EDITED BY JOHN BERRA AMERICAN INDEPENDENT DIRECTORY OF WORLD CINEMA 2 Japan Directory of World Cinema CONTENTS First Published in the UK in 2010 by Intellect Books, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK First published in the USA in 2010 by Intellect Books, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA Copyright © 2010 Intellect Ltd All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission. A catalogue record for this book is available from the British Library. Publisher: May Yao Publishing Assistant: Melanie Marshall Cover photo: Half Nelson, Journeyman Pictures. Cover Design: Holly Rose Copy Editor: Heather Owen Typesetting: Mac Style, Beverley, E. Yorkshire Directory of World Cinema ISSN 2040-7971 Directory of World Cinema eISSN 2040-798X Directory of World Cinema: American Independent ISBN 978-1-84150-368-4 Directory of World Cinema: American Independent eISBN 978-1-84150-385-1 CONTENTS Acknowledgements 5 Introduction by the Editor 6 Film of the Year 8 The Hurt Locker Industry Spotlight 12 Interviews with Adam Green and Wayne Kramer Cultural Crossover 24 John Waters and Baltimore Scoring Cinema 28 Mulholland Dr. Directors 32 Stuart Gordon Charlie Kaufman David Lynch African-American Cinema 42 Essay Reviews The American Nightmare 62 Essay Reviews Chemical World 84 Essay Reviews Crime 104 Essay Reviews Documentary 126 Essay Reviews Exploitation USA 144 Essay Reviews Familial Dysfunction 162 Essay Reviews Narrative Disorder 180 Essay Reviews On the Road 198 Essay Reviews Queer Cinema 218 Essay Reviews Rural Americana 240 Essay Reviews Slackers 258 Essay Reviews The Suburbs 276 Essay Reviews Underground USA 296 Essay Reviews Recommended Reading 316 American Cinema Online 319 Test Your Knowledge 322 Notes on Contributors 325 DIRECTORY OF WORLD CINEMA AMERICAN INDEPENDENT ACKNOWLEDGENTS Acknowledgements 5 Directory of World Cinema This first edition of the Directory of World Cinema: American Independent is the result of the commitment of a range of committed contributors from the fields of academia and film journalism, and I would like to take this opportunity to thank everyone who has contributed to this volume. Although the backgrounds and approaches of the writers are quite diverse, their collective passion for the project has yielded an analysis of American Independent Cinema that is both informed and invigorating. The depth and scope of the entire Directory of World Cinema project is a credit to the dedication of Intellect with regards to the field of Film Studies, and I would like to thank Masoud Yazdani, May Yao, Sam King, Melanie Marshall and Jennifer Schivas for their continued support throughout what has been an immensely rewarding process. I would also like to extend special thanks to Dr. Yannis Tzioumakis of Liverpool John Moores University, who organized the American Independent Cinema: Past, Present, Future conference in May, 2009. This was an especially interesting event which encour- aged a wide range of approaches towards the subject of American Independent Cinema and enabled me to make contact with a number of the contributors who feature in this volume; the essays concerning the films of Jon Jost, Charlie Kaufman and John Waters, and also the entire section devoted to the suburb Film, arose from papers delivered at, and debate generated by, the conference. I also greatly appreciated the opportunity to discuss the rich history and ongoing cultural and industrial evolution of American Independent Cinema at such a crucial juncture in the development of this volume. In addition, I would like to express my gratitude to my fellow contributors to Electric Sheep magazine for taking on reviews and essays alongside other commitments, and Adam Green and Wayne Kramer, two film-makers who took time out of their busy schedules to candidly discuss their work and their navigation of the industrial networks of the Ameri- can independent sector. John Berra ACKNOWLEDGENTS 6 American Independent Directory of World Cinema The pressing – and perplexing – question of what exactly constitutes an ‘American independent film’ is integral to any account of this unique form of national cinema; even if such studies somehow manage to avoid addressing the question directly, they ultimately offer their answer through the films and directors which they choose to include or exclude, while arguments centred around ‘authorship’ or ‘independence of spirit’ lead to the grey area of corpo- rate sponsorship and the suggestion that this sector is simply an offshoot of the Hollywood studios. As with other volumes in