Roger Avary is an Oscar-winning
screenwriter, but these days he has trouble gathering his thoughts. “How do I
put this?” Avary said on the the terrace outside his hotel in Locarno,
Switzerland, where he’s currently serving on the international competition jury
at the city’s film festival. “I haven’t talked about this to anyone other than
family and close friends, so I want to measure my words very carefully.”
He stared at the ground and
took a breath. “Incarceration didn’t change me,” he said after a long pause. “In
many ways, incarceration galvanized me. The totality of the experience helped
me.” While Avary looked relaxed in a salmon-colored shirt and neatly tousled
hair, sunglasses hid the emotion on his face.
Four years ago, the co-writer
of “Pulp Fiction” and “True Romance” -- as well as the director of “Killing Zoe”
and “The Rules of Attraction” -- faced a situation far more disturbing than
anything depicted in his movies. Driving under the influence in Ojai, Calif.,
Avary got into an accident that killed his friend Andreas Zini.
Released on bail, Avary was
eventually charged with vehicular manslaughter and pleaded guilty, serving time
in a one-year work furlough and then later behind bars for eight months. Reasonably
enough, he discusses the incident with trepidation. “I spend nearly every
waking moment thinking about how I can live my life in such a way as to honor
this absolutely terrible loss that occurred,” he said.
The answer has slowly come to
him with new work. Based on the sheer volume of projects currently in his
queue, Avary may have entered the most productive period of his career, not to
mention an entirely different stage of artistic expression.
The last two years have been
especially busy: He recently finished overseeing the scripting process for the
second season of the French-Canadian spy show “XIII: The Series.” He’s working
on a screenplay for Paul Verhoeven based on the director’s scholarly tome about
the life of Jesus. With production company Wild Bunch, he’s planning to reteam
with “Rules of Attraction” scribe Bret Easton Ellis to direct an adaptation of
Ellis’ “Lunar Park.” For “Moon” director Duncan Jones, he reworked the
screenplay for a biopic about James Bond creator Ian Fleming. He also plans to
adapt the early William Faulkner novel “Sanctuary.”
Avary said his immense activity
is part of his plan to find a creative outlet in everything he does. “I’m
looking for work that enriches me and touches me somehow. I’m certainly not
taking work just to pay bills.”
Avary said his immense activity is part of his plan to find a creative
outlet in everything he does.
As if to prove that point, at
the request of the Locarno Film Festival, Avary agreed to maintain a blog
chronicling his experiences in Switzerland. He used the opportunity to
construct another piece of fiction that refers to his fellow jurors as “the
Thieve’s Guild”: Apichatpong Weerasethakul is “the Thailander,” while “The
Housemaid” director Im Sangsoo is “the South Korean,” tags that make the group
sound like a medieval take on “Ocean’s Eleven.”
Avary’s reports contain enough
coded insight to turn them into a brilliantly gonzo set of festival dispatches
that analogize the jury process to espionage. After singling out Apichatpong’s
meditative filmography, Avary wrote that “he always did things his own way…not
every heist needed to pull in the big bucks. A true thief pulled a heist
because it was in their soul to do so.”
That’s a sentiment to which
Avary relates. He said he never stopped writing except when he had no choice:
After he began tweeting a similarly embellished account of his experience in
the work furlough, Avary was forced into solitary confinement and served out
his remaining sentence in lockdown. Since then, he has stayed away from the
creative prospects of status updates. “The problem with 140 characters is that
subtlety is lost,” he said, then politely requested we change the subject.
With the trauma of his jail
time came an epiphany that carried him through the ordeal. “I never stopped
writing,” he said, although he had a harder time watching movies, a hobby
relegated to the prison television where he found himself watching “My Name Is
Earl” by default. Even such relatively minor limitations influenced his new
perspective. “If I’ve learned anything,” he said, “I’ve learned that we don’t
have control.”
Asked about his state of mind
over the course of his prison experience, Avary flashed back to 2000. Around
that time, he was involved in developing an unrealized HBO series entitled “Medal
of Honor” about soldiers who received that prize. Over
the course of his research, Avary befriended Vietnam vet James Stockdale, an American pilot who was imprisoned for several years in the
Hanoi Hilton, the torture center most recently known for housing John McCain.
Stockdale was kept there the longest -- seven years -- and subsisted on a diet
of pumpkin soup in between torture sessions.
“I
asked him how you survive something like this,” Avary said. “I cannot stress to
you how strong and noble this man was.”
Avary
said Stockdale turned to his position as a Stanford professor, where he
specialized in the stoic principles of the Greek philosopher Epictetus. “The
basic philosophy of stoicism is that you have nothing real external to your own
consciousness, that the only thing real is in fact your consciousness,” Avary
said. “In thinking about his experience, it just occurred to me that the notion
of control of your external environment is an illusion.”
Given his introspection, it’s
no surprise that he’s a great fan of fellow juror Apichatpong’s work, singling
out “Uncle Boonmee Who Can Recall His Past Lives” as a favorite. “I find him to
be a fascinating humanist in many ways.”
While Avary’s own filmography
may lack Apichatpong’s soothing qualities, his two feature-length directing
credits (not counting “Glitterati,” which was constructed from footage of a
wild Eurotrip seen in “Rules of Attraction” but never released) contain heavy,
immersive stories about people losing control of their lives and struggling to
understand their priorities. No matter the loud, angry people they focus on,
Avary’s movies contain an intimacy that holds up.
This October will mark the
tenth anniversary of “Rules of Attraction” hitting theaters in the U.S. Avary
said would like the movie to receive a special anniversary release, but has yet
to convince distributor Lionsgate. Seen outside the context of its initial
release, it remains an enjoyably surreal endeavor that messes with the characters
and viewer alike by constantly rewinding various party scenes, drawing us into
seemingly inconsequential moments of hedonistic indulgences and rendering them
bleakly poetic. Avary, who drew from personal experience for certain moments in
spite of taking cues from the novel, described it as a form of self-analysis. “On
the initial release of the film, my intention was to make something about
events in my life that I had observed and lived,” he said. “I was writing as a
social critic of myself.”
Much of Avary’s output, both as
a director and screenwriter, places his literary perspective inside a showy
entertainment mold. (Unsurprisingly, he’s also a fervent gamer who collects
vintage arcade systems and speaks excitedly about the medium’s current potential.
“If Stanley Kubrick had been alive today and making videogames, he would have
made ‘Portal,’” Avary said, referencing the recent Valve franchise.) However,
until we see Verhoeven’s “Jesus of Nazareth,” no movie scripted by Avary better
demonstrates the marriage of spectacle and historical inquiry better than “Beowulf.”
Prior to selling the property
and taking a screenwriting credit along with Neil Gaiman, Avary hoped to direct
that project for years. (Robert Zemeckis directed.) Having taken a lesser role
in that passion project, Avary found himself in a tough headspace even before
the 2008 disaster that changed his life. “I began to ask myself, ‘Who am I as a
filmmaker right now?’“ he said. “And I didn’t know what I had to say.”
At that
exact moment, a small finch landed immediately beside us, sidling up to Avary’s
espresso. Avary turned to it and smiled. “Oh, hello!” he said. The bird sat
there for a moment and stared back before fluttering off. Avary watched it go. “That’s
amazing,” he said. “What a beautiful bird.” For the first time, beneath his
sunglasses, his eyes appeared to light up.
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