{"id":13011,"date":"2015-09-30T12:55:33","date_gmt":"2015-09-30T19:55:33","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=13011"},"modified":"2015-11-05T03:55:06","modified_gmt":"2015-11-05T11:55:06","slug":"dowdle-brothers-stick-to-their-guns-and-deliver-high-octane-action-with-no-escape-exclusive-interview","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/interviews\/dowdle-brothers-stick-to-their-guns-and-deliver-high-octane-action-with-no-escape-exclusive-interview\/","title":{"rendered":"DOWDLE BROTHERS stick to their guns and deliver high octane action with NO ESCAPE: Exclusive Interview"},"content":{"rendered":"

Stepping out of their known comfort zone, with NO ESCAPE the Brothers Dowdle deliver a high octane, heart pounding thriller starring Owen Wilson, Lake Bell and Pierce Brosnan. Directed by John Erick Dowdle and co-written with brother Drew, the boys seamlessly segue from the horror genre to that of action as they populate the film with edge of your seat nail biting tension courtesy of some of the most dynamic performances you have seen to date from Wilson and Bell.<\/p>\n

\"John<\/a>
John Erick Dowdle & Drew Dowdle<\/figcaption><\/figure>\n

Set in an unnamed country somewhere in Southeast Asia [but shot in Thailand], we meet Jack and Annie Dwyer and their two lovely little girls, Lucy and Beeze. Jack has just taken a job with a seemingly socially responsible company that designs clean water systems for \u201cfourth world\u201d countries, but then privatizes the water distribution system for profit. Along with the job, comes a relocation to Southeast Asia, putting the family at an uneasy disadvantage from the start. Thanks to the adorable Beeze though, during their flight over they meet a British ex-pat named Hammond, a frequent visitor to the country in search of women, wine and really bad karaoke, who gives them some tips on the lay of the land. Unbeknownst to the Dwyers and Hammond, however, while in mid-flight, a coup-de-tete has taken place on the ground and the country\u2019s military ruler is assassinated by ruthless revolutionaries.<\/p>\n

By morning, the Dwyers start to discover this isn\u2019t the idyllic paradise represented in travel guides and Jack\u2019s employment brochures. An angry mob assembles on the street below and then quickly takes over the control of the hotel and the city, executing all Westerners on sight. Seems they have a problem with Jack\u2019s new employer and given welcome banners prominently displayed in the hotel lobby with Jack\u2019s picture, they are gunning for Jack – literally and figuratively. And so the race for survival \u201cbehind enemy lines\u201d is on with Jack trying to save not only himself, but his family.<\/p>\n

\"no<\/a>
Owen Wilson and Lake Bell in scene from “No Escape”<\/figcaption><\/figure>\n

Anyone familiar with the work of John and Drew Dowdle knows right off the bat this is new territory for the brothers. Besides moving into the action genre, NO ESCAPE represents a personal step-up on the ladder for John and Drew as it not only stretched their abilities as filmmakers, but cemented their own confidence in those abilities. Sitting down for this exclusive interview, John recalls, \u201cWe first wrote this seven or eight years ago, and initially we wrote it and I remember having this like, \u201cI don\u2019t know if I can direct kids that well\u201d moment. I remember we talked about maybe we sell this and we stay focused on other stuff. But over time, the scripts that were trickling down to us, by the time they got to us, it was stuff that we didn\u2019t want to do. And we were like, \u2018We could never get the job to direct this if we didn\u2019t write it.\u2019 So we said, let\u2019s do this ourselves. We\u2019re big fans of betting on ourselves. Let\u2019s bet on ourselves.\u201d<\/p>\n

Expounding on his brother without missing a beat, Drew is quick to note that \u201cAfter \u2018Quarantine\u2019, after we did our first multi-million dollar production, our first studio film, bigger film, we kind of believed we could just about anything like this. We really had a lot of confidence. It\u2019s interesting when you make a film and you look at a scene and you go, \u2018I have no idea how to do this\u2019 and then you sit down with the people that do; your AD and your stunt coordinator and your VFX supervisor, and you start breaking down the pieces. We\u2019re kind of psychotic preparers. We storyboard a lot.\u201d Even to the lay person, with all of the moving parts of NO ESCAPE, there is no such thing as too much preparation.<\/p>\n

\"Owen<\/a>
Owen Wilson in scene from “No Escape”<\/figcaption><\/figure>\n

But there\u2019s an advantage to having eight years to bring a project to like. Both brothers agree, \u201c[T]hankfully the one benefit of having it fall apart so many times is we had an enormous amount of time to prepare.\u201d, a comment at which John has to heartily chuckle, \u201cStoryboarding and storyboarding and storyboarding again.\u201d The seemingly more pragmatic brother, Drew readily admits, \u201cI don\u2019t think it would have been as good of a movie if we made it in 2008. We wouldn\u2019t have had Owen [Wilson]. It wouldn\u2019t have been the same movie.\u201d<\/p>\n

