ATLRetro

HIGH-RISE (2015); Dir. Ben Wheatley; Starring Tom Hiddleston, Sienna Miller, Luke Evans, Jeremy Irons, Elisabeth Moss; Opens Friday, May 13 at Landmark Midtown Art Cinema; Trailer here.

By Andrew Kemp
Contributing Writer

When the credits rolled and the lights came up on HIGH-RISE, I wasn’t sure what to think. The audience around me murmured and shifted. The film didn’t seem to go over well on them. As I left the theater, one guy asked someone (the crowd?) repeatedly “Did you like that film? Did you like that film?” In the parking lot, I overheard two women trying to make sense out of it.

So, yeah, I think I liked it.

HIGH-RISE is an intentional provocation, an agitprop object. This thing has weight, texture, depth. A century ago, people tried to burn the screen after movies like this, movies that acted as angry screeds about the increasing stratification of the classes. HIGH-RISE acts as a period piece, but couldn’t be more perfectly suited to our times. Wow, this film is mad, and it makes a solid case that we all should be madder.

Based on the 1975 J.G. Ballard novel that was long considered unfilmable, HIGH-RISE plays out like an uppercrust LORD OF THE FLIES, with an insulating luxury apartment building standing in for the far-flung desert island. Tom Hiddleston stars as Dr. Robert Laing, a desirable young doctor whose search for solitude prompts him to move to the 25th floor of the ultra-modern building that offers all the amenities of the outside world, from swimming pools to supermarkets. At first, Laing’s new environment seems like a utopian paradise full of endless parties. People from all floors mix and mingle, despite the economic divide. You see, the lower floors are for the families and the poor, and it’s these people hit the hardest when the power begins to short out. It happens a little at a time, and then all at once. The building’s architect, Royal (Jeremy Irons), offers no good explanation, and as the resources begin to dwindle, the utopia crumbles as the residents turn on one another.

You may be asking why the residents don’t just leave the building as it stops sustaining them? This is where we approach the novel’s unfilmable reputation. Those looking for a clean narrative like LORD OF THE FLIES or even SNOWPIERCER might find themselves thrown by HIGH-RISE’s allegorical approach. The residents do leave. They go to work. Occasionally. But when the day is over, they race back to the disintegrating nightmare of their vertical world. Dogs become food. Roving bands of the well-to-do raid their neighbors for cocktail onions so that the party can continue. Laing himself becomes intent on simply finding the perfect paint color for his apartment while the bodies pile up in the pool. The allegory is that capitalism and human nature itself is the root of the evil, and it never occurs to the citizens of the block that there might be another way.

Director Ben Wheatley has developed a reputation for off-center oddities, including 2013’s A FIELD IN ENGLAND, in which a group of men crossing a field becomes a trippy psychedelic mash. Wheatley (and his wife/writer Amy Jump) proves to be a great fit for this material, choosing to emphasize mood and meaning over the particulars of plot, which could never have come together satisfactorily without sacrificing some of the story’s deep symbolism. In this building, it’s not so easy that the rich prey on the poor, but that when the chips are down, they all prefer to eat each other. The only sane way to navigate this new world is to paint yourself into your own carved-out corner and hope to god it doesn’t come crashing through your door.

Andrew Kemp is a screenwriter and game designer who started talking about movies in 1984 and got stuck that way. He can be seen around town wherever there are movies, cheap beer and little else.

In epic tales of man vs. nature, we find champions in MOBY DICK, THE OLD MAN AND THE SEA and 20,000 LEAGUES UNDER THE SEA: fierce battles to overcome insurmountable challenges from the deep. If these heroes can confront such odds, then surely we can take on whatever troubles we are facing in real life. We use these stories as illustrations of bravery, loyalty (to ourselves and others) and endurance. Literary symbols of courage when things get to be too rough.

Now, take that concept, add some slapstick, put it on the silver screen – and you have Lisa Stock’s next venture: THE JULES VERNE PROJECT. This short film aims to combine all the physical humor of Buster Keaton, the cut-throat survival tactics from LORD OF THE FLIES and the unblinking focus of a voyeur come across a scene of outrageous monster mayhem. ATLRetro readers will remember Lisa as the director who staged Neil Gaiman’s SNOW, GLASS, APPLES in East Atlanta this past August (read our Really Retro piece on Lisa here). We recently sat down with Lisa to discuss THE JULES VERNE PROJECT and her crow-funding efforts to make it happen.

Ed. Note: If you’d like to be a part in bringing this film to life – an Indie Go-Go campaign to raise its modest production financing runs only until Friday Oct. 21! (details below)

ATLRetro: What is THE JULES VERNE PROJECT?

