Michael Covino‘s first directorial venture, “The Climb“, was the thrilling American indie breakthrough at the 2019 Cannes Film Festival. This unconventional buddy drama, which is both written and stars Covino alongside his collaborator Kyle Marvin, showcased its impressive long-take technique and nuanced emotional depth, winning it an Un Certain Regard Coup de Coeur award and highlighting Covino as a fresh director with a keen insight into the complexities of friendship and contemporary masculinity.
Five years have passed, and he comes back to the Croisette with “Splitsville”, a more brash but equally artistic sequel that will screen in the Cannes Premiere section. As before, Covino and Marvin collaborated on the script and take on the leading roles, this time opposite Dakota Johnson and Adria Arjona. In the movie’s opening scene, Ashley (Arjona) suddenly asks for a divorce, leaving her husband Carey (Marvin) in shock. To find solace, Carey turns to his close friends Julie (Johnson) and Paul (Covino), but is surprised when he learns that their seemingly perfect marriage allows for open relationships. However, when Carey steps over the line, the fragile equilibrium among all four quickly crumbles, leading to a series of justifications and emotional evasions as they navigate their friendships and romantic entanglements. This complex dynamic is portrayed through sharp dialogue and uproarious physical humor.
According to Covino, the aim was to create something incredibly engaging and sincerely emotional. Something that seems ordinary at first glance but consistently delivers unexpected twists as it unfolds.
Filmed using 35mm film by cinematographer Adam Newport-Berra, Splitsville shares the visual grace found in fewer American comedies. Its camera work and staging, influenced by Covino’s admiration for silent film slapstick, as well as a European flair for formal composition, make it stand out.
Prior to the premiere at Cannes for the movie “Splitsville“, Covino shared insights with THR on the balance between intricate character development and comedic exaggeration. He also discussed how an extravagant, over-the-top fight sequence emerged as the film’s emotional heart.
In this movie, there seems to be a connection to “The Climb” in terms of both theme and aesthetic, yet it also presents some distinct differences. Can you tell us about the genesis of the project and how it evolved over time?
Following our completion of “The Climb“, Kyle and I ventured into developing several distinct narratives and screenplays, each tackling unique subjects and settings. This shift marked our departure from the realm of relationship comedies, which we had previously explored in “The Climb“, focusing on themes such as friendship, love, infidelity, and all the complexities associated with these emotions. The motivation behind this new project was to return to a creative process that allowed for more self-contained production, without requiring excessive approvals.
Meanwhile, I was recently betrothed, standing on the brink of matrimony, which sparked numerous discussions. Kyle and I delved into the concept of what ensues when a person ties the knot, only to ponder if they’ve made an error. What if they wed the wrong individual or harbor doubts? How does one’s life unravel when they decide to bail out, causing a chain reaction of events?
Additionally, we frequently encountered pieces discussing the topic, as if it were a prevailing trend. The dialogue about non-monogamy and open relationships seemed to be everywhere, with people expressing their thoughts more candidly and investigating the concept more deeply. This served as the initial spark for our idea.
Fundamentally, I believe we’re attracted to characters who give the impression that they have everything under control, even when it’s evident that they don’t. This was the core theme of our film. It’s important to note that open relationships can indeed function effectively for some individuals. However, even in such circumstances, there are instances where one might convince themselves they’re immune to feelings like jealousy or emotional vulnerability. Yet, deep down, a part of them remains childlike and reactive, much like a little kid who gets upset when seeing another kid playing with their toy. Adult relationships aren’t toys, but those primal reactions, though suppressed, persist. We try to control them, but they remain within us.
For us, the humor lies in contrasting these adults, who appear to have their lives together, with an underlying emotional immaturity. We enjoy delving into that discrepancy between their facade and their actual feelings.
“Indeed, prior to watching this movie, I was genuinely intrigued about your approach towards the contemporary concept of open marriage, as it is such a prevalent and buzzing topic in our culture. As I watched, I found myself pondering over what angle you would present.”
The focus wasn’t at all on discussing open relationships. We don’t have any specific intentions regarding this topic – Kyle and I aren’t taking sides or advocating for one viewpoint. Instead, our work is primarily about delving into bizarre circumstances through character development. We place our characters in extreme situations to observe their reactions, aiming for responses that feel both unpredictable and relatable because that’s where the humor originates. Essentially, everything we create is based on the situation itself.
