Kevin Smith Discusses Red State at New Beverly Cinema

WRITER’S NOTE: As the opening paragraph indicates, this article was written back in 2011.

On August 19, 2011, Kevin Smith began a one-week run of “Red State” at New Beverly Cinema making it eligible for Academy Awards consideration. Smith also came to just about every showing there to do a Q&A afterwards as he came to love “sitting back and loudly appreciating the movie.” Of course, this led one audience member to confront him at a local Coffee Bean & Tea Leaf and say, “You were yelling ‘genius’ at your own movie?”

Red State” is astonishingly different from any movie Smith has previously helmed including the Bruce Willis starring “Cop Out.” This is largely the result of him and his longtime director of photography Dave Klein, who also shot “Clerks,” making use of the Red One digital camera. Smith said he loved chasing around the set with it, and he remarked how the camera looked like something out of “The Bourne Identity.” Smith, however, was aiming for “Red State” to look more like “Half Nelson” and less like “NYPD Blue,” and he told Klein him he wanted it to look unlike any movie they had made before. To this, Klein said, “Thank God!”

Smith felt he improved as a filmmaker with the Red One, and he figured the company which made them would give him one for free. However, it turned out getting a free camera was as likely as getting anything for free from Apple.

When it came to the actors, Smith saw himself as more of a cheerleader than a director. He made this blunt in saying, “You don’t direct mother fuckers like these! Who am I to tell John Goodman or Melissa Leo about acting?!”

The actor he talked about most was Michael Parks who played Abin Cooper, Pastor of the Five Points Trinity Church, a highly fanatical and conservative church which makes the Westboro Baptist Church look tame by comparison. Smith, like many of us, first saw him as Texas Ranger Earl McGraw in “From Dusk Till Dawn,” and he declared that Parks “owned the first ten minutes” of it. Parks, however, told Smith he didn’t want impersonate Fred Phelps as he described him as being “boring.” Instead, Parks wanted Cooper to be “charismatic,” and his brilliant performance has Phelps only wishing he could be as such.

Speaking of the Phelps family, five of them came to a midnight screening of the movie. Or at least, five of them planned to until Megan Phelps contacted Smith and asked for 15 more tickets. Smith couldn’t resist having a laugh at the inescapable contradiction:

“God may hate fags, but the Lord loves a bargain!”

Megan described “Red State” as being “filthy” even though she kept watching it for ten minutes as a gift to Smith before walking out. She did, however, send him a couple of signs with the sayings “God Hates Fag Enablers” and “Red State Fags” on them. Smith’s wife, Jennifer Schwalbach, ordered him to throw them out, but he pointed out they were signed by all the WBC church members. Their daughter Harley ended up coming across the “Red State Fags” sign by accident. While he and his wife were looking at each other, Harley asked them, “Is this the sequel?”

Kevin Smith said “Red State” exists because of Quentin Tarantino. The Madonna speech at the beginning of “Reservoir Dogs” was such a big thing to him, and it made filmmaking seem all the more fun and possible to do. He sees “Red State” as the “true spiritual sequel” to “Clerks,” and he has had a joyous experience taking it out on the road. It’s very easy to believe to him when he said no one has had a bad experience with a premium ticket they bought for it.

‘Red State’ is the Best and Most Unlikely Film from Kevin Smith

Red State movie poster

Red State” is to Kevin Smith as “Unforgiven” was to Clint Eastwood; a game changer in the way we perceive him as an artist. Any shred of Jay and Silent Bob is completely absent here as he probes the horror of an ultra-fundamentalist church whose fear of God prompts a siege of destruction which tests its members as well as those ordered to bring them down. Nothing Smith has done previously will prepare you for what he comes up with in “Red State.” We know he’s been looking to do something other than “Clerks” or those formulaic comedies he has spent far too long apologizing for. With this one, his creativity and passion for moviemaking are completely reinvigorated.

The movie starts off innocently enough with one of Smith’s favorite subjects: young men talking about sex. Three teens named Travis, Jared, and Billy Ray drive out to a remote area and meet up with a woman named Sarah (Melissa Leo) who has promised to make out with each of them. But after a couple of beers, they pass out and wake up to find themselves prisoners of the Five Points Church, a fundamentalist cult led by God-fearing pastor Abin Cooper (Michael Parks) who seeks to punish those who have morally corrupted America whether they be homosexuals or adulterers among other sinners. But when things get out of hand, as they always do, the church is forced to make a last stand as the police and FBI intervene in a showdown destined to have a bad ending.

