This week on the blog, a podcast interview with filmmaker Eric Mendelsohn, who revisits the lessons he learned while making his debut feature film, “Judy Berlin.”
LINKS
Judy Berlin Trailer: https://youtu.be/23PlEaTy9WA
Edie Falco Interview about Judy Berlin: https://youtu.be/AoC5q5N-6kY
A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12
Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6
Fast, Cheap Film Website: https://www.fastcheapfilm.com/
Eli Marks Website: https://www.elimarksmysteries.com/
Albert’s Bridge Books Website: https://www.albertsbridgebooks.com/
YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast
Dying to make a feature? Learn from the pros!
"We never put out an actual textbook for the Corman School of Filmmaking, but if we did, it would be Fast, Cheap and Under Control."
Roger Corman, Producer
★★★★★
It’s like taking a Master Class in moviemaking…all in one book!
Jonathan Demme: The value of cameos
John Sayles: Writing to your resources
Peter Bogdanovich: Long, continuous takes
John Cassavetes: Re-Shoots
Steven Soderbergh: Rehearsals
George Romero: Casting
Kevin Smith: Skipping film school
Jon Favreau: Creating an emotional connection
Richard Linklater: Poverty breeds creativity
David Lynch: Kill your darlings
Ron Howard: Pre-production planning
John Carpenter: Going low-tech
Robert Rodriguez: Sound thinking
And more!
Write Your Screenplay with the Help of Top Screenwriters!
It’s like taking a Master Class in screenwriting … all in one book!
Discover the pitfalls of writing to fit a budget from screenwriters who have successfully navigated these waters already. Learn from their mistakes and improve your script with their expert advice.
"I wish I'd read this book before I made Re-Animator."
Stuart Gordon, Director, Re-Animator, Castle Freak, From Beyond
John Gaspard has directed half a dozen low-budget features, as well as written for TV, movies, novels and the stage.
The book covers (among other topics):
Academy-Award Winner Dan Futterman (“Capote”) on writing real stories
Tom DiCillio (“Living In Oblivion”) on turning a short into a feature
Kasi Lemmons (“Eve’s Bayou”) on writing for a different time period
George Romero (“Martin”) on writing horror on a budget
Rebecca Miller (“Personal Velocity”) on adapting short stories
Stuart Gordon (“Re-Animator”) on adaptations
Academy-Award Nominee Whit Stillman (“Metropolitan”) on cheap ways to make it look expensive
Miranda July (“Me and You and Everyone We Know”) on making your writing spontaneous
Alex Cox (“Repo Man”) on scaling the script to meet a budget
Joan Micklin Silver (“Hester Street”) on writing history on a budget
Bob Clark (“Children Shouldn’t Play with Dead Things”) on mixing humor and horror
Amy Holden Jones (“Love Letters”) on writing romance on a budget
Henry Jaglom (“Venice/Venice”) on mixing improvisation with scripting
L.M. Kit Carson (“Paris, Texas”) on re-writing while shooting
Academy-Award Winner Kenneth Lonergan (“You Can Count on Me”) on script editing
Roger Nygard (“Suckers”) on mixing genres
This is the book for anyone who’s serious about writing a screenplay that can get produced!
TRANSCRIPT -EPISODE 106
Eric Mendelson Interview
[JUDY BERLIN SOUNDBITE]
John
That was a soundbite from “Judy Berlin,” which was written and directed by today’s guest, Eric Mendelsohn. Hello and welcome to episode 106 of The Occasional Film podcast -- the occasional companion podcast to the Fast, Cheap Movie Thoughts Blog. I'm the blog's editor, John Gaspard.
Judy Berlin, starring Edie Falco, as well as Madeline Kahn, Bob Dishy, Barbara Barrie and Julie Kavner, was Eric Mendelsohn's feature film debut. The film was an Official Selection of the Cannes Film Festival … won Best Director at Sundance … Best Independent Film at the Hamptons Film Festival … and was nominated for three Independent Spirit Awards. Eric is currently the Professor of Professional Practice, Film, at Columbia University.
I first spoke to Eric about Judy Berlin years and years ago, for my book, Fast Cheap and Under Control: Lessons Learned from the Greatest Low-Budget Movies of All Time. In the course of that interview, Eric laid out a handful of really smart filmmaking lessons – lessons that, if followed, might be the difference between making a successful film … or making no film at all.
I was curious: What did Eric think about those lessons, all these years later? Before we got into that, though, we talked about the origins of Judy Berlin …
[MUSIC TRANSTION]
John
What was the impetus that made Judy Berlin happen?
Eric
It's answerable in a more general way. When I get interested in making a script or making a film, it's because a group of feelings and images almost in a synesthesia kind of way, come together and I get a feeling and I say, oh, yeah, that would be fun. And for Judy Berlin, the set of feelings were definitely having to do with melancholy, hopefulness, the suburbs and my intimate feelings about them being a fresh place that I hadn't seen, represented in the way I experienced them. Things as abstract as how everyone feels in autumn time, I guess, maybe everyone does. I don't know. Maybe there are some people who are just blissfully unaware of all those sad feelings of you know, autumn, but I felt like they were worth reproducing if maybe they hadn't been in that particular locale. I think this is a funny thing to say but against all of that sadness, and kind of hope against hope, being hopeful against hopelessness, I had this sound of a score to a Marvin Hamlisch score to Take the Money and Run. And I actually asked him to do the music and he said he didn't understand such sadness that was in the movies that this isn't something I do. Which is really true and I didn't get it and I wanted to persist and say no, but that score for Take the Money and Run, that has such like almost like a little kids hopefulness about it.
