I first met Jon Favreau back in 1997 in a pizza parlor in Los Angeles. Swingers had recently come out but I wasnt interviewing him or anything. We were both just grabbing a slice at the same time. I told him that I loved Swingers but my father didnt really seem to get it. He looked a little hurt by that. Cut to 2004 and Favreau is now one of the hottest directors in Hollywood due to the fact that Elf was a surprise hit that grossed nearly $200 million and turned Will Ferrell into the new Jim Carrey.
Dinner for Five is an amazing show created and hosted by Favreau. Each episode takes place in restaurant with four film actors or directors sitting down eating, making jokes and talking about making movies. Former guests have included Vince Vaughn, Kevin Smith, Cheri Oteri, Christian Slater and many more. The third season which is airing now has some amazing people on it such as Gina Gershon, Bob Odenkirk, Kevin Pollack and Stephen Root.
Favreau first burst on the independent movie scene by writing and starring in the film Swingers. That movie led to other roles in studio movies such as Deep Impact and Very Bad Things. Soon Favreau made his directorial debut, Made, which starred himself and Vince Vaughn. That cemented Favreau as a powerful force in film comedy. It was soon after that when Favreau created Dinner for Five. But next year we will be seeing an even weirder side of him when his science fiction childrens epic, Zathura, is released next year.
Check out the website for Dinner for Five.
Daniel Robert Epstein: How hard is it to edit your show?
Jon Favreau: Sometimes we have three hours of tape. The second show we shot [Garry] Shandling wanted to get out of there after 45 minutes so we were lucky the show was funny. But now most of the shows go about two hours so we have plenty to pick from. Plus now that the show has been on for a while the guests sort of know what the format is so theyre not as scared or confused by it. Were literally rolling as soon as they come in and there is no crew around because we use long lenses. Now that the guests know they can ask each other questions there is a lot more usable footage.
DRE: Has there ever been a case where there is so much funny stuff you wanted to make more than one show out of it?
JF: Yeah we just did that with Burt Reynolds, Tony Shaloub, Kevin James and Richard Lewis. Burt Reynolds used to host The Tonight Show so when you get him going hes a real storyteller. His stories arent I was working in a coffee shop and I got discovered. Theyre more like; he was in the studio system and got fired along with Clint Eastwood. We made that into two episodes. Then we had him back and we said he could bring whoever he wanted to bring. He brought Dom DeLuise, Charles Durning and Charles Nelson Reilly. For that one I just sat back and watched. It was like watching Match Game.
DRE: Is the show reciprocal for you? Because Ill see Kevin James on your show then Im watching King of Queens and youre guest starring on that.
JF: Kevin James has been on my show so many times so when King of Queens asked me to be on I said I owe you one. That show was a blast.
DRE: Is there ever any complaints about the food?
JF: No the good thing is that restaurants want publicity, good reviews and they want famous people to like their food. So they love having people like us around, also we plug the restaurant at the beginning of the show. Also with the DVD of the first season thats coming out we have an extra where you could look up information where these restaurants are. We really appreciate the fact that they roll out the red carpet for us so we like to reciprocate.
DRE: How do you keep a balance when too many people are talking at once?
JF: Editing! We made a decision early on for it not to be like a talk show. The whole show came from me seeing what I liked and didnt like about doing publicity. On the late night talk shows youre in the middle of this three ring circus, its really about the audience and what the people at home are seeing. Going on Charlie Rose was a great experience because no one was yelling cut or action; there were no crew members around because the cameras are run robotically. Youre with him in a room and thats it. After five or ten minutes you lose sight of the fact youre on television. We wanted it be like youre in a restaurant and thats it. Also what I learned from doing movies is that you have a lot of control in the editing room. If you could get something spontaneous then you could cut together something interesting. People love reality television for that reason because they want to see real events. What people arent as concerned with now is production values and seeing beautiful sets because theyve seen it all. They want to see something real. So by giving them moments, editing them into something interesting and clever it gives effective entertainment for a very specific audience and its what I want to see.
DRE: Who have been your most intriguing guests so far?
