“Look man I jumped into it. It may f*cking suck.” Clayne Crawford Talks ‘Lethal Weapon’ (THN 2016)

lwClayne Crawford is going global as well as postal, taking over the role of Martin Riggs from Mel Gibson for Fox’s Lethal Weapon. In this interview I found his views on the small screen take to be refreshingly honest…!

Clayne Crawford: I was spending time with my family on my farm in Alabama when they called. I laughed in their face at the idea of even turning Lethal Weapon into a TV show, I said ‘You need to leave the fucking franchise alone, it’s great and Mel Gibson did such a wonderful job, I want no part of it.’ And that went on for about three weeks before I finally read the script…

In my heart I’m still just a kid, who wants to play cowboys. I love playing dress up, I’m a kid at heart and I love using that platform as a therapy for myself. So when I read a character who was broken and had lost everything and he channelled that through stopping bad guys.. y’know for lack of a better word he saves the day and he’s just this damaged guy, and he’s funny… I thought ‘You know what? Fuck it, if you guys really want me to do this let’s just go and do the best we can and if we fail miserably that’s okay, we’ll go do something else.’

Look man, I jumped into it. It may fucking suck. But I enjoyed the material, and I tried to bring honesty to everything that I did and I tried to forget the original film. I tried to bring Martin Riggs into the twenty-first century and here I am. We’ll see what happens man.

Me: I think a lot of people are looking forward to it.

CC: I think you’re wrong, I don’t think anybody’s fucking looking forward to it. (Laughs) Which is kind of a good thing because they’re going to think it’s such shit, that they’ve set the bar so low we can only succeed, right?

lw-2The most important question is will you be keeping the hair?

(Laughs) I’m going to be a little different than Mel. Part of me agreeing to this was… we all had to shed our preconceived ideas of this relationship between these two men and who Mel Gibson was playing Riggs in 1987. It’s 2016 and he’s quite a different guy. There’s a little bit of a different backstory… look man, I hope Mel’s not pissed off. That’s my hope, that if he watches this thing, if anyone watches this fucking thing, they’ll be entertained, and go on a fun ride for an hour.

 

This interview first appeared on THN.

“There’s the film you write, the film you shoot, the film you edit…” Interview with ‘Jason Bourne’ writer Christopher Rouse (The Hollywood News)

jb-3As Matt Damon brings the high octane adventures of Jason Bourne into your home this week, now is a good time to interview the man who puts those heart-stopping action sequences together: editor and co-writer Christopher Rouse.

Rouse occupies an intriguing position in the Bourne firmament. Having began his association in the cutting room, he now takes on script and production duties alongside director Paul Greengrass. This strong partnership crafts the franchise behind the scenes, while Greengrass and Damon cause a storm front of camera. As the torch bearers for Robert Ludlum’s character, our first question naturally concerned the immense task they faced…

jb-crTHN: Did you and Paul Greengrass experience any trepidation in continuing Bourne’s story?

Christopher Rouse: Well I think we both have incredible respect and admiration for the franchise. We didn’t want to embark on a process or a script idea unless we believed there was a real story to tell, that would do justice to the franchise and his character. So we were cautious all the way through it certainly.

Tell me about how a Bourne action sequence evolves, from the original idea to the page and then on to the shoot…

Like any sequence, action has to be rooted in story and character. It has to have stakes and clear goals and obstacles for the people involved. Once that’s defined it’s a matter of calibrating that, in terms of what might be visually interesting and exciting. Once we get something on page then Paul will take it and work with his second unit director and a very talented stunt team. Then the piece will evolve even further. Where it’s shot, that’ll give rise to other ideas… the location may dictate certain restrictions to what we’ve originally imagined. I’ll receive it in the cutting room, it’ll continue to evolve and I’ll shape it as I see fit through the post-production process. It’s like any other scene, or aspect of the story. There’s the film you write, the film you shoot, the film you edit. The piece is always imbued with new ideas and different types of energy.

jb-1Paul Greengrass is known for having multiple camera set-ups, so you’ve got lots of footage to play with in the editing suite. Would you say your films with him are primarily made in the edit?     

I’m not sure that’s a fair characterization. They certainly take shape there in many ways but Paul is a visionary filmmaker and I think the film is in his head very early on.

It strikes me as a complicated way of working, to shoot so much to begin with!

