ROAD TO NOWHERE MOVIE MOVIE
The producer thinks I’m making an exploitation movie and in my mind I’m making Gone With The Wind.” Of his career, Hellman said: “I think what i’m trying to do usually is make what I think of as studio/Hollywood/A movies on a Z-movie budget. That’s how we have movies stars,” he said, adding, “Gary Cooper wasn’t making himself into someone else.” The actor shouldn’t become the character, the character has to become the actor. The California-based director also shared his unorthodox views on working with actors, saying “The only thing I ever told actors is don’t act.
“I don’t regret it, I thought I was a really good editor, but she’s better,” Hellman said. He had his collaborator Celine Ameslon edit the film. But since the advent of computer editing I’m not so fast at that.
“I used to be the fasted editor alive on an upright Moviola, I was usually standing with my foot on the pedal. Road To Nowhere, which premiered at Venice last year, marks the first of Hellman’s films that he hasn’t edited himself. Extraordinary things happened, the scripted morphed, it became something different, not in a deliberate way, in a subtle way.” “Everyone who makes a film is a control freak, but for some reason this time I wanted everyone to participate in a collective subconscious experience and try to shut off our brains and let things happen. He said Road To Nowhere - a neo-noir about a film director and a mysterious young actress - was his most collaborative film yet, thanks the the trust from his cast of Shannyn Sossamon, Dominique Swain, Tygh Runyan, Waylon Payne and Cliff de Young. “I wanted to tell the audience, ‘this is not a music video, just relax and let this movie happen.’ This one shot has the sole purpose to tell everyone to slow down.” It appears in the finished film as a scene of about 5 minutes. One other change he made from the script of Road to Nowhere was shooting a 14-minute take of what was only one line in the script. “That radically changed the movie and it became a different kind of movie.” That idea involved a photo of his lead actress taken two years before, which was Photoshopped and printed that day and became an image that was in the final shot of the film as well as the film’s poster. Be sure to check out the trailer for ROAD TO NOWHERE, dubbed by the Austin Post as “the most beautiful trailer ever.Hellman was speaking in a KVIFF masterclass supported by Screen and moderated by Vox Humana’s Gideon Bachmann. "Monte Hellman's first feature film in 21 years is one of his finest and deepest, a twin peak to his 1971 masterpiece, TWO-LANE BLACKTOP." - Variety. "May also be as significant to the indie feature as AVATAR is to the popcorn movie." - The New York Times. "A certifiable masterpiece." - Film Comment. Official selection of the Venice Film Festival, Palm Springs International Film Festival and SXSW. Shot with economic practicality on the Canon 5D and using traditional still-photo lenses, Monte Hellman's mind-bending mood piece is as aesthetically hypnotic as it is emotionally beguiling. Meanwhile, Haven's obsession with his beautiful lead grows deeper and more profound. Haven's lead actress (played with alternating relish and calm assurance by Shannyn Sossamon) bears an uncanny resemblance to the actual missing femme fatale, and the crew begins to uncomfortably wonder if the actress and murderer are one and the same.
ROAD TO NOWHERE MOVIE SERIES
In this expectation-confounding, enigmatic film-within-a-film, a director (cleverly named Mitchell Haven, and played by an excellent Tygh Runyan) struggles with a series of unsettling catastrophes that beset his small film based on a "true story" murder mystery and the following disappearance of a young woman.
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