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Sean Baker on 'Anora', Jason Reitman on 'Saturday Night,' and Maricel Pagulayan on her Emmy win for 'Ripley'
We are highlighting three passionate filmmakers who not only wrote, directed, edited and produced their films but have also won several international awards with their works – Sean Baker for "Anora," Jason Reitman for "Saturday Night," and Maricel Pagulayan for her Emmy on "Ripley."
We first met Baker at the 77th Cannes Film Festival, where he won the much-coveted Palme d'Or award, the first American film to do so since "The Tree of Life" in 2011. Baker, who wrote, directed, edited, and produced the romantic comedy-drama, talked to us about why he had actress Mikey Madison in mind for the lead as Anora/Ani, an exotic dancer who falls in love with the son of a Russian oligarch, Mark Eidelstein, as Ivan "Vanya" Zakharov. It also stars Yura Borisov, Karren Karagulian, and Vache Tovmasyan.
Unknown to many, Baker is also a fan of the late Lino Brocka, so he attended the Cannes screening of the restored "Bona" film of Brocka starring superstar Nora Aunor. He said, "It's a very powerful film. The lead, Nora (Aunor), is incredible in it." The movie was shown as a Cannes Classic at the festival.
Jason Reitman, the 46-year-old son of filmmaker Ivan Reitman, wrote, directed and produced the movie "Saturday Night," a biographical comedy-drama about the night of the 1975 premiere of the popular NBC show, "Saturday Night" later known as "Saturday Night Live."
It features an ensemble cast that includes Gabriel LaBelle (Lorne Michaels), Rachel Sennott (Rosie Shuster), Cory Michael Smith (Chevy Chase), Ella Hunt (Gilda Radner), Dylan O'Brien (Dan Aykroyd), Emily Fairn (Laraine Newman), Matt Wood (John Belushi), Lamorne Morris (Garrett Morris), Kim Matula (Jane Curtin), Finn Wolfhard (NBC page), Nicholas Braun (Andy Kaufman / Jim Henson), Willem Dafoe (David Tebet), Matthew Rhys (George Carlin) and J. K. Simmons (Milton Berle).
Maricel Pagulayan, a Fil-Am Visual Effects Producer, won an Emmy this year for the single episode in "Ripley" entitled "Ill Sommerso" on Netflix. Pagulayan is known for her work on "Valkyrie" (2008), "Sky Captain and the World of Tomorrow" (2004), and "Mission: Impossible – Rogue Nation" (2015).
We separately interviewed all three virtually and they share below their thoughts on the making of their respective films.
Sean Baker (Writer, director, editor, producer, "Anora")
Oh, thank you. It's good to see you.
What were your initial thoughts when you heard your name called, and were you expecting that? How did you celebrate your win?
Actually, we weren't expecting the Palme d'Or. And so, in that moment, it was, quite honestly, mind-blowing. I'm still processing it five months later. Especially going up on stage and receiving the Palme d'Or from George Lucas, who is responsible for inspiring most of the filmmakers of my generation, including me, to make films. So, that was just gravy on this wonderful moment. And afterward, we had a great party at Cannes. But then the celebration continued. We played at Telluride, Toronto, New York Film Festival, San Sebastian, and last night here in L.A., at the Vista Theatre. Audiences were excited by it and showed lots of love. So, it's been a continuous celebration, quite honestly.
What was your inspiration for this film?
Well, it was my desire to shoot on Coney Island, in Brighton Beach, Brooklyn. Specifically in the Russian American community. And that goes back a while. So, it took me a while to figure out what the plot would be. And I think when I finally figured out that it was going to be about a young woman who realized that she married the wrong man. As soon as we figured out that plot, there was this set piece that came to mind. And that's the home invasion moment in the middle of the film.
This 28-minute real-time home invasion scene. And that was the scene, that was what got us going. Because we knew the film was going to be structured in a unique way that would allow for this twist halfway through and keep the audience on their toes. So, it was about figuring out how we were going to get to that place.
You wrote the script for Mikey Madison. How did you discover her and what made you decide that she's your Anora/Ani?
I saw Mikey Madison in "Once Upon a Time in Hollywood." She doesn't appear that much until the end of the film. And she steals the last 15 minutes of the movie. I was intrigued by her. And I'm always looking out for fresh talent, being that I cast my own films. So, I kept her in the back of my head as somebody who was very interesting and somebody I might want to work with someday.
