“Seth, fresh out of grad school with an MFA in playwriting and no interest in the arts, would rather sneak free beers from his bartender roommate, Nate, than find a job. When Seth's old college pal Jared stops by, a night at a risqué go-go club leads to new love and unexpected changes. Before long, a broke and drug-addled Jared is moving in, along with Nate's new fling and her ill-tempered cat. With his old life under duress, Seth has to choose whether to grow up or be left behind.”
So says the synopsis of Month to Month, the film debut of Wes Hopper, who wrote and directed. The film stars Chris Stewart, Corey Wright, Karl Hammerle, Natalie Thomas, Mimi Hirt, Sarah Natochenny and Amir Darvish.
Hopper, who holds an MFA in playwriting, has stated that to him New York has always been a city about leaving. Young people are drawn in by the illusion of limitless opportunity but most eventually abandon it. What makes it a new home for some and a temporary escape for others? And why will he never work with cats again? We talk to the director himself to find out.
KM: Wes, thanks for meeting me here on my yacht. Help yourself to the chocolate fountain. Oh and keep the robe. It's a gift. It's monogrammed, see? Woody Harrelson left it here and now it's yours!
WH: Gee thanks. Mr. Harrelson is such a big fan, I mean, I'm such a big fan. You know what I mean. Great to be here.
KM: Month to Month was shot in less than two weeks. What were some of the obstacles you encountered?
WH: Uh, money, time? First money, because money buys you more time. We were shooting like ten pages a day plus a marathon 24 hour day on the last day so we could return the camera on time. Because we were so crunched it was constantly just making snap decisions. You show up at a location, it's not quite what you envisioned, forget about all those storyboards, what do we do? I guess as the shoot went on there was definitely a fatigue factor.
KM: I can imagine that twelve days just being a sleepless blur.
WH: I remember my "moment," (we all had an irrational breakdown moment). Mine was insisting on a single shot of cat food being given to the resident feline and everyone telling me it was too hard to get the cat in the shot and then doing a little temper tantrum, like, "nobody gives me what I want!" Pretty ridiculous.
KM: So, did you ever have to live with an ill-tempered cat?
WH: I've lived with a couple. I love cats but it seems like they're sort of insane. I did live with a cat that used to wake me up at night. He learned that if he rattled the recycling I would wake up. Smart little bastard. I mean, what if cats keep evolving? Forget Planet of the Apes. Our cat overlords could actually control our minds with their poo. That's scary.
So says the synopsis of Month to Month, the film debut of Wes Hopper, who wrote and directed. The film stars Chris Stewart, Corey Wright, Karl Hammerle, Natalie Thomas, Mimi Hirt, Sarah Natochenny and Amir Darvish.
Hopper, who holds an MFA in playwriting, has stated that to him New York has always been a city about leaving. Young people are drawn in by the illusion of limitless opportunity but most eventually abandon it. What makes it a new home for some and a temporary escape for others? And why will he never work with cats again? We talk to the director himself to find out.
KM: Wes, thanks for meeting me here on my yacht. Help yourself to the chocolate fountain. Oh and keep the robe. It's a gift. It's monogrammed, see? Woody Harrelson left it here and now it's yours!
WH: Gee thanks. Mr. Harrelson is such a big fan, I mean, I'm such a big fan. You know what I mean. Great to be here.
KM: Month to Month was shot in less than two weeks. What were some of the obstacles you encountered?
WH: Uh, money, time? First money, because money buys you more time. We were shooting like ten pages a day plus a marathon 24 hour day on the last day so we could return the camera on time. Because we were so crunched it was constantly just making snap decisions. You show up at a location, it's not quite what you envisioned, forget about all those storyboards, what do we do? I guess as the shoot went on there was definitely a fatigue factor.
KM: I can imagine that twelve days just being a sleepless blur.
WH: I remember my "moment," (we all had an irrational breakdown moment). Mine was insisting on a single shot of cat food being given to the resident feline and everyone telling me it was too hard to get the cat in the shot and then doing a little temper tantrum, like, "nobody gives me what I want!" Pretty ridiculous.
KM: So, did you ever have to live with an ill-tempered cat?
WH: I've lived with a couple. I love cats but it seems like they're sort of insane. I did live with a cat that used to wake me up at night. He learned that if he rattled the recycling I would wake up. Smart little bastard. I mean, what if cats keep evolving? Forget Planet of the Apes. Our cat overlords could actually control our minds with their poo. That's scary.
