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THE STORY
Racing across Los Angeles in one,
unwieldy day, documentary filmmakers
Bella and Milo must race from Beverly
Hills to Watts -- and places in between
-- in order to get Milo’s brother Leo
from jail to rehab before 8pm, or Leo
goes to prison for three years.
A story inspired by true events, the trio
documents their trip from a suburban
police station in Calabasas through
mansions in Beverly Hills, East LA
chopshops,
rural
wastelands,
and
housing projects in Watts as they
attempt to raise the $5,000 required to
get Leo into the rehab clinic.
Along the way they encounter dozens of colorful
characters, each with their own anomalous perspective
on Leo’s larger-than-life personality and style, and each
with their own excuse for why they cannot help out. In
the end, it may take the desperate irony of a drug deal to
get the necessary funds to send Leo to rehab.
They wanna go to rehab
"Fix" is the story of three people's dizzying dash
through the unseen underculture of Los Angeles
to get $5,000 for drug treatment.
By JOSHUA TANZER
I'm about to do one of the worst things critics ever do:
Compare something original to something old. That's our
crutch for when we're too lazy to figure out new words to
describe new things, and it unjustly implies that no- body
ever had an idea of their own since, I don't know, Dylan.
Miro. Kurosawa. God. Whatever. It doesn't matter.
The original creation is called "Fix." It's about a day
where people do a whole chain of stupid, irresponsible,
crazy, cool things like modern-day Kerouacs. Like
Hunter S. Thompsons. Like Fear and Loathing in Los
Angeles.
The lead fuck-up and constant center of attention is Leo
(Shawn Andrews), who starts the day by getting out of jail
and must, by court order, end it by entering drug re- hab.
That will cost $5,000 that he doesn't have and urgently
must get.
If there's any precedent for Leo, it's David Thewlis's
character from "Naked" fast-talking, a little nuts, a
little mean, a little charismatic. He's narcissistic, maddening and full of life. He's a natural leader, which is to
say, people follow him because it's impossible to get out
ahead of him.
Coming down to help from relatively sane, responsible
San Francisco (did I just write that?) are Leo's brother
Milo (director Tao Ruspoli) and his girlfriend Bella
(Olivia Wilde of "House M.D."). They have brought a
camera, which they planned to use for an Important
Documentary about prison conditions but wind up using
to record one wild day on the run.
Being a heroin addict, Leo is a man of schemes. They
include borrowing $10 from a thumbcuff-jewelry artist,
stealing an espresso machine, and selling an Italian po-
lice dog to a motorcycle gang. And that doesn't count the
Chevy Impala caper.
"How do you expect to stay out of prison," asks brother
Milo, "if you're going around stealing Israeli arms dealers'
cars and selling them to chop shops?"
"It's not a chop shop. It's a parts place," Leo clarifies.
What ensues is a tour of seamy/awesome Los
Angeles that you pretty much never see in any
other movie. In fact, I happen to be writing this review
from the heart of Hollywood at this moment, and I've seen
two L.A.'s the city of celeb-studded parties, and the city
of boarded- up buildings and homeless beggars but not
the L.A. in-between, the one on the "Fix" tour.
This is a city where a graffiti artist/Army vet/mercenary
paralyzed by Afghan druglords raises chickens in a
wooden shack; where a Ukrainian cat-toy maker runs a
weed farm in the back of his factory; where a
promiscuous painter in panties knows how to scam
$2,500 in a day because it's how she got through art
school; where vegans in a Vietnamese restaurant go ahead
and eat the 100-year-old eggs because you just gotta.
This is a life more vivid than any I've ever seen in
this town. It's a movie more vivid than almost any
made in this town.
Dirty, sweet and magical, the movie swirls
kaleidoscopically through urban terrain. It has the
hallmarks of a music video fast motion, jump cuts,
dizzying angles but isn't just vainly edgy. It's meant to
be a guerrilla film-on-the-fly, latticed like the broken
windshield of perception.
The movie has a sort of mantra at least twice, characters offer the greeting "Each day's better than the next."
Here is a two-faced piece of wisdom indeed. Does it
mean life is getting ever-better, like it sounds, or everworse, like it says? Is "Fix" a movie about hope or
catastrophe, the best of times or the worst of times?
That's for you to decide after seeing the movie. Catch it
at the Brooklyn Film Festival, see it at another festival
near you, beg your local arthouse to play it, do what
you have to do, but see it because you just gotta.
JUNE 3, 2008 OFFOFFOFF.COM
THE GUIDE TO ALTERNATIVE NEW YORK
Fix
by M.Fix
Bradley
by M. Bradley
Tao Ruspoli uses the phrase "happy
coincidences" to describe the unplanned
people,
events,
that worked
Tao
Ruspoli
usesand
thelocations
phrase "happy
cointheir way into his movie. Those many
cidences"
describe
theoccurred
unplanned
strokes oftogood
luck that
over peothe
ple,18-day
events,
and
locations
that
worked
filming period often became the
film's
characters,
scenes,
their
waymost
intomemorable
his movie.
