Chris and Dave chatted about RED STATE, his probable involvement with HIT SOMEBODY, that still untitled father/son sci-fi space comedy, and CLERKS 3.

AN INTERVIEW WITH DAVID KLEIN

BY CHRIS GRAVES

CHRIS GRAVES: For those who do not know, what is your background and how were you introduced to the world of View Askew and Kevin Smith?

DAVID KLEIN: Kevin Smith, Scott Mosier and I all met at the Vancouver Film School. Kevin dropped out to save the rest of his tuition to make Clerks, while Mosier and I finished the program. Shortly after that program ended, I was in Seattle working as a camera assistant and Kevin sent me the script for Clerks. Nobody else was going to let a 20 year old, inexperienced punk like me shoot a movie, so I took the last 500 bucks I had in the bank and bought a ticket to New Jersey.

CG: What inspired you to become a director of photography?

DK: When I first started studying film, I thought I wanted to be a director. But shortly after getting to film school and learning what it was that different types of filmmakers did, I understood that I was always thinking in terms of what a cinematographer does, not a director. I was thinking in terms of camera movement, lighting and composition to tell the story, not authoring performances. I had also had a small amount of experience shooting 35mm still photography and 16mm motion picture films, which naturally let me in that direction also.

CG: You’ve acted in a lot of Kevin’s movies as well. Did you have a favorite appearance? And would you act again if asked?

DK: No and no. That ship has sailed.

CG: Can you describe your working relationship with Kevin? Is there a certain process that the two of you go through on every project?

DK: We have a true, unspoken language when we’re on a set together. Adam Siegel, one of the producers on Cop Out, noticed after seeing Kevin and I work together for a few days that “Klein cares about everything Smith doesn’t” which is somewhat true, but that simplification doesn’t give Kevin enough credit. He has really cared about what his films look like for quite a few years now.

We basically start every film by sitting together and going through the entire script in order to put a shot list together. Some scenes that we’re really familiar and comfortable with, we skip. Some we get very specific with. Because of our approach to Red State, although we had a shot list for the entire movie, we rarely referenced it. But we always attack the scene with the same intent even if we’re not actually following our predesigned shot list. He is one director that leaves me completely alone when it comes to lighting. Which, again, is not to say that he isn’t interested in the way his films look, he is. But in terms of how I’m using the lighting to help tell the story, he leaves that all up to me.

CG: Where did you come across the term “dutch rudder” which was refered to in ZACK AND MIRI MAKE A PORNO?

DK: In college, baby.

CG: Will the public ever get to see the often mentioned WILLAM BLACK short film that you shot with Scott Mosier back in film school? If not can you shed any light on what that short was about and why it hasn’t been released to this point?

DK: I doubt it will ever come out. It’s a short film owned by the film school, so there might be a lot of nonsense in getting it put out somewhere. I selfishly hope it doesn’t get out because it was one of the first things I ever shot, and it looks like it. But I was quite proud of a dolly we created for a scene where the camera and the actor were on the same platform that could spin around 360 degrees for 4 or 5 rotations. i had recently been influenced by Talk Radio and was stealing a shot from that movie.

CG: What format do you prefer, digital or film? And do you think there will come a day when film is completely phased out in favor of digital or something else entirely?

DK: I still prefer film. The latitude, resolution and grain are what I love about film. There’s also a way that these things work together that makes film the format I always want to use. But, digital is getting much better and I’m a huge fan of the Red One MX sensor. I think it’s definitely one of the best digital cameras out there and in a Lustre DI suite, it pushes around and color grades more like film than any other digital camera I’ve had my hands on. The day where film is phased out is coming, but it won’t be phased out by something better, it’ll be phased out by something cheaper. And that’s kind of heartbreaking.

CG: Do you have any desire to write and/or direct your own feature someday?

DK: No. I don’t have anything to say as a director right now.

CG: What was your experience like on the movie VULGAR? How does Bryan Johnson’s style of directing compare to Mr. Smith’s?

DK: That was a long time ago. All I can say about Vulgar is that I was a cinematographer who didn’t know what I was doing, but thought I did. Which is a very dangerous place for an artist to be, because you make arrogant decisions. I think a lot of that movie looks good, especially considering the budget – but a lot of the look of that movie comes from a place that was self serving and not necessarily best for the film. Arrogance sometimes comes along with youth and inexperience – but I’ve learned a lot since then.

CG: What can we expect from RED STATE, Kevin’s upcoming political horror film, in terms of the look and mood? Old school 70’s grain or crystal clear modern day cinematography or somewhere in between?

DK: I think it’s somewhere in between. We shot the entire film handheld, and I gave the lighting a singular voice that, I hope, matches a handheld camera. The lighting isn’t as refined as some of the work we did on Zack and Miri or Cop Out – it’s a bit more simple than that. But I think there’s a elegance to simplicity sometimes, just like there’s an elegance to a well operated handheld shot – which I hope we have a lot of. The look of the movie was facilitated by a number of factors, two of which were budget and time. When you don’t have the budget to take the time to light a film the way you see it in your head, you have to come up with something else. So the look of Red State comes from a creative place, but there were other factors that pushed it further in the direction it ended up going. I’m very proud of the work and happy with the way it turned out. I’d say it’s got some grit to it but there’s nothing in it that feels forced to me.

CG: Will you be involved with HIT SOMEBODY and Kevin’s untitled sci-fi father/son space comedy?

DK: Absolutely. Where Kev goes, I go.

CG: Do you have any new projects coming up besides RED STATE?

DK: I’m currently prepping season 4 of True Blood. I’m an alternating cinematographer on the show this season, so I’ll be shooting 6 of the 12 episodes.

CG: And finally, can we expect to see you behind the camera for CLERKS 3 somewhere down the line?

DK: Where Kev goes, I go.

Much thanks to Dave and Chris for the interview — It’s been fantastic seeing Dave’s work progress over the years, and a testament of loyalty on both he and Kevin’s part that the two continue to work together today.

Chris has done some fantastic work for us over the years, and tells us that he’s lined up a few more great exclusives that we’ll be sharing in the coming weeks. Thanks to Chris for his continued contributions — Be sure to check out the full series of interviews if you’re new and missed any from the past.

The film “Zack and Miri Make a Porno”, starring Seth Rogen and Elizabeth Banks, was advertised by Entertainment Film Distributors on posters on the side of buses.

Many complainants were concerned with the use of the word “porno” in the title, and the fact that the poster could be seen by young children, who may then ask what it meant.

The ASA, however, said the ad did not contain any explicit imagery, and did not in itself breach any rules.

The ASA said: “We did not consider that the ad would cause widespread or serious offence or harm to children.”

Complaints not investigated.

For the full list, see BBC News — You might be surprised to see what else shows up.

I asked Harvey if we could compete with CHASING AMY back in ’97. I knew we had something special & I figured we could’ve walked with at LEAST an acting award. Said Harvey “Sundance is about emerging filmmakers. You’re already established. You gain nothing by competing, even if you win an award.” But it was @TheJonGordon who put it best, re: AMY competing. Jon had been Harvey’s assistant for years before being promoted to an exec. It was @TheJonGordon who got Harvey to re-watch CLERKS at Sundance, after he’d passed months before & walked out during the third scene. And when @TheJonGordon was made an exec, one of his first moves was to sign me & @SMosier to an exclusive overall deal at Miramax. That deal wound up running from fall of ’95 to the end of ’07 – 12 years. Under that overall deal, I made everything from CHASING AMY to ZACK & MIRI.

So it’s December ’96 & Harvey’s just urged me not to submit CHASING AMY for the competition category at Sundance. He’s urging premiere only. But it was @TheJonGordon who said the thing that made the most sense, re: competing. “You’re a returning alumnus. You can probably get AMY into any of the other sections. If you compete, you hurt a freshman’s potential to show THEIR Clerks.” @TheJonGordon was right. And human.

So if I go to any film festival, I try not to compete. Harvey’s reasoning was right, but @TheJonGordon hit the nail on the head. Competition categories are where dreams come true & lives can be changed with a screening. All my dreams started coming true in January of 1994. And the thought of gilding the lily by competing unnecessarily & possibly robbing someone like me of THEIR shot? That’s too Gordon Gecko for me.

So, years later, @TheJonGordon is my RedState producer – the guy who found the loot & made it happen when nobody else could or wanted to. And there we were, looking at the Sundance paperwork for our RedState submission. And someone else in the room asked “Competition, right?” And I smiled at the guy who’d helped give me & ViewAskew a home for 12 yrs & who sweated RedState into existence and said to @TheJonGordon, “I can’t fuck a freshman.” The 20 year old Kev cried betrayal at this sentiment, but fuck him. So competition was never a consideration.

