Cameron Crowe on Pushing for Kentucky on Elizabethtown, on John Toll's Mastery of Handheld and Going Straight to the Musician
Writer-director Cameron Crowe has always marched to the beat of his own
drummer, and from Singles to Jerry
Maguire and Almost Famous, the
semi-autobiographical rock‘n’ roll odyssey which won him the Academy
Award for Best Original Screenplay, he’s also always put a lot of
himself into every film he’s made.
drummer, and from Singles to Jerry
Maguire and Almost Famous, the
semi-autobiographical rock‘n’ roll odyssey which won him the Academy
Award for Best Original Screenplay, he’s also always put a lot of
himself into every film he’s made.
His new film, Elizabethtown, may be his most
personal to date. A tribute to his own father, who died of a sudden
heart attack soon after the release of Crowe’s first film as director,
Say Anything, it stars Orlando Bloom as Drew, a top
shoe designer whose professional and personal worlds implode when he’s
fired from his job and then finds out that his father has just died
from a heart attack. Heading to Kentucky for the funeral, he meets
Claire (Kirsten Dunst), a bubbly and slightly eccentric air stewardess
who changes his life forever.
personal to date. A tribute to his own father, who died of a sudden
heart attack soon after the release of Crowe’s first film as director,
Say Anything, it stars Orlando Bloom as Drew, a top
shoe designer whose professional and personal worlds implode when he’s
fired from his job and then finds out that his father has just died
from a heart attack. Heading to Kentucky for the funeral, he meets
Claire (Kirsten Dunst), a bubbly and slightly eccentric air stewardess
who changes his life forever.
Here, the former music journalist, whose credits include writing
Fast Times at Ridgemont High and directing the
thriller Vanilla Sky, talks about shooting the film
on location in the real-life town of Elizabethtown
with DP John Toll, his love of music, and the benefits of short films.
Toll also discusses the look of Elizabethtown.
Fast Times at Ridgemont High and directing the
thriller Vanilla Sky, talks about shooting the film
on location in the real-life town of Elizabethtown
with DP John Toll, his love of music, and the benefits of short films.
Toll also discusses the look of Elizabethtown.
F&V: Elizabethtown is both comedic and
dramatic. How hard is it to find the right look and tone for a film
like that?
dramatic. How hard is it to find the right look and tone for a film
like that?
It’s tricky. I watched a lot of Hal Ashby films, not just
Harold & Maude but Shampoo
and The Last Detail, and he really used composition
to tell the story, and he loved music and just let the records rip, so
I wanted it to be that kind of movie – almost’70s in its pace too, and
with all the music acting like a character in the story.
Harold & Maude but Shampoo
and The Last Detail, and he really used composition
to tell the story, and he loved music and just let the records rip, so
I wanted it to be that kind of movie – almost’70s in its pace too, and
with all the music acting like a character in the story.
F&V: Another key character in the story is the Kentucky
location and all the locations you use for the road-trip portion of the
film. How important was it to actually shoot there?
location and all the locations you use for the road-trip portion of the
film. How important was it to actually shoot there?
It was so important, and in fact, it’s everything. We all cut our
salaries to be able to pay for it, and I waited till we were able to
shoot there, because I felt that was so important to the spirit of the
film and story, and I wanted to do it right. It was a labor of love,
but well worth it.
salaries to be able to pay for it, and I waited till we were able to
shoot there, because I felt that was so important to the spirit of the
film and story, and I wanted to do it right. It was a labor of love,
but well worth it.
F&V: Was it that hard to get financing for it?
It was. It’s not War of the Worlds. It’s about
people. And Orlando was largely untested as a romantic lead. But mostly
I wanted to shoot it in Kentucky as it just feels different. And they
will tell you, "There’s a place near Pasadena that’s more Kentucky than
Kentucky- trust us!" [ Laughs.] And it’s not. It
never is, and it never gives you the feeling of rolling the window down
and feeling the heat and humidity and letting music play.
people. And Orlando was largely untested as a romantic lead. But mostly
I wanted to shoot it in Kentucky as it just feels different. And they
will tell you, "There’s a place near Pasadena that’s more Kentucky than
Kentucky- trust us!" [ Laughs.] And it’s not. It
never is, and it never gives you the feeling of rolling the window down
and feeling the heat and humidity and letting music play.