JF: What I find intriguing is the older guests. Its not necessarily the people who would sell the most tickets or drive the biggest ratings. Thats who the major networks want but often those people dont have the most experience. Id rather have the people who half the audience doesnt remember, but I love them. Like Dom DeLuise, you probably couldnt book him on Jay Leno but for my money he is amazingly clever. Also people like Mary Steenburgen and Tony Shaloub, those people who have paid their dues and have insight. With newer actors its all about I cant believe how lucky I am. Theyre very conscious of what they are putting out there and very protective because their publicists are telling them to watch their mouths. But then again Colin Farrell and Kevin Smith are great because they dont care. I look for a candid environment where it doesnt feel like they are being interviewed on 60 Minutes.
DRE: Many comedians who are funny in the movies arent as funny when theyre being interviewed. Does that happen?
JF: A lot of the times there is the clich that a lot comedians are not that funny when theyre not on. But they tend to close up when they feel like their persona is on. But if you hung out with those same people at home they are probably very funny. Will Ferrell is a good example. Hes hilarious when the camera is rolling but his reputation is that hes not that funny when the cameras arent rolling. But if you hung out with Will he has a very dry and quick sense of humor. Its not like you turn off the camera and their sense of humor goes away. They just dont want to perform but if they are in a social setting among peers they fall into a different pattern and different routine. Also some of the people you wouldnt think are funny are the funniest like James Caan, hes a cutup. Sometimes the comedians are just the best laughers.
DRE: I saw you on Real Time with Bill Maher. Bill attacked you for imitating Politically Incorrect. How do you respond to that?
JF: We make a pretty concerted effort to not be Politically Incorrect. That shows stock in trade was conflict. If you had one guy who was extremely left leaning you would have another guy who was very conservative. Then you just let them loose like a cockfight. We dont want that. We want people, who get along, know each other and create an environment thats relaxed so we could see a different aspect of their behavior that you wouldnt see on a talk show performance.
DRE: Are there people you have to prod to get good conversation out of them?
JF: The more people want to do the show the better guests they are. So the more enthusiastic the guest is the more fun they are. A lot of times the best guests are people who arent asked to be guests on other shows. John Landis is a great guest because hes been there and he holds court. Actors like David Alan Grier will sit quietly listening to John Landis tell his stories because those are the entertaining people in the industry.
DRE: Are people calling you to be on?
JF: We have people calling and asking but we dont always say yes. It depends on who else is on the show. We dont want to have a bunch of people nobody recognizes on, we dont want to have a bunch of alpha male Type A personalities. We want a mixture of people like laughers, storytellers and experienced people. But we will take a chance on any show if there is a group of people who want to do it, well try. We arent driven by ratings or advertising. We are driven by what we find interesting.
DRE: What about the show where you had all the cast members of Pieces of April on? That was an IFC produced movie.
JF: IFC was working on Pieces of April and we wanted to do a cast show because its a great way to get a group of people together who have worked with one another, know each other and they had just been to Sundance together. It was an opportunity to get great guests like Katie Holmes, Patricia Clarkson, Sean Hayes and Oliver Platt.
DRE: How do you decide on the foursomes? Is it all scheduling?
JF: We move the schedule and the locations to make it all about the guests. There are a lot of shows we havent done, like going to [Las] Vegas because we cant get the right guests. Well go to Vancouver to get the cast of Elf or go to film festivals because people will be all in one place. If you can get guests who know each other and are in a mood to talk and have a meal thats your dream come true. So the show is all about the guests.
The way to do this show cheaply and effectively would be to build a set, have everyone come, get the best guests you could, bump the bad guests if good guests confirm and knock out one episode after another. Thats how most talk shows do it. But Im not a talk show host. To me its about the relationships with these people. If they say anything they wish they didnt, I let them cut it out. Its all about trust. I find if you let people feel honored and trusted they are going to relax more.
DRE: If you had four Hollywood mothers to put on the show who would they be?
JF: Thats a tough one. Joan Crawford shed be interesting, Helen Mirren, Jackie Onassis and then Id throw in Courtney Love.
DRE: What about four people from history?
JF: I always throw in Hitler and people get confused but I would have a lot of questions for him.
DRE: Like what?
JF: Why dont you give up on the artwork? That would be the first thing I would ask.
But there are a lot of people from present day I would want. Like Spike Lee, Quentin Tarantino, Martin Scorsese and Woody Allen. I love their work and Ive heard so many stories about them secondhand through this show. Those are four inspiring auteurs that I would want on the show. I would love to have them all in one room to see what they have to say to one another.
