William Friedkin Talks About ‘Killer Joe’ at Landmark Theatres

Killer Joe movie poster

Oscar winning director William Friedkin made a special appearance at Landmark Theatres in West Los Angeles on August 3, 2012 to talk about his film “Killer Joe.” He appeared in front of a sold-out audience who had just finished watching it, and Friedkin ended up paraphrasing a review from the Los Angeles Times by saying, “Welcome to the abyss!”

This remark was in reference to the fact that “Killer Joe” has already earned a bit of notoriety after receiving an NC-17 rating from the MPAA for what they described as “graphic disturbing content involving violence and sexuality, and a scene of brutality.”

At the start of this Q&A, Friedkin went over the three things a director needs to consider before they begin working on a project:

  1. Choose the material you want to do. Friedkin said this is very important as you will have to “live with it for a year.”
  2. Cast the film with the right actors. Friedkin said if anything goes wrong with the movie, it won’t matter how good the cast is because odds are the director has chosen the wrong actors for it.
  3. You need to create an atmosphere where the actors are comfortable enough to do the work. Friedkin remarked this is 75% of what a director does, and that the remaining 25% has the same person figuring out how to put their movie together.

When it came to casting “Killer Joe,” Friedkin said he went to actors Emile Hirsch and Thomas Haden Church first as he was familiar with their work. These days, Friedkin says he continues to watch “old movies” as they continue to inspire him, and he doesn’t watch new movies much.

Friedkin also admitted he has “never seen any of Matthew McConaughey’s films” before casting him here, and he originally wanted someone “more grubby” and with “a more evil look.” However, after watching McConaughey being interviewed by Charlie Rose where he was just being himself, he realized someone like McConaughey would be more interesting as opposed to what some would call a “more obvious choice.”

McConaughey, however, read and hated the script to “Killer Joe” and that he “wanted to take a bath with a wire brush” after reading it. Regardless, McConaughey read the script again because he couldn’t get it out of his head, and he told Friedkin he found it “absurd and hilarious in a dark way.”

Friedkin also admitted he knew nothing about Juno Temple before casting her as Dottie. He was originally going to go with one of three beautiful actresses for this role, but he ended up watching an audition tape Temple put together in which she read the script along with her 10-year old brother who played the part of Joe, the cold blooded cop and contract killer played by McConaughey. Friedkin said he loved what he saw but that he was worried about her “thick British accent.” He ended up asking the cast to tell Temple when she was speaking in a way which didn’t sound like she was from Texas. From what we saw onscreen, the cast helped Temple out big time.

In talking about Gina Gershon (the mention of her name got the audience to applaud loudly), Friedkin said she was not his first choice for the role of Sharla. When it came to casting this particular role, Friedkin said he saved this question for last when interviewing prospective actresses, “Can you handle the sex and violence that is presented in this script?” It should go without saying Gershon could, and Friedkin described her as being “courageous” in playing Sharla. She is asked to portray some of the hardest things any actor is asked to do, and I don’t just mean the scene involving her and that piece of fried chicken.

“Killer Joe” marks the second film Friedkin has made from a play written by Tracy Letts whose “Bug” he turned into a film back in 2006. Friedkin said he and Letts “share the same worldview” as they both “see the absurdity of the many facets in life.” Their projects, as Friedkin sees it, deal with people “stuck in their realities and willing to do anything to get out of them,” and that neither of them is “fond of violence.”

Still, Friedkin said he did not expect the NC-17 rating the MPAA gave “Killer Joe,” but he thinks it is somewhat correct as he was not targeting young teenagers for this movie as they are more impressionable. Both he and LD Entertainment, which is distributing the film, fought the MPAA over the rating, and in trying to get it down to an R, they ended up cutting not scenes but instead frames of footage. This, however, was not enough, so Friedkin and LD Entertainment ended up appealing the decision. Friedkin joked how they “narrowly” lost the appeal (13 to nothing) and that he felt he “had to destroy the movie in order to save it.” But after all the fights he had over movies like “The Exorcist,” Friedkin declared he is “too old to get down on my knees and change the picture” for them.