That's what I wanted. It was like a river running underneath the ground of the place that I had grown up with. And I think the other inspiration for the movie was pretty, I don't know, maybe it's called plagiarism. Maybe it's called inspiration, the collected feeling that you can distill from the entire works of Jacques Demy, and I loved Jacques Demy 's films. They gave me a license. I saw them and said, Well, if you can mythologize your own little town in the northwest of France that maybe seems like romantic to Eric Mendelsohn from old Bethpage, Long Island, New York but truly is a kind of a unremarkable place at the time it was made, that I can do it with my town. I can mythologize everybody, and love them and hate them and talk about them and so those are some of the feelings that went into it.
John
But they all came through. So, what I want to do is just go through the handful of lessons that you told me X number of years ago, and let's see what you think about them now. So, one of the big ones that turns up again and again, when I talked to filmmakers was the idea of write to your resources. And in the case of Judy Berlin, you told me that that's a great idea and you thought you were: It takes place over one day with a bunch of characters in one town. When in fact you were really making things quite difficult for yourself by having middle aged people with homes and cars and businesses and professional actors who all had other things going on.
Eric 03:35
And multiple storylines is a terrible idea for low budget movie making. Each actor thought oh, I’m in a little short film. I, however, was making a $300,000 movie about 19 characters. What a stupid guy I was.
John 03:53
Do you really think it was stupid?
Eric 03:54
It was. You know, everyone says this after you have graduated from that kind of mistake or once you've done it, you look back and say I would only have done that because I didn't know any better. I know you haven't finished your question. But I also want to say that writing or creating from ones’ resources also includes what you are able to do, what you are able to manufacture. In other words, I didn't have enough writing skill to concentrate on two characters or one character in house, like Polanski, in his first endeavors. I didn't I had small ideas for many characters. It's much more difficult to write a sustained feature film with two people. So, I was writing to my resources in a number of ways, not just production, but in my ability as a writer at that point.
John 04:53
Yeah, you're right. It is really hard. I don't know why they always say if you're gonna make a low budget movie, have it be two people in a room. That's really hard to do. The idea of let's just tell a bunch of stories does seem easier and I've done that myself a couple times and it is for low budget easier in many respects. My stuff is super low budget, no one's getting paid. We're doing it on weekends, and you can get some really good actors to come over for a couple days and be really great in their part of the movie and then you put it all together. Another advantage is if you have multiple stories, I learned this from John Sayles in Returns of the Secaucus Seven, he said I couldn't move the camera. So, I just kept moving the story. It allowed him to just, I can't move the camera, but I can move to the next scene, I can move to these people, or I can move to those people there. And it also allows you an editing a lot of freedom, because you can shift and move and do things. So, the downside you had of course was on just a strictly production shooting day level, very hard to do what you were doing. But it did allow you to grow a bit as a writer because you're able to write a lot of different kinds of characters and different kinds of scenes.
Eric 05:57
Remember, I always say this, you know, you sit in your room, and I believe you need to do this as a writer, you sit in your room and you say to yourself, she slams a car door harder than usual. And then you realize later she drives a car, where am I going to get a car from? She enters her house. How am I going to get a house and if I have seven characters, and they all have cars, that's a job in itself. One person could spend their summer looking for seven cars. But that's the least of your problems. When it's houses, cars, clothing, handbags, all of it.
John 06:30
Yeah, when you're starting out, you don't necessarily realize that every time you say cut to something in your script, that's a thing. You've got to get it. I did a feature once that had four different stories and there are four different writers and a writer came to me with his finished script, which was brilliant, but it was like 14, 15 locations that I had to shoot over two days. So, how do you do that? Well, you end up spending four days on it. But the other hand, another writer who understood screenwriting, handed me a script that was four locations, but brilliantly combined and figured out. So, in two days, you could shoot them all because he knew what he was doing. And that's something you don't necessarily learn until you're standing there at six in the morning with a crew going, I don't know what I'm doing right now, because I screwed myself up and I wrote it and that's sometimes the only way you can learn it.
Eric 07:16
I think it's the only way. The only way. Look, you can be precautious, you can, it's no different than life, your parents can warn you about terrible, ruinous, stupid, love affairs that are going to wreck you for a year. Are you really going to just not get into them because of what smart older people said? You throw yourself at a film in the way that hopefully you throw yourself at love affairs. You're cautious and then you've just got to experience it. And I think the difference obviously is in film, you're using lots of people's time, effort money, and you do want to go into it with smarts and planning. I still say that you should plan 160%. Over plan in other words. And then the erosion that naturally happens during production, this crew member stinks and had to be fired a day before. This location was lost. This actress can't perform the scene in one take because of memory problems. All of that is going to impact your film. Let's say it impacts it 90%. Well, if you plan to 160%, you're still in good shape in the footage that you get at the end of the production.
