All language subtitles for Q & A with directorco-writer John Krokidas and co-writer Austin Bunn
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1
00:00:06,729 --> 00:00:09,798
Hi, I'm Austin Bunn,
co-screenwriter of
Kill Your Darlings.
2
00:00:09,899 --> 00:00:13,335
And I'm John Krokidas, co-screenwriter
and director of
Kill Your Darlings.
3
00:00:13,435 --> 00:00:16,305
And we are sitting here today
in Austin's living room...
4
00:00:16,405 --> 00:00:19,208
...to answer some questions
about the making of
Kill Your Darlings,
5
00:00:19,308 --> 00:00:23,178
the writing, the origin story,
and our writing process.
6
00:00:23,279 --> 00:00:27,349
We've just been getting a lot of questions
about the writing process and the screenplay
7
00:00:27,449 --> 00:00:30,286
from a lot of aspiring screenwriters
and people who have seen the movie,
8
00:00:30,386 --> 00:00:34,089
and we thought we would just make this
home video to share some answers with you.
9
00:00:40,029 --> 00:00:42,364
S0, when I was in high school,
my best friend, Max Ross,
10
00:00:42,464 --> 00:00:45,968
gave me a copy of Allen Ginsberg's Journals
from 1950 to 1960.
11
00:00:46,068 --> 00:00:49,738
And I can remember, at the time,
having to look up what peyote was,
12
00:00:49,838 --> 00:00:52,007
because I didn't know what it was.
13
00:00:52,107 --> 00:00:54,977
But the journals were incredibly vivid
and rich and just so honest.
14
00:00:55,077 --> 00:00:57,780
And Allen has written so many things,
so many forms of writing,
15
00:00:57,880 --> 00:01:00,516
that was my first introduction to his work.
16
00:01:00,616 --> 00:01:03,719
And then in college, I can remember
going to the bookstore on campus
17
00:01:03,819 --> 00:01:07,723
and seeking out the poetry shelves,
and specifically, Ginsberg's poetry,
18
00:01:07,823 --> 00:01:11,460
because it was so raw and direct
19
00:01:11,560 --> 00:01:14,997
about all these subjects that you never
read about, or I'd never been exposed to,
20
00:01:15,097 --> 00:01:18,367
about being gay, about sexuality,
about sex with men.
21
00:01:18,467 --> 00:01:23,272
And I would read it like it was
this furtive, shameful thing in the aisles,
22
00:01:23,405 --> 00:01:26,108
but really,
it was this transmission from the future.
23
00:01:26,208 --> 00:01:27,443
Really, the future version of myself,
24
00:01:27,543 --> 00:01:30,112
somebody who was gonna be more open
and more brave.
25
00:01:30,212 --> 00:01:32,948
And I will never forget those experiences
of reading the poetry
26
00:01:33,048 --> 00:01:38,120
because it felt like a secret was being shared
from some other version of a person,
27
00:01:38,220 --> 00:01:41,090
some more open version of myself.
28
00:01:41,423 --> 00:01:44,126
I found the Beats, I think, when
most people found them, in high school.
29
00:01:44,226 --> 00:01:49,431
I remember seeing a couple of the guys
who were considered cool in high school
30
00:01:49,531 --> 00:01:51,533
with a copy of On the Road
in their back pocket.
31
00:01:51,634 --> 00:01:53,002
And whether they actually read it
32
00:01:53,102 --> 00:01:56,071
orjust absorbed it through osmosis
through their butt cheek,
33
00:01:56,171 --> 00:02:00,542
it was obviously the mark of
what cool kids did, and so, I read it.
34
00:02:00,643 --> 00:02:05,614
I think, as I discovered more about the Beats,
what really meant a lot to me
35
00:02:05,714 --> 00:02:09,184
is not only did
they actually start a counterculture...
36
00:02:09,284 --> 00:02:13,789
Excuse me, a countercultural revolution
that went on for decades,
37
00:02:13,889 --> 00:02:16,959
but they stayed friends
throughout the whole time.
38
00:02:17,059 --> 00:02:19,328
And that was always my dream,
39
00:02:19,428 --> 00:02:22,898
was looking for people
who I fit in with and belonged with,
40
00:02:22,998 --> 00:02:26,869
and wanting to create something with them
that would then persist
41
00:02:26,969 --> 00:02:32,841
and help change the way we see the world,
or bring a new light to view,
42
00:02:32,941 --> 00:02:37,713
and these guys did it their entire lives.
And that always meant a whole lot to me.
43
00:02:37,813 --> 00:02:39,982
Add to that, the fact that, similar to you,
44
00:02:40,082 --> 00:02:44,219
I found Allen's work
when I was still closeted.
45
00:02:44,319 --> 00:02:49,892
And this was the '90s, and my high school
was a very homophobic place.
46
00:02:49,992 --> 00:02:53,896
I remember someone writing a letter
to the high school paper, anonymously,
47
00:02:53,996 --> 00:02:57,232
saying that they were gay,
and the reaction was,
48
00:02:57,332 --> 00:02:59,935
"Who is the fucking faggot?
We're going to kill him."
49
00:03:00,035 --> 00:03:04,673
And I shut down, I knew
that I wouldn't be able to express myself
50
00:03:04,773 --> 00:03:08,310
until I left home and went to college.
51
00:03:08,410 --> 00:03:11,280
And then somebody mentioning
that Allen Ginsberg was gay to me,
52
00:03:11,380 --> 00:03:14,183
which, of course, to me, was a signal,
like, "Where do I find this guy?"
53
00:03:14,283 --> 00:03:18,353
And reading his works in a bookstore,
and he was just so brave with himself,
54
00:03:18,454 --> 00:03:21,790
and at a time
when it wasn't just the threat of bullying
55
00:03:21,890 --> 00:03:24,927
or that you get beat up in high school,
but it was illegal.
56
00:03:25,027 --> 00:03:28,297
He went to the Supreme Court
on charges of obscenity,
57
00:03:28,397 --> 00:03:33,569
because his work mostly contained
very explicit sexual material about being gay.
58
00:03:33,669 --> 00:03:38,373
So just as a person and as an artist,
I wished I could be as brave as him.
59
00:03:44,246 --> 00:03:47,483
In my mid-20s,
I can remember reading Vanity of
Duluoz,
60
00:03:47,583 --> 00:03:49,585
one of Kerouac's lesser books.
61
00:03:49,685 --> 00:03:54,289
And it's a roman
a clé about the murder of
David Kammerer committed by Lucien Carr,
62
00:03:54,389 --> 00:03:58,293
this friend of his at the time
when he was an undergraduate at Columbia,
63
00:03:58,393 --> 00:03:59,862
and I was totally transfixed.
64
00:03:59,962 --> 00:04:03,065
It seemed to me to be, in a large part,
65
00:04:03,165 --> 00:04:06,068
this transformational experience
for all the guys,
66
00:04:06,168 --> 00:04:09,938
Burroughs, Kerouac and Allen,
and yet, I had never read about it.
67
00:04:10,038 --> 00:04:12,741
And so, I remember
going to the New York Public Library
68
00:04:12,841 --> 00:04:16,512
and seeking out the microfiche
for the New York Times, 1944.
69
00:04:16,612 --> 00:04:19,381
I know. Does anyone out there even know
what microfiche is any more?
70
00:04:19,481 --> 00:04:21,383
And seeing it spin in front of me
71
00:04:21,483 --> 00:04:26,855
and finally coming upon the New York
Times
front page story with Lucien Carr's picture
72
00:04:26,955 --> 00:04:29,725
that described the fact
that he had dragged this friend of his,
73
00:04:29,825 --> 00:04:33,662
drowned him in the Hudson River,
and I knew it was the seed of something big.
74
00:04:33,762 --> 00:04:36,031
And so, as we've talked about,
75
00:04:36,131 --> 00:04:39,468
the murder is mentioned in a lot of the bios,
but not really in great depth,
76
00:04:39,568 --> 00:04:44,506
and so, I thought that it would make a great,
maybe, true crime novel, or a terrific play.
77
00:04:44,606 --> 00:04:47,176
And at the time, John,
you were in NYU's film school,
78
00:04:47,276 --> 00:04:50,279
and I decided to approach you
about the idea of writing it up,
79
00:04:50,412 --> 00:04:53,715
maybe as a play, maybe as a true crime novel,
and you said to me, "No.
80
00:04:53,816 --> 00:04:56,585
"You are gonna write this as a screenplay,
we're gonna write it together,
81
00:04:56,685 --> 00:04:58,187
"and I'm gonna teach you how."
82
00:04:58,287 --> 00:05:01,590
And that was, from what I remember,
the beginnings of the script.
83
00:05:02,424 --> 00:05:08,497
This was over 10 years ago
that you came to me with the idea to do this.
84
00:05:08,597 --> 00:05:13,802
I was in film school at NYU at the time,
and the cool thing about it
85
00:05:13,902 --> 00:05:17,372
is we were just friends
that shared the ideas of the things
86
00:05:17,472 --> 00:05:19,408
we wanted to work on with each other.
87
00:05:19,508 --> 00:05:22,978
And I would show you the scripts
from my short film
88
00:05:23,078 --> 00:05:29,418
and invite you to the premieres,
and you came to me wanting to do this,
89
00:05:29,518 --> 00:05:31,920
I remember, as a play.
90
00:05:32,020 --> 00:05:35,257
That you were thinking of doing a play
about this called The
Night in Question,
91
00:05:35,357 --> 00:05:37,659
and that title actually made it into the movie.
92
00:05:37,759 --> 00:05:40,028
If you look,
it is on the name of the deposition
93
00:05:40,128 --> 00:05:43,098
and in the short story that Allen turns in
at the end of the film.
94
00:05:43,198 --> 00:05:46,401
So, we actually saved
that piece of information, which is cool,
95
00:05:46,501 --> 00:05:48,704
but you wanted to write this as a play.
96
00:05:48,804 --> 00:05:54,476
But to me,
the fact that you found this untold story
97
00:05:54,576 --> 00:05:57,746
that really united
some of our favourite authors
98
00:05:57,846 --> 00:06:01,817
and the authors that meant a lot to both of us
when we were in college together,
99
00:06:01,917 --> 00:06:05,420
and was the genesis
for them becoming artists,
100
00:06:05,520 --> 00:06:09,524
I started seeing the images
in the back of my head of the movie version,
101
00:06:09,625 --> 00:06:14,630
and excuse me
for being slightly manipulative.
102
00:06:14,730 --> 00:06:19,501
Yeah, but I thought this would just not only
make a cool movie in full disclosure,
103
00:06:19,601 --> 00:06:23,138
it would also just give us the chance
to finally work with each other.
104
00:06:23,238 --> 00:06:25,274
I read his first screenplay...
105
00:06:25,374 --> 00:06:27,843
Austin, you were the one
who wanted to be a film writer first.
106
00:06:27,943 --> 00:06:29,845
- That's true.
-I didn't know what I wanted to do.
107
00:06:29,945 --> 00:06:32,381
- You remember Bloodline?
- I
remember Bloodline.
108
00:06:32,748 --> 00:06:35,183
- Syringo.
- I
remember Syringo.
109
00:06:35,417 --> 00:06:37,119
- Fireland.
-That's the one I remember the most.
110
00:06:37,519 --> 00:06:40,522
I still have a copy at home.
111
00:06:40,622 --> 00:06:44,259
But you had been wanting
to screenwrite for a while
112
00:06:44,359 --> 00:06:47,396
and I was a really bad actor
113
00:06:47,496 --> 00:06:52,801
who then started playing around with
the video camera and directing my friends.
114
00:06:52,901 --> 00:06:56,838
S0, getting into film school was a huge step
of me figuring out who I wanted to be,
115
00:06:56,939 --> 00:06:59,374
and then you come along with a great script.
116
00:06:59,474 --> 00:07:03,545
I thoughL
"Why not put our brains together and..."
117
00:07:03,645 --> 00:07:05,881
- Make some magic together.
-Yeah.
118
00:07:11,353 --> 00:07:13,555
So, we knew we had this untold story
of murder
119
00:07:13,655 --> 00:07:15,691
that brought the young Beats together.
120
00:07:15,791 --> 00:07:17,192
But now, the question was,
121
00:07:17,292 --> 00:07:20,729
"Whose movie was it,
and what story did we wanna tell?"
122
00:07:20,829 --> 00:07:24,299
I remember you told me that
the protagonist needed to be the character
123
00:07:24,399 --> 00:07:29,204
that experienced the most growth.
That had to be the core of the dramatic story.
124
00:07:29,304 --> 00:07:32,774
S0, somebody like Lucien Carr, who
was incredibly captivating and charismatic,
125
00:07:32,874 --> 00:07:35,177
could never be the protagonist,
because he didn't really grow.
126
00:07:35,277 --> 00:07:37,412
- But we tried.
-We did try, we did try.
127
00:07:37,512 --> 00:07:43,352
We did a
Talented Mr Ripley,
amoral protagonist version of the script,
128
00:07:43,452 --> 00:07:46,355
in which we tried
to get inside the head of Lucien Carr,
129
00:07:46,455 --> 00:07:47,789
this young man who obviously had
130
00:07:47,889 --> 00:07:50,292
this tempestuous relationship
with David Kammerer,
131
00:07:50,392 --> 00:07:54,696
and trying to figure out what were the forces
that would cause you to kill another man.
132
00:07:54,796 --> 00:07:59,034
But I don't think either of us
are as nefarious as we potentially thought
133
00:07:59,134 --> 00:08:03,005
and I just remember struggling to try to
emotionally connect with that and thinking,
134
00:08:03,105 --> 00:08:04,606
"We don't really wanna tell this story."
135
00:08:05,640 --> 00:08:08,443
I remember that we had the idea
for the opening of the film really early
136
00:08:08,543 --> 00:08:10,512
and we kept going back there,
circling back to this idea
137
00:08:10,612 --> 00:08:14,649
of the core experience
of Lucien releasing David to the Hudson,
138
00:08:14,750 --> 00:08:17,386
and imagining that
running backwards in time.
139
00:08:17,486 --> 00:08:19,988
But we weren't sure
whose perspective was telling it.
140
00:08:20,088 --> 00:08:21,690
We thought that maybe it would be Lucien
141
00:08:21,790 --> 00:08:25,627
and then, we came upon the idea that maybe
it was Allen's version of the events.
142
00:08:25,727 --> 00:08:28,864
And so,
that helped us land into Allen's point of view.
143
00:08:28,964 --> 00:08:32,367
And that gave us, in a way,
permission to write the story as we saw fit
144
00:08:32,467 --> 00:08:34,403
because we weren't assuming it was fact.