Later in January, during the festival, “Red State” will mark its public world premiere, where Kevin still plans to auction distribution off like so:

Via @pklain “Will you determine RedState distributor at Sundance by highest bid, marketing strategy, or what?” Biggest balls. And checkbook.

Here’s a new Sundance article in anticipation of the big premiere. Minor plot spoilers ahead:

Ever since Clerks (co-winner of the Filmmakers Trophy at the 1994 Sundance Film Festival), Kevin Smith has been known for his sharp, subversive, comedic writing. He shifts from comedy to horror with Red State and aptly demonstrates that good writing transcends genre.

Red State begins by following three horny high school boys who come across an online ad from an older woman looking for a gang bang. Boys being boys, they hit the road to satisfy their libidinal urges. But what begins as a fantasy takes a dark turn as they come face-to-face with a terrifying “holy” force with a fatal agenda.

Instead of relying on archetypes and predictable formulas, Smith meticulously fashions all-too-real characters, utilizing exceptional performances (notably by Michael Parks) and an intelligent script. His realistic style gives the film an intimate feeling, heightening the terror to biblical proportions. Red State is a shocking new kind of horror film that aggressively confronts higher powers and extreme doctrines with a vengeance.

Festival attendees can now login to the site and add a screening to their calendar. 3 shows are currently on the books: Sunday, January 23rd at 6:00 PM, Monday January 24th at 8:30 AM (both in Park City), and Wednesday, January 26th at 9:00 PM (Salt Lake City).

Rule Two: Cock a good eyebrow, and be prepared to wiggle your facial features curiously as and when.

Example: Silent Bob (Kevin Smith) Vs Jay (Jason Mewes)

Living up to his nickname (for the most part), Silent Bob mostly communicates wordlessly through hand gestures and gesticulations. He also hangs out with one of the loudest, crudest, most ridiculous human beings in this or any other askewniverse, and so after one of Jay’s disgusting diatribes the well-placed eyebrow pop is king.

When he does speak, it’s either out of extreme frustration or in a genuine moment of heartfelt emotion – such as in the famous ‘Chasing Amy’ speech from, you guessed it, Dogma. No, wait, Chasing Amy. Anyway, Ol Bob’s a classic example of the not-so-funny man playing it straight, but with a bit of brow-work nabbing the laughs clean off his supposedly more humourous counterpart.

See also: Alan Rickman, anywhere, John Belushi in The Blues Brothers (not a straight man, as such, but still), and The Rock, in any comedy. We’re being serious here.

Most Of Kevin Smith’s Filmography

Yes, they’re crude, obscene, and occasionally disgusting, but most Kevin Smith’s movies are also, at their root, romantic comedies. Think about it: the key conflicts in both Clerks films is Dante’s inability to decide whether he should be with his current girlfriend or be with another. Mallrats is about two guys who have been dumped and, while using the mall as a coping mechanism, try and repair their relationships. Zack and Miri Make A Porno is about two friends who discover that they have long had feelings for one another. Do I really have to explain Chasing Amy? These are all classic romantic comedy storylines, just hidden behind hermaphroditic porn and interspecies erotica. There’s no shame in that.

The project I wanted to ask you about was one that’s popped up on the IMDB called The Science Of Cool, which seems to hark back to the John Hughes films of the 80s? Is it finished?

No, it’s not. And you know what? A lot of those movies aren’t even started. The Science Of Cool is a movie that a friend of mine, Billy, is producing. And he asked me if I wanted to jump on board, and I read it and I thought it was good. It was a different character for me and stuff. And I don’t know how these people even get it up on IMDB like that.

There’s three other movies up there, but none of them are in actual production right now. They’re all in that stage where they’re getting characters, people attached to the script and some people are interested in financing, but nothing solid. That’s where that’s at. They have some people who want to do the movie and are interested, but they’re waiting to get financing.

…

Have you got any involvement in Cop Out?

No. I was supposed to do a small part in there, and it didn’t work out because the day they were shooting, scheduling, didn’t pan out. It was just a small part anyway, which still would have been nice, don’t get me wrong. It wasn’t worth adjusting the commitments I already had for a small part.

There’s a lot more interesting stuff, so we recommend you check out the entire article for a decent little read. Job well done by the folks over at DOG.

Let’s take a look back at the last 12 months, shall we? 2009: The Year In Askew, part one, is straight ahead.