DRE: Have you approached them?
JF: I approach all these people. We are constantly doing that. You cant just say April 30th youre going to be on because they want to know who they are going to be on with.
DRE: Did you follow the meltdown of the David Gest/Liza Minnelli show?
JF: Yes we are always aware of the shows that are inspired by Dinner for Five. Because we are sort of like Little Richard because we are on the Independent film Channel and not that many people are aware of us compared to basic cable. Then we hear stories about people pitching shows that are like Dinner for Five except with politicians or athletes. So its interesting to see those shows and Im glad weve stuck around.
DRE: Is food ever an issue on the show?
JF: Sometimes we just dont know. We brought Sarah Silverman to the Saddle Peak Lodge and it was a tasters menu of wild game like elk, buffalo and quail. Then we found out she was a vegetarian. That was just poor communication. But we will usually just adjust to whatever the guest needs. Ive been on the Atkins diet for a while and the chefs claim to be using Atkins friendly products but I dont really know.
DRE: Have you noticed the lack of females that are Dinner for Five?
JF: It wasnt obvious to me until I started booking the show and picking guests. What happens is that you get a list. On this list are all the people that might be right for your show. The fact is most of the list is white men, thats who is famous. There are a lot of white women who are famous but the majority of them are really young. There arent many seasoned veteran character women actors. They all say there are no good parts. That list to draw from isnt that big. Also a lot of the women actors are very famous so the few you do know are too famous for the show. Of the ones we have to choose from there arent many to choose from. Weve tried to do an all women show but its incredibly hard. Its a lot easier for a guy to eat on camera without looking like a pig. The same goes for people of different ethnicities. We reach out to everyone in the industry, it has nothing to do with sex or race or anything. Sometimes it will turn out that we will have shows of all men a few times in a row. I never realized the disparities until I saw these lists.
DRE: The look of Elf was much in the style of Tim Burton or Barry Sonnenfeld. I would have never expected that due to your previous movies. Where did that come from?
JF: I got to do a little of the stop motion and creating a visual world with special effects. That taste of it really hooked me. I used to be a cartoonist so I love drawing characters, sets and working with production designers. In independent movies you dont have that kind of stuff. Youre shooting on locations and running around trying to get your shots. Its all about dialogue. Here I want to take a little time to see if I have an affinity for all that.
DRE: Elf was so successful. Will there be a sequel?
JF: I know New Line would love to do an Elf 2 because sequels tend be guaranteed at least 60 percent of the business of the first movie. So even if it cost $100 million to make they would still turn a profit. The problem is, what story do you tell? The movie was a complete story. I think one of the reasons it worked so well is because there was a beginning, middle and an end. There was a resolution. Im sure they will figure out a way to do it but its just not obvious to me.
DRE: Do you think it will become a movie that is seen every holiday season like A Christmas Story?
JF: Elf made the headlines in the trades for the TV deal they made. They ended up splitting between a network and a basic cable company where they will alternate years for airing it. So it looks like it will be a perennial TV show even after it runs on the pay channels and on DVD. We wanted to make a movie so when the fans are my age they will have grown up watching it.
DRE: Did you ever think youd direct a movie that would make more money than any of [Swingers director] Doug Limans films?
JF: Well Bourne Identity did well.
DRE: Yes but people associate you together after Swingers and everyone assumed hed be making huge blockbusters but then you direct Elf which grossed almost $200 million.
JF: My whole generation of indie guys are becoming the mainstream. But its more a function of the fact that we dont have anything exciting or fresh to say anymore. Were all dads, I have two kids. [Richard] Linklater, Robert Rodriguez and I are all doing movies like School of Rock, Spy Kids and Elf. Its because thats what I watch with my kids. Im more comfortable with that than I am with what Michael Bay does.
DRE: Do you ever encounter issues with getting acting roles because of your weight?
JF: Its definitely an issue for me. Because I swing up and down I have two closets full of clothes depending on what Im doing. At this point in my life its really about health and being happy. I was about 40 pounds heavier directing Elf in Canada because I was eating whatever was in front of me. Kevin James turned me onto the Atkins diet so now Im pretty happy. If I have to lose it for a role then Ill do it but right now Im just a dad and a director.
