Friday, March 15, 2019

See Captive State now. Don’t wait for the cult to coalesce.


From my 3.14.19 Variety review: Given the allusions to literal and thematic Trojan Horses that pepper its third act, one probably shouldn’t be surprised that Captive State — which opened cold on March 14 after Focus mysteriously canceled screenings for critics — actually is something of a purposefully camouflaged interloper. Although the TV ads and other promotional material appear to promise a megaplex-ready thrill ride about space invaders and rebellious Earthlings, this rigorously intelligent, cunningly inventive, and impressively suspenseful drama plays more like a classic tale about a disparate group of resistance fighters united in a guerrilla campaign against an occupying force. 

You can read the rest of my Variety review here



Monday, March 11, 2019

Kevin Costner and Woody Harrelson are The Highwaymen


From my 3.10.19 Variety review: "Arriving more than a half-century after Arthur Penn’s violent folk-ballad Bonnie and Clyde tapped into the zeitgeist and caught lightning in a bottle by portraying the Depression-era gangster couple in a manner that recast them as anti-establishment rebels, The Highwaymen aims to set the record straight with a respectfully celebratory depiction of the two lawmen most responsible for ending their bloody crime wave. Bosley Crowther, among others, likely would have approved of such revisionism. Still, this workman-like Netflix production — set to kick off a limited theatrical run March 15 before streaming March 29 — commands attention less as historical counterpoint than as a sturdy showcase for the neatly balanced lead performances of Kevin Costner and Woody Harrelson."

You can read all of my Variety review here.

Friday, March 08, 2019

Vincent D'Onofrio's The Kid is a dang good Western!


From my 3.7.19 Variety review: "The extended dance of death played out by lawman Pat Garrett and outlaw Billy the Kid has inspired countless accounts of varying authenticity in literature, cinema and prime-time TV, ranging from Sam Peckinpah’s violently elegiac 1973 Western (featuring a singularly hunky Kris Kristofferson as the desperado also known as William Bonney) to The Tall Man, a 1960-62 NBC series which fancifully imagined Garrett (Barry Sullivan) and Billy (Clu Gulager) as frontier frenemies in Lincoln, N.M.

"It’s to the considerable credit of actor-turned-director Vincent D’Onofrio and screenwriter Andrew Lanham that they’ve come up with a satisfyingly fresh take on this familiar mythos in The Kid, a consistently involving and often exciting drama in which the two Wild West icons are presented from the p.o.v. of an impressionable adolescent who weighs the pros and cons of each man as a role model."

You read all of my Variety review here, and my interview with Vincent D'Onofrio here.

Monday, March 04, 2019

Luke Perry: The man who loved Truffaut


That headline is, I admit, a slight exaggeration. But Luke Perry — who passed away Monday at the ridiculously young age of 52 — really did express high regard for Francois Truffaut while I interviewed him for Cowboys & Indians magazine a few years back. Which, of course, was enough to transform me from an admirer to an ardent fan.

We were talking about Goodnight for Justice: Queen of Hearts (2013), the third in a trilogy of Hallmark Channel western films in which he starred as John Goodnight, a straight-shooting circuit court judge who dispenses justice with eloquence, compassion and, when necessary, lethal firepower. (Fun facts: 2011’s Goodnight for Justice was directed by Jason Priestly, Perry’s co-star in the original Beverly Hills 90210 TV series — and was, at the time it aired, the highest-rated made-for-cable movie in the history of the Hallmark Channel.) The official plot synopsis: “Between dealing with difficult defendants and dealing cards at saloons, John crosses paths with a stagecoach under attack. Drawing his gun, he comes to the rescue of the only surviving passenger, a beautiful woman named Lucy Truffaut (Katharine Isabelle, pictured above with Perry), who John doesn’t realize is actually a convicted con artist on the run.”

