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Stories of walk-outs were overblown and somewhat overshadowed the truth about the response from most critics and fest goers, who loved this quirky, strange, bizarre fairy tale of a film. Paul Dano stars as Hank, a man about to kill himself Swiss army man gay a deserted island when the body of a man named Manny Daniel Radcliffe washes ashore.
Hank and Manny, well, they become friends, especially after the corpse not only starts talking to Hank but becomes a multi-purpose tool to get him to safety. The one-on-one ones. It was good! And giving us hugs. This is the best way to meet one of your favorite musicians. What a fucking dream come true. What do you think people are getting emotional about? Whatever that may be. The power to share. I guess it broke her heart. In some strange way, our story is touching people. And you talk about strangeness and acceptance and being different—did you approach the film stylistically with that theme in mind?
Being different? The beginning of the process was kind of like an epic cliff jump. We got excited about the premise of the movie being crazy. Not conventional, but relatable. If anything, we spent most of our time trying to make this unpalatable content palatable.
Whenever we started to put our film into a genre box, it would break down that wall itself. It would feel wrong. It needs to be two or three things at once. It needs to be gray. Our movie is weird enough as it is. This is a buddy comedy. This is about two strangers really connecting. That kind of bled into everything we did.
Everything needed to be a little gray so people could find new ways to redefine it for themselves. How early in the process was music such an essential part of it? How early in the process was that part of the project?
I think before we even wrote the first draft. The first draft had even more meta-filmmaking stuff. He narrated. From the get-go, we knew that what excited us was that Hank would kind of see his life as a movie. We all watch TV and movies and imagine ourselves in our own movies. That will be interesting. Music is really important to our process because we come from music videos.
And so we had been collecting a massive playlist of references for like three or four years. As we were writing, we kept adding to it, so it was like ten hours long. Music that we knew would be interesting to combine and create what we were going for. So, even as we were writing, we listen to music for references. A lot of this stuff is very beautiful but also messy, and also kind of stupid sometimes.
The lyrics are so overtly dumb, in a very simple, beautiful way. The composer will use their songs as inspiration. So, we reached out to Andy Hull because we loved, specifically, his solo stuff, or the more muted Manchester Orchestra stuff. So, all we asked him to do was like send us some melodies.
He sent us a recorded, mixed song the next day, which is the credits song. I love movies.
Please let me do this. The playfulness you speak about lyrically and musically—calling lyrics dumb—tells us that that film is playful. This is messy. Like I said, put a John Williams score on this and it would be a disaster. How do you find the two guys? I feel like we did just kind of luck into it, but also we went in with a soft touch. We allowed the characters to evolve based on these guys.
What we had written was so strange and bizarre, but we knew we wanted to be grounded. We just started to allow the characters to become more like the actual actors. We got to know him, and see what his sense of humor was like, and kind of his dry simplicity. He read every draft. He insisted on Skyping for hours after each draft. His preparation as an actor was to understand our story inside and out. Talk it out.
How do you two work together? Does one have different duties, different strengths than the other?
When we first started, we were very different. We have very different processes, even now. He comes from improv and comedy; I come from animation and de. Somehow it works. He gets stressed out a lot during pre-production. Every day depends on your mood. Or whoever is most passionate about whatever, and that will change from day to day. Not as much when people tell you can. Brian Tallerico is the Editor of RogerEbert.
Brian Tallerico June 28, She saw it in LA. It depends on the person. Especially nowadays. The whole generation has kind of created that. And then how do you find the music? How does Manchester Orchestra get involved? Or like a James Newton Howard score. It would be a totally different film. Not unlike a marriage. It really is.
You need a little of that resistance to be creative. Latest blog posts. Latest reviews.Swiss army man gay
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