LA Film Festival Interview: Madelyn Deutch and Lea Thompson on ‘The Year of Spectacular Men’
LA Film Festival Interview: Madelyn Deutch and Lea Thompson on The Year of Spectacular Men
Earlier this year at Sundance, I had the great pleasure of meeting Zoey Deutch for the first time after the World Premiere of Before I Fall. I had a short conversation with her as a fan after the Q&A. Zoey was very sweet and took the time to take a photo with me before the Sundance team rushed her away. About a month later, I was presented with the opportunity to meet Zoey again but this time for a formal television interview.
When I walked in the room, Zoey got up from her chair and yelled with excitement “Oh, my God it’s you!” and gave me a huge hug. This may not seem like such a big deal but the simple fact that Zoey remembered me made me happy but for her to react like she did, made me feel special. I meet hundreds of celebrities a year and it’s extremely rare to get a reaction like Zoey’s. It is something that as a journalist will stick with you.
Flash forward to a few weeks ago when the official line-up for the LA Film Festival was released. I looked through the line-up to find what my most anticipated film of the festival would be and sure enough, The Year of Spectacular Men stood out. I was so excited to see the Deutch family work together and knew that I had to somehow get an interview with them at the festival. Luckily, getting the interview wasn’t a problem. Unfortunately, Zoey was unable to attend due to fact that she is shooting a film but I did get to sit down with her mom Lea Thompson as well as her sister Madelyn.
The mother and daughter duo were incredibly kind and lovely people. I adored talking with them for 30 minutes about their film because I felt like I got to know them a little bit as people as well as artists. I wish every celebrity family could be as nice as the Deutch family. Lea, Madelyn, and Zoey are without question some of the most talented and loveliest people working in the industry today.
Below is my full interview with Lea and Madelyn. It is a bit long but we discussed a lot during it. If you would prefer to listen to it instead, I have included the audio file below.
Scott Menzel: I have to say I’m a little bummed that Zoey’s not here. As a compliment to you (looks at Lea), I must admit what a sweetheart she is. I met her at Sundance and then I got to interview her for Before I Fall, and she remembered me from Sundance and she stood up and she’s like, “Oh my god, it’s you!” And she came over and gave me a big hug.
Lea Thompson: Here we are, I’ll tell you what we’ll do a picture so we can send it to her.
Scott Menzel: Okay. Awesome
Lea Thompson: Here let’s see a picture. There we go.
Scott Menzel: Ladies, what an honor.
Madelyn Deutch: It’s an honor to talk to you, thank you.
Scott Menzel: Why? Why is it an honor to talk to Scott Menzel?
Madelyn Deutch: Because not being facetious, anyone who sees the movie, we’re just like you’re in the will, here’s my car keys, thank you so much. We’ve been on this project so long, we’re excited.
Lea Thompson: Yeah. Excited as fu… we’re giving birth today.
Scott Menzel: Yeah, I know. It’s tonight, 9 o’clock. I mean it’s probably the best question to open this up with. What’s it like getting into the LA Film Festival and now we’re pre-screening, what are your expectations for tonight?
Lea Thompson: Well it’s a unique experience because somehow I thought that we would be able to, I mean we put all the money on the screen, there’s nothing left now. So what’s great about being at the LA Film Festival is that we can get almost all the cast here today. The point is that I’ve never seen the movie with a group. I would have liked to have screened it for people watched it and been able to tweak it, but I didn’t. I just had little focus groups of my friends kind of tell me what they didn’t understand, so I tried to make the story clearer, ADR and all that stuff like that. But I would have liked to have seen it with an audience before now.
Madelyn Deutch: It’s a little sketchy.
Lea Thompson: And, yeah, I’ve never seen it on a big screen.
Madelyn Deutch: It’s slightly frickin sketchy.
Lea Thompson: I’ve never seen it with an audience. But I really feel like going to play well, I really do.
Madelyn Deutch: She just looked at me like, Maddie do you agree? I’m so nervous.
Lea Thompson: I know, I think it’ll play really well. You know it’s great for a film festival because there’s kind of traditionally a lot of depressing movies at a film festival. So it’s probably a nice little sorbet to have a movie that has some tragedy in it, for sure, but it deals with it in kind of a consistent comedic way.
Scott Menzel: Honest confession, I watched this movie first and then I watched a movie called 20 Weeks right afterwards, which is a movie about a couple who finds out that during their pregnancy something’s wrong with the baby. So, literally, I went from this nice lighthearted film to “oh my god I’m so depressed.” So as someone who goes to a lot of film festivals, this type of movie needs to be in there more because too many heavy films are hard to take in.
Madelyn Deutch: Thank you for saying that!
Scott Menzel: I love serious movies, don’t get me wrong, at the end of the year when it comes to Oscar season there are a lot of great serious movies. But when you go to a festival and you sit through movie after movie and every one of them is so depressing, it becomes really hard. So it was nice to see this movie lift me up, and I think people are going to really respond to it, I really do.
Lea Thompson: I hope so.
Madelyn Deutch: That makes me so happy that you say that because that was something we talked about a lot. We knew that we wanted to make an independent film for a bagillion reasons, mostly because we knew we wouldn’t be able to make it any other way. But one thing that we talked about really consistently is the unconventional conventionality of the movie. It looks beautiful, almost studio movie-esque, right? And it has some kind of rom-com leanings it some sense, but it’s also sort of unusual because it’s an independent film, so it’s like that is the type of thing that we talked a lot about not seeing in a festival that much.
Lea Thompson: Yeah, well people actually go out to make festival movies.
Madelyn Deutch: Yeah they do.
Lea Thompson: It’s not even for the audience.
Madelyn Deutch: It’s for the festival.
Lea Thompson: They know exactly what the festival is looking for and then they’re shocked if they don’t get in. But we knew this wasn’t a specifically festival sort, you know we didn’t make this a festival movie. We made a movie, we made a script, we made a movie. We didn’t make a movie for festivals. So we were a little worried that it might not get in any.
Madelyn Deutch: But that’s also why we’ve been so honored and excited to talk to the programmers and the people who run the festival, because they saw that vision really, really clearly. I feel like they were like this feels like an honest and a true human story, but doesn’t feel like it’s pushing an agenda. I feel like they knew that about the film.
Lea Thompson: Yeah, yeah. I have been around so long and I know what my taste is and that’s all I could rely on and also I wanted to honor Maddie’s script, because I’m not a millennial girl. I wanted to honor her language, you know the way she created the language and the journey in the girl. I wanted to honor her sensibilities and I think we were lucky because our producers allowed us to do that. And because it was an independent movie, we could. And the structure’s a little odd with the five guys.
Scott Menzel: Yes, I was going to ask about that. You know throughout the movie you have those little interview sessions that go on. What led to that?
Lea Thompson: It’s a little thing called the cut room floor.
Madelyn Deutch: Hopefully it’ll come out in Blu Ray and we can put the added features, but each one of the men had a monologue, like about a two minutes long.
Lea Thompson: A big monologue, like every guy had like a page or a page and a half of monologue and they did them exquisitely
Madelyn Deutch: Beautifully.
Lea Thompson: But they just stop the movie …
Madelyn Deutch: And we were in a time crunch.
Lea Thompson: I had to cut almost an hour of the movie out, but I saved some of it. The reason behind the monologues and the reason behind the little interviews is that we didn’t want it to be male bashing, we never did, we wanted her to be culpable, we wanted to see the men’s point of view as well. So what’s left is that. And the monologue’s were brilliant, the way you wrote them, they were great. And the actors were great. It just stopped the movie. It stopped the movie, you know it just started to stop the movie and because I had to cut so much out.
Madelyn Deutch: Those monologues were also one of the only times in all of the shooting where I didn’t have to be on camera, so it was some of my favorite times on set cause I could actually go sit in a village and watch these people do this amazing work. And I could listen to people say my words and just be like a kid in a candy store and not have to be participating in the scene. So, they were a real gift for me for that reason too.