145
00:08:34,503 --> 00:08:40,509
You were seeing the version of an artist
tell the story as a creative act.
146
00:08:40,609 --> 00:08:43,979
And that that was gonna be the big decision,
the climatic choice of the film.
147
00:08:44,079 --> 00:08:46,982
Spoiler alert, by the way.
148
00:08:47,082 --> 00:08:50,419
For me, I think it was... The reason...
149
00:08:51,853 --> 00:08:53,455
I think, part of our process
150
00:08:53,555 --> 00:08:57,926
is the way that I was always taught to work
is very old-school,
151
00:08:58,026 --> 00:09:00,462
is working from a place of theme
152
00:09:00,562 --> 00:09:04,833
and identifying your protagonist and
looking at why you're trying to tell that story
153
00:09:04,933 --> 00:09:06,868
like, what's their arc going to be.
154
00:09:06,968 --> 00:09:09,337
And when you and I sat down
and went through all of the characters,
155
00:09:09,438 --> 00:09:15,610
I think we picked Allen because
he starts off the movie as a dutiful son
156
00:09:15,710 --> 00:09:21,349
taking care of his emotionally ill mother,
taking care of everyone else, but himself.
157
00:09:21,450 --> 00:09:22,651
And at the end of the movie,
158
00:09:22,751 --> 00:09:27,589
his greatest journey is to finally
release himself from caretaking of Lucien
159
00:09:27,689 --> 00:09:30,759
and really pronounce himself as an artist.
160
00:09:30,859 --> 00:09:33,361
And the birth of an artist story
really appealed to me,
161
00:09:33,462 --> 00:09:35,764
I think, partially,
'cause here I am, writing with you,
162
00:09:35,864 --> 00:09:38,967
and we're struggling,
trying to figure out our own voices.
163
00:09:39,067 --> 00:09:40,802
And let's face it,
164
00:09:40,902 --> 00:09:45,574
out of all the people in this movie,
who are the young, gay,
165
00:09:45,674 --> 00:09:49,811
former New Jersey- and Connecticut-Hes,
going to relate to?
166
00:09:49,911 --> 00:09:52,948
I think we would both be lying
if we didn't say
167
00:09:53,048 --> 00:09:55,450
that we felt a deep, personal connection
168
00:09:55,550 --> 00:10:00,622
after researching Allen Ginsberg's
high school journals and his early poems.
169
00:10:00,722 --> 00:10:05,293
We felt somewhat akin to him
and we felt like we could relate to him
170
00:10:05,393 --> 00:10:08,530
in this year of 1943 to 1944,
171
00:10:08,630 --> 00:10:11,333
in which the murder took place,
in which he wrote his first piece of fiction.
172
00:10:12,100 --> 00:10:16,505
ljust wanna hear from you personally, why
this story, besides the fact that it's cool?
173
00:10:16,605 --> 00:10:21,209
What emotional stuff of your own...
Where did you connect to the story?
174
00:10:21,376 --> 00:10:23,078
I remember
us circling around the idea of theme
175
00:10:23,178 --> 00:10:24,613
'cause he's serious, by the way.
176
00:10:24,713 --> 00:10:27,149
He's not lying.
He starts from this place of theme.
177
00:10:27,249 --> 00:10:29,651
We gotta keep going back there,
you've gotta articulate it.
178
00:10:29,751 --> 00:10:31,653
And I remember coming to you one day
and saying,
179
00:10:31,753 --> 00:10:35,090
"I think I know what the theme is,
and it has to do with...
180
00:10:35,190 --> 00:10:37,559
"We live in a time
when most stories about young artists
181
00:10:37,659 --> 00:10:41,696
"have to do with liberation stories,
about overcoming obstacles
182
00:10:41,796 --> 00:10:46,268
"and flowering into some amazing,
actualised version of yourself.
183
00:10:46,368 --> 00:10:50,372
"But there is this shadow experience
that's really violent about becoming yourself,
184
00:10:50,472 --> 00:10:55,410
"and it can be very damaging,
and it's intense and scarring."
185
00:10:55,510 --> 00:10:59,714
And then our film was going to be about
the emotional violence of becoming yourself,
186
00:10:59,814 --> 00:11:01,216
of choosing to become yourself.
187
00:11:01,316 --> 00:11:03,652
And when you heard that,
I remember you saying,
188
00:11:03,752 --> 00:11:06,655
"Okay, cool. Let's write that down,
so that we have evidence of that,
189
00:11:06,755 --> 00:11:10,692
"and then let's send it in to the WGA
and get it registered..."
190
00:11:10,792 --> 00:11:14,262
- If I say, "Write that down..."
-John says, "Write it down," a lot.
191
00:11:14,362 --> 00:11:17,098
Yeah, I'm sort of,
the secretary in our relationship.
192
00:11:17,199 --> 00:11:19,601
John says, "Write that down,"
that means it's a good idea.
193
00:11:19,701 --> 00:11:21,803
Shall I show you the pad?
Do you guys wanna see the pad?
194
00:11:21,903 --> 00:11:23,438
I'll show you the pad.
195
00:11:23,538 --> 00:11:28,243
- You can't move when you're doing that!
-l'm just gonna get the pad.
196
00:11:28,343 --> 00:11:29,377
This is the pad.
197
00:11:29,477 --> 00:11:32,914
If you want to know our writing process,
here are some notes.
198
00:11:34,216 --> 00:11:36,518
This is how it works.
199
00:11:37,085 --> 00:11:42,190
When we think
about our own personal connection to the...
200
00:11:42,290 --> 00:11:44,025
Yes, I like to start with theme.
201
00:11:44,125 --> 00:11:47,762
ljust wanted to know in our own lives
202
00:11:47,896 --> 00:11:51,166
who was that figure for both of us
who was like Lucien?
203
00:11:51,266 --> 00:11:55,704
And when we talked about it, from
what I remember, correct me if I'm wrong,
204
00:11:55,804 --> 00:12:00,041
we realised that it's not always
like we've seen in the movies so many times.
205
00:12:00,175 --> 00:12:04,446
That magical summer where you meet
somebody who takes you under their wing
206
00:12:04,546 --> 00:12:07,716
and transforms you
into the more confident version of yourself,
207
00:12:07,816 --> 00:12:10,418
who will go out and rebel
and tackle the world.
208
00:12:10,518 --> 00:12:14,222
Dirty Dancing, kind of.
209
00:12:14,322 --> 00:12:17,192
Dirty Dancing 2, or Havana Nights?
210
00:12:17,292 --> 00:12:21,429
Dirty Dancing 1,
Patrick Swayze is Lucien Carr.
211
00:12:23,465 --> 00:12:27,769
In my life, it wasn't
Dirty Dancing.
Baby was left in the corner.
212
00:12:27,869 --> 00:12:34,242
And there's a dynamic in these relationships,
these mentor figures.
213
00:12:34,342 --> 00:12:37,245
These people who are more popular
or more beautiful
214
00:12:37,345 --> 00:12:39,648
that you meet
when you first leave high school
215
00:12:39,748 --> 00:12:42,250
and you go to college,
or whatever it is you may go.
216
00:12:42,350 --> 00:12:44,819
And you meet this person
who's more worldly
217
00:12:44,919 --> 00:12:48,490
or more beautiful or more popular than you,
who takes you under their wing
218
00:12:48,590 --> 00:12:52,994
and starts showing you
that there's more possibilities to who you are
219
00:12:53,094 --> 00:12:55,397
than you ever knew existed.
220
00:12:55,497 --> 00:13:00,769
And as they start introducing you
to this new world,
221
00:13:00,869 --> 00:13:03,672
all of a sudden, you start to grow,
222
00:13:03,772 --> 00:13:06,474
and you start feeling more confident
under their wing.
223
00:13:06,574 --> 00:13:10,679
But to me, when I thought
about the figure it was in my life,
224
00:13:10,779 --> 00:13:16,851
that person, they want you to grow,
but never as high as themselves.
225
00:13:16,951 --> 00:13:21,423
And to me, the biggest irony
is that these people who nurtured you,
226
00:13:21,523 --> 00:13:25,160
these transformational friendships
or first loves,
227
00:13:25,260 --> 00:13:30,298
in order for really, you to become yourself
and to find your own voice,
228
00:13:30,398 --> 00:13:35,904
you have to somehow surpass them
or cut them out of your lives.
229
00:13:36,004 --> 00:13:41,309
And "Kill the king" is a very common theme
in Western literature.
230
00:13:41,409 --> 00:13:45,046
"If you see Buddha
in the middle of the road, kill him."
231
00:13:45,146 --> 00:13:48,383
It's this idea that...
232
00:13:48,483 --> 00:13:50,151
When you start writing classes,
233
00:13:50,251 --> 00:13:52,620
they often tell you
you have to "kill" your parents.
234
00:13:52,721 --> 00:13:55,357
So you don't feel these mentor figures
235
00:13:55,457 --> 00:13:58,293
watching over you
and dictating who you can be.
236
00:13:58,393 --> 00:14:02,163
In order to really free yourself,
I think you said it once,
237
00:14:02,263 --> 00:14:08,002
there is almost an act of violence,
an emotional act of violence of rebirth
238
00:14:08,103 --> 00:14:12,073
in order to fully own up
to your inner confidence
239
00:14:12,173 --> 00:14:14,843
and really become your own self.
240
00:14:14,943 --> 00:14:17,579
I wonder if
the title
is relevant here, too.
"Kill Your Darlings, " I
mean...
241
00:14:17,679 --> 00:14:19,814
The film doesn't actually
articulate the definition,
242
00:14:19,914 --> 00:14:21,516
but to anybody in a writing class who might
have heard
243
00:14:21,616 --> 00:14:23,551
the term before, "Kill your darlings."
244
00:14:23,651 --> 00:14:27,322
The spirit of that
is that we all begin with first drafts
245
00:14:27,422 --> 00:14:31,326
full of energy and tons of endearment
toward our own prose
246
00:14:31,426 --> 00:14:33,661
and indulge in it, maybe, you might say.
247
00:14:33,762 --> 00:14:35,463
And so, "Kill Your Darlings,"
the spirit of that,
248
00:14:35,563 --> 00:14:38,767
is that you identify in your own prose
the part of it that you love the most,
249
00:14:38,867 --> 00:14:40,802
which is the part that needs to be excised.
250
00:14:40,902 --> 00:14:42,470
And it's really painful and hard to do,
251
00:14:42,570 --> 00:14:45,140
'cause you feel like
it might be the core of your own voice,
252
00:14:45,240 --> 00:14:46,674
but honestly, as a mature artist,
253
00:14:46,775 --> 00:14:50,311
you need to be able
to identify that stuff and let it go.
254
00:14:50,412 --> 00:14:53,515
Did you have to kill any darlings
with the screenplay?
255
00:14:55,383 --> 00:14:58,620
Yes, we killed some darlings.
Let's see, some of the darlings that we killed.
256
00:14:58,720 --> 00:15:03,591
Underwater reverse photography.
Who knew how difficult that was gonna be?
257
00:15:03,691 --> 00:15:05,960
But there's a beautiful version there.
258
00:15:07,829 --> 00:15:09,764
There were some action sequences
that had to go
259
00:15:09,864 --> 00:15:11,900
because we knew
that it was just too difficult to shoot,
260
00:15:12,000 --> 00:15:13,601
and given our budget
and the constraints of time,
261
00:15:13,701 --> 00:15:14,936
there was no way we were gonna do that.
262
00:15:15,036 --> 00:15:19,274
But not even in the production process,
ljust mean in the writing.
263
00:15:19,374 --> 00:15:22,710
Remember how
we used to start the film in the library
264
00:15:22,811 --> 00:15:27,182
with Allen
reading
Krafft-Ebing's Psychopathia Sexualis?
265
00:15:27,315 --> 00:15:28,983
- Don't you remember these drafts?
-Yeah.
266
00:15:29,083 --> 00:15:30,585
S0, there used to be
all this stuff at the beginning
267
00:15:30,685 --> 00:15:32,520
where we kept showing
Allen as a young man,
268
00:15:32,620 --> 00:15:36,090
long before he becomes the person
we come to know him as,
269
00:15:36,191 --> 00:15:38,927
and it was good material,
but it was too much exposition.
270
00:15:39,027 --> 00:15:40,161
There was this stuff about him...
271
00:15:40,261 --> 00:15:43,364
That seems pretty common
in at least our process,
272
00:15:43,465 --> 00:15:48,036
is that a lot of the things that get excised
as you move forward towards production
273
00:15:48,136 --> 00:15:52,807
is the introduction of the character
and a lot of the set-up in Act 1.
274
00:15:52,907 --> 00:15:55,877
Because especially when you're dealing
with real-life characters like we were,
275
00:15:55,977 --> 00:16:00,782
there's so much great stuff that you can find,
that you can research, that you wanna put in,
276
00:16:00,882 --> 00:16:05,086
and then, ultimately, you realise
there's not much time in a two-hour movie.
277
00:16:05,220 --> 00:16:06,754
Remember we had Kerouac playing football,
278
00:16:06,855 --> 00:16:09,524
which we thought was really important
'cause it established his sportsmanship.
279
00:16:09,624 --> 00:16:11,893
But truthfully,
in a film that's about Allen Ginsberg
280
00:16:11,993 --> 00:16:13,361
and Lucien Carr and this murder,
281
00:16:13,461 --> 00:16:16,698
a football game
just really felt like a digression.
282
00:16:16,798 --> 00:16:20,802
I think the budget for the football game was
as much as like eight of our shooting days.
283
00:16:20,902 --> 00:16:25,406
And both of us Wikipedia-ing football rules
so we could plausibly write that scene.
284
00:16:25,507 --> 00:16:27,342
We owe Wikipedia for that.
285
00:16:27,909 --> 00:16:31,312
S0, certain screenwriters operate
according to this money shot rule,
286
00:16:31,412 --> 00:16:34,816
and, I guess, the idea being
that great films are really composed
287
00:16:34,916 --> 00:16:38,820
of 10 to 12 spectacular shots
that people will remember.
288
00:16:38,920 --> 00:16:39,988
And so, you told me this,
289
00:16:40,088 --> 00:16:42,423
and I can remember thinking in our own film
what were those shots.
290
00:16:42,524 --> 00:16:44,058
So, for me, what is my process?
291
00:16:44,158 --> 00:16:47,462
It was almost finding myself inspired
by those 10 to 15 shots
292
00:16:47,562 --> 00:16:52,667
that we would consistently go back to
as moments that just had to be told.