But wait, there’s more. Lucy doesn’t realize – at first, anyway — that John’s an honest judge. The bad news: Lucy is being pursued by Cyril Knox (Ricky Schroder), a wealthy aristocrat who wants her jailed. The good news: Lucy manages to convince John to help her escape – and board a riverboat where passengers are encouraged to indulge in high-stakes gambling.

Naturally, I had to ask:

Your lead female character is named Lucy Truffaut – like Francois Truffaut, the great French filmmaker who famously claimed, “Women are magic.” Did you intend this as a kind of wink-wink tribute to him?

Perry: Absolutely. Here’s the thing. When I sat down to come up with this one, the one sort of request that the [Hallmark Movie Channel] had made was that – well, in the past, I hung a guy, and shot a couple of other guys, and beat up a guy pretty badly in the last one.

Hey, a man’s got to do what a man’s got to do.

Perry: [Laughs] Well, being the judge and jury and sometimes the executioner, that’s all part of his job. But the Hallmark people said, “Luke, our audience would also like to see you do some romantic stuff.” And at first, I couldn’t figure out what would be romantic about this character so much. But then I thought, when it comes to meeting a beautiful woman —historically, we’ve seen it — that’s when we men make our worst choices. While we’re thinking of ways to woo a beautiful woman, they just get into our heads. And I just wanted to do a story about that. And Truffaut knew all about that.

By the way: Has anyone else who’s interviewed you for this film noticed the Truffaut hat-tip?

Perry: You’re the only one who’s caught it, you’re the only one who’s asked. And I so appreciate it.
            
(Note: Francois Truffaut also was 52 when he died in 1984. And also gone way too soon.)

Friday, March 01, 2019

You must remember this: Katherine Helmond in Brazil


No doubt about it, Galveston native Katherine Helmond — who passed away Feb. 23 at age 89 — was an accomplished comic actress in such popular TV sitcoms as Soap, Everybody Loves Raymond, Coach and Who’s the Boss? But I must admit: I will always remember her best for her absolutely fearless performance as Ida Lowry, the plastic surgery-obsessed mother of protagonist Sam Lowry (Jonathan Pryce) in Terry Gilliam’s audacious dystopian farce Brazil (1985).

Helmond talks about working with Gilliam — and enduring some painful make-up magic — in this clip from a 2008 interview. (You can view the entire interview here.)

Al Pacino might have played John Rambo. And Rambo might have died in the first Rambo movie. But...