DRE: What movies are you excited about this summer?
JF: I play a sports agent in a movie this summer called Wimbledon with Paul Bettany and Kirsten Dunst so Im excited about that. Also Spider-Man 2 and Kill Bill Vol. 2. If youre coming out in the summer you better bring something because youre up against all the big movies. Im not talking about the artsy movies that are going for Academy Awards but the movies that are going to break the bank.
DRE: I would love to have dinner with Bob Odenkirk and Jeff Garlin. You also come from that Improv background. Whats it like having dinner with them?
JF: Yes that was a great one. It was Bob, Jeff, Michael McKeon and Joe Mantegna. They all had roots in either Second City or Chicago which is my upbringing. It was just great to have that group of people and talk about, not just Chicago, but that level of familiarity between them. Same sense of humor and sensibility and they are all quick as a whip. It was great show where I just stay down and enjoyed the meal.
DRE: You directed Amy Sedaris in Elf. When is she going to be on the show?
JF: We asked her but she said she would only be on as a waitress with the other guests not knowing it was her. I want her and her brother [David Sedaris] on. Its a great way to meet people, its my social life.
DRE: You also get jobs that way.
JF: Its the way other people get jobs too. I cast Ed Asner as Santa in Elf after I had him on.
DRE: Has anything ever gotten ugly?
JF: Weve had ugly moments. But mostly its moments where people say things they wish they hadnt. They start ragging on a movie that someone important is involved with so they might be up for a part in their next movie. But its rarely something that would have made the show anyway. You dont want to attack people who people have collaborated with because Hollywood is a small town and you dont want to be unfair to people. But if somebody has an opinion and theyre happy to share it then its nice.
DRE: Your wife isnt in the business. How is that?
JF: I like being married to a doctor because her work is very important compared to mine. Shes interested in what I do and Im interested in what she does. I go a lot of places and meet a lot of people so its nice to have someone by yours side who isnt just an accoutrement but is a human being who has a lot to offer the world. I think that makes for a successful marriage. I would have loved to have been a doctor. Part of the appeal is to have a Dr. Favreau in the family. But I dont have the discipline to go to medical school. Also right now Im making hay while the sun is shining but there is going to be a time when my career isnt going so well and shes going to be getting better and better and supporting us.
DRE: You are definitely the person to ask about Vince Vaughns sense of humor. Is the idea of his humor to be annoying?
JF: Part of Vinces humor is knowing how to push your buttons and how to get under yore skin. Hes so quick, funny and perceptive. Its not being annoying like doing silly voices or makes fun of you but its a matter of someone who can read you well and have insight into who you are and push those buttons you might be sensitive too.
DRE: I was so sure that Rory Cochrane and Peter Falk wanted to kill him by the end of dinners on your show.
JF: Rory is one of Vinces best friends so hes used to it.
DRE: Will you and Vince ever work together again?
JF: Were trying to get our western going. But right now Vince is on fire doing big studio comedies because of Old School and Starsky & Hutch so hes getting to be in all these movies that are more commercial than the movies we would be doing together. If Vince and I did another movie together it would be independent that made us laugh our asses off and wouldnt make a lot of money. We have to be able to be in a point in our careers where we can take time off to work together and do something thats labor of love. Im directing now which takes me off the market for a year and a half to two years.
DRE: Are you still working on Date School?
JF: Me and Drew Barrymore are both off that project. I moved on to a project called Zathura. Its based on a childrens book Chris Van Allsburg who wrote Jumanji. Its going to be a released Christmas 2005. Its a sci-fi adventure movie about two kids whose house is launched into outer space. Its been referred to as Jumanji 2 but its based on a whole different book. There is the similar device of a toy motivating the action but its not the same.
DRE: Are you more of a director who acts rather than an actor who directs?