the Directory of World Cinema series, this entry does not aim to be a definitive guide to a particular form of cinema; rather, it covers the key genres and thematic concerns of a still-vital sector of cultural production, focusing on specific films and directors which exemplify American Independent Cinema at its most socially significant or aesthetically adventurous. While this may not yield a finite definition of the term ‘American independent cinema’, it certainly sketches a map of its unique indus- trial and cultural networks, revealing a cinema that balances art with exploitation and celebrates the conventions of genre whilst frequently defying them. At the time of writing, media commentary suggests that American inde- pendent cinema is in a state of emergency, struggling to sustain itself due to economic crisis; however, reports of such industrial issues have referred not to genuine independents, but to the Hollywood sub-divisions which were established to appeal to the niche audiences which turned Steven Soder- bergh’s provocative talk-piece sex, lies and videotape (1989) into a surprise hit and would later exhibit such enthusiasm for Pulp Fiction (1994) that Quentin Tarantino’s crime epic grossed over $100 million and became the first ‘inde- pendent blockbuster’ – arguably a contradiction in terms, but one which the studio system could not afford to ignore. While these boutique operations have arguably nurtured a number of unique film-makers since the mid-Nineties (David O’Russell, Paul Thomas Anderson, Alexander Payne), whilst also invest- ing in their forerunners (Robert Altman, the Coen Brothers, Jim Jarmusch), their aggressive attempt to industrialize independence has ultimately ensured market saturation, critical cynicism and audience apathy. This retreat from the speciality market by the Hollywood majors has been efficiently executed: Warner Indepen- dent and Picturehouse have been closed down, while Miramax and Paramount Vantage have been severely downsized, despite delivering such cost-efficient critical and commercial successes as No Country for Old Men (2007) and There Will Be Blood (2007). However, the dependence on prestige to attract audiences to ‘quality’ product has entailed expensive awards campaigns, promotional exer- cises that have brought the overall investment in such titles to such a level that the industrial accolades have been undermined by eroding profit margins. However, on the margins of the mainstream, American independent cinema remains a vital force, with enterprising directors overcoming budgetary restric- tions to deliver films that are timely and socially relevant, emphasizing characters INTRODUCTION BY THE EDITOR Introduction 7 Directory of World Cinema over caricatures and psychology over spectacle: both Courtney Hunt’s Frozen River (2008) and Cary Fukunaga’s Sin Nombre (2009) tackle the topic of immigra- tion within the confines of the road movie and succeed in making their eco- nomically-disadvantaged protagonists fully-formed moral constructs rather than political mouthpieces, thereby engaging their audiences on a humanist level that transcends genre trappings. Steven Soderbergh continues to surprise, if only to prove that he still can, alternating between the studio project The Infor- mant! (2009) and the The Girlfriend Experience (2009); the latter film followed Soderbergh’s Bubble (2005) in aiming to establish new distribution avenues for independent cinema with The Girlfriend Experience being available as an Amazon Video on Demand rental title before its theatrical release. The subject of the American occupation of Iraq, which has been explored by a long line of well-meaning but under-performing studio productions, was finally dealt with in a sufficiently invigorating and incisive manner by Kathryn Bigelow’s The Hurt Locker (2009), a taut warzone thriller that largely jettisoned political stance in favour of day-to-day minutiae with occasional bursts of life-threatening danger. The publication of the Directory of World Cinema: American Independent finds the American independent sector coming full circle. 1999 was the year that the independent sensibility successfully penetrated the Hollywood mainstream; films such as Being John Malkovich, Magnolia and Three Kings utilized studio resources to fully realize the personal visions of their directors, while The Matrix became an international phenomenon by placing its ground-breaking ‘bullet-time’ effects within the philosophical realms of Immanuel Kant and Jean Baudrillard, and the micro- budget The Blair Witch Project demonstrated the power of viral marketing, with an ingenious online advertising campaign, to reach blockbuster status. 