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An Afternoon with Filmmaker Elijah Bynum: The Prodigy Behind Hot SummerNights

The first-time writer and director discusses his confident coming-of-age drama

Film festivals are an unpredictable slog. With so many screenings offered at any given hour, the margin for disappointment is fairly wide, which explains why critics traditionally leave each yearloving two or three films tops.But then there are the films that legitimately shock you to your core, the ones that come out of left field, delivering a forceful hook to the head that’s tantalizing and exciting all at once. Those are the ones that make the trip worth it.

Hot Summer Nights is one such film. Elijah Bynum’s directorial debut, which premieredat this past Spring’s South by Southwest Film Festival, is a staggering accomplishment, especially since the young screenwriter and filmmaker had zero experience in either field prior to making the film.It’s a simmering anti-coming-of-age drama that moves with the muscular confidence of an early Paul Thomas Anderson production, and kind of looks like one, too.

Set in Cape Cod, Massachusetts during the Summer of 1991, the filmfollows a seemingly quiet and timid teenager named Daniel (Timothée Chalamet), who’s sent upstate for the season by his mother in what he even admits is a total cliché. After finding some work at a beat-up gas station, he soon befriends his co-worker, a small town hunk named Hunter Strawberry (Alex Roe), who gets him involved in some shady sidejobs that involve copious amounts of drugs.

Daniel and Hunter don’t roll around, toss out dollar bills, and tear through merchandise — they chase their summer dreams as any one of us would at the time. Hunter has a summer fling with the daughter (Maia Mitchell) of a slick-back cop (Thomas Jane), while Daniel finds first-time love with Cape Cod’s dream girl McKayla (Maika Monroe). Everything’s dandy until it’s not and that’s what makes Hot Summer Nights such a stirring and vivid presentation. The stakes are real.

Without sounding too hyperbolic, Bynum’s work on Hot Summer Nights is absolutelyprodigious. Given the scope, the style, and the weight of this film — not to mention, its two-hour runtime — it’s unreal that he was able to pull it off given his empty resume. Again, these are the type of stories you want at a film festival, which is whyConsequence of Soundreached out and spoke to both Bynum and producer Ryan Friedkin shortly after its worldwide premiere.

Why 1991? Did you experience Hurricane Bob yourself? Was it something that drew you to that?

Elijah Bynum: I personally didn’t experience it. I was only four years old, but I grew up in Massachusetts, so I had heard of it. You know, people who were a little older than me had talked about it cause it’s the biggest hurricane in New England history. We don’t typically get hurricanes that far up the coast, so there’s definitely some legends surrounding that. When I was writing, I had always wanted to set it in the past for a number of reasons thematically. Just through the research, I found that hurricane in 1991 and there haven’t been too many films based in that specific time period, so it felt like a very special time and that’s why we went with it.

It’s kind of a weird time period, though. It’s not the ’80s, but it’s not the 90’s, either. Time is kind of figuring itself out.

Bynum:Well that’s what we ran into a little bit in not just wardrobe but music, too. It’s in this kind of weird dead zone, where it’s not the ’80s music – like Bruce Springsteen and Rick Springfield – but it’s also not like Nirvana. So, there was a lot of discussion, and we ended up just trying to pick music that felt right emotionally for the character. And again, the whole movie was less about being grounded in reality and more about what it feels like to be a teenager who’s just running around and going off instinct. So, we chose music that felt like it was based off instinct.

What was the impetus behindsome of these songs? Were they what you were listening to whilewriting?

Bynum:Yeah, some of it was from when I was writing. Alot of it we just played on set. For instance, there is a Jonathan Richman song in the middle of the movie that we had no intention of using until we got in the edit room and we were just trying different stuff out in the edit room and it just worked and we ran with it.

How did you get the budget to pull off something like this?

Bynum:Well, it was a long journey, until I met Imperative Entertainment, and then it happened very quickly. I had written the script in 2012 — I had never written anything with an intention of directing — and I wanted to tell a cool story that I had kind of witnessed in college. Then it made the Black List, which was great, and it went away. We put it on the shelf, moved on, and then I met with Imperative Entertainment and those guys over there were just as supportive as you could possibly want producers to be. I met with them in the Fall, and by the Spring we were pre-production, which is just a dream come true.

It’s a new company and you never feel that they’re just churning out products. It’s not like, “Alright, we have to make this movie, turn it out, make a profit, now let’s make the next movie.” There’s a lot of care and passion that goes into it. So, they have a filmmakers mentality versus a businessman mentality. They’re definitely businessmen at the end of the day, but it comes from a creative place first. Not only are they creative and supportive financially, but creatively and emotionally. It always felt like we were on the same team, we were never at odds. It wasn’t like “what’s best for the bottom line” or “what’s gonna sell the most tickets,” it was always what’s gonna make the best movie. That goes a long way and hopefully it shows up on screen.