After hearing yesterday’s announcement about the Sept. 20 release of Rambo: Last Blood — the fifth and purportedly final chapter in the long-running franchise featuring Sylvester Stallone as troubled yet tenacious Vietnam War veteran John Rambo — I was reminded of a conversation I had back in 2012 at Fantastic Fest in Austin with director Ted Kotcheff (pictured above with Stallone), the director who helped start it all with the original First Blood (1982).
Kotcheff reminded me that he came to the project after it had been offered to other actors — including, no kidding, Al Pacino — and before the fateful decision had been made to keep John Rambo available for a string of sequels, Yes, it’s true: At one point, First Blood was envisioned as a one-and-done melodrama.
Here are some highlights from my 2012 conversation with Kotcheff.
John Rambo actually dies at the end of the novel that inspired First Blood. And I understand that’s also what happened in early drafts of the script. Have you ever wondered what a different sort of pop-culture impact the character would have had if you’d offed him like that – and not allowed him to survive for sequels?
What happened was, originally, the movie was conceived as the story of this Vietnam veteran who’d been kicked around from pillar to post. He didn’t feel there was any room for him in American society anymore – he was a piece of machinery that was broken. But then something happens. When he returns to that town where he’d been told to leave, he’s on a suicide mission. This was it — he had to die. Because he didn’t want any more of America.
And I take it that’s how the character came across in scripts that went out to people like Al Pacino, who was offered the project before Sylvester Stallone came on board.
When I cast Sylvester, we worked on the script together. And thing about Sylvester is – he has a very good populist sense. While we were shooting the film, we had a pretty good idea what it was all about. But we rewrote the ending various ways – something like 16 times – until we came up with the idea that the colonel, the character Richard Crenna plays, comes in there to put him out of his misery, to shoot him. And when he can’t do it, Rambo commits hari-kari. That’s the “alternative ending” you can see on some of the DVDs.
It’s really quite shocking in its abruptness. Stallone just pulls the gun while it’s still in Crenna’s hand – and pow!
And after we shot that, Sylvester comes over to me and says, “God, we put this character through so much. He jumps off cliffs, he gets shot and has to sew himself up, dogs are sicced on him – and now we’re gonna kill him? The audience is really gonna dislike this.”
And then he said, “Also, looking at it from a crass commercial point of view, I’m sure that whoever distributes this film” – because we didn’t have a distributor yet, we made it independently – “they’re not gonna want him to die at the end.” And I said, “You got a point, Sly. I have an idea – I know how to do this.”
And that’s when you shot the ending where he survives.
And the funny thing is, the producer wasn’t happy. He asked, “What are you doing, Kotcheff? What are you shooting? We already agreed, this is a suicide mission. We can’t have him surviving.”
And I said, “Just leave it to me, it’ll only take two hours, we can shoot this other ending.” And he was like, “We’re already over-budget. We can’t afford two hours of shooting.” But I finally convinced him to allow me to do it.
And then?
We had the first test screening in a suburb of Las Vegas. And I have to tell you, I never had another audience respond like that. They were yelling: “Great! Get him! Get him!” They were so involved with the action, it was just amazing. And then, he commits hari-kari. Well, you could have heard a pin drop in the cinema. And then a voice rang out: “If the director of this film is in this moviehouse, we should grab him and string him up from the nearest lamppost.” So I said to my wife, “Let’s get out of here before they string me up.”
So it was a no-brainer to make the change?
All the response cards we got back had things written on them like, “This is the best action film I’ve ever seen, but the ending…” And all you saw were exclamation marks. Every card had the same reaction. So I just turned to the producers, and said, “Boys, I just happen to have this other ending.” That’s how it happened.

Thursday, February 28, 2019

Hail and farewell to André Previn


As the New York Times duly notes, André Previn "wrote or arranged the music for several dozen movies and was the only person in the history of the Academy Awards to receive three nominations in one year (1961, for the scores for Elmer Gantry and Bells Are Ringing and the song “Faraway Part of Town” from the comedy Pepe)." The multitalented composer-conductor and bon vivant -- who died Thursday at age 89 -- also collected Oscars for scoring Gigi (1959), Porgy and Bess (1960), Irma La Douce (1964) and My Fair Lady (1965). He did not write famous songs like ‘Summertime’ and ‘I Could Have Danced All Night’ — he arranged and orchestrated them, creating the versions heard on the soundtracks."

Lest we forget: He also composed the score (or at least that part of it that wasn't composed by Tchaikovsky) for Ken Russell's deliriously unhinged The Music Lovers, a film that played off and on for nearly two years at the Gentilly-Orleans, my favorite New Orleans art house during my college years. And, yeah, there was that Mia Farrow connection.

Saturday, February 23, 2019

Answering for a friend: Who will win the Oscars?




OK, stop me if you’ve heard this one: You decided weeks ago to forego any serious Academy Award prognostications — indeed, you’re not entirely sure you’re going to actually watch the Oscarcast — when you get an anxious email on the day before Oscar night from a dear friend who’s entering an Oscar betting pool, and really needs your help with handicapping. So you sit down, look over the list of nominees, pick your favorites — except, of course, in those categories where you don’t really have a favorite — and then forget about what you’d pick because your friend wants to know what Academy voters will pick, dammit. 

And here’s the result.



