The Screen Junkies Q&A: Dan Beers, Director of ‘Premature’

Friday, July 25 by
 

By Jason Iannone

In real life, if you screw up, you’re stuck with your screw-up. There are no do-overs, no second chances, no nothing. If you met the most beautiful girl in the world and the first thing that comes out of your mouth is a literal puddle of drool, good luck taking that back ever. You’re forever known as Drooly to her, her friends, and anybody who watched you make a fool of yourself that day.

That’s the beauty of a movie like Premature, the story of a high school kid who just can’t get that all-important loss of virginity down pat. Luckily for him, whenever he doesn’t deposit in the right place at the right time, the Universe resets itself, sending him back to bed to start the day again until he gets it right. If you loved Groundhog Day but felt there were too few jokes about Bill Murray‘s penis, then Premature is the film for you.

To learn more about the film, we sat down with director Dan Beers for a fun-filled and family-friendly Q&A. Namely, this one:

ScreenJunkies: Did you have any concerns about re-using a concept from such a famously unique film like Groundhog Day?

Dan Beers: We did, especially since that movie is an all-time favorite of mine. What happened was, there was another movie I was in the process of making, but that didn’t pan out. That film’s producer, Film Nation, invited me to pitch any new ideas, so my writing partner, Mathew Harawitz, and I were brainstorming what to do, and we came across this idea of doing a time loop movie a la Groundhog Day. Plus, I’m a huge fan of ‘80s-style teen comedies like Porky’s. Finally, we settled on the idea of a movie where a kid is forever being stuck in the worst possible time: trying to have sex for the first time.

SJ: What made you decide to add an explanation for the time loop, instead of keeping it vague?

DB: In early drafts, we had a more concrete explanation: a curse (much like in the original draft for Groundhog Day). But ultimately, we decided to give Rob the idea that he was making choices not for himself, but for his parents and his friends, and he wasn’t being true to himself. And we liked the idea of the universe kind of giving him a little nudge, giving him the opportunity to do over things he was doing wrong.

The idea for the trigger for the day, that being the orgasm, we had fun with the idea. It’s kind of like those movies where there’s a bomb under the table, and you know it’s going to go off, you just don’t know when. And for us, that was a lot of fun, the idea that the orgasm is the bomb, and every day it will happen, you just don’t know when.

SJ: Right, like the point where the cops are coming and he’s trying to jerk off in the locker room, but he might have hurt something down there.

DB: I think it was Day 5 when he realized what he could do, when he was trapped in the classroom with the bullies and he realizes he’s trapped but he can escape by just …

SJ: “Yep, I can just jerk off.”

DB: Right, it’s like a little bit of an action movie scene: are the bullies going to break in, or will he have an orgasm?

SJ: Ever come across an interviewer as damaged as the Georgetown recruiter guy?

DB: I have never come across anyone as damaged as that, thankfully. But we were trying to think of something like: you’re in an interview, what would be one of the worst things that could happen? You prepare for the day, you go through everything, all the questions memorized in your head, but the one thing you’re not prepared for is for this person to be just a well of emotions, a guy who came back to work a little too soon after this tragedy in his life. But thankfully, I’ve never come across anyone nearly that damaged for real.

SJ: Well, that’s good.

DB: What’s funny about the actor who plays him, Alan Turyk, we were shooting in Atlanta and he was already down there shooting 42, and he was playing this really awful, mean, racist character, and Alan was having a really hard time playing this person as long as he was. So he came in to read for the role and he was in such a dark place that he was just able to cry instantaneously.


(‘Premature’ official red-band trailer, via JoBlo)

SJ: Did you ever reach out to Bill Murray to cast him in the lead role, or was the idea of filming Bill with cum in his pants kind of a turn-off?

DB: *laughs* Actually, the role that Alan played (the Georgetown recruiter) was originally something I was hoping to approach Bill about. I actually know him, because I worked with Wes Anderson for about five years, and so I know Bill through him. He actually acted in the short film I had made, but I think he had already done me my one favor, so I don’t think he was going to come back and do it again.

SJ: You also did a TV series (FCU: Fact Checkers Unit). What’s more enjoyable and fulfilling for you: movies or TV?

DB: They both offer you different challenges. Movies are my first love though, because there’s just something nice about crafting a whole story over a set period.

For TV it’s something very different, and even though every episode of my series had its own little story, if I had to go back and do something again for TV, I would provide a longer arc for the characters. But that’s what’s so great about TV: letting a character really live and breathe for a long time, instead of knowing by the end of Act 1 they have to have that one moment. Because in movies there’s a formula: there’s an Act 1, Act 2, and Act 3, and all these little beats they have to hit. It’s nice to have a season or five for a character to really find his or herself.

Another good thing about TV is that it’s so fast, and the shoots are so quick, you don’t have time to think. You have to move and meet your five-day deadline. It presents a fun challenge, but movies are still definitely my first love.

SJ: Would you ever want to do something more mainstream, or is indie comedy your thing?

DB: Well, yeah. I think my dream is to make movies that people will see. I think that’s everyone’s dream, right? The next thing I’m working on is a little bigger in scope, a little bit less orgasmic. But IFC has done a fantastic job with this one — when they came on board, I was really excited because they had a clear vision on how to sell the movie, and I’m really thrilled with what they’ve done.

I grew up during the indie craze of the ‘90s, when tons of films were coming out in arthouse theaters all the time. Now things are very different, and the new arthouse theaters are TVs and VOD’s, and digital with iTunes. So how do you reach an audience now with all these movies that want to be seen? It’s a new format, so I was thrilled with how IFC handled it.

But I think if I get bigger and if I move into the studio role, I’d be looking for that ideal mix.

SJ: Yeah, that happy medium where a lot of people know of your film and go see it in theaters all across the country, but also having the freedom to craft something the way you would want. As opposed to writing something and having 15 different producers turn it into something totally different.

DB: Exactly. I was lucky I got to make the movie that I wanted to make, and the producers were great and let me do what I wanted for the most part. I was pretty clear about what I wanted to do and they were on board, thankfully.

Download Premature on iTunes here!

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