Idiosyncratic director Clerks againKevin Smith strikes back

By BRUCE WESTBROOK

He may be an auteur, but Kevin Smith is donning his backward baseball cap and trench coat again as Silent Bob. The New Jersey filmmaker is about to start his seventh feature and first sequel, with sure-to-offend title Clerks 2: The Passion of the Clerks. The film follows 1994’s Clerks, about Smith’s early convenience-store career.

“It’s about what happens to the angry young man when he turns 35,” Smith said of Clerks 2. “How long can you maintain your position of outsider when you’ve left the demographic that counts. It’s a little touch of pre-midlife crisis.”

The first Clerks was shot in the wee hours at the store where he worked. Miramax’s Harvey and Bob Weinstein bought the $27,000 production and launched him into the mainstream — or as close to it as an edgy regional filmmaker can get.

Miramax was bought, too — by Disney — and now the Weinsteins are leaving to form another studio.

“Whither they goest, so go I,” said Smith, who’s doing Clerks 2 for their new studio. “I’ve had great relationships with the Weinsteins for 11 years. I’ve never brought them a movie where they said no.”

The only film he didn’t make for them was his biggest flop — and, in a weird way, his biggest hit. That was 1995’s Mallrats, which just returned to DVD in a 10th-anniversary edition. A cult favorite, it also plays at midnight Friday and Saturday at the Landmark River Oaks.

After the bare-budget Clerks made $3 million, Universal gave Smith $6 million to shoot Mallrats, a raucous comedy about slackers at a New Jersey mall. Savaged by critics, it earned just $2 million at theaters.

“It wasn’t my finest hour,” Smith said of Mallrats, whose ensemble included rising actors Jason Lee and Ben Affleck. They then starred in his next film, acclaimed romantic comedy/drama Chasing Amy.

Mallrats finally found its audience via TV showings and a 1999 DVD.

“For the intelligentsia and people who are into film, Chasing Amy, which I love, and Clerks are the real touchstones,” Smith said. “But for the mass audience — which isn’t that massive, but big enough to keep me doing this for 12 years — it’s Mallrats all the way. That was their entry point to my work. They still hold great affection for it.”

Not expecting a second DVD, Smith crammed Mallrats’ first disc with extras. But when Universal wanted a follow-up, he couldn’t refuse.

“I still carry a sense of Catholic guilt,” he said, “Granted, the movie has long since gone into profit via DVD and TV, but I still felt, ‘Man, I blew somebody’s $6 million, and I’d better make it back for them.’ ”

So he hatched an idea. Since Mallrats was the only film he didn’t edit, Smith would recut it, using alternate takes and unused scenes.

One problem: His raw footage had too many master shots without “coverage,” or cutting to close-ups. “Scenes just go on and on, and there’s no way to get out of them,” Smith said. Yet he managed to tweak some scenes while adding a half-hour of unused footage.

“The longer version is still an exercise in futility,” Smith said. “If you never liked that movie, the longer version won’t make you like it any more. But fans want to see everything — to be entranced in the world of the movie.” (The River Oaks will screen Mallrats’ original cut.)

After Mallrats and Amy, Smith hit his stride with Dogma, a cutting look at organized religion, then Jay and Silent Bob Strike Back, a comic swipe at Hollywood excess. In each, Smith played Silent Bob, with pal Jason Mewes as Jay, two Jersey stoners who originated in Clerks.

The only film Smith would like to forget was his latest, Jersey Girl. The maligned comedy-drama starred Affleck and then-fiancee Jennifer Lopez at the peak of their overexposure.

“That one I don’t feel as bad about,” Smith said. “It cost $35 million to make, and we made $25 million, but we followed Gigli (also with Affleck and Lopez), which never got past $6 million. That’s the silver lining to the dark cloud of that chapter of my life.”

Besides his film work, Smith writes comics, including recent runs for Spider-Man and Daredevil. He also wrote a screenplay for a Superman movie but was burned by studio meddling and backed off.

“There’s much more freedom on the page,” Smith said. “You can invoke obscure things that, in a movie, an exec will take out to make it palatable to the mainstream.”