How did Peter Farrelly get involved?

Ryan Friedkin:So, Bradley Thomas, who’s one of the partners at Imperative, he produced all the Farrelly brother movies – Dumb and Dumber, There’s Something about Mary – and when Elijahcame and met with them, I think Bradley, he knew he’d never directed a film before, hadn’t been on a set before.

Not even shorts or anything like that?

Bynum:No short or commercial or music video. So again, they put so much faith in me and trust.

That’s quite prodigious.

Ryan Friedkin: Obviously, if he hadn’t written it, no one in their right mind would have let him direct it. But I’m a firm believer in writer-directors. It makes life so much more easier. A director always likes a script. But I also think getting first drafts in from a writer-director is such a higher level than someone who just churns it out over a few weeks. Their whole life is in the movie, their whole career is at stake, and so in every waking moment, he was thinking about this movie. So back to Peter, Bradley sort of had the idea to have Peter take him under his wing a little bit and just do a little work on the script and give him some notes and guide him in the discussion in the beginning. And Peter is one of the great guys of the world. He’s an amazing, supportive guy.

Once it was on the Black List, did you have a feeling the gears were going to start moving?

Bynum: No. The production companies around town, they all liked the script, but nobody wanted to touch it cause it’s a tough movie. You can’t make it for like $100,000 dollars. It demanded a pretty big budget, but it also has enough elements in it that aren’t very commercial. With a teenage cast, a dark ending, it’s a period piece, and kind of a drama and a lot of things that scared people away who responded to the script very highly. Luckily, we found someone who was like, “Fuck it, let’s give it a shot and I’m really glad they did.”

Okay, sogoing into this, you haven’t done shorts, you haven’t done any films …was it all just in your head?

Bynum: For a while, I tried to get the movie made with another director, and we sat down with a few really talented, mostly music video directors, who were looking for a first feature. And they’d come in and they’d meet and I realized that they probably didn’t appreciate this, but I was telling them how I envisioned it. And the more I talked about that, the more I felt like I have this movie more or less in my head and I know how I would shoot these scenes and how the camera should move or if I were to direct it this is what I would do… Saying that enough times sort of gave me the confidence where I felt like maybe, just maybe, given the right chance, I could take a crack at it. So, yes, it was in my head, and then I storyboarded it, and shot list it, planned it out, and tried to execute it as closely as possible.

Did you talk to any other filmmakers to kind of get some tips?

Bynum: Yeah, I have a really great film buddy named Justin Lerner who eats, breathes, and sleeps cinema. He was an integral part in this. His best advice was, “Don’t make a movie this big your first go around,” and I understand why. At first, I didn’t want to hear it, but when we were on set and there were just so many moving parts and the clock is always creeping up on you, I understood why he was like, “You might want to bite off something a little more manageable,” but he’s been great and very supportive. He came into the editing room and gave great notes.

The framing device for this film is wonderful, coming from the point of view of a random character. You don’t know this person, he’s always off screen, and that makes the film’s narrative more like an urban legend. You know, like something passed down through oral tradition, which is so relatable. You mentioned this was a story from college. How much did you have to embellish?

Bynum:It was mostly just the seed. It wasn’t a story I heard, it was kind of a story I witnessed: the entire rise and fall of a friendship.

Was it in Cape Cod?

Bynum: It was at Amherst, so it was a different part of the state. All the Cape Cod stuff is completely fictional, but Daniel and Hunter, and the drug dealing narrative, were based off two kids in college. All the rest was stuff we came up with afterwards, but it was all framedaround this very interesting, kind of romantically tragic rise and fall of a drug empire and a friendship that rose very quickly and fell very quickly. Ittook place in real life for over a year, but we condensed it down into three months.

I don’t know. There’s just something about being a teenager; your hormones are rushing around. Everything is much more intense than it actually is: the cool kids are way cooler than they actually are, the girls are hotter than they really are, everything is just so intense and embellished that it felt appropriate.

The cross-generational narrative is key, too. You have the younger kids talking about the teenagers, the teenagers commenting on the adults, and the adults looking back on it all. It actually reminded me of the way Stephen King frames some of his novels, specifically‘Salem’s Lot. But that could have been because of the New England setting. [Laughs.]

Bynum: Well, Stand by Mewas a huge influence, and Stephen King is one of the greatest writers in the last 50 years. I think there’s a way he taps into things that are very visceral and emotional and also just very American. I think the story, in a way, is this bygone American era that adds the nostalgia without it feeling pastiche necessarily.

