#Mark webber actor wife movie
The difference with this movie was we didn’t want to make something like that. You shoot the shit out of it from a couple different angles, and you’re shooting digital, so you can just sit there and talk to each other for 20 minutes, and then a scene is cut out of that. When they’re shot, you’re sitting there and you’re finding it. I guess maybe because there’s a lot of mumbling in some of those movies. I am very aware that there’s this whole mumblecore thing out there. There’s a certain level of comfortability and we know we’ve got each other’s backs. When you have already spent some time with someone, that just permeates whatever you’re going to do on the screen, on a certain level. When you’re making movies, that goes a long way. She has a really great sense of timing, and we had a pre-existing relationship. MW: …but it’s a certain level of consciousness. MW: I don’t know any other way to say it without tooting our own horn…
What are the elements that allow for the scenes in Happy Christmas to have so much tension in them as opposed to this sort of run-of-the-mill improv? One of the things I noticed about Joe’s films, and your film, was that I was extremely emotionally engaged the entire time. That’s not an experience I often get watching improv, that level of emotional engagement. I was so nervous the entire time watching, for both characters. It’s kind of like doing a play at that point, which is fully reliant on what you are bringing as a performer. One of the scenes I did with Anna, the extended take, was almost theater. You’re really in charge of the pace and the tone and the beat. When you make a film like Happy Christmas, it’s all you. You’re kind of an extra for a lot of the days, then stunt people come in, and at one point it’s like your performance has so many other elements, it’s not just coming from you. MM: Even if the content was different, the process would probably be close. But I felt a little version of, “Wow, this must be what it would be like to make one of those big superhero movies.”
It was connected to a certain level of artistry that made it unique, because Edgar Wright’s really amazing. I did a movie called Scott Pilgrim where there was a lot of green screen and effects. It’s funny, now I have a different level of respect for working on a movie like that. I read comic books when I was younger, Superman and stuff I thought it was cool. I liked them a lot more when I was a kid. I haven’t been in one of those FX-driven projects yet, and I don’t think I ever really will. MM: Because of the types of movies that Hollywood’s making right now, where the average is $70 million and actors tend to be just another element in a big special-effects mass, I get the feeling that a lot of actors are willing to jump on board these kind of projects simply because they’re presented with the opportunity to practice their craft in a completely different way. “Oh, I get to play and improvise with these people? That’s great. MM: Melanie said something very similar, both in terms of just hearing what the project was about and hearing who the other people she was going to be collaborating with would be. How can I enhance this character? What am I bringing to it? Where do we gotta go? That’s enough. For me, it’s enough just to see who these people are. It’s just kind of this unspoken thing that’s already there. And it’s fun it’s fun as an actor-director to work with another actor-director. I love improvisation, and having made The End of Love in a similar way, I knew I was in really good hands. I was very familiar with Joe’s work, very familiar with Melanie and Lena, and so for me that was enough. Mark Webber (MW): I love things like that. How do you decide to jump on board a project like this one, where Joe Swanberg has a story idea, but he hasn’t completely fleshed out the story yet? Sean Hood, MovieMaker Magazine (MM): You’ve done a lot of work as an actor, and usually, when you are trying to decide whether or not to accept a role, you’re given a script.
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