The Five Points Church is Smith’s not so subtle representation of that church which is known for protesting funerals of homosexuals and dead soldiers. You probably know the church he’s referring to. For those of you who don’t, you can just figure it out on your own. While we see them for the fascist hate mongers they are, you have to wonder what draws anyone to a church with such unrealistic and obscene views. Some are just looking for an answer, and any answer after a while will do to give their life meaning. Whether or not you believe in the beliefs of the Five Points Church or that church is beside the point; what should concern you is there are people out there who do believe in the ridiculously hateful things they have been taught, and they will do anything to defend those values at any cost.

The leader of that church can only dream of being as charismatic as Abin Cooper. Michael Parks performance is nothing short of brilliant as he makes you believe that people can fall under the spell of a religious pervert. Parks was introduced to a whole new generation of fans when he played Texas Ranger Earl McGraw in “From Dusk till Dawn,” “Kill Bill Vol. 1,” and “Grindhouse.” After watching him in “Red State,” you come out wondering why he is not a bigger star. Parks doesn’t just give us a mere impersonation of some maniac preacher. Instead, he gives us an infinitely charismatic portrayal of a deeply religious man who is as seductive as he is dangerous.

With the actors, Smith just lets them loose to do their own thing, and the results are enthralling. Melissa Leo, who deservedly won an Oscar for her performance in “The Fighter,” gives it her all as Cooper’s daughter Sarah. Her emotional conviction in this role is proof of how far Cooper’s influence as a preacher goes, and Leo remains one of the best actresses working today.

Another big standout is John Goodman who plays ATF Special Agent Keenan. Goodman has always been a great actor, but you get the sense after so many years that most people don’t recognize him as such. His work in “Barton Fink” and “The Big Lebowski” should be more than enough to convince you of his greatness. Anyway, he gives some of the film’s best speeches as his character is forced into a situation which goes against his moral values, but it is a situation he cannot simply override. Goodman inhabits this character perfectly, giving him the emotional turmoil and confusion etched all over his face.

Other great performances come from Kerry Bishé as Sarah’s daughter, Cheyenne, and she is ever so intense in her desperation to save the women and children whom she feels will fall victim to the government’s actions for the wrong reasons. Kevin Pollak provides memorable support as Keenan’s right-hand man, Special Agent Brooks. You also have to give credit to the three young actors playing the teens: Michael Angarano, Kyle Gallner, and Nicholas Braun. The roles they are given appear one-dimensional, but they bring more to the material than what is on the page, and they give you a reason to care about what happens to them.

Smith’s movies in the past have dealt with conversations about pop culture, but there’s none of this in “Red State.” He instead exploits certain movie conventions which have us believing we’ve figured the whole story out, and then he pulls out the rug from under us. The violence is truly shocking as characters meet their fates in a way we don’t see coming. This is not your typical good guys versus bad guys story as everyone here is morally flawed in one way or another. The events of David Koresh’s demise in Waco, Texas hang heavily over the proceedings, and no one looks to come out of this a hero.

This movie could have been a simple look at the damage caused by religious perversion, but there are different levels at work here. We see how the church, the government, and the local police react to the violent situation they are all immersed in. Look closely at the end credits; the cast is divided by religion, police, and politics. It becomes about containment by any means necessary. So, when all is said and done, no one’s coming out of this battle in one piece.

Working with his longtime director of photography Dave Klein, Smith finds a unique look for this movie thanks to the RED digital camera. Both are able to get shots which give the material a visceral feel you wouldn’t expect from the director of “Jersey Girl.” The flexibility they find with this device feels inspirational as it allows them to do things they couldn’t do previously.

Smith still seems determined to retire from making movies, and that’s a shame. “Red State” represents a new chapter in his long career which has me begging him to keep on going. It’s not a horror movie in the usual sense of things jumping out at you to give you an easy scare. Instead, it shows horror we find in everyday life. Who knew he would capture it to such powerful effect? In a time when the voices of independent movies appear to be gasping their last breath, Smith shows himself to be the last man standing and gives us a reason why we can’t let movies like his simply fade away.

* * * * out of * * * *