As a filmmaker, it’s always fascinating to delve into the creative process of another artist, and Jeremy Saulnier is no exception. His journey with “Rebel Ridge” showcases his dedication, craftsmanship, and unique perspective as a director. Five years in the making, this project was not just a film for him, but a labor of love that required immense focus and discipline to bring to life.
For Jeremy Saulnier, all’s well that ends well.
Following the debut of “Hold the Dark” towards the end of 2018, Saulnier swiftly moved forward with his next Netflix project, “Rebel Ridge,” in late 2019. Unfortunately, a pandemic disrupted his April 2020 filming schedule, pushing back the main photography until the following spring. However, this once-in-a-century pandemic was merely the first of several hurdles, as the lead actor John Boyega left the thriller in January 2021, citing “family reasons.”
As a fervent admirer, I must admit that the halt in production for Rebel Ridge was truly disheartening for a director whose professional trajectory has been soaring since the successful relaunch of my career with the critically lauded Blue Ruin at Cannes in 2013. My third film, Green Room (2015), garnered similar accolades, placing me on par with Jeff Nichols as one of the promising future great American filmmakers. It’s intriguing to note that Nichols too faced a lengthy delay before his latest project, The Bikeriders, hits the screens in June.
Following the closure in June 2021, the native of Virginia returned home to reorganize, and it was then that a hint of optimism surfaced thanks to Saulnier’s associate, Skei. She had recently finished watching Barry Jenkins’ miniseries, The Underground Railroad, which led her to suggest Aaron Pierre as a possible choice for the lead role in Terry Richmond of Rebel Ridge. The British actor had also garnered attention that summer with his performance as “Mid-Sized Sedan” in M. Night Shyamalan’s Old, so Saulnier agreed to a virtual meeting with him. Although Richmond was a former Marine, Saulnier initially had reservations about Pierre’s muscular physique, but these worries dissipated after just a couple of minutes of casual conversation.
Following the addition of Pierre to the team, Rebel Ridge was all set for a spring 2022 filming session, marking their third attempt at filming a largely consistent script. Saulnier concluded production in late July of that year, but with post-production still ongoing in the spring of 2024, it’s clear that the double delays during 2023 added some extra challenges. However, despite the complications stemming from the lead actor’s departure and a production process taking twice as long as planned, Saulnier is now confident that everything – with Pierre delivering a career-defining performance – has ultimately benefited both him and his film.
“Due to some challenges, the movie Rebel Ridge turned out to be a surprising success for me. I’m already thrilled with it before its release, which is unusual for me when sharing my latest work. I feel this is the right version of the film, and I’m thankful for being connected with Aaron Pierre, our resilient crew, and cast. Netflix’s unwavering support throughout was exceptional. I can’t think of another instance where a film faced such obstacles and still managed to surpass expectations.” Saulnier shared this sentiment with The Hollywood Reporter.
The Struggle at Shelby Springs
The movie, set to release on Netflix on September 6th, showcases Saulnier’s typical suspense, lots of dynamic scenes, and some spine-tingling plot twists. However, it deviates intentionally from the brutal violence that characterized his previous projects.
“Saulnier confessed, laughing, that he felt the need for a pause. He wondered if it was possible to create a scenario where his characters wouldn’t kill everyone in one of his films. Additionally, he wanted to test a strong protagonist and discover methods to influence the audience beyond mere fear, by experimenting with different storytelling techniques.”
During the latter part of 2021 and into early 2022, when Rebel Ridge seemed stuck, Saulnier turned to penning a fresh script. This new work appears to be a revisit to the intense violence that characterized movies like Blue Ruin, Green Room, and Hold the Dark.
“Saulnier found it necessary to divide his focus and change direction, so he began working on a new movie. Whether this film will be produced or not is uncertain, but it was important to him personally. He’s grown fond of the project, and it leans towards the intense side, reflecting more of Saulnier’s previous work. As for the future, he hopes to produce more films, aiming to increase his body of work.”
In a recent chat with THR, Saulnier also touches upon how ‘First Blood’ impacted ‘Rebel Ridge’, the lack of regular partner Macon Blair in the cast, and his close encounter with ‘Sicario: Day of the Soldado’.
