It’s either a genetic flaw or a learned response to his upbringing, but he’s not quite right. At least, in the sense that he hasn’t done anything wrong. Is Sean doomed as a result of a tragic flaw? There’s a certain middle finger method of shooting called “Sob Noisse style.” Sometimes you just gotta crank something out in the moment and not wait around for all the garbage that comes along with making a movie. And when things get too crazy on set and people are barking at us, we simply unplug and do it our own way. He’s not trying to compete with Chivo, he’s setting out to design images that work for our story. We fully understand that we’re making the same film together. Minnick?Īdam and I have been friends since high school, so it’s easy for us to argue then slip right back into things. And with this we wanted the mood to be very warm, kind of dead but with this gold tinge to it.Ĭould you give a general description of the working relationship with your D.P Adam J. Like with Buzzard we wanted the mood to be very cold and kind of distant so we wanted blues and flat, with everything kind of white. I think the aesthetic was kind of more about mood and less the character. When you’re building the aesthetic are you building it around that central character? That’s like a runners high, and it does happen, and it’s so badass. And that’s what I love about writing - when you get to that moment where your characters are telling you where it’s going and you can be surprised by it. Really the character, as silly as it sounds, did dictate where the story was going. With Cookbook I was trying to make like a modern-day Walden Pond, and then as I started to introduce new elements it took on a life of its own. Yeah I always start with a character first, then a very loose idea, and see where the character takes the story.
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So when you start thinking about the film do you start with a character or an idea that creates that character? So it’s just somebody that doesn’t fit in with the people he’s supposed to fit in with. And he just didn’t have the same interests as them. But again there’s so little back story and exposition that’s not really there, but in my head I saw Sean being mocked by his friends and family who just didn’t really understand what he was doing. It was my diss on the Occupy Wall Street kids who were out there protesting while they’re drinking Starbucks, and it’s like you guys don’t really understand why you’re angry - you just wanna be angry! And in Cookbook Sean is more like someone who feels disenfranchised and never understood by his people - his family. Yeah, I mean with Buzzard it was like my middle finger to capitalism. When you create these characters have you intended them to exemplify a bigger idea?