Hey everyone. Capone in Austin here, just polishing off a few interviews I did prior to heading down to SXSW Film Festival.
Last year was my first time at SXSW, and one of the movies I saw then that stuck with me the longest was EXPLICIT ILLS, directed by Webber, which is just now making its way to art houses across the nation. The film is a fairly devastating dramatization of some of the events that Webber went through as a homeless teen surviving with his mother on the streets of Philadelphia, and some of the people he knew and grew up with. It something of a definitive statement on the subject of homelessness, health care for the poor, and just the general state of disassociation that people in large urban environment. Sounds like a real sunshiny work, right? But the truth is, the film is a triumph because it demands you to think and act.
Until EXPLICIT ILLS, Webber was exclusively an actor in such works as CHELSEA WALLS; STORYTELLING; DEAR WENDY; BROKEN FLOWERS; GOOD DICK; and he was recently cast as "Stephen Stills" in Edgar Wright's SCOTT PILGRIM VS. THE WORLD. He's a really easy man to talk to, which I did a couple years back when he was promoting the Ethan Hawke written-directed THE HOTTEST STATE, in which he starred as a young actor trying to make it in New York and getting into a torrid affair with a beautiful young woman. Rough work, this guy gets. I'd especially encourage young filmmakers to pay attention o this interview. Mark admits that he used all of the connection he made as an actor to help him get his movie made, but there are some interesting comments just about getting behind the camera for the first time. Enjoy my conversation with Webber…
Capone: Hey, Mark. Good to talk to you again.
Mark Weber: Likewise.
Capone: I was actually at the SXSW premiere of the film last year.
MW: Oh, awesome.
Capone: Yeah, so it’s been almost a year since I first saw it. Thank goodness, they sent me a screener to remind me of what I liked about it.
MW: Good.
Capone: Obviously, anybody who knows anything about your personal history and your history as an advocate might just assume that this film is sort of a collection of stories of that particular time in your life. Is that the truth, or is that maybe an oversimplification of the writing of this film?
MW: That's a good question. It’s very close to the truth, but there are a lot of elements in the film that are based on personal experiences and actual, real-live people that I’ve known throughout my life. But, you know, it was always my intention to take those situations and people and kind of, obviously, create an entirely different, unique story and to heighten things a bit and kind of find my voice as a filmmaker, visually.. But, there’s a lot of me in there. And, I definitely was writing about what I know best.
And, the movement in the film--the Poor People’s Economic Human Rights Campaign--is an actual, real movement that I’ve been involved with for a big portion of my life. My mom is one of the head organizers of that organization. And, she’s actually in the film as well at the front of the march--the woman who kind of hands the flyer off. So, things like that, the combination of real life it’s definitely part of it, for sure.
Capone: What would you say was the gestation period between the first ideas regarding this film and then actually shooting it? How long had this been sort of mulling around in your head?
MW: Probably, just about a year. All these various ideas I’ve had for ‘Oh, that would be an interesting thing to have in a film’ or ‘That would be an interesting shot sequence’ or things like that have been kind of bouncing around in my head for a while now, longer than a year. But, when it all kind of just happened, and when I sat down and started writing, it did happen fairly quickly. It was a good couple months, about three months just getting the screenplay done. And then, after that, it was really getting the financing and attaching the cast and all that stuff…happened really fast. There was this kind of incredible energy and momentum that really happened for me, being able to reach out to my friends, who just so happened to be really talented actors, and other filmmakers. It really helped create this wonderful snowball effect that within a few months, we were financed, and we were up and running and shooting in my hometown. It was really incredible.
Capone: Hearing that it only took a year--that’s like light speed in independent filmmaking.
MW: [Laughs] Yeah.
Capone: I think a lot of young filmmakers trying to get their first film off the ground would be very angry to hear you say that.
MW: [Laughing] I know. But, you know, a better…really, another way to answer that question in a way, it’s been 12 years in the making in the sense that…from when I first got an opportunity to be in a film in this industry and get an agent. And, it’s been, really, a learning process of these 12 years of making films and working with other directors and actors, of being able to get to a point where I felt like it could happen in a year. So, that’s a little bit more…actually, when I think about it, that’s really the case.