The time from script to screen also allowed the boys to gain more experience as filmmakers and appreciate \u201cthe little lessons you learn along the way.\u201d Like, casting. For Drew, \u201cCasting warm, relatable people is one thing that we learned over the years. . . And across the board, all five of our principal cast on this are very accessible warm people. I think that\u2019s something we learned over the years that we might not have done if we did this in 2008.\u201d<\/p>\n

\"no<\/a>
Pierce Brosnan and Owen Wilson in scene from “No Escape”<\/figcaption><\/figure>\n

Two things, or people, on which the brothers never waver is when it comes to their cinematographer Leo Hinstin and editor Elliott Greenberg. Greenberg did some \u201cclean-up work\u201d on \u201cThe Poughkeepsie Tapes\u201d and has been with the Dowdles on every film since. NO ESCAPE marks their fifth outing together. The visual tonal bandwidth in NO ESCAPE is beautifully executed and beautifully designed, not only due to Hinstin\u2019s impressive lensing, but also thanks to sharp, crisp, spot on editing giving neither the characters on screen or the audience time to breathe. When the family on screen finally stops for a moment under a wet boat in a pouring rain storm to take a breath, the immersed audience does the same; a feat which requires plenty of calibration to hit those emotional beats and maintain tension.<\/p>\n

As John tells it, \u201c[Elliott] does a rough pass and then he and Drew and I are like these grumpy old men arguing [laughing]. We all have our things. Drew\u2019s always watching the hands and feet. I get upset. There\u2019s certain vanity stuff.\u201d Finishing his brother\u2019s thought, Drew hurriedly pipes in noting, \u201cWe knew on this film we didn\u2019t have the luxury of even one day of additional photography. That was not going to happen on this movie. Elliott we kept right behind us and in terms of our shooting schedule, we had a hotel room right down from our office. We\u2019d go in there two or three times a week and just look at every sequence. Do we have it? Do we have it? And he\u2019d say, \u2018We need a POV of the gun man. You didn\u2019t get it.\u2019 And we would find a way to get that within the body of the film.\u201d<\/p>\n

\"no<\/a>
Claire Geare in scene from “No Escape”<\/figcaption><\/figure>\n

Clearly a fully collaborative effort on all fronts, John continues raving about Greenberg citing to some scene specifics. \u201cWhen they\u2019re on the moped and they go through the city and they start to see [everything] – that was an Elliott idea. He was like, \u2018This is your chance to show scale and scope and you missed it. Can you just drive for awhile and we can use some music?\u2019\u201d And that was an Elliott idea.\u201d Piggybacking John, Drew picks up the story. \u201c But it was basically them leaving on the moped and then they got to the parade – to your point about calibrating the tension – Elliott felt like it was just too stacked. \u201cYou have a city to drive through and it\u2019s been destroyed. Why aren\u2019t you showing that?\u201d It was a brilliant idea. And we got this nice long score moment where they\u2019re taking in the city and that didn\u2019t really exist in the script because there\u2019s no action or dialogue.\u201d<\/p>\n

And then there\u2019s Hinstin. According to Drew, \u201cLeo is just a supremely confident DP and we had worked with him in Paris. I\u2019ll let John take it too, but I just want to say one quick thing about Leo. We really wanted to shoot three cameras everywhere. We wanted the actors to be able to move in the space and not slow them down with too many marks. Leo was so onboard to do that. Some DP\u2019s that have been around for decades are much more rigid in what they\u2019ll do, what they\u2019re willing to do. Leo kind of said, \u2018I\u2019ll make it look beautiful. You do what you want, but I\u2019ll tell you if it\u2019s not okay. If it doesn\u2019t suit me, I will let you know. Until that point, let\u2019s just run amok.\u2019\u201d A DIY kind of guy, Hinstin understands the benefits of post-production and color correction which means, as Drew notes, \u201cHe\u2019s willing to let us push the edge a little bit. We don\u2019t anything to get through to the final cut that\u2019s not beautiful. But he trusts us and we trust him. On the riot scene, the government was there to shut us down because they were a little afraid that something might spark, Leo just grabbed the camera and said, \u2018One more take!\u2019, and he just went right into the middle of the clash. So many of the shots that we have in the final cut are from Leo in the middle of it.\u201d<\/p>\n

\"TheCoup_Day4-01803.nef\"<\/a>
Scene from “No Escape”<\/figcaption><\/figure>\n

Key to Hinstin\u2019s shooting style, especially given the action in NO ESCAPE, was the decision to shoot according to the physical logistics such as stairwells and rooftops and city streets filled with vendors. \u201cA camera hand held. B camera was always steadi. We had the most amazing steadicam operator who could segue around [and] steer with his knees and he could go 30mph. He was like a cyborg. He was amazing.\u201d Elaborating, John gives the crew credit where credit is due. \u201cWe had three different styles. There was Richie on A camera whose sort of the run-and-gun guy. Then B camera is that guy who\u2019s like a cyborg. And then C camera was a guy named Art who would always sit so you\u2019d never even notice him in the room but he was always just there clicking off really interesting details and stuff.\u201d \u00a0For Drew, Art was a key component of the emotional beat and familial sensibility of the film. \u201cWe told Art if the girls are doing anything interesting, you\u2019re on them all the time. He just had all these great artistic shots from a little bit of a distance. Between the three we had such a great selection in editorial.\u201d Adding to the overall visual experience was a Phantom camera brought in from Paris which provided some lush slo-motion shots.<\/p>\n

