Reykjavik International Film Festival - The Duke
Mired in a concussed haze, an ex-NFLer struggles to adjust to life off the field during Super Bowl Sunday.
Interview with Director Max Barbakow
Congratulations! Why did you make your film?
The film was an attempt to humanize the ongoing CTE/chronic concussion crisis in the NFL by putting the audience directly in the perspective of an ex-NFL linebacker who's grappling with symptoms of head trauma and the pangs of change while mired in seemingly pleasant, sun-bleached suburbia. It was an opportunity to shed light on a topical yet taboo topic in a new way, and also a chance to experiment with tone, take some formal chances, and work with an unbelievable team of talented collaborators, who I love.
Imagine I’m a member of the audience. Why should I watch this film?
You'll experience the whole spectrum of human emotion -- you'll laugh, you'll cry, you'll feel some tension, get lost in a world that's seemingly familiar but a little bit askew.
How do personal and universal themes work in your film?
The goal was to start with an idea that was uniquely personal and then indulge the specifics and absurdity of that experience to speak to a truth that was greater than we were as filmmakers. With THE DUKE, every aesthetic decision stemmed from J.P. Duke's journey, which in turn informed the themes. I was most interested in the difficulty of change and our resistance to discomfort as human beings, how we're always reluctant to show any inkling of vulnerability even though leveling with that emotion often times stokes new feelings of love and growth. Once these sorts of questions and ideas settled in as our compass, we grappled with them every step of the way, and I think that shows in the story.
How have the script and film evolved over the course of their development and production?
Andy Siara and Derek Pastuszek wrote the film, and they are great buddies and good men and supremely talented writers. Initial drafts of the script originated from us three sitting in a room and riffing. They would then go and write halves of the script, swap them, share them with me, and we'd go get notes from collaborators, mentors, and friends before returning to our bunker to bullshit some more and make it better. Aided by our classes at the AFI Conservatory, this process unfolded over a few months and really helped us excise ideas and whims that were superfluous and probably just resistance to having to dig deeper emotionally. After we shot, we were lucky enough to test screen the film and then reshoot a scene or two, which helped us really hone the rhythm and emotional arcs within the film. Salvador Perez Garcia, our editor, is a master, and I felt lucky to have post-production in his hands.
What type of feedback have you received so far?
We're nearing the end of our festival run, and it's been an unbelievable experience screening in so many different cities around the country. Across the board, people always seem to be genuinely moved by our story, whether they identify with the comedic bits or the tragedy that plays out. A lot of people think the "memoir," man, and events in our story are real, which is very gratifying.
Has the feedback surprised or challenged your point of view?
The movie has layers of meaning, a blend of tone, and is metafictional in some parts too, so it's always interesting to see what movements move who and in what way. It plays different with each audience, and that's fun to experience.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We're honored to be featured on the site! First and foremost, the goal is to get as many eyeballs on our film as possible, but we're thankful a site dedicated to hosting films that communicate important issues through different tools in the cinematic kit sees ours as relevant.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We are open to any form of collaboration or conversation. We feel fortunate to have had a successful run showing the film at festivals, from our premiere at Tribeca in New York City to a date in Reykjavik, Iceland next month. We'd love to start having discussions with distributors and sales agents.
What type of impact and/or reception would you like this film to have?
I want people to leave the cinema feeling less alone, to recognize in J.P. Duke's journey the beauty of admitting one's vulnerability, that you're not alone, that everybody is fighting a battle inside them that you know nothing about, and that empathy and understanding are keys to allowing that room for human connection.
What’s a key question that will help spark a debate or begin a conversation about this film?
Why is the NFL, a $10 billion-a-year industry with 85 million fans, refusing to acknowledge CTE and care for their players who are felled by traumatic head injuries after dedicating their lives to this national pastime? Why don't fans care more either?
What are the key creatives developing or working on now?
Aside from developing a couple of feature film projects, I'm in post-production on COLLISION BEND, a gonzo travelogue shot in Cleveland during the Republican National Convention. The ambition is to convey the rhythm and texture of a moment in time -- the clash of the resilient Rust Belt spirit against the sleek spokes of the political machine -- by creating a mosaic of personalities out of my encounters on the ground. I also just wrapped another short film, CUDDLE BUDDY, which is about a depressed woman's experience with a professional cuddler and their respective struggles with loneliness. Nick Bupp (DP on THE DUKE) and Salvador Perez Garcia (editor) both worked on CUDDLE BUDDY, and Sal is currently editing STAG, a feature film project with director Karen Moncrieff, and is also attached to edit HALA by Minhal Baig. Derek J. Pastuszek and Andy Siara, our writers, and I have been working on a pilot called THE BURN an hour-long darkly comic drama set in a tumultuous 1990s Los Angeles that follows the rags-to-riches rise of a struggling overnight janitor as he takes over an underperforming beach fitness show. With a producer attached, the script is now being sent out to the industry.
Interview: September 2016
_______________________________________________________________________________
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
_______________________________________________________________________________
The Duke: Based on the Memoir "I'm The Duke" by J.P. Duke
Mired in a concussed haze, an ex-NFLer struggles to adjust to life off the field during Super Bowl Sunday.
Length: 23 minutes
Director: Max Barbakow
is a writer/director in Los Angeles whose inclination for character-driven dark comedy probably stems from his conception in a closet at a high school party.
Producer: Dan Leonard
Writer: Andy Siara & Derek J. Pastuszek
Key cast: LaMonica Garrett, Catherine Urbanek, Amy Goddard, Alejandro Patino, Jeff Marlow
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): buyers/distributers/journalists
Funders:
Made in association with: AFI Conservatory
Release date: 2106
Where can I watch it in the next month?
Calgary International Film Festival, Milwaukee Film Festival, Reykjavik International Film Festival, Hamptons International Film Festival