2009 found Hollywood distancing itself from the independent sector, concentrating on youth- orientated franchise films, while directors willing to work outside the studio system were able to make politically-engaging and emotionally-challenging projects, which resonated with audiences on the festival circuit and beyond. Of course, the ‘next Blair Witch’ finally emerged in the form of Paranormal Activity (2009), but Oren Peli’s debut feature is already being cited as a triumph of marketing strategy rather than individual quality, indicating that the American independent sector may be allowed some creative breathing room before the major studios seek to maximize its com- mercial potential through in-house development and Oscar acceptance. Regardless of its current industrial importance, the cultural diversity of Ameri- can independent cinema is undeniable; from existential road movies, to uncom- promising exploitation, to politicized documentary, to deconstructive genre cinema, to explorations of race and sexuality, to depictions of dysfunctional family units, this is a form of film-making which thrives on the intuitive instincts, and of film-makers who are unafraid to examine the social-political fabric of their nation. Many of those films and film-makers are featured in this first edition of the Directory of World Cinema: American Independent, and the essays, reviews and interviews that follow are indicative of both the diversity of American inde- pendent cinema and the serious critical consideration which its output receives from cultural commentators; after all, this is a cinematic sector that is home to both Abel Ferrara and Jon Jost, and has been discussed in depth by both David Bordwell and Peter Biskind. If American independent cinema is synonymous with the open highways of Easy Rider (1969), Five Easy Pieces (1970) and Two Lane Blacktop (1971), then it is hoped that this volume provides the appropriate route map to an unspecified destination. John Berra 8 American Independent Directory of World Cinema FILM OF THE YEAR THE HURT LOCKER The Hurt Locker, First Light Productions/Kingsgatefilms. Film of the Year 9 Directory of World Cinema Synopsis Staff Sergeant William James, a soldier known for his ability to disarm bombs whilst under fire, joins his latest detail in Iraq and finds he is an unwelcome presence: his new teammates, Sergeant JT Sandborn and Specialist Owen Eldridge, are mourning the loss of their previ- ous commanding officer, Sergeant Matt Thompson, whose zen-like approach to bomb disposal is immediately contrasted by James who, comparatively, behaves like a bull in the proverbial china shop. The three soldiers gradually bond during the remaining month of their tour, with Sandborn and Eldridge initially infuriated by James’ impul- sive actions in dangerous situations, but eventually respecting his bravery and the efficiency with which he makes life-and-death deci- sions. They dismantle a bomb in a crowded public area, evade sniper fire in the open desert, and become involved with a local boy who makes a living selling pirate DVDs. James attends sessions with the base therapist, but prefers to relieve stress by playing violent video games and knocking back alcohol. Back home in the States, James is unable to fully adjust to family life, and returns for another tour of duty in Iraq. Critique The post-9/11 era has led to the political engagement of filmmakers working both within the studio system and on its industrial margins, resulting in a series of films that examine the effect of American military presence on foreign soil, both in the field and back in the United States. Studio investment has led to such films as Paul Haggis’ In the Valley of Elah (2007), Kimberley Peirce’s Stop-Loss (2008) and Ridley Scott’s Body of Lies (2008), while the independent sector has delivered David Ayer’s Harsh Times (2005), Brian De Palma’s Redacted (2007) and James. C. Strouse’s Grace is Gone (2007). Most of these projects have received critical respect for their worthy intentions but they have all failed commercially, with audiences unwilling to visit the multiplex to see a Hollywood version of the combat footage, or the grief of bereaved families that has become a fixture of the evening news. An Academy-Award-nominated performance by Tommy Lee Jones could not generate interest In the Valley of Elah, while a posi- tive Sundance reception for the John Cusack vehicle Grace is Gone did not lead to wide