Those many
and camera
shots.
Ruspoli
one lucky,
and
strokes
of good
luck
that is
occurred
over
evidently happy, guy - and I'm not just
thesaying
18-day
often to
became
thatfilming
becauseperiod
he's married
Olivia
theWilde.
film'sHe
most
memorable
characters,
shared
the luck and
brought his
film toand
our little
town,
givingRuspoli
film fest-goers
scenes,
camera
shots.
is one
a
happy
coincidence
of
their
own.
Let
lucky, and evidently happy, guy - andmeI'm
explain.
not just saying that because he's married
to IOlivia
shared
the luck
and
have Wilde.
terrible He
taste
in movies.
Movie
brought
to our
little town,
giving
trailers his
andfilm
listings,
actually.
Put plainly,
I'mfest-goers
just not allowed
pick out movies
film
a happytocoincidence
of
anymore. My friends let me choose the
their
own. Let me explain.
restaurant instead.
The basic
of "Fix"
is not
dog plot
named
Taco,
anda stretch:
a lack Milo
of five thou(Ruspoli)
and
Bella
(Wilde)
have
one
day
sand dollars. I stopped countingtothe numdeliver Milo's brother, Leo (Shawn
ber oftotimes
the film
fall in love
Andrews),
a rehab
clinicmade
in theme
city.
Angeles
all deadline
over again.
Whilewith
the Los
impossibly
short
and
$5,000 clinic fee are daunting obstacles,
basic plot
"Fix"a isthree-year
not a stretch:
Leo's The
alternative
is toofserve
stint in
jail (Ruspoli)
on drug charges.
Knowing
that have
Milo
and Bella
(Wilde)
Leo will
sentence
himself
to
prison
if
left Leo
one day to deliver Milo's brother,
alone, Milo and Bella spend a day
(Shawn
Andrews),
a rehab
clinic in the
frantically
trying
to wrangleto
him
into rehab
city.
Whilemoney.
the impossibly short deadline
with the
required
Here and
was$5,000
an excellent
opportunity
for obstaclinic fee
are daunting
Ruspoli
to Leo's
walk the
confined,iscontrolling
cles,
alternative
to serve a threewalk of many Hollywood writer/directors,
year stint
in jailunique
on drug
charges.
by making
a deeply
movie
about Knowthat Leo
will sentence
drug ing
addiction
in some
easy-bake himself
editing to
booth.prison
Thank if
goodness,
walkMilo
he didand
not. Bella spend
left alone,
a day frantically trying to wrangle him
Instead, Ruspoli and his team drove. During
into rehab with the required money.
a short interview (very appropriately staged
inside an Airstream bus parked on State
Here
was and
an excellent
opportunity
St.), the
director
his cast described
two for
to walk
the confined,
controlling
weeksRuspoli
of taking
in whatever
the city's
streetswalk
couldofthrow
at Hollywood
them and their handmany
writer/directors,
by making sad,
a deeply
camera.
Funny,
unique movie about drug addiction in
dangerous,
endearing; all
some easy-bake editing booth. Thank
the goodness,
hallmarks
a bigwalk heof
did not.
held
money
blockbuster are here,
Instead, Ruspoli and his team drove. Durdelivered
with
an effortless
ing a short
interview
(very appropriately
I have
terrible
taste
in
movies.
Movie
So things could have been ugly when Ed
staged
inside
an Airstream bus
reality
and
spontaneity
thatparked on
trailers
listings,
actually.
Put plainly,
left meand
to my
own devices
on a Friday
night
State St.), the director and his cast deno budget
canweeks
buy,ofall
within
the not
filmallowed
festival,toarmed
withmovies
only a
I'matjust
pick out
scribed
two
taking
in whatever
schedule My
and friends
my cell phone.
ugly.the
"A
anymore.
let meReal
choose
the the
citycity's
limits
ofcould
LA. throw
Now that's
streets
at them and
History of Violence" ugly. But in some
restaurant
instead.
just showing
off.
their hand-held
camera. Funny, sad, danwonderful twist of fate I found myself
watching Fix, a one-day trip through Los
gerous,
endearing;
the Ed
hallmarks
of a
SoAngeles
things could
have been
ugly when
Ed Admittedly,
I didn't
pick the all
movie.
did.
with three
characters,
one dog
big-money blockbuster are here, delivleftnamed
me toTaco,
my own
and adevices
lack of on
fivea Friday
thousand
ered with an effortless reality and spontadollars.
I stopped
countingarmed
the number
of
night
at the
film festival,
with only
neity that no budget can buy, all within
times the and
film my
made
mephone.
fall in Real
love with
a schedule
cell
ugly.
Angeles all over again.
the city limits of LA. Now that's just
"ALos
History
of Violence" ugly. But in
showing off.
some wonderful twist of fate I found myself watching Fix, a one-day trip through
Admittedly, I didn't pick the movie. Ed
Los Angeles with three characters, one
did.
Fix
Fix
ByFix
DENNISBy
HARVEY
DENNIS HARVEY
A LAFCO
and Mangusta
production. Produced by Nat
By
DENNIS
HARVEY
A LAFCO
and producers,
Mangusta production.
Produced
by Nat
Dinga.
Executive
Christopher
Redlich,
ADinga.
LAFCOExecutive
and Mangusta
production.
Produced
by
Nat
producers,
Christopher
Redlich,
Giancarlo
Canavesio,
Cher
Helina,
Robert
Kandle.
DiDinga.
Executive
producers,
Christopher
Redlich,
Giancarlo
Canavesio,
Cher
Helina,
Robert
Kandle.
rected
by Tao
Ruspoli.Cher
Screenplay,
Ruspoli,
Jeremy
Giancarlo
Canavesio,
Helina, Robert
Kandle.
Di- C.
Directed
by aTao
Ruspoli.
Screenplay,
Jeremy
Fels,
based
on
story
byScreenplay,
Ruspoli,
Paul Ruspoli,
Duran,
Charles
rected
by Tao
Ruspoli.
Ruspoli,
Jeremy
C.
C.
Fels,
based
on
a
story
by
Ruspoli,
Paul
Duran,
Castaldi.
Fels, based on a story by Ruspoli, Paul Duran, Charles
Charles Castaldi.
Castaldi.
With: Shawn Andrews, Olivia Wilde, Megalyn EchiWith:
Andrews,
Olivia Wilde,
Megalyn
With:Shawn
Shawn
Andrews,
Olivia
Wilde,
Megalyn
kunwoke,
Tao
Ruspoli,
Dedee
Pfeiffer,
JacobEchiVon
Eikunwoke,
Tao Ruspoli,
Dedee Pfeiffer,
Jacob Von
Ei- Von
Echikunwoke,
Tao
Ruspoli,
Dedee
Pfeiffer,
Jacob
chel.
chel.
Eichel.
Fraternal
intoaawild
wildride
ride
through
Fraternalduty
dutyturns
turns into
through
Fraternal
duty turns
into a wild
rideRuspoli's
through
nearly
all
Greater
Los
Angeles
in
Tao
nearly all Greater Los Angeles in Tao Ruspoli's
nearly
all
Greater
Los
Angeles
in
Tao
Ruspoli's
breezy,
brashnarrative
narrative feature
"Fix."
Ur- Urbreezy,
brash
featuredebut
debut
"Fix."
breezy,
brash
feature
debut
"Fix."
road-trip
picnarrative
risks being
tirebanban
road-trip
pic
risks
beingyet
yetanother
another
tireUrban
road-trip
pic riskshand-held
being yet
another
some
exercise
full-length,
firstsome
exercise
ininfull-length,
hand-held
firsttiresome
exercise
in
full-length,
hand-held
person-camera. But the diversity of visual tacperson-camera.
But the and
diversity
of visual
tacfirst-person-camera.
the
diversity
ofthis
visual
tics,
characters, settingsBut
incidents
keep
tics,
characters,
anddiverting.
incidents
keepkeep
this
tactics,
characters,
settings
and incidents
shaggy-dog
talesettings
consistently
Theatrical
shaggy-dog
tale
consistently
diverting.
Theatrical
prospects
are
a
longshot,
but
fests
gigs
and
niche
this shaggy-dog tale consistently diverting.
prospects
areprospects
abelongshot,
fests gigs but
and fests
niche
DVD
should
easy to come
Theatrica
arebut
aby.
longshot,
DVD
should
be
easy
toshould
come be
by.easy
gigs
and niche
DVD
to come by.
Filmmaking
partners
of
indeterminate
romantic
status
Milo partners
(Ruspoli,
seldom
on-camera)
and Bella
Filmmaking
partners of
of indeterminate
indeterminate
romantic
status
Filmmaking
romantic
(Olivia
Wilde)
fly
down
from
S.F.
to
ensure
Milo's
Milo
(Ruspoli,
seldom
on-camera)
and Bella
(Olivia
status
Milo
(Ruspoli,
seldom
on-camera)
and
Bella
junkie sibling Leo (Shawn Andrews) makes it to
Wilde)
fly
down
from
S.F.
to
ensure
Milo's
junkie
(Olivia
fly down
from
S.F.
ensure Milo's
rehabWilde)
by evening,
otherwise
he'll
get to
a mandatory
sibling
Leo
(Shawn
Andrews)
makes
it
to rehab
junkie
sibling
Leo
(Shawn
Andrews)
makes
it toby
prison stint. Bella is unenthused and unamused
evening,
otherwise
he'll
get
a
mandatory
prison
rehab
byLeo
evening,
get aanmandatory
when
turns upotherwise
shoeless inhe'll
pajamas,
obvi- stint.
Bella
is
unenthused
and
unamused
when
Leo
turnsheup
ouslystint.
unrepentant
artist and hedonist.