Lisa Stock: THE JULES VERNE PROJECT is a short live-action sea monster movie. I refer to it as: THE BLAIR WITCH PROJECT meets LORD OF THE FLIES meets Laurel and Hardy meets Jules Verne. It’s a story of shipwreck, bravery and the dire consequences of alienating your allies. Basically – we take a Strongman, a Deck Hand, and a Lady with a Parasol and strand them on a desert island with a big giant tentacle on the loose! Oh – and there’s a hot-air balloon shot out of the sky too.

How would you classify it? Comedy, adventure, silent film, steampunk, retro?

Yes.

Your creative projects, such as SNOW, GLASS, APPLES and TITANIA, have often been staged/filmed unconventionally. How is THE JULES VERNE PROJECT different in that respect?

Well, first of all we’re going to do the entire film in one take, one shot. No editing of multiple angles. The camera will even be stationary. So most of our tricks will have to be done “in the camera” – which is why I’m opting for a fabricated sea monster tentacle as opposed to a CGI one. I really want to push my boundaries as a storyteller and filmmaker and do something I’ve never done before.

There will be some effects done in post-production, such as the hot air balloon, but 90% will be done on a beach, one shot, all in one tableau – my actors and puppeteer are going to love me. Haha! But that’s the fun of it – we’ll all be pushed passed our normal limits, and who knows what we’ll discover.

So, if it’s all done “in the camera,” what won’t we see? 

Hopefully, our tentacle puppeteer! We’ll have to do this several times, I’m sure, to get a take that is mistake-free. But it’s short. And we’re going to have to do a lot of wiping footprints and tentacle marks from the sand in between each run-through.

In addition, I’m planning to do something really cool with the actual image in post – in terms of frame rate, that might be a nice surprise for our epic battle sequence.

What are you going to do with the film once it’s complete?

As much as I think film festivals are valuable to the indie realm, I want as many people to see this as possible. So we’re going to put it up online in April. There’s little to do in post, and that will give us a very short turnaround time. I want people to see it and enjoy it. The movie will also be a good example of what we (me, my cast/crew) can achieve as filmmakers, and it will give us the opportunity to tell a story that is hilarious and poignant.

Tell us about the Indie-Go-Go campaign.

We’re currently doing an Indie Go-Go campaign to raise funds for the film. But only until this Friday – Oct. 21! I did a Kickstarter campaign last year for my film THE TITANIA PREQUEL and was successful. I like getting my projects funded this way – because it comes directly from an audience I can give back to directly. No middleman to take away all their money, and take away all of my inspiration. So many independent artists are getting funded this way now. People who like your work or are interested in what you’re doing can donate. And what you see is what you get. I’ve supported a lot of projects like this myself. It’s important to let artists be artists – I think the results are much stronger.

We’re raising funds now mostly for the massive tentacle puppet. We need to get started on that for it to be ready for our April shoot date. And give ourselves ample time to rehearse with it. Donations for THE JULES VERNE PROJECT start at $1, $10 and go up from there. And this time we’re getting really creative and fun with our donor rewards! Everything from messages in a bottle to downloads and personalized notes and treasures from the set. To donate visit: https://www.indiegogo.com/The-Jules-Verne-Project

You’re also giving 10% to a charity?

Yes, when I do a large project, I like to give back. A couple of months ago I lost a friend I’d grown up with. He was only 37. There was an animal rescue he was fond of and we’ve decided to give 10% of what we raise with this campaign to that animal rescue in his name.

Lisa Stock. Photo credit: Jaclyn Cook.

It seems you like the sea. Recently, you started an Internet radio show called SRN: THE SIGNAL.

That’s right! Sirens, sea monsters – the ocean inspires me! SRN stands for the mythic siren. The show discusses all things mythic, fantasy, fairy tale, sci-fi, etc. I’d like to say we have a traditional format with a twist – but as it’s looking each show will be really different. Our next broadcast is Oct. 30 and we’re discussing graveyards and ghost stories with some Atlanta-based cemetery caretakers. In future broadcasts, we’ll be talking to the folks at High Rez Studios about their forthcoming game, SMITE, based on Greek mythology, and we will also have some well-known writers and actors coming by. Hope you’ll tune in!

Anything else our readers can see of yours currently?

I have a poem being published in Burial Day Books’ GOTHIC BLUE BOOK out on October 28. It’s all about the legend of the Wild Hunt and Furious Host. And, not currently, but in the spring, I hope to do a dark and scary stage version of HANSEL AND GRETEL.