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"What Is It?"

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  • Robert Sterling
    Please send as far and wide as possible. Thanks, Robert Sterling Editor, The Konformist http://www.konformist.com indieWIRE Interview: Crispin Hellion Glover,
    Message 1 of 1 , Nov 15, 2006
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      Please send as far and wide as possible.

      Robert Sterling
      Editor, The Konformist

      indieWIRE Interview:
      Crispin Hellion Glover, director of "What Is It?"
      November 8, 2006

      Winner of the best narrative film prize at last year's Ann Arbor
      Film Festival, Crispin Hellion Glover's "What Is It?" debuted at the
      2005 Sundance Film Festival. A film that essentially began as a
      short, the project took a decade to create (overcoming many
      obstacles) and is not so simply described here. As Sundance senior
      programmer Trevor Groth explained in the festival's catalog last
      year, Glover's movie is, "an aptly titled film that defies easy
      summarization but is a triumph of cinematic irreverance and
      uncompromising creativity." Continuing he added, "'What Is It?' is a
      Dadaist deconstruction of the hero's journey as well as a
      hallucinogenic trip deep into the mind of its bizarre creator" and
      concluded, "Truly on of the most original films ever created, 'What
      Is It?' will shock, intrigue, confound, disturb, and amaze even the
      most jaded viewers."

      Through his company Volcanic Eruptions, Glover is distributing his
      film in a few cities around the country, includin g New York City,
      Chicago, Portland, OR and Los Angeles. The special events will
      include showings of the film, a Q & A session, a slide show of
      Glover's work and booksignings.

      Crispin Hellion Glover recently participated in indieWIRE's email
      interview series and his answers to our standard set of questions
      are published below. He adapted parts of his answer to our first
      question from a director's statement that he had previously written.

      Please tell us about how the initial idea for this film came about?

      I was approached by two young first time filmmaker writers to act in
      a film they had written. I had promised myself that the next first
      time filmmaker I worked with would be me. The script they sent me
      had some interesting things in it, but I felt like a major change
      was needed to to make it work. I told them I would be interested in
      being in it if I could direct it and do some re-writing. They said
      they wanted to hear what my ideas were. When I met with them I told
      them that if I directed it I would like to have a large majority of
      the characters be played by actors with Down's Syndrome. There were
      other things as well but, that was a big part of it. They felt that
      was OK and I went about re-writing it.

      David Lynch got hold of the script and agreed to executive produce
      the film. I had some good actors that I knew would be right for some
      of the parts, that agreed to be in the film. Then I went to one of
      the larger corporate entities to see if I could get funding for the
      project. They initially seemed quite interested, but as time went on
      they finally said that they were concerned about the concept of
      having a majority of the characters be played by actors with Down's

      It was decided that the best thing for me to do was to make a short
      film that would promote having a majority of the cast played by
      actors with Down's Syndrome to show it was a viable and doable idea.
      I wrote the script for "What Is It?" It was to be a short film of
      approximately ten minutes. I decided it would be best to comprise
      the entire cast of actors with Down's Syndrome.

      I started out going to art therapy groups that worked with people
      with Down's Syndrome. But it was very difficult in terms of scope
      and I ended up working with a casting person I knew named Kim Davis.
      She brought in many great people and we met with more groups and I
      finished casting what was to be the short film that way. When it
      turned into a feature length film I added myself and Steven C.
      Stewart so to make his film later in to a sequel. At the very end I
      went to another group entity called the applied behavioral analysis
      center and cast a lot of people from there. I believe two of the
      actors with Down's Syndrome had worked before. One of those two had
      worked a lot. Most of the actors had not worked in front of cameras
      before. Many people ask if it was difficult working with people with
      Down's Syndrome, but it was not. One of the most important things
      about working with actors whether they have Down's Syndrome or not
      is that they are enthusiastic. Every cast member was extremely
      enthusiastic and great to work with.

      I put myself into the film as a different antagonistic character
      than was in the original film. I also put Steven C. Stewart, a man
      with a severe case of cerebral palsy, in the film. He had written a
      screenplay many years before, based on certain psychologies he had
      dealt with as a result his condition, throughout his life. It was a
      very different kind of film on many levels from "What is it?" But
      there were certain themes that somehow correlated, and I realized it
      would be good to make his film into a sequel and make the original
      screenplay that I had been approached with, into part three. In many
      ways all three screenplays are very different form one another, yet
      they all deal with certain themes that complement each other.