Scott Menzel: Is there a reason, I mean naturally this woman is so talented (points to Lea), but is there a reason you went to mom to make this movie? Or did you go to her first? How did that process come to be?
Lea Thompson: I always knew she was a really good writer. She was always a great writer in school. She also wrote five of the songs for the movie, so she writes …
Scott Menzel: Yeah I saw that. I can’t believe how talented she is. Madelyn, you act, you write, you do music; I mean that’s amazing.
Lea Thompson: Yeah, she is amazing.
Madelyn Deutch: I am a lucky, lucky human being. My parents, who supported me through a lot of artistic hairpin turns, is what I am. And allowed me, and were really generous in actually giving me the trust to do those things. In any other situation, they’d say, “I don’t think so, sweetie. Let’s hire the professional.”
Lea Thompson: Well she always wrote these songs. What’s difficult about writing is that you’re baring your soul and somebody could figure out I wrote this song about you and they’re sitting in the audience. That’s something I couldn’t do. But Maddie kind of got over that hump around 15 and she’s got all these incredible songs that she wrote and so I knew she was brave, not like me. So when she came home from college, she didn’t really know what to do. Did she want to be a musician? And she had had all these really difficult feelings and experiences and I said write a script, but I didn’t think she would do it so quickly and I didn’t think it would be so good. And so when she did, I was like, I don’t even know if I gave you, did I let you even, did I say, “Can I direct it?” Or I just said, “I’m directing this.” Oh, I think Howie said he wanted to, I was like no!
Madelyn Deutch: Oh, my dad recently called me on the phone and he was like, hello. And I was like, hi dad and he was like, she can’t do the next one. And I said, “What?” He goes, “Well you already let mom direct this one, I get the next one, it’s mine.” And I was like, dad relax it’s all good! And he was like, no, no I’m putting it out there, right now, I claim the next one.
Lea Thompson: But now Maddie’s starting to direct so maybe neither one of us will direct her next film.
Scott Menzel: I was just going to ask that. Are you going to take on that role now too?
Lea Thompson: Well she’s directed one of her videos …
Madelyn Deutch: I can’t even get off antibiotics, I don’t think I’m ever going to be able to direct.
Lea Thompson: You are directing next, with Brian.
Madelyn Deutch: I’m supposed to direct a music video in a couple weeks that I’m really excited about.
Lea Thompson: And she directed another video, which is on YouTube.
Madelyn Deutch: Music videos are like a weird underbelly of where you can get started. The difference is that I’m always trying to tell a story and not just be like, be sexy, be cool. And actually, music videos are a real challenge. I never ever had any intention of ever writing a script. I never had any intention of being an actor. I was very committed to being a musician and life happens and as an artist you want to grow and my world got bigger and bigger and bigger. And that’s how I ended up here. I have no idea if I’m capable of directing like I said, I can barely get off antibiotics.
Lea Thompson: Well what was really fun about this was that we ended up in a situation with very little money and a lot of music to put in the movie. So I asked Maddie to score the movie and I always wanted the Jazz thing, because I just love Jazz, she was a really highly decorated Jazz musician. So she got to use the themes that she wrote and Jazzify them and then at the end, she wrote the last two songs so they’re an extension of her writing of the script. She wrote more words, more ideas at the end by writing those lyrics. The last song is like three six five, so good to see you. And I was like, what does that mean? It’s a year Lea, it’s a year.
Madelyn Deutch: Yeah the end credit song is called Three Six Five and my mom had the brilliant idea, I still to this day, kicking myself for not thinking of it first. I had written three main central themes for the movie. One was called Izzy and Sabrina Theme, one was Izzy Effed Up Theme, and another one was Izzy Light Theme, which all sounds very pedestrian.
But I had composed these three themes, we had plumped them on the piano and put in kind of ghetto MP3’s into an uncolored version of the movie to be able to watch it and once we felt like we were all happy with it, we decided I was going to go in and record the score in the studio with my friend Denver Dally and we were thinking about the beginning of the movie, we knew we wanted it to be swingy and 40’s and jazzy and light brushes and all that stuff. But I was sitting there going like, huh I wonder what song they’re going to play. And my mom was like take the themes you already wrote and put them on a jazz combo. So the song you hear at the very beginning of the movie is the same song you hear in the end credits.
