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Q&A: Emily Hagins and AJ Bowen, director and star of Grow Up, Tony Phillips

SXSW.com
SXSW.com

Emily Hagins is just 20 years old, but she’s already written and directed four feature films (the first, Pathogen, she made when she was 12), all shot in Austin. Her latest feature, Grow Up, Tony Phillips, had its world premiere tonight at the SXSW film festival. We sat down with Hagins and Tony Phillips star AJ Bowen (who plays Pete) to talk about collaborating with the Austin film community to make the movie, how the music itself is a character, and why this movie is different from everything else Hagins has done so far.

mental_floss: In your other films, you’ve tackled everything from zombies to vampires to ghosts. But Grow Up, Tony Phillips is a totally different kind of movie. What made you want to put aside genre?
Emily Hagins: My last two features, they were both…[The Retelling] is very dark and depressing and it made me kind of depressed to be working on it. And then my last movie [My Sucky Teen Romance] has some comedic elements to it, but teenagers are still dying, and it’s kind of sad. So I really wanted to make a movie that had no genre at all—but I really loved this Halloween aesthetic. I thought it to would be interesting to use something that may [make it] inherently feel like a genre film but to use it for a sweet, coming-of-age movie.

m_f: The Austin film community is extremely close-knit. You got notes from your star’s brother, Eric Vespe, who is a film writer for Ain’t It Cool News, and a few Austin-based writers and filmmakers appear in this movie and in your other movies. Can you talk a little bit about the collaborative process that went into making the film?
EH: I’m a really big fan of getting a lot of feedback on things. I’m very self-conscious when I’m writing and directing and editing. I’m afraid of this Emperor’s New Clothes thing when everyone just tells you it’s fine when it’s not. So when I know people are going to be very blunt and honest, I feel like I’m just going to make an even better movie. And I really trust Eric’s sensibilities, so he’s one of the people I like to [get notes from]. I usually go to the same few people for notes on the script along the way as we’re making the movie, and with people like AJ and Tony [Vespe], who knew their characters very well. And when, if there was a problem with the script when we were on set and we had to kind of adjust it, they had really, really good feedback on what their characters would do or say. Now I don’t even remember how those scenes were originally written, because they really made them better.

m_f: AJ, what was it like working with Emily as a director?
AJ Bowen: It was a terrible work experience for me, having to work for Emily Hagins. [Laughs] It was great, because I already knew Emily. And when one of the producers called me before the script was even written, and started trying to sell me, I stopped him mid-sentence and said, “Emily is writing a script, and she’s going to direct and she would like me to be involved? That’s a firm yes from this end.” Because I already knew that Tony was also going to work on it, and Tony is kind of like a little brother to me. In an independent film, there’s not a lot of money and not a lot of time, and people—there can kind of be a cynical outlook, and people can become jaded to the magic of the process. You’re getting to collaborate on a story with a group of people, and it’s only going to exist at that time—but then at the end of it you have a journal that will live forever, and people will hopefully be able to get some entertainment out of it. Because that’s ostensibly what the final product is. It’s our journal of us going away to camp together, and putting on a production.

m_f: How did Tony Phillips compare to some of the other movies you’ve made?
AJB: I’ve made 15 or 16 movies at this point, and of any of the movies that I’ve worked on, this is the most fully realized product. All of the elements that are in the movie that weren’t about the movie—like the heart—it was all there. I’ve worked on films where we’ve dramatically changed the story structure and did complete 180s on characters. And I didn’t want to do that on this movie. I wanted to advocate for Emily and be there to support Tony, who I knew was going to have a pretty large responsibility—the film, in terms of performers, is squarely on his shoulders. So I wanted to help out in whatever way I could. I felt bad for them that I was what they had to go to, in terms of work experience. [Laughs] But it was great—we had a lot of conversations before we would start shooting, and we’d have conversations after the day about what we were going to do next.