There’s nobody walking around saying,“Hey, did you hear this Nirvana band coming out in a month?”

Bynum: Yeah, we were very careful to avoid that, but we also wanted to bring you into the world, which is why you do see stuff likeTerminator 2 and Street Fighter.

Yeah, but you created the world around those references. One of the biggest pitfalls of the many more modern period pieces is that they all too often lean on pop culture to sell the setting. But that’s not the case with Hot Summer Nights, and mostly because it’s supported by so many short stories woven into the main narrative, which is what really reminded me of King.

Bynum: It makes things feel bigger. Even if you meet Ricky Orwell and his gum for 20 seconds, it makes the world feel lived-in, which was important for us.

I’ve read in past interviews with you that there’s a note in your office that reads, “Don’t be boring.” Now, that could work for or against a screenwriter, mostly because there might always be an impetus to keep adding and thinking of more things. When it came to building this world, how hard was it to paint the story without too many layers or too broad of strokes?

Bynum: Well, there had to be some level of self-discipline in the writing process and then in the edit room. Because, like the Ricky Orwell tangents, I love doing that kind of stuff and I would have gone on forever doing more and more of it. Eventually, people are like, “Okay get to the story,” so there’s a good amount that was in the writing room floor and then the editing room floor because you have to hone in. But that’s always fun, telling the little side character stories.

It also adds another point of view tothe characters. You see that they’re larger than life to some people, but probably not to themselves. For instance, Maika Monroe’s McKayla likely doesn’t see herself as the talk of the town.

Bynum: I think the last thing Hunter Strawberry would want to hear is that people idolize him, and I think that’s what makes it special. The reason that the child narrator works is because you’re at that point in your life where these characters do feel larger than life. And the interesting thing is that from an older perspective, like a 40-year-old audience member watching this, everyone knew a Hunter Strawberry and a McKayla Strawberry. For the most part, you know what life looks like for themwhen they’re not young and the coolest kid in town anymore.

There’s something very tragic about that, and I think Hunter and McKayla are very self aware of the archetypes that they are and to this society — the box they’ve been put in. It’s like, “I’m the cool bad boy that none of your parents want you hanging out with, and I’ll probably end up never make it out of this town.” Again, for a 13-year-old, that’s the coolest guy ever, but for the 40-year-old looking back, it’s a tragedy, and that’s what we wanted to tap into…

You really do capture that evolution, though, from wide-eyed kids to cynical teenagers to wizened adults. Then again, it helps having someone like Thomas Jane around to do the heavy lifting. It goes without saying that we’re huge, huge fans of his work over here. It’s still a goddamn crime he missed the opportunity to be inThe Walking Dead.

Friedkin: And Mad Men.

Bynum: They wanted him on Mad Men?

Friedkin: Yeah, for Don Draper. His agent called and said, “Thomas Jane doesn’t do TV.”

He was pretty phenomenal in Hung.

Bynum: I’ll do TV if I get to have a big dick.

[Laughs.] Doyou feel that traditional oral storiesare still athing today?

Bynum: I think it’s dying out a little bit. I think people were allowed to be much more mysterious back in the day, you know?

Friedkin:I think now all these kids’ heroes are like the Kardashians or whoever they see onInstagram. Whereas back in the day, even when we were growing up, there were still those kids — it was just before Twitter and Instagram.

Bynum:Yeah, like you were saying, the Kardashians are on Snapchat, and it almost feels like in a weird, fucked up way like, “Oh, I’m friends with Kylie, let’s see what she’s wearing today.” Whereas, not even one generation ago, the stories you heard were about the kid the next town over who drove the Mustang and was dating the cheerleader. I think there’s something a little more special about that because it’s one step removed. And yeah, I think it’s dying out, which is again why I wanted to set the movie in the past because it was like the last tip of a time period where those kinds of stories still existed.

What some people tend to forget is how everyone is traditionally nostalgic for something 20years prior, and what was interesting about the ’80s is how a lot of the early ’60s aesthetics were huge. Naturally, that bled into the ’90s, though it didn’t take long for the nostalgia to shiftinto the ’70s. Your film seeminglycaptures this weird phenomenon.

Bynum: Well, the vibe — like when Hunter and Amy first meet at the diner and the Shangri-Las are playing — is total ’50s. The girl sitting there at the roller rink…

Friedkin:And also in that scene, it has that small town vibe where one girl says she’s a whore and one girl says she’s so pretty.

Bynum:The gossip. Eating French fries and drinking a Coke on a Saturday night. Shameless nostalgia.

Did you grow up in a small town.?

Bynum: Small-ish, pretty small.

