"BROUGHT TO YOU BY THE FOUNDING FATHERS AND THE FIRST AMENDMENT."

Bobby Roth: Director, Writer

1. Could you tell us a little about your background.  Where are you from and when did you decide to become a filmmaker? I'm from LA (actually, I only live a block from where I was born).  In the early seventies I was studying Philosophy, Slavic Literature, and Creative Writing at UC Berkeley, trying to be a novelist, but I didn't think I could stand being alone all the time, so I transferred to film school, first at USC, then Graduate School at UCLA where I thought I began to make political documentaries.  For my thesis film I decided to dramatize two of my documentaries.  The film, INDEPENDENCE DAY, showed me the joy of working with actors, and I've now been working with them for thirty-two years. 2. You are a highly acclaimed television director and an award-winning independent filmmaker.  What drives your passion for filmmaking? My passion has always been fueled by the social benefits of cinematic art.  My life has always been enriched by the work of Vittorio DeSica, Ingmar Bergman, John Cassavetes, Jean-Luc Godard, Louis Malle, Robert M. Young, Mike Leigh, Tomas Gutierrez Alea, Ousmane Sembene, Gilo Pontecorvo... I could go on and on, but I won't. 3. Can you tell me a little about your latest film, Berkeley? I understand that the film may have been influenced by some of your own experiences at Berkeley in the late 60's. The script for BERKELEY grew out of a desire to draw a link between my generation and that of my sons.  Nick and I both attended Cal, but I wanted him to experience what we, in 1968, experienced: an anti-war movement, a sense of hope, and a true era of freedom.  I think he appreciated much of what I was trying to show him, save for the sexuality... I don't think he appreciated getting any of that from his dad. 4. What was your experience writing, producing and directing "Manhood" starring such talented actors as Nestor Carbonell, Janeane Garofalo and the late John Ritter. MANHOOD was a true joy to make, though at times it was very sad, as well.  The actors were touched by the screenplay, which they knew to be loosely based on events I experienced involving the murder of my own sister.  Somehow they were all reverent, yet good-humored, throughout.  I had already done JACK THE DOG with Nestor, so we had a bond, and, in fact, that experience had been so rewarding that working with him again was part of the motivation for MANHOOD.  He gave the script to Janeane, who responded immediately.  John and I had been acquaintances for some time and had always wanted to work together.  I'm just grateful I got the opportunity. 5. What has been your favorite project to date and why? That's kind of like asking, which of your children do you prefer?  Out of thirty-two films, I believe HEARTBREAKERS stands out, but JACK THE DOG, MANHOOD, and now, BERKELEY, are all my children.  I love MANHOOD because I got to reconnect with my feelings for my sister, and BERKELEY will always be special because of my collaboration with my son. 6. What do you think is the most important thing for a Director to bring to the set? It might seem trite to say, "A sense of vision," but I'd amend that to say a sense of "the whole."  No one else there can see the possibility for the entire film.  It's not their job.  The actors must stay in character, and the DP must concentrate on light and composition, (though he/she will be sensitive to many other aspects, of course).  No one knows how you're planning to put it all together, and only the director can actually be prepared enough to veer from his/her plan... to allow themselves to be surprised when something new happens that's actually right! 7. I understand that you are also the founding member of the Independent Feature Project (www.ifp.org).  What are your thoughts on the independent film society today? I'm only one of many founding members of the IFP, and I'm also one of the founding members of the Independent Directors Committee of the DGA, but I don't know that anyone really has a handle on independent cinema today.  I have seen elitist elements in the IFP from the beginning, and I think the Independent Spirit Awards have grown to such epic proportions that they no longer have much meaning to true independents.  By "true" I mean filmmakers outside of the mainstream... working without corporate financing and "star mandates."  It's not my place to dictate policy, but I'm still making films with independent money (my own) and I really don't have much in common with an "independent film" starring J-Lo and Ben Affleck. 8. What is the biggest problem with Hollywood today? To me, the need to generate mega-profits for the corporate financiers killed not only independent cinema, but Hollywood.  When I was in film school Hollywood was making 'Midnight Cowboy,' 'The Graduate,' 'Five Easy Pieces,' 'Carnal Knowledge,' 'Fat City,' etc... Today they're not making a single film that I'm interested in.  Not one.

9. Can you give us the scoop on any upcoming features you have in the works? I'm writing a script called THE FLOOD about atheism and evangelism, but I don't know what film will materialize from it. 10. Do you have any advice to aspiring filmmakers? My advice is always do whatever you for the purity of the art.  I've never been happy with anything I've done solely for money (not that I've done that much solely for money), but whatever I have done for art has always been worth it.  Always. 11. Here's where we give you a word or phrase and you give us the first thoughts that pop into your mind. Hollywood:  The remnants of a once thriving film culture, now feeding on itself Biggest influences: Vittorio de Sica, Ingmar Bergman, John Cassavetes, Bob Young, Rob Nilsson, Mike Leigh, Louis Malle, Irv Kershner, Constantin Costa-Gavras, Lindsay Anderson, Vincent van Gogh (despite his misguided anti-semticism), Ricky Pobirs, Lina Wertmuller, Alice Miller, James Hillman, Bernardo Bertolucci, my dad, my son. Biggest regret: Regrets are for suckers.  I have none. Biggest prick: Anthony Quinn, who told me, "I write with my cock." The funniest thing that has ever happened to you on a set: On my first film, INDEPENDENCE DAY, I stupidly hired my ex-girlfriend to do continuity.  On the first two days she came home with me after work and I thought we had fallen in love all over again.  On day three, however, I looked over and saw her holding hands with the gaffer.  It wasn't funny at the time, but it now strikes me funny. I also remember directing an episode of 'Beverly Hills, 90210' and giving a piece of direction to Aaron Spelling's daughter, Tori.  She thought about it for a moment, then said, "No, thank you."  I couldn't believe an actor would reject my direction so absolutely, but before I insisted, I reflected on the fact that her father was my boss, and decided to simply say, "You're welcome." Your biggest "break-thru" moment: In HEARTBREAKERS I tried to get Peter Coyote to cry when he couldn't.  He did it, but afterwards we both learned that an actor should never do something that is so false in the moment.  I've never pushed an actor like that again. You can only watch three movies for the rest of your life, which three: Bertolucci's 'Last Tango in Paris,' 'De Sica's 'The Bicycle Thief,' and my own film 'Heartbreakers.' You can only listen to three songs for the rest of your life, which three: Springsteen's 'The River,' Country Joe's 'Sweet Martha Lorraine,' and Jesse Colin Young's 'Darkness, Darkness.' BE SURE TO VISIT BERKELEYTHEFILM.COM