‘The Peanut Butter Falcon’ Directors Discuss the Cost of Turning Down the Major Studios to Make ‘Los Frikis’: “We Chose a Tough Path”

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As I delve into the lives of Tyler Nilson and Michael Schwartz, I am thoroughly captivated by their inspiring journey as filmmakers. Their humble beginnings, starting from editing shorts to writing and directing critically acclaimed films, is a testament to their resilience and determination. The way they approach storytelling, emphasizing collaboration and finding balance in tone, resonates deeply with my own experiences.

It’s quite appropriate that Tyler Nilson and Michael Schwartz’s film, “Los Frikis“, revolves around the punk-rock ethos. This decision seems incredibly punk-rock given their previous work, namely “The Peanut Butter Falcon“, a 2019 indie movie that garnered critical acclaim and featured Dakota Johnson, Shia LaBeouf, and Zack Gottsagen in the lead roles.

Following the successful box office performance and award season contention for “Peanut Butter Falcon”, Nilson and Schwartz found themselves facing numerous offers from big-name studios. However, they were drawn to a particularly difficult story about the Cuban experience in the 1990s. It’s no secret that their choice to stay within the independent film scene was met with confusion and bewilderment by many.

Schwartz tells The Hollywood Reporter that they had a meeting with a studio head who said, ‘Okay, I’ve got a movie with two big stars. You’ll fly out tonight to shoot it.’ To which we replied, ‘Wow, that’s incredible, but we’re currently working on a Spanish-language Cuban film about HIV and punk rockers.’ At the time, I thought he appreciated our commitment to our creative vision. But in retrospect, I think he might have seen us as foolhardy, and he may not be far off.

Nilson and Schwartz’s decision to postpone the safety of a studio project, focusing instead on an unusual Spanish-language Cuban tale about punk rockers infected with HIV, was met with significant controversy that ultimately led to them losing their agents at the time. Their former representatives had initially supported them during the initial struggles of Peanut Butter Falcon to gain festival recognition and distribution, only for its 2019 South by Southwest premiere to win an audience award and secure a theatrical release through Roadside Attractions. With this success under their belt, it was suggested that they take the easier route for their next project, but despite understanding the risks involved, Nilson and Schwartz couldn’t resist their urge to follow their storytelling instincts.

We acknowledge now that our past actions were not wise. Our former representatives were spot-on when they found ‘Los Frikis’ challenging. They foresaw potential difficulties, and out of concern for us, they warned, ‘You don’t have to go through this again.’ Yet, driven by either innocence, overconfidence, or an unyielding passion for art, we chose to continue with ‘Los Frikis.’

The co-writers and directors show no hesitation towards big studio productions or franchises. In fact, they’re working on a fresh interpretation of “Treasure Island” for Disney at the moment. If “Peanut Butter Falcon” was a contemporary reinterpretation of Mark Twain’s “Adventures of Huckleberry Finn,” then these creators have another captivating idea brewing for Robert Louis Stevenson’s original classic novel.

Schwartz describes it as an Australian take on ‘Treasure Island’, filled with the same energy and spirit we feel. It features a makeshift family, camaraderie, drama, and a sense of being an outsider. Nilson adds that it carries the nostalgic charm of the 1970s surf culture.

Regarding the popular 1991 drama “Los Frikis“, the story centers around two Cuban brothers, Gustavo (Eros de la Puente) and Paco (Héctor Medina), with Paco being the lead singer of an underground punk band that symbolized the “Los Frikis” movement which arose during Fidel Castro’s long-standing ban on rock music. In addition to constant harassment from law enforcement, they struggle to survive economically in a time of crisis and scarcity. They find themselves at a critical juncture: either risk their lives by attempting to reach America by sea or opt for relative comfort at a beachside sanatorium by knowingly contracting HIV. Choosing the latter differently, they both underestimate the gravity of the virus and its swiftly approaching cure.

Nilson and Schwartz aimed to create an authentic film, so they enlisted the producer duo of Phil Lord and Chris Miller (Lord Miller), who is Cuban American. Lord saw this as a significant opportunity, and as a result, Nilson and Schwartz promised to thoroughly explore his family’s Cuban community in their representation.