Did that help in figuringthings out?

Bynum: Oh yeah, a lot of the stories were pulled from things I had heard. And then there were always the older kids that you would hear about. Like I heard he did this, I heard he did that, so yeah that was definitely from stuff I grew up with.

Did you hang out with any older kids growing up?

Bynum: I don’t know, I wanted to. You could like see them show up and everyone would move to the side.

Are you at all nervous people might not relate to this?

Bynum: Yeah, we talked about it a lot in the writers’ room like, “Who is the audience for this? Are the millennials gonna respond to this?” We were always more interested in the people who were teenagers in 1991 — so those in their 30s or 40s now — and I hope they respond to it because the movie slows down and gets into some heavier stuff.

But really, we wanted to make it for anyone because I think there’s something universal about being young, whether or not you grew up in a time where you had a pay phone or you grew up in a time where you used Twitter. There’s still something universal about being young — the cool older kids, the hot older girls that you’re scared to talk to — and I don’t think that will ever go away.

No, it’sjust between the lines now. The way we search through Facebook profiles, which are all self-curated portraits of people that might not actually be that at all.

Bynum: “Oh, you’re not really what your Instagram says you are!” It’s a different variation of “I heard Hunter do this, I heard Hunter do that,” and it’s not really as true as people say it is.

Despite the story being set in New England, the film was shot in Atlanta, which has become the Mecca of filmmaking these days. How difficult was it to create those signature Northern settings in the South?

Bynum: Well, one of our producers, Dan Friedkin,happens to know how to fly a helicopter and many other things. So, all that aerial footage, that’s from Cape Cod. He went up there and shot that, and it looks incredible, and I think it really saved our ass a lot. Not only to make the movie feel bigger, but to drop you into this sun-bleached world.

Friedkin: We shot on the beach, too. So, when they’re in the crab shack, when Hunter is of doing the false interrogation, that was on Tybee Island, a three-hour drive from Atlanta on the coast. So, that kind of passed for it. But the rest of it…

Bynum: That’s why a lot of stuff is shot really tight. If they see the fried chicken place over there, it’s gonna give us away.

Setting up the scene for 1991 must have also been difficult. There aren’t too many vintage arcades around.

Bynum: We looked for like a month and a half to find that.

Friedkin: Which is crazy because they’re starting to come back again.

Bynum:But the ones that are coming back have brand new games and the games look like they were built in 2010. So, to find an arcade that has old games from the late ’80s and early ’90s was very difficult.

Did you have to build it?

Bynum: No, we just found some arcade in rural Georgia somewhere. It was very cool, we lucked out with that one.

What was the most challengingpart for you as a first-time director?

Bynum: I think just realizing how quickly the 12-hour shooting day goes by. It goes by very quickly. We did a really good job of planning this thing — we planned it within an inch of its life — but it doesn’t matter how well you planned. The day starts and your phone starts ringing or people start coming up to you and saying things like, “So, this thing we talked about is not gonna happen anymore, we got to do an audible.”

You can’t go and throw a fit or start feeling bad for yourself, which, admittedly, the first week of production I was doing. I was just ranting and raving all the time about how everything is going wrong. But that’s part of making a movie. You could probably have a hundred million dollar budget and you’re still going to run into roadblocks. That was the biggest challenge: learning to adapt on the fly and finding things that other people would consider setbacks and recognizing them as opportunities.

Winging it, basically.

Bynum: Winging it or either being like, “Its not going to be this, but what if it’s that.” The most exciting part is when you’re on Plan B or Plan C and it’s better than Plan A ever was. It wouldn’t have happened if something didn’t go wrong, and that was the really exciting part. Also just being able to trust your actors, because good actors are really smart and have really smart ideas. And sometimes you can just go to them and be like, “This isn’t working. What do you think?” And just trusting what they have to say and letting them do their thing allows good things come out of it.

How long was the casting process for this? Did you kinda have a sense of maybe who you were going after?

Bynum: Ryan wanted Timothée [Chalamet] from the beginning. He was like, “Timothy is Daniel,” and I was like, “That’s great.” So, Timothy had that role basically from day one, but unfortunately, we tortured him a little bit and stretched out [the casting process] for four months, but he was always it.

Friedkin: We knew him mostly from Homeland, and then Interstellar came out right as we were starting to cast.

Bynum: It’s hard because the role on the page seems obvious, but his trajectory from awkward goofy boy to drug runner is a pretty big arc to try and do believably. And he did a great job with that. With Maika [Monroe], we had all seen It Follows, it came out when we were casting, and we were like, “That’s it.”

Friedkin: Hunter was the hardest.

Bynum:Hunter was the hardest because it could have gone so terribly.