And, because I was able to, from working with [director Jim] Jarmusch on a film [BROKEN FLOWERS] a couple of years prior, and also with Paul Dano and Rosario [Dawson], these were things that I was able to make phone calls a lot easier than maybe someone just kind of starting out.
Capone: You mentioned Jim Jarmusch, and he is one of the film’s executive producers. Tell me about his influence in getting the film made and on the style of the film, because there are definitely touches in there.
MW: Yeah, and that really, I guess, came through from me just being a fan of his work. And, any little things in there is just him kind of floating around with other filmmakers in my subconscious. And, his involvement was really…he was really the godfather of the film, you know. He was one of the first people I took the script to with the intention of, if he liked it, to ask him to be my executive producer, to just have a mentor and someone who I really aspire to have a very similar career as a filmmaker, to be there and give me guidance when I need it.
And so, when he read the script and responded, and he said that he would do this, it was a huge stamp of validation for me. That kind of really made me feel like, Okay, if Jim likes this and supports this and is willing to take a chance with me, this is going to be a successful, good thing for me. Really by him coming on, he helped protect me from anyone trying to take final cut or anything away from me. If any of these investors who came on, it was our agreement that if that was someone’s thing, that they wanted to have, he would come in and have a conversation and say, “Well, hey, why don’t you just give it to me?” So, no one would really have a problem with saying that he would have final cut. And, in these ways, that was really just for me, to protect me as a filmmaker.
And, he was there. He was always a phone call away from me when I was stressed out--or just feeling good--to share what was going on. But, he really let me do my thing and was there just in spirit at all times. And, it was extremely beneficial for me. And also to get Jay Rabinowitz, who was my editor on the film, who is a long-time editor and who’s actually edited some films that I’ve been in with other filmmaker friends of mine. He edited a film called BOMB THE SYSTEM that my friend Adam Bhala Lough directed and another one called WEAPONS. It was great. I mean Jay was such a huge…[It] was such a huge thing to be able to work with him in my first time in the editing room.
Capone: When you worked with Jim on BROKEN FLOWERS, was there anything about the way that he directed that you remember picking up on and then using when you finally got your shot at making a film?
MW: The best thing about Jim is that he’s so…And, I’ve found this with other really great people that I’ve worked with. It’s really…It’s who they are as a person in between takes or in between set ups in that downtime, you know? He’s the most down-to-earth, intelligent, like, walking encyclopedia of arts and culture of music and books and film. And, in that way, you feel like, Wow, you’re around someone who really knows what the fuck they’re doing.
And, as with other great filmmakers that I’ve worked with, there’s a lot of…a lot of the directing seems to be done in the audition process or in the casting process…is where you really…You spend a lot of time figuring out who you want to work with, and then, you know, what Jim does, too, is you end up working with a lot of the same people. And so, on set, it gives you this extreme confidence in what you’re doing.
And, he’s just really aware of what he wants. When he gives you a bit of direction, it’s so concise and on point. And that was, obviously, extremely helpful to me as a filmmaker, as a director, to just always take a moment and really think about what I really want and need, and also making sure that I put together a great group of people that I could really trust to help me learn and find what is right.
Capone: You made an allusion to a career as a filmmaker. Is that something you’ve always been thinking about or wanted to do, make it another career?
MW: Totally, yeah. I love acting so much, and I’m so grateful that really through my work as an actor I’ve been able to meet some really amazing people along the way that I’ve learned so much from. And, I love movies so much, and I love storytelling, and I love working with actors and collaborating with people. That kind of group effort that is required to make a film is what really makes me most happy at this time in my life.
And, it just brings me so much joy, and I really do want to continue. As I was making EXPLICIT ILLS, I was already kind of thinking of the next thing. And, for me, what’s so great about getting to do what I do is that you’re in this constant learning process, and you’re constantly evolving, and you are always getting better, hopefully. You always want to do better, and that’s what’s really fun about it. Now, on my second time out, I’m going to be that much more prepared than I thought I was the first time. And, I’m really excited to do that.
Capone: I was going to ask you this at the end, but now you’ve brought it up. Is there a second film that you're working on right now to direct?