F&V: Music plays such an integral role in your films. Do you shoot with a song in mind?
I actually write with songs in my head, and I keep a notebook full of
all the songs I love and that inspired me, and we also used them while
shooting. But it does change. It gets winnowed down to the songs you
can’t live without, and there were still too many.
all the songs I love and that inspired me, and we also used them while
shooting. But it does change. It gets winnowed down to the songs you
can’t live without, and there were still too many.
F&V: Do you clear licenses first?
No. I was my own music supervisor on this one, so first I make sure the
music will work. Then I visit the artists personally if possible. I’d
go to shows and go backstage and see people like Tom Petty or Ryan
Adams and say, "Ryan, I want to use‘Come Pick Me Up.’" I thought it’d
be great to go against the corporate kingdom of soundtracks that exists
now in movies, and just make it totally personal. Then Burt Berman, who
runs Paramount Music and who’s an old friend, came in to negotiate the
licenses.
music will work. Then I visit the artists personally if possible. I’d
go to shows and go backstage and see people like Tom Petty or Ryan
Adams and say, "Ryan, I want to use‘Come Pick Me Up.’" I thought it’d
be great to go against the corporate kingdom of soundtracks that exists
now in movies, and just make it totally personal. Then Burt Berman, who
runs Paramount Music and who’s an old friend, came in to negotiate the
licenses.
F&V: What’s it like working with John Toll, who also shot
Almost Famous and Vanilla Sky for
you?
Almost Famous and Vanilla Sky for
you?
He’s an artist and he’ll work as fast or as slowly as the schedule
permits, and use all available time to light. And after three films
together, we have a shorthand that’s increased the visual storytelling
aspect, and I feel I learned a lot of that on Vanilla
Sky. He’d shot part of Simpatico in
Kentucky before, but I wasn’t sure this’d be his kind of film. We went
for a naturalistic look on Almost Famous, then a
very cool tone and color for Vanilla Sky, but I
wanted this to be very warm and also have a bit of a’70s feel. So we
discussed the look a lot, and watched a lot of movies, including
Amà©lie, for its whimsy. Here’s what I love about
John: his background’s in documentaries, so he did all the handheld
scenes, and he’s a master. Martin Ritt, who directed Norma
Rae, called him the best handheld guy he’d ever seen. And
among many other qualities, he hasn’t flown into the arms of the
digital age in his work. He does not look at dailies on DVD. We look at
everything on film. He really honors the deep texture and classic use
of film stocks. I locked the film early so he could time and time again
and again to make sure every scene had all of its depth and texture.
There was no digital intermediate copy, ever.
permits, and use all available time to light. And after three films
together, we have a shorthand that’s increased the visual storytelling
aspect, and I feel I learned a lot of that on Vanilla
Sky. He’d shot part of Simpatico in
Kentucky before, but I wasn’t sure this’d be his kind of film. We went
for a naturalistic look on Almost Famous, then a
very cool tone and color for Vanilla Sky, but I
wanted this to be very warm and also have a bit of a’70s feel. So we
discussed the look a lot, and watched a lot of movies, including
Amà©lie, for its whimsy. Here’s what I love about
John: his background’s in documentaries, so he did all the handheld
scenes, and he’s a master. Martin Ritt, who directed Norma
Rae, called him the best handheld guy he’d ever seen. And
among many other qualities, he hasn’t flown into the arms of the
digital age in his work. He does not look at dailies on DVD. We look at
everything on film. He really honors the deep texture and classic use
of film stocks. I locked the film early so he could time and time again
and again to make sure every scene had all of its depth and texture.
There was no digital intermediate copy, ever.
F&V: Have you considered shooting digitally?
I have. It’d depend on the project. I’d love to talk to Chris Guest or
Albert Brooks on how they shot their new films, and my question is, is
there a certain quality digital brings or doesn’t bring to comedy?
Albert Brooks on how they shot their new films, and my question is, is
there a certain quality digital brings or doesn’t bring to comedy?
F&V: How has technology (or business) changed the way you work since Say Anything?
It’s changed so much in editing and I love the Avid, which has really
helped in terms of allowing me to use music and be more free in trying
out ideas and different techniques. You can rip through them so quickly
now. But I’ve stayed pretty old-school in terms of filmmaking and the
use of film, although it might change real soon.
helped in terms of allowing me to use music and be more free in trying
out ideas and different techniques. You can rip through them so quickly
now. But I’ve stayed pretty old-school in terms of filmmaking and the
use of film, although it might change real soon.