Best Picture:

SHOULD WIN: BlacKkKlansman
WILL WIN: Green Book


Lead Actor:

SHOULD WIN: Viggo Mortensen, Green Book
WILL WIN: Rami Malek, Bohemian Rhapsody


Lead Actress:

SHOULD WIN: Lady Gaga, A Star Is Born
WILL WIN: Glenn Close, The Wife


Supporting Actor:

SHOULD WIN: Sam Elliott, A Star Is Born
WILL WIN: Mahershala Ali, Green Book


Supporting Actress:
SHOULD AND WILL WIN: Regina King, If Beale Street Could Talk


Director:

SHOULD WIN: Spike Lee, BlacKkKlansman
WILL WIN: Alfonso Cuarón, Roma


Animated Feature:

SHOULD AND WILL WIN: Spider-Man: Into the Spider-Verse, Bob Persichetti, Peter Ramsey, Rodney Rothman

Animated Short:

WILL WIN: Bao, Domee Shi


Adapted Screenplay:

SHOULD AND WILL WIN: BlacKkKlansman, Charlie Wachtel, David Rabinowitz, Kevin Willmott, Spike Lee


Original Screenplay:

SHOULD WIN: First Reformed, Paul Schrader
WILL WIN: Green Book, Nick Vallelonga, Brian Currie, Peter Farrelly


Cinematography:

SHOULD WIN: Cold War, Lukasz Zal
WILLWIN: The Favourite, Robbie Ryan


Best Documentary Feature:

SHOULD AND WILL WIN: RBG, Betsy West, Julie Cohen

Best Documentary Short Subject:

SHOULD AND WILL WIN: A Night at the Garden, Marshall Curry


Best Live Action Short Film: 

WILL WIN: Marguerite, Marianne Farley


Best Foreign Language Film:

SHOULD AND WILL WIN: Roma (Mexico)


Film Editing:

SHOULD WIN: BlacKkKlansman, Barry Alexander Brown
WILL WIN: The Favourite, Yorgos Mavropsaridis


Sound Editing:

SHOULD WIN: First Man, Ai-Ling Lee, Mildred Iatrou Morgan
WILL WIN: Bohemian Rhapsody, John Warhurst

Sound Mixing:

SHOULD WIN: First Man
WILL WIN: Bohemian Rhapsody


Production Design:

SHOULD AND WILL WIN: Black Panther, Hannah Beachler


Original Score:

SHOULD WIN: BlacKkKlansman, Terence Blanchard
WILL WIN: Mary Poppins Returns, Marc Shaiman, Scott Wittman

Original Song:

SHOULD WIN: “When A Cowboy Trades His Spurs For Wings” from The Ballad of Buster Scruggs by David Rawlings and Gillian Welch
WILL WIN: “Shallow” from A Star Is Born by Lady Gaga, Mark Ronson, Anthony Rossomando, Andrew Wyatt and Benjamin Rice

Makeup and Hair:

SHOULD AND WILL WIN: Vice

Costume Design:

SHOULD AND WILL WIN: Black Panther, Ruth E. Carter

Visual Effects:

SHOULD WIN: First Man
WILL WIN: Solo: A Star Wars Story

Friday, February 08, 2019

A brief story about Albert Finney, oral sex, Jack J. Valenti, and me



In Charlie Bubbles (1968), the only movie the late, great Albert Finney ever directed, Finney affectingly plays an author who, for a goodly portion of the film, is on a road trip with his adoring secretary, played by a very young, pre-Sterile Cuckoo Liza Minnelli. (She’s pretty terrific, by the way.) There is a scene where it’s fairly clear, though not explicitly depicted, that because he’s too enfeebled by ennui or just plain exhausted, she scoots down between his legs in a hotel room bed to fellate him. That’s one of the reasons why Universal had to release Charlie Bubbles through a subsidiary distributor — the studio couldn't get a production code seal for it.
Something similar happened the same year with Michael Winner's I'll Never Forget What's'isname, a movie that has a scene in which it’s heavily implied that Oliver Reed performs cunnilingus on Carol White. The minor controversies sparked by both films are amusingly detailed in Jack Vizzard's 1971 memoir See No Evil: Life Inside a Hollywood Censor —  a book, not incidentally, that I cited as a reference in the long-delayed master’s thesis I wrote more than a decade ago for my MA degree at the University of Houston.