Friedkin:[Alex Roe]hadn’t really been in anything — his two films were sort of in post — and we saw him and obviously he looks good enough to be Hunter, but he had a great tape and when he showed up on set his acting abilities were even higher than that.

Bynum:Everyone was blown away.

Friedkin: I remember a moment. The first time he shot was on the beach, and the second was a crab shack, and Elijah and I looked at each other and were like, “Okay, we’re okay.”

That’s a great feeling.

Friedkin: Do you want to tell him about Dex?

Bynum:Well, I had seen Emory [Cohen] first in A Place Beyond the Pines and I was like, “Who is this guy? He’s a genius. If I ever get to make a movie, I want Emory Cohen to be in it.” Somehow, he got the script and responded to Dex’s role, which was interesting — because I had always imagined Dex as someone older, someone in their 50s — but Ryan was like, “How about Emory for Dex?” And god, I’m glad we went with it because he was so much fun to work with, and in post, we were like, “Should we do a re-shoot and write a new scene for him?” He was that good.

Friedkin:I think he makes the character a little less of a cliché because to have the 30-year-old or whatever he is be the villain in the film is risky.

He does feel like an equal to Alex Roe’s Hunter.

Bynum: It’s like what Hunter could have been, and that’s what Hunter sees in him at the end I think, and Hunter is like, “I don’t want it, if this is what I’m going to become, I don’t want to be it.” So, I thought that was very interesting, and it wasn’t something in the script that was intended. It just came out of the casting, and now it works.

Friedkin: Emory showed up in Atlanta for the casting and we were talking about the role and he was like, “I’m gonna do this John Malkovich thing,” and we were like, “Uh…,” but then the camera started rolling and it was amazing.

It’s such a fine line because he could have easily become one of those smarmy villains…

Bynum:Or the mustached twirling villain. And I think he walked the line, but never quite crossed it. I think all the characters did really. Because the intention was to write these characters that felt familiar, the character was supposed to be aware of who they were. So, it’s a tricky tone to balance. Even someone like who Maia Mitchell wasplaying. Her role was very small, but when she’s on camera, she’s interesting to watch and adds something there that, again, could have been a very forgettable character.

There are so many characters to follow and love.

Friedkin: That’s one of my favorite things about the script. Often times, my favorite character in everything he writes is this guy who has one scene. The cousin who runs for the door, this guy is amazing. Ricky Orwell! I mean, there are no boring characters which I think really makes the whole film go up. Going back to Thomas Jane, Boogie Nights is one of our favorites and his character isn’t in a handful of scenes, but we talk about his character all the time.

Supporting charactersreally do make a movie. It’swhyfolks like Rob Lowe can secretly steal moments in broad comedieslike Wayne’s World or Tommy’s Boy. Boogie Nights is a perfect example, though, and certainly something that came to mind while watching Hot Summer Nights. What other works would you say you cut your teeth with?

Bynum:Martin Scorsese is a big one. You can feel the influence of that in there. Paul Thomas Anderson is another one, the Coenbrothers, David Fincher. And then, lately, I’ve been a big fan of Harmony Corinne. I think what Nicholas Winding Refn is doing right now is interesting. We’re both big Lars Von Trier fans, too. He’s the man.

Yeah, his movies are always a joy to see when you’re under the influence.

Bynum:He’s fearless, people who just go for it. It doesn’t always work, but when it does, it’s magical, you know? Paolo Sorentino is making really interesting stuff, too. And then all the classic guys that influenced everyone, from Kurasowa to Orson Wells, of course, and Stanley Kubrick. The legends.

Now that you’ve finished this film, what’s next?

Bynum: There’s one I’m writing right now that I’m almost done with that hopefully I get to make next. Ryan has read an early draft. We’re doing a quick rewrite on it.

Friedkin:We’re very excited about it.

Do you have an idea of what kind of films you want to make?

Bynum:Well, those guys we just talked about …. what they do is make movies that have a very unique vision and point of view and I think they’re going to last the test of time. They’re special and they’re unique in a way, and I’d love to be able to make movies like that — that people react to in a very specific way.

Well, that’s the best you can do.

Bynum: Yeah, I’m going to keep going until they tell me I can’t anymore.

Would you want to even shake up genres?

Bynum:A good story is a good story. So, whatever genre it’s in.

Friedkin:Well, I think that’s probably the best line to go on.