Scott Menzel: Mom, the brains behind the operation.
Lea Thompson: You know, I’ve been around the block a few times. And like we’ve said, necessity is the mother of invention and I’ve made giant budget movies and little budget movies and it’s fun to have to put your head together and figure out how to do things. Because we had like 50 locations and our producers were so amazing because they didn’t say no. The first group of producers were like you can’t shoot in the snow.
Madelyn Deutch: It was very clearly …
Lea Thompson: You can’t shoot in New York, you can’t shoot in San Francisco on Full House Street.
Madelyn Deutch: We’re on Full House street!
Lea Thompson: But Damiano Tucci is such a sweet talker, he somehow figured it out.
Scott Menzel: Yeah, I was going to say. In such a short period of time you really captured New York, LA and San Francisco. I feel like you did a really great job in capturing that.
Madelyn Deutch: Thank you.
Lea Thompson: We went there.
Scott Menzel: Well no, I know! But I’m just saying…
Lea Thompson: Oh you mean like the fact, the time that we had. Thank you. Thank you.
Scott Menzel: Yeah. You know what I mean. You know when you see movies and sometimes they go to various locations but it doesn’t really add anything to the story? For example, in Everything Everything, a movie that just came out, and the characters go to Hawaii and they go there and it doesn’t accentuate Hawaii. They could have gone to the California coastline or the New Jersey shore and the viewer would have felt the same. But here I felt like I was in San Francisco when you were there, I felt like I was in Los Angeles and I felt like I was in New York. And maybe because I know most of those areas because I’m from New Jersey and I’ve been to New York and now I live here. And I love the Van Nuys joke, by the way. Like those little things that I picked up on about acronyms I also loved, like oh we’re doing too much of this now. Little things that, you’re right, the millennials are really going to pick up a lot of things from this film but I also think the generation right above them as well.
Madelyn Deutch: You’re so sweet to say that. When I first wrote the script I sent it to my uncle, Robert Walden, who’s an amazing actor, he’s been in a bagillion, trillion movies, and TV shows, and he gives great notes. So I sent him the movie and he immediately wrote back to me and he goes, “Listen, I’m really proud of you. The screenplay’s good, but I think you should maybe try to be a little more professional, I attached a word document of 72 typos I found in the script.” And I thought oh my god, are you serious? How could I have done that? And I clicked it open and it was all abbreviations and slang and acronyms. He missed it completely and it was so funny to me.
Lea Thompson: She had to put a disclaimer on the script for people so they would know.
Madelyn Deutch: There was a disclaimer about all the slang on the cover page of the movie.
Scott Menzel: Oh that’s too funny. But that’s what I was explaining about with the locations earlier is I feel like a lot of people, especially in mainstream films, go to locations but they don’t capture it.
Lea Thompson: Well also, I never did, like I see a lot of movies, I never did the cut, cut, cut, cut, cut. You know the B-roll or something you buy from somewhere else, like the big cut. Because for me, I’m super proud that she walks by and you see the Hollywood sign, she walks, you can see the Freedom Tower.
Lea Thompson: You can see the Freedom Tower when she leaves New York and when she gets to LA, you see the Hollywood sign. That’s what I learned from Bob Zemeckis, you fill the frame with the story if you cannot cut to something and you can just have it in the frame, it’s a much more elegant way of doing things. I wanted to get the Golden Gate Bridge so we just got them walking up to the Golden Gate Bridge and tried to put a little joke in there. That was the only thing I did. But you know you can buy stock footage and just go get shots of people, but this wasn’t that kind of movie. This movie I specifically wanted each shot to tell a story in an economy like that. So thank you for noticing. I appreciate that.