Without oversimplifying, Rebel Ridge seems to have strong similarities with a contemporary version of First Blood. Was there a specific project definition for this purpose?
While presenting my project, it felt like a blend of “First Blood” and “Michael Clayton,” focusing on the institutional aspects and intellectual dialogue. However, I didn’t explicitly mention “First Blood” until I established the plot, realizing it was about a lone man against a small-town police force. Initially, I aimed to diverge from or playfully embrace this trope as I progressed. It wasn’t until after completing the movie that I recognized my numerous references to “First Blood.” As a child of the ’80s and ’90s, I didn’t consciously recognize these film moments, but upon reflection, I can acknowledge them. Sometimes, I like to think I’m an innovative mastermind with unique ideas, only to discover that’s not entirely true.
Did you share your pitch with me earlier, which I found intriguing since you usually write on spec? I’m curious to know, was Rebel Ridge the initial project where you actually sold a pitch instead of writing it on spec?
I’ve merely presented ideas for a project, focusing on its concept and appearance, but so far, I’ve only done speculative writing. I prefer to manage the development process myself, and above all, I aim to locate the perfect place where it can be published. Early in my career, I was advised that selling a script for a dollar means losing control over it. Therefore, I keep full ownership, find the ideal publishing platform, and then let it flourish there.
Do you think that “Rebel Ridge” can be seen as a spiritual trio along with “Blue Ruin” and “Green Room”?
It’s clear they belong in the same film universe. I often compared Blue Ruin when discussing the visual style and the lookbook I created for my collaborators and crew. I don’t intentionally connect my films with common themes. Instead, I let my individuality shine through and allow others to naturally see the similarities. I don’t spend much time deliberating about it.
You had quite a tough time with this project, didn’t you? In 2020, the pandemic forced a complete halt in production for an entire year. In 2021, production was temporarily halted for a month [due to the departure of the previous main actor] until the spring of 2022. I believe post-production might have taken longer due to strikes among workers. However, given Aaron Pierre’s outstanding performance and the impressive final outcome, it seems like everything turned out positively in the end. Now that some time has passed, do you feel comfortable saying things worked out well too?
As a gamer, when I’m on the brink of releasing my latest game, I often find myself huddled indoors, steeling myself against the imminent scrutiny. “I’m too immersed in it, I can’t evaluate it objectively. My gaming career could be at stake.” This fear and uncertainty lead me to seek reassurance from my team. But, despite the challenges we faced, it turned out to be a game that surpassed even my highest expectations. I’m proud of it and eager to share it with the world, which is unusual for me. So, I truly believe that this version of the game was meant to happen, and I’m grateful for the serendipitous collaboration between myself, Aaron Pierre, our dedicated crew, and the cast who stuck with us through thick and thin. The unwavering support from our publisher, all the way to the end, was nothing short of exceptional. I can’t think of any other project that went through so much turmoil and still managed to exceed expectations in such a remarkable way.
Were there moments when you doubted that Netflix would continue operating, given their tough times, or did they persist without giving up?
In a nutshell, much like many directors, I tend to be quite meticulous, involved in every detail of my films. However, when it’s not under my control, I can step back and let things take their course. My primary focus was always ensuring the movie reached its end – the finish line. And here I am, grateful for being part of this journey.
Were any changes required in the script for the third round scheduled in 2022? Was it necessary to factor in new actors and settings?
To ensure we didn’t need additional filming, I found it necessary to deceive myself slightly by modifying some scenes or providing extra context. Over the course of three years, the movie evolved, and I agreed to shoot supplementary footage, approximately a page and a half in total. However, my goal was to remain faithful to the initial impulse of storytelling, the enthusiasm we felt in 2019 and 2020, and simply to maintain my passion for it. Consequently, I had to step away. I didn’t want to revisit, adjust, and overthink; instead, I wanted to set it aside, begin a new script, and return to it later.