John 08:29
Yeah, I'm smiling, because you're saying a lot of the things you said last time, which means it’s still very true. Alright, the next lesson was, and this is one that I've embraced forever: No money equals more control. You spoke quite eloquently about the fact that people wanted to give you more money to make Judy Berlin if you would make the following changes. Looking back on it did you make the right decisions on that one?
Eric 08:51
Yes. I'll tell you something interesting. Maybe I didn't say this last time. But I remember my agent at the time saying to me, we could get you a lot of money. Why don't you halt production? We'll get you so much money that will get you--and this is the line that always stuck in my head-- all the bells and whistles you want. Now, I'm going to be honest with you what he said scared me for two reasons. One, I had worked in production for a long time in my life and I knew that if you stall anything, it just doesn't happen. It just doesn't. That the energy of rolling downhill is better than sitting on the hill, potential energy and trying to amass funds. But another thing and I was scared privately because I said to myself, I don't even know what the bells and whistles are. I'm afraid to tell him that I don't know what they are. And I'd rather I think that's those bells and whistles are for some other savvy filmmaker that I'll maybe become later. But right now I have the benefit of not knowing enough and I'm going to throw myself and my planning and my rigorous militaristic marshalling of people and props and costume names and locations and script. I'm gonna throw that all at the void and do it my cuckoo way because once I learned how to make a movie better, I'll have lost a really precious thing, which is my really, really raw, naive, hopeful, abstract sense of what this could be. And that thing that I just said with all those words was not just a concept. I didn't know what I was making, in the best sense possible.
I was shooting for something, shooting it for an emotional goal, or a visual goal for a dramatic goal but I didn't put a name on it. I didn't put a genre to it. So much so that by the time I got to the Sundance Film Festival, and I read the first line of a capsule review, and it said, A serio-comic suburban. I almost cried, I felt so bad that I didn't know what I was making in an objective sense. In a subjective sense, obviously, I knew exactly what I was trying to do. But objectively, I didn't know it could be summed up by a review. And it hurt me so badly to think I was so mockable and now I'm going to embarrass myself by telling you what I thought I was making. I didn't think I was making something that could have a boldface thing that said, serio comic, multi character, suburban fairy tale. I didn't know that. I really thought I was like writing in glitter on black velvet or I don't know, I didn't even know that it could just be summed up so easily.
And I think I've written a lot of scripts since that one, and many haven't gotten made, but each time I reject and issue an objective determination of what the thing is that I'm working on, prior to sitting down. Is that the best way to work? It is a painful way to work. My friends will tell you that. I have my great friend and filmmaker Rebecca Dreyfus always says that I have creative vertigo, that I don't know what I'm doing for months and years on end and then I looked down and I say, Oh, God, I think it's a horror film. Or I think I've rewritten a Dickens story. And I get a nauseated kind of, you know, dolly in rack, focus thing. It's not, I'm telling you, I'm not describing a creative process that is painful for me to realize, always later on what I'm doing. And I still hold, that's the only way I can do it. I will not go into a screenplay and then a film saying this is a serio comic black and white, multi character, suburban, who wants that? I go in thinking, I'm making something that I don't know, that no one's seen before and then we'll see what they think.
John 12:54
You know, we were very similar, you and I in that regard. In addition to low budget, filmmaking, as I've gotten older, I've gotten into novel writing and mystery writing, which I enjoy. And the parallels between independent publishing and independent filmmaking are really close. One of the things that people say all the time in independent publishing that I back away from is you have to write to market. You have to know who your audience is, what they like, and write a book for them. And I can't do that. I can write a book for me that, you know, if I slip into dementia in 20 years and read it, I won't remember writing it, but I would enjoy it because all the jokes are for me and all the references are for me...
Eric 13:32
I think you and me, doing the exact right thing, according to me. And you'll be happy to know, because I teach at Columbia Columbia's film grad school, we have an unbelievable group of alumni people, you know, like, you know, Jennifer Lee, who created Frozen and the people behind Making of a Murderer and Zootopia. And all they ever say when they come back to speak to our students is nobody wants a writer who is writing to the industry. They want something they haven't seen before that is new, fresh, odd, and still steaming be you know, out of the birth canal.
John 14:14
Yep. The corollary to that, that I tell people who are writing and also people who are filmmakers who want to work that way is the more you can take economics out of the process, the more you're able to not need to make money from what you're doing, the happier you're going to be. Because every movie I've ever made has never made money and it didn't matter. It wasn't the purpose. The purpose was, oh, this is interesting idea. Let's explore this with these 12 actors and see what happens. But if you can take economics out of it, you completely free.
Eric 14:41
You free and I'll tell you what, I know. Again, it's just a perspective, one person's perspective. But everyone, you know, you want to leave on the earth some things that you felt good about, whether they're children or ethics or some civic thing you did for your town, or a movie. And all the people I know who made tons of money always are talking about coming back to their roots because they're so unhappy. Like, I get it. I get it. And all these actors who want to do work for no money, it's because they feel like well, I sure I made a ton of money, but I didn't get to do any of the stuff I really care about.