F&V: How much do you think about the rest of the filmmaking process while writing the screenplay?
I’ve always been sort of a dilettante about not thinking about budgets
enough to let it harm or change the writing. I started to think about
some of the production aspects more with
Elizabethtown, and I want to try to include that
more now when I write. The great indie guys who work really well on a
small budget, like John Sayles and Jim Jarmusch, are smart and creative
about it. They let the restrictions of a smaller budget flower into
better ideas, and that’s my yardstick for the next script.
enough to let it harm or change the writing. I started to think about
some of the production aspects more with
Elizabethtown, and I want to try to include that
more now when I write. The great indie guys who work really well on a
small budget, like John Sayles and Jim Jarmusch, are smart and creative
about it. They let the restrictions of a smaller budget flower into
better ideas, and that’s my yardstick for the next script.
F&V: You have a distinct editorial style. This is the
second time you’ve worked with David Moritz, who co-edited
Jerry Maguire. How does that work?
second time you’ve worked with David Moritz, who co-edited
Jerry Maguire. How does that work?
He’s a disciple of Joe Hutching, who cut Jerry
Maguire, Almost Famous and
Vanilla Sky, and he did the first big assembly, but
then we did all the other cuts together. I love editing and the whole
process and I like to be there. I’m not the type of director who goes
off and makes 40 calls and 20 deals and comes back and says, "What have
you got?" I view it as probably the most fun part of the whole
filmmaking process.
Maguire, Almost Famous and
Vanilla Sky, and he did the first big assembly, but
then we did all the other cuts together. I love editing and the whole
process and I like to be there. I’m not the type of director who goes
off and makes 40 calls and 20 deals and comes back and says, "What have
you got?" I view it as probably the most fun part of the whole
filmmaking process.
F&V: Do you have two versions of the movie in mind, now
with the DVD? Almost Famous had lots of extra
footage on it.
with the DVD? Almost Famous had lots of extra
footage on it.
I think there will be two versions, and like Almost
Famous, one is built for the theater and the other allows you
to stretch out. There’s a lot of footage I had to cut which will be in
the DVD for sure.
Famous, one is built for the theater and the other allows you
to stretch out. There’s a lot of footage I had to cut which will be in
the DVD for sure.
F&V: How interested are you in technology and new equipment, such as digital cameras?
Very, and I watched Michael Mann when he shot
Collateral and studied up a bit on that. It’s great
and it’s not the way I worked in the past but it’s where I’m headed in
the future.
Collateral and studied up a bit on that. It’s great
and it’s not the way I worked in the past but it’s where I’m headed in
the future.
F&V: Remaking Abre los ojos was quite a departure from your previous work.
It was a reaction to taking so long to make Almost
Famous. I wanted to do something very different, less
personal, and Tom Cruise came along with it and I loved it. It had a
Ray Bradbury quality to it, who I’ve always loved, and the director of
the original was into the idea of a remake. He saw that Abre
los ojos was open-ended enough to invite a dialogue with
another filmmaker and that was our approach. We saw the whole film as
taking place rattling around inside the brain of an arrested adolescent
still caught up in pop culture.
Famous. I wanted to do something very different, less
personal, and Tom Cruise came along with it and I loved it. It had a
Ray Bradbury quality to it, who I’ve always loved, and the director of
the original was into the idea of a remake. He saw that Abre
los ojos was open-ended enough to invite a dialogue with
another filmmaker and that was our approach. We saw the whole film as
taking place rattling around inside the brain of an arrested adolescent
still caught up in pop culture.
F&V: What have you seen lately that has inspired you, in TV, music videos, or commercials?
I love the Microsoft series of ads that are soft browns, blues and
yellows, and I thought City of God was one of the
most brilliant movies of the last decade, with its editing and
semi-documentary style. It felt like a movie from a new century. And I
loved Scorsese’s Dylan documentary. Structurally, it’s just phenomenal
that he’s always flashing back from that pivotal concert.
yellows, and I thought City of God was one of the
most brilliant movies of the last decade, with its editing and
semi-documentary style. It felt like a movie from a new century. And I
loved Scorsese’s Dylan documentary. Structurally, it’s just phenomenal
that he’s always flashing back from that pivotal concert.
