Though I haven't been attending this year's Austin Film Festival, I was very fortunate to see the adorable indie ensemble film BRAVE NEW JERSEY when it had its debut at the event. The film is about the aftermath of Orson Welle's 1938 radio broadcast of War Of The Worlds that had some communities across the country convinced that martians were invading Earth. In addition to seeing the film, I also got the opportunity to interview the director Jody Lambert as well as some of the cast members. First up is my sit down with Lambert where we discuss the inspiration for the film, the challenges in shooting in rural Tennessee, and his plans when the martians invade.
Rebecca Elliott: Congratulations on a terrific little film!
RE: Any special tricks for keeping your cast in the mind set of 1938?
JL: We sent everyone the broadcast- a recording of the broadcast and the text. I sent everybody pictures that I pulled from 1938 and from the locations we would be using, and a CD of music that felt like the vibe of the movie. It wasn't period music- you saw the movie, right?
RE: Yes.
JL: Right, so it wasn't the score, but it was music that was sort of in the vein of what the score would end up being. Just to get everybody in the mindset. You'd have to ask them, but I think that material was really helpful to everybody, just in terms of "Here's the movie we're all going to make. It's going to look like this. It's going to feel like this." So, yeah, it was helpful for them, it was helpful for me to assemble that stuff.
RE: What ensemble films did you draw inspiration from?
JL: That's a great question. There's certainly a checklist of great actor-driven movies that made their way into the BRAVE NEW JERSEY subconscious. Certainly we looked at THE LAST PICTURE SHOW. And PAPER MOON, which is less of an ensemble movie, but stylistically we really liked the feel of the small town depression. THE LAST PICTURE SHOW is small town and PAPER MOON is depression era- and how to make comedy out of a time that was not particularly funny with what was happening. Those two movies I would say were the biggest influences. I don't know, RAISING ARIZONA, BOOGIE NIGHTS, or any of the movies where you follow a lot of characters but they're really good at two things. One is, you know exactly where that character was when you pick them up in the next scene. So the audience always goes, "Oh right, we're leaving them here." And when we pick them up they're like, "OK, this just happened." We studied a few movies for how they did that.
RE: You have to connect all the dots so to speak.
JL: Yeah, and those movies just have such great actors and you feel like they're in the same movie. You know, we had a big cast, so some of the actors never even worked together. Like Heather never worked with Dan Bakkedahl who plays the reverend. They never crossed paths except maybe in the lobby of the hotel, but in the film they're never at the same place at the same time. So you have to figure out a way to make sure they're all giving performances that are in the same movie. Because Heather doesn't know what Dan's doing. Dan and Tony I don't think ever have a scene together. They've been on VEEP together, but they never had a scene together in the movie. So part of my job is, how do I calibrate all these performances to make sure they feel like they're in the same film? It was a big challenge. Our editor was great, and I think we hired a bunch of actors who are all in the same style. So they did a lot of that on their own in a way- they're just the same kinds of actors.
RE: What will you do when the Martians invade?
JL: That's a great question! I have decided that I would not go introspective. I would be like, let's get drunk, let's party. It's gonna end. Just give me all of my favorite people. Yeah, I don't think I would be like, "What are my regrets? What did I long for?" I would just be like, "OK, let's get drunk, let's have a good time. Let's play some music too loud and then get obliterated by a fire ray in the midst of a great rager." I think that would be my approach.
RE: Right on! Well, thank you so much for talking about BRAVE NEW JERSEY with me this morning.
JL: Yeah, you're welcome, and thank you!
Next up, I was able to talk briefly with Tony Hale (VEEP, ARRESTED DEVELOPMENT) who plays Clark, the affable mayor of Lullaby, NJ and Heather Burns (MISS CONGENIALITY, MANCHESTER BY THE SEA) whose Lorraine is the not-so-happily married wife of the local mogul. They each share their own stories about how they got involved in the film, working with an ensemble cast, and (of course) what they will do when the martians attack...
Rebecca Elliott: How did you guys each become involved with BRAVE NEW JERSEY?
