Joel Potrykus doesn't want to blow up Sean Baker's phone.
"I asked him if he would reconcile this Q&A. I made a mistake, and that was to put in the rewards there," Potrykus admitted. "It felt strange right away. I shouldn't mention the money at all. He always answered...I'm just leaving it."
It is no surprise that Potrykus and the directors of “Anora” have been in the communiqué for years. Baker started making movies earlier, but both filmmakers gained a reputation for American independence favorites in the 2010s, resulting in the emergence of “Tangerine” in phobia such as Baker’s quick conversation with sex work and “buzzard” by Potrykus’ Couch – with bold characters, out-of-the-way characters, out-of-the-way storylines and promises, their performances as chaotic.
Potrykus returns to that saddle with his new, mysterious film Vulcanizadora. Now, expanding to Los Angeles on Laemmle Noho 7, the Micro budget feature is a welcome reward for the director who has not made a movie since the 2018 Apocalypse in the Rooms comedy "Lexyer". But, a few years - and the father's new responsibilities - have not yet alleviated his sensitivities of dead pan (although Portrecus's children do appear in the movie, playing the son, playing his own deadly dad role).
"Man, I'm not doing any movies that 'Sharkboy and Lavagirl' or Robert Rodriguez does. I don't want to make movies. for My kid, Portrecus said. “It’s a lot of cliché job that I won’t be proud of.”
Indeed, it is recommended to show a grade student “vulcanizadora” in part because of its sudden, shocking violence, but in large part because of its casual, shocking disconcerting. The first half was Potrykus's co-contender and Frenemy (Joshua Burge, the director's regular muse) marching into the woods, carrying a peculiar metal mask, limited Gatorade Supply and Makeshift Firecrackers. Party movies are often branded as crowds (Potrykus has a lot of such jokes in the store), but these people will reveal their souls before the mysterious mission is completed. The movie's shocking second act, getting out of the stumbling block in civilization, is somewhat more painful - and is completely in line with the trick of Potrykus' spinning gallows humor without damaging the lingering, existing melancholy.
“I’m in Michigan, so I never know what people think of these movies. The consensus seems to be that I have a brand about lazy people arresting development and metal music. Continue to make movies that fit the brand and feel super anti-punk rock. But it’s just the movie I made. “That’s one of the reasons I don’t like having a manager.” They are actually saying, 'Okay, we're going to come up with your brand. 'Honestly, I don't know what the word even means. ”
I like to reveal that this is a sequel to "Buzzard" where you're going to retake the role of Derek, in a sense, say goodbye to the character. Over the years, not many people have had the opportunity to play the same person. Do you have a kinship with him?
I do love Derek because I know Derek. I feel sad when people laugh at Derek. It's fun to see people laugh at a character and a character you don't know. Not that they were bullied. But I love Derek more because he didn't know everyone was laughing at him. As much as I hate to admit this, this is my favorite character: a totally motorcycle fool. When we were shooting, I was like, "Oh, we just smash the branches. These guys would love to do it." But that means Derek's idea is just my idea. I can't separate. However, you'll be amazed at how my collaborators somehow keep Derek's creativity. Let's see if this happens.
You can understand Derek through his pop culture references. "It's like the 'Indiana Jones' movie." Or when he sings.
I don't care if people will, but I'm not a fan of Godsmack. But at a certain age, this is inevitable and can be scanned through rock broadcasts. That kind of shit music is everywhere. This is a song Derek would like. Or "Fast and Anger: Tokyo Drifting" must be Derek's favorite movie. When we went out to shoot, I had a bunch of index cards in my back pocket. I just whipped one and said, “We’re going to wander the pile of fish in the woods my friend once told me.” I’ve lived Derek’s life for years. I'm just Derek.
I was surprised to hear you improvise like this. In your interview with your earlier films, you noticed how much rehearsals were performed before shooting.
Josh and I used to rehearse a ton because we really didn't know what we were doing. At this point, there is a nonverbal language between us. My DP is the same. The goal has always been: “We’re going to be bands and jam.”
In a sense, it almost ruins you: stay in touch with the small crew.
I don't know how most people do it. Like, make movies. Especially there are 100 or 200 people. What is that? You were the foreman of construction suits at that time. How about emotion or art there? I do not understand. A band entered a studio, met each other for a long time, practiced, grew up, and embarked on a journey. But a movie is like, “Oh, hey, I’m the assistant voice today.” “Oh, hey, I’m the caller.” Now we go for supper, get to know each other? "Where did you come from?" Oh my god, what kind of artistic nonsense is that? I guess it's cool because that's how people maintain themselves. But that's by no means why I want to do this. Never before, this could be an amazing job. "It's just the band's mindset. If we make money, that's cool.
Even so, "Vulcanizadora" really makes me a little bigger in production. It also has more production banners that you can shoot on 16mm. But if that's what you provide, can you easily return to the digital model of Barybones, "Buzzard" or "APE"?
I don't think they are growing in scale. For me, the “alchemy dish recipe” is the biggest jump, from six people to 26 years old. It's very difficult. So we narrowed it down. We want to shoot on movies now and have a better microphone, but my ambitions are still very few. I feel responsible for anyone who wants the money I’m back. But at the same time, I was very ahead of the way with them, and it was a very small chance for us to do anything. I have to this end. So if you don't make any compromises to me, then this might be great. It's a risk, but these movies are still very low on budget.
I thought of Gus Van Sant's "Gerry" to watch this. I don't know if this is your inspiration point.
Every few years, I play the big Van Sant. I re-watched "Gerry" but I kind of forgot it all. It ended in a place I thought it started to get really interesting. I was like, "I thought these guys were going to do a mission. I should write that movie." That's the movie.
This is not a great way to get a movie idea: watch other movies and then make the movie you think you are watching.
I won't happen often. But that, I was like, “Man, I can do this, that’s a bad guy.”
I would like to briefly ask you about your work at Grand Valley State University teaching film and video production. It's old-fashioned, but what have you learned from working with students?
I kind of don't want them to watch some of my movies. They are things I feel like I need to trigger warnings. They were the first to push me: "Joel, your movie doesn't have to be just about men." So when I make a short film with them every summer, it's always about women. I also realized that it was hard for me to have something to do with my professors, students I could be with. I was like, “Oh, I’m just immature.” That’s the only way I know how to write a character. There is no romantic reason in one of my movies because it makes me embarrassed.
I'm trying to imagine a movie by Joel Potrykus, a man who is a lawyer, goes to the gym at 6 in the morning.
I've tried it before. Feel so artificial and cliché. It feels like a script. I just can't do it, man.
This interview has been edited and condensed.