Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Reeler Pinch Hitter: Joe Swanberg, Filmmaker

[Note: Reeler editor S.T. VanAirsdale is taking the week off, but the blog is in the good hands of trusted friends and colleagues; click here for other entries in the series. Joe Swanberg is a filmmaker based in Chicago. His first feature, Kissing on the Mouth, will be released on DVD Aug. 29. Here he writes about his second feature and his ongoing series featured on Nerve.com, both of which screen as part of this week’s Vloggers Unite! program at the Pioneer Theater.]
When 200 people crammed into the theater for a sold-out screening of LOL at the Independent Film Festival of Boston in April, the energy in the room was palpable. As the film played, it was as close to the perfect theatrical experience as I could ever expect, and proof that the theater is still my favorite way to see movies. But if you weren’t in Boston that night, you couldn’t see LOL, no matter how badly you wanted to.

Joe Swanberg as Patrick and Mollie Leibovitz as Maggie in a scene from Swanberg’s Young American Bodies, screening Aug. 26 as part of the Pioneer Theater’s Vloggers Unite! series. (Photo: Joe Swanberg)

Two weeks later, one hundred times that number of people would check out the first episode of Young American Bodies, the web-series that I directed for Nervevideo.com. Most of them probably viewed it by themselves on a crummy computer screen with dinky speakers. It was nothing like the great experience of the LOL screening in Boston, and I couldn’t care less. More people watched the first episode of YAB on its first day than will see my first two features in a theater combined.
Audience size and accessibility aren’t everything. I’m not convinced that the Internet is a good home for feature films just yet. When file sizes get small enough and bandwidth speed gets fast enough, it will be, but right now the medium lends itself best to time-killing. It’s hard to watch a feature film when you’re bored at work, but it’s easy to watch a five-minute podcast. I’m less interested in putting my features online than I am in creating the best time-killing content I can produce. The audience for small indie features shrinks as the audience looking to kill time grows exponentially.
The Pioneer Theater’s Vlogger’s Unite! series is a sampling of some of the best time-killing content out there. They are spotlighting the first video generation in the cutting-edge art form of entertaining bored people at work. Prime time has shifted from 8 p.m to 9:30 a.m. TV dinners have given way to morning coffee. People are looking for one more reason not to start their day, and if you’re good, your show (or blog or vlog) could be that reason.
As I write this, I’m in post-production on my third feature, Hannah Takes the Stairs. I will continue to chase the elusive feature film audience. I will keep lusting after that communal experience. But I’m equally excited about this new audience and these new ways of reaching them. I want to make good work and I want as many people as possible to see it, and there has never been a better time to do both.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon