Interview with The Girl Next Door co-producer Andrew Van den Houten
Andrew
Van den Houten on THE GIRL NEXT DOOR
Originally published by Dark Recesses Press, 2007
THE
GIRL NEXT DOOR by Jack Ketchum is the toughest book I’ve ever read,
period. Several times, I was tempted to throw it away so I wouldn’t
have to suffer another page of the hell that lay between its covers.
But, in the end, I had to finish it, had to know how it played out.
Had to know if any of the characters would survive with me and
whether or not their conclusion would be an act of mercy or of
further torture, or worse.. Turning the final page I sat relieved
and drained. At least the story was over though it would stay with
me for a long time I knew. Then a couple of years later, along
comes a relatively unknown production company called Moderncine’
who, for some godforsaken reason, thought it would be a good idea to
bring this tragic tale to life on screen. Let me tell you, it was
with much hesitation and inner debate that I eventually decide to get
in touch with those responsible for thinking the world needed a movie
like this. While I can’t say I enjoyed sitting down to watch the
screener of this film – saying I “enjoyed” it just doesn’t
seem right - I can attest that this is a movie that will haunt all
who experience it long after the end credits roll. With Moderncine’s
first feature film, award winning HEADPSACE, under there belt, I
assumed THE GIRL NEXT DOOR was in good hands. But what of the sanity
and reason behind the minds of the creators involved? Why did they
think the world needed to be dragged into that basement to be
tortured and punished along with that poor young girl is inspired by
true events over thirty years ago? What good could this madness reap
from those brave enough to watch the film version of this
controversial book? Never being one to settle for speculation, I
phoned up co-producer Andrew Van den Houten, and decided it was time
to ask him a few questions.
Rick
Hipson - Dallas (AKA Jack Ketchum) had mentioned that you read The
Girl Next Door while on vacation and immediately knew you had to
contact him and turn the book into a movie. What was it about this
book that was so profound and affective for you that you couldn’t
not attempt to adapt it to film?
Andrew
Van den Houten - Well, I think the fact that the film truly captures
the struggle of the young children and this family and this era
really is a metaphor for American culture. I think. In a much larger
way. An this book being such an unforgiving, honest and truthful,
painful actually just very, very honest you couldn’t deny that the
story had to be told. And that’s the thing that sucked because had
I read the book and gone ‘oh god what an exploitive piece of crap
or this book is really trying to take advantage of sexually
exploiting young people and being in very compromising, abusive
situations….. and thought to myself Ketchum really has gone off the
deep end both that’s not really the case at all.
If
anything, it’s brought me closer to my belief in this country which
is freedom of speech and asking that freedom of speech to help tell a
story that people don’t necessarily want to talk about.
RH
- Was this your first visit into Ketchum’s world or have you
experienced a lot of his work before TGND?
AV
- I hadn’t really read much of his work until my producing partner
Bill Miller turned me on to him and then I first read The Lost. I
read Red and several other of his books thereafter. I was intrigued
not only by The Girl Next Door, but also through the short stories at
the end of that book which were quite beautiful yarns, and I thought
this man who has pretty much spent most of his life in my
neighbourhood on the upper West side.
RH
- Oh, I hadn’t known that.
AV
- Well, he now lives blocks away from where I was born and where I
lived, from where I came from, literally, so who would have guessed
that Ketchum lives less then ten blocks away.
RH
- In a past interview Ketchum discusses where a lot of his
inspiration for writing THE GIRL NEXT DOOR and much of the setting
came as a result of where he used to live. Obviously you’re more
familiar with that particular area than I am.
AV
- Well, that’s a little different because Ketchum grew up in
Livingston, New Jersey. I grew up in New York City in Manhatten.
In Ketchum’s later years he moved to New York City and that’s
when I referred to living within a ten block radius from where he was
from. That was not based off where he was writing and his experience
of living by where the Girl Next Door takes place.
But,
his short story at the end of The Girl Next Door deals with Manhattan
and you know, his current environment where he lives. I can relate
to that quite well. Not that I couldn’t relate to The Girl Next
Door, but I certainly was drawn to it and forced to take it in and
ultimately admit that we live in this sick of a society that things
can happen like this.
RH
- Okay, let’s jump from conception to commitment. What sort of
things did you do to fully prepare for the task at hand of bringing
this brutal story to life before casting and shooting were to
commence?
AV
- Well, of course we immediately researched the Benechwesky family.