JF: Yeah I am definitely getting more heat and I am more marketable as a director because Elf made so much money. I think its a nice progression because as a character actor Ill work forever doing my one or two movies a year. Its a tough footrace to try to be the guy on the poster who sells the tickets. Its very competitive and not necessarily the most rewarding. A lot of people in that position want to produce or direct. I get lots of scripts sent to me and because of my body of work a lot of actors want to work with me. Right now its the most creatively gratifying, the most lucrative and it gives me the most freedom. Also Im working on Zathura in Los Angeles so Im going to be able to watch my kids grow up for the next two years. Thats a huge advantage. I used all the success of Elf to say to my agents, Dont send me scripts where I have to travel out of the country to do them. Thankfully I have the leverage to do that.
by Daniel Robert Epstein
SG Username: AndersWolleck
Dinner for Five is an amazing show created and hosted by Favreau. Each episode takes place in restaurant with four film actors or directors sitting down eating, making jokes and talking about making movies. Former guests have included Vince Vaughn, Kevin Smith, Cheri Oteri, Christian Slater and many more. The third season which is airing now has some amazing people on it such as Gina Gershon, Bob Odenkirk, Kevin Pollack and Stephen Root.
Favreau first burst on the independent movie scene by writing and starring in the film Swingers. That movie led to other roles in studio movies such as Deep Impact and Very Bad Things. Soon Favreau made his directorial debut, Made, which starred himself and Vince Vaughn. That cemented Favreau as a powerful force in film comedy. It was soon after that when Favreau created Dinner for Five. But next year we will be seeing an even weirder side of him when his science fiction childrens epic, Zathura, is released next year.
Check out the website for Dinner for Five.
Daniel Robert Epstein: How hard is it to edit your show?
Jon Favreau: Sometimes we have three hours of tape. The second show we shot [Garry] Shandling wanted to get out of there after 45 minutes so we were lucky the show was funny. But now most of the shows go about two hours so we have plenty to pick from. Plus now that the show has been on for a while the guests sort of know what the format is so theyre not as scared or confused by it. Were literally rolling as soon as they come in and there is no crew around because we use long lenses. Now that the guests know they can ask each other questions there is a lot more usable footage.
DRE: Has there ever been a case where there is so much funny stuff you wanted to make more than one show out of it?
JF: Yeah we just did that with Burt Reynolds, Tony Shaloub, Kevin James and Richard Lewis. Burt Reynolds used to host The Tonight Show so when you get him going hes a real storyteller. His stories arent I was working in a coffee shop and I got discovered. Theyre more like; he was in the studio system and got fired along with Clint Eastwood. We made that into two episodes. Then we had him back and we said he could bring whoever he wanted to bring. He brought Dom DeLuise, Charles Durning and Charles Nelson Reilly. For that one I just sat back and watched. It was like watching Match Game.
DRE: Is the show reciprocal for you? Because Ill see Kevin James on your show then Im watching King of Queens and youre guest starring on that.
JF: Kevin James has been on my show so many times so when King of Queens asked me to be on I said I owe you one. That show was a blast.
DRE: Is there ever any complaints about the food?
JF: No the good thing is that restaurants want publicity, good reviews and they want famous people to like their food. So they love having people like us around, also we plug the restaurant at the beginning of the show. Also with the DVD of the first season thats coming out we have an extra where you could look up information where these restaurants are. We really appreciate the fact that they roll out the red carpet for us so we like to reciprocate.
DRE: How do you keep a balance when too many people are talking at once?
JF: Editing! We made a decision early on for it not to be like a talk show. The whole show came from me seeing what I liked and didnt like about doing publicity. On the late night talk shows youre in the middle of this three ring circus, its really about the audience and what the people at home are seeing. Going on Charlie Rose was a great experience because no one was yelling cut or action; there were no crew members around because the cameras are run robotically. Youre with him in a room and thats it. After five or ten minutes you lose sight of the fact youre on television. We wanted it be like youre in a restaurant and thats it. Also what I learned from doing movies is that you have a lot of control in the editing room. If you could get something spontaneous then you could cut together something interesting. People love reality television for that reason because they want to see real events. What people arent as concerned with now is production values and seeing beautiful sets because theyve seen it all. They want to see something real. So by giving them moments, editing them into something interesting and clever it gives effective entertainment for a very specific audience and its what I want to see.
DRE: Who have been your most intriguing guests so far?
