Dan Solomon interviews Jon Favreau about his upcoming film, which is being called "the spiritual follow-up" to Swingers.
Here's an interesting bit about the ways that Big Hollywood has rubbed off on Favreau as a filmmaker, even as he returns to his small budget, Writer/Director roots:
One thing that separates Favreau, the 2014 filmmaker, from Favreau, the guy who wrote Swingers, is that he has a well-developed sense of visual artistry. After being sought out by Hollywood to launch major franchises, you'd expect that he would--but the question of how that translates to a personal picture helps explain why he made Chef the way he did. Cooking, Favreau says, is the most visually compelling creative process to film.
"There's nothing interesting about most creative processes," he says. "Maybe you could say painting is cool in Martin Scorsese's New York Stories. Like, that's cinematic. Other than that, whenever I see somebody writing a book in a movie, or being a journalist, or programming a computer, it just isn't cinematic. It doesn't capture that feeling. But food is extremely cinematic and it photographs well."
Favreau took the potential that comes with a movie about food seriously, and investigated ways that he could manipulate audience reactions to certain images--and the effect is dazzling. "You get all those mirror neurons that make your mouth water when you see the stuff, and we really play with that," he says. "From watching us break down a pig in the first five minutes of the movie, where a lot of people recoil from it, all the way through seeing the pork dishes and the bacon prepared later when people's mouths are watering. So you can have the same product and have different effects depending on how you show it in a film. To me, as a filmmaker, it's an interesting exploration of my line of work."
It's nice to see him return to writing. Especially with this, a more personal script in which he'll be performing his own dialogue.
I look forward to the film. ◉