15 Minutes With David Duchovny

It’s a hot day in Los Angeles, and I’m running late. I’m rushing to LAX to catch a flight to the east coast and getting ready to interview Golden Globe-winning actor David Duchovny for his latest film Louder Than Words, the true and inspirational story of a married couple (played by Duchovny and the wonderful Hope Davis) who, following the tragic death of their youngest daughter, set out to open a children’s hospital in her honor. Duchovny is as impressive in this role as a grieving father as he was playing FBI Special Agent Mulder on Fox’s The X Files or beautifully damaged novelist Hank Moody on Showtime’s Californication.

David Duchovny is a fantastic actor, but that’s not why he scares me. I’ve been writing about fantastic actors for years. I’m scared of writing about David because he has a BA in English Literature from Princeton and a Master’s in English Literature from Yale. He’s a brilliant guy, and I’m intimidated by the thought of him reading this blog post and honing in on all my weak spots.

As I hurry to make my flight, a flood of thoughts pour into my head: Did I pack my cell phone charger? Do I have time to stop somewhere for breakfast so I don’t have to spend $95 for a sandwich at the airport? What would it sound like if Joe Cocker covered Bruno Mars’ “When I Was Your Man?” It’s all spinning in my head at once as I feel something crunch underneath my foot. I look down and see that I’ve accidentally stepped on a snail. I feel terrible. This poor, little guy was just trying to make it across the sidewalk, and I literally crushed whatever dreams he may have had.

I board the plane and sit next to Dexter actress Jennifer Carpenter. We talk about David Duchovny, Hollywood projects, North Carolina and Charles Manson. A flight attendant spills coffee all over my Duchovny notes, and later takes a selfie with Jennifer. It’s quite a trip.

The plane lands in the cockamamie, summer heat of Southwest Florida and, as I prepare to talk with David Duchovny, I’m still feeling bad about the innocent creature I stepped on back in LA. I wonder if karma still wants to kick your ass if the bad thing you’ve done was an accident? I consider asking Duchovny his thoughts on this matter, but switch gears, figuring it’s probably best to ask what drew him to Louder Than Words?

“It seemed like a really sweet, meaningful story that could be a very emotional tale if told on the screen,” Duchovny says. “The story is about a family that faces the worst tragedy a family can face, the loss of a child. Instead of dwelling on the tragedy, which you are going to do for a length of time, they moved on to an area of actually helping other people. So, they ended up becoming better people from this terrible event. They became this hugely philanthropic family that made this children’s hospital, which is an amazing accomplishment and helps numberless people who are suffering terribly. I thought it would be nice to find an audience for a movie like this.”

I ask David what method of preparation he used to portray a dad stricken with such tragedy?

“My method of preparation was having a family,” he replies. “If you are a father and an actor faced with playing a role in which you lose a child, there is really not a lot of imagination that goes into how that might feel. It’s an unfathomable pain that would occur. So, I understood the need to throw oneself into a big project after such an event. The truth is that the pain never goes away. You don’t get past the pain. You learn to live with it, and this family made beautiful use of it.”

I ask David what inspires him and, as he formulates his answer, I again think about that poor snail I stepped on. I try to imagine how he must have felt. I picture a gigantic foot crashing down through the ceiling above me, squashing me like a grape and then traipsing off to interview a Hollywood celebrity. I shake this crazy image out of my head as David explains where he finds inspiration.

“I’ve been pushing myself into areas that I haven’t done before, like fiction writing and recording music,” David says. “I’ve learned how to play guitar and I know enough to be able to throw some chords together and write some country rock songs and folk rock songs. I’ve been pushing myself into uncomfortable areas and that’s been inspiring. I get inspired by challenging myself. It’s the old Dylan thing, ‘he not busy being born is busy dying.'”

I ask David if he has a favorite quote, one that is exceptionally meaningful to him.

“‘Fail again, fail better’ from Samuel Beckett,” Duchovny shares. “That’s my life’s motto. I try to teach my kids that you’re going to fail so many more times in life than you’re going to succeed. It’s all about getting back up after you get knocked down. It really is ‘fail again, fail better.’ There’s never a total success. Everything is just gradations of failure. Some things are total failures. Some things are just minor failures. That’s what I mean by ‘fail better.'”

I mention Hank Moody, Duchovny’s legendary, bad boy character on Californication, and ask what the show’s creator, Tom Kapinos, meant when he described Californication as wish fulfillment for writers.

“The show portrayed a world in which Hank Moody, the writer, walked around his Venice neighborhood like a rock star,” David says. “Women wanted to be with him and men wanted to be him, and he’s a writer. That doesn’t really exist in our world. Writers aren’t rock stars.”

“Why can’t writers be rock stars in today’s world?” I sadly ask, wishing I could sing like Steven Tyler or have my own reality show on Bravo.

“I think the culture has moved on,” Duchovny says. “In the early Twentieth Century, writers were rock stars because there were no rock stars. There was no recording or mass culture for music or film. As we’ve gotten into this mass produced, technological world where music and movies can reach the entire world, music and movies are consumed in such a greater quantity than the written word. So, I think that’s one of the reasons.”

Now, I’m sitting at my laptop, looking over my David Duchovny rough draft. I don’t feel like writing. I want to be a rock star. Writing can be tough on a hot, summer day. You feel like life is passing you by. I can’t focus. I imagine David Duchovny reading my work and thinking I’m some kind of illiterate moron. I think about the snail yet again, and picture another giant foot crashing through the ceiling and crushing my existence. I imagine a vengeful army of snails cheering and snickering.

