Director Jason Reitman
(UP in the Air)
Flashbulbs popped, and a jolt of electricity streaked through the air, as Jason Reitman introduced two stars of the film - "Breaking Away" - at his last night of programming at the New Beverly Cinema in Hollywood.
In fact, Reitman (UP IN THE AIR) was blessed with packed houses over a 6-night (intermittent) stretch at the Revival House and a posse of excited fans who hung on every word during Q & Sessions which were funny, insightful, and downright entertaining.
It didn't hurt to have a roster of classic films to screen and a handful of high-profile actors to chat up.
Indeed, film buffs were inclined to edge closer in their seats on the occasions I attended, anxious to gobble up each juicy tidbit of behind-the-scenes scuttlebutt..
First up Wednesday night was -" Breaking Away" - a charming film rife with family values that warmed the heart.
Actor Dennis Christopher laughingly recalled that the first day of the shoot was no piece of cake
The popular performer - who mingled with fans in the lobby afterwards - inhabited the lead role of a cycling enthuisiast to perfection in this tight well-crafted film - noted for the record that the studio was about to drop him when he failed to show up on schedule to get his scenes in the can first day of the location shoot.
"He'll be the here," the director (Peter Yates) assured the worried execs who proceeded to toy with the idea of other prospects without any reservations.
Meanwile, Christopher was forced to balk at the wardrobe (and screen persona) the producers envisioned for his character which were downright preposterous.
"They wanted to darken my skin, slick back my hair, and squeeze me into tight black cycling pants," he recalled in disgust.
On the start-up day, he struggled through the nonesense like a real pro, but confessed to the director the following morning, that he couldn't take on the role with such a bizarre vision propelling his character forward.
I managed to catch his recollections on video.
HD Video / Part Onehttp://www.youtube.com/watch?v=7xgIL3Ff66sHD Video / Part Twohttp://www.youtube.com/watch?v=mFaK9vyf7HkDaniel Stern - who played one of the local boys (known as the cutters) - had no prior filmmaking experience to compare to the "Breaking Away" project since the comedy was his first.
In fact, he didn't even audition, he confessed to slack-jawed fans who were all ears in the comfy theatre.
You know what they say - it's not who 'ya know - it's who you blow.
Just kidding, Daniel.
"I was told to show up, so I did. On the set, I found out that I had the gotten the part."
Basically, the outgoing down-to-earth comic actor was spoiled from the beginning.
Christopher (on the other hand) perviously worked with Fellini and Robert Altman (twice) - so he was a seasoned pro - in essence.
Curiously, the script started off in a peculiar way, too.
According to Reitman - the screenwriter had written two separate projects - which were later combined into one script.
"Even still, "Breaking Away" went on to win the Oscar for best screenplay. So throwing together two projects you don't know what to do with doesn't appear to be a bad idea," he joked in so many words.
Reitman was in great form last night.
In the interview with Luke Wilson on the subject of "Bottle Rocket" (the second feature on the double-bill) he got down to the nitty-gritty and scratched beneath the surface.
"So, how much money did you actually make on this film, anyway," he pointedly asked, as Wilson squirmed a bit on the floor of the stage up front.
The hilarious conversation that followed focused on the problems getting the quirky comedy to the big screen.
"I don't mean to be a dick," Jason stated flat-out when Wilson hesitated a beat.
Luke fessed up eventually, though, after a long drawn-out pause.
$500,000 smackeroos.
Whew!
What a blow to a major studio like Columbia!
Wilson awkwardly recalled that the test screening in Santa Monica was a disaster, too.
After two weeks in theatres, the film dropped out of sight, and whimpered away.
Later, according to Reitman, the Independent became a hit with young filmmakers.
So, those in-the-know, dredged it up from oblivion for screenings here and there,' til it eventually gained momentum and reached a sort-of cult status among directors not established in the mainstream.
"When I caught this movie for the first time, I realzied it was the kind of INDIE I'd like to make," Reitman noted with a lot of sincerity.
Wilson (who co-wrote the script with his brother Owen) proudly boasted that one day Sean Penn gave him a surprise call to congratulate him on the Columbia underdog.
Frankly, the project was iffy from its shakey start.
Wilson touted producer Polly Pratt for getting the script out to well-connected friends who had pull with the suits at the studios.
James L. Brooks actually agreed to meet with the Wilsons at their apartment to discuss the possibilities.
"He walked in, took one look at our digs, and was taken aback. Like - whoa - this is how 'ya live?" he responded, a touch shocked.
If he was looking for the trappings of success, Brooks wouldn't find it there!
A short way into the discussion, Brooks was suddenly drifting off and focusing on a basketball game that was broadasting on a television across the room mit out sound (without out sound).
Even without the commentary, Brooks was more interested in paying attention to the boob tube, than the Wilson boys' pitch.
It was bad, Wilson recalled.
"We went from a - 'let's make this "- to a "well, I don't know".
Word then came back that the studio might buy the project and go with two other actors.
Sure, said ever coopertive Luke, we'll catch you next time on the acting gig.
The stature of" Bottle Rocket" got bolstered when James Caan signed on.
Reitman pestered Wilson about what it was like to work with Caan.
"Did you talk to him?"
"Yeah, when we asked him what it was like to work with Brando, he said it was like us working with him."
That got a roar from the audience.
Finally, the green light came through from the powers-that-be.
Just like that, it was wrapped in thirty-eight days on a shoe-string budget, with no looking back.
Frankly, it shows.
Last night was the first time I ever caught the film.
Personally, I don't know what the fuss is all about.
There is a freshness about it, but it borders on awkwardness.
The storyline unfolds slowly, sideline plot twists surge out-of-whack, and a mish-mash of ideas and sight gags don't end up gelling that well.
If "Breaking Away" was the film with two scripts rolled into one successfully - in contrast -" Bottle" was the one with a multitude of drafted ideas that collided in ghastly confusion.
Wes Anderson - a first-time-out director was deadly serious - but lacked the skills,experience, and vision (at that time) to pull it off.
In sum, Bottle Rocket (for its time) was ballsy, ambitious - and except for a few stand-out moments - basically a wash-out.
European filmmakers expert at capturing unspoken moments - the pauses in-between that speak volumes - may have gotten a handle on the elusive script. Not so, here.
Luke Wilson, however, exhibited a naturalness in his acting style that resonated right on target for me.
He needed a director who was capable of fleshing-out his character better, though.
A title card that announced the film at the start - crudely-crafted and lacking any aesthetic value - hinted at what was to come.
In sum, Bottle Rocket was an amateurish attempt at a dark off-beat film, that fell short of its mark.
If I were a studio, I'd bury it, too!
Dennis Quaid plays leaner meaner cutter!
(Breaking Away)
Bottle Rocket poster more exciting than movie!