January 2009

2009 kicked off in an uncharacteristically quiet, low key way. Kevin’s normally regular web presence continued to remain at low-key levels. Interviews and promotions for his latest comic, “Batman: Cacophony”, which he wrote, continued — longtime friend and fan favorite Walt Flanagan drew the book. However, it was obvious that this was a much more subdued press push than the past. We’d soon know why. Meanwhile, as the shrinking home video window continued, a February release date was already announced for “Porno”, which had just hit theaters at the end of October. The Bluray release would be day and date with the DVD, a first for a View Askew flick. Despite a lower than expected box office bow, the film would wind up on many “Best of 2008” lists which were revealed this month.

While Kevin wasn’t posting to the web and conducting as many regular interviews, the great SModcast would not be stopped. Episode #71 hit the webs in early January. Before the year was out, Kevin and Scott would hit a significant SMod milestone. By the end of the month, the guys would have recorded 3 more episodes for the web.

As the month continued, details began to surface for the “Zack and Miri” discs. Thankfully, View Askew would not let us down once again as far as extras go — The package would include a brand new documentary, a pile of deleted scenes, bloopers, and lots more. As Kevin and Scott had discussed the film at length on SModcast, for the first time, a View Askew DVD would not include an audio commentary track (though the extras would more than make up for the lack of one). Kevin made a rare post to explain his feelings on the commentary and how SModcast was an even better replacement. Our extensive review of the film details the greatness of the discs.



His first live appearance of the year took place in Hartford, laying groundwork for what would be the most significant year for Kevin’s stage show yet. Meanwhile, Smith made plans for a major event in Toronto for early February…

February 2009

February 2009 arrived with rave reviews for the “Zack and Miri Make a Porno” DVD. Critics and fans alike praised the film and the disc’s abundance of extras, some who had unfortunately discovered the film for the first time in their homes. Canadians were gifted with versions of the disc that featured exclusive “scratch and sniff” packaging.



While it had now been over 2 years since the last Vulgarthon film festival, Toronto celebrated their own mini-film fest of sorts in early February. With Kevin coming to town for a historic two-night appearance at the beloved Roy Thompson Hall, where every one of his gigs continually sells out, the Bloor Cinema tacked on a 3-night film festival following the appearances. Kevin appeared live for a Q&A session following each of the films, creating Canada’s own mini-Vulgarthon — a bright spot among their normally brutally cold winter. Audience reports raved that the appearances were among the best ever, with Jason Mewes making a rare onstage appearance alongside Kevin for most of the second night.

Kevin capped February with more live shows in New York and Ohio. At these shows, rumors began to circle on what his next project would be. Would it be “Red State”? “Ranger Danger”? Something new? It seemed that anything was possible, though Kevin’s immediate concern was getting out in front of the public, as his love for being onstage continued to blossom, as fans continued to pack seats to watch Kevin spend a few hours taking questions and entertaining crowds with one of the best impromptu shows in the land….A theme that would continue throughout the year. Until…

March 2009

In the most exciting, unexpected announcement of the year, March 2009 kicked off with a bombshell — Kevin had become a director for hire. But not just for any studio, and not just for any movie. Warner Brothers pictures signed Kevin to direct a major motion picture starring Bruce Willis and Tracy Morgan, titled “A Couple of Dicks”. The film was one of the great unpublished screenplays of 2008, so to see this script land in Kevin’s lap was a dialogue-lover’s dream. Full of raunchy, hilarious text, the script was the perfect fit for Kevin’s sensibilities. It would also mark the first time that Kevin would direct a feature film that was not from his own script. News agencies across the web picked up the news, and it appeared that we now had our main project/theme for 2009. This would be the year of “A Couple of Dicks”.

Within mere days of the announcement, rumors already started to circle that the title may change, to the more tame “A Couple of Cops”.

In mid-March, “Reaper”, a show with a pedigree similar to “Dicks” (Kevin directed, but did not write, the pilot episode), returned to the CW airwaves for a second season. While building on its mythology and critical acclaim, the program would not survive past its second-season finale.

In comic news, artist Walt Flanagan revealed that he and Kevin were working on a yet-to-be-titled follow-up project to the highly successful “Batman: Cacophony”. Before the year was out, we’d not only know its identity, but have quite a few issues on shelves to enjoy. Astute listeners to SModcast soon suggested that it had slipped that a “Batman” series was being written after the first series was already in the can, prompting us to speculate correctly that the next series would once again feature the caped crusader.

