Exclusive Interview with Hubbel Palmer, Screen Writer and Star of "American Fork". Premiering at the Slamdance Film Festival in Park City, Utah, 2007.

By: Luis Pedron of www.fanclubx.com

Luis: As a the writer of the film and the star of the film (American Fork) you wrote, how was the experience like? How was your relationship with the director both as writer and actor…. Did he ask you for your input in both the pre prod and during the principal shoot?

Hubbel Palmer: I chose to work with Chris Bowman because I trusted his instincts. We started working together about two years before shooting. I knew he was the man for the job because every time he would give me a note on the script it would feel like an improvement rather than a compromise. A few months before filming, I really made an effort to step away from the script as a writer and re-approach it as an actor. If I had a question about anything in the script I would defer to him. During production, we would occasionally confer if I felt a scene wasn’t headed in the right direction, but that was rare.

Luis: How did you go about selling (or getting funding ) for your story?

Hubbel Palmer: This was a two year process with a lot of false starts. At one point we had an Indian restauranteur who wanted to put up half the funding, but felt strongly that the film needed a Bollywood style musical fantasy sequence. He backed out before we had to seriously consider that. The funding question is the most frustrating part of the film-making process. When it finally came together it was fairly simple–a single investor who was totally supportive and laissez-faire.

Luis: I am so excited about how this character of yours is into motivating his family and friends… I am into positively helping others as well? Is this based on your own philosophy in life or Is this based on someone you met?

Hubbel Palmer: Tracy is a little bit me and a little bit of people I knew when I worked at a grocery store as a teenager. I believe that life is about how we treat and interact with the people around us. The trick is figuring out the right way to influence people without offending them or being taken advantage of by them. I think, by the end of the story, Tracy is a little more savvy about that.

Luis: You are best fit to play this character, Tracy Orbison, since you know this "character" by heart… did you still have to do any preparation both physically and mentally to play a challenging role like this?

Hubbel Palmer: I grew my hair out for the part—I don’t know, that just felt like the right look for this guy. I also spent some time walking around in character. I went to a mall and interacted with people the way I thought Tracy would. It was a very subtle difference but helped me a lot.

Luis: How do you wish Tracy will be seen by the audience? Who do you think is the target audience for your film.

Hubbel Palmer: I hope people feel sympathy for Tracy, but not so much that they don’t see the humor in the movie. This is a fine line. Some people find the movie hilarious, while others just feel bad for Tracy. There are some obvious laughs in the film, but I don’t think we spell it out for people. The audience for this film are people who enjoy films that walk the line between comedy and drama (Punch-Drunk Love, Ghost World).

Luis: What does American Fork mean? Where is Mountain West? Where did you shoot your film?

Hubbel Palmer: We called it American Fork mostly because we liked the combination of words. "American" because the film is set in that bland world known as "middle America" and "fork" because Tracy’s at a fork in the road, a point of decision. Fork is also an eating utensil. There’s a town in Utah called American Fork, but the film doesn’t take place there. The Mountain West refers to that mountainous corridor of America including Utah, Colorado, Wyoming, Idaho. It’s a hard part of the country to define. It’s not the midwest, it’s not the Southwest, and it’s not the West Coast. It’s characterized by conservative values, strong families, and fervent religiosity. We shot in Salt Lake City, Utah—my hometown.

Luis: How was your shoot like in that location where you embraced by the community?

Hubbel Palmer: We had a lot of help from the community. Utah has a lot of film production. Last summer there were six other movies shooting at the same time as us and ours probably had the lowest budget. In spite of that, we were able to assemble a very competent crew (half local/half out-of-towners) and we cast many of our parts locally.

Luis: How was it working with your co stars: especially with Kathleen Quinlan and William Baldwin?

Hubbel Palmer: Kathleen Quinlan was fantastic. She was so maternal and supportive. We had some tough scenes together and she gave her all on every take. With her thirty plus years experience in the business you would think she’d be a diva, but not so–she’s just the kindest most centered person you could ever meet. Billy Baldwin was cool as well. He totally nailed the part—totally got it, right away. He’s a great storyteller, too. Very funny. My mom was on set two of the days he was there and he went out of his way to say hi to her and make her feel special.