distribution. Even the cross-generational star power of Leonardo DiCaprio and Russell Crowe could not carry the $70 million Body of Lies beyond a disappointing $39 million at the domestic box office. By comparison with those films, Kathryn Bigelow’s The Hurt Locker arrived ‘under the radar’, much like the insurgent IEDs (improvised explosive devices) that her mismatched team of soldiers must disman- tle if they are to make it through their tour of duty largely unscathed. Unlike the aforementioned films, The Hurt Locker does not weigh in on the political arguments surrounding the Iraq conflict, rather it details the activities, both on duty and off duty, of three soldiers, paying particular attention to the character of Staff Sergeant William The Hurt Locker Studio/Distributor: First Light Production Grosvenor Park Media Summit Entertainment Director: Kathryn Bigelow Producers: Kathryn Bigelow Mark Boal Nicolas Chartier Greg Shapiro Screenwriter: Mark Boal Cinematographer: Barry Ackroyd Art Director: David Bryan Editors: Chris Innis Bob Murawski Composers: Marco Beltrami Buck Sanders Duration: 131 minutes Cast: Jeremy Renner Anthony Mackie Brian Geraghty Guy Pearce Ralph Fiennes David Morse Evangeline Lilly Year: 2009 10 American Independent Directory of World Cinema James, and examines the male psyche in situations of extreme physi- cal and emotion duress. Rather than relying on a traditional three-act structure, and the mentor-student conflict that is characteristic of the American military movie, or the fatalistic relationships that provide the dramatic friction in Bigelow’s own work – such as the fetishistic cop thriller Blue Steel (1989) or her cyberpunk excursion Strange Days (1995) – The Hurt Locker opts for an episodic narrative, one that prob- ably stems from screenwriter Mark Boal’s prior experience as a war correspondent. Bigelow’s film follows James, Sandborn and Eldridge from mission to mission, taking in their downtime and interaction with the local community. Almost as if she is working with the virtual-reality technology that was integral to Strange Days (video units which allow users to experience the extreme activities of others, in the first person), Bigelow takes to the mean streets of Iraq (the film was shot in Jordan) and captures much of the action from the perspective of her protagonists. Establishing overhead shots and sweeping pans are not part of the aesthetic; much of the suspense of The Hurt Locker stems from the unknown, the threat of enemy – or friendly – fire, which could be waiting on the next patrol, around the next corner, or beyond the next road block. The title refers to the place deep inside where these men put away their pain, frustration and fear, and Bigelow expertly conveys James’ ability to substitute emotion with adrenaline; an unlikely ‘hero’ and team leader, James (portrayed brilliantly by Jeremy Renner) is not a typical ‘action man’ and Renner’s somewhat pudgy features and short stature would usually find him lost amidst an ensemble in a Hollywood war epic rather than taking centre stage. Bigelow has, of course, made two earlier films about groups with charismatic leaders: the vampire thriller Near Dark (1987) with Lance Henriksen as the head of a makeshift family of bloodsuckers is an enduring cult item; and Point Break (1991), with Patrick Swayze as the sky-diving mastermind of a gang of bank robbers who mix crime with extreme sports, has become something of a pop-culture classic. However, while those films were undeniably exciting and technically proficient, they were firmly rooted within Hollywood genre and the folklore of the Ameri- can outlaw, their moments of psychological insight occasionally at odds with the mythic sensibility applied to main protagonists. The Hurt Locker strips away such iconography to capture ordinary people undertaking day-to-day duties in a morally-questionable international conflict. The action sequences are excellent, but it is the small, telling, explorations of character that linger: a heavy after-hours drinking ses- sion which lurches uncomfortably from joking to a dark night of the soul; James opening a juice box for his fellow soldier whilst pinned down by sniper fire in the desert; Sandborn breaking down in the final days of the tour and demanding that James explain how he keeps his sanity amidst the chaos. The character of James is something of an enigma throughout, as perpetually in motion as Bigelow’s hand-held camera, but the final ten minutes find him back with his family in the United States and bring his seemingly-contradictory nature (careless yet caring, impetuous yet informed) into focus: in a suburban supermarket, James stares at an entire isle of cereal, defeated by having to make a decision about [...]