"Seth is worshipping the cat again..." "Hey, soon we all will be."
KM: I understand that your main actor dropped out right before shooting and Christopher Stewart was a last-minute replacement. That must have been a nightmare but Christopher turned out to be perfect for the role.
WH: Yeah, when it happened it was devastating. We just sort of sat there silently for several minutes then the producer, Chad Nicholson, only time I saw him get angry or really lose control, he just ripped his headset off and threw it and shouted, "fuck!" We had already paid everyone, so we were going to lose the money if we didn't start the next day. I went outside and stood in the rain (seemed fitting). Then I came back in and we started looking through headshots. Chad knew Chris through some friends in LA and worked with him on another film. He showed me his reel and was like, what do you think?
KM: And what did you think?
WH: I thought he was too handsome, but also saw he was a damn good actor. We called him, his agent approved it and he was on the red eye, read the script on the plane, landed and was rushed to set and we started shooting.
KM: Now, you studied playwriting, much like your protagonist Seth. Just how much in this film is drawn from your own life?
WH: You picked up on that playwriting thing, huh?
KM: Nothing gets by me.
WH: Well, I would say it's definitely based on my first few years in New York, early to mid-twenties, but I think it would be a stretch to call it autobiographical. In a way I was looking back at my younger self and trying to make sense of that time, weaving it into a fictional story. It was the first script I ever finished and I guess I was following that old maxim, write what you know.
KM: Obviously the idea of "a bunch of twenty-somethings living in New York dealing with life and love" can come off as cliché to some people. What is it about your film that sets it apart?
WH: Yeah. And actually, I think that's our biggest obstacle with this film, getting over the whole, "it's about people in their twenties in NY." bias. I didn't really worry about it when I wrote it. I think what sets us apart is the candidness of the story, it definitely has a truth to it about the compromises you make with yourself in order to grow up. I wanted to understand this period in young people's lives that is just so topsy-turvy and hard to make sense of. Why is it so hard for our generation to figure things out?
KM: Especially since the financial crisis, all of us twenty-somethings are feeling more lost than ever. Did the economic downturn influence your film in any way?
WH: It did. At the time the dow was plummeting every week and there was a sick feeling of excitement, like the end of the world was approaching. I guess that's a little dramatic, but the thought did cross your mind... There's a scene in the film where Seth talks to his mom on the phone and he's sort of whining about how he can't find a job. The scene cuts both ways for me, in one way we're supposed to think he's just not trying hard enough, somehow it's his fault, but on the other hand, his frustration is evident. That's sort of where our generation is caught, on the one hand maybe we're whiners who expected too much, on the other, clearly, the opportunities just aren't out there.
WH: Yeah, when it happened it was devastating. We just sort of sat there silently for several minutes then the producer, Chad Nicholson, only time I saw him get angry or really lose control, he just ripped his headset off and threw it and shouted, "fuck!" We had already paid everyone, so we were going to lose the money if we didn't start the next day. I went outside and stood in the rain (seemed fitting). Then I came back in and we started looking through headshots. Chad knew Chris through some friends in LA and worked with him on another film. He showed me his reel and was like, what do you think?
KM: And what did you think?
WH: I thought he was too handsome, but also saw he was a damn good actor. We called him, his agent approved it and he was on the red eye, read the script on the plane, landed and was rushed to set and we started shooting.
KM: Now, you studied playwriting, much like your protagonist Seth. Just how much in this film is drawn from your own life?
WH: You picked up on that playwriting thing, huh?
KM: Nothing gets by me.
WH: Well, I would say it's definitely based on my first few years in New York, early to mid-twenties, but I think it would be a stretch to call it autobiographical. In a way I was looking back at my younger self and trying to make sense of that time, weaving it into a fictional story. It was the first script I ever finished and I guess I was following that old maxim, write what you know.
KM: Obviously the idea of "a bunch of twenty-somethings living in New York dealing with life and love" can come off as cliché to some people. What is it about your film that sets it apart?
WH: Yeah. And actually, I think that's our biggest obstacle with this film, getting over the whole, "it's about people in their twenties in NY." bias. I didn't really worry about it when I wrote it. I think what sets us apart is the candidness of the story, it definitely has a truth to it about the compromises you make with yourself in order to grow up. I wanted to understand this period in young people's lives that is just so topsy-turvy and hard to make sense of. Why is it so hard for our generation to figure things out?
