What Goes Up Continues To Find Love

Even after opening in only five markets to mixed reviews back on May 28, What Goes Up continued (and continues) to capture interest and attention. In fact, some are even saying that slowly and steadily, Jonathan Glatzer's film is earning its place as an eccentric cult classic, one that might not have taken hold in the mainstream but has clearly acquired a highly devoted group of fans.

So who are these people? The growing audience seems to be made up of fans who enjoyed strong and unique performances from their favorite actors and those who have really taken to Jonathan Glatzer and Robert Lawson's quirky dramedy.

In the United States, they are people like James van Maanen who heartily recommended the film over Woody Allen's theatrical release of Whatever Works. And beyond the only country that enjoyed a limited theatrical release to date, more than 40 percent of the audience consists of a growing international community.

In fact, as the producers attempt to secure any last remaining rights, online interest in the film is swelling. This week, What Goes Up has three times as much traffic than the week before on YouTube. While Texas, Florida, and North Carolina (major markets missed by the initial release) are the source in the United States; Columbia, Egypt, India, Italy, Mexico, Peru, Saudi Arabia, South Korea, and the United Kingdom round out the most interest worldwide.

Part of the phenomenon can easily be attributed to Insider fans along with some of the most loyal Hilary Duff and other cast fans, including: Hilary One, HD Revolution, Hilary Records, Hilary Fan, Gossip Gander, among others.

What Goes Up also captured attention all around. Despite the unexpected unavailability of cast members leading up to the release, the independent release still managed to capture 14.4 percent of review readers. According to Movie Review Intelligence, the film's review value amounted to $226,000 despite mixed reviews being released early when compared to other films.

On the Internet, What Goes Up fared even better. It was the leading independent release during the week of its opening with 800 mentions every day, 25-50 blog posts per day, and more than one million views on YouTube (between the original account, new account, and fan duplications). Immediately following the release, the film maintained a 70 percent positive sentiment. All together, online interest placed What Goes Up better than most major multi-million dollar motion picture releases, earning ten times the attention direct to public than it did with reviews.

What does it all mean? What Goes Up seems to be one of those rare films that will attract more interest over time, which means it's well on its way to becoming one of those haunting cult classics that will be talked about long after most movies are forgotten. And according to the producers, they are doing everything they can to remember the fans too.

While many questions have been asked as to what is next for the film and soundtrack, time will eventually provide the answers. From the entire Insider team, thank you all for you support as well as some friendships made along the way. Good night and good luck.

R.D. Robb Is No Stranger To Daring Films

It's almost hard to imagine that R.D. Robb, one of the producers of What Goes Up, began his career as the precocious Scott Schwartz who double "dog" dared his classmate to stick his tongue on a frozen flagpole (and was later dared to do the same). But he did exactly that in the 1983 holiday classic, A Christmas Story.

Since, Robb had added more than 20 credits to his career as an actor, director, and producer, before being introduced to the What Goes Up screenplay. Although he was still overseeing production at a company called ZentAmerica, he immediately fell in love with the clever characters and then the undeniable passion exhibited by writer/director Jonathan Glatzer.

"From a creative standpoint, I always look for personal stories, interesting journeys, and nuanced characters. The screenplay had all of that," says Robb. "The making of the film was trying at times, but they all are for different reasons and circumstances. Throughout though, Glatzer was really great with the actors, coming from a background of directing theater."

The effort paid off, with all of the performances in this poignant independent film receiving nods for their contributions in one review or another. Most often described as a dramedy, What Goes Up also presented a different kind of movie making as it captured the chance relationship between a reporter and a group of adolescent social misfits. As perhaps best put by Pete Hammond from Hollywood.com, it "marches to its own surprising beat."

“Life contains both funny and tragic moments. So should any good film, no matter what the genre,” Robb said. "In a film like What Goes Up, it needs to strongly address both elements, but the comedy needs to carry us to make the tragedy work and pay off. It’s challenging to find that balance in tone, especially because there is a fine line.”

While the fine line of presenting a fishbowl glimpse of life seemed too daunting for some, What Goes Up has since captured a growing cult-like following of fans who appreciate the steady pace of the film. In fact, many of these fans say they are surprised at how the movie has a stronger and stronger impact with each new viewing. Robb attributes the repeat allure to the actors.

“It was great to work with so many talented actors in What Goes Up,” Robb said. “They were all so smart, talented and intriguing in their own right. Personally, I really related to Campbell’s character with all of his struggles, fears, and dilemmas.”

Part of reason, Robb recalls, is because he vividly remembers the events that led up to the shuttle tragedy in 1986. They were not watching the television because his English teacher chalked it up as just as another shuttle launch and there was work to be done. That all changed when a second teacher entered and handed her a note.