293
00:16:52,800 --> 00:16:56,404
And that had to do with Allen
sitting on the steps of Low Library,
294
00:16:56,504 --> 00:16:58,506
the Pieta and the Hudson River,
295
00:16:58,606 --> 00:17:01,709
it had to do with visiting pure bohemia
in the '40s and what that was like
296
00:17:01,809 --> 00:17:04,879
and what that might have meant
for somebody who was 19.
297
00:17:04,979 --> 00:17:08,683
- So, I'm theme and you're money shot?
-Yeah.
298
00:17:08,783 --> 00:17:09,951
Yeah, I guess so.
299
00:17:15,723 --> 00:17:19,160
The short way I've learned to answer that,
I think,
300
00:17:19,260 --> 00:17:22,263
and this is your chance
to correct me if I'm wrong,
301
00:17:22,363 --> 00:17:26,267
is I feel like that
my strengths are more in structure
302
00:17:26,367 --> 00:17:30,872
and in this relentless pursuit of theme
or what's the movie about
303
00:17:30,972 --> 00:17:32,974
and being able to articulate that,
304
00:17:33,074 --> 00:17:39,113
and you are so much stronger a writer
with character and with dialogue
305
00:17:39,213 --> 00:17:44,118
and in really pursuing dialogue
that feels real and inherent to a person
306
00:17:44,218 --> 00:17:47,822
and not just expositional dialogue.
307
00:17:47,922 --> 00:17:50,825
You start from specific
and I start from broad.
308
00:17:50,959 --> 00:17:52,860
- Would you say that's...
-I would say that was true.
309
00:17:52,961 --> 00:17:57,332
That was very loving, what you just said.
I felt very loved when you were speaking.
310
00:17:57,432 --> 00:18:00,134
I think you come from a place
311
00:18:00,234 --> 00:18:04,305
where you are relentless
in terms of making every scene matter.
312
00:18:04,405 --> 00:18:06,774
You can't have scenes
that are just purely there
313
00:18:06,874 --> 00:18:11,879
because they're fun
or they are like champagne in the story,
314
00:18:11,980 --> 00:18:13,848
that every scene has to lead to the next.
315
00:18:13,948 --> 00:18:18,186
And for me, I would sit there and
sink into scenes, explore them and have fun,
316
00:18:18,286 --> 00:18:20,455
splashing around
with all the different possible interactions
317
00:18:20,555 --> 00:18:24,959
and conversations
and turns of phrase that were possible.
318
00:18:25,059 --> 00:18:28,129
And I also think you're much more
of a director at some core level.
319
00:18:28,229 --> 00:18:31,132
You think a lot more
about how is this gonna play,
320
00:18:31,232 --> 00:18:34,435
and how will actors bring it to life
and how will it look on screen?
321
00:18:34,535 --> 00:18:37,939
And I've learned a lot from you for that
because this screenplay, the documentation,
322
00:18:38,039 --> 00:18:41,109
the drafts of the documentation
of us learning from each other.
323
00:18:41,209 --> 00:18:44,145
And the version we have now
is so much tighter than the first draft
324
00:18:44,245 --> 00:18:47,281
and the second draft, and, Jesus,
how many drafts do you think we have?
325
00:18:47,382 --> 00:18:49,884
I have over 100 on my hard drive.
326
00:18:49,984 --> 00:18:53,788
That's like we're re-saving every clay.
That sounds really tragic.
327
00:18:53,888 --> 00:18:56,724
You don't need to do 100 drafts
of your screenplay, okay?
328
00:18:56,824 --> 00:19:01,496
Okay, but part of it is...
There were a lot of drafts of the screenplay.
329
00:19:01,596 --> 00:19:04,165
Let's just talk about the process
for a second.
330
00:19:04,265 --> 00:19:07,268
So we decided to work on this together
331
00:19:07,368 --> 00:19:09,771
and I remember first mapping it out
on my dining room table...
332
00:19:09,837 --> 00:19:11,139
On note cards.
333
00:19:11,239 --> 00:19:14,509
And doing each scene per note card.
334
00:19:14,609 --> 00:19:17,879
With your very feminine handwriting.
335
00:19:17,979 --> 00:19:22,116
And really just laying out the movie
so we could see the whole movie, and then...
336
00:19:22,216 --> 00:19:23,584
Which is apparently
a pretty common process.
337
00:19:23,685 --> 00:19:26,054
Did you learn that in grad school,
the note card process?
338
00:19:26,154 --> 00:19:30,158
I learned that in grad school
and through writers that I admired.
339
00:19:30,258 --> 00:19:32,193
That was the structure,
I would watch them do it.
340
00:19:32,293 --> 00:19:33,995
Is it 10, 10, 10, 10 or something?
341
00:19:34,095 --> 00:19:35,863
There's 10 for the first act,
342
00:19:35,963 --> 00:19:39,934
10 for the first half of the second act,
10 for the second half of the second act.
343
00:19:40,034 --> 00:19:42,170
I don't remember
there being a mathematical number.
344
00:19:42,270 --> 00:19:45,840
ljust remember you can see if you're...
345
00:19:45,940 --> 00:19:49,644
We did use the three-act structure
with this movie.
346
00:19:49,744 --> 00:19:53,915
And if you have 82 cards in the first act
and 12 in the second,
347
00:19:54,015 --> 00:19:57,151
you realise some things have to be shifted
and moved around.
348
00:19:58,352 --> 00:20:00,555
No, but after that...
349
00:20:00,655 --> 00:20:03,157
Austin came from a journalism background
350
00:20:03,257 --> 00:20:06,661
and he's one of the most disciplined writers
I've ever met.
351
00:20:06,761 --> 00:20:10,298
And his ability
to just churn out the painful, hard first draft
352
00:20:10,398 --> 00:20:14,068
that we all hate doing so much.
353
00:20:14,168 --> 00:20:19,040
And so, you carry the burden in our process
of writing out,
354
00:20:19,140 --> 00:20:22,610
once we've got everything outlined,
writing into the nether
355
00:20:22,710 --> 00:20:26,180
and taking an empty page and filling it out
and really hammering out that first...
356
00:20:26,280 --> 00:20:29,283
- I think the empty page really scares you.
-It terrifies me.
357
00:20:29,383 --> 00:20:30,551
And it doesn't scare me that much.
358
00:20:30,651 --> 00:20:34,288
To me, it's an empty wheel
that you can throw clay on.
359
00:20:34,388 --> 00:20:35,456
And if there's already clay on it,
360
00:20:35,556 --> 00:20:37,759
it's actually more of a pain in the ass
'cause you have to clean it.
361
00:20:37,859 --> 00:20:41,662
So I'd rather have the empty page than to
have something I need to revise personally.
362
00:20:41,763 --> 00:20:45,266
- S0 that would be our process.
-And I like the revising.
363
00:20:45,366 --> 00:20:47,735
I paved, and then you put up the gas station
364
00:20:47,835 --> 00:20:52,807
and the little coffee shop and the city park,
365
00:20:52,907 --> 00:20:55,943
and then
we drove up and down that road a lot.
366
00:20:56,043 --> 00:20:58,246
And I think
there were a lot of drafts over the years
367
00:20:58,346 --> 00:21:00,782
partially because
we were living in different cities.
368
00:21:00,882 --> 00:21:03,551
And, not too dissimilar
from the band Postal Service,
369
00:21:03,651 --> 00:21:08,756
we would mail or e-mail back the drafts
in whatever cities we were living in.
370
00:21:08,856 --> 00:21:12,894
Because neither of us were
established writers or filmmakers at the time.
371
00:21:12,994 --> 00:21:15,596
We were both working day jobs
372
00:21:15,696 --> 00:21:21,569
teaching and pursuing other
writing endeavours while we were doing this.
373
00:21:21,669 --> 00:21:23,104
And it wasn't until...
374
00:21:23,204 --> 00:21:26,407
How did we know we were done?
When did we know we were done?
375
00:21:26,507 --> 00:21:31,512
We knew we were done
when I signed with Steve Dontanville.
376
00:21:31,612 --> 00:21:34,949
I got a manager and my manager asked me
377
00:21:35,049 --> 00:21:38,953
if I had any scripts that
I was hiding somewhere in the drawer
378
00:21:39,053 --> 00:21:41,889
or that I thought might be of interest.
379
00:21:41,989 --> 00:21:43,858
And I called you up, I remember,
380
00:21:43,958 --> 00:21:46,828
and said, "Do you think
Kill Your Darlings is ready to show?"
381
00:21:46,928 --> 00:21:48,229
'Cause we were insecure about it.
382
00:21:48,329 --> 00:21:51,465
This was like a labour of love that
we would send back and forth to each other
383
00:21:51,566 --> 00:21:54,635
over the course of four, five years.
384
00:21:54,735 --> 00:21:57,572
And you gave me the permission
to share it with them,
385
00:21:57,672 --> 00:22:00,141
and Steve went, "Are you kidding me?"
386
00:22:00,241 --> 00:22:05,847
And immediately, we started putting
a producer list together the next week.
387
00:22:05,947 --> 00:22:11,519
And I get asked a lot, I know you do as well,
like, "Do I need an agent?
388
00:22:11,619 --> 00:22:13,955
"How do I get a manager?
How do I get representation?
389
00:22:14,055 --> 00:22:18,593
"How do I get my film, project, script,
whatever, in the hands of the right people?"
390
00:22:18,693 --> 00:22:21,262
And I think, for Kill Your Darlings,
391
00:22:21,362 --> 00:22:26,734
this is the perfect case of, really,
it's about building your own communities
392
00:22:26,834 --> 00:22:30,338
as you leave school
and start to work professionally
393
00:22:30,438 --> 00:22:34,842
because you got
this movie made inadvertently.
394
00:22:34,942 --> 00:22:37,545
This is true. She told you this at Toronto.
395
00:22:37,645 --> 00:22:41,382
Austin co-wrote
Christine Vac:hon's second book
396
00:22:41,482 --> 00:22:44,785
and in doing so,
formed a relationship with her,
397
00:22:44,886 --> 00:22:47,188
that when it was time
to send the script to producers,
398
00:22:47,288 --> 00:22:51,626
we had someone who knew Austin, and...
399
00:22:51,726 --> 00:22:53,828
Which was total luck, in a way,
because I had written that book
400
00:22:53,928 --> 00:22:55,863
just purely work for hire.
401
00:22:55,963 --> 00:22:59,267
But she's an amazing film producer.
Some of the movies, we've loved.
402
00:22:59,367 --> 00:23:03,704
You
had the Velvet Goldmine poster
on your wall
in college.
403
00:23:03,804 --> 00:23:08,242
And, yeah. Gosh, lots of films.
404
00:23:08,342 --> 00:23:11,612
And my aunt always gave me the advice,
405
00:23:11,712 --> 00:23:14,348
"Pay your dues
where you intend to spend them."
406
00:23:14,448 --> 00:23:18,953
And in a way, I interned at Miramax
and did script reading for them,
407
00:23:19,053 --> 00:23:22,223
and they were the people
who really gave me my first start in writing
408
00:23:22,323 --> 00:23:24,025
and got me my Writers Guild card.
409
00:23:24,125 --> 00:23:28,162
And it's your work with Christine
that really brought Christine onto this film.
410
00:23:28,262 --> 00:23:30,898
'Cause I lived in New York
and went to film school there
411
00:23:30,998 --> 00:23:33,868
and lived
eight blocks from her office for years
412
00:23:33,968 --> 00:23:35,736
and could not get a meeting with her.
413
00:23:35,836 --> 00:23:40,441
And then the irony is, I move out to LA,
you sent Christine our script,
414
00:23:40,541 --> 00:23:44,078
and she flew out to me
and took me out to the Sunset Tower Hotel
415
00:23:44,178 --> 00:23:47,682
-to convince me to produce this movie.
-Yeah.
416
00:23:53,988 --> 00:23:56,924
I like to get up early in the morning
and not really do anything,
417
00:23:57,024 --> 00:23:58,993
but get right to the computer
and start writing.
418
00:23:59,093 --> 00:24:00,628
And I try to write till about noon.
419
00:24:00,728 --> 00:24:05,833
John, at that point, vampire-style, wakes up
having spent the night feeding and feasting.
420
00:24:05,933 --> 00:24:08,803
And then at that point,
you would read some of those pages.
421
00:24:08,903 --> 00:24:09,971
That's how it worked for us.
422
00:24:10,071 --> 00:24:14,408
You would read pages from the morning
and then we'd work in the afternoon.
423
00:24:14,508 --> 00:24:17,311
You're the morning person,
I'm the night person.
424
00:24:17,411 --> 00:24:18,946
And I think part of our ritual has been
425
00:24:19,046 --> 00:24:23,384
it's been nice that Austin has been teaching
for the last 10 years
426
00:24:23,484 --> 00:24:27,188
as we've been trying to get this movie made,
in smaller towns, away from New York.
427
00:24:27,288 --> 00:24:28,456
Yes, you would escape.
428
00:24:28,556 --> 00:24:34,195
And so, I could escape and we could retreat
in the woods in wherever you were living.
429
00:24:34,295 --> 00:24:38,132
That's right.
You've been to Iowa, you came to Michigan.
430
00:24:38,232 --> 00:24:41,602
- Did we go hot tubbing?
-No, we never went hot tubbing.
431
00:24:41,702 --> 00:24:43,971
- We had a deadline.
-Okay, yeah, I guess we had a deadline.
432
00:24:44,071 --> 00:24:49,143
But I would say, other rituals that we have,
making playlists.
433
00:24:49,243 --> 00:24:50,244
Yeah, playlist, big part of it.
434
00:24:50,344 --> 00:24:52,813
Music is really important,
I think, to both of us.
435
00:24:52,947 --> 00:24:56,150
And what I like about our collaboration
436
00:24:56,250 --> 00:25:01,489
is our music styles have one or two places
of intersection in the concentric circles.
437
00:25:01,589 --> 00:25:04,592
- But you have your world...
-Jonsi and Sigur Ros are one intersection.
438
00:25:04,692 --> 00:25:07,361
That's in the middle for both of us.
439
00:25:07,461 --> 00:25:10,598
And I have my music,
but then we find the common songs.
440
00:25:10,698 --> 00:25:14,268
Both of us can use our own concentric
circles when we're writing separately,
441
00:25:14,368 --> 00:25:18,539
but when we're writing individually then,
it becomes really like playing in that field
442
00:25:18,639 --> 00:25:22,376
and trying to think of new bands
for each other while we're alone.
443
00:25:22,476 --> 00:25:26,180
We can be like, "Oh, my God. I have a new
band that will work in our concentric circle."