Scott Menzel: Yeah, no problem. I try to pay attention to all the little things about movies. I feel like a lot of critics nowadays, depending on their age, are just tired of it. They’re like, oh what’s the runtime on this? Let me get this one done and move on to the next one. I still have a very strong passion, maybe because I don’t get paid for this. I’m my own brand, I’m my own website. I created this and I really had a passion for film since I was a little kid. So, I have never gotten paid for any of these things and I really, really enjoy doing it, and I love meeting everyone and talking to them and talking about film.
Lea Thompson: Well you also know, I mean, we kill ourselves. Nobody sets out to make a bad movie. You can fail or you can have it not be, not find the right audience or something, but we’ve killed ourselves. The producers, the DP, Maddie. And so no one sets out to make a bad movie, no one does. I mean maybe they do on certain TV shows, certain channels, but not in a feature.
Scott Menzel: I think those spoof guys do at this point, right? Like those guys actively must set out to make a bad movie at this point. Like there’s no way they can say, this is good, this is a good movie, I like this.
Lea Thompson: But what’s lovely about making an independent movie is that it does get to have a singular voice, you know?
Madelyn Deutch: You hope. We hope!
Lea Thompson: Yeah. We’re super grateful to the producers for raising the money and letting us play in our sandbox and coming in with really great stuff, but not watering down the story too much.
Scott Menzel: There are a couple really big things that I wanted to discuss. For Maddy, the actual men in this movie, I felt like every guy was a lot different than last. Everyone was different. Does that naturally represent men you’ve dated in real life?
Madelyn Deutch: Yeah. I was adamant when we were trying to cast the movie and trying to get the money that, for one thing, Hollywood is dramatically white washed, I was adamant that we cast people from different walks of life. Not just to be diverse, but because it represented my real experience. And I was obsessed with it. I wish even that we could have pushed even harder in certain areas.
Lea Thompson: You can imagine it was hard to cast this movie. Because we needed names and they had to be willing to do a smaller part with an unknown star and make fun of themselves. Or be less than noble.
Madelyn Deutch: It was compelling in a number of ways. The answer to your question is yes it absolutely represented my experience. And obviously, when you make a movie and you spend years and years on it, it starts to take on a life of its own and it doesn’t resemble real life, black and white the way you experience it, necessarily. But it was so compelling casting this movie for a number of reasons.
Probably the most interesting was Brandon T. Jackson who plays, maybe the most upstanding character in the whole thing, and I remember taking Brandon aside and I said, cause he’s so good in the movie and he’s so sexy and he’s so kind and sweet and juicy and good. And I took him aside and I said, “You know ultimately at the end of the day this is a pretty small part.” I think we only worked together for two days, three days at the most, and he said, “I’ve never, ever as a black man, been offered a romantic lead.” And I just sat there dumbfounded and I said, “How?” And he said, “I’m offered Pimp, Drug Dealer, Rapper.” And, I’m not joking, and he said, “To me, this project has never come to me and I’ve been fighting so hard to just play a normal person that we don’t necessarily address race. I wanted to be a romantic character. And it’s never happened to me, this is the first time.”
Scott Menzel: Is that why you made your sex scene with him a little bit longer in comparison to everyone else? To give him a little more screen time?
Lea Thompson: Oh, cause it’s so hilarious.
Scott Menzel: I know, it’s yeah, it’s great. That was the best one.
Lea Thompson: Hilarious! Isn’t he great?
Scott Menzel: Yeah, he really is!
Madelyn Deutch: He’s amazing in that he was really brave.
Scott Menzel: It was so good.
Madelyn Deutch: That was a tough scene.
Lea Thompson: But he’s so hot!
Madelyn Deutch: He’s so, so cut that when we went to shoot that scene I was like I look like a human gummy worm, this man is so cut and hot. I was like this is not good for me! I look like Marsha Brady right now.
Lea Thompson: That was the hardest one for me to shoot. And actually we spent most of our special effects budget on that, cause Maddie had pasties on and I couldn’t run in, she wasn’t going to have her boobs in that scene, and that movie, and I just was not into it. You would have probably done it, but I was no.
Madelyn Deutch: I didn’t care though.
