Director Jacob Aaron Estes answers a few questions from the Dtheatre crew about his first feature, Mean Creek (2004 Sundance hit, up for an Independent Spirit Award), being a successful first-time director, and how he put together such a strong soundtrack.

Mean Creek director: Jacob Aaron Estes

Dtheatre: This was a really nice piece of work (with an ending surprisingly softer than feared), what drove you to write a story like this?

Jacob Aaron Estes: I wrote the thing out of hostility and empathy.  First, I was hostile and wanted to pulverize this man who had unfortunately made his way into my consciousness.  I imagined humiliating him in all kinds of ways, then I started asking myself who this guys was.  I thought, this meat head must be a human being.  He must have thoughts and feelings.  I realized hurting him would be a horrible thing to do.  That's what I mean by the film being born out of empathy.  That was what inspired the character of George, and what inspired the arc of the movie, where you're pushed and pulled in those directions of anger and understanding.

DT: Was it difficult to keep the cast focused on the mood?

JAE:  We had a couple instances where they were goofing off.  But adult actors do that too, and so do I.  You can't walk around feeling death all day long, it's not healthy mentally. It's not really healthy for the art either, I don't think.  If they were focused on misery all the time, that would be out of proportion.  These characters are happy, exuberant kids who get caught in a moment of horror.  They shouldn't be tired and miserable physically.  They should be bright and shiny, and then to see that shine come off of them all of the sudden is the drama.  So a light mood on set was a good thing--it kept them where they needed to be physically.  But when it came time to focus, that's what they did.

DT: You and your crew shot a beautiful film. Is it just us or has Terrence Malick had a slight influence on the naturalistic style of this film? Was the style implied on the page or something that you found later?

JAE: Terrence Malick has always been an influence on me.  To what extent, I can't say.  I don't focus on things like that.  Sydney Lumet is also a huge influence on me.  I'm sure that's found somewhere in my work too.  Then again, I've also been known to rent pornography at hotels, and I'm sure that's in there.  Don't know where.

DT: How did you attract such a strong group of musicians for the soundtrack and score? Was that something the distributor helped with after Sundance or something you had been trying to accomplish all along?

JAE: Most of those musicians are friends of mine, or I know a band mate.  I married the girl who did the closing credits song, Gretchen Lieberum.  And then TomandAndy, the composers, they came to a rough cut and fell in love with the film.  They just kicked butt for me.  I had to speak to Mos Def's mom, Umi, to get permission to use Mos' music.  That was an awesome phone call, she's a very sweet woman and her son is so damn talented.  I had fun begging for permission on that.  The flattery was so genuine.

DT: What's on the horizon for you? If you don't mind, describe for our readers what it's like to be in the position you find yourself these days (having your second effort receive some critical and commercial attention). Does taking full advantage of the situation freak you out a bit?

JAE: Mean Creek is my first effort!  It's amazing.  I just want to make good films, and learn to make great ones if possible.  Trying to make the right choices about what to work on next, that's my mission.  I'm doing a film about a man named Zell Kravinsky on the horizon, if anyone feels like looking him up on the internet.


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