That’s the first logical thing you do when you read a book like
that. You wanna find out what this is really based off of so you can
really draw a more well rounded conclusion as to whatever this story
that’s being told really means. Now, that was my first step. My
next step was speaking to people like my stepfather and other people
who are professionals in the field and understand their opinions on
abuse and really reflect on my opinions on abuse and understand where
I stood in the whole picture of this and how I felt about it. Then,
of course, the next step for me was to research and find the right
and most appropriate director for the project who understood and
closely aligned to what my thoughts were in terms of the social
implications of the original story. I quite frankly didn’t
understand how to picture a movie like this. I was looking for a
director who could literally sit down and go... ‘this movie is
about one, two, and three and this is how it’s going to look and
this is how it’s going to be told.' When I had Greg Wilson at a
meeting at our office on the Upper West Side in Manhattan with
William Miller, my producing partner and the cinematographer of the
film, Greg Wilson immediately pitched it as one, a social horror
movie, two, a coming of age film and three, a film that deals with
social horror.
RH
- I remember Greg mentioning the other aspect of it when he said that
at the root of it all you have this innocent romance going on with
the core characters, Meg and David. Greg seemed to feel that this
was a lot of what is at the heart of this movie, even with all the
other horrific parts.
AV
- Yeah, and he was unwavering in the terms of sticking to his guns
in dealing with the content as per the pitch that he gave us. That
was, to me, the sign of a director who doesn’t just know how to
pitch well, but he’s a guy who can pitch well and then deliver. I
never questioned if he could deliver or not, but I did question
whether or not as a producer I would be able to really facilitate all
the tools that he would need, especially helping to push the cast
into really playing and help give him the cast that he needed as well
as the environment and period that he needed to reflect. My
challenges were much more about creating the production value and
maintaining the integrity of the story from a production standpoint
and certainly from a derivative book trying to maintain the key
elements of that book in whatever translation he was going to do
based off this screenplay we were working off of.
AV
- Well, I knew that if this movie was like watching a car wreck,
which is what the book is like, then people were going to be unable
to take their eyes off of the screen. And people were going to have
to sit there and find out how this tragic story ends or otherwise
they would be guilty of pretty much what everyone is guilty of every
day in this country which is denying the fact that these things
happen and ignoring them. That being said, I mean the priority here
was to avoid being exploitative and be true to the pitch that the
director had and with what Jack Ketchum captured with the essence of
his novel which was translated in the screenplay.
My
fear was less about whether people were going to watch this movie or
not and more about whether people were going to watch this movie and
go ‘God, these film makers should never make another film again
which, quite frankly, I’d tell them to piss off, but at the end of
the day I make movies because I want people to watch them. I wanted
a film that people would feel was socially relevant and certainly a
film that stayed true to my concerns about abuse and about the issues
of abuse in this country and around the world for that matter.
Ultimately, stepping it up and having people ‘feel the film’ has
relevance and I definitely feel we’ve made the move that does that.
RH
- I think so too. A concern I had going into watching the movie was
whether or not you were going to get that same style and level of
respect for telling such a horrible story that Ketchum conveyed in
his book. As far as I’m concerned you did that very well. It’s
easy to see you had great respect for the victims at hand and, of
course, you were also sensitive as far as carrying the sense of human
emotions across, even with the bad people that were in the story.
Ketchum did that well and you continue that with this movie.
AV
- I would tend to agree with that. You know, it’s like once you’ve
placed the bet, if you’re a gambler, you can’t really sit around
and analyze and question whether you’ve done the right thing or
not. You kind of have to wait it out and see how the tables turn,
you know?
RH
- What was your involvement in selecting the overall cast and crew?
AV
- Well, I’ve been at ninety percent of the casting sessions we’ve
ever had for our company. The funny thing is the one session I
wasn’t at for The Girl Next Door was the one where they selected
the girl! [laughs] No decisions are made final until I see everyone
who is considered and at least see tapes so I am very involved and I
definitely put my input and listen to other people’s thoughts in
the room. Our casting director, my producing partner, and certainly
our director and I try to bring a different perspective and at least
share in that process. Probably the most important thing is the
quality of the cast and of course the quality of the production team
you’re working with.
RH
- Did you have a particular criteria or vision in advance that helped
you spot the perfect people for each respective role?
AV
- In terms of crew, we work with a lot of the same people. I’ve
been working with some of these guys for seven, eight years now.
RH
- So Greg being one of the few where this was his initial project
with you?
AV
- Greg was one of the few, yeah, the director, but he had worked with
my producing partner who is the cinematographer as well as the gaffer
on our film, and on a feature film he had directed before I had met
him.