本沖著甜茶看的，開篇的帶入感很強，吸引了注意。片頭，甜茶是個帶叛逆的慫宅男，雖然平時看起來沉默寡言，守本分，但卻敢于冒險加入販毒。這也是影片的最大漏洞，到底是什么造成了這個"乖"孩子從慫包變成了為販毒不惜一切的青年?只是青春期躁動嗎，不可能。導(dǎo)演并沒有給出答案。對于甜茶感情戲我覺得甜茶拿捏得很好，那應(yīng)該是丹尼爾的first love吧，他販毒，瘋狂，但在愛情面前，他原本的慫，呆萌，宅男天性難以掩藏，所以他在性感尤物面前并不能展現(xiàn)霸道總裁的一面，也正是這一點"純"打動了女主，以至于后來女主知道他販毒反應(yīng)如此強烈。 看了這么多甜茶的電影，我認為除了顏一直在線外，演技也是恨棒的。他對每個角色的詮釋幾乎都是恰到好處，不是演什么都一樣，而是演什么像什么，可能cmbyn 太經(jīng)典，所以觀眾無法脫離它們的比較吧。

73:21-77:34

場景1 Hunter and his girlfriend's father 簡稱 H 和 F

H: This is very romantic, but what the fuck are we doing here?

F: You know, you remind me of...There was a boy a few years back.

H: Klye Tate, right? Yeah, I know all of the stories. I look like someone who wants to spend the next 20 years rotting away up in Walpole? I'm not gonna go out like that. Not like that.

F: You ever thought about just giving it up?

H: Yeah, sure. And do...do what? Go to college. Get a job, maybe. I don't think that meatloaf dinners and a white picket fence are in the cards for me.

F: Well, how do you imagine this is gonna end?

H: Look, if you were gonna get me, you would got me already.

場景2 Daniel and Mckayla 簡稱 D 和 M

M: When I was a little kid, I used to catch them in those glass jars. It always reminds me of how planes looked when they're way up in the sky.

D: Why'd you stop?

M: Kept dying. Got depressing.

D: I think you should start collecting the fireflies again.

M: You can't hold on to everything.

D: I think some things you can.

M: Then I hope you're good at being hurt.

場景1

H: All right. So what? So last time I checked, it wasn't illegal for your old man to be a fucking fuck-up.

F: It's a little hard to tell now, but half a lifetime ago, your dad was the coolest thing in 100 miles. Yeah, kind of guy who could break a girl's heart just walking into a room. Jimmy Srawberry. Yeah. See. We was thick as thives, me and him. We...uh...got into some trouble. They were good times. You know part of me likes to believe that it was him who saved me that he knew who he was, that he knew where his life was headed, and he didn't want that life for me. The choices that we make ain't always about us.

場景2

D: I've never really said this before...But I think I might...

M: Whatever it is that you want to say... Wait. And if you still wanna tell me when summer's over. Tell me then.

(bgm: I still love you. Just like you did before. But before you smile. Darling. I don't wanna cry. I don't wanna cry. No more. No...)

天吶，昨天剛看完《CALL ME BY YOUR NAME》，今天飯點隨手點開了百度云盤里一個不知名的yxzy, 發(fā)現(xiàn)竟然也是Timothee主演。緣分總是妙不可言！

HOT SUMMER NIGHTS

看完才知道這部電影是《HOT SUMMER NIGHTS》又譯《炎夏之夜》，在我看來，這部更適合叫…躁動青春。比起《CMBYN》里青春酣甜欲拒還迎飽受“不倫愛情”折磨的Elio，《HSN》里的Danny簡直披著羊皮的狼。長得平平凡凡本本分分（當(dāng)然是電影里的角色，實際生活中真的是一個平平無奇的美男子），實際操盤小鎮(zhèn)的毒品王國。

為什么叫Danny不叫Daniel，因為覺得酷。

為什么要販毒？因為覺得酷。

為什么為什么為什么……因為覺得酷。

酷酷的小黃鴨

青春年少，有多少人被暴力黑手黨電影洗腦，總覺得打打殺殺的大哥超級酷。誰的青春故事里沒有山雞哥，沒有教父？為了酷，去做了不少“蠢事”。年輕的孩子們看到這部電影應(yīng)該也會向往吧，可當(dāng)我過了年少輕狂的年齡再看這部電影，相反會自動忽略里面的糜爛的場景，而去關(guān)注每個角色的變化。比如，警察叔叔和亨特聊人生，提到他爸爸。因為這次談話，亨特的一生也改變了。

有的人選擇自己的人生，有的人改變別人的人生。

有的選擇來自于自己，而有的選擇因為別人。

Timo真的太適合夏天了，陽光燦爛的夏天，炎熱躁動的夏天，都和他很搭，都藏著他的秘密。在亨特明令禁止不準(zhǔn)打他妹妹的主意時依舊與他妹妹交往；又在妹妹面前裝“清純小哥”劃清與亨特的距離；還為了更大的利益背叛眼前的毒品供應(yīng)商…最終，一場颶風(fēng)結(jié)束了這一切。