444
00:25:26,280 --> 00:25:29,417
It's funny, John,
was there music that we listened to
445
00:25:29,517 --> 00:25:31,485
while we were writing
that you were so attached to,
446
00:25:31,585 --> 00:25:33,487
you thought it would be in the film,
and is it?
447
00:25:33,587 --> 00:25:37,425
The Sigur Ros and the Jonsi,
stuff that we listened to while writing,
448
00:25:37,525 --> 00:25:39,193
I never thought would be in the movie.
449
00:25:39,293 --> 00:25:42,029
Initially, I had this whole academic proposal
450
00:25:42,129 --> 00:25:46,233
of this swing to bebop
progression of the film
451
00:25:46,333 --> 00:25:50,304
mirroring the Beats journey from a more
place of conformity to anti-conformity.
452
00:25:50,404 --> 00:25:53,974
And this being 1944 and the birth of bebop,
that's in the movie.
453
00:25:54,075 --> 00:25:55,776
And doing a soundtrack very similar
454
00:25:55,876 --> 00:25:59,814
to Miles
Davis' soundtrack
for Elevator to the Gallows.
455
00:25:59,914 --> 00:26:03,617
I sat down
with our music supervisor, Randall Poster,
456
00:26:03,717 --> 00:26:05,986
who said that, "Thesis is all great and nice,
457
00:26:06,087 --> 00:26:09,023
"but the truth is,
after you finish shooting the movie,
458
00:26:09,123 --> 00:26:12,093
"you're going to see the child
that is your film
459
00:26:12,193 --> 00:26:14,428
"and it's going to start speaking to you.
460
00:26:14,562 --> 00:26:17,765
"And take that academic proposal,
put it to the side,
461
00:26:17,865 --> 00:26:20,334
"now go make your movie
and then try the music,
462
00:26:20,434 --> 00:26:23,170
"but you should also be open
to different kinds of music."
463
00:26:23,270 --> 00:26:27,908
And so, I put the period jazz music
on top of the film and it didn't work at all
464
00:26:28,008 --> 00:26:32,646
and I put period accurate stuff on the film
and it felt like Woody Allen's
Radio Days.
465
00:26:32,746 --> 00:26:37,218
lt just felt more like a document of the era
than being young and spirited and alive.
466
00:26:37,585 --> 00:26:40,254
But then, I went through our playlists,
467
00:26:40,521 --> 00:26:43,190
and took a lot of the tracks
that we wrote the film to,
468
00:26:43,390 --> 00:26:46,660
stuff that was felt contemporary,
but also timeless,
469
00:26:47,294 --> 00:26:49,063
like Sigur Ros and Jonsi
470
00:26:49,430 --> 00:26:52,433
and, like Randall Poster said,
it just meshed with the film,
471
00:26:52,700 --> 00:26:56,003
and matched what we were doing visually.
472
00:26:56,837 --> 00:26:59,340
And then the next thing I know,
I'm stealing from our playlist,
473
00:26:59,440 --> 00:27:01,275
and then, we call up Nico Muhly,
474
00:27:01,375 --> 00:27:04,445
who arranges music for Sigur Ros
and for Jonsi,
475
00:27:04,545 --> 00:27:07,414
and for Grizzly Bear and Bjork
and all these bands that we listen to,
476
00:27:07,648 --> 00:27:10,985
and he wanted to compose the score.
477
00:27:11,352 --> 00:27:15,923
So, that's the progression of how
the music that we used while writing,
478
00:27:16,023 --> 00:27:17,758
actually, a lot of it ended up in the movie.
479
00:27:18,859 --> 00:27:24,198
Now, the other rituals, I would say,
do you have a three pages a day rule,
480
00:27:24,398 --> 00:27:25,799
do you have to get to a certain amount?
481
00:27:25,900 --> 00:27:29,270
I remember hearing the writer
for Brokeback Mountain,
482
00:27:29,370 --> 00:27:32,907
says, "I write three pages a day,
no matter what, no matter how bad,
483
00:27:33,040 --> 00:27:35,342
"and I never want to finish a scene,
484
00:27:36,043 --> 00:27:38,212
"I just wanna leave it
in the middle of a scene,
485
00:27:38,312 --> 00:27:40,147
"so I don't feel like
I have to restart the next day."
486
00:27:40,247 --> 00:27:41,815
You have something to just continue on?
487
00:27:41,916 --> 00:27:43,017
D0 you have anything like that?
488
00:27:43,117 --> 00:27:45,486
The great thing about screenwriting,
having written other things,
489
00:27:45,586 --> 00:27:47,721
like journalism and fiction,
490
00:27:47,988 --> 00:27:50,324
is that, actually, you can
produce volume pretty quickly.
491
00:27:50,424 --> 00:27:54,094
Like, three pages, five pages, seems like
a reasonable amount to expect in a day,
492
00:27:54,228 --> 00:27:57,298
compared to say, writing a short story,
where one page is a lot.
493
00:27:58,699 --> 00:28:00,568
But, you know, I let myself off the hook
all the time.
494
00:28:00,668 --> 00:28:02,836
I feel like, some days, it's just not coming,
and some days...
495
00:28:03,137 --> 00:28:04,672
I don't believe in a muse,
496
00:28:04,838 --> 00:28:09,210
but I do believe that routine
does reinforce good behaviour.
497
00:28:09,310 --> 00:28:10,878
But I also feel like, quality is quality
498
00:28:10,978 --> 00:28:13,747
and when you're connected to the material,
it shows.
499
00:28:19,353 --> 00:28:22,856
I am learning from John just how
tight and compressed you think my prose is.
500
00:28:23,157 --> 00:28:26,460
And that's probably because I feel like
screenplays are...
501
00:28:27,127 --> 00:28:30,698
You have to kind of strip away all the
excess to figure out what the narrative is,
502
00:28:30,798 --> 00:28:32,099
and then you can build it back up.
503
00:28:32,199 --> 00:28:34,969
But until you know that,
I want it to be really spare and really...
504
00:28:35,069 --> 00:28:38,939
And also, I want the director and actors to
find space to discover stuff inside the prose.
505
00:28:40,574 --> 00:28:44,578
Define what I would say...
Like, I'd define as spare.
506
00:28:45,145 --> 00:28:48,349
Like, subject-verb sentences
that just say like...
507
00:28:48,849 --> 00:28:50,284
No, but in terms of like...
508
00:28:50,851 --> 00:28:53,854
Like, your particular writing style,
509
00:28:53,954 --> 00:28:56,090
versus other screenplays
that we read all the time.
510
00:28:56,190 --> 00:28:59,493
You know, when you read other screenplays,
sometimes they seem to be very,
511
00:29:00,261 --> 00:29:01,895
how to put this, high decibel.
512
00:29:02,129 --> 00:29:05,165
They seem like they're really trying
to underscore every emotional beat,
513
00:29:05,299 --> 00:29:07,735
and they're almost... They're closer
to comic books or graphic novels,
514
00:29:07,835 --> 00:29:11,438
I think, in my mind. It's almost like, graphic
novels without the cells, without the panels.
515
00:29:11,772 --> 00:29:18,312
But I prefer something that's
a little bit closer to playwriting,
516
00:29:18,612 --> 00:29:21,749
where you're more suggesting
a situation or an atmosphere,
517
00:29:21,849 --> 00:29:24,018
so that others can get inspired.
518
00:29:24,318 --> 00:29:27,588
I'm learning from you, though,
to write a little bit more, to raise the volume
519
00:29:27,688 --> 00:29:30,190
on the emotional life, so that actors
and other people can understand it.
520
00:29:30,291 --> 00:29:33,861
I wanted to ask about this
more spare style of yours.
521
00:29:34,328 --> 00:29:36,196
You know, Daniel Radcliffe himself
522
00:29:36,497 --> 00:29:39,366
said that one of the reasons
he wanted to do this project,
523
00:29:39,633 --> 00:29:43,003
when asked, not by me and in the press,
was the script.
524
00:29:43,604 --> 00:29:49,009
And he said that he had not read a script
where he felt
525
00:29:49,343 --> 00:29:53,347
that each scene pushed along the story
and the characters so strongly,
526
00:29:54,214 --> 00:29:58,652
without the use of exposition,
is what he really admired in the script.
527
00:29:58,986 --> 00:30:02,790
Because you don't have a very showy
style of writing at all.
528
00:30:03,123 --> 00:30:07,094
If anything, you try to take back my...
When I try to like, show or kind of, like,
529
00:30:07,594 --> 00:30:09,763
give dialogue that causes attention to itself,
530
00:30:09,863 --> 00:30:13,767
your natural tendency, I would say,
and correct me if I'm wrong, is to strip back.
531
00:30:13,834 --> 00:30:15,069
Yeah.
532
00:30:15,836 --> 00:30:17,938
And I feel like, with you,
there's almost a challenge,
533
00:30:18,038 --> 00:30:20,474
like, how little... How many few words...
534
00:30:20,774 --> 00:30:22,209
- Yes.
-With the fewest amount of words
535
00:30:22,309 --> 00:30:23,444
that we can do the scene in.
536
00:30:23,644 --> 00:30:25,479
It's true though, right?
537
00:30:25,579 --> 00:30:30,984
And I think because of that,
I'm curious when people read the script,
538
00:30:31,385 --> 00:30:33,420
-if they have the same reaction.
-Good point.
539
00:30:33,520 --> 00:30:35,422
'Cause I noticed when I read the script,
540
00:30:35,522 --> 00:30:38,559
it definitely feels different
from the other scripts out there,
541
00:30:38,859 --> 00:30:42,162
-and that it is so to the point...
-Economical.
542
00:30:42,262 --> 00:30:43,797
...bare bones, economical.
543
00:30:43,964 --> 00:30:48,769
And without the exposition,
it makes you do more work as a reader,
544
00:30:49,536 --> 00:30:53,040
which I think is ultimately more satisfying
545
00:30:53,440 --> 00:30:56,910
because you do the math in your head
to realise
546
00:30:57,845 --> 00:31:01,281
what the scene is trying to say often,
rather than having it be spelled out for you.
547
00:31:01,382 --> 00:31:03,951
I think we make good collaborators,
'cause you're the child of a therapist,
548
00:31:04,051 --> 00:31:07,755
so, for you, a lot of writing,
I think, is articulating emotions,
549
00:31:07,855 --> 00:31:13,360
people digging deep and deciding to really
open their hearts to each other,
550
00:31:13,460 --> 00:31:14,561
and so, it's kind of gushy.
551
00:31:14,828 --> 00:31:16,630
And that's why people want to go
to the movies,
552
00:31:16,730 --> 00:31:19,900
is have a feeling.
They go to kind of take an emotional ride.
553
00:31:20,167 --> 00:31:24,405
And my tradition is a little bit more spare
and economical and guarded, probably.
554
00:31:24,605 --> 00:31:28,308
And so, together, we know we make
a kind of gumbo.
555
00:31:28,642 --> 00:31:30,944
A kind of interesting mix.
556
00:31:31,912 --> 00:31:35,315
Can we talk about...
What's a good example, do you think,
557
00:31:35,516 --> 00:31:37,918
that Radcliffe might have been
talking about?
558
00:31:38,185 --> 00:31:39,653
Like, a scene that you feel
559
00:31:40,654 --> 00:31:47,628
passionately or feel proud of, that used this
strip down technique, without exposition.
560
00:31:47,828 --> 00:31:49,763
Okay, so, let's take Allen and his mom, right.
561
00:31:49,863 --> 00:31:53,133
S0, this is an incredibly
complicated relationship
562
00:31:53,233 --> 00:31:56,737
between a woman who is very mentally ill
and her son, who is very dutiful and attentive
563
00:31:56,837 --> 00:32:00,240
and would stay home from school to make
sure that she wouldn't leave the house.
564
00:32:00,607 --> 00:32:03,143
And we had decided that we needed
to show a flash point of this,
565
00:32:03,243 --> 00:32:07,414
in an effort to set up his caretaking,
for what would pay off later with Lucien Carr.
566
00:32:07,681 --> 00:32:10,617
S0, there's a moment when Allen
and his dad are sitting in the living room,
567
00:32:10,717 --> 00:32:13,253
and you hear the smash of a window
in a distant room,
568
00:32:13,587 --> 00:32:16,623
and the father says to Allen,
"I told you it wouldn't work."
569
00:32:17,191 --> 00:32:20,394
And then, when Allen rushes to the room,
what you come to understand is that,
570
00:32:20,494 --> 00:32:22,629
he had, in fact, nailed the windows shut
571
00:32:22,729 --> 00:32:24,698
to keep his mother
from trying to flee the house.
572
00:32:24,865 --> 00:32:28,068
And the mom had punched through the glass
in an effort to try to escape.
573
00:32:28,202 --> 00:32:30,537
And that never really gets that articulated
in the scene.
574
00:32:30,637 --> 00:32:33,307
And I think the mother claims
that the dad did it,
575
00:32:33,707 --> 00:32:35,742
and Allen says that he admits that he did it.
576
00:32:35,843 --> 00:32:37,945
But you have to kind of read backwards
to understand
577
00:32:38,045 --> 00:32:42,916
how far this family's had to go
to keep this mother from hurting herself,
578
00:32:43,016 --> 00:32:44,017
or from wandering off.
579
00:32:44,318 --> 00:32:47,187
And so, that would be one example,
that I'm proud of.
580
00:32:47,454 --> 00:32:50,524
Because, "I told you it wouldn't work,"
I think, to me, implies two things.
581
00:32:50,624 --> 00:32:54,261
One, that they've obviously tried
countless numbers of things,
582
00:32:54,361 --> 00:32:56,830
and it's almost like
a very pedestrian reaction,
583
00:32:57,097 --> 00:33:00,300
to this very extreme emotional
circumstance going on upstairs.
584
00:33:00,667 --> 00:33:03,136
The fact that the mother, in an act of hysteria,
585
00:33:03,237 --> 00:33:06,573
punched her way through the window,
and cut open her hand,
586
00:33:06,673 --> 00:33:08,208
in trying to escape the house,
587
00:33:08,609 --> 00:33:11,044
to them, it's like,
"I told you it wouldn't work."
588
00:33:11,178 --> 00:33:12,145
Yeah.
589
00:33:12,246 --> 00:33:14,815
Like, this is option number 42
that we've tried,
590
00:33:14,915 --> 00:33:18,852
in order to calm her down
and make her life more tolerable.
591
00:33:18,952 --> 00:33:19,920
You know what I wanna say, though?