Schwartz revealed that Phil Lord was a big fan of “Peanut Butter Falcon,” and we managed to secure a meeting with him and Chris Miller. In this meeting, Lord expressed his strong feelings about the project, stating, “This means a lot to me. This is my community. If we execute it well, that’s fantastic, but if we fail, I’ll be the one to blame. So, if you decide to join us for this task, I will need your full commitment to focus on every minor detail.

In a recent chat with THR to promote Los Frikis’ upcoming theatrical release on Christmas, Nilson and Schwartz also shared insights about the significant contributions made by Dave Grohl, David Fincher, Barry Manilow, and Adria Arjona in their project.

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After watching The Peanut Butter Falcon, did you embark on the water bottle tour and consider various possibilities by listening in?

TYLER NILSON The water bottle tour, that’s funny. 

MICHAEL SCHWARTZ Yeah, there were some cool keeper water bottles. 

NILSON We also had sweatshirts. Yes, we did the tour, and there were some creative and spiritual opportunities presented. However, Los Frikis resonated with us strongly. It seemed like the perfect move to make. But I’ll refer to it as the “water bottle tour” from now on.

Have you ever discussed with film directors who felt a bit uneasy transitioning from independent films to blockbuster franchises, as this path has become quite typical nowadays? Did you and your team ever consider or get offered such an opportunity?

SCHWARTZ: Absolutely! We’re determined to carry on with our plans. Some narratives are a bit too daring for production companies, and “Los Frikis” is one of them. However, we can still find artistic satisfaction through larger-scale stories. We’re developing an Australian surfer take on “Treasure Island” for Disney. If it ever gets made, it would be fantastic fun! It captures the spirit we aim for, and there’s a sense of found family, camaraderie, drama, and outsider spirit in it.

NILSON It has the patina of the 1970s surf world. It’s all there. 

SCHWARTZ We weren’t opposed to the idea, but instead of considering studio movies with large budgets and well-known actors, we found ourselves continually drawn to Los Frikis. We met with a studio executive who proposed a film featuring two major stars, suggesting an immediate departure for the shoot. Our response was something like, “Wow, that sounds fantastic! But we’re currently working on a Spanish-language Cuban movie about HIV and punk rockers.” He inquired about our collaborators, to which we replied, “It’s just us.” Initially, I thought he appreciated our commitment to our creative vision. However, upon reflection, I believe he may have seen us as misguided, and perhaps he was correct. (Laughs) We chose a challenging route.

Did your representatives appear less tense or formal when you informed them that you preferred to concentrate on a very particular tale, one written in a different language?

NILSON We’ll discuss these intriguing questions indirectly, as we no longer have contact with the representatives. However, let me assure you that they were competent and reliable individuals.

SCHWARTZ What we did wasn’t wise, and we comprehend why. People who care about your success usually suggest actions that will help you thrive, especially if they understand the challenges involved. The movie Peanut Butter Falcon didn’t make it into the first ten film festivals it was submitted to, and it took a while before it got distribution. They saw how disheartening this was for us and the entire team. To prevent us from experiencing the same disappointment again, they advised that if we had a bigger movie with a well-known actor and a studio, we could focus solely on making the work excellent until its release. And they were correct: Los Frikis has proven to be challenging. They foresaw the difficulties ahead and wanted to protect us from having to go through that again. Yet, out of ignorance or pride or our unwavering pursuit of art, we opted to make Los Frikis anyway.

In the 90s, you found yourself faced with an unimaginable dilemma in Cuba – either risk your life on a homemade raft at sea or deliberately contract HIV to ensure regular meals. This situation was as tough as it gets. Can you tell us how you stumbled upon this heart-wrenching scenario from the ’90s?