As March “marched” on, Kevin’s signing to direct “A Couple of Dicks” continued to generate quite a bit of press and speculation. In the middle of the month, though, another film briefly stole the spotlight — After a great deal of anticipation due to his praise of an early cut of the film, the world finally got to see “Watchmen”, one of the greatest graphic novels of all time, come to life on the big screen. And as one highly-anticipated geek movie debuted, one of the most beloved geek series of recent memory concluded — Sci Fi aired the final two hours of the incredible “Battlestar Galactica”, a show beloved to Kevin (who had the pleasure of making a set visit before everything was struck and boxed for good).

Around this time, when Kevin was in a particularly introspective mood, journalist Lee Stranhan scheduled what would become one of the most amazing sit-down interviews of his entire career. The interview, which was conducted earlier in the month, would feature the director discussing all aspects of his life and career in an even more open and honest way than ever before (a feat many thought not even possible for the already public Smith).

Since “Clerks”, hockey had always played a role in the films of View Askew. But in late March, Kevin laid groundwork to take his love of the game to a whole new level. After being touched by the story of Wayne Gretzky and his father Walter, Kevin mounted efforts to bring himself, fans, and friends to Brantford, Ontario for June’s Walter Gretzky Street Hockey Invitational. During an appearance in Vancouver, he also mentioned, for the first time, that he had an interest in making a hockey-themed film in the future.

By the end of March, SModcast, still rolling strong, had celebrated its 81st episode of free entertainment.

April 2009

It would become a buzzword on many reporter’s lists of the best of 2009. Twitter. Tweeting. While the service had been active for a few years prior to 2009, it wasn’t until this year that the mainstream embraced this service, burgeoned by the sudden celebrity love for the technology. By eliminating publicists, for the first time, celebs could use twitter as a direct line to their fans. By contrast, this was a practice that Kevin had adopted from early in his career with ViewAskew.com. Still, always being in the forefront of technology, Smith saw Twitter as yet another viable communication vehicle. Frequent use of the service started in early April, when Kevin trekked back to the east coast, where he would live for many months as production on “A Couple of Dicks” took place. The film would shoot in and around New York City, mostly on location.

Not ones to shy away from technology, News Askew also began tweeting our headlines and stories as well, giving readers yet another way to keep up with the latest.

Following a pre-production trip into NYC, Kevin jetted to Vail, Colorado, where he was presented with the Renegade Award at the Vail Film Festival, celebrating his entire body of work.

The good news continued, as Kevin made a weeklong visual clue game of one of the biggest announcements of the year: He would bring his beloved Q&A act to the stage of New York City’s prestigious Carnegie Hall in mid-June. To sweeten the announcement, it was also revealed that a new book would arrive in the Fall: “Shooting the Shit with Kevin Smith” would collect some of the best moments of SModcast in print form.

Hockey came back in a big way in April, when Kevin revealed he would be writing a new blog for the NHL to highlight the experience of watching the Devils in the playoffs. He’d also purchased a luxury box at Prudential’s center city Newark arena, The Rock, where he would entertain family and friends and introduce newcomers to the great game of ice hockey, with his beloved Jersey team.

May 2009

With the popularity of SModcast continuing on iTunes and Quick Stop Entertainment, Kevin and Scott decided to try an experiment – It was announced that the first LIVE SModcast would be held next month in Canada, the same weekend that the crew would be heading north for the Gretzky hockey tournament. Dubbed “Stocky Night in Canada”, the limited event would sell out in record time.

We also had a new date to add to calendars – Before film had started to roll on the movie, we had a tentative release date for “A Couple of Dicks” – February 26, 2010. Those brothers Warner sure don’t mess around.



By the middle of the month, Entertainment Weekly announced another newsworthy release — Kevin and Walt would indeed return with that speculated “Batman” series. This one, titled “The Widening Gyre” was already half completed with issue 1 set to debut in August. In addition to this expected news, it was also revealed that Kevin’s “Green Hornet” script ideas would see the light of day in comic form. A new miniseries would be on the way following the completion of “Gyre”.

Movie Trailers – Movies Blog

The month of big announcements continued when on May 14th, Kevin revealed to MTV that he wasn’t kidding around when he mentioned that hockey-themed movie idea in March. “Hit Somebody” would be the title of this one, based on a Warren Zevon song penned by author Mitch Albom. Following the announcement, quite a bit of articles on and by Kevin tied into the sport. It was apparent that hockey was on the brain, and in a very big way.