"The look on her face was sheer horror," Robb said. "She then told us there had been a tragic accident and pulled out the television. It was on every channel, and we all watched in shock. English didn't seem all that important any more."

The parallel, minus the hometown build up as seen in the film, is striking in that writer/director Glatzer and writer Robert Lawson never dwell on the shuttle tragedy. While the pending disaster might loom in the background, they offer an anti-climax that is much more true to life. While not every critic imagined it, people are often caught up in individual struggles that seem larger than life. And then, something suddenly and unexpectedly happens that overshadows all of it and forces us to grow.

The same could be said for Robb's work on this film. As a Hollywood veteran who has worn so many hats in the film industry, he says every new project strengthens his resolve and passion for film. Every project, he says, has encouraged his growth as an artist and a businessperson. And, What Goes Up is just one more brilliant stop in his film career.

In truth, "stop" is not the right word. Robb's newest project, Triple Dog, is already in post production. He is also working on a sports film about the triumph over tragedy for one high school football team in Pennsylvania; a dark comic noir film called Killer Joe, written by Pulitzer Prize winner Tracy Letts; and looking forward to working on a horror/thriller from the creators of Boogeyman, which is expected to be produced by James Hoke and Tony Miranda.

"Hey," Robb muses over the prospect of working with Miranda and Hoke on a film set in Las Vegas. "There are only two executive producers in Vegas for me, baby.”

Along with the executive producers of What Goes Up, Robb has long list of people he wants to work with in the future. They include: Daniel Day Lewis, Carey Mulligan, Sean Penn, Kate Winslet, Stephen Fears, Chris Young, Paul Greengrass, Michael Mann, and Anthony Mandler. And while this "short list" might cause some to wonder if any of them have been influential on his career, Robb says that honor will always belong to someone else.

"Oh, that would be my mother," smiles Robb. "She's encouraged me and supported me every step of the way." All the way, up.

First Look: With Director Jonathan Glatzer

Last night, Jonathan Glatzer, director, and Robert Lawson, co-writer, enjoyed a tremendously successful VIP Premiere at the Pacific Design Center with several hundred people in attendance, including Aubrey Mozino (Blythe), Max Hoffman (Fenster), and other cast members.

There, and at the after party that immediately followed, scores of fans and filmmaker guests greeted their first glimpse of the film with an extended applause. This initial success proved especially worthwhile as the film opened today with 16 screens across the nation, including Buffalo; Chicago; Las Vegas; New York City; and Moorpark, California. (You can also find listing by visiting the Facebook Group page, which includes event listings and links for each city.)

In the clip below, complete with never before interview with Molly Shannon, Glatzer provides his personal insights into the film as well as the cast and crew who made it possible. This First Look is longer than any other, with a run time of more than seven minutes. Enjoy!

First Look: Director Jonathan Glatzer with What Goes Up

"The VIP Premiere provided us a high note that we don't intend to let go of. We are already looking to add two more cities in addition to the one night showing for our Hometown Hoopla contest winner so that more people can see the film as intended — on the big screen," said James Hoke, executive producer. "While the reviews have been mixed, we have been met with nothing but great feedback from fans, indie film lovers, and people who are looking for something different than the most typical movie formulas."

In truth, the reviews have not been all critical as mistakenly reported by some. And, even among the harshest critics, several reviewers have given the movie high marks for select performers and memorable moments throughout the film.

What Goes Up Reviews That Deserve More Attention
"It’s wonderful because it’s so true to life because most funerals are (or should be) filled with equal parts tears and laughter. It’s exactly what WHAT GOES UP strives to be — a funny movie about death, a sad movie about life. Most of the time, it works." — Kate Erbland, GordonandtheWhale.com

"Yet despite the contrivances and frustrations (and there are more than a few), there's also something endearing -- and, occasionally, achingly poignant -- about "What Goes Up" and its gallery of valiant misfits." — Carol Cling, Las Vegas Review-Journal

"There's some nice filmmaking tucked inside "What Goes Up," a muddle of moods and intentions." — Manohla Dargis, The New York Times

"I'm happy to say that despite faux-dark comedies like Juno, the rumors of the "quirky" movie's demise have been greatly exaggerated. What Goes Up starring Steve Coogan and Hillary Duff, brings back the uncomfortably dark comedy with a vengeance." — Alex Dorn, UGO.com

"I think you’ll enjoy the movie - Hilary Duff has shown a whole new side to us in this film, which is always her goal as an actress. I hope you get a chance to see it in the theater - but if not, I’ll let you know when it officially comes out on DVD!" — Arieanna Schweber, HilaryNews.com

Behind The Film 'What Goes Up'

For Jonathan Glatzer, winning the best film award for 'Prix Fixe,' a 28-minute short released in 1997, must seem a lifetime ago on the day before his full length feature film What Goes Up is shown at the Pacific Design Center before opening in six major cities.