592
00:33:20,020 --> 00:33:22,222
It was occurring to me while I was
re-reading the script, recently,
593
00:33:22,322 --> 00:33:26,660
what I'm most proud of in the script
is the way that we have seeded the cloud
594
00:33:26,760 --> 00:33:29,730
of what will come in the lives
of these Beat writers.
595
00:33:29,830 --> 00:33:32,399
S0, you're seeing things like,
"First thought, best thought,"
596
00:33:32,499 --> 00:33:35,536
which is a credo that Kerouac,
espoused his entire life,
597
00:33:35,636 --> 00:33:37,104
and you're seeing the origins of that.
598
00:33:37,204 --> 00:33:39,573
You're seeing Burroughs' technique,
the cut-up technique,
599
00:33:39,673 --> 00:33:44,244
begin one night of playful
rummaging through David's library.
600
00:33:44,545 --> 00:33:47,748
You're seeing Allen's technique as a poet,
of listening to the world,
601
00:33:47,848 --> 00:33:49,716
picking up common speech and vernacular,
602
00:33:49,850 --> 00:33:51,685
and transforming it into something beautiful.
603
00:33:51,785 --> 00:33:54,688
Like, if I had to pinpoint
what I'm so proud of, is that.
604
00:33:54,788 --> 00:33:56,657
Is that, for the people who love these writers,
605
00:33:56,757 --> 00:33:58,992
you're getting a chance
to see their first drafts,
606
00:33:59,092 --> 00:34:00,761
the first spark of their creativity,
607
00:34:00,861 --> 00:34:02,663
and what will become their method.
608
00:34:03,096 --> 00:34:08,268
But at the same time, you and I definitely
were very conscious while writing this
609
00:34:08,535 --> 00:34:11,939
that if we ever had a scene
with Jack Kerouac at the end of the movie,
610
00:34:12,039 --> 00:34:15,208
saying, "Good-bye,
I am going on the road," that...
611
00:34:15,309 --> 00:34:16,643
...we would hurt ourselves.
612
00:34:17,344 --> 00:34:19,112
That I would hurt you, for writing it.
613
00:34:19,413 --> 00:34:23,116
We didn't want to write the biopic,
the Miramax 1993 movie, right?
614
00:34:23,216 --> 00:34:27,220
That was like, in our minds,
we kept referring to this Miramax 1993 film,
615
00:34:27,321 --> 00:34:32,960
that there was this very well done,
perfectly executed, but totally airless biopic,
616
00:34:33,226 --> 00:34:37,631
that was supposed to, in a way,
impress and teach people
617
00:34:37,731 --> 00:34:39,533
about people's lives,
but wouldn't make you feel.
618
00:34:39,933 --> 00:34:42,269
And that was...
I mean, there are great films like that.
619
00:34:42,369 --> 00:34:44,771
But that's not the one we wanted to make.
We wanted to make something...
620
00:34:44,871 --> 00:34:46,940
You wanted to make
something
closer to
Trainspotting,
621
00:34:47,541 --> 00:34:48,742
Sid and Nancy,
622
00:34:48,842 --> 00:34:51,378
movies that were more... Had an aesthetic,
623
00:34:51,578 --> 00:34:54,381
and a lot of voice and style.
624
00:34:54,648 --> 00:34:56,817
But at its core, because it's us,
625
00:34:56,984 --> 00:34:59,620
and because we were the dorks
we were in high school and college,
626
00:34:59,720 --> 00:35:05,892
there's definitely a touch on top of that,
of like, '80s nerd comedy, like, Real Genius,
627
00:35:06,093 --> 00:35:07,594
-one of your favourite movies of all time.
-Yes.
628
00:35:08,195 --> 00:35:10,998
Yes. I was looking at the script today
and we used the word "brassiere,"
629
00:35:11,798 --> 00:35:14,668
and I was happy that we did that.
630
00:35:16,603 --> 00:35:19,039
Also, in doing a period piece,
631
00:35:20,207 --> 00:35:24,578
one thing that I really admired is,
and just talk about it for half a second.
632
00:35:24,878 --> 00:35:27,547
Like, you went and found '40s slang.
633
00:35:27,648 --> 00:35:30,417
Oh, '40s slang.
There are slang dictionaries you can find.
634
00:35:30,517 --> 00:35:32,285
We got them at the New York Public Library.
635
00:35:32,753 --> 00:35:33,954
Yeah, there's a bunch in there.
636
00:35:34,187 --> 00:35:37,090
Catnip for the skirts, ear job.
637
00:35:37,457 --> 00:35:39,693
Yeah, we peppered the whole script
with that stuff.
638
00:35:40,260 --> 00:35:43,030
Sometimes the actors didn't know
what the heck it even meant.
639
00:35:43,130 --> 00:35:45,132
They had to ask you to figure out what...
640
00:35:45,232 --> 00:35:46,533
Yeah, most of the time.
641
00:35:46,733 --> 00:35:48,101
"What's an ear job?" Yeah.
642
00:35:48,602 --> 00:35:50,103
And then, but why...
643
00:35:50,203 --> 00:35:54,341
S0, tell me, like, when did you start
doing this? Why did you think to do this?
644
00:35:54,441 --> 00:35:55,442
'Cause most movies...
645
00:35:55,909 --> 00:35:57,444
There's some great books,
like,
Gay New York,
646
00:35:57,544 --> 00:35:58,712
remember that George Chauncey book,
647
00:35:58,812 --> 00:36:01,181
the professor who wrote
about New York at that period.
648
00:36:01,481 --> 00:36:04,317
I think part of it is that, when you do
good research, the story writes itself.
649
00:36:04,418 --> 00:36:08,021
I mean, there were details that
are suffused in the story...
650
00:36:08,155 --> 00:36:09,956
You know, some of them
are not even onscreen any more.
651
00:36:10,057 --> 00:36:13,927
Remember how we had learned that gay bars
at the time, would have signs...
652
00:36:14,027 --> 00:36:15,529
Or not gay bars, excuse me.
653
00:36:15,729 --> 00:36:19,032
Remember how we learned that bars at the
time, would have signs up that would say,
654
00:36:19,966 --> 00:36:21,668
"lf y0u're gay, please stay away,"
655
00:36:21,768 --> 00:36:24,838
to encourage gay people to not stay
there, so they wouldn't get raided.
656
00:36:25,072 --> 00:36:28,809
So, details like that, ljust felt like, were
the sort of things that inspired us as writers,
657
00:36:28,909 --> 00:36:31,578
to go back there. I mean,
you kind of need those bread crumbs.
658
00:36:31,945 --> 00:36:33,447
Especially writing a period movie.
659
00:36:33,580 --> 00:36:37,517
Yeah, because it excites you, and makes you
feel like you're shedding some new light,
660
00:36:37,617 --> 00:36:40,053
-historically looking backwards...
-Things you haven't seen. Yeah.
661
00:36:40,153 --> 00:36:46,660
We had the burden and pleasure
of needing a poem,
662
00:36:47,427 --> 00:36:50,931
for Allen Ginsberg,
at the very, very beginning of his career,
663
00:36:51,031 --> 00:36:54,167
because he was still a Columbia freshman,
664
00:36:54,501 --> 00:36:56,069
and hadn't written yet.
665
00:36:56,837 --> 00:37:00,340
And we have this poem,
in the middle of the movie that he recites,
666
00:37:00,440 --> 00:37:05,946
kind of the first time he steps out of
the cloud of nervousness and anxiety,
667
00:37:06,046 --> 00:37:08,515
and proclaims himself an artist.
668
00:37:09,216 --> 00:37:11,651
And that was an original poem
that you wrote...
669
00:37:11,718 --> 00:37:12,686
I know.
670
00:37:12,786 --> 00:37:17,724
...that you wanted to incorporate
various moments that we had seen,
671
00:37:17,824 --> 00:37:20,127
-of his journey in this specific film.
-Yeah.
672
00:37:20,227 --> 00:37:21,862
So we could see the process.
673
00:37:22,028 --> 00:37:25,232
We had a version of a poem there,
but it wasn't really working,
674
00:37:25,332 --> 00:37:27,768
because, as you know,
if you've seen movies with poems in them,
675
00:37:27,934 --> 00:37:29,202
oftentimes, they're sort of dead,
676
00:37:29,302 --> 00:37:31,104
and they feel like
they're not read very well,
677
00:37:31,204 --> 00:37:35,742
or they don't really excite you, they don't
give you the spirit of the poem or the artist.
678
00:37:36,243 --> 00:37:37,544
But I remember we had the idea that,
679
00:37:37,644 --> 00:37:39,679
"Oh, this is really a way
of him speaking to Lucien,
680
00:37:39,780 --> 00:37:41,548
"speaking very open-heartedly to Lucien,"
681
00:37:41,715 --> 00:37:44,618
which, again, that's Allen Ginsberg
to the core.
682
00:37:44,885 --> 00:37:48,388
So, with that notion in mind, it was a matter
of going, kind of,
683
00:37:48,488 --> 00:37:50,090
looking over Allen's early work,
684
00:37:50,190 --> 00:37:53,627
and finding ways of cobbling like a magpie,
685
00:37:53,727 --> 00:37:55,295
stuff that had already been in the film,
686
00:37:55,462 --> 00:37:57,197
that he could transform into lyric.
687
00:37:57,464 --> 00:37:59,266
And so, that's what the poem is
688
00:37:59,366 --> 00:38:04,404
is kind of a mashup of his honest,
open heart, speaking to Lucien,
689
00:38:04,638 --> 00:38:07,607
seeing what he's seeing,
the sensitivity and the tender heartedness.
690
00:38:07,774 --> 00:38:10,911
And also, feeding back.
"Oh, I've learned this.
691
00:38:11,011 --> 00:38:14,247
"You've taken me on an adventure, here's my
perspective on what you're teaching me."
692
00:38:14,548 --> 00:38:17,684
And so, I'm proud of what's there.
I mean, it's just a first draft.
693
00:38:17,784 --> 00:38:22,088
It's like, hearing his first throat clear,
before he finds his voice.
694
00:38:22,889 --> 00:38:27,227
But what I like about what you just said
was, we weren't just sticking a poem in there,
695
00:38:27,327 --> 00:38:30,263
-because it was a movie about young poets.
-Poems... Poets, yeah.
696
00:38:30,697 --> 00:38:33,433
It was an emotional character choice,
697
00:38:33,533 --> 00:38:37,504
in order to open up to the young man
that he was in love with, and...
698
00:38:37,604 --> 00:38:41,208
That's you though. See, that's your
education. That's what you taught me.
699
00:38:41,708 --> 00:38:44,244
- So, I'm just patting myself on the back now?
-A little bit.
700
00:38:50,016 --> 00:38:54,120
I believe this movie came out
of our obsessions and our curiosity.
701
00:38:54,521 --> 00:38:56,489
Like, we fell in love with these writers,
702
00:38:56,723 --> 00:38:59,926
wanted to know more,
wanted to bring a world alive,
703
00:39:00,026 --> 00:39:02,529
and that those two things, having
obsessions and having curiosities,
704
00:39:02,629 --> 00:39:04,364
are like the core of your artistic life.
705
00:39:04,497 --> 00:39:06,633
And I think screenplays
that come out of those things,
706
00:39:07,000 --> 00:39:09,469
are always interesting,
whether or not they get made.
707
00:39:09,669 --> 00:39:10,770
People want to read them.
708
00:39:11,171 --> 00:39:15,575
And it's the screenplays that are more
machine-made or produced for the industry,
709
00:39:15,876 --> 00:39:17,110
that are not as compelling to read.
710
00:39:17,210 --> 00:39:19,079
So, for me, younger screenwriters
I always say,
711
00:39:19,179 --> 00:39:20,847
"Cultivate your curiosity
and your obsessions."
712
00:39:20,947 --> 00:39:23,316
Like, it's great to be fixated on stuff.
713
00:39:23,516 --> 00:39:25,752
That's where your art comes from.
That's your material.
714
00:39:25,986 --> 00:39:27,787
What's your obsession, Austin Bunn?
715
00:39:28,488 --> 00:39:31,992
These days, my obsession, I was
really into that book, The Secret Historian...
716
00:39:33,126 --> 00:39:35,729
No. I mean, with this movie,
what was your obsession?
717
00:39:35,829 --> 00:39:37,430
What was my obsession?
718
00:39:39,532 --> 00:39:45,205
My obsession was telling the origin story
of an artist who meant a lot to me.
719
00:39:45,338 --> 00:39:49,109
That felt like the art gods... I needed
permission from the art gods to do it.
720
00:39:49,376 --> 00:39:54,114
And so, I got obsessed with his origin story,
and that's what you're seeing onscreen.
721
00:39:54,614 --> 00:39:56,750
Did the art gods grant you permission?
722
00:39:57,384 --> 00:39:58,351
I'm still waiting to hear.
723
00:39:58,451 --> 00:40:03,256
I've left out bananas and cookies outside
and I'm still waiting for them to be eaten.
724
00:40:04,090 --> 00:40:08,695
So for you, this was a chance
to look at the emotional and cultural forces
725
00:40:08,795 --> 00:40:10,563
that shaped an artist who you admire.
726
00:40:10,764 --> 00:40:13,967
I mean, is there any better gig
as a screenwriter than doing that?
727
00:40:14,167 --> 00:40:18,438
It felt like a form of honouring somebody,
and bringing a world alive.
728
00:40:18,538 --> 00:40:20,340
I mean, these are the things
that get me excited,
729
00:40:20,440 --> 00:40:21,441
that make me want to sit in a chair.
730
00:40:21,574 --> 00:40:25,312
What about you?
What's your advice for screenwriters, John?
731
00:40:27,447 --> 00:40:29,516
The first draft is the hardest draft,
732
00:40:29,616 --> 00:40:31,885
and to just get it done with
as quickly as possible.
733
00:40:32,319 --> 00:40:36,690
And whether it means staying up all night
and forcing yourself a deadline upon you,
734
00:40:36,790 --> 00:40:38,725
by joining a writing group or a class,
735
00:40:39,092 --> 00:40:44,097
or somehow convincing your best friend
who writes faster than you, to help,
736
00:40:44,197 --> 00:40:46,733
you write the first draft with them.
737
00:40:46,833 --> 00:40:48,201
Well, no, but you're
onto something, collaboration.
738
00:40:48,301 --> 00:40:52,739
I think a lot of young writers think
they need to work alone and be pilgrims.
739
00:40:52,939 --> 00:40:54,574
It doesn't need to be like that.
They can collaborate.
740
00:40:54,674 --> 00:40:57,777
In fact, it was like one of the best
experiences of our life was working together.