I remember in my first real attempt at filmmaking after film school, a short half hour film that starred the late Anne Meara and Cynthia Nixon in an early film role and F Murray Abraham did the voiceover. And I was 20 something years old, and the film did very well and it was just a half hour movie and we showed it at the Museum of Modern Art. And after the screening, a woman came up to me and I don't remember what language she was speaking. She was Asian, and she tried to explain to her to me, what the movie meant to her, but she spoke no English and she kept tapping her heart and looking at me. Anne Meara was standing next to me and she kept pointing like and then making a fist and pounding her chest and pointing to like a screen in the air, as if she was referencing the movie. And then she went away. Anne Meara said, listen to me now, it will never get better than that. I understand completely. For the movie I made after Judy Berlin, which is called Three Backyards and a movie I produced and cowrote after that, called Love After Love. I didn't read the reviews. Who cares?
John 16:27
Yeah, that's a pretty special experience and good for her to point that out to you.
Eric 16:31
Her husband in a bar after a production of The Three Sisters told me that--this is pretty common. This is Jerry Stiller, the late great comedian said to me, I was about to tell him what the New York Times had said about his performance. He said, no, no, no, don't. Because if you believe the good ones, then you have to believe the bad ones. And I've since known that that is something that's said a lot. But if a review isn't going to help you make your next movie, then don't read it.
Marlena Dietrich, in my favorite last line, paraphrased from any movie, gets at why criticism is unimportant for the artist. In the end of Touch of Evil, she says, “what does it matter what you say about other people.” It's just, you either do or they did to you or you experience all that garbage of what people say it goes in the trash, no one except for maybe James Agee’s book, there's very few film criticism books that people are desperate to get to, you know, in 50 years. But you take a bad movie, I watched some summer camp killer movie the other night, and I thought I'd rather watch this than read what somebody said about this movie. I’d rather watch somebody's earnest attempt to fling themselves at the universe than a critics commentary upon it. Yeah. Anyone who gets up at five in the morning to go make a movie has my respect and I don't even you know, on the New York Times comments online commentary site, I refused when it's about artwork to come in even anonymously. Nope!
John 18:05
Okay. You did touch on this. But it's so important and people forget it. I phrased it as time is on your side. You talked about being prepared 160% and having Judy Berlin, every day, there were two backups in case for some reason, something didn't happen and the advantage you had was you had no money. But you had time and you could spend the time necessary doing months of pre-production, which is the certainly the least sexy part of filmmaking, but is maybe the most important and is never really talked about that much.
How much you can benefit from just sitting down and putting the schedule down? I mean, we used to, I'm sure with Judy Berlin, you're using strips and you're moving them around and when we did our 16-millimeter features, we didn't even spend the money on the board. We made our own little strips, and we cut them out and did all that. You can do it now on computers, it's much easier, but it's having that backup and that backup to the backup. You don't really need it until you need it and then you can't get it unless you've put it in place already.
Eric 19:06
Well, I'll say this, I have to disabuse some of my students at Columbia by telling them that there is no like effete artist who walks onto a set-in filmmaking with no idea about scheduling. That character fails in filmmaking. That every single director is a producer, and you cannot be stupid about money, and you cannot be stupid about planning and in fact, Cass Donovan who is an amazing AD and one of my good friends. She and I sometimes used to do a seminar for young filmmakers about scheduling your movie and I always used to say, you know, a good schedule is a beautiful expression of your movie, where you put your emphasis. And it comes out in the same way that people say like oh, I just like dialogue and characters. I'm not good at structure. There's no such things. You need at least to understand that a good structure for your story can be a beautiful, not restrictive, rigorous device that's applied to your artistry, a structure and a story is a beautiful can be a beautiful thing and the expression of the story and the same thing is true with the schedule.
The schedule is an expression of your story’s emphases. If your story and your resources are about actors, and you've got an amazing group of people who are only doing the project and lending their experience and talent, because they thought this was a chance to act and not be hurried. Well, that expresses itself in how many days and how many shots you're going to schedule them in. And I love how a schedule expresses itself into an amount of days and amount of money and allocation of funding. I love it. There is no better way to find out what your priorities were and I love it. And in terms of planning, one of the reasons I don't understand or have an inkling to investigate theater is I don't want something that goes on every evening without my control, where the actors sort of do new things or try stuff out and the carefully plotted direction that you created can get wobbly and deformed over time. Instead, I like the planning of a script and now I'm not talking about pre-production. I'm talking about I like that, with screenwriting, you go down in your basement for as long as you need. So, maybe I'm afraid of shame and I don't like to present stuff that is so obviously wrong to whole groups of people. I like to go down in the basement for both the writing and the pre-production and get the thing right.
You know, there are so many ways to make a movie that I'll also I want to place myself in a specific school of filmmaking. To this point in my directing life, I've created scripts that are meant to be executed in the sense that not as disciplined in execution as what Hitchcock or David Lean, we're shooting for, but not as loose an experiment as Cassavetes, or let's say, Maurice Pilar. We're going for, everyone has to find their own expression. In other words, if you are Maurice Pilar or Cassavetes, or Lucrecia Martel, you have to find your own equation, you have to find your own pre-production/production equation where the room for experimentation.