Back then, he had directed Oscar nominee Douglas McGrath and Tim Blake Nelson. This time around, he directed a cast of brilliant performers including: Steve Coogan, Hilary Duff, Olivia Thirlby, Josh Peck, Molly Shannon, and a dozen other young and talented actors.

"Being around this young cast, I felt younger and much older at the same time," recalls Glatzer. "Younger because they brought an energy and commitment that has not been dampened by cynicism; older because sometimes I had to act like the mature one on the set. But only when I absolutely had to."

According to Glatzer, the script, which he originally worked on with Robert Lawson as a stage play, had a long history of what some might call moments of maturity. While it attracted champions, the number of characters and locations called for a bigger budget than many producers and studios would have considered from a first-time director.

And then, even after the financing was locked, it became even more challenging than Glatzer expected. The result, two weeks before principal photography, was a tight budget and fewer shooting days. It took some additional tenancy for the first-time executive producers at Three Kings Productions. And, of course, the cast.

"It all came down to having a truly great cast, talented and deeply cool, to make it possible for us to accomplish this film," says Glatzer. "When your budget has you by the edge of a knife, your cast makes the difference. Their performances were all wonderful."

The cast originally came together in a few short months, with Coogan being among the first to meet with Glatzer after reading the script. Duff, who was recommended by John Cusack, came on after noting a personal connection between herself and Lucy. And Shannon joined after hearing how she had enamored Glatzer during a screening of Mike White’s “Year of the Dog.” He still insists she should have been nominated for an Oscar.

"When I saw Olivia Thirlby’s audition tape, I was completely blown away; I still am," he said. "And Josh Peck, who was originally cast as the character Fenster, is one of the best, if not the best, actors of his generation."

Nearly everyone agrees. Many reviewers, even those who have been hard on the film, have given props to the performers. Even more so than reviewers, the film's first outing at the Buffalo Niagara Film Festival won the "Audience Award."

"I think they walked away with what I wanted them to ... love for the characters, but the kind of love you might give begrudgingly because they are not without flaws," he said. "Just like this film, there is no ‘wrapped with a ribbon’ resolution or perfect plans or moments of unadulterated triumph."

Glatzer says that if there is any message, then it must be exactly that. There is pain, he says, not only in loss, but in every interaction between us all. He believes that is one of the reasons we look for heroes; each of us is trying to find ideas that are larger than ourselves, even if that sometimes means disposing of inconvenient truths.

It happens in everyday life, he says, and on the grand scale. It happens with groups of young people, in their teens, just like those brought to life in the film. Sometimes, kids have one adult in their lives who shines. But if they die, it leaves a crater in their lives that needs to be filled with whatever seems within easy reach and most convenient.

Glatzer began his career in theater as a director, staging productions at such venues as the Oxford Playhouse in England, Shakespeare Theatre in Washington D.C., and The Ensemble Studio Theatre in New York. He then moved on to work as a writer for Touchstone Television, Fox Television, Warner Brothers, Good Machine, and Industry Entertainment.

In addition to film, there is another interesting footnote on Glatzer's resume. He was an alternate for the U.S. men's fencing team for the 2000 Summer Olympics that was held in Sydney, Australia.

Glatzer will also be featured this Friday in an extended First Look video.

First Look: Josh Peck In What Goes Up

Nobody expected that Josh Peck, a stay-indoors kid born in the Hell's Kitchen area of New York City and raised alone by his single mother and maternal grandmother, would be so inspired by sitcoms that he would pursue stand-up comedy at age eight and engage in children's musical theater by the time he was nine. He did, and at age 14, Peck was offered a role on Nickelodeon's The Amanda Show.

In What Goes Up, Peck plays Jim, a troubled teenager who comes across as a repressed voyeur who eventually reveals himself as a deeply wounded boy looking for affection while struggling to find his place in life. In this clip, complete with two scenes, Peck talks about the frailty of people and how his character is trying to prove himself as a young man. At the end of the clip, Peck embarrasses writer Bob Lawson, who can be heard laughing on camera.

First Look: Josh Peck in What Goes Up


Peck has appeared in dozens of television shows, most notably Josh & Drake, and movies that include Drillbit Taylor with Owen Wilson, Merry Christmas, Drake & Josh, and The Wackness, which received critical attention after winning the Audience Award at the Sundance Film Festival. He also received a special distinction award as part of the ensemble in the 2004 film Mean Creek.