In my opinion, tales similar to this one often lead us to understandings about acceptance – learning to accept things as they are, since that’s all we can truly control in our lives. Perhaps it’s this relatability that attracts me to stories with such themes, as I believe everyone experiences their own unique versions of these relationships and situations. Comedy, with its light-hearted approach, offers a captivating way to delve into these topics. Now, I don’t intend to suggest that humor serves as a means to cope, but there’s an undeniable comical aspect in the unexpectedness of real life.
When composing, Kyle and I often lean towards portraying the complexities of love. It’s almost a guiding principle for us – appreciating the aesthetics in disorder, discovering humor amidst confusion, and acknowledging that… this is reality. This is simply what it is. And we must make the best of it.
In simpler terms, when discussing the focus of this movie, I’d emphasize that we aim to discover a comical reality – not defining what is correct or incorrect for the actions of our characters, nor setting rules on how open relationships ought to function.
As a devoted admirer, I’ve always been intrigued by your collaborative process with Kyle. From what I gather, you both seem to bring your scripts to life even in the earliest stages, often by acting out scenes as you write them. That sounds like an incredibly engaging and immersive way to create!
Initially, we embark on an engaging thought or emotional subject that captivates us. Although it might not be clearly defined initially, there’s a powerful sentiment or theme we wish to delve into. In this particular case, our objectives and areas of interest were quite clear from the outset.
Initially, we sketch out our characters based on their general traits. We might say something like, “This character is like this,” or “That character is like that.” Some follow typical character types more closely while others diverge. To begin with, we use these basic outlines. Then, in a somewhat unusual approach, we work on the plot structure concurrently.
We often start by creating our characters and then planning out the storyline. Afterwards, we ensure everything aligns properly. This involves going back and forth, improving the characters while refining the plot. Essentially, we’re moving from general concepts to specific details incrementally. As we progress, we introduce themes, humor, recurring motifs – these elements emerge as we delve deeper into the script and uncover more interconnected aspects. The key is to establish those connections – so that early events have a meaningful impact later on, and everything feels harmonious. From a technical perspective, our approach primarily involves continuously revising the plot to gain a better understanding of the characters and vice versa. While this isn’t always the case, it was the approach we took for this project.
After moving onto scene rehearsals, Kyle and I actively bring scenes to life by performing them ourselves. This helps us understand how they flow and if they are effective. We may read through the scripts together, or invite others to join in and read specific roles – this is particularly useful before the main actors are confirmed. We pay close attention to the outcome – does it resonate? Is it amusing? Do the jokes hit their mark? Occasionally, we’ll improvise within a scene and discover something more engaging. Based on these improvisations, we go back and revise the script. This preliminary process is crucial for us since, as actors in the film, we have the freedom to invest time into finding the humor, polishing the dialogue, and continuously improving it, long before we start shooting.
In this film, there are numerous hilarious physical comedy sequences that I adore. Could you share some insights into the development of the main fight scene? It’s fantastic! The way it blends elements of classic silent comedians like Charlie Chaplin, modern martial arts masters such as Jackie Chan, and the slapstick humor from Step Brothers is simply brilliant.
Absolutely, one of the initial concepts for the film emerged early on. In essence, it mirrored our intended setup. We aimed to portray a story where characters appear to be coping well – “open relationship, no worries, everything’s fine” – but beneath the surface, there’s turmoil and distress. To emphasize this, we decided to express emotions through raw physicality rather than dialogue. This culminated in an extended and seemingly unnecessary fight scene. In truth, this idea was among our earliest brainstorms. We had a fundamental concept, and soon after, the car crash scene and the fight sequence came to mind. What intrigued us was the prospect of crafting a film on this topic that deviated from the norm – instead of intellectual discussions about infidelity in the Hamptons, we wanted something more exciting and unconventional, reflective of our personal preferences.
As a gamer diving headfirst into this project, it was all about the grind. Just Kyle, our incredible stunt coordinator, and I were the crew. We brainstormed, dreamt up wild ideas, and put them to the test. Kyle and I even splurged on gym memberships at a climbing gym, spending our nights scaling walls to stay in shape. After that, we’d use giant mats to toss each other around for about 30-45 minutes every night. We’d be tucked away in a corner, executing death-defying moves that left French Canadian boulderers scratching their heads, wondering if we were wrestling pros! The space and mats were perfect, and the privacy was a bonus. It was exhausting, no doubt, but oh so much fun.