Oddly enough, both Charlie Bubbles and I’ll Never Forget What’s’isname played for months on a double bill at the Gentilly-Orleans, an art house in my hometown of New Orleans, during my senior year of high school. And I viewed the double bill multiple times — not because of the risqué scenes (though, I must admit, they weren't exactly a deterrent) — but because, for reasons I still don't fully understand, I felt extremely simpatico with the alienated characters played by Finney and Reed. (Yeah, I was a strange kid.)

What I had no way of knowing at the time is that both films provided early headaches for Jack J. Valenti, who took over as head of the MPAA in 1966 — and wound up replacing the Production Code with the vastly more flexible MPAA Ratings System in November 1968.

Now I teach at the Jack J. Valenti School of Communication at University of Houston. And the world keeps spinning in its greased grooves.

Wednesday, January 02, 2019

R.I.P. Al Reinert -- Co-scripter of Apollo 13, director of For All Mankind and An Unreal Dream: The Michael Morton Story


Very sad to pass on some bad news: Al Reinert, the former Houston Chronicle crime beat reporter and Texas Monthly feature writer who earned Academy Award nominations for directing the Apollo space mission documentary For All Mankind (1989) and co-scripting Ron Howard’s fact-based drama Apollo 13 (1995), passed away at age 71 on the morning of New Year’s Eve at his home in Wimberly, Texas. 

At the time of his death, he was preparing another interstellar feature: Above It All, a documentary about the International Space Station. But he also made an impressive impact back here on earth, with his remarkable 2013 documentary An Unreal Dream: The Michael Morton Story.

Back in 1990, I interviewed Reinert about For All Mankind, which earned the top jury and audience documentary awards at the 1989 Sundance Film Festival — and which Reinert was inspired to construct, without any formal training as a filmmaker, after serendipitously discovering vast quantities of NASA archival footage.

I figured, hey, we could make this movie real cheap and simple,” he told me nearly 30 years ago. “I mean, the government’s spent all this money to shoot the film, so there’ll be nothing to it. It’s like, we thought we had discovered a goldmine.”

Of course, it wasn’t nearly as simple as that. And the finished product proved to be something far more substantial than a found-footage collage. Indeed, even viewers who watched every televised detail of the epochal Apollo space program of the 1960s and ‘70s found themselves amazed and engrossed by the out-of-this-world spectacle that Reinert artfully assembled.

For the benefit of those who tuned in late: For All Mankind offers a single, composite narrative culled from NASA archival footage of nine 1968-72 lunar missions. Audiences accustomed to thinking of astronauts as white-bread bland were (and still are) delighted by the unexpected hilarity: Frat-house horseplay in the spacecraft, exhilarating joyrides on the lunar surface. (One astronaut bursts into song: “While strolling on the moon one dayyyyy…”) But the movie is more than fun and games: Reinert balanced the hijinks with images that, despite their familiarity, had (and still have) an undiminished ability to astonish. And those images were underscored with haunting music by Brian Eno, and enthralling interviews with Apollo astronauts.

Reinert, a self-described fortysomething “ex-hippie” at the time of our 1990 conversation, admitted that he “never was much of a space buff” before stumbling across the NASA film-clip treasure trove more than a decade earlier. At that time, he was researching a Texas Monthly article about the 10th anniversary of the Apollo 11 moon landing.

“But I didn't cover space, I wasn't particularly interested in space,” he said. “In fact, the reason I did my first space story when I did was because nothing was going on in space. I went to NASA after Apollo, and before the space shuttle, when NASA was sort of in limbo. And that’s what intrigued me about NASA at the time: Like, hey, what are all these people doing down there?”

His timing was impeccable.

