By: debbie lynn elias
28th ANNUAL FILM INDEPENDENT SPIRIT AWARDS:
LIVE FROM THE PRESS TENT. . .1st REACTIONS FROM THE WINNERS!
Immediately after the winners of the 2013 Film Independent Spirit Awards claimed their prizes, they made their way to the Press Tent where we peppered the shell-shocked and grateful with their first post-win questions. A Film Independent member and voter myself, as with last year, given the excellence and caliber of the nominees, I found this a particularly difficult voting year and was swept up in the joy of victory with the winners as not only a film critic and indie film lover, but a Spirit Awards voter. Needless to say, spirits were high when I spoke with the winners.
One of the early winners was Matthew McConaughey for his stellar – and unforgettable – performance in Magic Mike. And it’s perhaps McConaughey who really defined the appeal and allure of the independent film.
BEST SUPPORTING MALE: MATTHEW McCONAUGHEY – Magic Mike
Congratulations, Matthew. We couldn‘t go to a movie theatre in 2012 without seeing one of your films on a movie screen. And every one was an independent film. And youfre starting off 2013 that way. Given your love of independent film, how special is this particular award for you?
I love a good film no matter if it’s independent or studio. It’s just that the independent films, I think, the good ones in my opinion, aren’t necessarily the “center” ones, but the more specific ones and because they’re usually for a lower budget, time and money are against you. If you have enough to actually get it made, even though it’s gonna be hard as hell, you’re forced to come together to make it happen . There’s something fun about the construction of making the film. That’s my favorite thing, is the making of an independent film. You’re actually on camera 10 times more a day than you are on a larger studio film. You don’t go back to the trailer. You don’t have the exits and re-entrance and re-approach. You show up that morning and there’s not really time to talk about much because we’ve got to shoot it. There’s not really time to talk about what the scene’s about. Show me. . . That’s where, when I started doing independents, what I like to say to myself is, just press record. Shoot the rehearsal. Shoot it. Just shoot everything. I like that. That’s a fun way to work for me. There’s a vitality that comes with it. It’s something that even though it is more precious because you don’t have as much time or money, it’s not as precious because it’s kinda like, “we’ve got nothing to lose.” Nothing in independent film, there’s never a weight from the outside that says come back to the middle. There’s nothing, there’s no influence that hints, “come back to the middle.”
A truly special film in 2012 was THE SESSIONS. Written and directed by Ben Lewin based on an article by Mark OfBrien, Helen Hunt and John Hawkes both picked up Spirit Awards; Hawkes for Best Male Lead and Hunt for Best Supporting Female.
BEST MALE LEAD: JOHN HAWKES – The Sessions
Congratulations, John. So well deserved. How important was it for you with your performance, having Ben Lewin [director] as a guiding force behind this film?
Ben Lewin is an amazing storyteller and person. I don’t know who else could have done it any better. I’m glad I got to work with him and I’m glad he took a chance with me.
A prior Spirit Award winner, any idea where are you going to put your new Spirit Award?
Next to the other one, I guess, in a closet. I need to make an area. I don’t have a lot of hardware so to speak, but yea, maybe I’ll make a spot and when I’m feeling lonely or sad I can look at it.
BEST SUPPORTING FEMALE: Helen Hunt – The Sessions
Back during the press tour for The Sessions, I told Helen Hunt then that we would see her come awards time and with an Oscar nomination and now a Spirit Award win, I am happy to say that predication proved true.
Do I get to give you a big “I told you so” now?
Sure! Thank you!
How wonderful is this to win the Independent Spirit Award and still have the Oscars to look forward to tomorrow?
It’s fantastic! I’m proud of the movie. I can’t believe it got made or that somebody bought it or that we were even invited. So, I’m beaming!
When it comes to “firsts” at the Spirit Awards, 2013 had some memorable wins with Stephen Chbosky writer/director of The Perks of Being a Wallflower who nabbed a Best First Feature Award while Derek Connolly, who wowed us on screen with the delightful and original Safety Not Guaranteed, garnered his Spirit Award for Best First Screenplay.