Heather Burns: Well, I went to college with Jody Lambert and Mike Dowling, the writers, so I've known them for years. They had worked on the script for quite a long time. It was an idea they'd had for awhile, and Jody would work on it from time to time and then go work on other projects, other films. They always kept coming back to it- there was something special about the script. So, I'd done workshops of it, readings, played a lot of different parts...and then we finally got to make it.
RE: That's so cool. So you were really on board very early on. How about you Tony?
Tony Hale: The casting director Denise Chamian- I had worked with her a couple of times and she told me about the script, and I just thought it was really fun and different. I met Jody. We had coffee in L.A., and we talked all about it. He has the energy that it's really hard to say no to, even though I really wanted to...(everyone laughs) No, I'm kidding. He was just really kind and super excited and just told his vision for the movie, and I was like, "Yeah. Let's do it." And I remember Anna saying last night that people always say, "How do you choose?" And you're like, "It's a job! I'm so thankful for getting it." And a good, fun gig like this I'm very thankful for.
RE: How is it working in such a large ensemble cast?
HB: It's great because we were on location in Tennessee, and it was nice to have a big group of people. No one was really from there, so we all bonded and hung out. We went to the local bar and a lot of buffets.
TH: A lot of buffets! Even though its a large ensemble, since its such a tight schedule- we only had a certain number of days- we all saw each other. We all hung out. It wasn't like you had three or four days when you weren't working. We all stayed at the La Quinta and just kind of hung out together.
HB: It was night shoots too, so there's something magical about that.
TH: For some people. Not for morning people! There were a lot of nights shoots. I'm a morning person.
HB: I'm a night person.
TH: She loved it!
RE: Did you listen to the original broadcast of Orson Welles' War Of The Worlds?
TH: (points to Hale) You did.
HB: Yeah, Jody sent it to me, and I did listen to it. Then he played it during our reaction shots, so we were actually listening to the original broadcast during the moment in the film when the character is listening to it.
TH: Yeah, and he sent us portions that I listened to, but I didn't listen to the whole broadcast. But we did listen to fun little portions, and the script told us a lot. It was really fun.
RE: You can see how in an age where there wasn't instant knowledge at your finger tips how people would freak out.
TH: Oh yeah. It was their only media outlet. That's pretty much all they had. I mean now we're obviously flooded with it, but back then it was gospel truth whatever came on the radio.
RE: What was the most fun part about filming BRAVE NEW JERSEY? Was it working on a period piece, interacting with your cast, filming on location? What sticks out in your mind from the experience?
TH: For me, having a community on a film is really important because that's what I remember. Looking back I remember those experiences. So, working with Heather and Anna and Matt, and just hanging out- that's what sticks for me. That's what I enjoy the most. Obviously the material is really fun, but those relationships is what I really look forward to.
HB: I agree. And as you said, it's such an ensemble piece. It wasn't like people were flying in and out like passing ships in the night- which happens a lot when you work on a film. You only meet half of the people that are working on it.
TH: And it's not just us, it's the crew. You're there for such a short period of time...so like, the DP Corey (Walter) and everybody. You get really tight with each another
RE: What would you like an audience's big take away to be from this film? Or what was your big take away?
TH: I was really surprised seeing it with an audience last night by the comedy aspect. I really appreciate the comic elements in it. Because it's obviously a heavy topic, and it's quirky, but the way he did it...there were some amazing funny moments.
HB: We didn't even realize it. It was really surprising in a great way.
TH: And also just that whole thing of- you really do think that if someone tells you the worlds coming to an end in a day, what would I do differently? How would I think differently? Would my priorities get shifted? All that. Also, Jody and Corey and all of the producers...it's like we come in and have a fun time, but there's a lot of work that goes into these movies. Like finding these location and stuff like that- I mean huge kudos to them because you forget that amount of work and time and commitment that goes into making these things. And especially a period piece? I'm just floored by what they put into it.
HB: When I signed on to do it, I just thought, "How are they gonna do this?" Period cars, and the town...
RE: Like the mainstreet. I was thinking, yep, they covered that whole main street with dirt.