KM: Especially since the financial crisis, all of us twenty-somethings are feeling more lost than ever. Did the economic downturn influence your film in any way?
WH: It did. At the time the dow was plummeting every week and there was a sick feeling of excitement, like the end of the world was approaching. I guess that's a little dramatic, but the thought did cross your mind... There's a scene in the film where Seth talks to his mom on the phone and he's sort of whining about how he can't find a job. The scene cuts both ways for me, in one way we're supposed to think he's just not trying hard enough, somehow it's his fault, but on the other hand, his frustration is evident. That's sort of where our generation is caught, on the one hand maybe we're whiners who expected too much, on the other, clearly, the opportunities just aren't out there.
"You're too handsome for this movie, you jerk."
KM: The film does feel very candid and real, due in part to the large amount of silence. Was there any music produced for the movie?
WH: Two songs were created specifically for the film and those were the two live performances. Our aesthetic was that any music had to be found in the scene, either playing through a speaker, on the radio, headphones, or live. I don't want the score telling me how should I be feeling in any given moment. If the scene evokes an emotional response, it should earn it.
KM: How much time passes in the course of the film?
WH: Around 6 months. I see it as an early spring to fall thing, since we filmed it during one season. Probably if had the budget to film some winter scenes I would have made it a year, but alas, we did not have those kind of resources.
KM: What do you think it is about NYC that makes people leave?
WH: Hm. I think among a certain set of people it's sort of like a rite of passage or something to check off their "life" to-do list. For many it's the hope of an artistic mecca. And maybe that's the disappointment. Finding a "scene" in NY is hard, it's very fragmented, everyone's doing something and nobody seems to care. That coupled with a high cost of living makes for a pretty daunting artistic environment. Rents are high so you have to work one maybe two jobs to keep yourself afloat, which leaves less time to actually practice your craft. You can really get caught up in the economics of living here and it's hard to concentrate on your work.
KM: That’s is a big theme in Month to Month. Nobody is ever seen doing what they claim their passion is.
WH: Yes. Everyone is a writer or an actor or actress, yet we never see them even come close to doing anything like that. Seth, the playwright, never writes a word the entire film. I guess I knew a lot of people like this in NY. They professed themselves to be one thing, but in practice, they were just working and living, trying to find love and generally just trying to stay afloat. I think getting a foothold in the world is hard enough without trying to pursue a passion that makes you face repeated rejection.
KM: Yes, it would be nice to be able to turn that artistic passion off once in a while and just be content with your job, your health, etc…
WH: When I was in grad school for playwriting one of the other students in my workshop actually told me I should quit my job so I could see more plays. Well, that's a terrific idea, can I crash on your couch?
KM: If post-production Wes could go back and give advice to pre-production Wes...what would it be?
WH: This one is easy. I would definitely give the script another pass. Month To Month was the first screenplay I wrote and I did two drafts with a some touch-ups before we started shooting. At the time I was just gung-ho to get it on it's feet. I think the film is raw in a lot of good ways, but there also moments I think I could have fixed on paper.
KM: Wrong. The correct answer is to give him today’s lottery numbers. Duh! Also, my next question card is blank. What do you think I was going to ask?
WH: Probably your going to ask me if I'm sure I don't want any chocolate from the chocolate fountain. I prefer dark chocolate to milk chocolate and there's something a little unappealing about the way you keep sticking your head in the fountain. Also, with chocolate all over your face it's hard to take you seriously.
KM: My wife says the same thing. Finally, what do you think people will take away from this movie?
WH: I have found so far that this film really resonates with some people, mostly younger people but also older people that remember a similar time from their youth. I've also had the opposite reaction, which is that some people don't get it, they don't understand the story and can't connect to the material. I hadn't set out to make a niche film, but if that's what it is so be it. My hope is that this film makes people walk away thinking about their own period of upheaval and uncertainty when they were young and unproven.
KM: Finally finally, what films are you looking forward to in 2012?
WH: There are two I can think of. Prometheus, Ridley Scott's Alien prequel, of which the trailer looks amazing. And Whit Stillman's first film in like fifteen years. I love Metropolitan. I'm sure there are others.