741
00:40:57,877 --> 00:41:00,213
I mean, I don't mean to speak for you,
but that was a great experience.
742
00:41:00,313 --> 00:41:02,582
But just on the flip side,
743
00:41:03,183 --> 00:41:06,319
I think we've both collaborated
with other people before,
744
00:41:06,753 --> 00:41:09,856
and it's very much like a relationship.
745
00:41:09,990 --> 00:41:11,691
What would you say your love language is?
746
00:41:12,659 --> 00:41:13,994
What are my options?
747
00:41:15,295 --> 00:41:17,630
I don't really remember,
but you choose a colour.
748
00:41:18,164 --> 00:41:19,966
- Blue.
-Okay, mine's purple.
749
00:41:20,900 --> 00:41:23,336
Does that mean we're compatible?
750
00:41:24,170 --> 00:41:25,572
And together we make brown.
751
00:41:26,639 --> 00:41:28,041
No, you don't.
752
00:41:28,141 --> 00:41:29,776
What colour do we make?
What colour does blue...
753
00:41:29,876 --> 00:41:31,444
There's a question. Post this on the website.
754
00:41:31,544 --> 00:41:34,714
Okay, collaboration is a good thing,
but it's about finding the right partner.
755
00:41:34,948 --> 00:41:38,718
And, for me, the reason I go to relationships
756
00:41:38,818 --> 00:41:43,256
is we have to be very open and honest
with each other.
757
00:41:43,523 --> 00:41:44,891
- You can't...
-Yeah.
758
00:41:45,959 --> 00:41:47,694
Ultimately, at the end of the day,
759
00:41:47,794 --> 00:41:51,498
it's about not keeping any feelings
of not being heard inside,
760
00:41:51,598 --> 00:41:53,666
or not being paid attention to,
761
00:41:53,767 --> 00:41:56,770
or all the things that come up
in any relationship.
762
00:41:56,870 --> 00:42:00,707
And being able to articulate them honestly,
and being able to complement each other.
763
00:42:00,807 --> 00:42:03,576
Your greatest lesson that you gave me,
by the way, as a screenwriter,
764
00:42:03,676 --> 00:42:06,646
was to write the B+ draft, and just give
yourself permission to write something
765
00:42:06,746 --> 00:42:09,749
that was just okay, and then go back
and make it as good as you could,
766
00:42:09,849 --> 00:42:11,918
but it's really important
to have something there first.
767
00:42:17,223 --> 00:42:18,691
The truth of the matter is,
768
00:42:19,092 --> 00:42:21,928
a manager or an agent,
nobody wants to represent you
769
00:42:22,028 --> 00:42:26,332
until you have a great script
that they think they can put together,
770
00:42:26,433 --> 00:42:28,401
and get sold, and get made.
771
00:42:28,668 --> 00:42:31,571
And that doesn't happen
necessarily with your first one.
772
00:42:31,838 --> 00:42:34,274
Doesn't happen necessarily
with your second or your third.
773
00:42:34,374 --> 00:42:37,544
I mean, for me, this is probably,
Kill Your Darlings,
774
00:42:37,877 --> 00:42:41,314
is about the eighth script,
775
00:42:41,481 --> 00:42:43,550
I think, I wrote, if not the 10th?
776
00:42:44,150 --> 00:42:46,019
It's somewhere in the eight to 10 area.
777
00:42:46,186 --> 00:42:47,987
- Like, for you...
-What was the first one?
778
00:42:48,321 --> 00:42:49,923
- The first script I ever wrote?
-Yeah.
779
00:42:51,391 --> 00:42:53,393
Obviously, my short films,
780
00:42:53,493 --> 00:42:59,032
but the first feature script I ever wrote,
was a collaboration right out of grad school.
781
00:43:00,834 --> 00:43:03,570
It was All
About Eve,
set at Yale Drama School.
782
00:43:03,670 --> 00:43:05,338
- Oh, yeah, Drama School.
-Called Drama School.
783
00:43:05,438 --> 00:43:06,439
I saw a reading of it. Okay.
784
00:43:06,539 --> 00:43:08,875
That was the first feature I ever finished.
785
00:43:09,809 --> 00:43:13,980
And mine was
Bloodline, about a murderous
secret society at Yale University,
786
00:43:14,080 --> 00:43:16,316
or unnamed Ivy League institution.
787
00:43:16,816 --> 00:43:20,286
S0, about how many scripts, would you say,
did you write before this one?
788
00:43:20,487 --> 00:43:23,156
- Feature-length screenplays, four.
-Yeah.
789
00:43:23,289 --> 00:43:25,325
- So, this is your fifth script.
-Yeah.
790
00:43:25,525 --> 00:43:29,863
And a lot of people also ask me...
791
00:43:31,030 --> 00:43:34,334
You know, they're so anxious
to make it happen, and to start a career,
792
00:43:34,434 --> 00:43:37,670
but the truth of the matter is,
part of this is out of your control.
793
00:43:38,004 --> 00:43:44,277
But, you know, I went to grad school
with 39 other aspiring filmmakers.
794
00:43:44,711 --> 00:43:49,182
And if anything the thing that unites
the ones who have been successful
795
00:43:49,282 --> 00:43:50,683
and gotten their films made
796
00:43:51,084 --> 00:43:54,287
is not necessarily talent,
there's obviously an ounce of it there,
797
00:43:54,387 --> 00:43:57,257
for everyone who has succeeded,
but tenacity.
798
00:43:57,357 --> 00:43:58,992
Yeah, perseverance.
799
00:43:59,359 --> 00:44:01,861
This script, you were there
on the sidelines the whole time.
800
00:44:02,695 --> 00:44:06,432
This movie came together and fell apart,
so many times.
801
00:44:07,200 --> 00:44:09,202
- With different cast incarnations.
-Yeah.
802
00:44:09,636 --> 00:44:12,472
We had to rewrite the script how many times,
for budget?
803
00:44:12,572 --> 00:44:16,109
To bring it down from 15 to 12,
to bring it down from 12 to eight,
804
00:44:16,209 --> 00:44:20,079
to bring it down from eight to six,
to six to four, to three-point-eight.
805
00:44:20,180 --> 00:44:24,384
Like, did we ever stop
writing the script over the last 10 years?
806
00:44:24,484 --> 00:44:25,885
- Not really.
-No.
807
00:44:26,319 --> 00:44:29,055
And then we continued to write it
during production,
808
00:44:29,155 --> 00:44:30,990
because a location would fall through.
809
00:44:31,124 --> 00:44:34,060
Because we didn't have time
to shoot a scene the day before,
810
00:44:34,160 --> 00:44:35,762
because an actor had questions.
811
00:44:35,862 --> 00:44:40,033
Like, we were pretty much... And then,
after in post, to solve some problems of,
812
00:44:40,466 --> 00:44:46,072
you know, scenes that we didn't finish
accomplishing during production,
813
00:44:46,206 --> 00:44:48,274
and needing ADR lines
to solve certain issues.
814
00:44:48,374 --> 00:44:49,375
And let me jump in there to say that
815
00:44:49,475 --> 00:44:51,344
that was actually
one of the most exciting aspects of it,
816
00:44:51,444 --> 00:44:53,446
that it's really dynamic.
It's almost like a living thing
817
00:44:53,546 --> 00:44:57,083
that you're trying to make as alive
and as healthy as you possibly can.
818
00:44:57,350 --> 00:45:01,421
S0, as a writer, used to publication
and freezing a document,
819
00:45:01,521 --> 00:45:04,290
the screenplay changes and evolves
and grows up,
820
00:45:04,390 --> 00:45:07,727
and that experience was indelible.
821
00:45:07,894 --> 00:45:11,030
And it's something you don't experience
until it goes into production, really.
822
00:45:11,164 --> 00:45:12,298
You don't know for sure.
823
00:45:13,433 --> 00:45:16,803
But that's the best advice I can give writers,
is to
824
00:45:17,870 --> 00:45:22,508
be tenacious, to not give up,
but to constantly be writing new material.
825
00:45:22,976 --> 00:45:27,714
Because this one took over 10 years
to get made.
826
00:45:28,114 --> 00:45:31,618
In the meantime, though,
we've written several other projects,
827
00:45:33,286 --> 00:45:36,589
that now are potentially ready
for the world to see.
828
00:45:36,689 --> 00:45:37,957
Some that we may have surpassed,
829
00:45:38,057 --> 00:45:41,127
some still may be things
that we're passionate about.
830
00:45:41,394 --> 00:45:46,466
But it's like the old-fashioned
romantic advice to a young woman
831
00:45:46,833 --> 00:45:50,303
was, "Six on a string, to get a ring."
832
00:45:50,970 --> 00:45:53,840
And one thing that I've learned is...
833
00:45:53,940 --> 00:45:55,675
Wait, can you break that down, John?
834
00:45:55,775 --> 00:45:56,943
What is, "Six on a string..."
835
00:45:57,043 --> 00:46:00,046
To have six men interested in you,
in order to get a wedding proposal.
836
00:46:00,146 --> 00:46:02,915
Like, don't get fixated on just one guy.
837
00:46:03,416 --> 00:46:04,717
- And...
-Sleep around.
838
00:46:06,719 --> 00:46:09,055
Don't get fixated just on one script.
839
00:46:09,155 --> 00:46:12,959
Although, I completely kind of
went against my own advice,
840
00:46:13,059 --> 00:46:15,495
because I was very fixated on this one script
for 10 years
841
00:46:15,595 --> 00:46:16,863
-and trying to get it made.
-You were.
842
00:46:17,130 --> 00:46:20,867
But to have other projects helps,
so when this one falls apart,
843
00:46:20,967 --> 00:46:22,835
as it inevitably will, several times,
844
00:46:23,102 --> 00:46:25,271
that you have something else
to be working on,
845
00:46:25,438 --> 00:46:29,976
and to keep your mind off of the struggle
that it's taking to get the first one made.
846
00:46:30,710 --> 00:46:34,314
Have you had struggles?
How have you been surviving, basically?
847
00:46:35,381 --> 00:46:36,983
Professionally speaking? Like, artistically?
848
00:46:37,083 --> 00:46:39,419
Professionally and artistically,
what was the struggle like?
849
00:46:39,552 --> 00:46:40,753
When we started working on this,
850
00:46:40,853 --> 00:46:43,189
I was still working as a magazine journalist
in New York.
851
00:46:43,456 --> 00:46:45,825
And then I went to graduate school
at the University of Iowa,
852
00:46:45,925 --> 00:46:47,694
Writers' Workshop, for a couple of years.
853
00:46:48,695 --> 00:46:50,697
And then, when I graduated,
I started teaching, actually.
854
00:46:50,797 --> 00:46:54,100
S0, these days, I teach at Cornell University,
and I teach playwriting and screenwriting.
855
00:46:54,200 --> 00:46:57,670
S0, teaching has really been
the support for me, as a creative person.
856
00:46:58,171 --> 00:47:02,275
And helped underwrite a lot of trips,
research experiences and things like that.
857
00:47:02,442 --> 00:47:06,713
What about you? How have you
stayed afloat in 10 and a half years?
858
00:47:07,747 --> 00:47:12,018
- And are you afloat? I mean, can we say...
-No. Not yet.
859
00:47:13,619 --> 00:47:14,887
It's been hard.
860
00:47:15,555 --> 00:47:17,957
I mean, should I talk? I guess I should.
861
00:47:18,958 --> 00:47:21,728
A little over two years ago,
I ran out of money.
862
00:47:22,095 --> 00:47:26,165
I've had to move back into my parents'
apartment at the age of 38.
863
00:47:28,801 --> 00:47:30,903
And the writing jobs weren't coming in,
864
00:47:31,104 --> 00:47:34,140
and this movie was about to be financed,
and then it wasn't.
865
00:47:35,241 --> 00:47:38,878
And I remember, I had conversations
with Daniel, my boyfriend of 10 years,
866
00:47:38,978 --> 00:47:42,482
that if this didn't happen, this was it.
867
00:47:42,582 --> 00:47:45,451
I was gonna give up.
I had gone to grad school,
868
00:47:45,551 --> 00:47:48,588
gotten my degree, had two successful
short films, tried for 10 years,
869
00:47:48,688 --> 00:47:51,858
and, you know, if this didn't work out,
870
00:47:52,759 --> 00:47:57,563
I would go after plan B,
which was to pursue an academic career,
871
00:47:57,830 --> 00:48:01,934
and to stay teaching.
And try to get a full-time job teaching.
872
00:48:03,436 --> 00:48:04,570
But thankfully...
873
00:48:05,405 --> 00:48:08,908
You remember, it was like, that last month,
right before production.
874
00:48:09,008 --> 00:48:13,846
We had all the pieces in play,
we just needed to get enough cast attached,
875
00:48:14,147 --> 00:48:15,681
in order to justify the financing.
876
00:48:15,782 --> 00:48:19,118
It was like a race against time.
877
00:48:19,652 --> 00:48:22,455
And magically, you know, I feel like,
in order to get a movie made,
878
00:48:22,555 --> 00:48:25,691
it's a little like The Dark Crystal,
that the light has to shine,
879
00:48:25,925 --> 00:48:29,362
through a certain angle, into the window
to hit the crystal to fill the room,
880
00:48:29,462 --> 00:48:32,498
that only happens once every 22.4 years.
881
00:48:32,598 --> 00:48:36,202
Like, all these magical forces
of the cast being available,
882
00:48:36,302 --> 00:48:38,538
and the financing being ready,
and the producers on board,
883
00:48:38,738 --> 00:48:42,008
like, all the little puzzle pieces
need to fit into place.
884
00:48:43,109 --> 00:48:45,845
And we had that one stroke of good luck
885
00:48:46,112 --> 00:48:49,682
-that finally got us to get this made.
-What was that?
886
00:48:50,116 --> 00:48:52,185
Our one stroke of good luck is that
887
00:48:53,352 --> 00:48:57,957
independent movies are often made
by pre-selling the foreign rights,
888
00:48:58,524 --> 00:49:02,328
like selling the rights to Germany's
distribution channels and Italy's,
889
00:49:02,428 --> 00:49:04,130
before you even start filming.
890
00:49:04,797 --> 00:49:09,168
And right before we started filming,
Daniel Radcliffe's The
Woman in
Black,
891
00:49:09,302 --> 00:49:12,605
and Dane DeHaan's Chronicle,
came out at the box office.
892
00:49:13,339 --> 00:49:15,975
And they opened up
number one and number two,
893
00:49:16,709 --> 00:49:19,512
outperforming what anybody thought
they were going to do.