“I met my first astronauts when they weren’t busy, and they had time to talk. It was years after they’d gone to the moon, and they weren't being hounded by interviewers like they were when they first came back, when they really had nothing to say. And when everybody — including me — was completely convinced that they were boring.

“When I hit ‘em, eight years later, not only had all this percolated a lot, and they had a lot of things to say — when I hit ‘em, nobody had asked them anything about this in years. So I dragged my tape recorder down there, and I’d just sit around for hours with these guys. Nobody would interrupt us, and they had nothing better to do.”

Reinert accumulated over 80 hours of taped interviews, in which the Apollo astronauts spoke of their in-flight impressions, their on-the-moon memories, and their post-mission dreams. Among his favorite anecdotes: ''Ken Mattingly [of the Apollo 12 mission] went to see 2001: A Space Odyssey eight times in the six months before he blasted off, just to get himself psyched up.”

On a hunch, Reinert visited the NASA film and video archive, to view footage of an incident described by one of the astronauts. The underworked archivists were more than willing to find the footage Reinert requested.

"I looked at it, and I said, ‘Hey, that's great!’ And they said, ‘Yeah? Well, we got a lot more, you know.’”

Lots and lots more, as it turned out. The footage was freely available to anyone -- TV news directors, documentary filmmakers, anyone -- willing to pay the fee for 16mm or videotape copies. But hardly anybody had taken the time to view as much of it, over extended periods, as Reinert did.

“NASA really has very little to say about it, Reinert said. “Anybody can walk in there and order footage. I mean, people can use it in porno movies. In fact, they have used it in porno movies.

 “The trick is, knowing what you want. You can’t just walk in and say, oh, I want to order 2,000 hours’ worth of film. Because that will cost you hundreds of millions of dollars. The trick is knowing what you want out of those 2,000 hours.”

Reinert made his first visit to the NASA archives “two or three years before the shuttle really got going,” and made repeated visits during the next few years, “driving down there whenever I had nothing else to do.”

“And I found myself thinking, ‘Why has this never been seen on the big screen? Why haven’t I seen this movie?’ And I just stupidly thought — well, it was the Judy Garland syndrome of, ‘Hey, let's put on a show.’ Only with me, it was, ‘Hey, I can make this! I'm a writer — so how hard can this be?’”

Actually, the hardest part — harder than blowing up the scratchy 16mm copies to clean 35mm prints, harder even than coaxing money from investors — was creating the illusion of a continuous narrative.

“Because, essentially, it was random film,” Reinert said. “It was never designed to be cut together. I mean, like, in the movie, we’ll cut from Apollo 13 straight to Apollo 14 to Apollo 16, all in one scene.

“Like the bathroom scene — that came from an astronaut’s description of going to the bathroom in space. I thought, ‘That's funny!’ But, OK, then the task was to go find pictures of it. In the film, the scene consists of three pictures, one of which is printed backwards — and it’s cut in the middle to the picture of the guys putting on their gasmasks.”

It’s a funny image, Reinert says, “but it's really a test of the emergency oxygen system.”

I had another welcome opportunity for an extended chat with Reinert in 2013, this time at the SXSW Film Festival, where An Unreal Dream: The Michael Morton Story — his stirring documentary about the wrongful conviction and ultimate exoneration of a Texas man accused of brutally killing his wife in 1986 — was voted the audience award in the Documentary Spotlight division.

Again, for latecomers: Morton, then gainfully employed as an Austin grocery store inventory manager, was convicted (mostly on the basis of circumstantial evidence) of beating his wife Christine to death in their home — allegedly in front of their 3-year old son.


Mind you, the youngster told an investigator that his father was not home at the time of the slaying —  and that someone else, described by the child as “a monster,” really killed his mom. But this evidently meant little to then-Williamson County district attorney Ken Anderson. The prosecutor never gave a transcript of the child’s interview to Bill Allison, Morton’s defense lawyer. Nor did he turn over other evidence that might have persuaded the jury not to render a guilty verdict during Morton’s 1987 trial.