It is a lot of work and at the end of the day I’m trying to put together a film that makes sense to me, and that is in concert with Paul’s vision. Having done six films now with him, one of the great things is that we know each other well, we share a common world view. We’re interested by the same types of things. We have the same artistic sensibilities. It’s very easy for us to lock in together, I’m highly attuned to what he believes the piece is as it evolves. Even though I get a tremendous amount of footage, if I’ve done my job and I’m anchored in story and character when I start putting things together, it’s actually most times a straightforward proposition. I’m not saying there isn’t any heavy lifting because there is. It’s shaped in the cutting room but not made there, which is an important distinction.

jb-2The film is also another reunion between Paul Greengrass and Matt Damon. What is it about that relationship that you think works so well?  

There’s deep affection between the two of them and they’re exceedingly hard workers. You wind up with a special relationship. And then there are loads of tangibles, having two types of superb artists married together, there’s that symbiotic connection that occurs where you get a lot of magic, spontaneously and unexpectedly. It doesn’t happen often.

You started off as an editor and now you’re co-writing and producing. Do you fancy directing at some stage?

I’ve been approached to direct several times, in fact I’ve written for many years myself. My father (Russell Rouse) was a screenwriter and I’ve written short stories, poetry and screenplays on my own. I’d consider directing. One of the things I really enjoy with Paul is the tremendous amount of creative freedom. It allows me to express myself in ways I wouldn’t in a normal editing situation. This is a long way of saying yes, I would consider being a director if it were the right project, not doing it for the sake of directing. I want to direct something that matters to me.

One of your first big editing jobs was working on Desperate Hours with Michael Cimino (The Deer Hunter), who sadly passed away this year. That must have been a hell of a formative experience…

Also I worked with Hal Ashby (Harold & Maude) for three years, a superb editor and director. I learnt a tremendous amount from Hal at a very young age. Michael gave me plenty of opportunities to express myself creatively and I’m very appreciative for that. He was a complicated man, he could be very generous and very difficult at the same time. I’m very grateful for what I learned from him and what he gave me.

What’s coming next down the line?

Paul and I are actually writing together right now, it’s an original idea we’re playing around with. When I hang up with you I’m going to call him up and talk about the day’s work.

Can you tell me anything about it?

I can’t at this point, I’m sworn to secrecy! But I think the piece has a lot of potential and Paul is very excited about it. We’ll see if we get anywhere…

 

This interview first appeared on THN.

The Commitments At 25: Robert Arkins, Ken McCluskey & Dave Finnegan Interview (The Hollywood News)

tc1Extraordinary as it may seem The Commitments has reached its quarter century. This unlikely smash hit followed the fortunes of a group of young Dubliners scaling the cliff-face of soul to find fame and fortune. Their journey captured the imaginations of audiences around the world and made stars of its then-unknown cast.

The movie is a bittersweet story but one which had a happy ending for the actors, many of whom were given a unique opportunity by veteran director Alan Parker, bringing writer Roddy Doyle‘s novel to the screen.

We had the pleasure of catching up with Robert Arkins (band manager Jimmy Rabbitte), Dave Finnegan (mad drummer Mickah Wallace, who joined the interview part-way though) and Kenneth McCluskey (bass guitarist and butcher) for a trip down their respective musical memory lanes.

Robert Arkins

Robert Arkins

THN: Does it feel like twenty-five years?

Robert Arkins: We can’t forget! We’re reminded of it every day! (Laughs) You can’t avoid it, you can’t hide…well you can try! It would maybe seem like more to some people…

Ken McCluskey: It’s amazing isn’t it? Twenty-five years ago we were all young chaps and here we are now. The film is legendary, we’ve travelled the world. I don’t think there’s anywhere the movie hasn’t been.

THN: I presume you’re all good friends so it feels natural for you to get together…?

RA: Yeah exactly. It becomes a part of life, we have a bit of fun, but the film as films go is fantastic. It’s spread the word of the music to a lot of people and made a lot of people very happy so that’s the main thing.

Kenneth McCluskey, Félim Gormley & Dave Finnegan

Kenneth McCluskey, Félim Gormley & Dave Finnegan

THN: A big part of why the film succeeds is the way it combines a cast who were unknown back then with a seasoned director, Alan Parker. What was it like working with him?