TH: Yes!
HB: They did!
RE: And it looked great. It looked legit.
TH: It did look legit, and that's not easy to do and you forget that.
RE: Was that location some sort of living history park or something?
TH: It was this guy's land.
HB: There were actually two. The street you're talking about was actually a street in a town in Tennessee that was for sale. You could buy that whole downtown area. It was just this old, abandoned street. But then the church and where the houses and school were was on his land. He was restoring the buildings.
RE: It must have felt like Disney Land or something.
TH: Especially for them because they didn't have to build all that stuff. It was already there.
RE: So what will you do when the martians attack?
HB: I'd try to befriend them. I'd build the CLOSE ENCOUNTERS tower out of potatoes...what are you gonna do? If you can't beat 'em, join 'em.
TH: I'd go to every chain restaurant and just eat.
HB: Buffets!
TH: Everything. I'd just go crazy on the food because I know I wouldn't have to worry about that. Oh, and I'd also hug my daughter and wife! There is that!
RE: Is there anything I didn't cover that you'd like to talk about?
TH: I love that there's lipstick on the back of your notebook!
RE: (totally embarrassed, looking at a big red lipstick smudge on the back of my notebook where I blotted it) Yeah, I try to keep it super professional.
TH: No! I seriously love that. (everyone laughs) RE: Well, on that note, I think they're giving me the signal to come to a stopping point. Thank you so much for hanging out with me and talking about BRAVE NEW JERSEY.
TH: Thank you! Have a great day.
HB: Yes, thank you so much!
After those two great interviews, I was also very excited to speak with Anna Camp (PITCH PERFECT, THE HELP) who plays the local school teacher who is reluctantly engaged to the overbearing Chardy, played by Matt Oberg (SISTERS, BOURNE LEGACY) with whom I also got to speak. We had a lot of fun talking about hysteria, dour faces in old photos, and even a hypothetical Martian a cappella group. This one was pretty hilarious.
Rebecca Elliott: If this were 1938, you were in small town New Jersey, and you heard War Of The Worlds on the radio, do you think you would believe it?
Anna Camp: Absolutely. I definitely would've believed it. I mean, if you've never heard about anything like that before...it's like reality television. If you're bored and alone in this small town craving for something amazing to happen? You know maybe your brain would feed it even more. Obviously- I'm Peg right now talking, so...
Matt Oberg: And the movie does a good job, I think, of pointing out the context- it was 1938- so, Hitler was on his march. So, I think people were primed to be like, "Geez, there's a lot of crazy shit happening in the world right now! What's one more crazy thing?"
RE: That's a good point and maybe even timely for today's world where everything is sensationalized so much.
MO: It makes you wonder, like, is there ever a time when crazy shit isn't happening? I don't think there's ever been a time when everything's been just fine. Maybe the 80's, I don't know.
AC: We need a lull.
RE: A lull would be nice. Both of your characters go through a transformation once this information hits- Peg definitely more so. Can you talk about your favorite or maybe even the hardest part about conveying your character's change?
AC: Yeah. I feel like the great thing about Peg's transformation is that she does find strength, ya know? Sometimes along the way the rough part of that is hurting people you do care about. She does care about Chardy. There is love there for him, but I feel like she realizes that she doesn't want to spend the rest of her life with him, and sometimes it's not so much being selfish. I know some people can look at it that way- that she makes a selfish choice. I feel like, what's wrong with that if she's truly, deeply unhappy- I feel terrible (laughing) talking about that.
MO: Fine, fine...
AC: But there is that sort of dichotomy in making choices for yourself and accidentally hurting people along the way. Not wanting to, but it just happens.
MO: The hard thing to do and the right thing to do are often the same thing. Chardy, I think is one of these guys who, even when confronted with a lot of evidence that your life should change, just decides not to change because it is really hard. I can identify with that. I think it's really hard to change yourself and make really bold moves in your life. A lot of times you don't even when you should. Chardy even when confronted with a night where he thinks he might die really tows the line and wants his life to conform to the vision he had set.
RE: Which turns out to be comical, but bittersweet. Can you talk about working on a period piece and how that informs your performance?