BEST FIRST FEATURE: STEPHEN CHBOSKY – The Perks of Being A Wallflower
So Stephen, now you have the big decision. Where are you going to put this award, which will hopefully be the first of many?
I think I’ll put it in my office. I have this one space where I think it would look good there. So, yea, in my office.
BEST FIRST SCREENPLAY: Derek Connolly – Safety Not Guaranteed
Given the somewhat “rambling display” by Connolly on stage in accepting his award, he left the awards early and did not make it into the press tent. However, speaking on his behalf was the film’s director, Colin Trevorrow.
Let‘s talk about the great work that you did with his words!
It was very easy for me to work with that screenplay. It was an extraordinarily original voice. As a director, it’s important to me, and since Derek is my writing partner, to preserve that voice. I didn’t make a lot of changes to the dialogue. If some guy’s ear fell off and it felt a little weird, I kept it in the movie. That’s what made it irreverent, different and it’s one of the things about independent film that I think is a great advantage.
How exciting was it for you to have the film nominated in multiple categories?
It was wonderful. This whole thing has been wonderful for both of us. This was a $750,000 movie. This is a very low budget film. We’re not [box office] results oriented filmmakers. We went in to make something that really spoke to us and how we feel and how we are and luckily it’s something that people enjoyed.
BEST CINEMATOGRAPHY: Ben Richardson – Beasts of the Southern Wild
A journey that I have ridden with Ben Richardson, championing his work for many months (and yes, voting for him), it was particularly moving to see him claim the prize for Best Cinematography. Through his lens, we were invited into natural and magical beauty of “The Bathtub” and the world of a little girl named Hush Puppy.
Even thought you didn’t get your Oscar nomination, you won here. Does this make up for it?
[laughing] Yes, it does!
And I will forever say, “I told you so!”
Thanks very much and thank you for your vote!
BEST DOCUMENTARY: THE INVISIBLE WAR
Producers: Amy Ziering, Tanner King Barklow
Director: Kirby Dick
So revealing and powerful, although unaware that the documentary was being made during the course of shooting, after the film’s release and on viewing by upper echelon commanders, the United States military now use this film in their sexual assault training, THE INVISIBLE WAR picked up the Spirit Award for Best Documentary. Accepting the award were producers Amy Ziering, Tanner King Barklow and director Kirby Dick.
Sexual assault in the military is not anything new but thanks to your film, it is now coming to light. Do you think that you could have made this film even 10 years ago?
AZ: Absolutely. It could have been made 10 years ago, 20 years ago. That’s what’s so sad. We focused on people coming out of the military fairly recently, but at the end of our film we have an array of photos that we asked service members to send in if they’d been assaulted and that represents generations and decades and different branches. You see it’s not a new phenomena. It’s only unfortunately always been portrayed in the media in a “one off way” as some sort of aberrant anomalous eruption at Aberdeen or the Air Force Academy as a scandal, where it’s actually not a scandal, but a daily ongoing epidemic.
As expected, Amour picked up the win for Best International Film. Accepting the award was the film’s director, Michael Haneke, speaking through his translator in the press tent.
BEST INTERNATIONAL FILM: AMOUR
Director: Michael Haneke
Congratulations Michael, not only on this win but on your multiple Oscar nominations tomorrow night. How important is to you to win an award for independent filmmaking?
My impression is that this film award is given by a younger audience and I think that in film it’s very important for a film that deals with such a serious thing.
JOHN CASSAVETES AWARD: MIDDLE OF NOWHERE
[For feature made under $500,000]
Writer/Director/Producer: Ava DuVernay
Producers: Howard Barish, Paul Garnes
So what are you going to do with those lovely doorstops?
AD: Doorstops? I got a good shelf that’s empty now. So it will have a place of prominence.
PG: Yep. Definitely have a place right in my office for it.