KM: Wes, thanks so much for taking the time to talk to me. Um…I’m actually heading further out to sea now so if you’re going to swim back to shore, I suggest you get started.
WH: But I can’t swim…
WH: Two songs were created specifically for the film and those were the two live performances. Our aesthetic was that any music had to be found in the scene, either playing through a speaker, on the radio, headphones, or live. I don't want the score telling me how should I be feeling in any given moment. If the scene evokes an emotional response, it should earn it.
KM: How much time passes in the course of the film?
WH: Around 6 months. I see it as an early spring to fall thing, since we filmed it during one season. Probably if had the budget to film some winter scenes I would have made it a year, but alas, we did not have those kind of resources.
KM: What do you think it is about NYC that makes people leave?
WH: Hm. I think among a certain set of people it's sort of like a rite of passage or something to check off their "life" to-do list. For many it's the hope of an artistic mecca. And maybe that's the disappointment. Finding a "scene" in NY is hard, it's very fragmented, everyone's doing something and nobody seems to care. That coupled with a high cost of living makes for a pretty daunting artistic environment. Rents are high so you have to work one maybe two jobs to keep yourself afloat, which leaves less time to actually practice your craft. You can really get caught up in the economics of living here and it's hard to concentrate on your work.
KM: That’s is a big theme in Month to Month. Nobody is ever seen doing what they claim their passion is.
WH: Yes. Everyone is a writer or an actor or actress, yet we never see them even come close to doing anything like that. Seth, the playwright, never writes a word the entire film. I guess I knew a lot of people like this in NY. They professed themselves to be one thing, but in practice, they were just working and living, trying to find love and generally just trying to stay afloat. I think getting a foothold in the world is hard enough without trying to pursue a passion that makes you face repeated rejection.
KM: Yes, it would be nice to be able to turn that artistic passion off once in a while and just be content with your job, your health, etc…
WH: When I was in grad school for playwriting one of the other students in my workshop actually told me I should quit my job so I could see more plays. Well, that's a terrific idea, can I crash on your couch?
KM: If post-production Wes could go back and give advice to pre-production Wes...what would it be?
WH: This one is easy. I would definitely give the script another pass. Month To Month was the first screenplay I wrote and I did two drafts with a some touch-ups before we started shooting. At the time I was just gung-ho to get it on it's feet. I think the film is raw in a lot of good ways, but there also moments I think I could have fixed on paper.
KM: Wrong. The correct answer is to give him today’s lottery numbers. Duh! Also, my next question card is blank. What do you think I was going to ask?
WH: Probably your going to ask me if I'm sure I don't want any chocolate from the chocolate fountain. I prefer dark chocolate to milk chocolate and there's something a little unappealing about the way you keep sticking your head in the fountain. Also, with chocolate all over your face it's hard to take you seriously.
KM: My wife says the same thing. Finally, what do you think people will take away from this movie?
WH: I have found so far that this film really resonates with some people, mostly younger people but also older people that remember a similar time from their youth. I've also had the opposite reaction, which is that some people don't get it, they don't understand the story and can't connect to the material. I hadn't set out to make a niche film, but if that's what it is so be it. My hope is that this film makes people walk away thinking about their own period of upheaval and uncertainty when they were young and unproven.
KM: Finally finally, what films are you looking forward to in 2012?
WH: There are two I can think of. Prometheus, Ridley Scott's Alien prequel, of which the trailer looks amazing. And Whit Stillman's first film in like fifteen years. I love Metropolitan. I'm sure there are others.
KM: Wes, thanks so much for taking the time to talk to me. Um…I’m actually heading further out to sea now so if you’re going to swim back to shore, I suggest you get started.
WH: But I can’t swim…
Wes Hopper and Christopher Stewart watching a beautiful plastic bag blow around in the wind.
Month to Month will be screening at the NYC DFFF on Thursday, February 23rd at 8pm at the Duo Multicultural Arts Center, 62 East 4th Street, East Village, NYC, http://duotheater.org/film.php
For more information about the film, you can visit its website, www.month2monthmovie.com, or join its Facebook page, http://www.facebook.com/pages/Month-To-Month-Movie/136518396463619.
For more information about the film, you can visit its website, www.month2monthmovie.com, or join its Facebook page, http://www.facebook.com/pages/Month-To-Month-Movie/136518396463619.