Luis: Any funny anecdotes on set? Hmmmm!

Hubbel Palmer: I can’t really think of any.

Luis: I read a blog on the net from SXSW’s Matt Dentler, your acquiantance years ago, that you were friendly and a film fan? May I ask you who your favorite directors and what your favorite films are?

Hubbel Palmer: My tastes run the gamut. My official top five are Wim Wenders’ Far Away, So Close!, Carl Theodor Dreyer’s Ordet, Robert Duvall’s The Apostle, Bill Forsyth’s Housekeeping, and Robert Mulligan’s To Kill a Mockingbird . But those aren’t the kind of films you can watch over and over again. For a while I would watch Alan J. Pakula’s All the President’s Men every week. As for favorite directors—it’s hard to narrow it down. I know it’s a cliche, but I think Ingmar Bergman is the great giant of cinema–I don’t know if anyone else even comes close. Frank Capra is my favorite classic Hollywood director and Robert Zemeckis is one of my favorites of the past twenty five years. I think some of the best films are the ones where an otherwise journeyman director strikes gold and makes an accidental masterpiece. Know what I mean? An example might be Frank LaLoggia’s The Lady in White or Lynne Littman’s Testament.

Luis: Which among the films this year are your favorite Oscar contenders? How about Oscar performances? Oscar Best Pic?

Hubbel Palmer: The two best movies I saw this year are The Prestige and Idiocracy, but I don’t think either are considered Oscar contenders. I thought Hugh Jackman and Christian Bale both gave Oscar-worthy performances in The Prestige. I also liked Judi Dench in Notes on a Scandal.

Luis: Please give us your words of wisdom in how to get your story out there in the market, get it done as a feature film and hopefully star in it too?

Hubbel Palmer: Having a good script is everything. It’s got to be the kind of thing that speaks for itself and gets people excited—and it’s gotta be something you’re excited about. Try and write something that you could realistically get made, something that could be made on the cheap or for as much money as people are willing to give you. I admire people like Shane Carruth, who made Primer---an amazing film---shot for $7000. The next step is to gather a nucleus of people, 2 or 3, who are as passionate about making this movie as you. Pooling your ideas and resources together, you’ll figure out how to make the film. It also helps to understand the independent film world. There are people out there who are looking for hidden gems made on the cheap. Figure out who those people are and get your film into their hands. As far as acting in your own film, it may not be a good idea. You want to cast the best person you can in the role—if that is you, fine. Also, beware of trying to act and direct at the same time. It’s usually more than a novice film maker can handle.

Exclusive Interview with Hollywood Writer/Director, Rod Lurie whose film “Resurrecting the Champ” (starring Josh Hartnett, Samuel L Jackson, Alan Alda

Interview by: Luis Pedron of Fanclubx.com


Luis: Firstly Mr Lurie, I would like to thank you for granting me this interview. I really appreciate it, am flattered. I like the trend of motivational underdog sports related stories coming back to the film industry. I hope this encourages our youth and anyone who is down and out. What makes "Resurrecting the Champ" unique to this type of genre? What made you write and pursue this storyline? What are the advantages of being the director of your own screenplay ?

Rod Lurie: Well, the premise of your question is just a bit off. "Resurrecting the Champ" is certainly an underdog story, but not in relation to the sports world (though it is set in the arena of sports journalism- boxing specifically). Josh Hartnett plays a young reporter and father who has to overcome his own deficiencies to become proficient in both of those "jobs." It is something that I think most fathers will be able to relate with. I know that I can. I hope that by the end of the film, the audience will feel the same triumph that they did at the end of movies like "Rocky" or "The Rookie."

Though I wrote much of the screenplay, the WGA awarded credit to Allison Burnett and Michael Bortman. (There is an unwritten rule that only up to two writers can get credit) Chris Gerolmo, who is a fine writer, also did his share of writing. I came on the film and executed my own version of the screenplay incorporating elements of all three versions. But I do have enough of a sense of authorship in the screenplay to be able to say this about directing what I have written: It simplifies life. There is a unity of thinking about what the film is about. When you talk to the actors about the motivations of the characters there is no guessing. You know.

