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Film Scouts (Leslie Rigoulot): What's your perspective on"Palookaville"?
Alan Taylor: "'Palookaville' is the end of the line for losers and
these three guys have grown up at the end of the line. They want to be the
criminals that they have seen on TV and in movies, but they really don't
have what it takes - which is where the humor comes in.
FS: It's so obvious they don't have what it takes to be criminals, though!
They're using toy guns!
AT: So pathetic! And they hate themselves for it! That's what I like most
about them. That's why I cast guys that look like they do. They have played
the bad guys enough. Russ is trying so hard to be the bad guy and is such
a tragic guy. The worst possible thing is always happening to him with his
mother, sister and brother-in-law all piled on top of each other. It is
part of the whole claustrophobia. The economic situation is against them.
And we want the audience to think this a movie about a heist, about trying
to get money. But the guys grow up a little during the course of "Palookaville"
and realize what is important in their lives. They have been kicked out
of the American Dream, don't know what hit them, and if they had any sense
they'd be angry but instead they blame themselves. They are looking for
a way to get back in.
FS: Maybe they'll become cops.
AT: The funny thing about Ed, the cop, is that in a way he is the fourth
palooka. His life has taken just a slightly different turn. The way fate
has dealt out the card, he could have been the fourth buddy. They have so
much in common.
FS: Are you a big "On the Waterfront" fan? That's where the name
came from, right?
AT: That was the last thing we came up with. We had shot the movie, we were
editing and we had this terrible title. It was called "One for the
Money" at that point. And we knew we wanted to change it. The producer
and I thought of the same thing at the same time, even though we were on
separate continents. He called me and asked if I had thought of anything,
and I said "Just this one weird word," and he said "Me too."
FS: So how did you break into the "big time"?
AT: I'm not sure this is the "big time"! This is the ante room,
the vestibule to the "big time"! But I did a short in film school
that the producer of "Palookaville" saw, and he wanted that same
sort of voice. [The short] had a happy festival life. It premiered at Venice
and won a prize for Best First Feature, and did well at Sundance. You can
spend an entire year following your film around the globe, getting pats
on the head. But you have to move on.
FS: What are you planning?
AT: I'm developing two [films] right now. One is called "Sweetheart"
and I just got it set up at Fox Searchlight... It doesn't mean the movie
is actually going to happen, but I get to write the script and there is
a *plan* to make it. And the other one is based on a script by a British
writer, Dennis Potter. He is famous for "Singing Detective" and
has a cult following. We are hoping to shoot in Italy next spring. I'm glad
I have something to work on so I'm not following "Palookaville's"
release too closely - I can distract myself.
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