Since
prison
Bella isscam
unenthused
and unamused
shoeless
in
pajamas,
an
obviously
unrepentant
scam
needs
to turns
raise several
thou to in
fund
rehab, heanleads
when
Leo
up shoeless
pajamas,
obviartist
and hedonist.
Since series
he needs
to raise several
the
couple
on a mazelike
of schemes
andSince
er-thou he
ously
unrepentant
scam
artist
and
hedonist.
rands
from
the he
Hollywood
toon
Venice
to Watts,
to fund
rehab,
leads the Hills
couple
a mazelike
series
needs
to raise
several g.f.
thou
to fund
rehab, Echihe leads
picking
up sometime
Carmen
of schemes
and errands
from
the (Megalyn
Hollywood
Hills to
thekunwoke)
couple onWatts,
a amazelike
of schemes
and erpound
of series
medical-grade
Venice to and
picking
up sometime marijuana
g.f. Carmen
rands
from
the
Hollywood
Hills
to
Venice
to
Watts,
en
route. Music
supervisor
Bryan
Ling's
cool mix(Megalyn
Echikunwoke)
and
a pound
of medical-grade
tape
soundtrack,
mixed
pro/amateur
perfs,Bryan
energetic
picking
up sometime
g.f.
Carmen
(Megalyn
Echimarijuana
en route.
Music
supervisor
Ling's
pace and and
non-copout
ending
keep "Fix" fresh.
kunwoke)
a
pound
of
medical-grade
marijuana
cool mixtape soundtrack, mixed pro/amateur perfs,
en Camera
route.
Music
supervisor
Bryan
Ling's
cool
mix(color,
Christopher
Gallo,
Rusenergetic
paceSony
andHDcam),
non-copout
ending
keep
"Fix"
poli;
editor,
Paul
Forte;
music
supervisor,
Bryan
Ling;
tape
soundtrack,
mixed
pro/amateur
perfs,
energetic
fresh.
production designers, Sarah Osbourne, Erin Eagleton.
pace
and non-copout
ending
keep(competing),
"Fix" fresh.
Reviewed
Slamdance
Festival Christopher
Jan.
Camera at
(color,
SonyFilm
HDcam),
Gallo,
21,
2008.
Running
time:
90 MIN.music
Ruspoli;
editor,
Forte;
supervisor,
Camera
(color,
SonyPaul
HDcam),
Christopher
Gallo,Bryan
Ruspoli;Ling;
editor,production
Paul Forte;
music
supervisor,
Bryan
Ling;
designers, Sarah Osbourne, Erin
production
Sarah
Eagleton.designers,
Reviewed
at Osbourne,
Slamdance Erin
FilmEagleton.
Festival
Reviewed
at Slamdance
FilmRunning
Festivaltime:
(competing),
(competing),
Jan. 21, 2008.
90 MIN. Jan.5
21, 2008. Running time: 90 MIN.
minating when juxtaposed with the icy power of "Paranormal Activity," where the illusion of real danger engenders
greaterjuxtaposed
terror thanwith
any given
market
minatinga when
the icymass
power
of "Paraploy.
normal Activity," where the illusion of real danger engenders a greater terror than any given mass market
The other Slamdance movies to combine documenploy.
tary formalism with fabricated narratives are more
The other Slamdance
movies
combine
conventional,
but in both
casestothe
moralitydocumenof
tary
formalism
with
fabricated
narratives
are "Fix,"
more
documentary filmmaking plays a central role.
but in
both
morality
of
aconventional,
raunchy comedy
with
thecases
grittythe
energy
of "Go"
documentary
plays aDevelopment,"
central role. "Fix,"
and
the speedyfilmmaking
wit of "Arrested
a raunchy
comedy
with
the gritty
energy of
of Milo
"Go"
centers
on the
rushed
daylong
experience
(Tao
Ruspoli,
director) and
his friend Bella
and the
speedyalso
wit the
of "Arrested
Development,"
(Olivia
duringdaylong
which they
transportofMilo's
centers Wilde),
on the rushed
experience
Milo
raucous
brother also
Leo the
(Shawn
Andrews)
jailBella
to
(Tao Ruspoli,
director)
and hisfrom
friend
rehab
andWilde),
captureduring
the whole
thing
camera. Milo's
"I
(Olivia
which
theyontransport
was
looking
for aLeo
story
that would
allow me
to jail to
raucous
brother
(Shawn
Andrews)
from
gradually
to narrative
filmmaking
using
rehab andtransition
capture the
whole thing
on camera.
"I
the
had
learned
making
waslanguage
looking Ifor
a story
that
woulddocumentaries,"
allow me to
explains
about
his featurefilmmaking
debut. Whatever
graduallyRuspoli
transition
to narrative
using
the
has a magnificent
visual pathe language,
language I"Fix"
had learned
making documentaries,"
nache,
glimmering
with the
neon hues
of Beverly
explains
Ruspoli about
his feature
debut.
