I got involved with an acting school and studied for a couple years. They used to have improv exercises that you would work on and you would do improvs.
I don’t know that you can do it as a satire. I mean, the business is crazy enough as it is. It’s like doing Wag The Dog – we took a thing that was almost completely absurd on one level, and then ultimately those things came about.
I’m fascinated by documentaries, to begin with. Because of the nature of television, as opposed to theatrical, documentaries can be in this long form and take you on a journey.
Craig Nelson who is an actor and is in a show called Coach in the United States. We began to do some improvisational stuff and we used to get laughs and things.
I’ve had a lot of movies that didn’t get great numbers on test screening, but a lot of times the film was able to survive, or the studio still stayed and supported it.
Ronald Reagan was this actor who was going to be president, and he was very charming. What he had was, he talked about America in ways that got people all caught up in it. He was creating this America – it could even be the mythical “America” – that we subscribe to.
When I began to think about the head of the family, the storyteller, the rise of television which became the new storyteller, the break-up of the American family as an idea and then Avalon came.
Even back in the ’90s, I shot certain things on something that wasn’t digital then, but it was on VHS with a smaller camera and we would up it to film.
You do understand that you can’t force the situation, but in terms of how you edit, you can define that to take the audience along, whether it be a storyline or a character moment that we can play out. The more experience you’ve had, the more beneficial it is, period.
I don’t know that you can do an absurdist film and just have everybody embrace it in terms of filling out cards. I just don’t think it happens. So you have to prepare an audience.
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