When asked what the tone on set was, Friedkin described it as “light” because he and the actors already knew what was in the script. Friedkin also said he only does “one or two takes these days” when making a movie as opposed to the “15 or 20” he did when he was younger and “praying for miracles.” These days, he looks for spontaneity in his actors, and he finds the first take they give him is often the “most spontaneous” of all.

Whatever you end up thinking about “Killer Joe,” it is clear Friedkin is still a masterful filmmaker who has not lost his touch. The characters may be beyond redemption, but he is quick to point out we are all sinners, and this is an inescapably true fact. After all these years, Friedkin continues to challenge his audience, and we should be thankful for this in a time where most filmmakers choose to play it safe and to their own detriment.

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David Gordon Green Captures an Authentic Reality in ‘Joe’

Joe movie poster

One of 2014’s most underrated and overlooked movies was “Joe.” Directed by David Gordon Green, who just directed the incredibly successful reboot of “Halloween,” it stars Nicolas Cage in one of the best performances as Joe, an ex-convict and a foreman for a small tree removal crew in Texas. One day, Joe is met by Gary (Tye Sheridan), a 15-year-old drifter who has just moved into town with his wayward family, and he ends up giving the young man a job on his crew. However, Gary’s father is an alcoholic bastard who beats up everyone and anyone in his path, and this presents Joe with the choice of finding redemption in his life or meeting his maker by putting an end to this vicious situation Gary has been tragically caught up in.

For Green, “Joe” represents a return to his independent roots where he made his mark with films like “George Washington” and “All the Right Girls.” As a result, he ends up capturing a reality of life which is not easily captured in other movies as we watch characters native to the state they live in trying to get by in life. Green ended up hiring non-actors to play certain roles as he wanted to capture the realism of the environment these people live in.

I was lucky enough to attend the press junket for “Joe” held at the Four Seasons Hotel in Los Angeles, California for the website We Got This Covered, and I asked Green what it was like capturing the authenticity of these people and where they live. More importantly, I was interested in finding out if capturing this authenticity was easier or harder to accomplish in this day and age where we are bombarded with an endless number of “reality shows.”

David Gordon Green: That’s a good question. We live in a world with reality television so it’s less surprising to see a camera on the street corner to see a production. Certainly, a lot of us who frequent the Los Angeles area don’t even bat an eyelash at some production that’s closing down a street and taking us on a detour. I kind of like that the production element can be that much more intimate because the mystery has been dissolved a little bit. When I was a kid you would watch a behind-the-scenes documentary about the making of a movie and it would blow your mind learning the steps of folly and the art form behind it. Now I think everyone has a good, clear concept of that. There’s not that obsession with that. It’s also a world where people know where the lines of documentary, reality TV and fiction/narrative filmmaking are starting to blur a little bit. I actually think there are a lot of values there. Some of the great performances are documentary performances. You see a movie like “Grizzly Man” and you’re like, if only I could take Timothy Treadmill, I could make an amazing script for him. In that way it’s become a lot easier and it’s just about trying to market a film to be appealing to an audience. Trying to get a movie that emotionally connects with an audience and invites them into a world that does have an authenticity. It does take you to difficult places but has enough of an emotional honesty and levity to be able to be something that you want to look at and an attractive quality within the cinematography and music that brings you in and makes you feel fulfilled. All of these technical elements that come in make it a rewarding experience and not just the dramatic hammer coming down to tell you their melodrama, but really to open up insight into the characters and their revelations to each other.

With those comments, I hope audiences take the time to discover “Joe” as it is a movie deserving of a bigger audience than it ended up getting in 2014. While many think Cage makes nothing but bad movies these days, this one reminds you of what a great actor he can be given the right material.

Ti West and Gene Jones on Preparing for ‘The Sacrament’

The Sacrament movie poster

You may not know who Gene Jones is, but odds are you have seen him in at least one movie he has co-starred in. Many know him best for his role as the gas station owner who is subjected to one of Anton Chigurh’s terrifying coin tosses in “No Country for Old Men,” and he also appeared as Wild West Barker in “Oz the Great and Powerful” and co-starred in “The Odd Life of Timothy Green.” But after watching him in Ti West’s “The Sacrament,” it will be impossible to forget who Jones is as he gives us a character who seems sweet on the surface but is really a vicious devil in disguise.