TYLER AND I are strongly attracted to extremely detailed tales of outsiders, resilience, and happiness amidst challenging situations. We have friends from Cuba, and during our stay there for a couple of months, we encountered numerous stories like this one, among others, about the Cuban people. There was a particular feeling that struck a chord with us. They refer to it as gallows humor. Despite the hardships Cuba has faced for several decades, there’s an inclination towards art and laughter even in the most difficult circumstances. So, Tyler and I thought, “What stories should we share with the world?” And this was one that we wanted to share.

JONATHAN I’m finding myself watching numerous films and tales that feel familiar, and while remakes aren’t inherently problematic, it’s not the point I wish to emphasize. Instead, I’m referring to the conventional romantic comedy structure that we’ve encountered multiple times before. However, this story possessed an exceptional narrative drive, making it stand out from its predecessors, thus making it a compelling choice to adapt.

In your story, it seems many of the characters’ histories were imagined within a genuine setting. Have you encountered any instances where an individual fraudulently entered an HIV treatment facility, pretending to be HIV-positive?

NILSON: While we didn’t discover an instance where someone deceitfully entered a sanitarium as portrayed in Los Frikis, the story is indeed based on real events. To illustrate, films about World War II are factual, but the specific narrative of “Saving Private Ryan” is not. In this sense, our analogy lies here. We’ve spent years researching and found that Cuban individuals injected themselves with HIV to gain entry into these sanatoriums. Our aim was to craft a story that could unfold within this setting. The characters we created embody certain traits, such as caretakers, while maintaining respect for the real people involved. We were not telling a single person’s life story; instead, we were narrating the tale of everyone residing in the sanatorium. Characters like those who played baseball, with one wearing a wig and smoking a cigarette, caught our attention. So, we made sure to showcase them in the best possible way within our film.

Schwartz We pondered over whether to create a biopic focusing on particular individuals or not. As we began plotting and writing, it became evident that despite extensive research, we would never uncover their private secrets, intimate relationships, or private conversations. Fleshing out character arcs to make the movie coherent might involve fabricating events that didn’t occur. So, we decided, “Let’s honor the people who experienced this in the most authentic way,” and that meant creating archetypal characters.

Back when I was a child, I’d grumble at having to wait an hour for my favorite song to air on MTV or KROQ. However, these young Cubans, risking imprisonment, would illegally set up an antenna in the ideal position so they could record Nirvana songs off the radio. This certainly gives a new meaning to the idea of longing for music, doesn’t it?

SCHWARTZ Growing up, my mom would scold me for listening to things she disapproved of, but in Cuba, it could land you in jail. There wasn’t any specific law against it, yet playing rock music or being gay could still get you into trouble. Fidel Castro simply deemed rock and roll as “the music of the enemy,” so the threat was very real, even though the laws were somewhat vague.

The movie resonated deeply with me since, similar to Gustavo’s band, the very first tune I mastered playing along with a buddy was Nirvana’s “Come As You Are.

SCHWARTZ Oh, that’s great! 

Is it now fairly straightforward to cover Nirvana songs? I recall a period when one couldn’t accomplish it until the release of “Six Feet Under” in 2005, which essentially opened the floodgates.

SCHWARTZ Acquiring the rights for “Jumpin’ Jack Flash” from The Rolling Stones was initially a financial challenge, as they demanded a million dollars, which would have consumed most of our movie’s budget. However, our talented music supervisor knew contacts within Nirvana and their management. He requested them to review the script, and Dave Grohl seemed intrigued by the scene depicting his band playing the least impressive rock cover in history, as they performed “Come As You Are” in a barn. Grohl agreed to the project for the minimum fee. Permission was then sought from Krist Novoselic and Courtney Love, who approved the collaboration. With Nirvana on board, we were able to negotiate the same deal with The Rolling Stones’ licensing company.

Brilliant maneuvering. 

PARAPHRASED It proved particularly challenging to secure permission for Barry Manilow’s portrayal in the film. His manager objected, stating that the character seemed to be making fun of him throughout the movie.

Until you don’t. 

