JAInterview6

“KALIFORNISTAN is basically a depiction of human evil in its most contemporary form - terrorism.”

ML: So overall what do you think the state of Hollywood is today?

JA: Well first of all, I don't think anybody's having any fun anymore. The reason is because every time a film goes out, too much money's at stake. You can't possibly be fun and experimental with a film if it cost the gross national product of Honduras to make it. These gigantic budgets are freezing filmmakers up. They can't move, they can't do anything out of the ordinary because they're afraid. The movies have to make hundreds of millions of dollars, and they have to be able to play everywhere from Chicago to Bangkok - with nothing lost in translation. And if the entire planet doesn't have a gigantic orgasm over a film on its opening weekend, then a film's regarded as a 'failure.'

So all the rough edges, the erratic human touches that make a film interesting get ironed out.

On a deeper level, I think the ancient Greeks would say that people in Hollywood have the 'techné' down, but they've forgotten the 'poiesis.'

ML: In what way?

JA: The technology of filmmaking and the whole apparatus of distribution is better and more financially efficient than ever. With that said, nobody's having an emotional experience at the movies anymore. Movies aren't touching people's lives. There's no humanity left. That's why nobody watches the Oscars, for example. The music and imagination - the sense of wonder - have gone out of the cinema utterly.

ML: So basically Hollywood has better technology than ever, but they're soulless. They've forgotten the poetry of cinema.

JA: I think it was Martin Heidegger who described 'poiesis' as that ecstatic moment when the winter snow melts ... and becomes a roaring waterfall. That's how I look at the cinema - as emotion unleashed by something people witness on the screen.

KALIFORNISTAN was done on a very modest budget. I view it as being this little cult, underground film that you can enjoy privately with your friends, pass it around, whatever. Like a Russ Meyer movie, or Godard. [Laughs.] There's very little pressure on me, because I didn't spend $200 million to make it.

But what I'm trying to do is restore a sense of freedom to the movies. It was important to me that KALIFORNISTAN feel surprising, unpredictable, like you never know what's going to come at you next. I'd like to have the feeling again in the cinema, but I never have it. So I figured I'd better go out and do it myself.

ML: Do you view yourself as being in 'competition' with Hollywood?

JA: Yes and no. It's important to understand what you can and can't do as an independent filmmaker. I view it as something like building motorcycles - as opposed to cars. If you want to build cars - like SUVs - you need to work in Detroit. There's no way around it, because you need the huge industrial base. And similarly if you want to make $200 million franchise movies, then you need to work in Hollywood. There's almost no other way to get projects done on that scale.

But if you want to build motorcycles, you don't need to work in Detroit - you can work anywhere. You can customize your work, and bring real artistry to what you're doing. You can build something faster, sexier, and a lot more daring than anything Detroit would build. It's the same with independent filmmaking. As an independent filmmaker, I can move faster, I can make films that are a lot more dangerous and sexy than anything Hollywood is interested in doing. So that's basically what I do: I build motorcycles. Ducatis, preferably. [Laughs.]

ML: Does KALIFORNISTAN have a 'target audience'?

JA: In general, I don't believe in making films for 'target audiences.' With that said, I think a lot of people are feeling alienated from the culture right now. They feel like the culture's somehow been ripped out of their hands. Basically I'm making movies for those people, because at some level I'm such a person myself. I'm making films because I would like to go to the movies again, and actually have something to watch.

ML: Did you consider a theatrical release for KALIFORNISTAN?

JA: If it made financial sense to do a theatrical release, believe me - we would be doing it. Having previously run a film festival, Govindini and I are very aware of how to do theatrical screenings ... and what the various factors are. The reality is, though, that once you factor in the costs associated with prints and advertising, and after you split the box office take with the theater owners ... it just doesn't make sense right now for us to go theatrical. It would actually end up being more expensive than the film itself. The profit margins on a DVD release are much better than what you see in theatrical.

A terrorist [Nick Nyon] with nuclear ambitions in KALIFORNISTAN.

ML: Whether it's KALIFORNISTAN, or the Liberty Film Festival, or your blog Libertas - you've been able to do a variety of things that run very much against the grain in terms of what we normally see in Hollywood or the larger filmmaking world. Do you have any advice to other people going similarly against the grain?

JA: You know, what it really comes down to is that I love filmmaking. I just love it - every bit of it. Every phase of it is something I take pleasure in - from the writing, all the way through to the final sound mix. It's just the greatest thrill. My friends and family will tell you, I've been making movies since I was a little kid running around with a Super-8 camera. And so if you love what you do, if you're really passionate about it, you'll always be able to overcome whatever obstacles are in your path.

At the same time, you have to be willing to take risks. I've done a lot of things in my life that other people initially thought were crazy. Things that even I thought were crazy. [Laughs.] But you never get anywhere in life without taking risks. And the biggest risk, ultimately, is standing on your own two feet as an individual. That's something you really need to do if you're going to get anywhere as a filmmaker, or in life generally.

ML: So what's next for you and Govindini?

JA: Currently I'm in the middle of writing the screenplay for my next film. It’s going to be a pretty intense film - even more so than KALIFORNISTAN. And Govindini is working on her next film as well, which she will both direct and act in. So we're very excited about what the future holds.

ML: Any hints about these projects?

JA: No, but I would encourage people to view KALIFORNISTAN as being a small appetizer for the main course to come.

ML: Thanks so much for this time, and best wishes for KALIFORNISTAN.

JA: Thank you.

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Bounty hunter vs. terrorist in KALIFORNISTAN.