All About Race You to the Bottom
Race You to the Bottom started as an exploration of how certain personal needs are played out in relationships. Initially the script consisted of a series of conversations — meditations, during the course of a driving trip from Los Angeles to San Francisco, on what characterizes the dynamic between a straight woman and a gay man. The sensual and romantic interaction that my two characters seemed to be experiencing was one that is rarely explored in a “gay-themed” feature film. It was layered with the complexity of unfulfilled expectations and ulterior motives, and therein I saw the potential for a moving film.
As the plot emerged, the themes of the film began to play themselves out more dramatically, as the characters faced situations and external pressures along the way. The process of workshopping many of the scenes with acting/directing coach Joan Scheckel helped bring the ideas of the film into sharper perspective. And although the script remained dialogue-driven, as we progressed it took on a more cinematic energy and form. It was perhaps not until editing was well underway, months later that the relationship between words and images would find its equilibrium.
The director of photography, Marco Fargnoli, was the first crewmember to become involved. While the script was still in its early stages, we were introduced over lunch by a mutual filmmaker friend. Marco’s questions and thoughts on the aesthetics of the film helped the script come to its final form. One of the great pleasures of making this movie was working with him — a “perfect collaboration,” as I have told him many times.
Over the course of the next few months, I took a job as script supervisor on a low-budget feature called Harry and Max. The director, Christopher Munch, has always been an inspiration to me and the chance to work in this position was a good way to learn more about the super low-budget independent filmmaking process. This invaluable experience led me to Roni Deitz, who eventually agreed to produce the film. Roni is that rare producer who knows everything, and is “in the game” for all the right reasons: To do good work, have fun, and run a smooth production.
Meeting Amber Benson was perhaps the first moment when I felt the script would actually come to life. Strangely (or not-so-strangely), she was the first actress to read for the part. Before we launched into the audition, Amber told me that she loved the script but hated the ending. I was immediately smitten. Amber brought intelligence to her reading that I had hoped to find, but also a vulnerability that I was not expecting. To the horror of the casting director, I read the part of the male lead during Amber’s callback audition, and felt we had an immediate chemistry.
Casting Nathan was the opposite experience. We couldn’t find anyone. Cole Williams, who starred in Harry and Max, was staying in my spare room throughout the casting process. Cole always had a unique understanding of the script, but had played a much younger character in Harry and Max. To me, he was always the 15-year-old boy band singer of that film, and not the more mature-looking 25-year-old. A week before production began, we still hadn’t cast the male lead and it was looking like we might shut down.
At the end of our final casting session, Cole appeared with a new haircut, facial hair, and demanded to read for the part. Turns out he was perfect and we had already become great friends, so I knew we could work together. Amber and I had been rehearsing for a few weeks, but the three of us worked intensely before production began — blocking the scenes and getting Cole up to speed. These two actors had immediate chemistry and genuinely liked each other a great deal, so it ended up being a perfect match.
By most filmmaking standards, our 20-day shooting schedule was extremely tight. Split between Napa Valley and Los Angeles, we were constantly at odds with time. Adding to this, the majority of the film takes place outside, and many of our long dialogue scenes could’ve been ruined had the weather not cooperated, or had the schedule not been so perfectly planned by Roni Deitz. Our tiny, dedicated crew believed passionately in the project.
Most notable were the super-human efforts of Fred Helm and Lee Ascher (production sound mixers), Doran Meyers (art director), and Kristen Anacker (costume designer). Roni and I have frequently joked that our production was blessed. When it was supposed to rain and be foggy on our San Francisco beach shoot day, we showed up to the warmest, clearest October day that San Francisco had seen in years. Every location in Napa was cooperative and the production is indebted to them for their generosity.
Editing began two weeks after we wrapped. I was lucky to enlist Annette Davey, a veteran film editor, to cut the project together. Annette had read the script before production, and given me tips on common mistakes of the first time director. (“Oftentimes they overshoot the actors from behind. We want to see their faces!”) Working with Annette was like attending a master-class in film editing. The structure of the story was constantly changing and evolving, and the greatest lesson — you must try everything! — proved fruitful as we chiseled the movie into its final form.
When we finally locked the film, Christopher Munch agreed to take on the thankless role of post-production supervisor. Having never made a film on 35mm, I am convinced we would still be working today had he not so courageously and generously taken on this position. Our first task after the film was “locked” was to find a composer. Annette introduced me to Ryan Beveridge whose score captured the “Berkeley” vibe of the movie, and brought an emotional element that had not been there.
Two songs by M.C. Honky and Eric McKeown were part of the temp, and we were able to license them. Fred Helm oversaw the sound editing and Mark Rozett, another veteran, mixed the film on a meager budget and tight schedule. Ronna Wallace has since come on as our sales representative, and like many other members of the crew, I am grateful for her experience and wisdom.
Race You to the Bottom (2007)
Directed by: Russell Brown
Starring: Amber Benson, Cole Williams, Jeremy Lelliott, Danielle Harris, Justin Zachary, Justin Hartley, Patrick Belton, Erin Cahill, Hannah Evans, Philipp Karner
Screenplay by: Russell Brown
Cinematography by: Marco Fargnoli
Film Editing by: Annette Davey
Costume Design by: Kristen Anacker
Art Direction by: Doran Meyers
Music by: Ryan Beveridge
MPAA Rating: R for sexual content, language and brief drug use.
Distributed by: Regent Releasing, Here! Films
Release Date: March 30, 2007
Visits: 209