MW: There is. I mean, it’s just an idea, right now, that I’m scribbling down crazily in notebooks. It’s not even a…it’s too sacred and sensitive to even really talk about what it is [laughs], but it’s actually…The main thing is, it’s something I’m actually trying to…develop a character for me to play in the film, which is something that I stayed away from this first time, just because I wanted to experience what it is to just be a director. And so, I’m kind of doing that right now and seeing where that goes. It’s a lot of fun.
Capone: The thing I remember specifically about EXPLICIT ILLS is that you filled it with these characters who are probably very accrate representations of people who live their lives every day, but are severely under-represented in movies. These are not people whose stories we see very often in film. Was that another goal--to give voice to these people?
MW: Oh, for sure. I mean, in fact, that was one of my main goals, in particular, to show youth, to show kids who are smart and articulate and conscious and, you know, who do come from a place of struggle, who are wise. And, that was something very important to me, because growing up and experiencing the things that I experienced, I had to kind of really grow up pretty quickly, and I was around a lot of really incredible youths, who were there for each other. And, that was really important for me, in particular, with the story of Babo. And also, to just show people who are really just conscious and kind of care about things other than themselves, really, and what that means.
Capone: Yeah. The young actor--I don’t remember the actor’s name or the character’s name--but the kid who kind of turns himself into a bookworm for the girl, that was my favorite story. I loved that kid.
MW: Awesome. Thank you, thank you. No, me, too. That was a lot of fun. Martin Cepeda’s his name. Well, part of the thing that was really great for me was…in the casting process of finding these kids, we had a huge open call. We saw over 900 kids in Philadelphia, and Martin and Francisco [Burgos], who played Babo, we found through this huge open call. And, it was really great for me to be able to open it up to…I mean, that was Martin’s first film, and it was just really rewarding to me to go back and [to] be able to give some people, kids, an opportunity to make a film was something I spent years and years and years kind of dying to do.
And Francisco and Martin and Destini [Edwards], the girl, are all…They really want to be actors, and they really want to make films, and they’re not just kind of doing it because their parents want them to. What was really great for me was to be able to give them an opportunity, and they just constantly blew me away on a daily basis.
Capone: Was that actually based on someone you knew? Did somebody you know actually do something like that?
MW: Yeah, that’d be me! [laughs] Yeah, it definitely was me. I was the guy, like, when I…you know, the cologne that he kind of douses himself in, like, I used to do that. I went around with this big green bottle of Polo cologne for about a month, and that was…The sad part [was] I didn’t have access to…I couldn’t shower when I was homeless, and it was the way I could spray myself down. Little did I know I was really walking around in fumes, hard to be around because I smell like an entire bottle of cologne. There was a girl in particular when I was really down and out, who I was trying to impress and borrow friends’ clothes and try to be something other than myself. And, ultimately, through having an incredible kind of mother and learning ultimately, you realize that you can’t really be anything other than yourself. And, that’s what’s most important.
Capone: You’ve worked with Ethan Hawke a couple of times as a director. Did you seek any advice from him, or glean anything from working with him for this movie?
MW: For sure. I love Ethan. We’ve become really close friends, and he was one of the first of I’d say five people who read the script, and he read it immediately and got back to me and gave me a lot of praise, and just helped my confidence to kind of prepare for the battle that was ahead..
Ethan is the type of guy…when we were making CHELSEA WALLS, it was incredible, and then THE HOTTEST STATE was just a phenomenal experience for me. I mean, he’s an incredible director. He’s super on-point, and the best thing about him, he has the best energy, by far, of anyone I’ve really worked with in terms of, like, he’s extremely positive at all times and, obviously, he knows the angles of acting.
And, that was the biggest thing I took away from him. Even when I had only slept for, like, an hour and was really kind of worried about how we were going to make our day was to remain positive with a smile on my face, because people really look to the director to kind of set the tone. You’re kind of like the pace car. If you’re kind of bummed out or exuding negativity or you’re really stressed out, it’s infectious. And, Ethan had a really phenomenal way of just keeping everyone in really high spirits, and I still appreciate that to this day.