F&V: Any advice for young filmmakers?
Make short films. I always remember how Wes Anderson and his buddies
made Bottle Rocket as a short first, and in a world
where a lot of people try to get by on talk and bluster, it’s really
important for young filmmakers to make films, even if they’re just five
or 10 minutes. A friend made a 30-second commercial that Apple is going
to use, and it was born out of a short film he did on spec. It’s a
great way to experiment and stretch your wings.
made Bottle Rocket as a short first, and in a world
where a lot of people try to get by on talk and bluster, it’s really
important for young filmmakers to make films, even if they’re just five
or 10 minutes. A friend made a 30-second commercial that Apple is going
to use, and it was born out of a short film he did on spec. It’s a
great way to experiment and stretch your wings.
F&V: What’s next for you?
An out-and-out comedy that I hope I can get Kate Winslet for. I love her. I’m writing it right now.
John Toll on shooting Elizabethtown
The picture we watched early on for visual inspiration was a movie with
Helena Bonham Carter called The Heart of Me. We
never really ended up using anything directly from it as our style, but
it was a great example of a rich, unobtrusive, and consistent visual
approach that placed the characters into a distinct cinematic
environment that wonderfully enhanced the essence of the story. I think
most of our visual ideas came from the early conversations we had about
wanting to create a similar kind of visual ambiance while bringing all
the characters to life and contrasting the worlds of [high-tech shoe
company] Mercury and Kentucky, Drew’s corporate world and the soul of
the family. Both The Heart of Me and
Amà©lie, although different in visual style from each
other and from Elizabethtown, inspired us because
they had visual emotional sensibilities that did those types of things
and enhanced and gave credibility to every aspect of the story.
Helena Bonham Carter called The Heart of Me. We
never really ended up using anything directly from it as our style, but
it was a great example of a rich, unobtrusive, and consistent visual
approach that placed the characters into a distinct cinematic
environment that wonderfully enhanced the essence of the story. I think
most of our visual ideas came from the early conversations we had about
wanting to create a similar kind of visual ambiance while bringing all
the characters to life and contrasting the worlds of [high-tech shoe
company] Mercury and Kentucky, Drew’s corporate world and the soul of
the family. Both The Heart of Me and
Amà©lie, although different in visual style from each
other and from Elizabethtown, inspired us because
they had visual emotional sensibilities that did those types of things
and enhanced and gave credibility to every aspect of the story.
As far as technical considerations like film stock, etc., I just used
those tools that seemed appropriate for our story and that felt right
in dailies, and I just kept doing it throughout the picture. We used
straightforward, conventional film stock and processing. The film stock
that we used was primarily Kodak 5218, one of their most recent Vision
II negative emulsions. We also used some amount of Kodak 5293, an older
ER emulsion, which happened to be my all-time favorite negative
emulsion ever. Unfortunately, for reasons I still do not understand,
Kodak has discontinued the manufacture of this emulsion and there is
really nothing comparable to it that now exists in the Kodak Vision I
or Vision II categories. We actually were able to get a portion of the
very last batch of 5293 that Kodak manufactured, so I’ll always look at
Elizabethtown as representing a certain part of film
technology history.
those tools that seemed appropriate for our story and that felt right
in dailies, and I just kept doing it throughout the picture. We used
straightforward, conventional film stock and processing. The film stock
that we used was primarily Kodak 5218, one of their most recent Vision
II negative emulsions. We also used some amount of Kodak 5293, an older
ER emulsion, which happened to be my all-time favorite negative
emulsion ever. Unfortunately, for reasons I still do not understand,
Kodak has discontinued the manufacture of this emulsion and there is
really nothing comparable to it that now exists in the Kodak Vision I
or Vision II categories. We actually were able to get a portion of the
very last batch of 5293 that Kodak manufactured, so I’ll always look at
Elizabethtown as representing a certain part of film
technology history.
The post-production was conventional photochemical finishing without
any special digital or film processing. I was just doing what felt
right at the time while we were shooting, and fortunately we were able
to get the time we needed at the lab to finish the film properly and
give it the attention it deserved. – John Toll
any special digital or film processing. I was just doing what felt
right at the time while we were shooting, and fortunately we were able
to get the time we needed at the lab to finish the film properly and
give it the attention it deserved. – John Toll
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