SCHWARTZ Indeed, we initially responded with, “Not yet, until it’s finished. Go watch the film.” Barry Manilow had his unique storyline, which took us several months to convince his manager to watch the movie. Eventually, he did, and he replied, “What a charming film! You’re welcome to use the song [‘Copacabana (At the Copa)’], but please ensure you don’t omit the line: ‘Barry Manilow.’

Adria Arjona shared some information about the group “Los Frikis” with me approximately two and a half years ago. Since that time, her career has soared significantly. Has her participation had a notable impact throughout each step of this journey?

SCHWARTZ Indeed, she plays a crucial role in every aspect of the film. Not only is she the main actress, but she’s also a producer on the project, and her creative input was sought at every stage. Having a well-known actress like her on board significantly facilitated financing for our small movie. In essence, she was the star that made the finances possible. This in turn enabled us to cast other Cuban and lesser-known Cuban actors for the rest of the film. We can’t thank her enough for her unwavering support throughout the years as we prepared for production. During the pandemic, there were many discussions about where to shoot the movie – Cuba, Mexico, Puerto Rico, or The Dominican Republic – and in the end, we chose The Dominican Republic. Beyond being an exceptional actress and a visionary producer, she’s simply an amazing individual in real life.

It’s possible that multiple director pairs maintain some form of mutual observation, but I didn’t discover any clear links tying you together with Lord Miller. It could be that you share the same legal representation as a possibility.

NILSON & SCHWARTZ (Laugh)

Did Phil and Chris catch an early screening and insist on signing on as producers? 

SCHWARTZ Just like Adria, they had been involved from the start. They were unsure for the first couple of years if they could create a film like this successfully. Even while writing it, they thought it might just serve as an impressive writing sample. If they couldn’t secure a Cuban producer, a Cuban cast, and the right team, they wouldn’t proceed. Phil Lord, who is Cuban-American, appreciated Peanut Butter Falcon, allowing them to arrange a meeting with him and Chris [Miller]. They presented their idea for a Cuban film, hoping they would join as producers. At first, there was some hesitation since they primarily produce big studio films. However, Phil expressed his deep personal interest: “This is significant for me. This is my community. If we do a good job, that’s great, but if we falter, the blame will be on me. So, if you invite us to work on this project, I need your commitment to focus on every detail, hire the right people, cast appropriately, engage thoughtfully at all times.” They agreed, and Phil introduced them to Héctor Medina, who portrays Paco in the movie.

Amazing performance.

Initially, Hector served as a script consultant for us for six months, ensuring our portrayal of Cuban elements was accurate. During the pandemic, he’d join Zoom calls every fortnight, providing insights like, “This is how we’d phrase it,” or, “These are the fruits we’d discuss.” He was always courteous and unassuming. After six months, we finalized the script, to which Hector replied, “I want to be in this movie.” We agreed to find a suitable role for him and give him a line. However, he insisted on playing the character Paco. We were hesitant but eventually allowed him to audition for the beach scene where multiple storylines intersect. To our surprise, he delivered the scene flawlessly against a blue wall, mirroring his performance in the movie. So, Tyler and I concluded, “It seems we’ve found our Paco.” Over time, Hector transformed into this dynamic character, embodying what we referred to as “wolf energy” due to his innate passion from the start. He honed Paco’s wolf energy over several months by learning to sing and play guitar. He also underwent a physical transformation, losing about 30 pounds through walking 20 miles daily and restricting his diet. Eventually, he took charge of the group and excelled in his role. His casting was facilitated by Phil Lord and Hector’s cousin, who had previously worked with him, emphasizing the importance of hiring the most qualified individuals for each role.

Have you ever noticed the camaraderie among filmmakers and how it’s beautifully demonstrated in various ways? Well, this is an illustration. In the acknowledgments section of most films, there’s a list of fellow directors who provided feedback on the editing or script. So, was David Fincher one of those giving you advice as part of your network of collaborators?

NILSON Although he wasn’t connected to our filming network, he is worthy of gratitude. During our filming in The Dominican Republic, he was working on The Killer alongside Michael Fassbender. While we were attempting to capture shots on a road that faced directly towards where they were shooting, we found ourselves distracted by the sounds of a large car chase coming from his direction. We exclaimed, “Our shots are compromised! There’s the sound of screeching tires and disorder!