Then we were developing, and I knew I was going to have to find my Ani. And it just happened to be that I went to "Scream" opening weekend. And that was it. It was a combination of those two performances. She had intensity. She also played this young, sexy adult full of attitude. She showed range. She had a unique physicality, meaning her face, very unique, her eyes. And so, I made the decision there and then in the theater. I turned to my wife and producer, Samantha Quan, and I said, "We're calling her agents the second we step out of the theater." And we did. And you mentioned your wife.
How is it working with your wife as the producer?
It's challenging for her, not for me. I love it. She gives me everything along with my other wonderful producer, Alex Coco. They never say no. They always figure out a way. But, of course, it must be hard for them. I can be manic. I can be crazy. I can be indecisive. But it's a wonderful team that we've put together. And we want to continue working this way.
How did you prepare for this film? Did you go and interview the sex workers in New York City?
So, we brought on our chief consultant, Andrea Werhun, who lives in Toronto. She wrote this wonderful memoir, "Modern Whore," which Mikey read, I read, and it was so insightful. Her memoir covers her days as an escort but also a dancer, so it very much applies to the Ani character. Mikey was able to Zoom with her and pick her brain. She read our script. She gave us pointers. She gave us details and told us what worked and what didn't. And then after that, when we were actually in New York, Mikey, along with the rest of us, spent time in the club observing, spending time to understand the mechanics of it. And then Mikey shadowed dancers so she could figure out how this works and what goes into this.
It was an incredible experience because there was such warmth coming from that community, meaning they were very welcoming, and very open. This film would not be what it is without the addition of our consultants.
What was the most difficult scene for you to do?
I would say it probably was the home invasion simply because it is 28 minutes of real-time and there are stunts involved. Continuity has to be on point. You're dealing with eight days, but it takes place in real-time, so you have to deal with possible weather changes. And other little things, but my cast and crew made it happen.
We were all on the same page about this, and so we understood the flow. Every morning there were slight adjustments to the script, but also lots of rehearsals, and lots of choreography. My actors were doing their own stunts. So, a lot of moving parts, and I'm very happy with the way it turned out.
You collaborated a lot with your cast members. They formed their characters with you. Can you talk about that?
Everybody had time to think about and understand their characters. We had lots of discussion about possible backstories and even epilogues, but stuff that would never be shown to the audience, stuff that we understood, and my actors understood. That was very important because I encourage improvisation, and they have to understand their characters and the way their characters talk and think in order to improvise correctly. So, it was preparation. And then when we were in production, allowing them to shine, brought ideas to the table, and me being very open to all ideas. It was a wonderful experience with them.
You mentioned in an earlier interview that you wanted power and strength to be highlighted in the Ani character.
Yeah, with the Ani character, I never wanted her to be passive, especially in this situation that we find her in. I wanted somebody who could hold her own, who would fight back, who was, I always call her a scrapper, somebody who doesn't shy away from a fight if she's forced into one.
Somebody with a New York attitude, somebody who's street smart, who's had to be independent for a while. And that's how I saw Ani. Mikey understood that and brought all of that to the table.
What else do you hope for audiences to get after watching the movie?
There are lots of themes that we're trying to tackle. And a lot of things in the film, especially the ending, have been designed to be left up for interpretation. And so, my hope is that I'm not going to give my take on a lot of the characters' actions, intents, and motivations. Instead, I think that it would be nice if this film sparked discussion and brought people together to talk about the themes in the film.
Last night, we left Vista, where we had our L.A. premiere, and I saw people on the sidewalk outside talking afterward, and they were talking about the ending. It was nice to see that they were inspired to give their thoughts on it to their friends and discuss what was going on in that. And that means everything to me as a filmmaker.
Jason Reitman (Writer, Director, Producer, "Saturday Night")
Thank you very much.
You're the writer, director, and producer of this film. Why is this a passion project for you?
For a few reasons. The cultural impact of "Saturday Night Live" on comedy and on young people in general, obviously hit me really hard when I was younger. But more importantly, I was interested in the construction of a film that takes place over 90 consecutive minutes and culminates with that last line, "Live from New York, it's Saturday Night!" And the complicated choreography of 80 speaking roles, 80 background actors who all weave together to make this 90-minute experience.
It's almost like a rollercoaster ride.
Talk about the cast. They're all amazing. How did you find them?
Thank you. Well, I work with a brilliant casting director, John Papsidera. And when I would tell people about this idea, the 90 minutes leading up to the first episode of "SNL," everyone would say, yeah, but it's impossible to cast. And they were close to right. It was really hard to cast this film and very intimidating. And there were certainly a couple of times where I thought, maybe we can't make this movie because we just couldn't find a Dan Aykroyd or a Gilda Radner. But we cast it over the course of a year and kept on finding new people. And each time we nailed another person, each time we found a Lamorne Morris or a Dylan O'Brien or a Cory Michael Smith or an Ella Hunt, it was like a celebration.