RA: For me, the fact that he chose us individually and made up his mind gave me confidence to go in and do something I’d never done before. He was looking for a bit of this and a bit of that. A bit of light and shade. That was pretty much what he’d say most of the time for me! I don’t know, how do you feel about it Dave?

Dave Finnegan (having just entered the room): Feel about what?

THN: Is that Dave? Did you hear the question?

DF: No. (Laughs)

THN: I was just asking about the filming and how it all went…

DF: The movie was like an open thing. Usually with films actors have agents and it goes through that process. They advertised these auditions in shops and pubs so everybody went for it. I was spotted playing in a band, I didn’t even see the posters to be honest with you. The casting directors came and looked at us and said: ‘This section can go for this character, and that section can go for that character…’ Eventually when I met Alan Parker and auditioned he tried to get that aggressive character out of me, and he succeeded. He knew just by looking at people what he could get out of us, you know? And unfortunately I got the wild guy! (Laughs)

THN: Do you have an abiding memory of the shoot?

RA: There’s a scene where Joey “The Lips” (Johnny Murphy) is driving down the lane on his motorbike. I’m down the lane standing behind the camera with Alan and the crew and Johnny, who’s not very good at driving the motorbike, it was probably his first time… basically he comes down the lane, goes to try and park, smashes into the wall and falls over. We all cracked up and it ended up staying in the film!

tcTHN: A key element was creating a convincing band. How did that come together in terms of rehearsals and shooting the gigs?

RA: Well the film was shot in sequence. But we did two weeks of rehearsal where we ran through all the gig scenes and all the scenes where everybody was together as a unit, the backstage thing so we could get the synchronization working.

KM: Yeah, we got our characters to develop. Alan Parker actually started changing the book. Some of my lines were switched with Outspan (Glen Hansard) so he could develop it properly. When we were filming he’d say ‘I want you to say this instead of this.’ That’s the way he worked. He knew what he was doing, he had it all in his head. He was a genius, having all these characters in his head and knowing what he was going to do.

THN: Was Roddy Doyle involved much in the filming?

RA: No, I met him on set and had a chat. He just wanted to come down, he was curious. You know how it is, writers hand over the baby, depending on the deal. They don’t really have much of a look in after that.

KM: He wanted to come down to see what had happened to the characters. He seemed happy.

Ken McCluskey

Ken McCluskey

THN: The Commitments provides a nice antidote to the Simon Cowell method of nurturing talent. Do you think it’s a good film for aspiring musicians to watch?

RA: (Laughs) There is a good lesson to be learned for young people. If you’re going to get into it, get in for the joy and pleasure of playing the music and the craft. Then at the end of it the band breaks up, so the reality of it is not everyone becomes famous. It’s about luck. There’s a lot of people out there who are very untalented and become very successful. And then there’s the opposite, people who are extremely talented who don’t get lucky at all.

DF: That’s very true. The Commitments wasn’t a band as such, we all came from different kinds of bands. We were jamming in our bedrooms and playing in pubs. Nowadays it’s different.

This review appeared on THN.

“We’d wrap a work day and we’d all be covered in dust and snot and tears…” Jeremy Saulnier ‘Green Room’ Interview (The Hollywood News)

GR 3Jeremy Saulnier is a colourful director. I mean this in more ways than one – his breakout feature was the bloody and brutal Blue Ruin (a favourite here at THN) and he’s followed that up with Green Room, which takes the spectrum of violence to a whole new level.

The action horror thriller sees a group of disaffected punk rock youths (including Anton Yelchin and Imogen Poots) fall foul of a neo-Nazi movement at a gritty venue. Their gig takes a nightmarish turn when they stumble on a murder scene, putting them squarely in the firing line of an army of skinheads, led by the surprising choice of Patrick Stewart.

Praised by critics for its unflinching use of ultraviolence, it’s left its mark on gore fans and further established Saulnier as a helmer to watch. That’s if you haven’t clamped your fingers over your eyes against the carnage. We got on the phone with him for a chat about the distinctive cinematic thrashing…

GR 1

Where did the scenario for Green Room come from, and what made you decide on skinheads versus punk rockers?