Whatever
Hills.
The talented
professionals
the language,
"Fix"cast
hasofa emerging
magnificent
visual pa(Wilde
recentlywith
cast the
alongside
JackofBlack
in
nache, was
glimmering
neon hues
Beverly
"Year
One")
compensate
a simplistic
questHills. The
talented
cast offor
emerging
professionals
based
(Wildeplot.
was recently cast alongside Jack Black in
"Year
One")
compensate
for a simplistic
questA simplistic treatment
works directly
against the
heavybased plot.
handed
conceits of "The Project," Slamdance's third
PARK CITY '08 NOTEBOOK |
Slamdance Offers Refreshing AlterPARK CITY '08 NOTEBOOK |
native: "Paranormal"; "Fix"; "ProSlamdance Offers Refreshing Alterject", "Tingler"
native: "Paranormal"; "Fix"; "Proby Eric Kohn (January 22, 2008)
ject",
"Tingler"
by Eric Kohn (January 22, 2008)
Compact in terms of programming and scale, the Slamdance Film Festival offers a refreshing grassroots alternative to the
Sundance
Film Festival's
glamour.
Compact
in terms
of programming
and scale,
the This
Slamyear's
program
includes
several
markedly
similar
dance Film Festival offers a refreshing grassrootsat-altertemptstotothe
tellSundance
fictional stories
within a documentary
native
Film Festival's
glamour. This
framework.
These
aren'tseveral
lighthearted
mockumentaries
year's
program
includes
markedly
similar at- of
the
Christopher
Guest
variety:
YouTube
generation
tempts to tell fictional stories within a documentary
filmmakers
have
adapted
the
style
as
a
non-ironic
story-of
framework. These aren't lighthearted mockumentaries
telling
device--and
whenvariety:
the tactic
works, it's
stunning.
the
Christopher
Guest
YouTube
generation
filmmakers
have
adaptedmakes
the style
as a non-ironic
story"Paranormal
Activity"
a strong
case for this
aptelling
the tactic
works,values
it's stunning.
proach.device--and
Despite its when
miniscule
production
and
somewhat rudimentary
intelligently
paced
"Paranormal
Activity"concept,
makes athis
strong
case for this
apghost
story
creates
a
stripped-down
intensity
that
the
proach. Despite its miniscule production values and
horror genre
often sorely
lacks. Israeli-born
director
somewhat
rudimentary
concept,
this intelligently
paced
Oren Peli uses a technique reminiscent of "The Blair
ghost story creates a stripped-down intensity that the
Witch Project," but it really suggests a DIY take on
horror genre often sorely lacks. Israeli-born director
"Poltergeist." Shot on digital video and edited like
Oren Peli uses a technique reminiscent of "The Blair
found footage, the movie tracks the efforts of a young
Witch Project," but it really suggests a DIY take on
couple (Katie Featherson and Micah Sloat) to record a
"Poltergeist." Shot on digital video and edited like
menacing supernatural presence haunting their home at
found footage, the movie tracks the efforts of a young
night. Peli generates suspense with nuanced cues that
couple (Katie Featherson and Micah Sloat) to record a
suit the material (plenty of things go bump in the night).
menacing
supernatural
presence haunting
home at
Like any great
thriller, anticipation
trumpstheir
excess.
night.
Peli
generates
suspense
with
nuanced
cues
"When I watch a movie with a lot of editing tricksthat
and
suit
material
(plenty ofkind
things
go bump
in the
loudthe
sound
effects--these
of things
make
younight).
jump,
Like
any don't
great stay
thriller,
trumps
but they
withanticipation
you," Peli said
last excess.
week shortly
"When
I watch
a movie
with
a lot
of editing
tricks
before the
premiere
of his
film.
"The
ones that
don'tand
loud
sound
effects--these
kind
of
things
make
you
jump,
show a lot of things always scare me."
but they don't stay with you," Peli said last week shortly
Consider
alternative
to the"The
genre's
typically
simbefore
thePeli's
premiere
of his film.
ones
that don't
plistica shocks
in lightalways
of thescare
Slamdance
show
lot of things
me." documentary
"Spine Tingler: The William Castle Story," which
Consider
alternative
theprolific
genre'sgenre
typically
simtracks thePeli's
bizarre
efforts oftothe
filmmaker
plistic
shocks
in
light
of
the
Slamdance
documentary
to break the fourth wall of the horror filmgoing experi"Spine
Tingler:
Thestature
William
Castle
Story,"
which
ence. Castle,
whose
as the
producer
of "Rosetracks
bizarre
effortsoverwhelmed
of the prolificbygenre
filmmaker
mary'sthe
Baby"
became
the prolificacies
to
thePolanski,
fourth wall
of the horror
filmgoing experiofbreak
Roman
succeeded
as a performance
artist-ence.