Smith believes he’ll never be a mainstream filmmaker.

“I can’t think that broadly,” he said. “I can enjoy broad entertainment, but I can’t make it. That’s why I like staying where I am. As long as the Weinsteins will have me, I’m with them. They’re the dudes who gave me my shot. Without them, I’d still be working in a convenience store.”

But his independent streak has made Smith a favorite filmmaker to dedicated fans. He stays in touch with them via his Web site, viewaskew.com. There, Smith recently held an auction to help Hurricane Katrina victims.

A barbecue at his home sold for $11,500. A walk-on part in Clerks 2 went for $16,000. In all, the auction raised $33,825, which Smith matched, for a total of $67,650 going to the American Red Cross.

“Back in ‘91, we had a terrible storm in New Jersey, and when water came over the sea wall, my house got flooded, and I had water up to my knees,” Smith said. “So when I saw New Orleans, it really took me back. I thought, ‘I’m in a position to raise some loot, so let’s do it.’ ”

Of course, some folks are never satisfied.

“People on the Internet said, ‘Oh, another (half-baked) attempt by a celebrity to help.’ But you know, I’m matching all that money myself, and besides, what are you doing, buddy? I tell you, the Internet has unleashed the most bitter, pejorative people on earth.”

Kevin Smith is doing Clerks 2 to get away from famous movie stars, including his pal Ben Affleck, who co-starred in his last movie Jersey Girl. It is also one of the reasons he walked away from a planned big-screen version of The Green Hornet, Smith tells the Sun.

Says Smith: “The cynical take on it is: ‘Well, Jersey Girl didn’t work so he’s going back to the well.’ And those people are not exactly wrong. It’s just that they’re missing the target but hitting the tree.

“Jersey Girl didn’t work (it bombed at the box office after the latest twist in the Bennifer fuss hit the headlines) but it’s not why I’m going back to Clerks. Coming off Jersey Girl, it’s just that I don’t want to work with famous people for a while. I don’t like having a movie that is kind of at the mercy of the people that you’ve cast.

“Jersey Girl, I don’t think it’s the rule but it’s not quite the exception. It was tough to watch that movie getting brought down by somebody’s relationship, something that I have no (control) over. So Jersey Girl did have an influence on me doing Clerks 2 but it wasn’t the obvious.”

As for The Green Hormet, it was the famous people problem plus a lack of confidence that he could handle a $70-million production. “Green Hornet was a bit of that, but it was more than this movie is way too big for someone like me. I don’t have enough talent to pull that off.”

“Dave and I are shooting the shit out of this flick. We’re doing very little of the static two shots we did on the first “Clerks”, with a ton of hand-held coverage planned instead. What would’ve been one set-up on the first flick will now be five set-ups, minimum. This time around, the look of the flick will be as important as the performances and what’s being said.”

…

“Jeff’s electric. He’s got the whole script memorized, and every piece of his delivery is gold. After working at it for an hour, we finally find Trevor’s voice for Elias, the character he plays, and the scenes begin to really sing, cracking me up (a good sign, as I believed I was already too familiar with the material to find it laugh-out-loud funny anymore). After four hours of rehearsal, going over all their shared scenes, we call it a day, and I head back to the house.”

…

“I shower and head down to the office, where Mos, Dave and I watch a chunk of “25th Hour”, a film whose look I like quite a bit for “Clerks 2”. The “C2” brain-trust then goes over the options for a digital intermediate – a process in which you shoot on film, then transfer the footage into a digital format, where you have unprecedented color correction control, and spit the results back out onto a digital master from which all the film prints are made. The process is probably most easily recognizable in the Coen Brothers’ flick “O Brother, Where Art Thou” – where colors were deeply saturated to give whole section of the flick a golden hue.

