As a cinephile with a penchant for gritty, realistic stories, I find myself deeply captivated by the works of Jeremy Saulnier. His unique ability to create action heroes who are as vulnerable as they are powerful is truly remarkable. In his film “Rebel Ridge,” Saulnier masterfully explores the complexities of humanity within the law enforcement system, challenging our preconceived notions about cops and corruption.
In every Jeremy Saulnier movie, there comes a point where it feels like the writer-director is reaching out to viewers, gripping them tightly and demanding their full attention as they prepare for an imminent burst of violence. In the film Blue Ruin, this moment occurs during Dwight’s brutal murder of the man who served time for killing his parents. In Green Room, it’s when a punk-rock band’s bassist is viciously attacked with a machete. And in Rebel Ridge – Saulnier’s genre experiment that took six years to complete, survived after its star, John Boyega, left the project, and was described as a blend of “First Blood” and “Michael Clayton” – the film grabs viewers right from the start with an intense, gripping scene.
In the story, Terry Richmond (Aaron Pierre), a Black ex-marine, cycles into the town of Shelby Springs carrying $30,000 to cover his cousin Michael’s (C.J. LeBlanc) bail. As soon as he arrives, the local police harass him, forcing him off the road, detaining him, and making disparaging comments about his military service. They even imply that he is a criminal. When they discover his money, they misuse civil asset forfeiture to essentially steal it. The ACLU and Institute for Justice estimate that this practice, used by police departments and federal agencies, generates billions annually with minimal evidence required to seize assets. This initial injustice sets the stage for the entire plot of the western-style, legal thriller Rebel Ridge , as director Jeremy Saulnier describes it as a unifying anger-inducer, resonating with people across the political spectrum and rallying the film’s audience behind Terry Richmond.
In Saulnier’s words, “It was satisfying for me personally when I saw injustice happening, and I got really angry about it when I learned about civil asset forfeiture. This topic became the focus of my next film because I felt deeply about it. I don’t usually make movies with heavy, obvious themes, but this time, I couldn’t help feeling strongly enough to express some unity.
As a film enthusiast, I must say that “Rebel Ridge” echoes the raw, gripping intensity of Saulnier’s past works, yet it takes an unexpected turn when it comes to the graphic violence his followers have grown accustomed to. The protagonist, Terry, is a master of martial arts and a formidable figure, but he chooses to diffuse rather than escalate conflicts. His ally in unraveling the mystery surrounding Shelby Springs’ conspiracy and cover-up is Summer McBride (AnnaSophia Robb), a government employee with her career hanging by a thread. Saulnier acknowledges that “Rebel Ridge” deviates from his previous films, but he aimed to create a movie that would be suitable for his teenage and preteen daughters to watch. This was a test of sorts for him: “Can I craft a script without making everyone meet an untimely end?
The film was inspired by a broader understanding rather than a single incident of civil asset forfeiture. In the story, there’s a racial tension between the characters Terry and Michael and most of the police officers they encounter, with an implication that this practice disproportionately impacts communities of color. During the writing process, I uncovered numerous instances where people from various backgrounds, such as Texas ranchers losing their properties due to a few marijuana plants, had their assets seized through civil asset forfeiture. This loophole is often exploited by companies that teach police departments how to use it for financial gain. Additionally, underfunded local police departments sometimes resort to this tactic because of poor hiring practices. These factors create a challenging situation for law enforcement and contribute to suboptimal policing. The practice undeniably affects communities of color in specific ways, as well as those who lack the resources to challenge it, since it’s not tied to a criminal charge, making it possible to bypass constitutional rights like indigent defense.
The films you’ve created often share some common elements. They are typically set within confined societies, featuring protagonists who are outsiders or those dwelling on society’s periphery. These stories often revolve around a life-or-death struggle with profound existential implications. However, Rebel Ridge appears to be more of a legal thriller, reminiscent of films like Michael Clayton and Erin Brockovich, while also incorporating aspects similar to an action classic such as First Blood. Was this a deliberate attempt to experiment with genres?