Castle,
whose
stature
as
the
producer
of "Rosebut the camp value of his gimmicks cheapened
his repumary's
Baby"
became overwhelmed
bytenderly
the prolificacies
tation. (In
one interview,
John Waters
recalls
of
Polanski,drifting
succeeded
a performance
theRoman
flimsy skeleton
over as
a bemused
crowdartist-durbut
campon
value
of his Hill").
gimmicks
cheapened
repuing the
"House
Haunted
Castle's
legacy his
is illutation. (In one interview, John Waters tenderly recalls
the flimsy skeleton drifting over a bemused crowd during "House on Haunted Hill"). Castle's legacy is illu-
6
6
phony doc. Its immediately cumbersome premise finds a
A simplistic treatment works directly against the heavytrio of edgy film school grads trying to capture ghetto
handed conceits of "The Project," Slamdance's third
life in downtown Brooklyn while struggling with obnoxphony doc. Its immediately cumbersome premise finds a
ious white guilt. First of all, the idea such a large amount
trio of edgy film school grads trying to capture ghetto
of violent gang wars would take place in the tame Fort
life in downtown Brooklyn while struggling with obnoxGreen streets is fairly intangible. Geographical quibbles
ious white guilt. First of all, the idea such a large amount
aside, "The Project" suffers from a major tonal imbalof violent gang wars would take place in the tame Fort
ance. Ryan Piotrowicz has an ear for amusing hipster
Green streets
intangible.
cynicism,
and is
hisfairly
principle
subjectsGeographical
are good for quibbles
a few
aside,
"The
Project"
suffers
from
a
majorconclusion
tonal imbalyucks, but the bleak, unsettlingly violent
ance.imagination
Ryan Piotrowicz
hasemotionally
an ear for amusing
hipster
lacks
and feels
vacant. A
bold,
cynicism,
and
his
principle
subjects
are
good
for
a few
misguided project itself, "The Project" needs no candid
yucks, but
the bleak,
unsettlingly
violent conclusion
camera
to reveal
its characters'
flaws.
lacks imagination and feels emotionally vacant. A bold,
With
disparate
productions
lining
up to take
a crack
at
misguided
project
itself, "The
Project"
needs
no candid
the
same
imitation
of
non-fiction,
definite
standards
have
camera to reveal its characters' flaws.
started to form--and filmmakers need to think long and
Withbefore
disparate
productions
to take
crack at
hard
deciding
if their lining
chosenup
story
suitsa the
the sameAtimitation
of point
non-fiction,
definite
method.
a relevant
in "Fix,"
one ofstandards
the frus- have
startedprotagonists
to form--and
filmmakers
think
long and
trated
puts
his friend need
to thetotest.
"When
are
hardgonna
beforestop
deciding
their
suits the
you
living if
you
lifechosen
like it'sstory
one fucking
method. At a relevant
in "Fix,"
of the frusdocumentary?"
he asks.point
As home
videoone
continues
to entrated protagonists
puts
his friend to(and
the test.
"When are
croach
on mainstream
entertainment
"Cloverfield"
you gonnathe
stop
living
youlet's
life hope
like it's
one fucking
dominates
box
office),
someone
answers
documentary?"
he asks. As home video continues to enthat
question soon.
croach on mainstream entertainment (and "Cloverfield"
dominates the box office), let's hope someone answers
that question soon.
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His aristo family hails from Rome, but filmmaker
Tao Ruspoli prefers Venice—California, that is.
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lane in Venice, California, and strolls to a road-worn RV parked at the
curb. One rear tire is flat, and the side door is unlocked. “Hello?” Ruspoli
calls into the cabin, adding with the wry smile of someone who has found surprises there in the past, “You never know.”
The vehicle, a 1977 GMC Eleganza bought on eBay, was the mobile production
headquarters for Fix, Ruspoli’s first feature-length drama. A day-in-the-life story, the
movie stars Ruspoli and his wife, House’s Olivia Wilde, as a couple escorting a family
member to rehab; the filmmaking team of 10 used the RV for hair, makeup, wardrobe, craft service, technical work and editing. “We did everything out of that RV,” recalls Ruspoli, a slim 33-year-old, saying that they piled in the vehicle yet again to drive
to film festivals across the country: “We took it to Sundance. We took it to Marfa.
We parked, pulled out the awning and relaxed for five days before driving back.”
The RV may have been a practical solution for a microbudget filmmaker—and a
mode of group transport as old as Ken Kesey’s Magic Bus—but it’s a far cry from the
director’s ancestral home, Rome’s Palazzo Ruspoli. (His family also owns the Castello
Ruspoli in Vignanello, which boasts one of the most celebrated gardens in Europe.)
Ruspoli is perhaps the only director who can legitimately claim the title of Hollywood
royalty. He’s an Italian prince from a lineage dating to the year 800, and his father was
the late Dado Ruspoli, one of the richest, most exuberant playboys of la dolce vita—a
fabled era when the motto, says Ruspoli, was, “Let’s live to the maximum.”