The idea was gestating for a long time, it felt very natural. A lot of my films sprout from environments and I figured I wanted to do a movie set in the punk rocker hardcore scene, just because it’s such a part of my youth, I knew it very well and I don’t see it done in an authentic way very often. You set a film in that world and it often takes place in a venue. What if I could have my cake and eat it too, where I’m in a punk rock world and there’s a live performance happening, and it converges with a traditional genre movie, and to fuse those worlds together? So I thought the ideal place would be the green room backstage. It has a little access. It’s part of the world yet separate. And it’s the same reason I had skinheads as adversaries, because they’re part of the punk rock world. They’re natives, you see them at a show and it’s believable, but they’re also at the fringes and separate from the subcultures within punk rock. I saw them as soldiers. They would be the most likely to be organized in criminal activity, the structure and hierarchy – they take marching orders, they actually wear combat boots. It lined up pretty easily for me.

The film is incredibly violent. How did you work that out in terms of the choreography?

I’d pre-visualized the concert venue and we actually built that as a soundstage set, constructing the whole thing from scratch. Being able to design the environment meant a lot less of a translation problem when I went from script to screen and did the choreography. The blocking was already halfway there. I covered the action and make up because I grew up making movies that way, my partners and I were big into action and horror and zombie films and whatnot. That was really fun for me. I’ve used that skillset for twenty years.

Obviously it’s intense to watch. What was the atmosphere like on set?

The days were intense as we had to keep that level of emotional continuity. There were a lot of very intense exchanges, pleading and crying and screaming. So it gets to that level between takes, over and over to cover the whole scene. It’s emotionally and physically exhausting for sure. From the very beginning we cast the movie in a way where we knew we’d feel safe and comforted by each others’ mutual respect and investment in the characters and story we were telling. So it was really quite nice and supportive! We’d wrap a work day and we’d all be covered in dust and snot and tears… even some of the crew members would start crying because it was really intense to watch. Very harrowing and very real. But then we’d have a nice little decompression session and they’d get a bite or a drink. It’s a rare thing I imagine where every single actor is incredibly gracious and great to be around. It was a treat for me.

GR 2

Tell me about Patrick Stewart’s involvement. Did he have much input into his character?    

He came to the film late in the process, he kind of swooped in and saved the day for us. We wanted a real presence for the role of Darcy Banker and he was looking for material, and it was perfect for us in terms of the timing and our mutual intentions. He loved how dark it was, and the intense atmosphere. He just kind of jumped on board, it was very high risk. The only thing he wanted more of was a little insight into his backstory. He did his own research, which was great and we also gave him a narrative history of his character based on a lot of research I had put together. The great thing for me was he asked for nothing to be done to the script to accommodate him, he just needed to get his bearings and have a little more to dig into, so once he had that he was on a plane to Portland and he was making the movie, it was crazy!

How did you go about realizing the female side of the film in this testosterone-driven environment? Imogen Poots’ role for example…?

For Imogen’s character it was really about experimenting with the traditional female role in this kind of movie. At first we don’t pay her much attention. She emerges from the shadows and develops, becoming a lot more present, and that was really good to go there and have her take on a traditional male role. The thing about Green Room is that estrogen is just as powerful as adrenaline… or testosterone rather! (Laughs) But they can be joined together through adrenaline! And doing that in a pressurized scenario was really fun.

GR 4

This interview first appeared on THN.

Jason Mewes Talks ‘Bling’ & ‘Mallrats 2’ (The Hollywood News)

JM

When was the last time you saw a movie about jewellery and robots? The answer to that unusual question is something Google Play are banking on for Bling, the first animated film to be distributed via the platform. Best of all it’s free!

Concerning the calamity that ensues when a hopeful man’s engagement surprise is mistakenly acquired by a supervillain, it features attention-grabbing elements such as positronic primate Kit, voiced by Jay and Silent Bob star Jason Mewes.

Putting on our best suit, and with our best inquiries boxed up and ready to be sprung, we took Mr Mewes to the nearest restaurant in the hope he’d accept our proposal. Along the way we couldn’t help but talk about his most famous role and working with friend and quietest Bob in history Kevin Smith for the past couple of decades…

JM GP

What was your reaction when you were told about the concept?

I was very excited. Anything with robots is good, but when I was told I was playing a monkey robot, that was a bonus!

How did you approach the role of a monkey robot, if that isn’t a silly question?