I haven't really wanted to experiment on set, I know what shots I want, and I get them. The next film I make may be different. But everyone has a different equation and every script and every director are going to find their own priorities that are expressed in the project and then the execution. The fun thing was, the last movie I worked on, was something I've produced and co-wrote ,called Love After Love. And that was directed and co-written by Russ, and Russ and I spent years writing a script that we knew that was intended to be elastic, and to be a jumping off ground for the kind of impromptu directing he does. Now, a lot of what we wrote ended up in the movie, but sometimes he would call me from the set and say, this isn't working and that was exciting, because we knew that would happen. And he told the cast and the crew before they went into the project, before they went into the short film he made before that called Rolling on the Floor Laughing. This is intended to be a porous experiment ,with a firm spine of drama that is not porous.
So, we've created a drama and interrelations in that script that then he went off, and those couldn't budge. Those were fixed the dramatic principles and dynamics. But he worked as a director in a completely different way than me and I was very happy to loosen my own way of working and then as a producer, make sure that he had what he needed on the set, and that the pre-production, production and even editing--we took a year to edit that film--was based in an idiosyncratic methodology of his particular artistry, not mine.
John 24:34
And why I think is so interesting about that is that you know, you made sure that everybody involved knew going in we're doing this kind of movie and this kind of movie has … I remember talking to Henry Jaglom, about I don’t know which movie it was, you know, Henry has a very loose style of what he does. But it's still a movie, and he was talking about, he was shooting a scene and an actress either jumped into a swimming pool or push somebody into a swimming pool. And he said, Why did you do that? She said, I was in the moment. Yeah, and he said, yes, this is a movie and now I have to dry these people off and I have to do the coverage on the other side. So, you need to know where the lines are, how improvised is this really.
Eric 25:15
And everyone has different lines, and you make movies to find out how you make movies. You write screenplays to find out what that feeling is and whether or not you can interest an audience in it. You don't write a screenplay to execute Syd Fields, ideas about story or the hero's journey. I'm not a hero. I don't have a hero's journey. I have my journey. The task, the obligation is to see if I can take that and still make it dramatic and interesting to a group of hostile strangers, normally called an audience,
John 25:52
As Harry Anderson used to say, if you have a bunch of people all seated facing the same direction, do you owe them something.
Eric 25:58
Yeah, it's unbelievable. A friend of mine who works in theater saw a terrible show and he works on Broadway, and he works on all the big shows that you have heard of. So, I can't give the title of this one particular production. And he said, you know, I feel like telling these people because he works in lighting. He said, I feel like telling these people who create these shows that every single audience member who comes to see the show at eight o'clock that night, woke up at seven in the morning, and they're tired, and they worked and you better provide something at eight that night.
John 26:33
Exactly. I remember talking to Stuart Gordon, the guy who made Reanimator, and he was big in theater before he got into horror films. And he said we had one patron who always brought her husband, and I'll say his name was Sheldon, I forget what the name was. And he would consistently fall asleep during the shows. And my mandate to the cast was our only job is to keep Sheldon awake. Yeah, that's what we're there to do is to keep Sheldon alert and awake. And I think at all the time as you're watching something on film, you're going is that going to keep Sheldon awake, or is that just me having fun?
Eric 27:01
No, he didn't ask this question, so it's probably not. But a lot of students are not a lot, actually but some students will say to me like, well, what I have to know the history of movies? Why do I have to know that when I'm going to create something new? And I just think because you're not. Because there is a respect for a craft. Forget the art of people who have been doing this for ages. And to not know it puts you in the position of the only person on set who doesn't realize that. Every single crew member is a dramatist: the script supervisor is a dramatist, the set decorator is a dramatist, the costume designer, the cinematographer, the producer. So sometimes my students in directing will say to me, well, I thought this shot was interesting and I said, Okay, you may think that's interesting. But I'm going to tell you something scary right now: your producer, and your editor will know immediately that you don't know what you're doing and that that won't cut. It is not a secret this thing you are doing, this skill. Learn what other people, what the expectations of the art form are, please, and then build from them and break rules and expand but don't do it naively.
John 28:06
Yeah. When I wrote the first book, it was because I had done an interview with a couple guys who made a movie called The Last Broadcast, which came out right before Blair Witch, which had a similar project process to it. And one of them said to me, he said in talking to film students, one thing I keep seeing is everyone wants to reinvent the wheel. And so I put the book together, because here's all the different lessons, you can you're going to end up learning in one way or another, you might as well read them now and like you say, not find out that that won't cut because it won't cut. It just won't cut.
Alright, you did touch on this lesson earlier just in passing, but it's a good one and it's sometimes a tough one. I just called it Fixed Problems Quickly and it was about if there's a crew member who's not part of the team, it's easier to get rid of them two weeks out, then two hours into the shoot.