In terms of legal thrillers, certainly Michael Clayton, due to the captivating dialogue in that film, was an inspiration for me. I longed to achieve such intensity between the characters. I found pleasure and value in taking the time to listen to people converse. If this situation were real life, as opposed to Terry and Summer resorting to violence by joining forces and opening fire, it would likely be a matter of engaging in conversation and gathering information. So, let’s imagine this scenario unfolding without the constraints of a movie trying to reach its climax: “Let’s have a talk with people. Let’s gather some intelligence.
In the film’s press materials, you mentioned enjoying how dialogue scenes were turned into intense set pieces akin to high-stakes scenarios. This approach is reminiscent of the tense negotiations in Green Room, particularly the sense of information deprivation and chaos that characterized those interactions. My question is whether this tension-building method felt different when working on Rebel Ridge, given the sharp dialogue between Don Johnson’s character Chief Burnne and Aaron Pierre’s Terry Richmond, who are both seasoned characters compared to the underprepared individuals you usually write for?
After John Boyega departed from the film in 2021 due to personal matters, the production faced an unexpected challenge. Similarly, Joaquin Phoenix left a Todd Haynes movie, causing it to halt. However, you managed to keep Rebel Ridge going. What’s your secret for continuing filmmaking when such incidents occur?
In your career, you’ve collaborated with a team that includes your long-time friend Macon Blair, who has starred in films like Blue Ruin, written Hold the Dark, and executive produced Rebel Ridge. The Blair brothers have also scored all of your films. Here, Macon was instrumental in providing valuable feedback on your script, even while he was busy directing The Toxic Avenger. There’s a particular line of dialogue in the movie that you found wasn’t quite working; it wasn’t fully conveying the concept you had in mind. So, you reached out to Macon and asked him to “make it awesome.
In this project, my brothers, known as the Blair brothers, Brooke and Will, have been responsible for the music in every film I’ve produced since 2002. They worked on the score for “Rebel Ridge” over a year ago. The soundtrack has an edgy, Michael Clayton-esque feel, but considering the movie’s content, I didn’t want to go too loud or southern-inspired because it seemed overdone. Instead, I focused on subtlety and understatement. Lately, I found myself thinking, “I need more music!” So, I requested an additional 20 minutes of full-scale music, which they had to complete right up until the deadline. The score played a significant role in the movie, especially during the climax, where it was always intended to be a key part. As we approached the ending, I said, “I think I’ve reached my limit as a filmmaker. We have this incredible footage of real cars on a real road. You take us home now.” The last emotional moments are entirely scored, allowing them to take control and finish the movie strong. They are proud of their work and put in a tremendous effort.
A common term used in reviews of your movies is “muscular,” which seems to imply they contain intense bursts of violence. How do you feel about the language people use to describe your work?
But if you see Rebel Ridge, and you see and hear the Dually doing its good work, in the mud, in the dust, and the jet-sounding engine, it’s fucking rad. And it does hark back to me playing in my backyard with toy trucks and G.I. Joes and blowing them up. As an audience member, with such a loving family and these beautiful three daughters and little doggies to take care of, I started to gravitate toward more aggressive cinema. I wanted to escape. I wanted to feel a little bit of fight or flight within the safety of my basement, and I think that carries through to my films. I’ll write myself into a corner, write myself out. Especially for Green Room — when I ran out of ideas or ways out for our beloved protagonists, that’s when they met their end. And the violence, who knows. I do love makeup effects. I love onscreen cinematic violence. I love gore and blood, and I absolutely loathe it in real life. And I think that’s the tug-of-war, how awful it makes me feel.
Rebel Ridge could have been a test of: Can I create a film that isn’t consistently heavy or gloomy? Could I write a screenplay with moments of despair, yet still include uplifting elements, even in the face of some distressing scenes and tragic events? Can I craft a story where not every character meets an untimely end? It feels like a breath of fresh air amidst my usual filmmaking style. Could I present something suitable for my children to watch? [Laughs heartily] As we unveil it, it will be a family affair, with my entire family, including my mom, in attendance. And the positive response and unique vibe that we’re getting from audiences is exhilarating and invigorating.
The intense opening scene of the movie, where Terry is chased off the road by police and robbed, left me feeling queasy. It sets the stage for what’s to come: corrupt cops, flawed legal systems, and a protagonist who isn’t what they seem. Can you elaborate on it?
