Known in independent film circles as one of the leading filmmakers behind the sometimes-derided, sometimes-respected genre Mumblecore, Aaron Katz's third feature, "Cold Weather," a wonderful little independent film that works both as a genre exercise and touching brother-sister relationship movie, has been making the festival rounds since it premiered earlier this year at SXSW, and is influenced by films of the '70s and '60s, both American and European.
It's easy to see that influence in his latest film, a big departure from his earlier Mumblecore efforts "Dance Party USA" and "Quiet City" — more so visually, as it's shot beautifully by DP Andrew Reed on the RED ONE digital camera, but also because it employs a genre plot to drive the characterizations and relationships forward. The genre is detective fiction (secondary to the film), and it's gracefully introduced through characters (primary) about halfway through the film. Seeing it a second time in Vancouver, I was struck not only by its originality, building of tension and humor (it's a very sly and funny film), but especially its depiction of a very specific time and place. Portland (my new city) is very much a character in the film. The writer/director, who grew up there, leaves no doubt as to where this city takes place. "Cold Weather" was picked up in May by IFC Films and will begin rolling out to theaters in select cities while also being made available on VOD early 2011. We got a chance to sit down with the budding filmmaker in his hotel room in Vancouver. He was very gracious with his time, chatting for over an hour about everything from his love of baseball to his modest approach to filmmaking, preferring a "collaborative approach" and working still to this day with the same people he went to school with. We managed to get a few details on his latest script, a werewolf movie, that he's writing right now (he went back to work on it after we left the interview) with producer and friend Brendan McFadden, and also some cool insights in to the wonderful score for 'Weather' by Keegan DeWitt, who's worked on every film of Katz's.
"It's 100% Keegan [the score]," says Katz. "Because it's a genre film — in some ways — we wanted to have a score that was different from other genre films and so we decided to use instruments not commonly used or instantly recognizable. There's strings in there but also a lot of oddball percussion and harps and glockenspiels and marimbas and things like that."
We detected a heavy influence on the score being Jon Brion, specifically his tension-building and propulsive work on P.T. Anderson's "Punch-Drunk Love." His response: "Yeah we both love Jon Brion. 'Punch-Drunk Love' is a score we really like. We also really like Alexandre Desplat, who did some great work on 'Birth', 'Syriana' and 'The Painted Veil'. There's a generation of composers, a bit younger, who are doing some really interesting work, and those are a few we really like."
On his latest script: "We're working on a couple of things. Brendan [McFadden], and I are writing together a sort of werewolf action-comedy set in the '80s. It's even more of a genre film than ['Cold Weather'], but still the starting place is the characters and we really love the characters. It's kind of a fun take on '80s action comedy aesthetic like 'Beverly Hills Cop' or something like that. Those are films we really love. I don't ever want to make a film where I'm just making fun of something. We really want to make films we want to see that are in the tradition of other films we like."
Katz also mentioned he's working on a couple scripts on his own as well. Look for "Cold Weather" when it's released early next year. Watch the trailer below for a taste of that awesome score. It accurately sells the tone of the film.
A quick glance at the career of Richard J. Lewis tells a lot about his approach to "Barney's Version," an adaptation of revered Canadian author Mordecai Richler's prize-winning last novel. He's something of a TV journeyman, having directed episodes for more than a dozen series, and he seemed to have found a good fit for his style in "CSI," helming some 49 episodes from 2000 through 2006. However, his latest project, 'Version' was the opening gala selection at VIFF, a wise and somewhat obvious choice since it's a Canadian production and comes with a level of Oscar-bait, mainstream-appeal prestige.
It's a crowd-pleaser, through and through, and also a manipulative, weepy film. Lewis isn't afraid to tug at the heart strings, too often content with going the easy route to make the audience cry. Where it, and star Paul Giamatti, shines, is in the comedy. It's often quite funny and breezy, whisking through its main character's life in the rote style of a biopic. We get all the big moments with none of the nuance. That's not to say it's a bad film, just one this writer can't drum up all that much excitement for. Lewis' aspirations are high; he wants us to really feel something, to be moved, but when stacked against other big Oscar contenders released already this year ("The Social Network," "Toy Story 3" and "Inception" for example) his talents seem better suited to the standard TV fare.
But it would be unfair to withhold the fact that this film played like gangbusters at the screening. The overall mood of the packed house was almost overwhelmingly positive. They laughed, they cried and all that other good stuff. Those looking for more artful, interesting (read: something fresh) fare will likely at best find the film to be an adequate piece of entertainment, with some great performances.
Barney Panofsky (Giamatti, by no means stretching here, but he knows this kind of lovable schlub inside and out, and delivers) is the subject of the film. He's a character, described in the VIFF synopsis of the film, as a "romantic, politically incorrect and fearlessly blunt creature subject to his impulses," and while this is true, and makes for some solid drama and comedy, I imagine he must have seemed more original on the page.
The film plays as a set of extended flashbacks, kicked off with the release of a book by a police officer who's convinced Barney shot and killed his best friend, a free spirit writer played by Scott Speedman (his shit-eating grin and natural charm is perfectly suited to the character, easily the best work he's ever done). So right away, the film is treading in Oscar bait cliches: bookended structure, an older character looking back on his life with regrets and actors aging onscreen with unconvincing makeup. The murder subplot is never handled all that well, at times feeling as if Lewis forgot all about it, but he does pay off the "mystery" in the conclusion, though it's a fairly obvious ripoff of the prologue sequence in Paul Thomas Anderson's "Magnolia." The rest of the film jumps back and forth through Barney's three marriages (Minnie Driver, as his second wife, will drive you crazy), leading up to another annoying goddamn cliche that would be wrong to spoil here. Suffice to say, a certain disease comes in to play for a major character, designed to procure maximum tear dropping. Barney is not that likable of a guy, but this late reveal comes off as a lazy technique to make us forget all the bad things he did, and all the people he's wronged. At first the film seems brave and willing to give us a complex human being of a main character, but all that is put aside in the sentimental finale. We're sure it's a moving part of the book (which the kindly gentleman sitting next to this writer said was "fantastic"), but onscreen it feels trite.
In the end, it's a success, but not one to inspire fervent affection. Look for the awesome cameo by David Cronenberg as a TV director (ironic that Lewis is directing a film and casts Canada's best filmmaker as a TV guy). Other things to appreciate: it's lovingly shot on location in Montreal, hockey is a major part of Barney's life (it's a great sport), an onion is used successfully as a reoccurring motif, and Dustin Hoffman, as Barney's father, is delightful. And Paul Giamatti; how I love thee, let me count the ways. It's easy to see why he took this lead role as it's perfectly suited to him, if not a little bit been-there-done-that. Though the hairy-backed actor carries the film on his shoulders, the director seemed too comfortable going through the motions. [C+]
Known in independent film circles as one of the leading filmmakers behind the sometimes-derided, sometimes-respected genre Mumblecore, Aaron Katz's third feature, "Cold Weather," a wonderful little independent film that works both as a genre exercise and touching brother-sister relationship movie, has been making the festival rounds since it premiered earlier this year at SXSW, and is influenced by films of the '70s and '60s, both American and European.
"It's 100% Keegan [the score]," says Katz. "Because it's a genre film — in some ways — we wanted to have a score that was different from other genre films and so we decided to use instruments not commonly used or instantly recognizable. There's strings in there but also a lot of oddball percussion and harps and glockenspiels and marimbas and things like that."