894
00:49:19,979 --> 00:49:23,049
And then, it was a week after that,
at the Berlin Film Festival,
895
00:49:23,149 --> 00:49:24,550
where we started to make our sales.
896
00:49:25,184 --> 00:49:27,620
And for the first time, people saw this movie
897
00:49:27,720 --> 00:49:30,356
as something that was potentially
commercially viable,
898
00:49:30,456 --> 00:49:31,457
-and fundable.
-Fundable.
899
00:49:31,691 --> 00:49:34,594
And it was like
the "dream come true" moment.
900
00:49:40,433 --> 00:49:43,436
S0, Allen Ginsberg had had a couple
of relationships with women
901
00:49:43,536 --> 00:49:44,537
when he was really young.
902
00:49:44,837 --> 00:49:47,507
Both of the women committed suicide
or died,
903
00:49:47,807 --> 00:49:51,310
in really kind of intense ways.
904
00:49:51,611 --> 00:49:55,414
And I remember reading in his journals,
905
00:49:55,848 --> 00:49:58,718
he had this quote, in which he said,
"Three great deaths,"
906
00:49:59,218 --> 00:50:01,120
and he listed their two names,
of the two women,
907
00:50:01,487 --> 00:50:04,357
and at the end he wrote,
"And at last, I have forgotten his name,
908
00:50:04,490 --> 00:50:05,691
"David Kammerer."
909
00:50:05,858 --> 00:50:09,529
And I remember reading that and thinking,
like that death meant something to him,
910
00:50:09,629 --> 00:50:12,665
echoed in his life,
long after the actual murder.
911
00:50:12,798 --> 00:50:15,268
And that was, in a way,
the sort of signal flare of the fact
912
00:50:15,368 --> 00:50:18,538
that this murder had really shook him up.
913
00:50:18,671 --> 00:50:22,308
And the novella that we talk about
in the film, almost got him expelled,
914
00:50:22,475 --> 00:50:25,211
Jack
and Bill ended
up writing
And the Hippos Were Boiled in Their Tanks,
915
00:50:25,344 --> 00:50:29,081
their first collaboration in terms of a novel,
and it had been suppressed for 60 years.
916
00:50:29,181 --> 00:50:31,150
I mean, we haven't...
We never read it while we were writing it,
917
00:50:31,250 --> 00:50:32,585
it came out in 2008 or something.
918
00:50:33,719 --> 00:50:37,423
But just to think that that one experience
had really given them
919
00:50:37,523 --> 00:50:39,492
some core subject matter for their writing,
920
00:50:40,560 --> 00:50:43,029
was the proof, was kind of this transmission,
that it was like,
921
00:50:43,129 --> 00:50:45,565
"We need to follow this trail.
There's something in this story."
922
00:50:51,237 --> 00:50:53,105
Well, I always connected it
through friendship,
923
00:50:53,205 --> 00:50:54,574
and the kind of friendship dynamic.
924
00:50:54,674 --> 00:50:58,044
And I realise there was a pretty core
sexual expeflence in it
925
00:51:01,414 --> 00:51:03,816
I mean, I'm not sure how to answer that.
I think I...
926
00:51:05,618 --> 00:51:09,989
I think I fell in love with people
who weren't necessarily even gay.
927
00:51:10,089 --> 00:51:11,891
And that's probably
a very common experience.
928
00:51:11,991 --> 00:51:16,896
So, feeling unrequited love, and feeling
desire for something you could never have,
929
00:51:16,996 --> 00:51:21,000
and the constant feeling of isolation
and the kind of desperation of thinking
930
00:51:21,100 --> 00:51:24,737
you might never be loved for who you are,
that I felt.
931
00:51:24,837 --> 00:51:28,574
And it took me a long time to meet the people
that I found beautiful
932
00:51:28,674 --> 00:51:32,712
and were willing to reciprocate.
933
00:51:32,845 --> 00:51:36,983
And did that find its way into the script,
do you think?
934
00:51:38,818 --> 00:51:42,221
As you mentioned,
we've written it over so many years
935
00:51:42,321 --> 00:51:45,391
that it traps so many different versions of us,
you know.
936
00:51:45,758 --> 00:51:50,463
The boys who started writing it are different
from the men on this camera right now.
937
00:51:50,796 --> 00:51:54,133
ljust find it interesting, though,
at the heart of it is an unrequited love.
938
00:51:54,233 --> 00:51:55,501
That's what the movie's about.
939
00:51:56,435 --> 00:51:57,436
Yeah.
940
00:51:57,837 --> 00:51:58,838
Yeah, that's true.
941
00:51:59,271 --> 00:52:00,272
Don't you think?
942
00:52:01,707 --> 00:52:04,677
Yeah. I mean, you've always been
more attracted to blondes.
943
00:52:05,478 --> 00:52:07,179
S0, that's what we're seeing onscreen.
944
00:52:07,380 --> 00:52:11,684
No, but I'm just wondering, like,
for me, I was working very specifically
945
00:52:11,784 --> 00:52:15,955
on looking at the facts
of Allen's adolescence,
946
00:52:16,055 --> 00:52:18,557
and years in college,
and then, trying to work with you
947
00:52:18,658 --> 00:52:20,326
to find emotional tissue
948
00:52:20,426 --> 00:52:23,462
in between the facts that we could
understand and know how to write.
949
00:52:23,562 --> 00:52:26,499
- And then I could tell the actors.
-Okay.
950
00:52:27,400 --> 00:52:28,901
I got you, yeah. I mean, I think that
951
00:52:29,035 --> 00:52:32,238
some common experience
that all gay people have
952
00:52:32,405 --> 00:52:34,674
is you have to choose to become yourself.
953
00:52:35,141 --> 00:52:36,909
At some point, you have to choose
to become yourself
954
00:52:37,009 --> 00:52:40,046
and that is a gift, ultimately,
because I think a lot of people in this world
955
00:52:40,146 --> 00:52:42,314
don't ever have to make that choice
956
00:52:42,415 --> 00:52:45,217
and they don't have to learn
from that experience. And it's pretty painful.
957
00:52:45,317 --> 00:52:48,621
And I can remember being young
and having that feeling so intense inside me
958
00:52:48,721 --> 00:52:52,158
of needing to make the decision
about who I was gonna be.
959
00:52:52,258 --> 00:52:55,061
And it's wrapped up with feelings
about becoming an artist,
960
00:52:55,161 --> 00:52:57,530
and self-expressing as a writer as well,
961
00:52:57,630 --> 00:53:01,233
but very much about coming out
and experiencing self-acceptance,
962
00:53:01,467 --> 00:53:03,369
that is at the core of the film.
963
00:53:04,070 --> 00:53:06,439
We've talked about this before.
It's not a film about coming out
964
00:53:06,539 --> 00:53:09,542
as much as it's a story about
coming into being an artist
965
00:53:09,642 --> 00:53:11,944
and owning up to the fact that
966
00:53:12,044 --> 00:53:15,247
you feel like your voice needs to be heard
and self-expression matters.
967
00:53:16,115 --> 00:53:19,852
And to me, also, at its core, gay or straight,
968
00:53:19,952 --> 00:53:23,322
I think we've all had that figure
969
00:53:23,422 --> 00:53:30,362
of the tortured musician/actress/poet,
970
00:53:30,796 --> 00:53:33,065
-whatever it may be...
-Barista.
971
00:53:33,165 --> 00:53:34,467
Part-time barista.
972
00:53:34,567 --> 00:53:40,206
But something that we've never felt
we could attain in high school.
973
00:53:40,306 --> 00:53:42,675
- Yeah.
-And that, kind of, as we know
974
00:53:42,775 --> 00:53:45,778
is much cooler, more attractive,
whatever it may be, than us.
975
00:53:45,878 --> 00:53:48,848
And we tried so hard to be...
976
00:53:48,948 --> 00:53:50,483
We tried, in the past,
977
00:53:50,583 --> 00:53:53,819
to be the person that we thought
they wanted us to be.
978
00:53:53,919 --> 00:53:57,723
We tried to act like the way
979
00:53:57,823 --> 00:54:00,860
the person that we think they would
fall in love with would act like.
980
00:54:01,794 --> 00:54:06,265
But that's never the relationship that
really allows you to be yourself.
981
00:54:06,699 --> 00:54:11,036
And it's not until the ashes
of the end of that relationship,
982
00:54:11,137 --> 00:54:14,006
when I looked at myself
and some of my friends,
983
00:54:14,840 --> 00:54:17,309
that you get the strength to realise,
"Wait a second.
984
00:54:17,409 --> 00:54:21,614
"It's not about trying to be
who they want me to be.
985
00:54:21,714 --> 00:54:25,484
"It's about being myself."
Which is a different journey altogether.
986
00:54:25,718 --> 00:54:29,188
But you have to somehow
get past that relationship
987
00:54:29,288 --> 00:54:32,858
in order to get to a place where
you feel like you deserve to be loved.
988
00:54:33,392 --> 00:54:36,228
See? Child of a therapist.
This is your natural mode.
989
00:54:36,328 --> 00:54:38,731
When people come
and talk to me after the film,
990
00:54:38,831 --> 00:54:41,200
a lot of the time, they're like,
"Oh, my God, that relationship.
991
00:54:41,300 --> 00:54:43,702
"L had that relationship in college."
992
00:54:43,969 --> 00:54:48,240
I think the two things that people at least
have spoken to me about connecting with
993
00:54:48,340 --> 00:54:51,210
are having had that relationship in college
994
00:54:51,310 --> 00:54:54,613
and from the break-up of that,
getting the strength to be who they are.
995
00:54:54,713 --> 00:54:59,151
And also that feeling
of just being 19 and 20 years old
996
00:54:59,251 --> 00:55:01,420
and wanting to change the world.
997
00:55:01,520 --> 00:55:05,724
And wanting to make a mark on the world
that's unique in your own.
998
00:55:05,991 --> 00:55:09,128
And like these guys did, start a revolution.
999
00:55:09,228 --> 00:55:12,598
And the cool thing is,
after this movie obviously,
1000
00:55:12,698 --> 00:55:14,533
these guys actually did it and went on.
1001
00:55:18,671 --> 00:55:20,306
First thought, best thought.
1002
00:55:21,440 --> 00:55:23,509
Hardest scene to direct in the movie?
1003
00:55:25,010 --> 00:55:26,478
Library heist.
1004
00:55:27,179 --> 00:55:29,682
Favourite moment in the finished film?
1005
00:55:31,750 --> 00:55:33,085
So many.
1006
00:55:34,220 --> 00:55:35,788
When time stops.
1007
00:55:36,755 --> 00:55:41,327
Weirdest part of the script that
you never really felt like you understood.
1008
00:55:45,130 --> 00:55:49,401
I think I ask too many questions nonstop
to make sure.
1009
00:55:49,468 --> 00:55:50,636
Hold on.
1010
00:55:50,736 --> 00:55:52,438
- What do you say?
-That's good. That's good.
1011
00:55:52,538 --> 00:55:55,708
One of the weirder parts of the script
has to do with the jazz sequence
1012
00:55:55,808 --> 00:55:58,110
when things slow down. Remember
how many versions we had of that?
1013
00:55:58,210 --> 00:55:59,812
People falling off the Empire State Building,
1014
00:55:59,912 --> 00:56:01,881
people climbing over each other,
a bus exploding.
1015
00:56:01,981 --> 00:56:04,416
Yeah, but then it was Jared Goldman,
our line producer going,
1016
00:56:04,516 --> 00:56:05,951
"You can't afford that."
1017
00:56:06,418 --> 00:56:10,356
What piece of clothing in the film
do you wish you could own and wear?
1018
00:56:14,326 --> 00:56:16,862
I like Jack Kerouac's flannel shirts.
1019
00:56:19,098 --> 00:56:23,836
If you had been alive in 1944,
what do you think you'd be doing?
1020
00:56:28,407 --> 00:56:30,809
- Probably fighting.
-Street fighting.
1021
00:56:31,143 --> 00:56:33,979
- No, the war.
-Okay. You in the war?
1022
00:56:34,079 --> 00:56:36,415
At what age would I be?
1023
00:56:36,782 --> 00:56:40,052
- Would I be the age of the characters?
-Yeah, the age of the characters.
1024
00:56:40,152 --> 00:56:43,355
'Cause the only reason they weren't at war
was educational visa.
1025
00:56:44,390 --> 00:56:46,892
Right now, if I was in 1944,
what would I be doing?
1026
00:56:46,959 --> 00:56:48,060
Yeah.
1027
00:56:51,964 --> 00:56:53,599
I don't know... Theatre?
1028
00:56:53,666 --> 00:56:55,067
Journalism.
1029
00:56:55,167 --> 00:56:57,703
- You're the journalist.
-I know, but I could see you doing that.
1030
00:56:57,803 --> 00:57:01,173
Okay. What's your favourite movie
from the noir period?
1031
00:57:01,273 --> 00:57:02,541
I'd be a journalist.
1032
00:57:03,075 --> 00:57:06,946
What's your favourite movie
from that period? From the '40s.
1033
00:57:07,780 --> 00:57:09,048
Just from early noir?
1034
00:57:09,148 --> 00:57:10,716
- Just that period.
-From that high period noir?
1035
00:57:10,783 --> 00:57:11,917
Yeah.
1036
00:57:12,017 --> 00:57:13,953
Well, Double Indemnity is the go-to.
1037
00:57:15,621 --> 00:57:18,524
The secret one?
A lot of them are later, though.
1038
00:57:19,358 --> 00:57:20,693
Yeah. I'm sorry, I'm moving the thing.
1039
00:57:20,793 --> 00:57:22,895
What posters did you have
on your dorm wall?
1040
00:57:22,995 --> 00:57:24,396
What posters did you have
on the wall of your dorm?
1041
00:57:24,463 --> 00:57:25,764
You tell them.
1042
00:57:26,231 --> 00:57:29,268
- You had the Labyrinth poster.
-No.
1043
00:57:29,368 --> 00:57:32,438
- You
had the poster for Gremlins 2.
- No.
1044
00:57:33,138 --> 00:57:34,773
You did have, like, the Sid and
Nancy poster.
1045
00:57:34,873 --> 00:57:37,209
- You had some punk poster.
- I probably had Sid and
Nancy at some point.
1046
00:57:37,309 --> 00:57:38,978
That sounds about right.
1047
00:57:41,947 --> 00:57:45,584
What was your favourite book
when you were in college?
1048
00:57:46,885 --> 00:57:47,853
In college?
1049
00:57:47,953 --> 00:57:49,254
Like, we talked about a vision in the film.