Followed by all the good news in May, a spot of bad news arrived on the 19th via Twitter – Star Ethan Suplee revealed that he and longtime-Askewer Jason Lee’s hilarious sitcom “My Name is Earl” had been cancelled by NBC. A glimmer of hope via a save by network TBS would come briefly before the official June cancellation announcement.

With filming getting close to rolling, May capped off with the announcement of two more cast members for “Dicks”: Seann William Scott and Adam Brody. By the end of May, the cast would have gathered for the first full read-through of the script.

June 2009



Production might have been starting on “A Couple of Dicks” as of June 2nd, but Kevin wasn’t going back to work behind the cameras without a gift to the fans — He and Scott presented SModcast #87 on the eve of the shoot. Due to the public nature of the on-location summer in New York City set, fans were quick to locate the cast and crew and snapped the first of what would be many looks at Willis, Morgan, and Smith in action.

Though filming had begun, Kevin wasn’t about to let that stop his hockey-themed weekend plans in Canada. Starting on June 6th, he and a large crew of friends and fans took to Brantford, Ontario for the Wayne Gretzky Hockey Tournament and the first live SModcast. The View Askew all-star team name? Puck U.



Then, on Saturday, the first ever live SModcast found Smith and Mosier on stage before a sold-out crowd of 1,100 where history was made.



On June 17th, we arrived at one of the biggest events of the year, and one of the most significant in Kevin’s life — Kevin took the stage to a sold out crowd in Carnegie Hall. Some of the world’s greatest performers have stepped onto that stage, and Kevin had now joined the ranks of a very elite few — Especially from the point of view that this was a one man show, where he’d single-handedly entertain the packed house for almost three full hours. News Askew was fortunate enough to witness this magical and historic event – One of Kevin’s finest performances of all-time.

While the first half of the year would have already celebrated a fairly busy, public schedule for Kevin as far as events, the next six months would set records, as Kevin announced a very aggressive Fall Tour schedule which would take him across the United States, to new cities, and abroad.

Finally, as June came to a close, more confirmed casting reports for “A Couple of Dicks” that built on an already impressive cast: Michele Trachtenberg, Kevin Pollak, and the great Jason Lee were all confirmed for supporting or cameo roles.

Join us later this week as we wrap it up, and cover the last 6 months of 2009. See you then.

“…That’s what weed taught me, too. I’d sit there going, Wait a second. All these things that people write on the Internet. And, again, they’re not all bad, but I used to gravitate towards it, because it’s, like, “Oh, what can I do to change this?” That’s the sad thing about that. You don’t pay attention to the people that actually like your stuff. You pay more attention to the ones who are trying to bring you down. You’re trying to win them over and shit. That’s just backwards and stupid.

But now, it’s just, like, they can say what they want and, honestly, they don’t take a fuckin’ dime out of my pocket, or piece of food off my table. Just because somebody fuckin’ rips me a new one cleverly online about one of my flicks, I don’t get laid one iota less. I still get laid. You sit there going, Wow, in the last 15 years, out of that 15 years, if you concentrated the time that I spent online trying to correct misconceptions about me, or when people write wrong shit. I never went after people for not liking the movies. That’s subjective, can’t do nothin’ about that, but going around correcting shit. I must have-concentrated time: two years, dude, two years of doing that online. Two years of my life–gone! I’ll never get back. As I’m fuckin’ cruisin’ toward the grave, believe me, I’m gonna be, like, “You piece of shit? I wasted so much time on you. I want those seconds back!” And, that’s a lot of seconds, dude, ’cause I used to do it a lot.”

…

“… I love ZACK AND MIRI. I mean, I think it turned out well, but I look at ZACK AND MIRI, and I look at CHASING AMY, and I go, Okay, two movies cut from similar cloth. What’s the difference? One is made with the passion and brio of somebody who is desperate to get their message across, desperate to communicate desperate to say, “If I don’t make this film, I’m gonna die.” And, the other one was made by a guy who was, like, “Well, that’s the movie I chose to do that year.” And, it’s just not the same thing. I mean, ZACK AND MIRI happened very easily, very quickly. Seth [Rogen] read it. He loved it. The Weinsteins are, like, “Great. We got Seth Rogen. Let’s make it.” It came together. The shooting went well, no fighting, everything was copacetic. But, there’s just not same, like…you know, for CHASING AMY, people were sleeping on couches, dude. We were stacked five men to an apartment and shit like that. That world is gone. That world produces something that I can’t bring back to this world. I can’t replicate the type of films I did.”