... Crossover 27 Directory of World Cinema Mulholland Dr., Studio Canal+/Les Films Alain Sarde/Universal SCORING CINEMA MULHOLLAND DR 28 American Independent Directory of World Cinema Mulholland Dr Studio/Distributor: Asymmetrical Productions Studio Canal Universal Director: David Lynch Producers: Alain Sarde Mary Sweeney Neal Edelstein Michael Polaire Tony Krantz Screenwriter: David Lynch Cinematographer:... dispiriting experience for me that I feel compelled to let the world know how I feel about it I’m not sure if that helps or hurts me, but the book is far from closed on this one John Berra Industry Spotlight 23 Directory of World Cinema Pecker, Polar Entertainment CULTURAL CROSSOVER JOHN WATERS AND BALTIMORE 24 American Independent Directory of World Cinema From his earliest short black-and-white underground... is a drug’, and the final image of James back in the thick of the action brings that statement full circle Incisive and invigorating, The Hurt Locker eschews politics for sheer experience, and the often inexplicable allure of mortal danger, and delivers an uncompromising depiction of the modern battlefield John Berra Film of the Year 11 Directory of World Cinema Courtesy of AireScope Pictures INDUSTRY... much the same way Much of this, of course, is down to the influence of Lynch himself, who frequently describes himself as a ‘sound man’ These contradictions make for a surprisingly hypnotic and fascinating listen away from the film Scoring Cinema 29 Directory of World Cinema Cast Naomi Watts Laura Elena Harring Justin Theroux Robert Forster Year 2001 30 American Independent And then, of course, there are... has garnered him a greater reputation with cinéastes afraid of zombies, but the casting of Macy in the role of the American President in the proposed House of Re-Animator may result in his most enjoyable film to date Alex Fitch Directors 35 Directory of World Cinema Synecdoche, Sidney Kimmel Entertainment DIRECTORS CHARLIE KAUFMAN 36 American Independent ... INTERVIEWS WITH ADAM GREEN AND WAYNE KRAMER 12 American Independent Directory of World Cinema Interview with Adam Green A cursory perusal of two chapters in this volume (The American Nightmare and Exploitation USA) will reaffirm the assertion that horror is the genre of choice for first-time film-makers seeking to make a movie which will both the attract attention of a core audience, and deliver the required... to the many accounts that I researched on the internet – many of them quite recent None of the changes ultimately satisfied Sean, who is 22 American Independent Directory of World Cinema very heavily invested in Iranian politics; he’s written for the San Francisco Chronicle about Iran and believed that the United States was on the verge of bombing Iran and didn’t want to ‘villainize the Iranian people’... look John Berra 16 American Independent Directory of World Cinema Interview with Wayne Kramer Although born in Johannesburg-Kew, South Africa, the writer-director Wayne Kramer always aspired to work in the American film industry, and has succeeded in establishing a career within the independent sector After toiling away as a screenwriter for many years, and suffering the setback of struggling to complete... this more apparent than in the nostalgic portrait of Baltimore Waters creates in his most commercially-successful film, 26 American Independent Directory of World Cinema Hairspray (1988) Set in 1962, Hairspray recreates the Baltimore of Waters’ youth for a story about outcast teenagers breaking racial barriers through dance The fictional Corny Collins show of Hairspray is based on The Buddy Dean Show that... writers At no point did 18 American Independent Directory of World Cinema they ever come back to me and say, ‘have another shot at it.’ They turned it from a taut suspense thriller into a full-on action film and there are plot holes that you can drive ten trucks through Nothing makes sense – the characters are all supposed to be the best of the best in the FBI Academy and every one of them makes the stupidest . Beverley, E. Yorkshire Directory of World Cinema ISSN 2040-7971 Directory of World Cinema eISSN 2040-798X Directory of World Cinema: American Independent ISBN. INDEPENDENT ACKNOWLEDGENTS Acknowledgements 5 Directory of World Cinema This first edition of the Directory of World Cinema: American Independent is the result of the commitment of a range of committed