Eric 28:54
Yep, it still holds, and it happened on the film I made after Judy Berlin as well. Someone who had worked on Judy Berlin came on to the new production of Three Backyards, and I tried my best to keep this untenable relationship working. But like a rotten root on a plant, it started to rot everything around it, and everyone would like to be the well-liked captain of the ship. But that also means firing crew members sometimes. We had a very, very big key position on that film, and we had to lose them a week before we shot. I'll tell you something else about Three Backyards. It was a week before we shot it. Is it okay that I talked about that?
John 29:39
Absolutely. We're talking about what you've learned.
Eric 29:42
Yeah. So, after Judy Berlin I made a film called Three Backyards with Edie Falco and Elias Kotes and host of other people. A very strange movie it was, I am not joking. I haven't said this. So, not that this is some big reveal that anyone gives a shit about but before, a week before we shot it was called Four Backyards. I've never told that because I didn't want anyone to watch it with that mindset and start to say, and we even kept the crew quiet and said, please, we don't want this to get out that it's you know. And I cut out an entire storyline a week before shooting. Now, when I tell you that it was an actor, a very amazing actor in that storyline, the fourth backyard, who I had to call, who was already doing driving around on his motorcycle in the location, going to visit places that had to do with his storyline, costume fittings, everything had been done locations we had gotten, I had to call them and say we're cutting, that your character and that storyline. It was still to this day unbearable. I don't expect you know, the guy is very well known and successful, and you know, has done far more important things than my little movie. But I still feel guilty to this day. I feel nauseous to this day that I did that, that I had to do it.
We got to a point where it was clear, the expression of the film called Four Backyards would be running through one take per shot, per setup and running through with no time to work on the characters, no time to give these amazing actors, you know what they wanted. We'd be run and gun and I just said, I'm not this old, you know, to making this movie so that I can re-learn terrible lessons and put these actors through that kind of experience. So, I cut an entire storyline that was dragging down this buoy, let's say in the water and then once we cut it off, and I of course I don't mean the actor or the performance, the potential performance. I mean, the production. Once that fell to the bottom of the sea, the buoy lifted and bounced and righted itself. And I lived with that decision knowing I did the right thing, but that it was hard.
We also lost one of the key, we lost our production designer I would say about 15 days before shooting, and that was another one of those kinds of decisions where I said get it done now. I will say this offline on Three Backyards. There was a crew member who had, the minute I shook hands with them, I knew this is that kind of poisonous sniping inconsolable person. But I leave those decisions to department heads and that's not my job to get in and say this person seems awful to me. But that's my feeling. They worked for about, let me say this carefully, they worked and it and became exactly the problem that I had predicted. They initiated a work stoppage that was uncalled for, unprofessional, and everyone was aware.
They pretended not to know what location we were going to next and didn't show up. We were delayed I think 40 minutes. On a low budget movie, 40 minutes is unsustainable. And I will just say this, I had to make the decision because we were so deep into the film, whether or not firing that person would cause such bad feelings in the remaining crew or free us up in a way that was similar to what I described earlier. I decided to keep the person and it was I believe the right decision because we were close enough to finishing the film that I believed I would no longer reap benefits from firing them and that leads me to a sentence that I probably told you when I was 20 or whatever how old I was when I spoke to you. I'm now 57.
On a movie, you want to be effective not right. In other words, a decision that is morally right on a film which is a temporary, collapsible circus tent where people strangers get together and work for a month, being morally right can hit the main pole of that circus tent really hard and collapse. You want to be effective not right. The right decision in a movie. It is the one that gets forward motion. In that particular case, I took my revenge out later, I kept the person, I bit my tongue and swallowed my pride and said I'm so sorry, let's negotiate. How can we make you happier? However, after we finished production, my more powerful friends in the industry never hired that person again. That person was fired from large TV productions that they were on and given no reason and I felt absolutely thrilled with that.
John 34:48
Well, it does catch up with you. The next one is one that I use all the time and you just put it very succinctly you said, Fewer Takes, More Shots.
Eric 34:57
So, I can talk about that. I want to be specific though, that it's for my kind of filmmaking. If you're shooting every scene in one shot, this cannot apply. But in the edit room generally, is a very broad stroke comment, generally, if you're a more conventional visual director who tells stories with shots, you get stuck on one shot in one setup, especially if it's a master and you're trying to get it right. You have no other storytelling ability. You don't have the move in. You don't have the overhead shot. You don't have the insert shot of the finger of the character touching a teaspoon nervously. You don't have any other storytelling ability if you get stuck in one setup.
So, a lot of people always say, you know, remember, your first take is probably your best take. That's a good truism. There's an energy that you get from nervous actors, nervous camera operators in a first take. So, sometimes your first take has a great spontaneity about it. Sometimes it lingers for a second or third take. The idea that you are going to beat that dead horse into the ground with subsequent takes going up through 13, 15, 19 to get something perfect flies in the face of the actuality, which is that editing, performance, the rhythm of the eventual scene through shots and takes creates what the audience experiences. That the idea of perfection is a great way to flatten your actors, kill your dialogue, ruin your scene.
It's like when I first made a pie ever in my life, nobody taught me and I didn't really look at a book. I was preparing a meal for a woman who was coming up to her country house and I was upstate using the house. And I thought to myself as I carefully cut the butter into the flour and created a little pebbly, beautiful texture, and then gently gathered those pebbles of flour and butter and sugar together into a ball. I mistakenly thought that if I took the rolling pin and roll the life out of it, I would be making the best crust possible. And it tasted it was inedible. It tasted like shoe leather. And I said what did I do wrong? And they said, the object she said to me when she arrived, the object is to gather those delicate, beautiful pebbles together and lightly make it into a crust that retains the little particles, the delicate interstitial hollows. Not to flatten the life out of it. And the same is true about shots. The more angles you have, if that's the way you shoot, create a sense of life. That's about as good as I can say it.
John 37:49
Well, you know, I want to add just a couple of things. When I did the book, originally, I talked, had a wonderful long conversation with Edie, Falco about Judy Berlin. She was trying to get her brand-new baby to go to sleep while we talk and so it's very quiet recording of her talking.
Eric 38:04
That's my godson Anderson.
John 38:05
Oh, that's so sweet. She said about multiple takes. She said there's a perception sometimes with filmmakers that actors are this endless well. And she said, I'm not, I'm just not. Unless you're giving me direction to change something, it's going to be the same or worse. Again, and again. And so you know, of all the lessons from the book that I tell people when I'm making presentations, fewer takes more shots. The thing, a corollary of attitude, is if you're going to do another take, tell them to do it faster, because you're gonna want a faster version of it. You don't realize that right now, but you're gonna want one.
Eric 38:38
Here's a great way of saying it. I feel people mistake, directors mistakenly think that they are making the film on set. The filming of a movie is a shopping expedition for, drumroll please, ingredients. If you are shooting one take per scene, sure, get it right, you have your own methodology. But if you're going to be telling a story in the traditional narrative way, where a bunch of angles and performances in those shots, setups angles, will eventually tell the story of a scene that let's say for example, goes from pedestrian quotidian to life threatening, remember that you need the ingredients to then cook in the edit room of quotidian, seemingly boring escalating into life threatening.
Making a movie on set in production is shopping for the ingredients and you come home and then you forget the recipe and say, what did I get? What was available? What was fresh? What does that mean if you're not talking about food? Well, this actor was amazing, and I lingered on them and I worked on their performance because it's going to be great. That's one of the ingredients you have to work on. In the edit room, this actor was less experienced, and I had to do more setups because they couldn't carry a scene in one shot. That's what I have to work with now in the edit room.
When you're in the edit room, you're cooking with the ingredients you got in the fishing expedition called shooting. That's why my students say to me, well, why am I going to get extra footage? Why am I going to get anything but the bare minimum? Why am I going to overlap in terms of, well, you think you're only going to use that angle for two lines, we'll get a line on either side of the dialog, so that you have it in case. And they say, that's not being professional. That's not being precise and accurate. And I'd say it's a fishing expedition, especially if you're starting to learn film. You don't go shopping for a party and say, I think everyone will have about 13 M&Ms. You're buy in bulk, because you're getting like, oh, it's a Halloween party, I’ll need a lot of this, a lot of that and a lot of this, and then you cook it later.
John 41:04
You know, one of the best examples of that is connected to Judy Berlin, because as I remember, you edited that movie on the same flatbed that Annie Hall was edited on...
Eric 41:18
I still have it, because the contract I made with Woody Allen was that if no one ever contacted me for it, and I bore the expense of having to store it, I would keep it. And so I got it and nobody ever asked for it. Nobody uses it anymore.
John 41:34
But the making of that movie is exactly that. They had a lot of ingredients and they kept pulling things away to what was going to taste the best and all of a sudden, this massive thing … You know, I was just talking to another editor last weekend, o, I pulled out this, the Ralph Rosenblum’s book, but...
Eric 41:49
Oh, yeah, I was just gonna mention that. The best book on editing ever.
John 41:51
Although Walter Murch’s book was quite good. But this is much more nuts and bolts.
Eric 41:56
And much more about slapping stuff together to make art.
John 42:00
That one lesson of: don't spend all day on that one take over and over and over. Let's get some other angles is …
Eric 42:06
I'll tell you what happens. I may have said this in our first interview, but I will tell you from the inside, what happens. It's terrifying and if you start with a master, a director can get terrified, because to move on means more questions about what's next. Was it good? And you can get paralyzed in your master shot if you're shooting in that manner. And then the actors aren't doing their best work in the master, especially if it's a huge master, where there's tons of stuff going on. They're going to give you some better performance, if you intend to go in for coverage and you by the time you do that you may have lost, you know, their natural resource. They might have expended it already. I've been in that situation where I got lost in my master and you almost have to take a pin on set and hit your own thigh with it and say, wake up, wake up, move on, move on.
John 42:58
Yeah. All right, I got one more lesson for you, because I'm keeping you way too long. It's a really interesting one, because it's when I talked to Edie about it, she didn't know you had done it and she thought, well, maybe it helped. But Barbara Barrie played her mother in Judy Berlin, they had never met as actors, as people. And you kept them apart until they shot, because you wanted a certain stiffness between them. I just call that Using Reality to Your Advantage. What do you think about that idea now?
Eric 43:25
Edie isn't someone who requires it, you know, she's one of the best actresses in the world.