m_f: In the instances where you realized that a scene wasn’t working as it was written, how did you guys collaborate to make the changes happen?
AJB: My main mission was to try to not get in there and change things—it was to stay out of the way of what Emily had already written. So the few times that there were tweaks, it would be after we were shooting a scene—the energy’s always going to change, once we’re actually in the process of doing something. I was very reluctant to engage in that element of it. So when we did that it was conversations between Emily and I, or Emily and Tony and the people that were there in the scene, trying to get at the best answer to the creative storytelling problem. And it was great, because it was so collaborative. There was no sense of ego. It was just: We’re all trying to make the same movie.

m_f: What scene was the most difficult to shoot?
EH: There was one scene of just Tony picking up a box under his bed—I had nightmares about it the whole shoot. All we had to do was just get this box out from under his bed, and we had to do 14 takes of it. The bed wouldn’t be right, and then the box wouldn’t be right, and it was like everything was going wrong. We moved the shot somewhere else in the finished movie, so now he’s wearing the wrong clothes for that one shot. It’s the only continuity error. When I asked them to go back and re-shoot it, they were like “You’re kidding, right?” [Laughs] That stupid shot. But that’s the most takes we did, really. Everyone was very on top of what they were doing and on the same page.

m_f: When it came time to shoot, how did you pick your locations?
EH: Our whole team looked for locations. We had this color palette that our production designer, Griffon Ramsey, was working from. We were really trying to find things that fit within that scheme, and make sure the locations weren’t too old-fashioned or too modern. We wanted everything to feel very timeless. There are no cell phones or computers in the movie, really. We shot in a high school, and there was a whole section of that had been remodeled—it looked like the Jetsons. And they were like, “Do you want our new classrooms with our cool computers?” And we were like, “no, we want the old side.” So that’s kind of the way we approached technology in this movie, just to keep it about the relationships in a way that applied to the production design and finding locations that fit that same theme.

m_f: How did the production of this one differ from your other movies?
EH: We had a bigger crew and more time to shoot, which was nice. We shot My Sucky Teen Romance in like about two weeks, 15 hours a day, and we were running on enthusiasm and it was very difficult—we didn’t even know if we were getting good takes sometimes. On this movie, all of the problems were mostly “Oh I wish we could’ve gotten another angle, but everything we have is what we planned for.” So it was like a very easy process in a way.

m_f: Why did you make the decision not to edit this movie?
EH: I guess I really wanted some distance from it, because I wrote and directed it. I’m a big fan of editing, and I think more like an editor sometimes. I cut the trailer, and I guess I had very specific editing notes for the movie, but because of the timeline, we had to split up the work between several people, so that we could get it all done. We met every couple of days to go over all the cuts, so I was very, very involved in the editing process. But we were working with editors who were good and understood what we were trying to do.

m_f: My Sucky Teen Romance had an incredibly catchy song that was written by one of the stars of the film. Tony Phillips has great music, too. Did you do something similar and go to a friend?
EH: Yes! It’s the same guy—Santiago Dietche! [It’s a totally different sound], because he’s a prodigy. He has 12 songs in the movie, and they’re all him. Even the rock songs—that’s his rock band—and then all the sweet guitar songs, that’s just him. He’s younger than me; he can do anything. He wrote the opening credits song in like 12 hours, and had a solid recording of it, and he was like “Does this work? Is this what you guys want?” And we were like, “yes!”

AJB: It’s great because it’s an iconic character of the movie. And in independent and small-budget films, people miss how important specific departments are. When it comes to this movie, [the music is] an integral character of the film. It’s the gateway into the vibe of the film. And without that there, it would strip the film of a substantial part of its identity. So, it’s awesome.

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Jim Henson's Labyrinth Is Being Adapted Into a Stage Musical
Henson Company
Henson Company

More than 30 years after its cinematic debut, Labyrinth could be hitting the stage. In an interview with Forbes, Jim Henson's son and Henson Company CEO Brian Henson shared plans to transform the cult classic into a live musical.

While the new musical would be missing David Bowie in his starring role as Jareth the Goblin King, it would hopefully feature the soundtrack Bowie helped write. Brian Henson says there isn't a set timeline for the project yet, but the stage adaptation of the original film is already in the works.

As for a location, Henson told Forbes he envisions it running, "Not necessarily [on] Broadway, it could be for London's West End, but it will be a stage show, a big theatrical version. It’s very exciting."