I ate a bunch of bananas, that’s how I prepped. (Laughs) No, I just had fun with it man. The animation was already done and I just had to synch up to it. I had some fun and played with it, in order to be the best monkey robot I could be! It was nice because I got to ad lib inbetween and stuff, when my character’s back was turned or when he went offscreen, I got to ad lib some dialogue. You get to see what’s going on, Kit twirling through the air, or landing on top of a car. That made it a little easier and more fun, the process isn’t always like that.

Did you get to meet your fellow cast members, such as James Woods or Carla Gugino?

It was just me in the booth by myself. There are pros and cons doing it both ways, but it was nice. Because I was on my own I felt like if I messed up I could redo it, and get to know the director and all that stuff. It would have been fun doing it with the rest of the cast as well. The only animated movie I’ve ever done like that is Noah’s Ark: The New Beginning and it was nice because I got to work with Michael Keaton and we were able to bounce off each other.

Another upcoming project you may have been asked about once or twice is Mallrats 2! Did you ever think you’d be playing Jay twenty-odd years on from Clerks?

Never! Never… I didn’t expect to play Jay’s character. I was shocked when Clerks was bought and Kevin got a new picture deal and said ‘Hey I’m going to do another movie called Mallrats and I wrote our characters in.’ That was awesome, then with Dogma and Jay and Silent Bob Strike Back… I didn’t expect to play the character more than once, let alone be playing it twenty years later. I think it’ll be a blast, playing them again before we get too old! (Laughs)

BM C

Comic book movies have mushroomed over the past decade. Are there plans to do anything more with Bluntman and Chronic?

Me and my friend wrote a Bluntman and Chronic Super Groovy Cartoon Movie (following Jay and Silent Bob‘s movie of the same name). Kevin needs to read it and approve it for the characters and such. And if he approves we’re going to start working on that, so hopefully that will get done soon and we can do a Groovy Movie 2. And then who knows if Kevin will want to do a live action Bluntman and Chronic… but if we did I’d really like to do it like the Avengers movies, Captain America fighting, The Winter Soldier. That would be cool, fighting in that type of style!

What other projects do you have in the pipeline that you can tell us about?

We have a video game coming out, Jay and Silent Bob: Chronic Blunt Punch. Me and Kevin are doing a show called What’s In The Box? for Screen Junkies Plus, where people send us boxes and we don’t know what’s in them. It’s usually toys and all sorts of fun stuff, we started doing that a couple of months ago.

Right now I’m really trying to get this movie off the ground, there’s no title for it yet, but it’s a script by a friend of mine from London. I did a movie called Devil’s Tower with him, and he’s written this script based on an idea we had, and hopefully I’m going to direct it and that will be the first feature I direct. I’m looking forward to that getting off the ground. I’ve done music videos and a short film, and I really want to direct a full feature!

This interview appeared on The Hollywood News.

“I wanted to create an axe murderer with the feet of Fred Astaire…” Logan Huffman Interview For ‘Final Girl’ (The Hollywood News)

LH FGFinal Girl heads to DVD this week, following last month’s UK premiere at FrightFest. Directed by photographer Tyler Shields, it’s a noir-inspired horror that provides something different amongst the assorted gorefests competing for fans’ attention. One of its key players is Logan Huffman as axe-happy teen torturer Danny, whose plans for the seemingly-helpless Veronica (Abigail Breslin) take a nasty and unexpectedly surreal turn.

I caught up with him for an intriguing chat about the improvised nature of his role, the way the movie changed as it went along and his thoughts on the genre in general. He also offered up a memory of late director Wes Craven, somewhat appropriate given recent sad news…

The film is kind of unique compared to today’s horror movies. How did you come to be involved?

Well Tyler and I have been buddies for a while and I’ve been shooting with him for a bit. And he just called me up, asked me if I wanted to do it, so I did it. I’ve been studying and training in vaudeville for three years, so I’d been waiting for the right character to do vaudeville work. Danny wasn’t written as anything when I saw the script, so I just kind of went with it. Tyler and I are good buddies, so he just kind of let me say what I wanted to say and do what I wanted to do. I wanted to create an axe murderer with the feet of Fred Astaire, you know?

Your character is the most distinctive in the movie, with the big hair and of course the axe!