And then I realize I’m taking this snail bit much farther than I should.

Louder Than Words opens in theaters on August 1

Lexus Short Films: A Changing Grand Market Gets Its (Short) Moment in the Spotlight

There’s no better sign that the center of L.A.’s gravity has shifted back downtown than the Weinstein Company deciding to showcase its 2014 Lexus Shorts project at L.A. Live. If Hollywood is willing to brave the 10 at rush hour to venture all the way from the Westside, you know the transition is complete. Sure, the L.A. Film Fest has been downtown for years; but when Harvey Weinstein wants to give Lexus a big show to thank it for sponsoring their shorts project, I guess L.A. Live is the go to venue (with Wolfgang Puck’s WP 24 hosting the after party). 2013’s inaugural event was a low-key event at the DGA. But this year, even the great Harvey himself battled that glacial parking lot of a freeway to get here, as did plenty of scenesters in short black dresses and pork-pie hats.

Interestingly, one of the two shorts selected this year was shot in downtown and manages to capture its transition perfectly. First, what is Lexus Short Films? Basically, it’s an aspiring directors’ dream. Lexus, in partnership with the Weinstein Co., scours film festivals the world round for a lucky few directors, pairs them with mentors like Philip Noyce and Antoine Fuqua, and gives them the kind of budget and resources to make a short film that many indie features would kill for. Other shorts programs might give you advice, or if you’re lucky equipment. Lexus Short Films basically green lights your short and takes it to festivals around the year. This year’s films from up and coming directors Jon Goldman and Satsuki Okawa were polished pieces that dazzled even on the Regal Cinemas’ 60 foot main screen. Okawa’s film Operation Barn Owl featured a tale of unrequited love while Goldman’s–who full disclosure I’ve known for a while as a colleague and friend–showcased none other than Grand Market itself.

Anyone who’s lived downtown awhile has watched Grand Market transition from a dingy, reliably cheap lunch stop to a potpourri of foodie culture. It’s always been a utility spot for a great taco–Roast-to-Go’s carnitas will give you a heart attack and send you straight to heaven–but now with the downtown renaissance, it’s become a necessary lunch stop. I’m as likely to see French tourists sampling G&B coffee as I am a family of natives picking up pupusas to go. It’s both exciting and a tad melancholy. Who doesn’t love the breakfast sandwiches at Egg Slut? But you also miss the worn edges that are being slowly sanded off. (Though I’ll be honest, I’m literally salivating over the soon-to-open Oyster bar.) Goldman’s short Market Hours captures that moment of change, preserving the last traces of Grand Market’s old energy as it transforms itself for its second century.

In fact, that’s what got his pitch picked by the Weinstein Co. Backpacking around Asia, Goldman had fallen in love with China’s night markets, only to discover that L.A. had its own polyglot (day) version right in his own backyard. He’d been there once before, but on his return he saw it in a whole new light–even as it was changing radically. “I wanted to capture it in this moment of transition,” Goldman told me at the after party, the revitalized L.A. skyline sparkling in the background. “It’s so exciting because it has this cross section of the city–abuelitas doing their daily shopping, Chinese apothecaries–it’s L.A. in a nutshell. I was excited about the place and the time.” So Goldman concocted a touching story of a whimsical security guard who imagines the thoughts and dreams of all the market’s varied denizens, ultimately catching the eye of the lovely lady at a pastry stall. In addition to being a charming ode to the wonder of spontaneous connection, Goldman’s film function as a time capsule, capturing both Grand Market’s vanishing scruffy charm, as well as its voguish future (a starlet stops for coffee pulling up in the latest model Lexus to set off the film’s climactic action sequence.) Okawa’s film was touching and beautifully produced in its own right, but Market Hours struck a chord in me for its snapshot of a downtown that’s changing moment-to-moment; it’s like that high school yearbook photo that gets the last traces of your childhood and the inevitability of your future self.

It sent me walking home through the rising residential towers of South Park and past the turn-of-last-century brick offices with a twang of nostalgia. Downtown L.A.’s long since past the tipping point of urban renewal, but I’ll always treasure the humble, half-forgotten metropolis it was less than a decade ago.

Sony Evaluated EA Access and Deemed It to Be a Poor Value

I mentioned yesterday that EA had rolled out a new subscription gaming service that was available for Xbox One gamers only called EA Access. I wondered at the time why it wasn’t going to land for the PS4 console as well. Sony has now shed a bit of light on the situation.

ea access ps4magnify

Sony says that EA Access didn’t offer the value PS4 gamers expect. It then goes on to brag about its PlayStation Plus memberships. I suspect the deal was that Sony offered EA Access would put a crimp in PS Plus subscriptions and canned the idea before it started.

“We evaluated the EA Access subscription offering and decided that it does not bring the kind of value PlayStation customers have come to expect,” a Sony representative told GameInformer via email. “PlayStation Plus memberships are up more than 200% since the launch of PlayStation 4, which shows that gamers are looking for memberships that offer a multitude of services, across various devices, for one low price. We don’t think asking our fans to pay an additional $5 a month for this EA-specific program represents good value to the PlayStation gamer.”

Ouch.

[via GameInformer]

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