How did that scene unfold during filming? Despite the complications from the production schedule, unpredictable Louisiana rain, and chaos, we ended up shooting this opening scene towards the end – an unexpected turn of events that surprisingly worked out well. By then, Aaron Pierre had fully embodied Terry Richmond, making it effortless to capture the scene. However, we encountered some obstacles with Louisiana thunderstorms. We set up on a quaint little bridge only to find ourselves unable to take a single shot due to the storm, forcing us to regroup. The dialogue for this scene was particularly challenging as we aimed to make it seem natural and unforced, despite the intricate blocking and prop work required to move Terry from the ground, into the car, through the bag, retrieve camping gear, and place it on the car – all before Officer Lann arrived to check his ID. This scene was one of the most difficult to shoot, as we strove to portray it as just an ordinary traffic stop.
For me, the euphoria of Green Room’s “Nazi punks, fuck off” was very similar to the euphoria of Terry catching up with the bus and fist-bumping his cousin Michael through the window. Both feel like they tap into something very elemental.
The reference for that was Cool Hand Luke. I wanted that moment between these two guys. I actually ran into C.J. LeBlanc, who plays Mike, last night, and the rapport that he and Aaron had was really heartbreaking and wonderful. I’m not used to doing traditionally triumphant moments that make people vocal, but I’ve witnessed some high-fives in theaters, and that’s very exciting.
As a passionate cinephile, I can confidently say that Don Johnson delivers a powerful performance as the menacing Chief Burnne, attempting to drive Terry out of town and orchestrating the civil asset forfeiture scheme. The question lingers in my mind: how did these two formidable talents collaborate?
In my creative process, I usually aim for a climax with intense violence. However, I thought it would be interesting to try something different. So instead of having everyone killed, I focused more on creating tension and confusion. This wasn’t just about experimenting with new concepts; it was about staying true to the storyline and the character. Terry is a practical person who tries to stick to the plan throughout the movie. He finds himself in situations where he needs to use different skills, but even in the initial fight scene outside the station, he uses minimal force. The most significant damage caused in the first fight is more of a blow to their pride rather than physical harm. [Laughs] Terry’s primary goal is to get what he deserves and secure that money across the finish line. Even at the end, he has no intention of taking lives. If Terry were to take out numerous cops in this country, the ending would be predictable, and I didn’t want to follow that path.
In a unique way, he’s reminiscent of an action hero I’ve created before, but what sets him apart is his vulnerability and interdependence within the narrative. Concerning the police, it’s not about excessive empathy such as “We’re truly sorry,” but rather their struggle to confront their own humanity and discover their personal limits – a leap many find significant. [Laughs] Essentially, you might wonder, How can a cop not be desensitized towards violence? However, it’s a depiction of various aspects of humanity within the justice system, law enforcement, and the entire film cast. Each character contributes their unique perspective. Crafting Terry Richmond’s journey was like threading a needle, and I couldn’t envision any other ending for him.
As a movie enthusiast, I find myself often drawn to stories that delve into complex societal issues, such as the corruption within law enforcement portrayed in films like Green Room and Hold the Dark. However, labeling myself as a political filmmaker doesn’t quite sit right with me. Instead, I infuse my own moral and political beliefs into my narratives, but always strive to humanize every character.
The film tackles a broader systemic issue that people across different political spectrum might find agreeable, saying, “This aspect resonates with me.” That’s why the topic of civil asset forfeitures appealed to me, as it transcends politics and stirs my indignation whenever I hear tales of injustice. It serves as a narrative device for my movie. I get enraged, and it’s intriguing to delve into that emotion – but from the subjective standpoint of our main character.
“I was there at Fantastic Fest and Beyond Fest, and the crowd was going nuts and critics really embraced it. I’m just waiting for the right and true decision to release that bad boy, because when I saw it, it was all love and a really fucking good time.”
The line Saulnier was stuck on comes after the chief says, “You know the thing about pissing contests?” Saulnier’s original line was: “Everyone ends up standing in the same puddle.” Macon tweaked that to “Everyone gets piss on their boots.”
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2024-09-06 22:54