What kind of research did you do to be able to portray that chaotic night of "Saturday Night Live?"
Well, my writing partner Gil Kenan and I approached it like we were researching a book. We became journalists and interviewed everyone we could find. Every living writer, actor, people who worked in the crafts, the production design, the costumes, Lorne Michaels, musicians, anyone who could give us a taste of what it was like to be in the building that night.
This is the last script that your father approved and the last movie that he won't be able to see. Talk about his influence on your life as a filmmaker.
My father is my hero. His loss weighs on me enormously. I'm really grateful that he got to read the script. He loved it. I'm sad that he'll never see the movie, but I feel him with me every day as a director.
You were also a guest writer of "Saturday Night Live" on its 35th season, the "Death by Chocolate" sketch. How was that experience working with the group?
It was a dream come true. It was like getting to dress up as a Laker for one day. Lorne Michaels was very gracious and let me come and guest write. I got to go through the experience of writing sketches, hearing them at the table read, getting chosen, producing a sketch, and being on the floor as it went live and all of it. It was one of the greatest weeks of my life.
What interviews were memorable for you when you were talking to the former SNL cast members?
Yeah, they were all memorable. There were a few great ones. Rosie Shuster, who was Lorne's wife and one of the head writers of the show, was an extraordinary interview. Lots of detail, insight, and humor. Billy Crystal, who I've known for a long time, was a very emotional interview and really shed light on his experience; what it's like to get cut from "Saturday Night Live" is almost as interesting as what it's like to get hired. Even just members of the band, who were witnessing the chaos in real time. Every interview was genuinely fascinating.
You mentioned in an interview that "SNL" humor is your kind of humor.
What I found is that "Saturday Night Live" has evolved with every decade and that as important as it was in 1975 for this group of comedians to react to everything that happened in television up until then, somehow Lorne has been able to look through the windshield and always see the future of comedy. And whether that's the casting of Adam Sandler, Will Farrell, Kristen Wiig, Kate McKinnon, or Do Not Destroy, or Lonely Island, his taste is constantly evolving. He has a barometer for what is happening comedically in the world. And as a result, has introduced the rest of us to hundreds of household names.
Maricel Pagulayan (VFX Producer, "Ripley")
Congratulations on your Emmy win for "Ripley" on the "Ill Sommerso" episode! What is the significance of this win for you?
It's been a long journey on "Ripley." We shot at the end of COVID-19 in Italy starting in April 2021 as the world and industry were in the midst of tremendous change.
How did you get the gig on "Ripley"?
Line Producer, Clayton Townsend and I worked briefly on a budget for a Sony show. Then he reached out as he started prepping for "Ripley."
How was it working with filmmaker Steven Zaillian? Have you worked with him before?
I had not worked with Steve before, but I had heard so much about his work ethic and his previous shows as a writer, director and producer. Hard not to think of "Schindler's List." He's a good guy.
So, did you work in Italy as well?
Yes.
How was that experience and how long were you there?
May 2021 to March 2022. Lovely to work in Italy, it was a dream to work with an Italian crew in beautiful locations. VFX work on "Ripley" is what I call "invisible effects". The audience should not know we shot today for period 1960's and of course the water work in "Ill Sommerso."
What challenges did you encounter in doing the visual effects on this show considering that Zaillian wanted it in black and white?
We always knew black and white was Steve and Robert, DP's preference. We managed a dual color and B/W workflow. It's a much more complicated workflow from shoot to post final but very much worth it.
Did you get to meet the cast – Andrew Scott, Dakota Fanning and Johnny Flynn? How were they? Any memorable experiences?
I worked with all the cast – every day. All the water work with Andrew and Johnny was memorable. Working in water is always a challenge. Dakota was a true professional.
You have worked with some of the A-listers in Hollywood like Tom Cruise and the like? Can you mention two or three memorable experiences you have had working with these Hollywood celebs?
The actors are real people, not just celebs, especially when working. Each has their own process to get the performances we see.
What are your next projects?
Currently on Ted Series for Peacock. It's a fun experience to be working at Universal near my home. I'm very fortunate to be working as the industry roils.
If you were given a chance to work on a dream project, what would it be and why?
Working with filmmakers like Ang Lee would be a dream. He's such a great filmmaker and storyteller.
—MGP, GMA Integrated News