Lea Thompson: They had to redo her coverage on her. They had to figure out a way to make it work because we were smashed into this little room and
Madelyn Deutch: Brian, our DP was in a closet.
Madelyn Deutch: He had not seen, he was literally in a corner. I mean I feel like I have to demonstrate for you so you understand. He was this far backed into a corner …
Lea Thompson: Into a closet.
Madelyn Deutch: And he took all of the housing off the epic dragon camera. He took all the housing off of it. And he was like, this was the best he could do, he was like moving the thing around because me and Brandon were like right there. And it was a lot of moves. We had to roll off the bed, we had to jump around, we had props…
Lea Thompson: When he goes, which way should I go, what color, what color? Blue? Blue, let’s go with blue.
Madelyn Deutch: I don’t care, I don’t care! Any color’s fine.
Scott Menzel: And then he spilled the lube. That was great. And then you had that shit on your back for like the rest of the scene.
Madelyn Deutch: That was truly disgusting and came from a disgusting mind and a disgusting human, and it is me.
Scott Menzel: Oh, I thought it was James Franco.
Madelyn Deutch: It might as well have been! I’m dying. So funny.
Lea Thompson: I just talked to Brandon last night cause he can’t be here, he had to go home and he’s actually in Izzy fucks
Scott Menzel: Izzy Gets The Fuck Across Town. Yeah, yeah.
Lea Thompson: So he’s in two movies with Izzy’s, and he was like oh my god they’re the two movies with the most buzz and I can’t be there.
Scott Menzel: That title, for that other movie, makes me want to just cause of the title. I don’t even know what it’s about.
Lea Thompson: Maybe we should have named our movie that.
Scott Menzel: That’s a great title.
Madelyn Deutch: For some reason, there’s always two things that everybody says to me about this movie and the first thing is I love the title. And the second is usually what was it like to work with your family. But the fist one is always that they like the title.
Scott Menzel: It’s such a generic thing to ask and I was trying to avoid asking that question, but I kind of have to ask it because I’m curious. What was it like working all three of you together? My wife and I run the site together, so I get to work with her a lot like we go to the festivals and everything. It’s fun but at times it gets a little bit irritating and trying. Did that happen on the film?
Lea Thompson: Well you know we’re under a lot of pressure, you’re under a lot of pressure, which is difficult but I mean it’s such a great joy for me, of course. I mean I have like three great accomplishments in my life; my children, I built a house, and now this movie. So, it’s great, they were all involved in my life. They are like the three things I created from …
Madelyn Deutch: From scratch.
Lea Thompson: From scratch. And I never got tired of looking at them when I was editing them, which was a lot. I don’t know, it’s fraught but I think it’s moved our relationship forward in a lot of ways. I have such great respect for my children as artists and it really was the greatest joy of my life. So, of course there were difficult moments, and there’s still more difficult moments to come, cause hopefully someone will buy it and we’ll be doing this again.
Madelyn Deutch: I always feel like it was like 99% just most beautiful kind of collaboration you can have because it’s rooted in blood and then like 1% super confrontive. Because you can get away with stuff with people who are not your family. You can’t with your family, but you can with other people. And sometimes you can’t with other people, and you can with your family. It works both ways.
The best story I have is I actually did a TV show in the fall that my dad was working on and it was a total coincidence. This is the best way I know how to describe working with family. It was a crazy scene, my dad was directing that episode. There were like 200 extras, it was freezing, it was a night shoot and I had made a suggestion about blocking for my character while they were trying to figure it out. And he was just kind of like no we can’t do that, we just don’t have time. But it was in front of everyone, you know 200 extras, 150 crew and it was weird to have my dad just be like no, like straight up, no we don’t have time to do that and thanks for the suggestion but no. I was like, okay I can respect that.
So I mosey on over to the craft service table, get myself a rice crispy treat or whatever and he comes up to me like five minutes later and he’s like hey Mad, I’m sorry that we can’t do the blocking that you want to do and I hear you. And I said, “It’s totally fine, it’s all good.” And he goes, okay! And walks away! Like he didn’t believe me when I said it’s totally fine. He went OKAY! And threw his arms up in the air. So it’s like you’re containing it and you’re happy to be there and there’s really no one you’d rather share it with. But in the middle, there’s some stuff sometimes.
