always admired and put together kind of like a rep company. In a way, I could imagine doing the movie again and everybody switching parts. They’re all so great and talented and versatile. So yeah, I definitely considered it like I was casting a play.

BK: Of all the actors you cast in this movie, John Malkovich was the first one you went to. What made you start with him?

MS: I’ve been a fan of John Malkovich onstage and onscreen, and he’s a personal hero of mine because he founded Steppenwolf. I’m a theater guy and I founded a small theater in Los Angeles, and I look up to Steppenwolf and the guys who started that. I just thought, here’s a guy who is from Southern Illinois who sort of felt like he knew this world, and yet we haven’t seen him play this small-town guy in a really long time maybe since “Places in the Heart,” and he’s brilliant in that movie. He’s come around to do great but larger than life characters in so many films. So we reached out to him and he really responded to it and he had personal experience with the town of Cut Bank. He actually worked there one summer putting himself through college. He worked on the trail crew at Glacier National Park and knew the town of Cut Bank very well, so he had a strong personal connection to it. He did a beautiful job playing a guy who really feels sort of overwhelmed by his own decency which feels really believable in that small-town world.

BK: Watching “Cut Bank” brings to mind other movies like “Blood Simple” or “Before the Devil Knows Your Dead.” When it came to making this movie, were there any clichés or cinematic tropes you were looking to avoid?

MS: You mentioned some films that I love, “Blood Simple” being one in particular. I think that blend of dark comedy and thriller stakes is something to aspire to, and we tried to do our best in that same kind of world. Also “The Last Picture Show;” the idea of the small town and the guy who wants to get out of it, that’s always been a big inspiration for me. A lot of 70’s crime thrillers were inspirations as well. We went and shot 2 perf, 35mm to give it an extra grainy look so we could evoke some of the Sergio Leone films of the 70’s as well. So, those were just some of the inspirations.

BK: I love that you got to film this movie in 35mm. Was it hard to get the opportunity to shoot in that format?

MS: Definitely. We had to make a lot of sacrifices to be able to pay for it. The cost of doing film had gone up so much because the labs were shutting down everywhere, and you couldn’t get the same deals that you would get before. Kodak was really cutting the price on film to try and keep people shooting film, but we were just on the other side of that curve where they realized uh-oh, nobody’s shooting film anymore so we need to get whatever we can get out of the people who will be using our stock. I love it. I wish I could always shoot on film. It’s really just a much better way to do it.

BK: That’s what I have been hearing from a lot of filmmakers. There are still a lot of things you can capture on film you can’t on digital film.

MS: Yeah, there’s a mystery to film that I think is important, and we were shooting a lot of days here where film has a real advantage. The argument can be made that when you should at night, having something like an Alexa can bring certain advantages in terms of less light needed and more range. But I still think that nothing really touches film.

BK: Among the performances in “Cut Bank,” one which stands out in particular is Michael Stuhlbarg’s as Derby Milton. He had the lead role in the Coen Brothers’ “A Serious Man,” but he’s almost completely unrecognizable here. How did you go about directing him?

MS: Michael’s a genius and a total chameleon, and I’ve been a fan of his ever since I saw him in “The Pillowman” (a play by Martin McDonough) on Broadway. He stole the show there and I think he’s been stealing every show everywhere he does ever since, so I was so thrilled when he agreed to come on board and be a part of “Cut Bank.” I sent him a bunch of references and pictures I had, one of which was a Chuck Close painting, which we both really liked a lot. He sent me a few references as well which inspired him, and we built this guy together through lots of phone conversations and exchanging images. Eventually we came up with what Derby looks like now which involved all sorts of trickery from wigs and fake teeth and contact lenses and coke bottle glasses and fingernails and all that. But he’s a great actor and he’s very thoughtful. He’s very smart and he goes deep into the character, and I thought he did a beautiful job.

BK: Yes, this is a character that could have easily been turned into a stereotype, but Stuhlbarg gives Derby a uniqueness I don’t seen many other actors giving the character.

MS: Definitely. Derby is a really fascinating guy even though he is the antagonist of the film. He’s probably the most reasonable person in the movie and what he ends up doing and the body count that follows him really is unnecessary if people were as reasonable to him as he is to them.

BK: It’s great how you made the town look vast, but at the same time anybody who has lived in a small town like Cut Bank can definitely relate to it feeling like a prison and wanting to break free of it.

MS: Exactly. That kind of modern western feeling of being trapped in this little frontier town with the gates of the port closed, and the idea that anything beyond those gates is terrifying is best to be ignored is what the town has to confront. By the end they are able to turn around and head into an uncertain future, but the whole experience of the film is opening up that town.

BK: What were the biggest challenges of making “Cut Bank?” It takes place in what is said to be one of the coldest places in America, but you actually filmed it in a time of year when it was exceedingly warm.

MS: We shot in Canada and Alberta and in the town of Edmonton, and that’s very close to Calgary where I shot “Fargo.” I’ve been there when it was the coldest part of the year at minus 40, and I’ve been there when it was the hottest day on record, so I’ve seen the full cycle from super cold to super-hot and it has its challenges. Certainly, there are some scenes in the movie, especially in the junkyard trailer where Bruce Dern is, where we were shooting in the middle of really, really hot summer days in a metal tin can covered in black fabric to make it look like it was nighttime. Everybody was sweating. It was pouring off of them. It was miserable and I felt terrible, and you can still see in a couple of shots in the movie how red everybody’s face is when they are in that junkyard trailer. So it did have its challenges like no air-conditioning, and you just kind of roll up your sleeves and do the best you can despite the elements. You’ve got to do what you’ve got to do.