I usually have my hair grown out real long. My first scene was the dancing scene, but it wasn’t written as a dancing scene, I was supposed to just be polishing my shoe. But I grew up in a rockabilly family see, so I wore a pompadour my entire childhood. My first car was a ‘56 Mercury. My Dad rolled around in a ‘56 Chevy. My brother had a 29 Model Line pick up truck hot rodded out like John Milner. So I wanted to pay homage to all that jazz, I wanted to create a Looney Tunes character. I walked up to Tyler and I said “Hey man! I wanna put my hair up really, really tall, almost like a rooster. I want this guy to be kind of a metaphor for a big cock!” A big rooster… because, you know, I’m method. Tyler saw me just once, for the entire filming process (in Canada), and when he saw me back in LA I was Logan again.

I started balancing the axe, because I carried Anna Belle with me the whole time. I always make friends with the props department, your props are everything. I grabbed Anna Belle, and I carried her the whole entire time. I got the vibe and tried to balance her with one finger, and then Tyler knew I knew how to swing. So I did a little swing dancing, and Tyler said “Do a little dance for us and walk out.”

I notice you named the axe! Where did that come from?

Just something sweet and pleasant. Being from Indiana I always kind of had the crushes on the girls with the two names, and I thought Anna Belle was kind of a sweet name. And she just spoke to me, I didn’t really… objects have souls, so I just listened to it. Anna Belle seemed fitting.

I interviewed Tyler earlier in the month, and he mentioned you and the other actors… you kind of appropriated your wardrobe and went out on the streets of Vancouver. What sort of stuff did you guys get up to out there?

We just went to a couple of bars, chased blonde women… I scared a few of ‘em off, but we had a good time, just talked and meddled around, you know? Made good conversation.

I trust you didn’t take the axe out with you…

No, but I carried a switchblade in my pocket. Kidding! (Laughs)

How did Tyler explain some of the stranger aspects to you? The film becomes increasingly hallucinogenic and trippy during the last act when Veronica drugs her attackers…

Well Tyler’s original edit, it was a little… they always want to put in stuff and make it look a little bit more trippy, but his original interpretation was very straightforward and more classical. Me and him we… all the movies I watch are 1962 and back. I enjoy that era and I enjoy that time. So the thing I liked about Tyler’s shooting is there’s a lot of wides, and there’s lots of things quiet, just like how an old film does it. You know how it is, they come in and they change a few things… I can’t wait for the director’s cut to come out at some point, because you don’t find out she’s an assassin until they’re in the woods.

Tyler’s never had a sip of alcohol, or cigarette, or any form of drugs. I think it was more his interpretation mentally, of having an abstract mind. And they had abstract minds these gentlemen, it was about what they truly feared. That was the most fascinating aspect of it. We never focused on the drug, we focused on our deepest fears.

AB FGThe film’s having its UK premiere at FrightFest. Bearing in mind what you were saying about the era of movies you like, were you a fan of horror films coming into the project?

Yeah, when I was a little boy every Christmas I would get a Bela Lugosi or Lon Chaney movie inside my stocking. I’ve always loved horror movies. I like ‘em when there’s a lot of fog and that spooky way about ‘em. Good lighting. So this was really fulfilling for me. I’m going to do another horror movie this month which I’m really excited about, I get to be a cannibal. Yeah I can’t wait to do that man. He’s obsessed with jazz of the Fifties and Sixties, so it’ll be cool.

He won’t be anything like Danny. Wes Craven told me that, when I got my first job… I got fired from that job, because I’m severely dyslexic, I didn’t learn how to read till the age of nine, and he told me ‘all acting is controlled schizophrenia’. So I like to know my characters and then let them go. So I just can’t wait to find this new individual.

This interview appeared on The Hollywood News.

“I dream in Technicolor…” Tyler Shields Interview For ‘Final Girl’ (The Hollywood News)

TSNotorious snapper Tyler Shields has made his directorial debut with horror film Final Girl. It’s safe to say when Shields puts his name to something it isn’t going to be run of the mill, and that’s certainly the case here.

A tense, atmospheric and above all strange tale of revenge, it stars Abigail Breslin as a young assassin charged with wiping out a group of teen psychopaths and Wes Bentley as her grizzled mentor. I got on the Fifties-style phone for a look past the movie’s Americana exterior and into the bloody, beating heart beneath…

The film is arguably quite unusual. What drew you to this story?