在那個颶風(fēng)之夜，一切分崩離析。亨特逼走Danny，最后毫無反抗的倒在一顆子彈下；妹妹因為失望和對新生活的憧憬遠走他鄉(xiāng)；真正年少輕狂，看似無公害的Danny，則懷抱將毒品王國盤的更大巨大的野心，違背了游戲規(guī)則，最終逃離小鎮(zhèn)。

故事是ELIJAN BYNUM寫的，也是他導(dǎo)演的第一部作品。個人覺得現(xiàn)在看來是有點稚嫩，有點偏執(zhí)，但是整體美感、音樂和視頻插入真的還不錯。還挺喜歡妹妹的，有個性，有智慧，超酷！最喜歡她下面這句話，感覺很多時候無論是善意的謊言，還是不可告人的秘密，或者是下一段戀愛……如果你還沒有做好準(zhǔn)備去接受，不如先緩一緩。

如果夏天結(jié)束那你還愛我。

如果都經(jīng)得起等待和考驗，再說也不遲。

炎夏之夜 (2017)

6.3

2017 / 美國 / 劇情 / 伊利亞·拜納姆 / 提莫西·查拉梅 麥卡·夢露

我感覺甜茶這部電影拍的特別好看，我覺得這拍出了背后犯罪家庭居然也可以有這么幸福的生活，不過終究有一句話說的沒有錯，因為即使你是一個壞人，你的幸福生活中有一天會到頭的，而且這一天會很快來的時候特別殘酷，會一下子摧毀掉你所有的生活，確實這句話說的很有道理，我覺得這部電影拍的特別好看!

本文首發(fā)于公號「電影審片官」（dianyingspg）

8月過半，2018年的夏天也開始進入收尾階段。

但不知為何，心里總是空落落的，總感覺有什么還沒做。

這樣的狀況困擾了我好幾天，直到我看到這部電影，才猛然醒悟，我的夏天還缺少一杯“甜茶”——

《炎夏之夜》

還記得去年冬天在意大利的明媚陽光下用一枚桃子成為無數(shù)人初戀的“甜茶”嗎？

今天他穿越到80年代的美國小鎮(zhèn)，在更加迷離的《炎夏之夜》里，搖身一變成了吸毒販毒的頹廢少年。

《炎夏之夜》是導(dǎo)演伊利亞·拜納姆的處女作，劇本也由其親自撰寫，并且還登上了2013年好萊塢劇本「黑名單」——

和我們想象的大不一樣，好萊塢劇本「黑名單」其實一點兒也不黑，能上這個榜單的劇本無一不是精品。

它的設(shè)立者是曾在環(huán)球電影公司任職的富蘭克林·萊納德，目的是為了避免大海撈針式的重復(fù)閱讀，提高影視行業(yè)工作效率，盡快找出極有可能成為佳作的劇本。