      My technique in directing them sometimes depended on if the actor
      was particularly high functioning or not. Most of the actors I
      worked with were very high functioning and were able to memorize
      lines. Some of the actors were lower functioning and that was a bit
      different. But I always knew who I would be working with and they
      were always cast for a specific purpose so everyone always did
      exactly what was needed. I have used some of the same techniques I
      learned working with the actors with Down's Syndrome with actors
      that do not have Down's Syndrome, and it was helpful with the actors
      without Down's Syndrome, so ultimately I would say it is not too

      I truly do look back upon it with fondness. They are genuinely
      interesting people to work with. I will often be asked why I chose
      to work with people with Down's Syndrome. I would say there are
      quite a few reasons but the one of the most important is that when I
      look in to the face of someone that has Down's Syndrome I see the
      history of someone who has genuinely lived outside of the culture.
      When peopling an entire film with actors that innately have that
      quality it affects the world of the film. As far as interpersonal
      experiences the most interesting element that people who do not work
      with or know people that have Down's Syndrome may not realize how
      perceptive they are about certain things. People with Down's
      Syndrome often do not develop a certain social mask that most people
      develop. This can be both interesting as actors on film and in real
      life it can often take one in to a certain emotional sensibility
      that can be ultra perceptive. It really is an interesting thin g to
      be around.

      Who were your influences?

      Four film directors I was specifically thinking of while working
      this film are Luis Bunuel, Werner Herzog, Stanley Kubrick, and
      Rainer Werner Fassbinder. I am sure there were others that had
      influence as well.

      What were some of the biggest challenges you faced in either
      developing the project or making and securing distribution for (the

      It became apparent that because of delving into taboo subject matter
      and themes that I would ultimately have to finance the project
      myself and distribute as well. I am currently touring with the film
      and a live dramatic narration of eight different books that have
      made over the years. The books are heavily illustrated and so they
      are projected as slides. The performance lasts an hour, then the
      film is shown (which is 72 minutes). Then I have a question and
      answer session with the audience which generally is about 45
      minutes. Then I have a book signing which usually lasts for hours
      depending on the size of the audience. I have published four books.
      Some of these are part of the slide show.

      How did the financing and/or casting for the film come together?

      There were small donations of film and even small amounts of money
      and large donations of time for the original short film. Again,
      ultimately I financed the film myself and the cost of getting it to
      be a 35 mm print is somewhere between 150,000 and 200,000 US

      What is your next project?

      The sequel to the film has already been shot and is in the advanced
      to late stages of editing. It was written by one of the cast members
      of "What is it?" His name was Steven C. Stewart. He had a sever case
      of cerebral palsy and had been put in a nursing home after his
      parents died. He had a difficult time getting out of the nursing
      home and his screenplay is a fantastical psychosexual retelling of a
      certain point of view of his life. It has a naive quality to it and
      will probably be the best film I will have ever had anything to do
      with in my career. When we shot the film he was 65. He died within a
      month of the completion of filming. This is why his film was shot
      before "What is it?" was completed. He was having health problems
      and we know if we did not shoot the film soon that we may never get
      to shoot it at all.

      What is your definition of "independent film," and has that changed
      at all since you first started working?

      The term independent film does not make a lot of sense. What are
      generally called "Independents" are made by smaller corporations
      than studio corporations, but all film financing corporations at
      this point are fearful of making films that could possibly make
      audiences uncomfortable in any way. Corporately financed films must
      necessarily have content that sits within the bounds of that which
      is considered good and evil. If there is any content that goes
      beyond the realm of good and evil that content will either be
      excised, or the film will not get made. This ultimate homogenization
      that is happening in this culture's most important form of
      communication is stupefying the culture.

      What general advice would you impart to emerging filmmakers?

      I implore people to make films that are inexpensive and do not rely
      on corporate financing. Corporate financing is unfortunately hurting
      true thought and expression at this point in time.

      Will you please share with us an achievement from your career so far
      that you are most proud of?

      Right now I am most proud of these films that I have been working on
      for so many years. Part one is "What is it?" Part two will be "It is
      fine!" EVERYTHING IS FINE! There will be a part three, but I will
      wait to get to that for a bit.

      [For more information on upcoming screenings, please visit Crispin
      Hellion Glover's website.]
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