\"Pierce<\/a>
Pierce Brosnan in scene from “No Escape”<\/figcaption><\/figure>\n

Notable is that the Dowdles were shooting day-for-day and night-for night using the Red camera by night and the Alexa by day. This decision allowed the brothers to stay true to their mantra of \u201cNo CG. No green screen.\u201d With virtually no stage work in the entire movie but for the Dwyer family in an airplane winging their way to Jack\u2019s new job in Southeast Asia, as John relates, \u201cPeople kept saying just build a roof top on a stage and put green screen up. And were just, \u2018It never feels right.\u2019 We shot a real hotel rooftop with the real view around it. You can feel that it\u2019s real.\u201d<\/p>\n

Of course, despite all the planning and preparation, there is always bound to be one or two little hiccups; in this case, the brothers accidentally burned down a building – and not from the pyrotechnics in the film. As Drew tells it, \u201cIt was just a fuse that shorted out in a special effect. . . It actually wasn\u2019t too terrible but thankfully the building wasn\u2019t very valuable.\u201d<\/p>\n

\"no<\/a>
John Erick Dowdle and Drew Dowdle<\/figcaption><\/figure>\n

With NO ESCAPE finally released and John and Drew have a chance to catch their own individual and collective breaths, one must ask what they each learned about themselves as filmmakers, and perhaps more importantly, as brothers.<\/p>\n

For John, \u201cI\u2019d say this is the most personal thing we\u2019ve done. The little girls are based on our sisters. There\u2019s a lot of little travel stories of our own family embedded in this. This was going back to our roots. . .[T]here\u2019s no studio, there\u2019s no one else there, it\u2019s just us. It was like back in the days where we had no money and we were just doing it all ourselves. . ..I remember when I was first going to film school. I\u2019d go to film school and I\u2019d come back and work for an ad agency or something, but it\u2019s like little by little – and I think for both us – every step is \u2018Okay. I\u2019m comfortable here. Now I\u2019ve going to start aiming at that next thing.\u2019 I feel like this has given us courage to reach further than we through possible before.\u201d<\/p>\n

\"Lake<\/a>
Lake Bell and Owen Wilson in scene from “No Escape”<\/figcaption><\/figure>\n

And for Drew? \u201cBut to do that in Thailand was a big deal. We had never worked with a cast on this level before, too. It was a little scary going into your first kind of movie star movie, not that I ever questioned our ability to do it. But looking at John as the director, one day in rehearsals we were like, \u2018We got this. We\u2019ve got great actors that trust us and we can take this step and we\u2019re ready and ready to do it in Thailand without any oversight and we\u2019re gonna deliver a film that we\u2019re confident in.\u2019 So, I think our confidence level grew quite a bit. We can shoot in challenging situations under tight constraints. John as a director is really good at understanding where the constraints are and keeping us within them. That\u2019s very helpful because with a lot of directors, the budget is someone else\u2019s problem and it\u2019s all about the shot. And John\u2019s all about the shot but knows exactly where we can\u2019t go because we don\u2019t have extra time or extra money. That\u2019s good to know.\u201d<\/p>\n

Reflective, Drew has the last word. \u201c[A]t one point [our agents] were flooding us with scripts and wanting us to do something bigger, more studio, more franchisee thing, and we resisted it because it just didn\u2019t feel like our voice. They have the right intentions. They want our careers to evolve and grow but after everyone saw the first cut of NO ESCAPE, our agents and our reps all said, \u2018Forget all that. Keep doing your own thing. Keep doing what you want to do.\u2019 That was this great validation. We\u2019re on the right path, let\u2019s not worry about all the stuff that\u2019s out there and all the super hero stuff and let\u2019s just stick to our guns.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

Stepping out of their known comfort zone, with NO ESCAPE the Brothers Dowdle deliver a high octane, heart pounding thriller starring Owen Wilson, Lake Bell and Pierce Brosnan. Directed by John Erick Dowdle and co-written with brother Drew, the boys seamlessly segue from the horror genre to that of action as they populate the film […]<\/p>\n","protected":false},"author":2,"featured_media":13000,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,7],"tags":[3448,220,3447,3449,3446,1874,316,3450],"class_list":["post-13011","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","category-news","tag-drew-dowdle","tag-interview","tag-john-erick-dowdle","tag-lake-bell","tag-no-escape","tag-owen-wilson","tag-pierce-brosnan","tag-thailand"],"yoast_head":"\nDOWDLE BROTHERS stick to their guns and deliver high octane action with NO ESCAPE: Exclusive Interview - Behind The Lens Online<\/title>\n<meta name=\"description\" content=\"Behind the Lens is your home for in-depth movie reviews, filmmaker & celebrity interviews, and more, all by 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