LIKE CRAZY written and directed by Drake Doremus, with Anton Yelchin, Felicity Jones and Jennifer Lawrence. A Paramount release. 84 minutes. Opens Friday (November 4). For venues and times, see Movies.
Boy meets girl. boy loves girl. Girl fucks up her immigration situation and so the couple has to attempt a long-distance relationship.
In Like Crazy, writer/director Drake Doremus takes this simple premise and makes it achingly real, thanks to a fresh cast, a novel rehearsal method and a bit of autobiography.
“I went through a lot of the same customs issues,” says the shaggy, likeable director during an interview at TIFF, where his movie – the subject of a bidding war at Sundance – was a big crowd-pleaser.
“It was heartbreaking because it wasn’t just about being separated by countries [his own girlfriend was from Austria]. It was also about being separated by a government. Although this movie isn’t about government.”
He laughs at his own joke. And his off-the-cuff humour comes naturally his mom was a founding member of the Groundlings, the legendary L.A. improv troupe, and he recalls future SNL stars like Phil Hartman and Julia Sweeney hanging out at home.
When it came time to make no-budget indies like Spooner (2009) and Douchebag (2010), he began writing traditional scripts but eventually started adding improv. For Like Crazy, he worked with a 50-page outline that included character subtext, objectives and backstory, and then let his actors run with the scenes.
“It was the most liberating and extraordinary experience to be able to create your character and do whatever the fuck you wanted,” says actor Anton Yelchin, who’s had a string of high-profile gigs, from Charlie Bartlett to Star Trek.
“You just lived it for a period of time, messed around with scenes and came up with moments that felt so real.”
What’s refreshing about Like Crazy is that even though it came out of improv, it’s not full of unnecessary dialogue.
“The first takes were often really talky, where we worked out scenes,” says Doremus. “Then it got stripped down and simplified. Improv isn’t just about talking. It’s in a look, a beat, a stolen glance. That, to me, is what a relationship is.”
The ambiguous ending should spark many café conversations.
“If you’re a cynic, go with your version. If you’re a romantic, [same thing],” says the director. “It’s up to you to decide how you feel. In my mind, it’s about the greyness – the relationship is never fully over and never fully on. These people are soulmates.”
The film could become the kind of romance classic people watch more than once while eating a tub of ice cream. Does he have a message he wants audiences to take away?
“I’d love that,” says Doremus about the ice cream. “I guess the message would be, ‘Throw yourself into a relationship. Don’t hold back.’ My whole life would have been different if I hadn’t gone through that experience, so I’m grateful. It hurt and was painful at times, but it was important.”
Interview Clips
Yelchin on why long-distance relationships are normal for actors, and why texting and Skyping don’t cut it:
Yelchin on whether he’s prepared to become a sex symbol after Like Crazy:
Doremus on how much of footage ended up on the cutting room floor:
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