In the past three months, I’ve admitted to Netflix and my cast that I didn’t read the script for an entire year before filming it, since I was the one who wrote it. I immersed myself in every scene, approaching them with a fresh perspective, confident that the structure would remain solid. This mindset carried over into the editing process. I didn’t watch a full cut of the movie until two weeks before we finalized it. Given my familiarity with the script, watching it wasn’t necessary. Instead, I focused on each scene and sequence, ensuring they were executed to my satisfaction. When I finally screened it for friends and family, I watched the entire film for the first time, and I was filled with joy. There were still minor adjustments to make, but I grew fond of it and felt secure about it. The last few months have been a delight as I completed it, fine-tuned it, and prepared it for a wide audience.
In your work, whether it was Close Quarters Battle in “Blue Ruin” or any of the acronyms in “Rebel Ridge”, your research remains accurate. Did you compose the scene initially and later select the fitting acronym to include, or did you come across the acronym first and then craft the scene around it?
In my approach, I heavily rely on research to shape the storyline. For instance, when working on PACE (or any acronym), I first uncover its relevance, then consider how it might fit into the plot. This method applies to every scene. Initially, I wasn’t aware of the complexities within the cash bail system or the lawless municipal courts lacking public defenders, which violate people’s constitutional rights. However, as I delve deeper, I discover fascinating details that intrigue me, and research becomes my guide. This was also true when exploring Marine Corps acronyms and their applications.
Terry Richmond (Pierre) is a character who insists on a low “gore score.”
(Laughs.)
Does his choice for “non-lethal” tactics suggest he has left behind his former violent tendencies?
Instead of creating a film with a high body count and typical horror elements, I opted for something different in 2018. My goal was not to terrorize the audience but rather to evoke various emotions through an unconventional protagonist. The response from the viewers has been unexpectedly engaging; it’s filled with harrowing moments, deep and dark scenes, but also euphoria, laughter, cheers, and high fives. This new approach has been strangely compelling, and I might continue exploring it since the audience interaction is unlike anything I’ve experienced before.
Indeed, it seems you’re referring to a common plot device in action-thrillers when villains realize the true identity of their opponents. When the police wireless connection ceased, I found myself brimming with excitement for the imminent scene of disclosure. Was that trope intentionally employed in this scenario?
Indeed, I held back from including a Colonel Trautman reference, as humor was not the intended tone here. However, recognizing the tropes involved, I deliberately amplified the suspense, resulting in an enjoyable sense of tension. (Laughs.)
As a fellow gamer, I’ve been teaming up with my old buddy, Macon Blair, for ages. Now, here’s something unusual – he’s an Executive Producer on this project, but you won’t find him in the game itself. So, is this what life after one Chris Nolan production brings? It’s a puzzling twist!
(Laughs.) Unfortunately, our timetables didn’t match this time around, but he was present at every stage – from drafting the script to fine-tuning the music cue sheet, securing music licenses. He’s like a walking library of information. Whenever I need guidance, I turn to him during each phase. He’s the first one to watch a preliminary cut and the first person I consult when I need to replace a song at the last minute: “Quickly send me a melancholic country playlist, Macon! Here’s what I’m looking for!” (Laughs.) So he’s my dear friend, and he’s progressing rapidly. Spotting him in ‘Oppenheimer’ … By the way, he doesn’t inform me about the roles he lands, so my wife and I just keep finding him everywhere. It’s always an exciting game of “Where’s Waldo?” for us.
At the beginning of the film, when Aaron’s character is handcuffed on the ground, a bug such as a hornet, wasp, or some other flying insect seems to deliberately hover near his face. Could this have been an accidental occurrence that everyone just went along with during filming?
In my work on that scene, I took great care to add the distinct sound of dragonfly wings. You’ll notice these insects flitting in and out of the frame, adding a touch of nature amidst the tension. The dragonflies persistently appeared throughout, especially during the opening sequence set in Louisiana. To emphasize their presence, I chose not to make them fleeting but rather a recurring element. This scene also features a nerve-wracking sequence on a secluded country road, where a foreboding atmosphere builds up. The dragonflies, seemingly unafraid, keep crossing the frame, and I utilized this in my sound design to intensify the unease that Terry Richmond, portrayed by Aaron Pierre, feels as he watches from his truck’s inside view mirrors. So, I hope you appreciate the attention to detail with those dragonflies!