…

“A COUPLE OF DICKS-nobody’s gonna believe I directed this movie, because it looks so average. And, when I say ‘average’, I mean that in a good way, like, it looks like everybody else’s movie now. Back in the days, you’d look at my flick and you’d be, like, “Oh, that’s by the motherfucker who made CLERKS. You can tell, because it looks so terrible. His camera won’t move.” A COUPLE OF DICKS, man, it looks like 48 HOURS. It looks like BEVERLY HILLS COP, LETHAL WEAPON. And, I know some people are, like, “Great, your movie looks like an ’80s movie.” But, hey, I’m on a slow curve. What the fuck do you want from me?

You know, my film school has been in front of everybody. I’m not ashamed of that. I mean, I’ve been given this rarefied position, dude, where it’s, like, somebody handing me the golden ticket. Yeah, I made a fuckin’ indie flick like everybody else, and I was in the right place, right time, and Harvey Weinstein gave me a fuckin’ golden ticket, and forced me to become a personality by being, like, Get out there and talk about your fuckin’ movie, it ain’t got anybody else in it, so you become the front man. So, that forces you to become the front man. You’re out front and center, and here I am talking to you, talking to everybody about the flicks. And, you become something of a personality, and suddenly, you’ve got this amazing golden-ticket life, where you’re just like, “Wow, it keeps happening, over and over again. And, people like what we’ve done. And, some people fuckin’ can’t stand it, but some people absolutely dig it.” And, because of those people, you’re inspired to go on, and keep doing it, and shit like that.”

…

“…Like, you know, I did interviews in the beginning of my career, where I talked about, I think I have 10 movies in me. And, guess what, [HIT SOMEBODY]’s going to be Number Ten. So, I got to honor the superstition. Look, I’m not finding any fuckin’ money on RED STATE, because it’s so fuckin’ blatantly uncommercial and very, very marginal in terms of its subject matter. That money’s not forthcoming any time soon. And, so I concentrate on something where my heart actually is, so that there’s a fuckin’ chance, dude, a hope in hell that I can make something that has that fuckin’ fire and that passion in it that CLERKS had, that CHASING AMY had. I mean, it’s not…That didn’t come from desperation or not having the means. That just came from because I was so fuckin’ in love with the material, I was, like, I just gotta share this. If only people could see the world the way I see it, through this particular picture, man, they would get it. So, that’s where I am now, but I wouldn’t have gotten there back in the day, ’cause I was always the dude who was, like, “I write and direct my own stuff. I would never direct something that somebody else wrote or conceived or something like that.”

We had trouble finding clips to pull, the whole thing is just so good, it was tough to pick favorites above. If you’re liking what you’re seeing, be sure to do yourself a favor and head over to Aint It Cool News for the full piece. We’ll let you know as soon as Part Two is up. This is one of the best sit-downs with Kevin of the year. Don’t miss it.

“…We just did A Couple of Dicks here in the city all summer long, and there are more action sequences in it than anything I’ve ever done before. And those action sequences were like pulling f___ing teeth with me. You spend two days shooting storyboards and nobody is talking. That’s just not why I got into it.

The big ambition for me right now is a hockey movie. That will be a real test of visual storytelling skills. I mean, on A Couple of Dicks I think me and my DP Dave Klein definitely notched it up. I don’t think anybody’s going to believe I directed the movie, because it looks slick and good. I want to take what we learned there and bring it into the hockey flick, and that will have a lot of action. When you go to a live hockey game, it’s f___ing crazy. It’s the best sport you’ve ever seen — it’s the best thing you’ve ever seen. It goes beyond sports at some point and becomes this beautiful, poetic ballet, where dudes in costumes are skating, but it’s not the Ice Capades, and they’re hitting each other, and there’s an aim and a goal … I want to try and represent what it’s like to be there, watching the game, and so far that hasn’t really come across on film. We’re going to try it.

I think I’m ready for it. I’ve been doing this, I started in ’93, so like 16 years. You just get better at s___ the longer you do it, even if you start off being inept at it. You look at Clerks, that is inept filmmaking. That’s a guy that watched three Hal Hartley movies and four Jim Jarmusch movies and said I think I’m ready. I learned on the job.”

Don’t miss the entire Q&A at Techland.