We’re going the opposite way. Amongst other things, our plans are to de-saturate the colors of all the scenes that take place at work, to give Dante and Randal’s jobs a bland, hell-ish feel. The idea is the culmination of months of back-and-forth about whether or not to hone close to the low-rent look of the first “Clerks”. At the end of the day, we figured shooting on 16mm or shooting the flick as flatly and mes-en-scene as “Clerks” would be disingenuous and feel like we were trying too hard to catch lightning in a bottle twice. The look of “Clerks” – long held to be a big part of the flicks’ charm – was born out of a lack of budget and a trio of amateurs’ eyes. This time around, we’ve got a budget and a decade of experience on our side; making the flick look bad on purpose would make us feel like we were posers. However, it doesn’t mean we can’t fuck around and try something creative with the look to invoke the first “Clerks”, while still applying everything we’ve learned since ’93.”

…

“As good as the boys have been in our previous rehearsal this past week, the introduction of a girl (a girl actress, to boot) suddenly enhances all three of their performances; i.e. – it seems like all three guys have ratcheted it up a bit. Brian’s taken a massive leap since yesterday, Jeff – who’s been camera-ready since Monday – informs today’s rendition of Randal with not just the big laughs, but also sincere pathos, and Trevor is now locked into Elias’ tone and mannerisms so completely, it’s a night-and-day difference between the actor and the role. And Dawson – gift from the acting gods Dawson – redefines the read-thru, by actually becoming Becky, raising a bar that’s well-met by Brian, Jeff, and Trevor.

Each of the guys are on point and flawless – so much so that I don’t even interject with direction/correction, speaking up only to cover the lines of cast that isn’t there. We could’ve shot that rehearsal and it would’ve been release-worthy, so excellent were the performances across the boards. Invariably, on every production, there comes a moment when the reality of what you’re doing – creating a fake world populated with people who don’t really exist – kicks in, and you know it’s time to start committing it to celluloid. For me, that moment was triggered in that room. It’s time to actually take “Clerks 2” from theoretical to film.”

Rosario Dawson, whose performance in ALEXANDER is nothing short of brilliant, has signed on to star in a pair of movies for the new Weinstein Co. First up, Dawson will star in KILLSHOT, the Tarantino-produced flick that co-stars Diane Lane, Thomas Jane, Mickey Rourke and Johnny Knoxville. In the film Dawson will play the girlfriend of one of the gangsters pursuing a couple (Lane, Jane) trying to hide in the witness protection program. John Madden (SHAKESPEARE IN LOVE) will direct the film starting in October. Dawson will then seque into a leading role in Kevin Smith’s PASSION OF THE CLERKS. Her details in that film are a little sketchy but one might assume she’d play a romantic interest for either of our two leads, Dante and Randal. CLERKS is scheduled to begin filming in Los Angeles in January. Dawson can be seen next this December in RENT. But seriously: go get ALEXANDER on DVD. Thank me later.

When it reigns, it pours.

Holy crap, we’ve finally got our female lead! And she’s awesome! I’ll let you know who she is once the deal is finalized.

And after running into a long delay trying to secure the location, we’re 85% locked in. If we sign the agreement by Friday, the schedule finally gets triggered: Ratface will start building, the remaining keys will be hired, and rehearsals will begin within weeks.

After almost a year since the opening of this thread, “Clerks 2″ is fast becoming a reality.

– This isn’t gonna be a cameo-heavy affair, a’la “Strike Back.” The only returning characters are Dante and Randal, and Jay and Silent Bob.

– This isn’t gonna be a star-studded affair. The biggest names in the cast are gonna be Brian O’Halloran, Jeff Anderson, and Jason Mewes.

– This isn’t an “I’m not even supposed to be here today… AGAIN!”-heavy, wink-wink affair. We barely refer to the first flick (though I do love Lynch’s proposed tagline of “They Still Don’t Like You”; considering the tone of the script, an even more appropriate tagline would be “They Like You Even Less”).

– Jay and Silent Bob have about as much screen time as they had in “Clerks.” This is Dante and Randal’s flick all the way.

– The title makes sense. Sure, there’s a bit of cheekiness in there, but it’s pretty appropriate, based on the material.

– This is the funniest thing I’ve ever written. It’s also really poignant.

– We’ll still be making a “Clerks” cartoon movie, separate of this.