這也從側(cè)面反映了《炎夏之夜》的劇本優(yōu)秀。

《炎夏之夜》是提莫西·查拉梅（甜茶）繼《請以你的名字呼喚我》和《伯德小姐》之后，又一部充滿夏日躁動氣息的電影。

上映前放出的預(yù)告片驚艷至極，吊足了觀眾胃口。

“甜茶”也因此被許多人叫做——

和夏天最般配的男孩兒！

而到了正片里，這個印象再次被加深。

憂郁的眼神，從不離身的圓領(lǐng)T恤，再加上一副永遠沒睡醒的頹廢樣兒，Daniel（甜茶飾）登場的那一刻，我就知道光看他這部電影已經(jīng)值回票價！

他簡直就是專為這個迷離夏夜而生的男子！

因為父親去世而性情大變的Daniel被母親送到小鎮(zhèn)與姨媽共度盛夏。

影片一開始，從那個總是安靜靠窗發(fā)呆，照看姨媽便利店時笨拙且無所適從的收銀動作可以看出，Daniel一直沉溺在父親的死亡里沒有走出來。

這樣的狀態(tài)對于一個處于青春躁動期的少年無疑非常危險，沒有人來引導(dǎo)他，他就只能自己尋找出路，而這樣的尋找往往都會指向歧路。

一次偶然的機會，Daniel結(jié)實了因躲避經(jīng)擦追捕逃到便利店的Hunter Strawberry（亞歷克斯·羅伊-布朗飾）。

Hunter是小鎮(zhèn)有名的大麻販子，惡名昭彰。Daniel卻沒有揭發(fā)他，反而還幫他藏毒逃過警察的追查。

這次意外后，Daniel和Hunter成了好朋友，他在后者的帶領(lǐng)下開始流連小鎮(zhèn)的各大派對。

派對上，在Hunter的引導(dǎo)下Daniel吸食了人生的第一口大麻，夢幻迷醉的感覺讓他第一次忘記了父親去世留下的苦悶。

于是兩人一拍即合，組成團隊開始了販毒生涯。

年輕的男孩總是不懂收斂，他們肆無忌憚地在小鎮(zhèn)兜售大麻，享受金錢入賬和大麻帶來的雙重快感。

很快，他們就被當(dāng)?shù)氐亩緱n盯上，被強迫成為毒梟組織的分銷商。

組織的限制讓他們沒有了之前的自由，但大麻的生意卻更加紅火。

與此同時，Daniel也和Hunter的妹妹McKayla（麥卡·夢露 飾）墜入愛河。

McKayla是小鎮(zhèn)最性感的女孩，追她的男人數(shù)不勝數(shù)。

但她卻選擇了初到小鎮(zhèn)的Daniel，讓許多人大跌眼鏡，只因為她覺得他干凈單純。

在煙花盛放的霓虹燈下接吻，在煙霧繚繞的酒吧里開懷暢飲，在夜深人靜的街道上翩翩起舞，在狹小曖昧的汽車影院里看著施瓦辛格一槍崩掉敵人的腦袋。

和McKayla在一起的這段日子，成了Daniel自父親死亡后最快樂的時光。

但這段戀情很快就出現(xiàn)危機。

Daniel沒想到自己的合作伙伴不僅不支持自己和他妹妹的戀愛，反而還想要拆散他們；

而一直不能接受哥哥販毒行為的McKayla也漸漸察覺到干凈單純的男朋友背后的秘密。

就像是那場即將到來、想要把整個世界夷為平地的風(fēng)暴，三人的關(guān)系開始出現(xiàn)裂痕。而更大的危機也因為Daniel的貪婪向他們逼近。

為了獲得妹妹的諒解，Hunter決定金盆洗手走上正途，而陷入瘋狂的Daniel卻告訴他，他能夠繞開毒梟組織直接和更大的毒販進行交易，而這次的毒品也從大麻升級為可卡因。

還記得比基尼的海灘、嗨唱整晚的夜店、霓虹閃爍的游樂場嗎？

在嗑嗨了的夏天里我們燥熱難耐，繚繞的煙霧迷醉了黑夜。

這些比櫻桃冰沙還暢銷的快樂，在逐漸逼近的風(fēng)暴面前其實不堪一擊。

和這場熱帶暴風(fēng)一起襲來的，還有毒梟組織對Daniel的殺機，被抓住的Hunter到死也沒有透露Daniel的行蹤，McKayla遠走他鄉(xiāng)，留下Daniel獨自面對風(fēng)暴肆掠過后滿目瘡痍的小鎮(zhèn)。

就像是面對自己同樣破敗不堪的青春和生活一樣。

影片運用大量的旁白，第三人稱視角倒敘展開，讓我想起王家衛(wèi)的經(jīng)典電影《東邪西毒》。

不過比起后者，《炎夏之夜》的最終質(zhì)量卻頗為糟糕。

優(yōu)秀的劇本并沒能拯救這部電影，就算匯聚了當(dāng)下最紅的影視新星，題材更是容易引發(fā)共鳴的疼痛青春，還有永不過時的復(fù)古風(fēng)潮，《炎夏之夜》后半段依然呈現(xiàn)出斷崖式的垮塌。

導(dǎo)演在處女作上犯了和其他人一樣的毛病——想要表達的太多。

他努力去挖掘少男少女們背后的青春，想借用藝術(shù)的表達來反映青春的迷茫和頹廢，可惜電影糟糕的敘事能力，讓這部影片從一開始就注定成不了精品。

豆瓣評分6.0，勉強及格而已。

但同樣，對于一部處女作來說，導(dǎo)演其實已經(jīng)做到了他的盡善盡美。

劇情爛又怎樣？我們有甜茶就行了！

除了甜茶，電影的畫面也同樣值得稱道，一如預(yù)告片中那般精美、浪漫，涌動著青春期的無憂無慮和無所畏懼。

就像每個人都曾經(jīng)歷的叛逆期。

青春于你，或許是“日日夜夜幻想成為一個壞小孩，卻一直循規(guī)蹈矩了這么多年”，而對他們，卻是一場真正的大冒險，并為此不惜賭上自己的全部。

從一開始的無所適從，到最后的黯然落寞，所有的紙醉金迷，其實只是一場幻夢。

青春，說到底不就是這么回事嗎？