HB: Up on a mantlepiece.
ROBERT ALTMAN AWARD: STARLET
[Given to the film‘s director, casting director and ensemble cast]
Director: Sean Baker, who spoke on behalf of the group
How important to win this particular award, the Robert Altman Award, a man who really championed collaboration, ensemble and independent film?
It means a lot to me because I’m so proud of this cast and for other people to recognize how great they are, means we’re all on the same page. I was really lucky because the way that this cast came together, because of different reasons, sort of happy accidents that led to this sort of casting. We discovered Besedka Johnson at the YMCA at 85 years old working out. My executive producer texted me and said, “I think we’ve found our Sadie.” And that’s how she came to us. She had never acted before. It means a lot to me because it’s honoring the cast and that’s what I’m so proud of in this film.
How difficult is it to work with an entire ensemble?
It’s hard because all of my films have been pretty much ensemble films. I like human interaction. I like to watch that, to watch great dialogue and actors who have such talented improvisation. Find it quite easy because I actually love doing it.
PIAGET PRODUCERS AWARD: MYNETTE LOUIE
Along with this lovely award that you have, and the grant money, does Piaget give you any free diamonds?
No, no. These are a loaner. Unfortunately. But they gave me 25 G’s so I can’t complain.
What will you do with that 25 G‘s?
I’m actually gonna use it to pay my bills because I’m an independent producer. No, Seriously. It’s so helpful because as an independent producer it’s very hard to make money doing what I love so it really will enable me to focus on my own projects and getting those off the ground this year.
Once a Philadelphian, always a Philadelphian, and that was very evident when it came to Silver Linings Playbook as I reveled right along with the producers and David O. Russell, over Philly’s part in the film’s saga when Silver Linings Playbook became the big winner, picking up wins for Best Feature, Best Director and Best Screenplay for David O. Russell and Best Female Lead for Jennifer Lawrence.
BEST FEATURE: SILVER LININGS PLAYBOOK
Producers: Bruce Cohen, Donna Gigliotti, Jonathan Gordon
Certain that Beasts of the Southern Wild would win the top prize, producers, Bruce Cohen, Donna Gigliotti and Jonathan Gordon were still in a happy haze when I spoke with them.
Has the shock work off yet that Beasts of the Southern Wild didn’t win?
DG: It’s a surprise, really. And I said that. It’s a fabulous film.
But you shot in Philadelphia so that‘s the winning ticket!
DG: Go Philly!
BEST DIRECTOR: David O. Russell – Silver Linings Playbook
BEST SCREENPLAY: David O. Russell – Silver Linings Playbook
How important was it to have the energy of the City of Brotherly Love infused in this production?
The neighborhood and community is as important to me as the story. Because you face challenges but I’ve come to feel at my age that the music you listen to, the people you love, the food you eat, the rituals you have, that’s what gets you through the night. And the laughter. People say to me, “How can you make this movie and still have laughter?” And I go, “I wouldn’t survive.” So all those things are as important to me as the story. That’s what I’m in love with as a filmmaker right now – is that world. In my favorite cinema, that’s what I love.
Could you see this film shot anywhere else but in Philadelphia?
I’m sorry. I didn’t address Philadelphia. Upper Darby, Lower Merion, Llanerch is a very specific place and the houses are very specific and the language is very specific. And they don’t care [that you’re shooting a film]. When you’re in someone’s world, they’re in their world and they love their world and you’re a visitor, and I get so much from that. They give you their language and their recipes and their whole vibe. So the cast comes in and they feel like they’re part of it. And Bradley Cooper is from that neighborhood. He makes his Uncle Ernie, who’s in the air conditioning business, read DeNiro’s dialogue so DeNiro can hear how Uncle Ernie’s accent would feel. It’s just a wonderful thing. And that Bradley was from there. His grandmother was actually a waitress in that diner [in the film]. So to have that feeling of locality is a very specific thing that you’re not thinking about.