Luis: As to the story line of the fallen athlete (Jackson), why do you think some successful people sabotage their own success and prosperity?

Rod Lurie: One doesn't land on success and prosperity. It lands on you. It changes your life. Suddenly. The people around you change. Suddenly. Sometimes fame and what it brings with it can not accomodate the personalities of the people who have obtained it. Gary Busey once said to me, "If you think it sucks to be rich and famous, try being poor and famous."

Luis: As a writer, I can relate to Harnett's character's need to pursue the ultimate article that will put me to the top… did you have a similar experience when you were out there as a writer?

Rod Lurie: I did. And what a thrill it was to find that story (one was a piece on criminal activity at the National Enquirer). And what a thrill it was to find that elusive interview subject. I miss it.

Luis: I commend you for your choice of great actors from Harnett , Hatcher, Alda and Jackson… how did you get to this ensemble (combination)? Any anecdotes about your casting process?

Rod Lurie: This movie first started to be developed by Mike Medavoy about ten years ago. Back then, Sam was far too young for the role (he still is, but managed to pull it off) and , anyway, it wasn't my film. Morgan Freeman was the man at the time. In fact, Morgan was one of the film's producers. He was connected to the film for almost nine years. For that period of time, he was the only person we had in mind, For various reasons, it became not possible to do the film with him. Although we had lost a great actor, it also allowed us the sheer excitement of being able to think differently than we had for almost a decade - something that any artist will tell you is thrilling. We went to Sam right away who accepted it almost instantaneously. It was then that we sort of got treated to an all new Champ.

Luis: As a critic turned successful filmmaker, what are the advantages of being able to be in both sides of the ballgame?

Any suggestions for a reviewer like me who has also done his feature film ( I am sending out my feature film called "Multo" to different festivals )?

Rod Lurie: First of all, congrats on your film. Simply having made it is a huge achievement. I think that there is not that much benefit in having been a critic other than you are compelled to have seen just about everything, which, consequently, ensures that you have a great deal of ideas stored in your brain.

I must say that if I ever went back to criticism, I would be better at my job. It's too detailed to get into here, but I would say that I would be far less snarky, farless concerned with showing off how clever I can be when making attacks on film makers and actors. The sheer work that goes into making a film alone should free the people who put in that effort from the kind of personal attacks I used to make.

Luis: For me, Sundance means Stamp of Approval …..What does Sundance Film Festival mean to you and why?

Rod Lurie: It really is kind of a stamp of approval, isn't it. People are wowwed when they hear a film is up there. The festival has launched some of the all time great films. I don't think that we are necessarily at that level, but its nice to have ourselves somehow connected to Soderbergh's movies or Tarantino's. Its an honor, really. Being up there also gives the film a stamp of independence - a film made by film makers who care about the project rather than executives who care about the product.

Luis: What words of wisdom do you have for filmmakers who would like to be in Sundance Film Festival in the future?

Rod Lurie: If I were wise I could answer that question.

Luis: If you don't mind me asking, what are the different selling points of your film "Resurrecting the Champ?"

Rod Lurie: This is a story, in the end, about fathers and sons. And that has a huge appeal, I think. Really, the antecedent for "Resurrecting" is "Kramer versus Kramer". I showed it to my cast and crew before we began. I wanted the honesty of that beautiful film to seep into the collective. That was a film that was meant for fathers, for anybody who has ever had a father, for women who want their husbands to be good and decent men for their children, and for anybody with a heart. "Resurrecting" tries to hit the same nerve. Whether or not we succeed at the 'Kramer" level is unlikely - we don't have as talented a director - but we are sure trying.

There is one other thing. It may be as much of a negative as a selling point as it is a positive. That is that almost all the actors are working outside their iconographies. Sam is way outside "Pulp Fiction" or "Shaft" or "Snakes on a Plane." Josh is a married father, not a hearththrob. Kathryn Morris play a stern detective in "Cold Case" Here she's as empathetic as can be. Even Alda shorn his hair for this film - a look he's never had. When actors play away from what has brought them to the big dance and they succeed -- that's a call for some kind of celebration.

Luis: Congratulations Mr Lurie and I think you deserve all the successes in your life. I am so proud of you! Have a great 2007 and a great Sundance 2007 premiere!