The lower section of the fight sequence was filmed in one take, with six or seven takes in total. While there are cuts in the final version, we initially aimed for a single, uninterrupted take, which we achieved. There were versions that worked well without any cuts, and the raw energy and exhaustion in those takes were palpable. The next day after our first shoot, Kyle’s ribs were bruised, and I could feel his pain when he’d say, “Dude, every time you slam me into that wall, it knocks the wind out of me.” So yes, it was intense, both physically and mentally. But looking back, it was one of the most exhilarating and absurd experiences we’ve ever had!
There are several additional physical comedy sequences I’d like to discuss. For instance, the opening scene involves a real car crash and what can be described as a quite raw and humorous reference to anatomy. Then there is an extended sequence of credits featuring Kyle running and stumbling through nature. However, the scene that made me laugh the most was when he’s on the roller coaster, desperately trying to keep all those goldfish bags in place. Much of the humor in this film has a classic silent movie feel. Can you explain where the physical aspect comes from in your filmmaking? I know you have a sports background, so does that play a role in it?
Speaking from a personal perspective as an actor, absolutely. Kyle and I share a common background in physical activities. Kyle was raised mountain climbing, while I played sports until I turned 22, including college football and lacrosse. My passion for sports lies in the camaraderie and physicality they offer. As a quarterback, I’ve experienced numerous hits to my head, but I cherished that aspect of it. Now, I miss those days, but when I get the opportunity to train physically for something like this, it fulfills that craving. And that’s quite enjoyable.
Perhaps the motivation as a filmmaker originates from a different source. My grandparents and parents exposed me to Charlie Chaplin at a very young age, and I became fascinated with him. For Halloween, I would dress up like him, mimicking his walk, the way he used his cane, and everything about him. To this day, I might still slightly pigeon-toe when I walk. It’s possible that this early exposure to Chaplin is why I have such a strong connection to comedy – it feels innate to me.
As a child, I absorbed the world of films effortlessly. The humor in those movies resonated with me deeply, and it all made perfect sense. Before I even knew it, I was calling myself a movie enthusiast – or at least someone who aspires to be one – thanks to my early exposure to the Farrelly Brothers and Arthur Hiller’s work from the ’70s, courtesy of my father. The Pink Panther movies by Blake Edwards were part of my childhood, too. I was captivated by their physical comedy, which seemed almost magical to me. My hero back then was Jim Carrey – no one else could compare. Watching In Living Color, I would often wonder, “Who is this man? How does he contort his face and body so masterfully?” It left me in awe.
Indeed, after attending film school and delving into the world of cinema, learning its techniques, and creating movies, there’s always something that captivates me most – the raw, hilarious humor found in physical comedy, that slapstick essence. It was this very charm that first sparked my passion for films. I believe it was destined that I’d strive to create something visually striking, with a unique perspective – where every camera movement and actor’s action within the frame serves a purpose. I value cinematic elements like mise en scène, among others. However, my ultimate goal is to bring laughter to people. I don’t think it takes much to make people laugh heartily. Early silent films demonstrated this perfectly – words aren’t necessary for profound laughter; all you need are a well-constructed setup and skillfully executed physical interactions.
In every scene, we’re focused on finding the essence – making things straightforward and clear. To illustrate, think about this scenario: a man struggling to balance twelve bags of fish on a roller coaster. That’s all there is to it, no rocket science involved. You won’t need anything else for your understanding. (Laughs)
Absolutely! To achieve this balance, let’s craft narratives rooted in genuine feelings, focusing on aspects that truly matter to our audience. However, don’t forget to infuse moments of pure enjoyment and amusement as well. This is the delicate equilibrium we should aim for when storytelling.
Moving on to another topic, I’d like to discuss your unique filmmaking style. It seems to blend the charm of buddy comedies with the artistic flair of European art house films – a combination that feels truly invigorating. In today’s industry, there’s often discussion about the dwindling space for comedy and adult romantic comedies in theaters. However, your work stands out as it carries a cinematic quality that sets it apart. Could you share some insights into the thought process behind your distinctive approach?