Labyrinth premiered in 1986 to measly box office earnings and tepid reviews, but Jim Henson's fairytale has since grown into a phenomenon beloved by nostalgic '80s kids and younger generations alike. In the same Forbes interview, Brian Henson also confirmed the 2017 news that a long-anticipated Labyrinth sequel is apparently in development. Though he couldn't give any specifics, Henson confirmed that, "we are still excited about it but the process moves very slowly and very carefully. We're still excited about the idea of a sequel, we are working on something, but nothing that's close enough to say it's about to be in pre-production or anything like that."

While fans eagerly await those projects to come out, they can get their fix when the film returns to theaters across the U.S. on April 29, May 1, and May 2. Don't forget to wear your best Labyrinth swag to the event.

[h/t Forbes]

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John P. Johnson, HBO
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10 Wild Facts About Westworld
John P. Johnson, HBO
John P. Johnson, HBO

The hit HBO show about an android farm girl finding sentience in a fake version of the old West set in a sci-fi future is back for a second season. So grab your magnifying glass, study up on Lewis Carroll and Shakespeare, and get ready for your brain to turn to scrambled eggs. 

The first season saw Dolores (Evan Rachel Wood) and her robotic compatriots strive to escape bondage as the puppet playthings of a bored society that kills and brutalizes them every day, then repairs them each night to repeat the process for paying customers. The Maze. The Man in Black. The mysteries lurking in cold storage and cantinas. Wood described the first season as a prequel, which means the show can really get on the dusty trail now. 

Before you board the train and head back into the park, here are 10 wild facts about the cerebral, sci-fi hit. (Just beware of season one spoilers!)

1. IT’S NOT THE FIRST TV ADAPTATION OF THE MOVIE.

Though Westworld, the 1973 film written and directed by Michael Crichton, was a hit, its 1976 sequel Futureworld was a flop. Still, the name and concept had enough cachet for CBS to move forward with a television concept in 1980. Beyond Westworld featured Delos head of security John Moore (Jim McMullan) battling against the villainous mad scientist Simon Quaid (James Wainwright), who wants to use the park’s robots to, what else, take over the whole world. It would be a little like if the HBO show focused largely on Luke Hemsworth’s Ashley Stubbs, which just might be the spinoff the world is waiting for.

2. THE ORIGINAL GUNSLINGER HAS A CAMEO.

Ed Harris and Eddie Rouse in 'Westworld'
JOHN P. JOHNSON, HBO

The HBO series pays homage to the original film in a variety of ways, including echoing elements from the score to create that dread-inducing soundscape. It also tipped its ten-gallon hat to Yul Brynner’s relentless gunslinger from the original film by including him in the storage basement with the rest of the creaky old models.

3. QUENTIN TARANTINO, ARNOLD SCHWARZENEGGER, AND MANY OTHERS COULD HAVE REBOOTED IT.

Speaking of Brynner’s steely, murderous resolve: His performance as the robo-cowboy was one of the foundations for Arnold Schwarzenegger’s turn as the Terminator. Nearly 20 years later, in 2002, Schwarzenegger signed on to produce and star in a reboot of the sci-fi film from which he took his early acting cues. Schwarzenegger never took over the role from Brynner because he served as Governor of California instead, and the reboot languished in development hell.

Warner Bros. tried to get Quentin Tarantino on board, but he passed. They also signed The Cell director Tarsem Singh (whose old West would have been unbelievably lush and colorful, no doubt), but it fell through. A few years later, J.J. Abrams—who had met with Crichton about a reboot back in 1996—pitched eventual co-creators Jonathan Nolan and Lisa Joy on doing it as a television series. HBO bought it, and the violent delights finally made it to our screens.

4. IT COSTS $40,000 A DAY TO VISIT THE PARK. (AND THAT’S THE CHEAP PACKAGE.)

Thandie Newton and Angela Sarafyan in 'Westworld'
HBO

In season one, Logan (Ben Barnes) revealed that he’s spending $40,000 a day to experience Westworld. That’s in line with the 1973 movie, where park visitors spent $1000 a day, which lands near $38,000 once adjusted for inflation. Then again, we’re talking about 2052 dollars, so it might still be pricey, but not exorbitant in 2018 terms. But a clever Redditor spotted that $40,000 is the minimum you’d pay; according to the show’s website, the Gold Package will set you back $200,000 a day.