But
in short, William Atherton, I immediately knew he was right for the
older David part and I suggested and highly recommended him for that
role. I actually had to fight with his agent, or his manager, to
explain the importance of that role for him and get her to understand
it as well. That was directly my doing. And I would certainly say
the suggestion of Daniel Manche as the lead playing young David,
because I had worked with him on Head Space and knew immediately he
was going to be a very important figure to make this film. As far as
I’m concerned, I knew Daniel Manche was David as soon as I read
this book. I was like, if we do this as a film – I knew it. We
had to work around his schedule because he was doing this Tarzan show
on Broadway. That created a whole bunch of drama.
RH
- I’ll have to check out HEADSPACE because it sounds like it fueled
a lot of the choices for cast and crew of this movie.
AV
- Totally. Totally. We actually just finished the movie HOME MOVIE
and the star of that movie is the one who played the young kid in The
Girl Next Door, Woofer (Austin Williams). He plays the star of HOME
MOVIE with his sister, Amber Williams. You can see the incestuous,
repetitive nature to our films [laughs]
RH
- Were there any major concerns and/or challenges that you
experienced in working with a mostly child based cast, legal concerns
or otherwise?
AV
- As far as legalities go, I immediately addressed from the outset of
this project the highly controversial nature of the film to involve
the parents. In fact, before the auditions it was a requirement that
the parents had all read the script. And of course, I knew that my
battle was their kids should do the movie, but if they (needed to)
identify with the material and have the director Greg Wilson explain
to them the importance of doing the film and answering their
questions because, as a director, he ultimately is the one dealing
with the children in terms of the capacity of them expressing the
emotional levity of the story. He was the one responsible for them
to trust. So there you have it.
RH
- So, how many of these kids are in some form of therapy as of this
interview just from being involved in this movie?
AV
- I have to say I think some kids, believe it or not, I think they
understand the material far better because, you know, they have a
personal understanding through their own families of what these
issues are in life. They have first contact with dealing with
friends or hearing about stories about these issues. I think they
have the wisdom and I gotta tell you, Dan Manche, the little kid who
plays young David, just has such an old soul, man.
RH
- It was interesting to learn from Greg that the period piece aspect
of the film didn’t pose any critical challenges aside from the
obvious demand for consistency. Still, I have to wonder – what
sort of financial or organizational issues came up due to the nature
of the fifties reference, either expected or unexpected?
AV
- Well, I think that the biggest hurdle for us was finding the
appropriate houses and I think once we did that…you know, I have
the highest regards for my creative team, my production design teams
as well as my wardrobe teams. Everyone that I work with is highly,
highly skilled and knows and understands that we all come from a
background. I come from a film school background of directing and
producing so you can give me a few matches and I’ll make you a
flame thrower. It doesn’t take much for people who are resourceful
of a dollar to take it and turn it into something that’s worth far
more. Everyone’s kind of infected with this idea before we go into
any of our films. And then we constantly explain if there’s ever a
challenge where they feel they cannot do their job, they’re not
going to get fired they’re not going to get yelled at or
reprimanded because they’re in good company if they have a problem
they can’t solve. The thing about producing low budget is that
it’s a team effort and we’re all here to be resourceful and
supportive and literally problem-solve every challenge all along the
way. Does that mean that I’m going to go and sew a costume for
somebody? Probably not, but it will mean I’ll find you what you
need to do to get that done if you can’t do it yourself. That in
and of itself is what producing is all about. It’s finding the way
to make something happen when everyone doesn’t think they can or
know how they are going to do it and finding and explaining how it
can be done and connecting those dots.
RH
- One thing I’ve learned from talking to other movie makers is it
seems that if you don’t come across any major challenges along the
way while working on a film project then you’re probably not
stretching yourself very far to begin with.
AV
- Absolutely. In fact, at this point we kind of get into them
expecting all kinds of problems. Now that we’ve done it time and
time again and we find that every production seems to be getting
better and better and smoother because we all think ahead of time
what problems could be and really discuss them. So, it’s becoming
less of a surprise when things come up and more, oh we know how to
deal with that because two pictures ago we had this happen and this
is how you solve that problem.
RH
- At the film’s end, you continue Ketchum’s initial narrative
voice over as older David. I loved the affect you created with
David’s character at the river where he first met Meg. Who’s
idea was that, and how did you pull off the allusion of David’s
reflection?