Thanks to the efforts of Houston attorney John Raley and members of the New York-based Innocence Project, Morton finally was freed from prison in 2011 after DNA testing exonerated him —and, not incidentally, implicated Bastrop, Texas dishwasher Mark Alan Norwood, who was convicted of Christine Morton’s murder in March 2013. Norwood received his guilty sentence just a few days after An Unreal Dream had its SXSW premiere — which was attended by Reinert and Morton.


Some highlights of my conversation with Reinert nine months after SXSW, and one month before An Unreal Dream premiered on CNN:

At what point did the Michael Morton case pop up on your radar as a potential subject for a documentary?

Pretty much around the time Michael got released from prison. I had a couple of friends who had told me about this story. And while I was living in Los Angeles at the time, I was able to watch him on the Internet. I’d already known a little bit about the case – but, really, it didn’t seem all that different to me. I mean, he’s not the only person who’s been wrongly convicted and then exonerated with DNA. It’s just that I had a friend who knew John Raley, and told me this was an especially interesting case, and I should be paying attention to it. 

So I saw Michael on the day he was released from prison. And I saw him on camera talking for the very first time – he was interviewed on TV that day, and we even have a little bit of that in the film. And right away, I thought this is not your average guy. This is an interesting guy. He’s got a certain charisma to him. And I kind of wanted to know more. So about a month later, I flew to Houston to meet John Raley, and had lunch with him, and started to learn more about this story. And the story kept getting more interesting the more I learned about it. 

The remarkable thing about Michael Morton – this comes through in your film, and when you meet him in person – is that he seems so remarkably composed and equanimous for someone who spent more than two decades in prison for a murder he didn’t commit. He comes across as someone who is so – well, there’s no other word for it – forgiving. 

He does. And it is remarkable. I know I couldn’t do it. Even if I could say the words, I couldn’t pull it off like he does. He’s very genuine about it. I think he came to terms with it while he was still in prison. And I know he gives a lot of credit to his Christian faith. I mean, he doesn’t talk a lot about Christ or Jesus that much. So it’s almost like a Zen kind of a thing. But I think he really did become a different person while behind bars. 

What about you? Did you find yourself getting angry while you were researching this case? 

Oh, sure. All of us who worked on the film were angry. Because a lot of this was still going on during the production. You had Ken Anderson basically blaming the system instead of himself. And the more we learned about it, the more everybody but Michael got angry. 

Largely because of the injustice he endured, the Texas legislature passed in May 2013 the Michael Morton Act, which requires prosecutors to give defense attorneys any evidence relevant to their clients’ cases. 

Yeah, I know – it’s been one astonishment after another with this case. To think that a Tea Party legislature could unanimously pass a reform bill that’s one of the strongest in the country – it’s just amazing. I don’t know how to account for it, other than the fact that a lot of these Tea Party types listened to Michael and believed his story. And it moved them. I know he lobbied for it pretty hard. It wasn’t like he was off in the sidelines while this bill that was named for him was floating around the capital. 

When did you film the interviews for An Unreal Dream

Most of the main interviews we did over Memorial Day weekend [in 2012]. That was our first weekend of shooting, really. And here’s the thing: We went in search of an old-fashioned kind of courtroom, because we wanted to put Michael in a courtroom that had that kind of To Kill a Mockingbird feel to it. And we scouted about a dozen courtrooms in Texas looking for one that looked right. And it turned out that the best-looking one of all was the one in Georgetown — where the original trial had actually happened. 

We did not go there first. But we were fortunate, in that that courthouse is now a museum, as opposed to a working courthouse. Which meant the courtroom was available to rent. But you could only do that when the museum wasn’t open. And on Memorial Day weekend, they were closed for three days. So we were able to take over the courthouse, and shoot in there. That’s where we filmed Michael and John Raley and [defense lawyer] Bill Allison and the two jurors. Probably the heart of the movie was filmed that very first weekend. 

Right there where it all happened.