5. BEN BARNES BROKE HIS FOOT AND DIDN’T TELL ANYONE.

Once Upon a Time’s Eion Bailey was originally cast as Logan but had to quit due to a scheduling conflict, so Ben Barnes stepped in … then he broke his foot. The actor hid the injury for fear he’d lose the job, which is why he added a limp as a character detail. “I’m sort of hobbling along with this kind of cowboy-ish limp, which I then tried to maintain for the next year just so I could pretend it was a character choice,” Barnes said. “But really I had a very purple foot … So walking was the hardest part of shooting this for me.”

6. THE CO-CREATORS RICKROLLED FANS OBSESSED WITH UNCOVERING SPOILERS.

Eagle-eyed fans (particularly on Reddit) uncovered just about every major spoiler from the first season early on, which is why Nolan and Joy promised a spoiler video for anyone who wanted to know the entire plot of season two ahead of its premiere. They delivered, but instead of show secrets, the 25-minute video only offered a classy rendition of Rick Astley’s internet-infamous “Never Gonna Give You Up,” sung by Evan Rachel Wood with Angela Sarafyan on piano, followed by 20 minutes of a dog. It was a pitch-perfect response to a fanbase desperate for answers.

7. IT FEATURES AN ANCIENT GREEK EASTER EGG.

Amid the alternative rock tunes hammered out on the player piano and hat tips to classic western films, Westworld also referenced something from 5th century BCE Greece. Westworld, which is run by Delos Incorporated, is designed so that guests cannot die. Delos is also the name of the island where ancient Greeks made it illegal for anyone to die (or be born for that matter) on religious grounds. That’s not the only bit of wordplay with Greek either: Sweetwater’s main ruffian, Hector Escaton (Rodrigo Santoro), gets his last name from the Greek eschaton, meaning the final event in the divine design of the world. Fitting for a potentially sentient robot helping to bring about humanity’s destruction.

8. JIMMI SIMPSON FIGURED OUT HIS CHARACTER’S TWIST BECAUSE OF HIS EYEBROWS.

Evan Rachel Wood and Jimmi Simpson in 'Westworld'
HBO

In season one, the show’s many secrets were kept even from the main cast until the time they absolutely needed to know. Jimmi Simpson, who plays timid theme park neophyte William, had a hunch something was funny with his role because of a cosmetic change.

“I was with an amazing makeup artist, Christian, and he was looking at my face too much,” Simpson told Vanity Fair. “He had me in his chair, and he was just looking at my face, and then he said something about my eyebrows. ‘Would you be cool if we just took a couple hairs out of your eyebrows, made them not quite as arched?’” Guessing that they were making him look more like The Man in Black, Simpson said something to Joy, and she confirmed his hunch. “She looked kind of surprised I’d worked it out,” he said.

9. THE PLAYER PIANO MAY BE AN ALLUSION TO KURT VONNEGUT.

One of the show’s most iconic elements is its soundtrack of alternative rock songs from the likes of Radiohead, The Cure, and Soundgarden redone in a jaunty, old West style. In addition to adding a creepy sonic flavor to the sadistic vacation, they also may wink toward Kurt Vonnegut’s first novel, Player Piano, which deals with a dystopia of automation where machines do everything for humans, leading to an entrenched class struggle. The show’s resonant elements are clear, but Westworld also mentions that the world outside the theme park is one where there’s no unemployment and humans have little purpose. Like The Man In Black (Ed Harris), the protagonist of Player Piano also longs for real stakes in the struggle of life.

10. THERE ARE TWO JESSE JAMES CONNECTIONS.

Anthony Hopkins and Jeffrey Wright in 'Westworld'
HBO

Anthony Hopkins’s character Dr. Robert Ford is an invention for the new series, and he shares a name with the man who assassinated infamous outlaw Jesse James (a fact you may remember from the aptly named movie The Assassination of Jesse James by the Coward Robert Ford). The final episode of the first season flips the allusion when Ford is shot in the back of the head, which is exactly how the real-life Ford killed James.

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