“The Sacrament” follows a couple of reporters as they travel out to a commune located out in the middle of nowhere to find one of a long lost relative. Upon their arrival, they discover the commune is a technology-free zone called Eden Parish, and they meet Father (played by Jones) who is the leader and treats his loyal followers with tremendous warmth and care. But when these outsiders arrive, he quickly sees them as a threat and eventually convinces his followers to take a sinister course of action which leads to an unspeakable tragedy.

The press day for “The Sacrament” was held at the Magic Castle in Hollywood, California, and many who worked on this movie, be it in front of or behind the camera, participated in an informative press conference. Among those there was West who told us he wanted to audition Jones after seeing him play a pharmacist on “Louie.”

Ti West: There’s a scene where there is a woman waiting in line and asking all these inane questions to the pharmacist who’s not paying attention, and Louie (C.K.’s) waiting behind her and he’s getting bored. And then Gene eventually turns to her and is like, “Have you had a bowel movement today and was it soft?” And then she gets uncomfortable and then that’s the scene, and I was like, “That’s the guy.” So, what we did was that we tracked him down and then I asked him to do a quick audition. Most of the reason I asked him to do the audition wasn’t so much to see if it would be any good. I just wanted to see if he would not be into the material. So I knew that if he did the second audition that he wasn’t going to be uncomfortable with the subject matter like that because you never know if you don’t know people. Gene likes to say that the first audition wasn’t very good and that’s why I asked him to do a second one which is not true. But there was enough from those, just seeing him do it, to know what I had thought was going to happen was going to happen.

The plot of “The Sacrament” was largely inspired by the 1978 Jonestown Massacre when Jim Jones made the followers of the Peoples Temple commit mass suicide. When Jones first appears onscreen as Father, you can’t help but be reminded of Jim, especially with those sunglasses he’s wearing. But in describing his preparation to play Father, Jones shot down our assumptions of what he did to prepare for this role.

Gene Jones: It’s less than one day in Father’s life, and not a typical day. So, I didn’t do any Jim Jones research about what he read and how he interacted with people on a daily basis. What I tried to do was be a guy who was so nice, you would leave your family and you would leave your country and go with this guy. I never met Ti until I stepped onto the set. I did audition for it, but it was a video audition. Actually it was two auditions and Ti commented on those, and those comments gave me the freedom to go where I wanted to go which was in the direction of being so damn trustworthy and so avuncular and nice. A phrase that popped into my head a few weeks ago when I was doing one of these (press conferences) was I wanted to show you somebody who was evil but not mean. Somebody who believed absolutely poisonous things but was the nicest fellow you ever met.

West said when he first met Jones in the flesh was when he arrived at the movie’s set located in Savannah, Georgia. Jones’ first big scene was when he does the interview with the two reporters, and it involved a lot of work and memorization on his part. West was more than prepared for things to go wrong as he described this scene as a “massive undertaking,” but we all felt his astonishment at how things actually turned out.

Ti West: It’s the kind of production day that you dread because it’s a night shoot, there’s 200 extras, it’s 12 pages which is like six times more than anyone wants to shoot in a day and there’s just so many moving parts, and it was cued up to be a disaster. I remember on the very first take I hadn’t told the extras what to do yet, and you’ve got to keep in mind that the extras are just there for one night to be in a movie. They don’t know what the movie is about and they haven’t read the script. They are just like, “Yeah we’re in a movie!” They’re all seated and you figure that some of them aren’t going to be good and will have to move them around, but before we do any of that let’s just wing it. Let’s just try one where Gene comes in and we’ll tell them to cheer. He can come in and then start talking to A.J. (Bowen), and its 12 pages so if the lines get screwed up we’ll stop and then we’ll do it in chunks, and this is how we are going to get through this night. Well on the very first take, Gene came in everybody went crazy. He sat down, did a 17-minute unbroken take without dropping a line, got up, everybody cheered and he walked out, and all of the reactions from the extras were their genuine reactions. They weren’t me feeding them things to do because I just wanted to assess the situation, but the assessment of the situation was we don’t need to do anything because Gene nailed that so effortlessly, and then all the extras chimed in perfectly. Gene had figured out how he was going to do it, and all I had to do was just capture it.