“My father’s friends were Cocteau, Picasso, Orson Welles,” says Ruspoli, who
discusses his family with the bemused fascination of an anthropologist among
an eccentric but peaceable tribe. “He spent money like there was no tomorrow,
throwing lavish parties.”
The younger Ruspoli, though, seems more SoCal artist than Italian aristo. His
maternal grandfather was actor William Berger, and his mother, actress Debra
Berger, met Dado in Italy when she was only 17. (He was nearly 50.) The unlikely—
and unmarried—couple went to Thailand, where Dado frequented opium dens
and palled around with the king’s cousin. The following year Tao was born under
the South Asian sky, as his name denotes. Raised in Rome and California by his
mother, Ruspoli got to know his Italian ancestry—and his siblings by his father’s
various wives—during summertime visits to the castello, where he recalls feeling
right at home. “Despite the fact that my father squandered nearly all of the family
fortune and had kids all over the place, it was wonderful,” he says.
Ruspoli went on to study philosophy at the University of California at Berkeley and
began his film career working for production designer Dean Tavoularis (The Godfather, Apocalypse Now) on the set of Bulworth. After nearly a decade of making mostly
short documentaries on a shoestring—topics included flamenco and his father’s drug
addiction—Ruspoli cobbled together Fix’s $300,000 budget with help from former
investment banker Giancarlo Canavesio. “We showed it to the William Morris
Agency, and they fell in love with it,” Ruspoli says. “They took me as a client, but they
were shocked that the movie was made for so little. I thought it was a huge amount.”
Today Ruspoli’s Mangusta & LAFCO Productions is developing two documentaries, and he’s reading scripts for more-mainstream movies. Fix hasn’t yet
found a distributor following its 35 festival screenings, but Ruspoli imagines a day
when independent directors will be able to deliver films directly to consumers,
much as indie bands sell their music through MySpace and iTunes.
Asked what his father, who died in 2005 at age 80, thought of the young
prince’s moviemaking ambitions, Ruspoli replies that both his parents were
supportive. “Many people have trouble living up to famous parents,” he adds.
“I always joke I was lucky because my father was famous for not doing anything.
That’s not hard to live up to.”
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“Despite the fact
that my father
squandered nearly
all of the family
fortune and had kids
all over the place, it
was wonderful,”
Ruspoli says.
6CQ4WURQNK at home
in Venice, California
FIX BIOS
Shawn Andrews ("LEO") made his feature film debut
as the umber cool Kevin Pickford in Richard Linklater’s
indie megahit DAZED AND CONFUSED. Since then, he
has committed his career to provocative character
work. Including, among others, his role as Simon in the
melodic festival favorite AFTER THE FLOOD, as the
beautiful loser, Robbie, in Matt Dillon directed CITY OF
GHOSTS, and in BIG HEART CITY starring opposite
Academy Award Nominee Seymor Cassel.
Olivia Wilde ("BELLA") Equally successful in film and
television, the beautiful and talented Olivia Wilde has
starred in an array of comedic and dramatic roles. Wilde
previously starred opposite Bruce Willis, Emile Hirsch and
Justin Timberlake in the Universal film ALPHA DOG,
based on the true story of Jesse James Hollywood. Wilde
joined the ensemble in John Stockwell's TURISTAS,
opposite Josh Duhamel and Melissa George, which was
released by Fox Atomic. She has completed two
i n d e p e n d e n t f e a t u re s i n c l u d i n g B I C K F O R D
SCHMECKLER'S COOL IDEAS, in which she won Best
Actress at the Aspen Film Festival, as well as
CONVERSATIONS WITH OTHER WOMEN, opposite
Helena Bonham Carter and Aaron Eckert. In the summer
of 2007, Wilde starred in Epic Theatre Center's OffBroadway production of BEAUTY ON THE VINE. Wilde
also starred opposite Jonathan Tucker in NBC's drama
THE BLACK DONNELLYS, written by Paul Haggis.
Wilde's television breakout role was in the Jerry
Bruckheimer produced series, Skin for FOX, but is
perhaps better known for her recurring role on the
critically acclaimed FOX series, THE O.C. Wilde can
currently be seen in FOX's hit Emmy-nominated drama
HOUSE opposite Hugh Laurie. She also plays Mia in IN
NORTHWOOD, and as Princess Inanna in YEAR ONE
with Jack Black and Michael Cera. Wilde is also currently
filming TRON 2.0, a movie by Walt Disney Productions,
which is scheduled to be released in 2011.
Tao Ruspoli
( MILO"/Director, Actor, Writer, Director of
Photography) is an Italian- American filmmaker and photographer.