1050
00:57:49,355 --> 00:57:51,390
What was your favourite book
when you were in college?
1051
00:57:53,525 --> 00:57:56,462
One of them was Milan
Kundera's
The Unbearable Lightness of Being.
1052
00:57:56,528 --> 00:57:57,997
Okay.
1053
00:57:59,164 --> 00:58:02,868
What one piece of music
do you need to listen to
1054
00:58:02,968 --> 00:58:05,504
to be able to experience John Krokidas?
1055
00:58:07,573 --> 00:58:09,241
- Orally.
-One?
1056
00:58:10,576 --> 00:58:12,277
One piece of music?
1057
00:58:12,378 --> 00:58:15,981
If you had to give an album
to a youth right now, to a youngster,
1058
00:58:16,515 --> 00:58:18,751
and say, "This is your future.
You need to listen to this."
1059
00:58:19,852 --> 00:58:22,588
First thing that comes to
mind,
Liz Phair's Exile in Guyville.
1060
00:58:22,654 --> 00:58:23,922
Okay.
1061
00:58:25,324 --> 00:58:27,259
What's your favourite word right now?
1062
00:58:28,193 --> 00:58:29,194
"Crafty."
1063
00:58:29,294 --> 00:58:31,797
What is your favourite thing
to do on a Friday night?
1064
00:58:34,500 --> 00:58:36,835
Avoid the crowds of New York City
and stay in.
1065
00:58:39,371 --> 00:58:42,841
And what else? What other
speed round questions do we have?
1066
00:58:43,876 --> 00:58:48,447
Okay, the movie's first draft
was titled Extraordinary
1067
00:58:48,547 --> 00:58:50,582
and the second draft
was called
The Night in Question.
1068
00:58:51,083 --> 00:58:55,320
If you had to choose one of them,
which one would you choose?
1069
00:58:55,687 --> 00:58:59,391
I would
pay to go see
Extraordinary
before a movie called
The Night in Question.
1070
00:59:00,092 --> 00:59:01,326
Really?
1071
00:59:01,427 --> 00:59:04,096
Yeah, The Night in Question
sounds academic to
me.
1072
00:59:04,463 --> 00:59:06,331
The Night in Question. Okay, I
get it.
1073
00:59:06,432 --> 00:59:08,367
It's gonna be Rashomon,
there's gonna be four different views.
1074
00:59:08,467 --> 00:59:11,236
Okay. All right. But Extraordinary
might yield some
surprises?
1075
00:59:11,336 --> 00:59:12,371
- Yeah.
-Okay.
1076
00:59:12,471 --> 00:59:14,940
- It's big enough.
-What's your guilty pleasure media-wise?
1077
00:59:16,275 --> 00:59:18,143
They're all pretty out on the surface,
aren't they?
1078
00:59:18,243 --> 00:59:19,945
They're all pretty guilty is what
I was gonna say.
1079
00:59:20,012 --> 00:59:21,013
Yeah.
1080
00:59:24,850 --> 00:59:27,052
What's your favourite scene in the movie?
1081
00:59:29,221 --> 00:59:32,958
The scene between Allen and Lucien
improvising the terms of the New Vision.
1082
00:59:33,792 --> 00:59:34,927
That we made up.
1083
00:59:35,027 --> 00:59:36,462
- That you improvised.
-That wasn't even in the script.
1084
00:59:36,562 --> 00:59:38,797
Yeah, you improvised.
Well, that's maybe why I love it.
1085
00:59:38,897 --> 00:59:40,499
What scene did I get right?
1086
00:59:40,599 --> 00:59:43,068
Like, did it match the way
you saw the movie?
1087
00:59:43,335 --> 00:59:47,439
The scene of them on the porch
sharing the discovery
1088
00:59:47,539 --> 00:59:49,208
that Allen has a really messed-up home life
1089
00:59:49,308 --> 00:59:51,477
and discovering that they share something.
1090
00:59:51,977 --> 00:59:54,613
Shot in 42 minutes.
What scene did I not get right?
1091
00:59:55,981 --> 01:00:00,486
Lucien and Allen post-bar,
stumbling down the street in the dawn,
1092
01:00:00,986 --> 01:00:03,088
falling on the streets of Brooklyn.
1093
01:00:04,790 --> 01:00:06,358
What was wrong about it?
1094
01:00:07,926 --> 01:00:09,595
It looked super fake.
1095
01:00:10,496 --> 01:00:11,763
It does not look period.
1096
01:00:11,864 --> 01:00:13,565
I feel like you can see school girls
1097
01:00:13,665 --> 01:00:16,201
watching you shoot that scene
in the reflection of the glass.
1098
01:00:16,301 --> 01:00:19,138
And I don't even know that
metal shutters existed in 1943.
1099
01:00:19,771 --> 01:00:21,740
The way that they shuttered
the front of the buildings.
1100
01:00:21,840 --> 01:00:26,245
It wasn't my dream location,
but we did time check that one.
1101
01:00:26,345 --> 01:00:30,115
- Well, I'm sure you guys worked...
-Stephen Carter was the period police.
1102
01:00:30,215 --> 01:00:32,584
ljust think we missed it.
Screenplay-wise, we kind of...
1103
01:00:32,684 --> 01:00:34,887
We didn't get the perfect location for that.
1104
01:00:34,953 --> 01:00:36,288
Yeah.
1105
01:00:38,557 --> 01:00:41,326
What character do you relate to the most?
1106
01:00:44,730 --> 01:00:46,298
David Kammerer.
1107
01:00:47,166 --> 01:00:49,268
Okay, now I got to ask. Why?
1108
01:00:50,035 --> 01:00:51,403
Red hair.
1109
01:00:51,737 --> 01:00:54,106
Besides the red hair and the beard,
why do you relate to him?
1110
01:00:55,374 --> 01:00:57,910
The feeling of being a professor.
1111
01:01:00,045 --> 01:01:04,316
And wanting to connect,
1112
01:01:04,416 --> 01:01:06,318
this is gonna sound weird,
but I was gonna say,
1113
01:01:06,418 --> 01:01:08,654
wanting to host good experiences
for people.
1114
01:01:09,688 --> 01:01:13,058
'Cause I feel like that's what David really did.
He was a host for their experiences.
1115
01:01:13,825 --> 01:01:19,031
And what music
did I not get right in the film?
1116
01:01:19,565 --> 01:01:22,401
Oh, my gosh. I don't know if I can say that
'cause I would say the opposite,
1117
01:01:22,501 --> 01:01:25,637
I feel like there's some musical choices
in there that I just totally admire.
1118
01:01:25,837 --> 01:01:27,172
They're totally you.
1119
01:01:27,272 --> 01:01:30,275
I mean, during the heist sequence,
hearing rock music,
1120
01:01:30,375 --> 01:01:34,213
there's some really beautiful contemporary
classical music that Nico composed.
1121
01:01:36,181 --> 01:01:37,849
There's some '40s tunes that
1122
01:01:37,950 --> 01:01:41,753
I think younger people will have to
kind of discover on their own
1123
01:01:41,853 --> 01:01:43,855
'cause they're really period and really dated.
1124
01:01:43,956 --> 01:01:48,026
But You Always Hun' the One You Love,
I
think, was a radio
hit.
1125
01:01:48,227 --> 01:01:52,331
Can we imagine the culture where that song
is number one on the charts?
1126
01:01:52,431 --> 01:01:53,498
Hard to imagine.
1127
01:01:53,599 --> 01:01:55,734
- Wrecking
Ball by Miley Cyrus.
- Exactly.
1128
01:02:01,206 --> 01:02:04,743
- I think that we both think we're Allen.
-Okay.
1129
01:02:04,843 --> 01:02:08,447
But I have a thought
that you think I'm Lucien.
1130
01:02:08,981 --> 01:02:10,215
Is that true?
1131
01:02:10,716 --> 01:02:12,851
I would say that if someone's
asking you the question
1132
01:02:12,951 --> 01:02:13,919
and we have to answer that question,
1133
01:02:14,019 --> 01:02:17,456
I would say you're more Gwendolyn.
1134
01:02:18,257 --> 01:02:19,791
And I'm more Allen.
1135
01:02:20,459 --> 01:02:23,528
So you're more bare-breasted
1136
01:02:24,129 --> 01:02:25,831
and sexual.
1137
01:02:27,666 --> 01:02:29,234
And sweet and saucy.
1138
01:02:29,501 --> 01:02:30,802
I would say you're more Lucien because
1139
01:02:30,902 --> 01:02:34,172
you're kind of the impresario
of a bunch of people's lives.
1140
01:02:35,007 --> 01:02:37,376
You brought me along on this adventure
that's been a great experience.
1141
01:02:37,476 --> 01:02:39,278
So many actors came along
because of your dynamic
1142
01:02:39,378 --> 01:02:41,280
and your communication skills with them.
1143
01:02:41,380 --> 01:02:43,615
So I would say, yeah,
you're Lucien for a lot of us.
1144
01:02:44,449 --> 01:02:47,219
So you're the protagonist
and I'm the antagonist?
1145
01:02:49,054 --> 01:02:51,290
We're each protagonists of our own lives.
1146
01:02:52,024 --> 01:02:55,394
And you haven't stabbed anyone yet,
so you're not quite the antagonist.
1147
01:03:02,000 --> 01:03:04,236
No. People think it changes
and it really doesn't.
1148
01:03:04,336 --> 01:03:05,604
You do have this incredible opportunity
1149
01:03:05,704 --> 01:03:07,839
to reach a lot more people
than you do in your regular life
1150
01:03:07,939 --> 01:03:10,342
because they're seeing a piece of work
that you've worked on.
1151
01:03:10,442 --> 01:03:12,678
And that's really special.
But by and large, no, it's still the same,
1152
01:03:12,778 --> 01:03:16,448
I still have to do the dishes.
I still have to clean the cat litter.
1153
01:03:18,216 --> 01:03:21,953
Yeah, I really haven't seen much of a change.
Have you?
1154
01:03:22,154 --> 01:03:26,992
The only change I've seen is,
1155
01:03:27,826 --> 01:03:30,329
it's interesting
and I'm still kind of shocked by it,
1156
01:03:30,429 --> 01:03:33,131
to be part of, now, a cultural conversation
1157
01:03:33,565 --> 01:03:37,402
-with artists whose work I've admired forever.
-That's true. Yeah.
1158
01:03:37,502 --> 01:03:40,372
And to just even be like
1159
01:03:40,472 --> 01:03:42,474
the weird artsy nephew,
1160
01:03:44,009 --> 01:03:47,746
somehow sitting at the big boy table
with all these people I've admired.
1161
01:03:47,846 --> 01:03:50,115
We might get a second chance
to make another movie.
1162
01:03:50,215 --> 01:03:51,316
That's the biggest one.
1163
01:03:51,416 --> 01:03:54,453
It might be easier to make a second movie
than it was making the first one.
1164
01:03:54,953 --> 01:03:55,987
And what a gift that would be, right?
1165
01:03:56,088 --> 01:03:58,757
Although, are you prepared
for another 10 years?
1166
01:03:59,958 --> 01:04:02,127
No. I'm not.
1167
01:04:02,327 --> 01:04:03,528
- No?
-No.
1168
01:04:03,795 --> 01:04:06,998
If I can be this tenacious,
1169
01:04:07,099 --> 01:04:09,601
to spend the last 10 years,
putting together this movie,
1170
01:04:09,701 --> 01:04:12,304
writing it with Austin and seeing it through,
1171
01:04:12,404 --> 01:04:15,941
then you all have no excuse
to go start writing your film,
1172
01:04:16,041 --> 01:04:19,411
to go get it produced
and invest the time to get it done.
1173
01:04:19,511 --> 01:04:21,346
Go turn off the Internet
and get back to your screenplay.
1174
01:04:21,446 --> 01:04:24,116
Your turn.
Your turn, that's what I have to say.
1175
01:04:24,216 --> 01:04:25,283
If you want to do it over 10 years,
1176
01:04:25,384 --> 01:04:27,452
you really need this buffing thing
that John has
1177
01:04:27,552 --> 01:04:29,588
that he presses into his face every night.
1178
01:04:29,688 --> 01:04:31,423
I don't know. What's it called, John?
1179
01:04:31,523 --> 01:04:33,692
That's a trick from...
1180
01:04:33,792 --> 01:04:37,429
You only learn after
you get the first film made.
1181
01:04:37,529 --> 01:04:38,663
Okay, we won't tell you until...
1182
01:04:38,764 --> 01:04:40,132
Once you've made your first film,
come and talk to us
1183
01:04:40,232 --> 01:04:41,199
and we'll tell you the name of this product.
1184
01:04:41,299 --> 01:04:43,034
No, but honestly, don't give up, guys.
1185
01:04:43,135 --> 01:04:46,171
Go out there, get the script done.
1186
01:04:46,271 --> 01:04:49,875
And then build the relationships
like Austin did, like I did,
1187
01:04:50,542 --> 01:04:54,246
over the course of you writing
in order to get it a home
1188
01:04:54,346 --> 01:04:56,081
as soon as you're done with it.
1189
01:04:56,181 --> 01:04:58,550
Agents and managers
aren't gonna solve your life.
1190
01:04:58,650 --> 01:05:01,386
They're not going to, all of a sudden,
take a magic wand
1191
01:05:01,486 --> 01:05:02,854
and create a career from you.
1192
01:05:02,954 --> 01:05:05,791
A lot of the groundwork still comes
from doing it yourself.
1193
01:05:05,891 --> 01:05:09,594
And in our case, it came from relationships
that we built up after college.
1194
01:05:10,495 --> 01:05:13,765
And for me,
1195
01:05:14,332 --> 01:05:17,169
I find it incredibly poignant that
I've written a bunch of scripts.
1196
01:05:17,269 --> 01:05:18,937
And some of them almost got made,
1197
01:05:19,037 --> 01:05:21,473
and obviously none of them did
before this one.
1198
01:05:21,573 --> 01:05:23,675
But to me, it's incredibly poignant
1199
01:05:23,775 --> 01:05:27,312
that the one that got made
is the one that I worked on so hard.
1200
01:05:27,979 --> 01:05:29,548
- It was our baby.
-Yeah.
1201
01:05:29,815 --> 01:05:31,850
- Yeah.
-With my roommate from college.
1202
01:05:32,184 --> 01:05:33,251
That's true.
1203
01:05:33,351 --> 01:05:34,653
Thank you for watching.
1204
01:05:34,753 --> 01:05:36,354
- I hope you enjoy the movie.
-Thank you, guys.
112303