Capone: I had a chance to talk to him when he was doing press for BEFORE THE DEVIL KNOWS YOUR DEAD.
MW: Oh, cool.
Capone:…But, I really liked THE HOTTEST STATE and gave it a really good review, to the point where he even thanked me for the review during our talk. I told him, I lived in New York for a couple years basically with no money, like your character, but shockingly I didn't meet a beautiful woman like you did.
MW: Totally, and, that’s the thing about him. People love to build you up and cut you down in this industry, and when you make a film that’s really personal, like I have to a certain extent, you really open yourself up to…Criticism can really hurt that much more. And, I think for him, on that film, that people just unfairly kind of made this thing of…he was being just really self-indulgent, because he wanted to make a film based on experiences in his life, which I just thought was absolutely ridiculous. Mostly everyone does in a certain way. But, he’s so genuine and really wears his heart on his sleeve that people like to attack that for whatever reason. And, he’s such a genuine, great person that, of course, I’m not surprised that that review really touched him, and that he remembered it. And, of course, he thanked you for that. That’s an affirmation of the type of guy he is.
Capone: I just thought it was a really sexy film, too, just one of the most sensuous things I’d seen in a really long time.
MW: Great.
Capone: I've got to ask you before I let you go…You’ve been cast in SCOTT PILGRIM VS. THE WORLD, so you’ll be working with Edgar Wright.
MW: Yes. I’m like a pig in shit right now, I’m telling you. I am, like…I, I, yeah…I don’t, I am…see, I’m stammering right now, because it’s really…I am so excited about this project.
Capone: Tell me who you’re playing, and tell me what you’re getting about Edgar’s approach to the material.
MW: I mean, it’s perfect. There could not be a more perfect, better human being to direct this film. You know, when you read SCOTT PILGRIM, when you read these graphic novels, and you…I couldn’t think of anyone better to direct this. And, when you watch “Spaced” and you watch SHAUN OF THE DEAD and HOT FUZZ, you see a person with a very specific style. And, like, he’s a fun, fun person to be around. And, he’s done an incredible job with the casting in this film and assembled an amazing group of people. He has been in Toronto working his ass off. It’s the right combination of effects, but it’s tasteful, and not crazy, stupid CGI. And, it’s about the performances.
I’ve been in intense singing and guitar lessons for the last four months. And, I’m playing Stephen Stills, who’s the lead singer and guitarist--that alone--so, it’s me and Michael Cera and Alison Pill are the band. And, it’s a great part. It’s a great script. It’s really exciting. I actually leave Sunday, March 8. I leave the opening weekend of my film.
Capone: Has Edgar mentioned that he might try to get some footage to Comic-Con in July? Has he tipped you off about that?
MW: Knowing him, that’s definitely a possibility. I haven’t talked to him personally about that, but he’s…I would not be surprised. I mean, he does this great thing--every day, he takes a couple of photographs and posts them on his blog. I’m in the film, and it gets me excited. I’m, like, Wow, whoa, that looks great! He’s such a lover of film, and not just the certain genres that he’s really known for. He loves film, and he’s extremely talented.
Capone: He has definitely floated a few film recommendations my way that I thank him for every chance I get. Someone just floated me a copy of GOOD DICK the other day, which I really, really liked. It never opened here in Chicago, so I didn’t get a chance to see it in theaters. You can’t beat that banter among guys who work in a video store. You just can’t do it. It’s always funny.
MW: I’m glad you liked it. Those are really close friends of mine. Marianna [Palka] and Jason [Ritter] are really close friends of mine, and I was really happy for them. They put that movie out themselves here in the states, and it did pretty well. I mean, that’s a whole other situation, but they’re taking on that new model of doing it yourself. That stigma is being removed, like, that no one must have liked it, so they’re putting it out themselves. It’s, like, not an deterrent anymore. It’s really a powerful, great thing. It’s kind of what I would like to do in the future as well. I’m super proud of them. Glad you liked it.
Capone: I really did. And another sort of weirdly sexy film. Mark, thanks again and good luck on SCOTT PILGRIM and the next film you direct.
MW: I really appreciate that. Thanks.
-- Capone
capone@aintitcoolmail.com