He is the son of Italian actor and aristocrat Prince Dado Ruspoli
and American actress Debra Berger. Tao was born in Bangkok,
Thailand and raised in Rome and Los Angeles. He graduated
from the University of California, Berkeley with a Bachelor of Arts
in Philosophy. Ruspoli’s other most recent work is the
documentary, BEHIND THE WHEEL. Behind the Wheel follows a
group of driven artists, filmmakers, musicians, and american
citizens, in search of change within the United States. His most
well-known piece is the documentary JUST SAY KNOW, a
personal discussion of his family's drug addiction. His other films
include FLAMENCO: A PERSONAL JOURNEY, a feature length
documentary about the flamenco way of life as it is lived by
Gypsies in the south of Spain. He has directed a number of other
short documentaries, including EL CABLE (also about Flamenco),
and THIS FILM NEEDS NO TITLE: A PORTRAIT OF RAYMOND
SMULLYAN (a portrait of the renowned logician, mathematician
and concert pianist Raymond Smullyan). Tao founded LAFCO in
2000. The Los Angeles Film- makers Cooperative, is a bohemian
collective of film- makers and musicians who work out of a
converted school bus. His producing credits include the feature film CAMJACKERS, which he also acted in
and co-edited. Camjackers won the best editing award at the 44th Ann Arbor Film Festival. Tao is an
accomplished flamenco guitar player, and his first CD, Flamenco, was released on Mapleshade Records in
2005. He is married to actress Olivia Wilde. He currently lives and works in Venice, California Megalyn Echikunwoke ("CARMEN") is an American
actress. The daughter of a Nigerian father and a white
American mother, she and her brothers were raised by
their mother on the Navajo Indian reservation in Chinle,
Arizona. In addition to FIX Echikunwoke can be seen in
WHO DO YOU LOVE, released in 2008, as Dr. Tara Price
in CSI: MIAMI, and on the TV series RAISING THE BAR.
She is also known for playing Nicole Palmer in the first
season of 24 and Isabelle Tyler in The 4400.
Director’s Statement
FIX is inspired by a true story: My
brother, a very charming, larger than
life character in real life, was struggling
with drug addiction. The law caught up
with him, and he was offered a deal by
the judge: if he didn't check himself
into rehab in 10 days, he would be
sent to prison for 3 years. On the 8th
day, he was arrested again, for something else. His lawyer called me, while I
was working on a documentary in San
Francisco, and said, "If someone
doesn't bail him out of jail and get him
to rehab by 8pm tomorrow, he is going
to prison for 3 years." So I drove overnight to bail him out and soon found out that the rehab wouldn't accept him without a nonrefundable $5000 deposit. Since we didn't have the money, the day turned into a race to get the
funds before the 8 o'clock deadline.
4 Years later, my wife Olivia and I had the idea of turning this premise into my first narrative feature
film. I knew it was time for me to move into scripted features and I was also dying to work with
Olivia, who was developing into an incredible actress. We always joked that while we had gotten
married after only knowing each other for 6 months, the real
commitment (and risk) it takes to make a film together required 4 years.
Given my background in guerilla style documentary filmmaking, I wanted to use the language I had developed in that
medium and apply it to my first narrative project. In that way, I
hoped to get the best of both worlds: the immediacy and realism of documentary and the structure and story arc of
scripted, fictional work. Given advances in digital media, I
was also excited by the fact that we could do this without
sacrificing my love of photography and "cinematic" imagery.
The process and result turned out to be more gratifying than I
ever could have imagined. Seeing Shawn bring his own vision
and spirit to the Leo character was delightful. Shooting was
adventurous and fun, and bringing the film to festivals around
the world and seeing how the film touched people from so
many walks of life was more than I ever dreamed of. I am excited for the film to now reach an even larger audience with
this fall's release.
- Tao Ruspoli
FESTIVALS and AWARDS:
Santa Barbara Film Festival
Heineken Red Star Award for
Most Progressive and Innovative
Filmmaker
Brooklyn International
Film Festival
Best Feature Film,
Best Actor, Shawn Andrews
Chameleon Award
Vail Film Festival
Best Feature Film
Rising Star Award, Olivia Wilde
Twin Rivers Media Festival
Best Feature Film
Moviesauce (Shreveport LA)
Audience Award
Slamdance
Official Selection
Hardacre Film Festival
Best Feature Film
East Lansing Film Festival
Official Selection
Marfa Film Festival
Official Selection
Newport Beach Film Festival
Official Selection
Warsaw Film Festival
Official Selection
Central Florida Film Festival
Official Selection
Akron Film Festival
Official Selection
Methodfest
Official Selection
Riverside Film Festival
Official Selection
Napa Wine Country Film Festival
Official Selection
FIX
Directed by
Tao Ruspoli
Starring
Shawn Andrews
Olivia Wilde
Megalyn Echikunwoke
Tao Ruspoli
Dedee Pfeiffer
Written by
Tao Ruspoli
Jeremy Fels
Produced by
Nat Dinga
Photographed by
Christopher Gallo
Tao Ruspoli
Edited by
Paul Forte
Production Design by
Erin Eagleton
Sarah Osborne
Casting by
David Rapaport
Lindsey Kroeger
Music by
Dead Prez
Ima Robot
Simon Dawes
Beautiful Girls
Nico Stai
Contact
William Morris Independent
www.fixthemovie.com