The provocative title ‘F*ck You Jessica Blair‘ provides insight into the introspective yet hilarious first feature film by Israeli Karni Haneman. See the World Premiere of F*ck You Jessica Blair on Tuesday, February 28th as part of the Winter Film Awards 2017 Indie Film Festival.
Through her skilled wit and savvy look at relationships, Haneman details film-making as a form of therapy and talked to Winter Film Awards’ Karl Schleider about how she was able to put together a cast with such great chemistry.
Q: Besides writing and directing this film, you also starred in it as a character that shared your own name. Can you explain how this idea came about and its autobiographical influences?
What autobiographical influences? Purely coincidental… But in all seriousness, to quote what my talented sound supervisor, Nati (Taub), said to me the first time we met- “a director’s first feature film is usually their best therapy session.”
I always used writing as a form of self-exploration of things I’ve either experienced, or just wondered about in “what if” scenarios in my head. But when I was at the university, I used to try and distance myself from the characters as much as possible, by changing as many details as possible, because I was too afraid of the self-exposure involved. As time passed, I realized it’s useless and I wasn’t fooling anyone, and that self-exposure and vulnerability are usually my favorite things in other movies and I always find it so fragile, honest and beautiful, so this time I decided not to let myself off the hook either and take it to the other extreme: to try to make it feel more realistic and honest, and not hide behind anything.
And what better way is there to do that, than putting myself in front of the camera and using my real (and un-common) name? When I created “Movie Karni”, I took certain qualities about myself that I thought were suitable for this specific character, emphasized them, and saw where it took her. I think I deliberately chose characteristics that, while of course meaningful and valid, can sometimes get very ridiculous and funny. Since I was trying to blur the lines between fiction and reality as much as possible, I asked for everyone’s agreement to keep their own names in character for the same reason, and gladly they were all onboard!
Q: The chemistry among the four main cast was so natural and believable. How did the cast come together?
Finding the right four people was the most important task- from the beginning, I wasn’t just looking at the actors auditioning as their own character, but I was constantly thinking of them in relation to one another. I wanted to find four people who felt very real and who I believed could really get along, and create that equal chemistry between all of them.
The easiest casting was Jessy, since we’d just spent a semester together at LAMDA, so not only were we already friends, but we also already had a lot of experience working together professionally the months before. I then found Guy and when he came to audition I was reading our mutual scenes with him, and we were all smitten by how natural our conversation felt (and by how charming he is, of course).
Orr’s role was the most challenging casting- I auditioned a lot of actors for the role, and a lot of them were absolutely fantastic, but I didn’t feel any of them would be the right fit in relation to the others. Eventually, my good friend and talented director, Navot Papushado, suggested introducing me to his friend Orr. I had him audition with Guy and their chemistry was brilliant. And since I know Jessy well, I knew that the second these two met it would be like watching old pals reunited, and I was right… After that, we spent a few months rehearsing with Orr and Guy and had Jessy on Skype, and I made sure to spend an equal amount of time each rehearsal just talking and have everyone get to know each other and feel comfortable, so by the time Jessy joined us in person in Israel and we started shooting, we already just genuinely liked each other personally and felt very natural with one another.
Q: I have to say that the opening title really sets the tone for the movie in a gripping way. It was also brave to start a movie with someone screaming, “f*ck” over and over again, plus naming the film F*ck You Jessica Blair. Did you ever consider changing either of these aspects?
F*ck no!… The truth is I did for about a split second, which was already more than I should have, but nothing else felt right. I think this opening sequence immediately tells the viewer what movie they’ve walked in to, and I honestly can’t think of a more suitable way to prepare a viewer for my film. The title actually started as sort of a joke because I needed a working title to get the production going. Later on, whenever I’d brainstorm with Mathias (Zagoni, cinematographer), Neta (Braun, editor) or Hilly (Boimel, soundtrack) and try to find a different title, we’d just end up coming back to this one. By the time we got to the finish line, we just realized this IS the title. This IS the movie. My goal was to always remain true to what’s right for this movie and never try to force it into being something that it’s not. I think any different one would’ve done just that.
Q: There’s a recurring focus on guilt, with both Karni and Orr, and what would make the guilt go away. Was making this movie cathartic for you in that aspect?
I wouldn’t say that I’m all fixed now, clearly, but in regards to the things that I was preoccupied with at the time- absolutely. And the ones that didn’t I at least learned how to joke about… I think once you write down something that’s in your head and then say it out loud, it becomes very real and usually not as bad as it was in your head at first. We tend to be a lot harder on ourselves than we are on others, and making movies is my own personal crazy way of dealing with it- instead of repressing and avoiding things, I go to the other extreme and make a movie about it for everyone to see, and that way I can’t avoid dealing with it because it becomes something that’s out of my control. “Luckily” though, my brain keeps coming up with new things to feel guilty about since, so for as long as it does, I can at least keep making movies.
Q: One’s identity is another aspect of the film that interested me, either identity as an Israeli, settling into a routine of who you are in Jessica’s case, or just getting older in Orr’s case. Did making this film provide any self realization in your own identity?
I don’t think my issue was with self-realization as much as it was with self-acceptance once I gained those realizations. I think we all have things that we struggle with and try to repress, in the hopes that it would just disappear somehow, but what the film did provide me with was an understanding that there is no way to escape who you really are, not matter how fast and far you run away. At the time I wrote the script, I became very intrigued by all these different aspects of self-identity at once, such as turning 30 (I’ve since survived the transition)(somewhat successfully), and what really helped in the production process and since, is finding out that I’m not “unique” in that way- sure, we all have our unique ways of dealing with it, but so many other people everywhere in the world share those thoughts and fears (even if they don’t always admit it out loud, or make films about it). And once I realized that, it provided me with an ability to accept those things about myself.
Q: I personally loved this film and would love to hear more about what you’re working on next.
Thank you! Since I’m an independent filmmaker, my next project is focusing on earning some cash so that I can once again afford food and electricity… But aside from that I am in the process of writing what will hopefully become my second full length project.
Q: Lastly, do you have any advice for those who want to create their own film, after being inspired by yours?
My advice to anyone who wants to make a film would be the same one my good and talented friends, Navot (Papushado) and Aharon Keshales gave me at the time- “Wanna make a film? Go make a film.” I know it’s easier said than done, absolutely, but when I started the process I had no idea how to make it happen, but here I am at the end, with a film. But you can’t do it alone, so before anything else- find at least a couple of really great people that you trust and take them (down) with you! Making a film is insanely challenging, and the only way to get through it is by surrounding yourself with people who believe in you and support you and will be there for you when needed- whether it’s to give you motivational pep-talks, or slap some sense into you. Or just slap you, literally, cause sometimes that help too.
Karl Schleider
Karl Schleider studied television and film at the University of Georgia. He currently works full-time at Viacom and spends most of his free time in various movie theaters throughout New York City.
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Winter Film Awards Is New York City. Like the city itself, we showcase the eclectic diversity and excitement of the independent arts world. Winter Film Awards is proudly one of the Top 10 Best Reviewed Festivals on FilmFreeway.
The rapidly growing Winter Film Awards Indie Film Festival, now in its sixth year, is a dynamic and exciting event in the heart of the City. Winter Film Awards showcases films from emerging filmmakers from around the world in all genres with a special emphasis on highlighting the work of women and minority filmmakers. The Festival runs February 23-March 4 2017 in New York City.
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