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Lev Kalman: The way we usually develop our movies is that we have the title and often the next thing will be the time in which it is set. So we said, all right, we're going to be making a 1992ish project, because Blondes in the Jungle was a 1988ish project. And that became the container for a lot of our ideas. If you were going to pick an era for that kind of useless intellectual, 1992 made a lot of sense. 1992 was the beginning of this fantasy of American-style globalization where the flattening of the world is going to be happening. It's close enough to the present that it's within our memories and we can draw upon it, and at the same time kind of distant.
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One of the big questions that drove us to make a movie that was set in this recent past was this question of whether the future of that time was inevitable. Is their future open-ended, or is their future definitely our present? We both draw on evolution or geology as examples of super-linear ways of seeing time, where there's definitely no future and there's definitely a possibility for new openings. That's undercut by the fact that you can make a movie that's set in the past. Within that, there is a feeling of fate. In a sense, you know what's going to happen to these characters. So those are two different ideas that we're juggling in the movie, that they're doomed to repeat our history, but on the other hand, there's nothing that says things absolutely have to go in a particular direction.As an academic, your work and your leisure time are always blended together.
Lev: I don't think my thinking is all that off from Kelly's. He says something about vacations being too productive. As an academic, your work and your leisure time are always blended together. We tried to show them at the extremes of their vacation time, when they're the least productive, to show how that's awkward for them.
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Lev and Whitney [in unison]: No.So what are your thoughts on grad school and grad students?
Lev: We're friends with a lot of grad students. I work at the University of California at San Diego. My girlfriend is in a PhD program here at UCSD, and that's why I'm here. I used to work at the grad program at Columbia. What drew us to grad students is that they're sort of like teenagers, or at the least the way that teenagers are in movies. They're not like a motorcycle gang or anything, they're not rebels or outlaws, but at the same time they're not as tied to adult behaviors as other people are.
Lev: We met as undergrads at Columbia. At the time they didn't have a film-production major, so neither of us were film majors, but Whit's uncle gave us a cheapo 16mm camera and we just started making movies on our own with our friends. That's pretty much what we've been doing for the past ten years. We figured out our vibe very early on, like in 2003.When we're getting started writing the movie, doing the dialogue, casting and all of that, it's 100 percent the two of us. Neither of us were making films at all before we started collaborating. We don't have an individual aesthetic, so if we both don't like it, it's not going to make it. When we get on set, Whitney is the cinematographer and I deal with the actors and doing sound, unless other people are doing the sound or assisting. And then we both edit together. All the titles in the film and on the poster are in Whitney's handwriting. Basically, there are no artistic decisions that we aren't making together.Whitney, anything you'd care to say about either the cinematography or your contributions? I'd love to be able to quote you in this interview.
Whitney: Um. It's really hard. I don't really have anything to add.Lev: Usually, when you're making a movie and you're shooting it in a gorgeous location, or you include location shots, those will always be subordinate to the story. So you have to find some way to include them. They would have to be motivated by the characters or the story. And one of the things we're kind of insistent about is that these things can be on their own and not just because the people are paying attention to them. Maybe they're missing it, but we're going to pay attention to it. Similarly, that kind of move of "these are the kinds of things that are cut out of the movie, [the things] that don't fit" is also why leisure is interesting to us, why we spend so much time on characters doing the same things, taking naps and stuff like that. Things that would be excessive to a plot are what we're trying to recenter in L for Leisure.L for Leisure opens today, Friday, May 15, in New York City at IFP's Made in NY Center in Dumbo.Follow Matthew on Twitter.