When I spotted the Bonneville Pictures emblem on the screen, I reacted just like Leonardo DiCaprio would – it’s a fitting name for your production company. By any chance, do you still have that iconic blue Bonneville car from the movie “Blue Ruin”?
The car that was given to our family by my uncle many years ago belonged to me due to it being a hand-me-down. One day, I convinced my parents to let us use the car for a movie production, saying “We’re going to destroy this car for a movie, Mom and Dad. Please.” After some time, they agreed and allowed us to keep and drive the car until its demise. Although I have some fond farewell photos of that Bonneville, my mom donated it to charity around a year after the film Blue Ruin was wrapped up and premiered.
In your journey as a filmmaker, you’ve always been mindful of your progress, and during the promotion of “Hold the Dark,” I recall you mentioning that for the first time, you truly felt like a seasoned filmmaker because you managed to incorporate grandness into your work. You attributed some of this to “True Detective.” So, could you elaborate on what making “Rebel Ridge” signifies in terms of your growth as a filmmaker?
I believe this new project fits nicely into my body of work. It’s got a unique twist, but shares similar fundamental aspects. I prefer to let my instinct as a filmmaker lead me, rather than deliberating too much or forcing a specific theme, politics, or anything else. Essentially, I like to observe and document. The antagonists in “Rebel Ridge” aren’t just caricatures; they’re complex portrayals of human beings. Hearing their stories makes it far more engaging.
However, “Rebel Ridge,” in terms of scope, stands out as my most substantial production. Despite having more resources at hand, the difficulty lay in maintaining an intimate, deliberate, and particular feel. In the editing room, I aimed to streamline the project. I’m not like Tony Scott or Ridley Scott. When it comes to multi-camera shoots, I can’t handle that complexity. Therefore, I recruited a fantastic Colombian Director of Photography, David Gallego, to film this movie because he is an artist at heart. I employed him as a safety net to prevent my ambitions from overwhelming me.
But I do have my own secret: I’m not playing chess here, I’m playing checkers. (Laughs.) I want to keep making movies to buy myself one stinker, and then I can pull back and dig my way out of director’s jail. But I’m very happy to report that I have no fears that Rebel Ridge will do anything but help my career. So I’m excited to get it out there and show people that it’s a good time. My cast and crew, we love each other, and there is trust, but what are they going to say to me? “It’s great, Jeremy!” So I waited until they texted our stunt coordinator who’s on a job in Texas, and then he called me with their legit feedback, so I am just basking in the glow. I just showed it to the crew two nights ago, and it was one of the best nights of my life. It was amazing.
Given that the Rebel Ridge project spans over five years, I couldn’t help but wonder if you managed to work on anything else during this time. However, it seems like you are deeply engrossed in your next script already.
To ensure the passion and dedication I had for the “Rebel Ridge” script didn’t wane, I found it necessary to separate my focus and shift to a new project. I penned another film, unsure if it will ever be produced, but it was essential for me. It has captivated me, and to respond to your earlier question about bloodlust, it leans more towards the intense side. It carries a similar grittiness as Jeremy Saulnier’s previous works. However, it must evolve naturally, and I plan to return to it once “Rebel Ridge” is released. So, we’ll see what comes next, but I aim to expand my filmography and increase production. I cherish being on set, I adore making films, and I am thrilled that I got to fully actualize this one. It was worth the effort for me. But I yearn to get back to work.
Regarding unexplored paths, I often ponder about how Jeremy Saulnier’s “Sicario: Day of the Soldado” might have been portrayed. Did your project come close to materializing in that direction?
I was negotiating deals, indeed, but they didn’t pan out. Occasionally, I consider major film projects, but I always have a robust contingency plan – my own content. Unfortunately, this opportunity didn’t come together, but I still enjoyed watching it in the cinema. It’s also quite challenging to keep up with Denis [Villeneuve], so perhaps things turned out for the better.
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Rebel Ridge premieres September 6 on Netflix.
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2024-08-30 22:26