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.

‘Jay and Silent Bob Reboot’ – The Duo is Back for Some High Times

Jay and Silent Bob Reboot poster

2001’s “Jay and Silent Bob Strike Back” was supposed to be the last installment of the View Askewniverse, but time has shown you cannot keep two stoners from New Jersey down. The duo would return in “Clerks II,” and now 13 years later following some serious drug problems and a near fatal heart attack, Jason Mewes and Kevin Smith have come back to play their iconic characters in “Jay and Silent Bob Reboot” which has the two up to the same shenanigans while finding new meaning in their lives. Like the average Kevin Smith film, it is imperfect but still a lot of fun. And unlike “Yoga Hosers,” you do not have to be stoned to enjoy it.

When “Reboot” begins, Jay and Silent Bob have been busted by the police for running an illegal marijuana operation in the old RST video store next to the Quick Stop. In court, they are represented by Brandon (Justin Long) who gets them acquitted upon convincing the judge (Craig Robinson) that the duo’s store was a temporary pop-up store designed to promote an upcoming movie. The case against them is dismissed which is a relief for them and me as I was not in the mood to watch a court movie. Things, however, take a sharp left turn when the same lawyer quickly switches sides and defends a representative of Saban Films which has optioned the comic book series “Bluntman and Chronic.” It turns out the two, when they were signing documents the lawyer said were necessary for representation purposes, inadvertently signed away their naming rights to Saban, and now they can no longer self-identify as Jay and Silent Bob ever again.

After meeting with Brodie Bruce (Jason Lee), Jay and Silent Bob discover Saban is planning a big budget reboot entitled “Bluntman v Chronic” which is being directed by… Well, you’ll see. Once again, our intrepid duo heads out to Hollywood in an effort to stop production in this reboot and reclaim their identities in the process.

Yes, the plot of “Reboot” is the same as “Strikes Back,” and even Smith has stated this new movie is “literally the same fucking movie all over again.” However, to dismiss this latest View Askew production as a lazy retread would be to miss the point. Smith is out to make fun of sequels, remakes and reboots, and he is not lost on the irony that “Reboot” is essentially all three of those things. What results is one of the most meta movies I have seen in some time as he threatens to be cleverer than he is, but it also results in a motion picture which kept me guessing as to what would happen next. Not all the jokes hit, but the ones which do had me laughing uncontrollably, and this includes one such moment which made me as light-headed as the “frosted” scene from “Zack and Miri Make a Porno.”

As you can expect, there are a myriad of cameos to be found throughout “Reboot” as well as a ton of easter eggs. One key cameo comes early when Shannon Elizabeth returns as Justice (a.k.a. Boo Boo Kitty Fuck), Jay’s love interest from “Strike Back.” It turns out Jay did get an answer to his question of “will you fuck me when you get out” as Justice introduces him to their love child, Millennium “Milly” Faulken (Harley Quinn Smith). But because Jay and Justice have been estranged for years to where she has lied to Milly about his whereabouts, she encourages Jay not to reveal to Milly he is her father because, well, you know. Still, Milly finds a way to join him and Silent Bob on their journey to Hollywood.

The moment where Jay discovers he is a dad is what makes this particular View Askew movie stand out as he is forced to confront a new responsibility no one is easily prepared for. It also allows for Jason Mewes to show a vulnerability here we have not seen from previously, and this makes for an especially heartfelt story. In real life, Mewes has become a dad himself, and this among other things is what has kept him from an early death. Seriously, there is real emotion to be found here in “Reboot” even for those who are not Kevin Smith fans in the slightest.

As for the other cameos, not all of them have been spoiled by the trailer, so I will go over the ones you already know about. Chris Hemsworth, in a movie filled with priceless “Thor” puns, plays himself and reminds us of his inspired comic performance in the “Ghostbusters” reboot. Ralph Garman of “The Ralph Report” can rest assured that his cameo as Ted Underhill lasts a lot longer than 17 seconds, but it could have lasted even longer so we too could get his character’s credit card number. Matt Damon’s cameo is so infinitely priceless to where I refuse to ruin it for anyone and, unlike Jimmy Kimmel, I am glad Smith made time for him. You also have Fred Armisen, Rosario Dawson and Kevin’s wife Jennifer Schwalbach making small but very memorable appearances, and be sure to take a look at the name of Craig Robinson’s character as it is like something out of a 1970’s exploitation movie.

But the best cameo here comes from Ben Affleck who returns as “Chasing Amy’s” Holden McNeil. Both Affleck and Smith had been estranged for some time, but even Affleck knew he had to be a part of this flick as Smith was responsible for giving him some of his first leading roles in movies. Plus, Affleck helps to give “Reboot” an even bigger heart as he talks about how children are like our own reboots, and this solidifies the evolution Smith had in mind for the various characters he has created over the years. While “Clerks II” dealt with the responsibilities of being an adult, “Reboot” looks at what becoming a parent does to your overall identity to where everything else in your life becomes secondary. Smith covered this before in “Jersey Girl,” a movie which I think is better than people typically give it credit for, but here it takes on a deeper meaning as both he and Mewes have danced with the Grim Reaper and have come out the other side with infinitely changed perspectives.

When it comes to the cinema of Kevin Smith, his movies are either for you or they are not. I have been a big fan of his since “Clerks” which contained one of my most favorite pieces of dialogue ever (“This job would be great if it weren’t for the fucking customers”), and it is a true joy to see him revisit his View Askew Universe. While he may not be as gifted as Martin Scorsese or Steven Spielberg, Smith still knows how to give us a fun time, and he does just that with “Jay and Silent Bob Reboot.” Even if you are not supposed to be here today, I would like to think this movie will find a way to cheer you up. And yes, be sure to stay through the end credits.

* * * ½ out of * * * *