DECORATED YOUTH

Film & TVScreenwriter, Ben York Jones

Screenwriter, Ben York Jones

Ben York Jones was born in Englewood, New Jersey, and raised in Irvine, California. While still in high school he wrote his first movie that was directed by childhood friend Drake Doremus.

He graduated Chapman University’s Dodge College of Film and Media Arts in 2006 and has since become best known for his work as a screenwriter, and frequent collaboration with director Drake Doremus on movie such as; the 2011 Sundance Film Festival Dramatic Grand Jury Prize recipient ‘Like Crazy’ (starring Felicity Jones, Anton Yelchin, Jennifer Lawrence) and the romantic drama “Breathe In’ (staring Guy Pearce and Felicity Jones).

Along with his various jobs as a screenwriter he also has; acting credits in the 2010 Sundance film “Douchebag”, directing credits when he worked with filmmaker/photographer Joseph Armario, and recently his debut as a producer with the satirical drama “NSFW” that premiered at the 2013 Santa Barbara International Film Festival.

 

Photography provided by himself

 

You began stage acting early in childhood and wrote your first movie in high school (that was directed by longtime friend Drake Doremus), then went on to attended the Dodge College of Film & Media Arts at Chapman University. When was it that you knew that film was the industry you wanted to be in?

It was a pretty unwitting transition from theatre to film. I wanted to be a stage actor of some kind growing up, but around the start of middle school home video cameras started to become more affordable and available. Being in plays slowly got replaced by making movies with friends. Eventually I just started taking it more seriously. One formative night was when I was in 7th grade, and I walked to Target and bought VHS copies of “Pulp Fiction” and “Monty Python and the Holy Grail.” I watched them both that night for the first time ever, and my mind was blown. It was like being brought up on show tunes and then hearing The Stooges or something. The world got more exciting. I’ll never forget that night. I chase that feeling.

Describe what the typical duties are of a screenwriter.

I like to think it’s painting pictures with words, and working to make those words feel alive. That’s what most fun and challenging. More tangibly, it’s about creating a blueprint for a structure that will stand. Telling a good story. Creating characters with real desires and feelings. Being a good listener and a fast reader helps.

What do you think is the biggest misconception about being a screenwriter?

I’m honestly not sure… Maybe that it’s strictly a solo act? The putting the pen to paper typically is, but I think like any aspect of filmmaking, a story’s development greatly benefits from collaboration — be it direct, or indirect. Other than that, everything you’ve heard is probably true.

Some of your most well-known screenwriting credits include the romantic drama “Breathe In,” staring Guy Pearce and Felicity Jones, and the critically acclaimed 2011 Sundance Film Festival Dramatic Grand Jury Prize recipient, “Like Crazy.” The director (and co-writer) of both films is Drake Doremus who is known for improve acting in his films. How does one write a screenplay for an improved movie?

The over-used (but so solid) adage goes – You write a film three times: On the page, on set, and in the editing room. That’s never truer than with an improvised movie. Going back to misconceptions though, for people who aren’t in film, I think hearing that a movie was improvised conjures this image of a cast and crew showing up on set and saying, “Okay! What, where and who should we shoot today?” Which of course isn’t the case… I wrote about 25 pages of traditionally scripted dialogue and action for “Breathe In” but otherwise, these document/script/treatments we’ve created for the last two movies read more like novels with scene headings. We’ll put motivations and back-story on the page in place of specific dialogue. It puts a lot of pressure on the actors, or gives them a lot of freedom, depending on your point of view, but either way it demands everyone stay in the moment. It’s like giving driving directions by landmark instead of street names. It’s not, “Left on Main.” It’s more like, “There are three big trees, turn Left at the one with the most leaves.” Both versions get you where you’re going, but your experience getting there is just different.

Do you think allowing for improv and the openness on set helps bring a story out while shooting?

Definitely. It’s not always the answer, but Drake is just so good at harnessing that openness and providing safe grounds for his cast and crew to discover. He makes it work, and as a result he gets very intimate performances. His editor, Jonathan Alberts is also excellent at finding and creating those unexpected moments.

For ‘Breathe In’ you reunited with Director Drake Doremus, actress Felicity Jones and Cinematographer John Guleserian. How was working together again? Did you all feel any pressure to do as well, or better, as ‘Like Crazy”?

Those three are really special people. They’re collaborators second to being friends, and that’s precious. The whole gang from the last two movies… Even if I don’t work as directly with some of them, all of them are real life friends. And yes, I think we were all aware that there were going to be some expectations for “Breathe In.” But ultimately, it’s different than “Like Crazy,” and can’t be measure with the same instrument.

With Felicity Jones starring in “Like Crazy” and now “Breathe In” did you write that part specifically for her?

Yes. It was exciting to see her do something a little darker. Sophie (“Breathe In”) is younger than Anna (“Like Crazy”) but I think Sophie’s more mature in a lot of ways. That’s a challenging balance. Felicity makes it look easy.

What were the biggest challenges you encountered on “Like Crazy” and “Breathe In”?

There are always challenges. You just push ahead. Openness is key to creative problem solving. I think the production team could probably give you a more interesting answer to this question.

Besides being a screenwriter you’re also an actor and have worked in a directing capacity with filmmaker/photographer Joseph Armario, creating music videos and other forms of video art. Since being in front of the camera and also behind the scenes, what are some of your favorite things from each end?

Writing and acting are pretty connected. With writing I get a greater sense of certainty. I know when I’ve made something work on the page, but I usually don’t when I’m acting. It takes a lot of courage and confidence to be an actor, and sometimes it’s harder for me to get to that vulnerable place. It’s a lot of fun though. If you’re in good company, it’s all fun.

Have you ever thought of pursuing any other aspects of film making?

For sure. Screenwriting is the most sustainable facet of filmmaking for me, I can do it happily everyday, but I love all aspects. I’m looking forward working with actors more directly, and directing something I’ve written.

What other projects are you currently working on? Can you tell us a little bit about those?

There are a few things. One thing I’m excited about is this Arthur Bradford short story I’ve adapted. I really love him as a writer and documentarian, and would love to turn one of his stories into a movie.

What’s the biggest surprise about working in this field? Was it what you thought it would be like?

I think the biggest surprise is just how much you have to prove your worth and relevance on a daily basis. You can put feathers in your hat and those look good for a minute, but in this industry, you’re only as funny as your last joke. And actually, that’s a really positive thing. It keeps you sharp and constantly excavating.

Who/ what have been your influences? Have you had any mentors along the way?

This probably sounds out of left field, but Conan O’Brien couldn’t possibly comprehend the level of impact he’s had on me. I’ve watched him on TV since I was 12. But I’ve had so many influences and inspiration people come into my life, I couldn’t begin to list them.

Has there been a moment that sticks out in your head that made you realize that this is the perfect job for you?

No one moment comes to mind. It’s the sum of many moments.

What is the biggest lesson you’ve learned working in the film industry?

“Keep a good head and always carry a light bulb.”

Lastly, what would you tell other people who want to work in the movie industry?

Jump in. The technology is there. Find people you click with and create something together from the ground up. Don’t wait to be found. Do it for the right reasons. Enjoy it. If you’re not enjoying the process, reassess your choice. It’s too hard a job not to have fun with it.

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