Peck most recently completed voice work as Eddie for the third installment of Ice Age: Dawn of the Dinosaurs. He has also been very outspoken about "Darfur Now," speaking out against abuses to human rights.

Behind The Music Of "Any Other Day"

"On a day like any other day -- a chill wind, the promise of Autumn… the sky was so blue you could almost taste it." — from the theatrical piece, "but the rain is full of ghosts," by Robert Lawson.

"In 2002, I wrote [those opening lines for a] theater piece in reaction to 9/11," says Robert Lawson. "So flash forward to Jonathan [Glatzer] and I. We had been talking about a credit sequence song, and the idea was to model it after the ‘Countdown’ song in the movie. I had this feeling that it shouldn’t be quite so peppy … after all, the Challenger explosion was pretty grim. But who wants grim music for the last taste of a movie like this?"

And so began the task of finding the right balance for "Any Other Day." The basic elements were written in the course of a single afternoon, with the hope it would be performed. Yet, like so many elements of so many movies, Lawson, a Renaissance veteran in arts and entertainment, had no expectations.

"My work has been done in scattered locations, mostly on the East Coast, periodically off B’way in New York, and one at the Kennedy Center," Lawson said. "A number of my scripts are published by Playscripts, Inc. and I also spend as much time as I can abroad. I teach regularly in and around Vienna (where my performance text Kuhfangfederblech premiered), tackling such esoteric topics as narrative strategies, framing and abstraction, and using digital media. As for songs, I’ve written well over a hundred, mostly for theater pieces you’ve never heard of, but I did receive a 'Meet the Composer Grant' for my efforts. "

"Any Other Day"
as originally written by Robert Lawson

On a day like any other day,
Sky so blue it could take your breath away.
And what could ever fall apart?
On a day like it is today --

Kind of day you could climb to the top of the world,
And see your life unfurl
Before your very eyes.
But when it falls apart, then you realize --

This is all a countdown,
To a higher place,
Countdown into some outer space.

Maybe it's a day when the angels will come to sing
Or maybe it's a day when the devil comes to bring a fate
You couldn't imagine in your wildest dreams.

Countdown
To a higher place,
Countdown into some outer space.

Never mind the smoke and mirrors left behind you.
Don't you go - there's nothing there to really bind you.
Just let go and know your destiny will find you,
Wherever you are...

wherever you are... wherever you are...

Countdown
To a higher place,
Countdown into some outer space.

On a day like any other day,
Sky so blue it could take your --
Take your breath away.

'Cause I remember where I was when I heard the news.
I remember where I was when I heard the news.
I remember where I was --

Sky so blue, like any other day.

We decided to share the original after Lawson noticed a fan discussion after the song. Specifically, "Jayrock" gave his take on the song. He was so clear in his definition that Lawson offered an extended explanation, saying that "I've always been fascinated by the chance occurrences in life, how we try to control our lives, plan things down to the smallest detail. The only catch is that we only control our tiny corner of the universe, and barely that."

"The day the Challenger launched was a lot like September 11 -- a gorgeous, clear, cold day," says Lawson. "Who would have guessed what would happen that day?"

And that is also where Jayrock got it right, says Lawson, when he wrote ... "Also out of context to the movie you can take the song to a more personal level for yourself."

"There's a kind of Zen in the song - you go along, you do what you need to do, care about doing ... just don't get caught up trying to control it all. You don't. But that's okay ... Whatever your destiny is, don't worry, it'll find you," Lawson wrote in reply. Later, he added for the Insider team: "Articulating things like this tend to come out goofy, even though you might actually believe in them."

There seems to have been a kind of Zen in the making of the song too. According to Lawson, the original rough is very metered and insistent. The early draft also had several transformations that included a loose jazz version, reggae version, a cappella version, and even a version with bagpipes and harmonium before settling down into what it is now with Duff. And then add in how many people touched the song along the way.

It was written by Lawson with Glatzer and Duff. It was produced by Richard Vission and Chico Bennett. It was mixed by Dave Aude. It was placed on a soundtrack produced by David Parker and Anthony Miranda. And there are many more involved. The list goes on and on. Much like the song suggests, we never really know what might happen next.

The same can be said for Lawson. Right now, he and Glatzer are already busy working on a new film project that they hope to shoot in 2010, called Emmett Bull’s Peerless Arcadium, which is set in the 1930s. He also has a number of theater projects on the horizon and is considering an opportunity to direct Richard Wagner's opera "Fliegender Holländer" next spring as well.

But of it all, he says, time will tell. Considering What Goes Up originally began as a play co-written by Lawson and Glatzer in 1996, he seems to be exactly right.