Jones’ comment on how the extras fueled his performance was great because he made it sound like he was doing a play more than making a movie.

Gene Jones: I loved, loved the congregation, and there’s little variations each time you shoot. They were tuned to that and I didn’t have to say, “Give me an amen somebody.” They would give me an amen. They would just give it to me and they would nod, and it was just alive. It was like talking to a group of friends. They all chimed in and they were great.

In a business which can be so ridiculously youth-oriented, it is nice to see an actor like Gene Jones defy the odds. If this were a studio movie, executives would have probably forced Ti West to cast a young adult who was more demographically desirable. But in the end, there are certain parts only actors of a certain age can pull off, and this is one of them. Jones succeeds in giving us a villain for the ages as Father draws people in with ease and then destroys their lives for the most selfish of reasons.

“The Sacrament” is now available to own and rent on DVD, Blu-ray and Digital.

Click on the video below to check out the interviews I did with Ti West, A.J. Bowen, Joe Swanberg and Amy Seimetz about “The Sacrament” for We Got This Covered.

Anne Hathaway on the Exciting Music in ‘Song One’

Song One movie poster

Oscar-winning actress Anne Hathaway stars in “Song One,” a drama where she plays a young archaeologist named Franny. At the movie’s start, her brother Henry (Ben Rosenfield) is hit by a car and goes into a coma, and she flies back to New York to be at his side. In the process of going through Henry’s notebooks, she comes into contact with James Forester (Johnny Flynn), a favorite musician of Henry’s. James has had some success in music but is also a shy and private man suffering from writer’s block. From there a romantic relationship between the two begins, and they soon help each other find their way through the darkest of times.

“Song One” was written and directed by Kate Barker-Froyland who had worked as a director’s assistant on one of Hathaway’s biggest hits, “The Devil Wears Prada.” One of her main intentions with this film was to capture the lively music scene of her Brooklyn neighborhood. Indeed, it is a lot of fun listening to the music as you can tell these musicians are playing and singing out of their love for music as opposed to just chasing a record deal (although I’m fairly certain they wouldn’t mind that either). Watching it made me want to take a vacation to Brooklyn just to see this music scene up close.

I got to speak with Hathaway during a “Song One” roundtable interview held at the SLS Hotel in Beverly Hills, California, and I told her how much I enjoyed watching and hearing the musicians featured in the movie. These were musicians playing with all their heart and soul, and I was curious how she and the filmmakers gathered up so many talented ones for this project. It turns out a lot of that was due to the participation of Jonathan Rice and Jenny Lewis who have had tremendous success together on the music scene, but Hathaway said getting the both of them on board was a little tricky.

Anne Hathaway: My husband (Adam Shulman) and I were friends with Jenny Lewis and Jonathan Rice, and when we initially ready the screenplay back in 2011 we just kind of had one of those like dream musicians for this and we both said them. And then we kind of laughed at our audacity and decided that could never possibly happen because we couldn’t get them, and also they were friends and we would have felt awkward. We were worried about it bordering on being opportunistic, so we spent a while pursuing other avenues trying to come up with better ideas. Then Kate came up with a draft that had focused on the James character and we asked Jonathan if we had hit the right tone with the character. He asked who’s doing the music and we were like half-jokingly, ‘Well you if you want to.’ He was like, ‘Okay let me give it to Jenny,’ and she read it and they were open to the process of meeting Kate, and then they met and they really liked each other. The next morning, we opened up our emails and there was this song (from Jonathan and Jenny) and it was Little Yellow Dress and it was incredible. And then Jonathan Demme, our producer, came out. Jonathan Demme has one of the deepest and most beautiful encyclopedias of music in his head, and to watch him and Jenny and Jonathan just kind of talk music and talk about the sound and who James Forrester was, it was a thing of beauty. From then on they were in the movie, and a lot of the musicians wound up being contacts that they knew. They were so integral to the sound of the film.

To read about “Song One’s” making is to see it was a movie made by friends who brought everything they had to this project. In addition, they brought with them a lot of great music which feels authentic to the locales it takes place in, and it’s the kind of music that fills up your spirits when you’re feeling low.

“Song One” is now available to own and rent on Blu-ray, DVD, and Digital.

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