Oh Steve, I wouldn’t say it’s arguably unusual, I’d say it’s very unusual! (Laughs) I don’t think anything necessarily drew me to the story. I came up with this world, and the movie came to be very different. Part of my idea is I don’t want to make the same old movie that we’ve seen a bunch of times, nobody wants to do that, nobody wants to be in it. Let me make something unique, let me make something people will say is unusual, and let me do it with no CGI. Let me have this whole world, and create something different and they said ‘Okay’!

FG AB WBThe central relationship is between Abigail Breslin and Wes Bentley. How did you end up casting them and what work did you do together on their characters? They’re supposed to have a twelve year association…

Abigail was the first choice for the movie and once she signed on her and I had a conversation about it, and we both had Wes Bentley as our idea. She was a big fan of his and he’s someone who I wanted to work with, and so we reached out to Wes and he said ‘I’d love to do it. I love the idea, love doing something different…’ So he signed on. He was doing another movie at the time… I want to say he was coming from that Terrence Malick movie, the name escapes me (Knight Of Cups)… he finished that movie two or three days before, then came straight to this, so we had to get them together quickly. The first thing we shot with them was her shaving his head… in real life. So that was their first bonding experience!

What led to you taking the very stylized, almost theatrical approach to the material? I’m thinking particularly in terms of the lighting…

The lighting is something that is translated from my photography, and the idea with that was I wanted to use it as almost a character. The lighting creates this tone for you, so a certain character is onscreen, they’re lit a certain way, and it gives you a certain feeling and I wanted to try to carry that for the whole film.

FGAnd what was your thinking behind the more distinctive imagery? The powder scene for example (Breslin’s character dreams that she and Bentley are hit with a red dust)…

These are all… a lot of this movie is about how your mind works. What you’re afraid of, what you might dream, what might happen if you’re tapped into your deep subconscious. That to me is an interesting dream, a lot of people dream in only black and white but I dream in Technicolor. So I would have these vivid dreams where there would be these colour explosions, and that’s part of your mind opening in a different way. I wanted to include that in the film, so when she’s having this really intense moment within her own mind, this explosion hits. That’s why we put that in there.

You mentioned Wes Bentley’s head actually being shaved, which was quite spontaneous I imagine! Did much improvisation happen during the shoot?

Oh yes! Every day we did at least one hour of improv’ing. I would encourage the boys and Wes and Abigail to create little things here and there for their characters. We would just add things as we went, and that was part of the fun.

How did you assemble that cast of young men? Did you audition them together, was it a gradual process, or…?

Logan Huffman I had worked with a bunch. Alexander Ludwig I had shot when he was sixteen, so I knew I wanted those two. Then I had two of my other friends who were supposed to do the movie, but they were both on TV shows and the shows wouldn’t let them out. So we had to recast their parts a week before shooting.

You wouldn’t know it was a last minute thing, as they all complement each other quite well…

Yeah, and one of the things is, as soon as we cast Cameron Bright and Reece Thompson, and we got all the boys together, they took their wardrobe – they stole their wardrobe! – from set and started going out in character, in costume on the streets of Vancouver. What was really great was that by the time we were done shooting the movie, if somebody was done shooting and it was their day off they would still come to set. Logan had wrapped but everyone just loved having him on set, so he kept coming. And then the same thing with Reese and the same thing with Cameron. Everyone wanted to be there, it was this great environment.

LH FGDid any other movies inspire you when you were putting the project together?

You know, there isn’t a movie where I was like ‘Let’s make it look like this movie’, but there’s certain movies throughout history where you look at them and they have such a distinct visual style. Tony Scott… you can watch a Tony Scott movie and you think ‘Oh this is Tony Scott!’ That was kind of the idea for this. Not to copy these things, but to basically make a colour version of a Thirties or Forties noir movie.

It’s your first film. What would you say you learned from the experience?

Obviously you learn a lot. You learn when you do anything. I think one of the things for me was the improv stuff that we did worked really well. I would continue that, because we used a lot of it in the movie. One of the most important things is creating that environment on set, because people were really happy and really comfortable, and they all wanted to be there. If we didn’t do that I think it would have been a big failure.

This interview appeared on The Hollywood News. Final Girl is out now on DVD.