Lea Thompson: Well it’s always a passionate experience. It’s a passionate experience today. The movie coming out, everyone’s thinking about their own thing and did I forget to thank that person, and that picture, do we like that picture. It’s all crazy, so you just try to manage it and hope for the best. And ultimately, I was actually so surprised at her awesome comedy chops.
Madelyn Deutch: She’s like I’ve worked with you a bunch before and it wasn’t that impressive.
Lea Thompson: Well you’re like an old fashioned comedian in this movie. You do a lot of stuff and things people work really hard to learn.
Madelyn Deutch: No somebody said to me the other day, so I saw the movie and I loved the faces you make.
Scott Menzel: That’s what I was going to say, the facial mannerisms, yep.
Madelyn Deutch: And I was like uhhhhh.
Lea Thompson: I couldn’t cut them out. They were too funny to me.
Scott Menzel: I have to wrap this up, but I have to ask you the one last question, because we didn’t talk about Zoey at all.
Madelyn Deutch: Zo Zo!
Scott Menzel: Yeah, I mean. I feel like her career after having a rocky start, I felt in the beginning, I’m just being honest, I felt some of the first stuff she did was a little rocky. But the last two years with Before I Fall and Everybody Wants Some, I felt she was the best thing in Everybody Wants Some.
Lea Thompson: I agree.
Scott Menzel: I don’t understand what the hype is about that movie, but she was terrific in it.
Madelyn Deutch: That’s across the board what people say.
Lea Thompson: They should have put more of her in there.
Scott Menzel: Yeah, I agree.
Madelyn Deutch: She was amazing in that.
Scott Menzel: She is amazing in that. And then Before I Fall, she carried that movie compared to everyone else in it and she was terrific in it.
Madelyn Deutch: Oh, she’s a psycho. I always describe her as a fast car.
Lea Thompson: She’s such a good actress.
Madelyn Deutch: She’s always the fastest car on the track.
Lea Thompson: She’s a great actress for sure.
Scott Menzel: So the sister relationship.
Madelyn Deutch: Yeah.
Scott Menzel: How true is that to your life? And then also, is she like that in real life, where she’s like the one who’s direct, you shouldn’t do that that! Like is she always the one to take charge?
Madelyn Deutch: No. Zoey’s very indecisive. I am very decisive. I am definitely an older sibling. She almost always will … Even if she doesn’t want to! She has to ask me pretty much all the questions in the whole world. What do I think? And it’s probably not because she really likes my answer or even wants to know, I think it’s baked into her bones from being a younger sibling. My sister is gifted in areas I never will be. She’s like gifted beyond at certain things. And I would venture to say we’re really different. What is true about the movie, the relationship in the film between Izzy and Sabrina, it is true of me and Zoey is I think we’re very tethered to each other and we always do come back to one another.
Lea Thompson: You share a real sense of humor and everybody laughs.
Madelyn Deutch: Nobody makes me laugh harder than Zoey …
Lea Thompson: Zoey is the funniest person ever. No one has seen it in a movie yet, but look forward to that because she’s literally the funniest person in the world.
Madelyn Deutch: Yeah nobody knows, that was the other reason I wrote the character the way that I did was because at that time, she had never been hired to do anything really genuinely narcotic and like a boss lady, which is a big component of who she is as a person. And I just was like she’s so funny I know we can hit the ball back and forth in a way that’s really unique to our relationship. That banter, that quickness, that’s really a kin to our dynamic. But yeah I love acting with her. She’s fun to act with because no one’s more prepared, no one’s quicker on their feet.
Lea Thompson: No one’s more emotionally available. She’s an amazing girl.
Scott Menzel: Thank you very much. I could have talked to you ladies for hours. You were terrific.
Lea Thompson: Thank you so much.
The Year of Spectacular Men premiered at the LA Film Festival on Friday, June 16, 2017.
My full review of the film can be found below: