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After
'After
Hours'
budgets, they have made the movies
that they wanted to make, the way
they wanted to make them, with the
people they wanted to make them
with. On top of that, they live and
work in New York, far from the movie
making haven of the world,
Hollywood.
Their latest movie is After Hours,
written by Joe Minion. The critically
acclaimed movie deals with a down-
to-earth guy, played by Dunne, who
gets caught in a nightmare of an
evening.
Robinson was given the script by a
professor when she was lecturing at
the Sundance Institute.
"I thought that it was very funny
and unique. I liked the homor and the
nightmare aspect," said Robinson.
"When I first read it, I thought that it
was a great part for Griffin."
"I never read anything quite like
it," commented Dunne, "It detailed
By Seth Flicker
Griffin Dunne and Amy Robinson
may well be called "noveau"
producers. On extremely low
such a specific type of evening, I felt
like I've been in that position before."
"I told the director that I wan--
ted the part of Paul and that was the
end of that," Dunne commented.
"Paul is the best part I've ever had,
and the best work I've ever done."
Robinson and Dunne met at a party
eight years ago and ended up working
together six or seven months later.
Their first movie, Chilly Scenes of
Winter, was released as Head Over
Heels and then rereleased with its
original title. Their second movie was
Baby, It's You. After Hours, their
third film, stars Teri Garr, Rosanna
Arquette and Cheech and Chong, and
was directed by Martin Scorsese.
"From the third page on, Martin
loved it. He was looking for something
to do," said Robinson. "Martin is
great. He's very creative and open,
and very responsive to the actors."
"I think Martin liked the sex and
guilt that existed in the script," said
Dunne. "He's a great director. He
makes people do good work and
creates an atmosphere on the set
where acting is the most important
thing. There was a lot of concen-
tration and a lot of laughter. It was a
great experience."
"He's demanding," Dunne added,
"but he makes the actors demanding
on themselves. He'a a great audience
for his actors."
After Hours was filmed entirely at
night. Though, according to Dunne
and Robinson,they were very quiet,
it caused some disruption in the wild
SoHo area of New York.
"During the scene where Griffen
gets down on his knees and screams,
'What do you want from me?', a lady
yelled out her window, 'Who cares?"'
said Robinson.
After Hours had an extremely low
budget, by Hollywood standards, of
four million dollars.
"We budgeted a specific cost and
kept it at that," commented Dunne.
"We picked a figure that we felt com-
fortable about. You just have to keep
an eye on the budget." The fact that
Scorcese directed helped keep costs
down, Dunne said, "because most ac-
tors would jump at the opportunity to
work with him."
Lines, &
OSinkers
'VE ALWAYS thought that people
who searched for companionship
through personal ads were slightly
off. They had to be hiding something.
But after examining many personal
ads, as a sort of crazy hobby- cer-
tainly not because I needed to- I
found out that many of these
anonymous authors live on a wholly
different plane from the one in which
we mere mortals meet and mate.
Some of these authors have
achieved personal perfection, like this
deity, who is doing everything in his
power to find an equal, and wrote in a
wCrLS ACADE
the Day
by Mike Fisch
DUNNE: Prefers acting to producing
"We paid actors according to scale
rate. No actor worked more than two
weeks, except for Griffin," said
Robinson. "As for the actors, we get
everyone that we wanted."
Robinson, who graduated from
Sarah Lawrence College, was an ac-
tor before becoming a producer. She
appeared in a television movie, an off-
off Broadway show and worked with
Scorsese in Mean Streets. She says
she enjoys producing more than ac-
ting.
"Producing is an all-encompassing
job. You work from start to finish. Ac-
ting is only one aspect of a movie,"
said Robinson.
"To produce something, you have
to be passionate about it," continued
Robinson. "The trick to being a good
producer is to take a lot of care, to
pay attention to everything, to be con-
scious of every detail and to be on the
set at all times."
Originally from Los Angeles, Dun-
ne moved from home when he was 18
years old to go to New York. He
studied at the Neighborhood
Playhouse along with waiting tables
and other various jobs. Dunne has dif-
ferent opinions about acting and
producing than his partner.
"I like them both. Acting is more
- U
But the heart-rending lines of
"DWM" are rivalled by the playful
wit and effortless rhymes of this
divorced white female who wrote in
the August issue of the
Washingtonian:
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N
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creatively satisfying but it can also be
very frustrating if your part is not so
great and you have to make the most
of what you've got," said Dunne.
"I like feeling responsible from
beginning to end. I like having a little
bit more control, which producing
allows, more than being an actor. The
trick to good producing is having a
love for your material and putting the
right people together to make the best
movie."
Because Dunne played the lead
character in the movie, he was ex-
cused from the burdens of producing
during the shoot and was treated as
an actor. Compared to the anxiety of
acting, going back to the role of
producer after the shoot was a little
different for Dunne.
"There's nothing relaxing about
making movies," said Dunne, "but it
(producing after the shoot) was less
physically demanding. It required a
bit more personal neurosis, worry,
and anxiety."
Although all three of Dunne and
Robinson's movies have been well
received, After Hours is the most suc-
cessful, according to Robinson. "It
reached a wider audience and was
more humorous than the other two,"
she said.
"I loved all three of the movies so
it's hard to choose which I liked the
best," commented Dunne. "They're
all made in the same spirit. All the
movies deal with obsessive behavior
and we try not to repeat ourselves."
He continued, "(In After Hours) I
want the audience to laugh them-
selves sick, to feel exhausted, like
they've really lived through the whole
night. They should have a real
emotional connection with the movie
and relate to Paul's journey.
Everyone in their life has had a bad
day at one time or another."
"I want the audience to havea good
time. It's an interesting movie, not
boring. The audience should identify
with it and be shaken up by it," said
Robinson.
Robinson and Dunne Already have
three subjects lined up for the future:
,Ie Foreigner, a comedy now playing
off-Broadway by Larry Shue; an un-
titled project about 60's radicals; and
The Moonflower Vine, another
producing venture. It's plot is quite
different from that of After Hours. It
deals with the lives of a Missouri
family over a span of 50 years.
BOERSMA
TRAVEL
recent Open University course guide
'Annexmates' column:
"WHEN GOD created woman, he/she
made two types: the "attractive"
ones and those that are beautiful,
gorgeous, and drop-dead good
looking. If you fall into this second
category, then I would like to meet
you. My assets: unequivocally han-
dsome, common sense, great legs,
outgoing personality, and confidence.
If you're as confident about your
assets as I am about mind,. then
briefly tell me about them. Your pic-
ture is worth 1,000 words... so include
one."
If this "god" is "unequivocally
handsome," and justifiably proud of
his assets, why, may I ask, would such
a specimen need to advertise? Maybe
it's because he's attracting the wrong
type of woman... you know, the "at-
tractive" kind.
Or how about this man's modest
query, also from this fall's 'Anex-
mates':
"Are you a thin natural redhead?
Or slender auburn-haired or
strawberry blond? And are you a
S/DWF (single or divorced white
female), 33-40, 5'8", attractive, with a
sense of humor and engaging per-
sonality?"
Call the
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-
Ann Arbor's "~Ultimate Restaurant"
This man doesn't ask for too much.
If a "thin natural redhead" doesn't
turn up, this selfless soul is will to ac-
cept the less desirable women who are
auburn-haired or strawberry blonde.
But as open-minded as he is, hey, a
guy's got to draw the line somewhere.
You can't expect, him to accept a
woman of just any height. And you
know how immature the 32-and-under
set can be.
Sometimes the personals become
more than mere ads. They become a
feeling, an emotion. And once in a
while, as in this example from the
July issue of The Washingtonian, they
become poetry:
DWM
tall attractive retired
(operate automobile
sales business)
ISO
intelligent pretty
S/D/WWF
40-50
The line breaks are mine, but the
courage to write such an impassioned
plea for love is something I could
never claim. How does our
anonymous poet say so much with so
few words? Only the masters know for
sure.
but never before has one been so com-
pletely conscious of sounds and the
way they resonate. Say the words,
"lunch," "hunch," and "bunch," to
yourself softly. Damn, that's good.
"INTERESTS
I have many.
Time-I have plenty.
If you're tired of ;TV,
write a letter to me.
We'll meet for a lunch
and I have a hunch
no more TV
You'll like me a bunch."
word choice-impeccable.
have been many great poets,
I ha'
sonals,
of it-I
to. I cc
persor
classi
money
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photo,
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Weeke
Daily,
48109.
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Open for lunch and
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217 South State
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10 Weekend/Friday, December 6, 1985
Weekend/Fr