– This is not a grab at the green. Saying so is kinda laughable, if you’re privy to what I make per film now, vs. what I’ll make for this film. Part of the idea about doing “Passion” is to strip away the trappings of success we’ve been enjoying for the last few years, in an effort to get to the raw and pure. None of us are making our usual salaries on this flick; we’re all doing it favored-nations style, with deferments. If the flick does well, we’ll get paid our full-freight on the back-end. If not, we did it for the love. But if I was “all about the green”, I’d be gearing up for “Hornet” or “Fletch” instead. This one’s about the passion; the passion of the “Clerks.”

– Some of the key players from the “Clerks” saga who’ve already read the 143 page first draft: Mos, Jeff, Brian, John Pierson, Bob Hawk. Jay’s reading the new, refined 119 page second draft this week. Once they were all on board, any doubt or hesitation I might’ve felt about monkeying with the original’s legacy disappeared completely.

– This isn’t about “Jersey Girl.” While disappointed that we didn’t do double the theatrical business we crawled to, I understand why what happened to that flick happened (considering how poorly “Gigli” did, I consider us kinda lucky that we got to 25m). If this is a reaction to anything, it’s more of a reaction to “Green Hornet”, and the trajectory my budgets have been taking lately. Before (and if) I direct “Hornet”, I wanted to do something small and more me-like. While working on the “Clerks X” dvd, it became clear to me that “Passion” was the way to go.

– We almost did this flick three years ago, instead of “Strike Back.” I’m glad we didn’t, because I was able to say much more now than I would’ve then.

– There are gonna be lots of folks expressing disappointment or downright hostility with the idea of this movie. Let ‘em vent. If it’s all that bad, Xtian will just sweep it off the board. But the last thing I’m interested in is opinions on what I’m doing this early in the process, if at all. The beauty of making that first flick was being able to do it in a vacuum. Granted, I could’ve kept my mouth shut about it ’til we were done shooting; but with “Clerks X” coming out, it just felt right to share. Regardless – I don’t want folks running here with reports of what’s being said about the idea of this film at other boards. Don’t waste your/my time with the braying of the jackasses. There’s not even a movie to bray about yet. Once there is, if you still still feel the need to tell me what some random, knuckle-headed Talk Backer has to say about the finished product, then God bless. But until then, leave it in the locker room.

– Oh, who am I kidding? This flick makes me so happy, I’m not even bothered by the bitching (could still be even happier without it, though). I’m in love with this flick. If other folks aren’t, I can’t really say I’m concerned. I’ve read the script; they haven’t. I have the benefit of insight into the flick beyond the title and the notion of it; they don’t. The reaction is pretty much what I thought it’d be: a ton of positive, and minimal amount of bitching. Even if the equation was reversed, I’d still feel as good as I do now.

– At this point in my life, this flick makes absolute fucking sense.

– I can’t wait to shoot it, and I can’t wait ’til you all see it.

– That storyline about Dante and Randal shooting a movie about working at the Quick Stop is the plot of the “Clerks” CARTOON movie. It’s secure. The plot of “PotC” is something completely different.

– The flick does NOT employ the tone of the “Clerks” cartoon. It’s OG “Clerks” all the way.

– The flick’s in both black & white and color.

– Having not seen “South Park” since season two (unless you count the movie), I was unaware they did an episode called “The Passion of the Jew.” I don’t know how (or if) this info will affect our title.

– There will be no “reunions” or “crossovers” in the flick. Again – the only characters returning are Dante, Randal, Jay, and Bob.

E! Online – “Clerks” Clocking in for More

“But the big question is whether Clerks fans view the The Passion as a noochie-no-no. Smith–who went on to make Mallrats, Chasing Amy, Dogma and, what was supposed to be the swan song for the whole “New Jersey Chronicles,” Jay and Silent Bob Strikes Back–certainly hopes not.

While we can’t pull off the $27,575 budget of the first, we’re gonna make it damned cheap,” he says. “When all’s said and done, God willing, this won’t be a Two Jakes, Texasville, or Jaws: The Revenge kinda follow up.”

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Houston Chronicle – Kevin Smith to mark ‘Clerks’ anniversary with sequel

(Text Same As AP Story previously published)

THE HOLLYWOOD REPORTER – Smith clocks in ‘Clerks’ sequel

“The sequel was written for the stars of the original film, Brian O’Halloran and Jeff Anderson. Smith also will make an appearance with longtime sidekick Jason Mewes. The story follows the Quik Stop convenience store employees of the original “Clerks” 10 years later. Principal photography is set to begin in January.”

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CNN.COM – Ten years after original, Kevin Smith plans ‘Clerks’ sequel

(Text Same As AP Story Below)

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JOBLO.COM – Clerks 2 Is On!

“Both Brian O’Halloran (Dante) and Jeff Anderson (Randal) have already signed on for the sequel, with Smith’s alter-ego of Silent Bob and his stoner buddy Jay, returning as well. It will be interesting to see how Smith plays Jason Mewes’ real-life drug problems into the story-line. For anyone who thinks this is Smith’s way of making even more moolah, he insists that not to be true, estimating the new film’s budget to be somewhere between $250,000 and $5M (the original reportedly only cost him $27,000, part of which he raised by selling his comic book collection) This film would now be at the top of his “to do” list, as he continues to write the screenplay for THE GREEN HORNET, a film which he will likely not direct anymore.”

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FilmFodder.Com – Kevin Smith Preps Clerks Sequel

“Smith says his recent work on the “Clerks” 10th-anniversary DVD (coming out Sept. 7 under the title “Clerks X”), spurred his interest in reviving the characters. “The whole process reminded me why I got into the film business in the first place: to make talky, low-budget comedies,” Smith tells the Reporter. “So I wrote this script about the older and not-so wiser Dante and Randal, as they try to deal with a decade of further disillusionment, even less sex and eroding pop culture.”

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ETOnline.Com – The Clerks Are Back

“America’s favorite Quik Stop convenience store ‘Clerks’ are making their way back to the big screen. Filmmaker KEVIN SMITH will direct ‘The Passion of the Clerks,’ the sequel to his 1994 hit. Smith wrote the new script for the stars of the original and says it’s “about the older and not-so-wiser Dante and Randal, as they try to deal with a decade of further disillusionment, even less sex and eroding pop culture.” Meanwhile, ‘Clerks X,’ a three-disc 10th anniversary DVD set, is due out on September 7th.”

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Cinema Confidential – Kevin Smith planning “Clerks 2: The Passion of the Clerks”

“Remember how Kevin Smith said that “Jay and Silent Bob Strike Back” would be his last Jay and Silent Bob movie, but Ben Affleck said that he would never believe that in a million years? Affleck was right.

Smith said that Brian O’Halloran and Jeff Anderson, the two stars from the original movie, have given their thumbs up on the script. Smith will also make an appearance with longtime sidekick Jason Mewes. The story, reportedly, follows the Quik Stop convenience store employees of the original “Clerks” 10 years later. Principal photography is set to begin in January. Miramax Films will eventually distribute the picture. “

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Screen International – Indie icon Smith readies The Passion Of The Clerks

Ten years after he burst onto the US indie scene with Clerks, filmmaker Kevin Smith has decided to make a sequel to the now almost legendary no-budget comedy. Smith will direct The Passion Of The Clerks from his own screenplay, with principal photography set to begin next January and Miramax set to distribute.

Brian O’Halloran and Jeff Anderson, stars of the original film, will reprise their roles in a story that catches up with the employees of the Quik Stop convenience store 10 years down the line. Smith and Jason Mewes will make an appearance as Jay and Silent Bob.

Also reconvening from the first film will be producer Scott Mosier and cinematographer David Klein.

Originally made for $27,575 (though said to have cost $230,000 after post-production work), Clerks was a landmark in 1990s independent US cinema. It won the Filmmaker’s Trophy at Sundance in 1994 and the Prix de la Jeunesse and International Critics Week Award at Cannes.

The film went on to gross around $3.1m in US theatres. In 2000, Smith executive produced a short-lived animated TV series based on the film.

The filmmaker said the idea for the sequel came to him after working on the tenth anniversary DVD of Clerks. Miramax releases the three-disc set, Clerks X, on Sept 7. Smith’s latest film, Jersey Girl, is released on DVD on the same day.

He is currently writing a film version of comic book The Green Hornet for Miramax.