Joel Potrykus on Making His Intense ‘Vulcanizadora’ and Embracing a Band Mentality

Joel Potrykus doesn’t want to blow up Sean Baker’s phone.

Potrykus admits he suggested that someone moderate a Q&A session and offered an incentive, which was a mistake. The moment he did so, it seemed odd to him. In retrospect, he realizes he shouldn’t have mentioned money at all. Regardless, he always responds… I’ll simply move on from it.

It’s no wonder that Potrykus and the director of “Anora” have kept in touch throughout the years. While Baker began filmmaking slightly earlier, both directors gained prominence as favorite figures in American independent cinema during the 2010s. Their notable works, such as Baker’s fast-paced, sex-work themed movie “Tangerine” and Potrykus’ gritty slasher film “Buzzard,” showcased bold characters, intricate plots, and a dedication to portraying the raw reality of their urban settings.

Director Potrykus is once again taking the helm with his latest production, titled “Vulcanizadora.” This mysterious film is now making its way to Los Angeles at the Laemmle NoHo 7. After a hiatus since the release of his 2018 film, “Relaxer” – a comedy about an apocalypse in a living room, Potrykus returns to filmmaking. Despite the passage of time and the new role of fatherhood, his dry humor remains intact. Interestingly, his child also features in the film, playing the part of his own character portraying a neglectful father.

Potrykus stated, ‘I’m not creating movies like ‘Sharkboy and Lavagirl’, or any similar ones by Robert Rodriguez. I don’t wish to produce a film that caters to my child. That’s too much effort for something cheesy that I won’t feel proud of.’

It’s not wise to expose “Vulcanizadora” to young students due to its abrupt violence and pervasive, unsettling tension. The initial part focuses on Potrykus’ co-protagonist and his friend (often portrayed by Joshua Burge, the director’s frequent collaborator) venturing into the woods with peculiar metallic masks, a small supply of Gatorade, and homemade fireworks. Typically, films set in such surroundings are categorized as crowd-pleasers, but these characters will reveal their unattractive sides before the conclusion of their enigmatic quest. The film’s second act, which unfolds back in civilization, is even more distressing – and perfectly reflects Potrykus’ talent for infusing dark humor without diminishing a persistent, melancholic atmosphere.

I’m based in Michigan, so it’s hard to gauge how people perceive my movies. It seems they associate me with a particular style – slacker themes, arrested development, and metal music. This goes against the punk-rock spirit for me to keep making such films. However, this is simply the kind of movies I create. So, oh well,” Potrykus says. “One reason I disliked having a manager was because they’d constantly push for defining my brand. To be honest, I wasn’t even sure what that word meant.

I enjoyed the reveal that this is a sequel to “Buzzard,” with you reprising your role as Derek — and, in a way, saying goodbye to that character. Not many people are afforded the opportunity to play the same person over the years. Do you feel a kinship with him?

I adore Derek, as I grasp him deeply. It pains me when others mock Derek. It’s amusing to witness laughter directed towards a character unaware of it; it’s not akin to bullying. However, my affection for Derek intensifies because he remains oblivious to the laughter. In a strange way, I identify with him – a constant chatterbox with a knack for being endearingly awkward. During filming, I found myself echoing his enthusiasm, exclaiming, “We need to break branches against trees! These scenes would appeal to them.” Yet, Derek’s ideas are essentially my own. Distinguishing between us proves challenging. Remarkably, my collaborators have shown great creativity in finding ways to preserve Derek for future projects. Let’s see if that comes to fruition.

You can really understand Derek through his pop culture references. “This is just like that ‘Indiana Jones’ movie.” Or when he’s singing “Voodoo” by Godsmack.

I personally don’t enjoy Godsmack, regardless of what others might think, but during a certain period, it was hard to avoid their music on rock radio. That type of music seemed to be everywhere. This tune would definitely appeal to Derek. Similarly, “The Fast and the Furious: Tokyo Drift” is likely Derek’s preferred film. Whenever we were shooting, I always kept a stack of index cards in my back pocket. I’d occasionally pull one out and say something like, “We’re going to talk about the pile of fish in the woods that my friend once told me about.” For quite some time now, I’ve been embodying Derek’s lifestyle; I am, in essence, Derek himself.

I’m surprised to hear you improvised like that. In interviews for your earlier films, you noted how much you rehearsed before shooting.

Josh and I have practiced extensively in the past as we were still figuring things out. Now, we’ve developed a silent communication system that works well for us. This is also true with my Director of Photography (DP). Our shared objective has always been to form a band and play music together.

In a way, that almost spoils you: to have that bond with a small crew.

It’s hard for me to comprehend how movies are made, particularly with large crews of 100 or more people. It seems like you’re managing a construction site rather than creating art or evoking emotion. I just don’t understand how it can be artistic in that setting. A band, on the other hand, often has members who have been playing together for years, practicing, and growing up together. But with a movie, it’s more like, “Hey, today I’m the assistant sound person.” “Oh, and I’m the set decorator.” It seems impersonal and devoid of art, like mere job assignments. I guess it’s practical because that’s how productions are sustained. But for me, it wasn’t about the potential job benefits; it was always about the band mentality, and if we make money along the way, that’s a bonus.

Even so, “Vulcanizadora” does strike me as a slightly bigger production for you. It has a few more production banners and you were able to shoot on 16mm. But would you just as easily return to the barebones, digital model of “Buzzard” or “Ape” if that was what was afforded to you?

In my perspective, “The Alchemist Cookbook” was an enormous leap for me, transitioning from just six individuals on set to around 26. That was quite challenging. Therefore, we’ve decided to downsize the project a bit. We aim to shoot using film now and improve our microphone quality, but my aspirations remain relatively modest. I feel a strong sense of obligation towards anyone who invests in me to ensure they get their money back. However, it’s crucial for me to be transparent that the chances of success are slim. I must do this, so if you’re comfortable with me not making any concessions, then this could turn out amazing. It’s a risky endeavor, but these films remain low-budget.

I thought a lot about Gus Van Sant’s “Gerry” watching this. I don’t know if that was a particular point of inspiration for you.

Every couple of years, I find myself immersed in the works of Van Sant. Recently, I revisited “Gerry” and had almost forgotten about it. The film ended at a point where I felt it was beginning to become truly captivating. I found myself thinking, “I thought these characters were embarking on a mission. I could have written that script instead.” Essentially, this is the type of movie it turned out to be.

That’s not a bad way to get ideas for movies: watch other movies, then make the movie you thought you were watching.

I don’t usually encounter such situations, but this particular instance made me think, “Wow, I believe I could manage it quite impressively.

I want to briefly ask about your job teaching film and video production at Grand Valley State University. It’s corny, but have you learned anything from working with students?

I’d rather keep some of my films hidden from their view; they contain sensitive themes that require cautionary warnings. They were the ones who encouraged me initially: “Joel, your movies don’t have to only focus on male characters.” Consequently, whenever I collaborate with them on a short film every summer, it’s always about women. Additionally, I found it challenging to connect with my fellow professors, but it’s the students who I can bond with more easily. Initially, I thought I was just being juvenile, but that’s how I naturally create my characters. There’s a specific reason why there’s no romance in one of my films; it makes me feel uncomfortable and awkward.

I’m trying to imagine a Joel Potrykus movie where a guy is a lawyer and goes to the gym at six in the morning.

I’ve given it a go previously, but it seems forced and cheesy. It’s as if I’m reading from a script. Honestly, I just can’t pull it off, dude.

This interview has been edited and condensed.

2025-05-10 20:20