's craig zahler interview

Take his sophomore effort, last year’s revelatory, Vince Vaughn-starring Brawl in Cell Block 99 — how the fuck do you find yourself crying at the end of a movie where, just minutes earlier, the protagonist stomps an assailant’s face into the floor and drags it until it’s almost devoid of flesh? I look at the shot, the lighting, and go this is right, I’m comfortable with it. Tory Kittles, who is terrific in Dragged Across Concrete, has a very big role in what I hope will be my fifth piece, a limited series western. An accomplished music journalist (he freelanced for the sadly defunct Metal Maniacs), novelist (his latest, Hug Chickenpenny: The Panegyric of an Anomalous Child, was released via Cinestate in January), screenwriter, and filmmaker, Zahler has suffused the gnarliest exploitation fare with unlikely pathos. But my enthusiasm is contained for anything I’m not controlling, because I don’t believe in it until they’re rolling now! The superstar’s personal issues have been well-documented, from anti-Semitic remarks during a DUI arrest in 2006 to leaked audio tapes of profane, occasionally racially charged arguments with then-girlfriend Oksana Grigorvera in 2010. Dragged Across Concrete plays on our screens from Friday 19 April, Privacy policy (hosted on curzoncinemas.com), loro, paolo sorrentino, toni servillo, dragged across concrete, s craig zahler, mel gibson, vince vaughn, loro, paolo sorrentino, toni servillo, il divo, the great beauty. You can do that stuff, and then when you land on the day of photography, everybody feels comfortable. Make sure it makes sense for everybody. The film has stuck in my head a lot, and it was her performance that really came through. Don Johnson has publicly dubbed himself, Udo Kier, Jennifer Carpenter, and Vaughn “The Zahler Players,” and three of them will appear in the filmmaker’s third movie, the almost predictably awesomely titled Dragged Across Concrete. Those are the thoughts and it came to me pretty early on, and there are obviously multiple literal scenes of that title in different ways and there are the other metaphorical ones. Whoops, already breaking my own rule from the first paragraph—the highlight (hell-light?)

The conflation of all of this stuff yields a character we’ve never seen before. And then after reading through it, talking about it after. Editor, author, writer, broadcaster, Costner fanatic. I’d lose the unique experience of watching this character, the physicality, the muscle, the very layered internal work. I wouldn’t be surprised in the case of Brawl if there’s only about 10 minutes of violence in it? Some of it is I just saw him in the real world as a dude who isn’t the guy you see in his movies. Get the best of Den of Geek delivered right to your inbox! I’d given each of them a biography, going through the life story of that character from early childhood up until the day before the first scene in the movie. “The reality is, I chose him because he was fantastic for the part,” Zahler says of Gibson. For the most part, Vince Vaughn whether he’s in a movie with a lot of good performances, or a mixed bag, he lands. I don’t look forward to being in a position where people are either going to want me to defend him or condemn him. “There are a lot of people in cars, so there’s a lot of spaces to put these tunes in.”), As far as an improbable—and at this point unnecessary—return to the world of metal journalism is concerned, don’t hold your breath (although Zahler does still post on Metal Archives from time to time). I knew if I saw him on the street I wouldn’t think that guy’s a comedian.

But maybe my biggest area of disappointment is that people aren’t talking about Jennifer Carpenter in every single review. I knew that by the halfway point of our first day of rehearsal – I was doing these scenes opposite him – and I saw this was an actor who I thought was very good, but I realised he’s a top tier exceptional actor. Thank you for saying this. They had all of that from me. It’s something I like to do with everybody. Brawl In Cell Block 99 is in selected cinemas, and on premium on demand services, from today. On my way out of Brawl, I did wonder if I’d actually watched a film with that many minutes of violence in, it’s just that the violence had real impact? He spared me some time for a chat to talk about the film, his approach, and what he feels about Drew Goddard and Ridley Scott adapting one of his books.

I would think that’s a menacing looking dude. In a recent Q&A we did, she said a lot of people require a lot of me in my role, but that I required her to be an Olympian every day, and the hardest days of shooting she’d ever had were each day on my movies! I’m not a political person—[I’m] really towards the middle—and to me it’s much more interesting writing people who are all over the spectrum and have all these different viewpoints … not presenting ‘one is right’ or ‘one is wrong,’ but maybe good people who are doing bad things and bad people trying to do okay things to better themselves. There are actors who are usually bad. reel is far from the whole story.

But to me, these are dramas, and that’s a genre. I don’t think so. I could take some shots and go through frame by frame the different layers that she brings to life. Zahler already feels like a very different voice in American film, a man content for his budgets to be low and control over his material to be high. They’re mostly reading. Drawing from this access to emotion that he had. And I offered it to him as we were wrapping this one. I never thought ‘that’s the character’, and that’s what I didn’t want. That the reason Lumet could film his movies in half the time was he’d done loads of the key work in the rehearsal room. And I say that as a fan of his. When you watch that sandwich scene, you know that it’s not the first time with these guys, it’s probably not the fiftieth time with these guys; you get a real sense of shared history with them. But I hoped that people would come out and say ‘holy shit, this is a completely different Vince Vaughn’. John Badham, in his books on directing, talks about how rehearsal is seen by “bean counting production executives” as either an “arty perversion designed to cost them money” or “an opportunity for an actor to undermine the script”. In terms of directing other people’s stuff, not as a feature film. I don’t believe it’ll ever happen.

For instance, a character closer to this guy is someone like Woody Harrelson. She is maybe the most incredible performer I’ve dealt with in terms of her amazing access to emotions, and her ability to just layer stuff. But I don’t think it’s a horror movie.”.

That was the thing with picking Vince, that transformation would be there. Even if Jennifer’s doing a table read, she brings it at a pretty high level. Udo Kier is just the Udo-enigma that is Udo Kier, and great to work with. We went through the scene in the living room after Bradley’s little dance with the car. Eventually I think some of these things will get made, but I don’t spend a long time thinking about it. S. Craig Zahler interview: Brawl In Cell Block 99, Bone Tomahawk Features Writer/director S. Craig Zahler talks to us about his films, his approach, and Ridley Scott adapting his work…

I love the film Drive, and there’s a moment in the lift there where Ryan Gosling is simmering. I know writers who come up with the plot, and then do things to get their characters to facilitate the plot. I’ll answer the second bit first! She, like Vince Vaughn, is in the third movie I wrapped three weeks ago. I’ve had three drive-bys with DiCaprio along, with Tom Cruise. Jennifer Carpenter is just a super, terrific performer in terms of depth; I don't know how many people are working at quite the level she is. A couple of things.

You find the people that you want to work with and when they deliver consistently, and if they match the characters, I think it’s nice to reinforce that relationship, and you also just really know what you’re going to get on set and have an idea with what you’re going to be dealing with in the editing room. If you need to listen to stuff you don’t like and then interview those people, uh, not so great. I’ve sold or had optioned 26, 27 different pieces in the Hollywood system.

The exception is that the idea of going on a television show, for a shorter period of time and working with people I think are talented, that holds some appeal to me. In this case I had the general set up of the story, albeit I had a completely different third act, and knew that I wanted the title to be something immediate and grabbing. But to me, drama is another genre. Den of Geek That’s kind of it! I know there’s a new Star Trek show, and I’m a Star Trek fan, given an opportunity to go in and direct something like that? Then I met him and we got along, he was terrifically nice. If you believe in a script and you get the right performances, your movie is going to be good! Anyone who’s seen “Bone Tomahawk” or “Brawl in Cell Block 99” knows that S. Craig Zahler isn’t the most subtle of filmmakers, at least where violence is concerned.

We discussed all these moments. He was hugely complimentary to me. And how many pieces is Ridley Scott currently committed to making?! Proportionally, you’re not looking at a lot of horror. I loved Brawl In Cell Block 99, the second feature film from novelist and filmmaker S. Craig Zahler. To direct an episode of a comedy, something dramatically different, I’d enjoy that. And we cut, and I go and have a conversation if I’m going to give them some direction. With Brawl, I knew the violence was there. Brawl In Cell Block 99 took five weeks to shoot, Bone Tomahawk was four. Was there something early you saw and went ‘okay, that’s the character’? If someone is really into metal and starts talking about HammerFall and Fear Factory and Slipknot, I would rather that they weren’t into metal. Him coming aboard is part of why the movie got made—that’s how something like that got financed—and he was great to work with. I think that both of those are pretty good movies and have some real strong stuff in each of them. There are actors who are usually good. “Now, for many people, there could be a stigma with [the term]—the idea that it’s somehow beneath a movie that I suppose is just a straight drama. Before I’m chucked off, can I just ask though: because your work is so authored, will you only direct your own scripts? It’d need to be something I’ve written. To an extent I wasn’t exactly sure how deep it went. I was wondering what you spotted in his earlier work that, with due respect, I don’t think Vince Vaughn had spotted himself? ZAHLER: The title for my pieces often comes really really early in the process. So there’s that. Director S. Craig Zahler (Bone Tomahawk) takes us back to the glory days of '70s cop movies with this explosion in slow motion. Honestly, at this point when another A-list director comes aboard a piece of mine, my excitement level is pretty contained! During my second time out, with Brawl in Cell Block 99, I was struck immediately with Vince Vaughn and how good he was to work with, how much range he has, and how much near-instant access he has to different emotions; he’s an incredible performer.

S. Craig Zahler doesn’t care if you don’t like his new movie. When it’s there, it’s so extreme that, for a lot of people, it just leaps into that. With Bone Tomahawk, the main cast was there five days early, and we spent four days going through it. The funny thing is, not only does Zahler not see himself as a genre filmmaker, but he takes umbrage with Bone Tomahawk’s classification as horror-western… because there’s not enough horror.

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