AC: Well, as a woman in 1938 obviously things were very different. As a school teacher I can't talk like we're talking now or be open and modern. So you find ways to live in that kind of restrained way. But the great thing about Peg is that she changes clothes and she's out there with the guys, like eating that stew or slop or whatever that was. It was exciting to break out of that very presentational polite way and really kind of feel what it would be like to loosen up. It's definitely different than working in a modern day piece. I enjoy period pieces a lot. It's fun to play those different types of roles.
RE: How about for a fella?
MO: Very similar to what Anna said, I think you feel a little sort of constrained. You look at pictures of your grandparents in the 30's and they looked so poised and formal, but I wonder if that was really true, you know? People were people and, ya know, I think a lot of it is because you see these still photographs of people not smiling. You're like, "Geez, they were pretty uptight." (everyone laughs) I think they were messes in 1938 too.
AC: (laughing) That's just how the photos were. Like, stand still! Don't move!
MO: They got, like, one picture and that was it. Norm MacDonald's joke is that every picture of a man from that time is like, "Whose gonna feed my hogs? I gotta get back and feed my hogs!"
AC: (laughing) Seriously! Like, "My daughter has the croup!" It's intense.
MO: "I'm gonna die when I'm 42! This is so sad." (more laughs all around)
RE: You guys filmed in Tennessee, right?
AC: Yes.
RE: How was that working on that Norman Rockwell-ish location?
AC: Amazing! This little town was called Green Frog, which was very cute, and we were out in the middle of nowhere. There was just a Taco Bell as sort of the main restaurant to the hotel we were staying at. It was quite lovely, really. I never would've gone to Jackson, Tennessee I doubt, you know, if not for this film. We all really bonded with nothing much to do except go to this one local dive bar. There was a shooting range- I should've gone as Peg, but I opted to not go. But it was a really cool, fun place to be and bond with the whole cast.
MO: And a lot of the community came out to be background players and stuff, so they really supported it. And this town in Green Frog- this guys had preserved this whole 19-something period village. People were excited that there was a movie in town, so it was nice to get their support.
RE: So, I've asked everyone and I have to ask you as well- what will you do when the Martians invade? Would you cut out, or would you roll up your sleeves?
MO: I think I would just- and maybe this is Chardy here a bit too- just have a normal night. Just have a pot roast, and you know dinner company? I mean, what are you supposed to do? Maybe then I'd just go throw a rock through one window.
AC: (laughing) Omg, that's so Chardy!
MO: I'd have a pot roast and then light somebody's house on fire.
AC: I would not fight like Peg. Definitely not. I would probably pop a bottle of champagne or something and be hopeful that maybe they're cool. Maybe they could share some valuable information with me that I could use and we could all make the world a better place. And if not, at least I tried.
MO: There's a chance that PITCH PERFECT got to Mars.
AC: We could sing a little alien a cappella together! I could promise them things, like they could be in the next sequel. They could be their own a cappella alien group.
MO: Is this some scoop? Is this what the third film is about?
AC: I'm not saying anything. Would you watch it? That's the question.
MO: PITCH PERFECT on Mars? I'm there.
RE: Is there anything I didn't ask you that you'd like to talk about?
MO: I just hope people get to see the movie. I'm really proud of it. I think when people think "indie movie" I think people usually think a small, contained story, and this has a broader feel. I think that's a great thing, so hopefully people will find it.
AC: I think it's just such a great cast of people who are so perfect for their parts. I can't picture anybody else in their roles. We all come together so well.
RE: Alright, they gave me signal, so I'll leave it at that. Thanks guys so much for chatting with me this morning. This was really a blast.
AC: Thank you!
MO: It was fun. Thanks so much.
And with that, I was finished with my amazing morning with the cast and director of BRAVE NEW JERSEY. There's no word yet on distribution for the independent film, but with such a stellar cast, clever premise, and overall appeal, I'm sure that the film will be finding its way to a screen near you very soon, so stay tuned! Thanks for reading.
Rebecca Elliott
aka Annette Kellerman
