Words like cathartic and revelatory and, just, like, fuck come to mind. As a father, a Southerner, and someone not infrequently disillusioned by his life choices, I did not expect to connect so strongly with this movie. Men, especially men from the South, are told not show their emotions. An exhausted guy just trying to say that you loved your Mom. It was really interesting watching him go from Jim Cummings playing a role to Jim Arnaud. It’s one of the most incredible shots in the movie, but we couldn’t shoot it any other way. Danny and I would always joke with Jim when he was about to do something stupid.
Jim Arnaud is many things, but his priorities seem all mixed up. Brad: And so getting back to the cinematography and the visual side of things, your conversations with your DP, what are those conversations? That was the only way to do it, and it’s a nightmare.
, is absurd, but set up in an incredibly clever way as Larry thinks that both were survivors of the worst genocide in history – “Do survivors like seeing each other and talking about old times?
The Shallow Pocket Project is a series of essays based on conversations with the brilliant filmmakers behind the independent films that we love. “It’s honestly not that far off of where we could have been, as well. I don’t mean that in a school sort of way, but this way of being brought up and the expectations that are placed on you. It’s hard to watch people you love struggle with devastation and want to fix everything but have no words or answers. In the short film, the song plays and it’s very fulfilling to watch. Out of ten, why was because it’s kind of an action film. We always knew that we wanted to do something with Jim Arnaud or something inside of this same tone. He’s a kind of clueless dude who spends his life being a spectator of his own experience rather than making any decisions. William: So, as you’re trying to figure out how to capture an inherently visual performance, what’s your relationship with your cinematographer like? Not just a shot list, but I think, more important to us, an approach of how to light the room when you get to the room. Actually, we need an extra 10-second space here.” We were able to find some of the holes for the audience, and give them more room to breathe, and all of that. The first few were Jim doing an impression of the short film that he made already. I try to go in at around 58 minutes because it’s right before the parking lot scene of me getting fired. You can see my junk in tighty-whities in this hole in my crotch and- Ben: You were stuffed.
actress gives Larry one of his best and last chances at capitalizing on his 10th anniversary gift.
In the end, Susie and Jeff’s hole in the sheet idea is a myth and Larry blows it at the last second.
Check our last chat with Issa Lopez (writer/director of ‘Tigers Are Not Afraid’). And so, there are moments of this, that are just very much like, the edges of us.” – Ben Wiessner Whether you’re from the South or are a father, there is palpable, relatable authenticity to Arnaud. This interview happened at an emotional time for me, just a few days after Hurricane Michael came ashore. I’ve felt a bit untethered as I watched them begin a monumental recovery process. To experience this emotional upheaval amidst the banality of things like workplace conversation is isolating and weird. But then, with a 90-minute duration, you can’t have it be incredibly fulfilling in the beginning. We’re all from the South, and so we like telling these Southern family stories. And then, I had the idea to set the feature where the short film is the opening of it instead of the climax. You couldn’t turn short-film into a feature because the rest of the movie leading up to the funeral would have to be him having a terrible relationship with his Mom, and then his Mom passing away. It was like, “Alright, well that’d kinda be a sad movie and it wouldn’t be very good.” And then, in setting the short film at the beginning, it became a story about redemption. We say that he’s a much more pathetic version of me. And then he wakes up when he’s 35 and says, “Oh God! I’ve gotta change it for my family.” Ben: And it’s honestly not that far off of where we could have been, as well. I don’t mean that in a school sort of way, but this way of being brought up and the expectations that are placed on you. Because one of the things that we need to do for our schedule is getting day-of production out of the way as much as possible, so that you have time for performance. Brad: So, with all this prep and workshopping, how do you keep your performance from becoming mechanical? Thinking about recreating the short film, Lowell said the same thing. ” I was like, “If I’m there, how do I make it authentic? Then I did some takes where I put in dumb improv stuff because I knew that my on-set audience would find that funny. It’s just so much fun to be there with an audience where it’s there’s a big Will Ferrell style comedy shouting in that scene. I get out of the car, I fall out of the car, crawl up, slap Nate, it’s abrasive.
Then we would have these long walks to my car and Ben would say stuff like “We’ll figure it out tomorrow.” That kept me showing up. I also feel like there’s something to the foot in mouth disorder. Having grown up watching Armando Iannucci’s work, I was able to see what they did with performative comedy. You can write it in screenplay format, but you’ve got to get on your feet and do it to find out what subtlety you can employ. ” If we just have him say nothing, and he tries to connect with her through these facial expressions, it’s so much more powerful. He has a southern character that he plays, and it’s rare to find somebody where there’s any humanity. It would be is this fun anthem sung by this stadium rocker. To me, people who are approaching it as a comedy will be very surprised to be crying throughout, but then people who approach it as a drama will be even more surprised to laugh out loud throughout the movie. Are they referencing films that you want it to look like? When we were doing hand-drawn animation, it would take eleven months to do ten minutes of footage. We were trying to understand the landscape and everything felt like this club that we weren’t in.. Jim: Ben and I produced movies for a long time, and we had about six years of lowly moments, and buoying each other all the time.
My first watch of the film was probably one of the most emotional ninety minutes in a theater I’ve experienced this year. He’s going through a divorce and struggling with the realization that he’s lost contact with the only thing he cares about: his daughter. I was able to get loose enough to forget all of the scheduling and production shit. The visual language of the movie is dollies and zooms. We start out tilted down, so it’s a police uniform, and we’re thinking the audience goes like, “Oh, is Jim back in the uniform? Then Doug gets out and moves to the front of the car. So it’s like this enormous rig of a camera for this stupid introduction of just the badge. That was a quick one, but that could have been a serious one. Jim: Yeah, I was in cowboy boots and then sprinting to go and get something because everyone else was busy and they were like, “No, don’t run. Do not.” Everybody was very conscious of how I couldn’t, like, break an arm on this thing. That was the first time where my body was actually precious material. We need that hand for another two months.” Jim: It was the first time everybody’s like, “Does Jim have enough blood sugar?