SCHWARTZ His whole base camp was in our shot.

Initially, our lead assistant director (James Grayford) approached Fincher’s associate. Fincher subsequently emerged, and Grayford casually mentioned, “We’re a small, independent production here. You, on the other hand, are quite a significant player.” To which they responded, “Yes, we understand. We’ll accommodate you. There’s no need for concern.

Schwartz They postponed a day of filming to give us the desired scene. This occurs around the fifth minute in the movie where the brothers discuss how rock and roll allows one to sense it. The reference is to The Rolling Stones and Kurt Cobain. If Fincher hadn’t adjusted his production camp, you would have noticed portable toilets and catering vehicles in the background.

There isn’t a great deal of information about you guys. How’d you link up? 

NILSON: Mike and I shared the same apartment building, and from our very first encounter, there was a certain rapport between us. At that time, he was an assistant editor in the commercial industry, while I dabbled in acting for commercials and tried my hand at writing. We were just two ambitious young men navigating the complexities of Los Angeles. During the evenings, we would gather at my place to discuss films. It wasn’t until six or seven years later that we considered collaborating on projects. I was struggling with a short film, and Mike stepped in as an editor, offering invaluable assistance. We ended up reshooting some scenes, and it felt as if we had been working together all along. Since then, we’ve been partners in creative endeavors.

SCHWARTZ Initially, neither Tyler nor I aspired to be directors. I was an editor, and I assisted Tyler in completing a short film. We then collaborated at a camp for individuals with and without disabilities in Venice Beach, where we met Zack Gottsagen, who later starred in The Peanut Butter Falcon. It was Zack who inspired us to transition into directing. During a conversation about his aspirations to be a film star, we honestly told him that it might be challenging for someone with Down syndrome to break into the industry. He had seen our short film [The Moped Diaries]], and he suggested, “You guys are filmmakers. You should make a feature about me.” The idea appealed to us, so Tyler and I decided to write the script. We borrowed books from the library to learn screenwriting, and Peanut Butter Falcon was our first script. Initially, we intended to produce it with only the three of us; Dave would handle the camera, I would edit, and Tyler would play the role originally intended for Shia LaBeouf. However, we struggled to figure out how to fund it or make it on a small budget of $30,000. So, we created a trailer instead, which we showed to potential investors. Eventually, we secured Oscar-nominated producers, Shia LaBeouf, Dakota Johnson, and Thomas Haden Church, turning the project into something larger. The experience of directing The Peanut Butter Falcon sparked our love for this role, and we aim to continue in this field. Our approach to directing is to hire talented individuals and trust their abilities. We’ll provide guidance when necessary, but we don’t consider ourselves “visionary” directors. Instead, we thrive on collaboration, adapting to new ideas from our DP, actors, or crew members during the filmmaking process.

Earlier on, you brought up the possibility that Treasure Island might be next. But I’m curious to know if your take on Riders of Justice is still something you’re considering working on?

Absolutely, we’ve found that it’s beneficial to have multiple projects in the works at once to increase our chances of working every few years. If we were to focus solely on one project, there’s a risk that actor schedules could change or studios and financiers might alter their plans. Therefore, we’ve penned several exciting ideas and are open to whichever opportunity presents itself first. All the projects we’ve written or are considering have an outsider spirit with a sense of found family and a positive vibe, even within the drama. My personal experiences with adversity, whether my own or those of others I’ve encountered—be they Cuban, Bosnian, or from other backgrounds—often include elements of humor and resilience. Many heavy dramas can seem unrealistic by dwelling excessively on pain or conflict. So, Tyler and I (and this is also true for Lord Miller) are keen to explore a more authentic balance of tones that are lighter or more enjoyable than one might expect from a project like Los Frikis. We’ll see what the future holds; I’m just grateful for any opportunity to create something. It’s always a privilege to be able to make something.

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Los Frikis expands in select theaters nationwide on Christmas Day. 

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2024-12-24 03:26