A Quote by Jay Chandrasekhar
In the summer of 2000, four college friends and I grew mustaches, bought highway patrol uniforms, and shot a $1.2 million budgeted independent film called 'Super Troopers.'
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We shot 'Super Troopers' on the side of the road in the summer in Poughkeepsie.
At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.
Super Troopers is hilarious. Everybody always thought we somehow - we did Reno way, way before any of us had seen Super Troopers. It sat on the shelf for a couple years.
I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
The chasm between independent film and commercial film is now so wide. You either have to be super-famous and get a first-time director or writer's indie script off the ground, or you're a newcomer and go and put a cape on for four years.
The film you know as 'Super Troopers' is a film that almost didn't happen. The script was originally commissioned and developed by Miramax, but when it failed to get a green light, Harvey Weinstein was kind enough to give it back to us so we could make it elsewhere.
I did a film that I shot in 24 hours that was self-financed for $5,000. It was a feature called Looking For Jimmy that I shot with a bunch of friends. I spent eight months editing because we had 24 hours of footage that made no sense and I learned a lot about directing while editing that film.
I grew up thinking there was something called 'independent film,' which I wouldn't necessarily have had access to if there wasn't Sundance.
Eventually, in '84, we made a film for a little over a million dollars - with American actors that was shot in English - that was shown in Finland A little action film called Born American.
The movie industry has collapsed into two types of film - the $100 million blockbuster or the small independent film of $1 million or less - and the huge middle ground has been lost. Cable is filling that void.
I shot 'Fruitvale Station' on super-16, and then I shot a movie called 'The Harvest' on 35mm, and then I shot 'Little Accidents' on 2-perf 35.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
I was born in Darien, Connecticut, but in 1959, when I was four, my parents moved to the suburbs of Toronto. Then, in the late 1960s, they bought a cottage in a resort/trailer park in the Kawarthas region of Ontario, and we moved up there. I wrote a book about it in 2000 called 'Last Resort: Coming of Age in Cottage Country.'
I was born in Darien, Connecticut, but in 1959, when I was four, my parents moved to the suburbs of Toronto. Then, in the late 1960s, they bought a cottage in a resort/trailer park in the Kawarthas region of Ontario, and we moved up there. I wrote a book about it in 2000 called 'Last Resort: Coming of Age in Cottage Country.
When I grew up there was no web, blogging or tweeting. In fact, where I grew up there was not even television! I met a lot of my friends in school and in college, and they are still my friends today.
When I was in Hungary in December I was looking at student films and I could not tell which ones were shot on film and which ones were shot digitally. I think that is because the filmmakers in Europe go to four years of film school and learn the techniques.
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