AV
- Well, that was Greg’s pitch. Not only including the three
descriptions of what the film was about, but it also included this
poignant idea for the ending and it was extremely poetic. It
absolutely captures it to a ‘T’ with how he pitched it. It was a
matter of having both actors at that day on that lake and having
beautiful weather so the reflective nature of water would be there
and we got it. So there you go.
RH
- If you would, Andrew, compare the mindset and atmosphere on set for
about the first half of the film to that of the moment we are first
taken into the basement?
AV
- Well, when we’ve shooting in the house and not in the basement,
I’d say, when the cameras weren’t rolling, were more lethargic,
more chilled, more mellow, hanging out, enjoying the day. You know,
we were outside a lot of the time. And then of course when we were
in the basement, when we weren’t shooting, I would kind of describe
the energy as a frenetic excitement. People were having fun and
enjoying themselves. You kind of have to balance out. I think
people were balancing out the dark nature, the dark qualities of what
we were dealing with when we weren’t shooting by having moments of
levity and then fun to counter it.
RH
- I’m sure you must have approached this entire project with
certain perspectives and emotions as fueled by the characters and
their horrific story in Ketchum’s original novel. Did you find
your views and over all take on The Girl Next Door to be at all
changed by the time you came to be wrapping things up?
AV
- No. If anything, it gave me a deeper understanding of what it must
have been like having gone through all that. As a producer on this
set, you’re living everything the characters are living through and
it was really fucking dark. I mean it was pretty intense, you know.
RH
- What do you suppose The Girl Next Door has taught you both as a
director and as a general member of lawful society?
AV
- Well, I think it’s taught me that children are extremely
courageous, extremely intelligent and that they shouldn’t be
underestimated. I think if you speak to your children at a young age
about issues like this, they’re ninety percent more likely to avoid
situations or at least speak up if they see situations like this. I
think kids are obviously the future of our world. I think that goes
without saying and I think they are impressionable. The more careful
we are in terms of how we talk to them, what images we show them, how
we discuss their futures and certainly encouraging the pursuit of
their dreams. I think THE GIRL NEXT DOOR has taught me if not
supported and pushed in the right direction children are very, very
susceptible to being destroyed by evil people. There are evil people
out there who are hurting children and doing terrible things. They
need to be locked up and put away.
RH
- That’s what I hope this movie does, that it at least opens up
people’s eyes enough to maybe see that these things do go on and to
be aware of it and realize that if you know something’s going on,
the people closest to that situation can’t necessarily be counted
on to do anything about it.
AV
- I think giving a voice to the intelligent yet inarticulate is the
responsibility of the adults.
RH
- As it turned out as far as the rating of this film goes, Greg said
you were lucky enough to get enough votes as to brand an R rating on
the label as apposed to the potential NC – 17. What difference
would the NC-17 rating have made to this film and the way it could be
marketed and presented to an audience?
AV
- You wouldn’t see the film in probably nearly as many places and
two: it would certainly not be taken as seriously. It would be
considered probably inappropriate and deemed something that’s much
more pulpy in terms of the
ratings. Now it can reach a much wider audience.
RH
- Anything else you’d like to add for all the people out there who
are wondering what THE GIRL NEXT DOOR is All about and wondering why
they should go and see it?
AV
- They should go see it because it’s a socially important film and
it’s a film that’s going to have an impact on our society and
culture and hopefully something that will have an impact on the film
and cinema history. Jack Ketchum is one of our American great
novelists of the time. He’s someone who’s revered to be a
words-smith and a magician when it comes to telling tales that most
people think cannot be told. So I would challenge anyone who thinks
this isn’t for them to get up and go see if they can get through it
and understand why this film is special.
RH
- Well I look forward to hearing what everybody else thinks of this
amazing movie once they’ve had the chance to check it out and I
thank you for all your time today, Andrew.
AV
- Great, man, and definitely Moderncine, we’re moving quickly.
You’ve heard the announcement about the Jeff Holme movie, you’ve
heard of the theoretic directorial debut project that we’re doing
with the creator of Final Destination. So we’ve got a lot of
things going on so we’re very, very excited this studio’s
growing.
RH
- Andrew, I look forward to what the future holds for you and
Moderncine’ and hope that THE GIRL NEXT DOOR helps to catapult you
into a great future for making the kinds of films people need to
watch.
AV
- Rick, thank-you for everything. You’ve done a great job and I
look forward to seeing where this film goes.
For more info about The Girl Next Door film and about Moderncine', please visit their official website.
Comments
Post a Comment