A hit at the most recent Rotterdam Film Festival, Paul Krik’s feature debut Able Danger is a Flatbush, Brooklyn set post 9/11 conspiracy tale that hinges its low budget thrills directly to a studied pastiche of classic film noir and a healthy cynicism of our government’s possible role in the events of 9/11 and the subsequent dive into a state of perpetual middle eastern war in the name of defending freedom. Krik, who occasionally goes by the name Dave Herman, has the hip threads and thousand yard stare that are par for the course for Brooklyn conspiracy theorists, but he also has sure handed feel for cinema. With deftness he milks paranoia out of his crisp, hi-def B&W images and creates an altogether plausible conspiracy that barely name checks the controlled demolition theory, but nonetheless synthesizes large quantities of suspicious information from that sunny tuesday morning seven years ago. On the eve of his film’s NYC release at the Pioneer later this week, we caught up with Paul to talk about––what else?–– Entourage, Atlas Shrugged, the desire to work with Cate Blanchett and Greek versus German philosophy.
What films or television shows have you seen recently?
Film:
Mongol, Transsiberian, Iron Man, The Dark Knight, Be Kind Rewind, 10,000 BC, Harold & Kumar 2, Indiana Jones, High Anxiety, When the Full Moon Rises
TV:
Dexter, Entourage
Which ones stuck with you and why?
Dexter resonates so loudly in the depths of my soulless soul that laughs bounced around in there and come screaming out. I feel somehow when watching Dexter as if it speaks only to me. I love rooting for the serial killer. That’s the essence of noir — the highly imperfect hero who convinces you that you would kill too, and that, indeed, it’s the right thing to do if only you had the courage.
Entourage sticks with me because it’s preparing me for my meeting with Harvey. I’m ready to face Harvey Scissorhands. Let’s make a deal.
Movies haven’t really stuck with me of late….but I haven’t been going to as many as I would like. I got kids now, too many kids’ movies. The only thing that REALLY stuck with me in the past couple years was I’m Not There, especially Cate Blanchett — but not only her. I coudn’t get over that performance and the brilliance of her casting. Inspirational. Somehow her talent and beauty matched Dylan’s at his most beautiful moment where he was overflowing with youthful talent. My goals is to make a movie with her. If I can get credited for being a director for rolling a camera on her doing basically anything than I’ll be a success. I mean I loved No Country for Old Men, but then again, it was basically just as good as the book….Kudos for making a movie nearly as good!
Does your interest in them have anything to do with your own work as a filmmaker?
Of course, I’m completely driven by jealousy in the best possible way. The Greek’s believed there were two desires that motivated all action; Eros and Eris. Passion and Jealousy. It’s only the inspiration of the great films that have come before that motivate me. Kubrik calls me out every day.
How often do you read fiction? Do you wish you read more?
I read fiction often. No I don’t wish I read more. I’m a Hegelian in that sense, the actual is rational. I read as much as I can. The only thing I wish for more of is time with my kids.
What would be your ideal literary adaptation and why?
The Atlas Shrugged. It’s got deep philosophical undertones and a revolutionary sensibility with a hottest sexiest uber chick that ever was; Dagney Taggert and coolest bad ass pirate ever, Ragnar Danneskjold, who steals all the gold from Fort Knox. Not to mention the greatest inventor of all time, John Galt, who invents the next source of energy. More than ever, ‘Who is John Galt!?’
Also Still Life With Woodpecker would be good too for the same revolutionary, sexy, philosophical sentiments.
How, if at all, has reading informed your filmmaking?
I’m into the classics. I studied Greek philosophy and German philosophy. I like stuff with intelligent references. The best films fire at all levels — they hit you in the gut with the sex and the violence and the action and they hit you in the head with deep philosophical, pscyhological, social, and/or political commentary.
What are you listening to recently?
The making of this movie has taken me out of the mode of listening to new music to the point of distraction.
My inspiration for this movie was Woody Guthrie, the true American hero who stood up to the McCarthy when he was accusing every controversial American artist of communism and basically told him to shut up in front of Congress. Especially, ‘All You Fascists Born to Lose.’ If I had had any money I would have tried to license that track as well as the Billy Brag remake.
If you could collaborate with one musician on a film, who would it be and why?
Hmmmm. What an impossible question. Of course I would want to work with the three amazing composers who worked on Able Danger; Michael Montes, John Roome and Alexander Schiebel….
…but if you’re going to demand which living musician that it’s feasible for me to work with…for me it would have to be someone still close to their prime… I think I’d have to say Jack White…His music always conjurs up narrative imagery for me and it’s not jsut because of the excellent music videos. He’s got a classic referential aspect to everything he does, but it’s always original and rocking and funny.
him and John Williams….
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