BK: I got a kick out of Bruce Dern’s character here. He’s been around for a long time, but his career has gone up another notch thanks to his work in “Nebraska.” What did Bruce bring to this movie that wasn’t in the script?

MS: He’s a live wire (laughs). I loved Bruce Dern. He’s incredibly alive as a performer. He describes what he’s doing as dancing in a way, and I think he absolutely is truly that, a dancer. He’s playing with it almost like jazz as he goes and that’s wonderful. He’s never going to do the same thing twice. He does throw in some bits of improv as he goes, and a lot of wonderful things ended up in the film that were all of his own devising. He’s a bit of a mercurial, charismatic guy and he has the best stories in the world. He remembers everything that has ever happened in an illustrious way, and it’s incredible to hear. He tells stories about everyone from Hitchcock to Spielberg, etc. He’s in one of my favorites also from the 70’s with “The King of Marvin Gardens.” It’s a pleasure to get to work with somebody who’s a legend like that.

BK: Billy Bob Thornton also stars in the movie, and he’s played a lot of unforgettable small-town characters. What would you say he brought to this movie that wasn’t in the script?

MS: He really does understand this world. He’s from a small southern town which is such a different thing from the prairie town in the film, but it has the same kind of heartbeat. Billy Bob, like Malkovich, is just one of my heroes. He’s a great writer and a great director and a great actor, and I had the pleasure of working with him on “Fargo” as well. He’s just an incredibly good person and very smart, and whenever he had notes we would talk about the script and you knew you were getting notes from an Oscar-winning screenwriter. He always had tremendous things to say and just made everything better.

BK: There is a scene between Liam Hemsworth and Oliver Platt where Liam looks at Oliver and realizes that this is the person he will become like if he throws all his moral values to the wind. Would you say that’s the case?

MS: Yeah, he’s very interested to know what’s the big city is like, and here in the person of Oliver Platt is the big city. I love Oliver Platt. He’s great and he brings this incredible urbanity and charm and intelligence to it. But yeah, he represents the big outside world in all the positives and all the negatives.

BK: James Newton Howard scored this film. How did you manage to get him on board?

MS: Through his generosity. He does these just giant movies like “The Hunger Games” and “Maleficent,” and then “Nightcrawler” which is a smaller movie but certainly a big profile film. Getting him to come and do our tiny little film was entirely because he is just a lovely, generous person. I reached out to him, we had a mutual friend in common, and sent him the script and made my pitch about what the film would be about, and he really liked it and wanted to come on board. He devoted tons of time and energy to it, as much energy as he puts into his other big films, and he really cared and did a lovely job.

BK: “Cut Bank” is being distributed by A24 Films which has become a great company for independent films to get behind. What did A24 bring to this project that other distribution companies might not have brought to it?

MS: God bless A24. Their taste is great and eclectic. They are picking up movies that are very different from each other, but are all really worthy. I was so thrilled when they wanted to release “Cut Bank.” They’re a great group of people who really care. They are very supportive of the movie. They have devoted a lot of energy and great taste to their marketing and ad campaign with the artwork they are doing. They have left no small detail unnoticed. They are really on the ball and I’m really thrilled to be a part of a company that has released everything from “Under the Skin,” “The Spectacular Now,” “Spring Breakers” and “A Most Violent Year.” It’s a really great roster of movies and I’m thrilled to be a part of it.

BK: How much time did you have to shoot “Cut Bank” in?

MS: 27 days for “Cut Bank,” which is fast for a movie that is 93 minutes long, so we were jamming and going quickly. I thought this would be a little more luxurious compared to my TV days as TV is famous for being quick, and I was wrong. Doing an independent film is actually faster than doing TV. We were out there shooting outside of Edmonton and small towns. We were building our entire world from the ground up and going into practical locations which added extra challenges, so time was not a commodity we had a lot of. We had to hustle and go as fast as we could to try and get it all done in time. There was a lot of different locations, there was a lot of night work, and we were shooting at the time of year when the night is the shortest. We only had about four hours of darkness every night so we had to be really careful about how we structured everything, and we ended up shooting all night long in order to have the time to shoot all the night stuff.

BK: Does working that fast help you creatively?

MS: It can. Necessity is the mother of invention. It’s true that when you’re forced to compromise, you sometimes end up with a solution which is better than what you were trying to accomplish to begin with. Everybody bonds together and tries to get everything done. You’ve got a short amount of time so everybody knows it’s game time, and that brings out the best in everybody.

BK: You started out as a child actor. How would you say you evolved from being a child actor to a director?

MS: It was definitely part of my life when I was young, and I had some experience being on the other side of the camera and understood about hitting marks and what the actor’s process was like. But then I left that behind and went off to school and had a normal experience in college and did a lot of theater and found my way to theater directing. My path was more direct from theater to directing plays to directing television and to directing film than really from the acting experience, but I’m really grateful to have had that background and the experience of being an actor because it helps. When speaking to actors, I understand what they are going through and what their process is like.

I want to thank Matt Shakman for taking the time to talk with me about “Cut Bank” and his career. “Cut Bank” is now available to own and rent on DVD, Blu-ray and Digital.

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