John 43:30
And Barbara Barrie wouldn't have needed it either. I'm sure.
Eric 43:32
She wouldn't have but I do think there's a … look. This is a funny thing about me and my evolution from Through an Open Window, which is the half hour film, to what I'm writing today. I always thought that film was interesting in the same way that I thought military psyops were interesting: that you could control or guide or influence an audience's experience of the story in ways they were unaware of. So, I always liked those hidden influencers. Even in advertising, I thought they were interesting. You see how this company only uses red and blue and suddenly you feel like, oh, this is a very, this is an American staple this product. I love that shit and after I'm done with a script, I know what I'm intending the audience's experience to be I want to find anything to help me to augment that and if you're a fan of that kind of filmmaking, would the shots have a power outside of the audience's ability to see them? They know that the story is working on them and they think the audience thinks, oh, I was just affected by the story in that great performance. They have no idea that the director has employed a multitude of tricks, depth of field to pop certain actor’s faces out as opposed to wider shots that exclude are identifying with other characters, moving shots that for some reason, quote unquote some reason meaning every director is aware of how these techniques influence an audience, suddenly make you feel as if that moment in the story of the character are moving or have power have influence while other moments have nothing.
In Three Backyards, funnily enough with Edie, I had a scene where Edie was, the whole, Edie's whole storyline was about her desperate, unconscious attempt to connect with this other woman who was a stranger to her. And I refused to show them in a good two shot throughout the entire film. I separated them. I made unequal singles.
When their singles cut, they were unequal singles tighter and wider, until the moment that I had convinced the audience now they're going to become best friends. And I put them into their first good, easy going two shot. And that kind of manipulation is done every moment by every filmmaker directing. In one aspect it is a mute, meaning silent in an unobtrusive, persuasive visual strategy for enhancing the story. So, whether you're keeping two actors away from each other during the course of the day before their first scene, because the scene requires tension, or whether you're separating them visually until a moment late in the movie, where they come together, and they're coming together will suddenly have tension because they're in the same shot. Those kinds of persuasive manipulations are what visual storytelling, otherwise known as directing is about.
John 43:33
Yep, and there's a lot of tools. You just got to know about them because a lot of them you're not going to see, you won't recognize, though until somebody points out, do you realize that those two women were never really in the same shot together?
Eric 47:06
Every well directed movie has a strategy. Sometimes they're unconscious, but you don't want to be unconscious. As the director, you want to be smart. You want to be informed about your own process, and I think smart directors … Here's what I always say to my students: learn a lot, know a lot, then feel a lot.
So, what does that mean? It's just my way of distilling a whole bunch of education down into a simple sentence. Understand what has been done and what you can do, and what are the various modes of directing and storytelling. And then when you get into your own script, feel a lot. What do I want? Why isn't it working? Add a lot of questions marks to the end of sentences. Why can't this character be more likeable? Why isn't this appealing? Why haven't I? How could I? And it's a combination of knowing a lot and being rigorously intellectual about the art form that you want to bow down before you want to bow down before what works and what doesn't work. I would say that you want to bow down before the gods of what works and what doesn't work. You know, you don't want to look them in the eye and say, screw you, I'm doing what I want. You bow down and say, I don't even understand why that didn't work. But I'll take that lesson.
You want to feel a lot. You want to be open on the set. One of the hardest things to learn is how to be open on the set. You want to be open when you're writing. You want to be open when you're editing. It's a real juggling act of roles that you have to play, of being naive, being smart, being a businessperson, being a general, being a very, very wounded flower.
You know, I remember reading, as a high school student, Gloria Swanson's autobiography. And then it's so many years since I read it that I might be wrong. But I remember they said what are you proudest of in your career. And she said without hesitation that I'm still vulnerable. And I didn't even know if I understood it at the time, but I get it now.
You want to be smart. You want to be experienced. You want to have a lot of tools and know the tools of other directors and still be naive and vulnerable and hearable and have your emotional interior in tech. Those are hard things to ask of anyone, but if you want to be in this industry, an art form that so many greats have invested their life's work toiling in, then you owe it to yourself to be all of those things.
[MUSIC TRANSTION]
John
Thanks to Eric Mendelsohn for chatting with me about the lessons he learned from his debut feature, Judy Berlin.
If you enjoyed this interview, you can find lots more just like it on the Fast, Cheap Movie Thoughts Blog. Plus, more interviews can be found in my books -- Fast, Cheap and Under Control -- Lessons Learned from the greatest low-budget movies of all time ... and its companion book of interviews with screenwriters, called Fast, Cheap and Written that Way. Both books can be found on Amazon, Barnes & Noble, Kobo, Google and Apple Books.
And while you're there, check out my mystery series of novels about magician Eli Marks and the scrapes he gets into. The entire series, staring with The Ambitious Card, can be found on those same online retailers in paperback, hardcover, ebook and audiobook formats. And if you haven’t already, check out the companion to the books: Behind the Page: The Eli Marks podcast … available wherever you get your podcasts.
That's it for episode 106 of The Occasional Film Podcast, which was p roduced at Grass Lake Studios. Original music by Andy Morantz. Thanks for tuning in and we’ll see you … occasionally!