Let’s delve into another subject, which is the captivating way you create your films. They exhibit elements of buddy comedies, yet they are filmed with the sophistication of European art house movies – a blend that feels incredibly refreshing. There’s a lot of talk in the industry about the scarcity of comedy and adult romantic comedies on the big screen these days. But your work stands out because it possesses a cinematic quality. Could you explain the reasoning behind your distinctive style?
Absolutely, the concept is quite significant. As a producer, I perceive an untapped opportunity in this regard. It’s a genre that could be both comedic and thought-provoking. We’re talking about a movie genre that was once common, particularly in French, Italian, and American cinema, focusing on relationships and everyday people. Filmmakers like Ettore Scola, Lina Wertmüller, Maurice Pialat, even Woody Allen, created comedies that were laugh-out-loud funny yet carried a strong message.
However, the modern cinematic comedy experience seems to differ greatly from these classics. Today’s comedies often feature flat lighting, conventional settings, rapid editing – quick, quick, quick – and may lack the visual depth that dramas or thrillers enjoy. I can’t help but wonder why this change occurred. Perhaps it’s a shift in audience expectations or industry trends. But I believe there’s still a demand for these thoughtful, visually engaging comedies that blend humor with substance.
Instead of approaching our work thinking we need to create something extraordinarily cinematic, I’d put it this way: My passion lies in capturing visually appealing frames that are not just random shots. It’s about having a purpose behind each shot, a concept guiding how we film the scene. When we approach our work with this mindset, it serves as a benchmark. While we may not always meet this standard, our aim is to ensure every decision we make is driven by a unique perspective, an idea that adds visual value.
In our discussions, we often emphasize the significance of perspective. Adam Newport-Berra, the director of the film, skillfully translated this concept into a visually stunning and cinematic experience. We opted for shooting on film. For us, it’s always about the angle, the camera operation, the movement or lack thereof, and the placement of the camera. Why is the camera moving? Why isn’t it moving? Why is it positioned where it is?
Sometimes, you might not immediately know the solution, but asking questions can help uncover the answer. When I’m creating visual scenes, I often have a clear image in mind of how I want to capture them. Writing can be a very visual experience for me, as if I’m scripting camera movements. However, there are instances where we arrive at a scene and instead of executing our preconceived plan, we choose to explore it, discover its unique aspects, and then decide on the best way to approach it.
Instead of the conventional approach you might encounter in sitcoms where the scene begins with a broad shot followed by rapid cuts, this movie frequently took a different route. Rather than zooming out immediately, we’d start up close, immersed within the moment itself. Then, at times, we’d pull back to reveal a broader perspective – these wide shots that provided insight into the true nature of the situation. This shift in perspective became an integral part of the filmmaking process.
In the “dick reveal” scene, rather than managing the camera’s viewpoint conventionally, you immerse yourself in the emotional journey sparked by the event. Then, you step back to a broader, more detached shot that underscores the sheer absurdity of the situation. Our goal is to create comedy that transcends being merely amusing; we strive for it to be cinematic, intentional, and unexpected.
In the “dick reveal” scene, you don’t pan the camera in a typical way. Instead, you feel the emotional impact of what transpired and then step back to capture a wider, objective shot that highlights the absurdity of the situation. Our aim is to create comedy that goes beyond being simply amusing; we seek to make it captivating, meaningful, and unexpected.
In preparation for this interview, I was given a preview of the movie on my computer. To be honest, I even went back to rewatch a specific scene multiple times, pondering whether any explicit content appeared just before the big revelation.
(Laughs) Not in the picture’s boundaries, actually. We almost included a slightly blurry, off-center glimpse of it earlier, but only a small fraction of viewers might have spotted it. So, we opted to keep it hidden – let’s save this as a genuine surprise for everyone instead.
To be quite honest, the selection of songs caught my attention – they were always captivating, unusual, and full of surprises.
It’s fantastic news! The music in this movie really strikes a chord with me. I believe our composers have executed an extraordinary feat with the challenging task of creating the score. It’s all about achieving harmony – striking the right balance between the score and original music, seamlessly weaving them together to craft a unique world. For this film, I aimed for it to carry a distinct musical heritage. To me, when music is done skillfully, particularly when working with recurring themes and constructing robust melodies, it can powerfully convey the emotional narrative of the movie.
It’s important to create harmony by ensuring everything seems connected, as if they all belong in the same fictional setting. This task can be quite challenging since you’re searching for music with varying genres and styles but still evokes similar emotions. We delved into our collection to find tracks that could converse with each other, that felt like they were from the same emotional sphere. In essence, it was a complex puzzle to solve.
However, this particular aspect of our production is among my favorites. In contrast to some films, we didn’t strive for realism; rather, we embraced the fact that it was a movie. The music and drama were not meant to be hyper-realistic, but rather, they aimed to evoke genuine emotions in viewers while allowing room for exaggeration. For instance, the music might swell dramatically or become somewhat excessive at times, which is intentional because the characters’ emotions are driving the narrative. Each character acts according to their self-interest, and the score reflects this. At times, it even leads the action, guiding the story in a specific direction. This approach adds an element of playfulness to the music, and while its effectiveness remains uncertain, I felt it was fitting to emphasize the music’s impact and let it take center stage occasionally, even to the point of absurdity at times. In essence, the over-the-top musical cues serve as a reminder that our film is an absurd comedy.
As a gamer, when I watched The Climb, it had a more heartfelt and romantic comedy vibe compared to other films, particularly in how it approached its genre and wrapped up the story.
I’d like to find an appropriate term for it, but “broad” doesn’t quite fit. Let me put it this way: The movie is more commercial in nature. It leans heavily towards comedy. Compared to The Climb, it moves at a faster pace and delivers its humor, story, and overall experience more swiftly. This approach was intentional. We didn’t aim to make a statement; instead, we wanted to offer an unexpected journey for the audience.
With this approach, rather than asking “how can we twist the genre,” which isn’t quite accurate, let’s consider instead “how can we create our unique take on a film similar to this?” The movie would involve four characters, engaging in an unusual relationship dynamic, such as partner-swapping or infidelity. However, it wouldn’t be a typical divorce drama but rather a comedy that tackles these themes in an original manner, reflecting our distinct style.
I’m not the type who solely focuses on creating art films labeled as ‘capital-A.’ While it’s appealing to create pieces that could potentially screen at Cannes and be considered artistic, I can’t hide my desire to produce content that resonates with audiences. I don’t scorn comedies or broad comedies; in fact, I adore them. Therefore, crafting a project that is larger-than-life, humorous, and somewhat unpredictable—one that allows for emotional relaxation at times—is perfectly acceptable to me. This particular project was what truly made it enticing because of its unique blend of elements.
I’m unsure about the number of individuals who fit into the intersection of those categories: smart divorce comedies, art-focused cinematography, and hilarious adult humor. However, I can confidently say that I fall within this group. So, please continue with your creative work.
(Grinning) To be honest, I’m not certain if it qualifies as a Venn diagram. It could be, but there’s also a chance it represents the opposite – where you simply need to fit into one category. Ideally, if we can grasp these elements or those, or even this third one, that should suffice. I can’t definitively say what it is, but my gut feeling has always been: it’s not about creating something for a specific art-house audience who also appreciates broad humor. Instead, it’s about striking a balance that appeals to a wider spectrum of viewers.
It’s more about creating something that carries a larger, more commercially appealing humor, yet maintains a touch of artistic perspective.
Great! Deal’s done. We’ve discussed most of the points on my agenda, but let’s delve into your comediennes – they’re hilarious and top-notch.
In our fortunate circumstance, we secured two exceptional comediennes whose humor perfectly fit their respective characters, and as Dakota Fanning and Greta Gerwig joined us, we developed the roles further. We collaborated with them to fine-tune certain aspects of the parts, ensuring they aligned with their strengths and their vision for the characters. It was a privilege to have two contrasting artists who breathed life into these characters in such unique and relatable ways. To my eyes, these characters mirror real-life individuals I’ve encountered. There’s an authentic ring to them, yet they also manage to be incredibly amusing without resorting to exaggeration or overt wit. The charm lies in the fact that every cast member grasped the film’s tone. No one was attempting to insert self-aware humor; instead, they all understood the playground we were working within—a place where each character considers their problem as the most significant issue, and they commit wholeheartedly to this belief. For me, there is nothing more amusing than that authenticity.
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2025-05-19 13:26