JF: What I find intriguing is the older guests. Its not necessarily the people who would sell the most tickets or drive the biggest ratings. Thats who the major networks want but often those people dont have the most experience. Id rather have the people who half the audience doesnt remember, but I love them. Like Dom DeLuise, you probably couldnt book him on Jay Leno but for my money he is amazingly clever. Also people like Mary Steenburgen and Tony Shaloub, those people who have paid their dues and have insight. With newer actors its all about I cant believe how lucky I am. Theyre very conscious of what they are putting out there and very protective because their publicists are telling them to watch their mouths. But then again Colin Farrell and Kevin Smith are great because they dont care. I look for a candid environment where it doesnt feel like they are being interviewed on 60 Minutes.
DRE: Many comedians who are funny in the movies arent as funny when theyre being interviewed. Does that happen?
JF: A lot of the times there is the clich that a lot comedians are not that funny when theyre not on. But they tend to close up when they feel like their persona is on. But if you hung out with those same people at home they are probably very funny. Will Ferrell is a good example. Hes hilarious when the camera is rolling but his reputation is that hes not that funny when the cameras arent rolling. But if you hung out with Will he has a very dry and quick sense of humor. Its not like you turn off the camera and their sense of humor goes away. They just dont want to perform but if they are in a social setting among peers they fall into a different pattern and different routine. Also some of the people you wouldnt think are funny are the funniest like James Caan, hes a cutup. Sometimes the comedians are just the best laughers.
DRE: I saw you on Real Time with Bill Maher. Bill attacked you for imitating Politically Incorrect. How do you respond to that?
JF: We make a pretty concerted effort to not be Politically Incorrect. That shows stock in trade was conflict. If you had one guy who was extremely left leaning you would have another guy who was very conservative. Then you just let them loose like a cockfight. We dont want that. We want people, who get along, know each other and create an environment thats relaxed so we could see a different aspect of their behavior that you wouldnt see on a talk show performance.
DRE: Are there people you have to prod to get good conversation out of them?
JF: The more people want to do the show the better guests they are. So the more enthusiastic the guest is the more fun they are. A lot of times the best guests are people who arent asked to be guests on other shows. John Landis is a great guest because hes been there and he holds court. Actors like David Alan Grier will sit quietly listening to John Landis tell his stories because those are the entertaining people in the industry.
DRE: Are people calling you to be on?
JF: We have people calling and asking but we dont always say yes. It depends on who else is on the show. We dont want to have a bunch of people nobody recognizes on, we dont want to have a bunch of alpha male Type A personalities. We want a mixture of people like laughers, storytellers and experienced people. But we will take a chance on any show if there is a group of people who want to do it, well try. We arent driven by ratings or advertising. We are driven by what we find interesting.
DRE: What about the show where you had all the cast members of Pieces of April on? That was an IFC produced movie.
JF: IFC was working on Pieces of April and we wanted to do a cast show because its a great way to get a group of people together who have worked with one another, know each other and they had just been to Sundance together. It was an opportunity to get great guests like Katie Holmes, Patricia Clarkson, Sean Hayes and Oliver Platt.
DRE: How do you decide on the foursomes? Is it all scheduling?
JF: We move the schedule and the locations to make it all about the guests. There are a lot of shows we havent done, like going to [Las] Vegas because we cant get the right guests. Well go to Vancouver to get the cast of Elf or go to film festivals because people will be all in one place. If you can get guests who know each other and are in a mood to talk and have a meal thats your dream come true. So the show is all about the guests.
The way to do this show cheaply and effectively would be to build a set, have everyone come, get the best guests you could, bump the bad guests if good guests confirm and knock out one episode after another. Thats how most talk shows do it. But Im not a talk show host. To me its about the relationships with these people. If they say anything they wish they didnt, I let them cut it out. Its all about trust. I find if you let people feel honored and trusted they are going to relax more.
DRE: If you had four Hollywood mothers to put on the show who would they be?
JF: Thats a tough one. Joan Crawford shed be interesting, Helen Mirren, Jackie Onassis and then Id throw in Courtney Love.
DRE: What about four people from history?
JF: I always throw in Hitler and people get confused but I would have a lot of questions for him.
DRE: Like what?
JF: Why dont you give up on the artwork? That would be the first thing I would ask.
But there are a lot of people from present day I would want. Like Spike Lee, Quentin Tarantino, Martin Scorsese and Woody Allen. I love their work and Ive heard so many stories about them secondhand through this show. Those are four inspiring auteurs that I would want on the show. I would love to have them all in one room to see what they have to say to one another.
DRE: Have you approached them?
JF: I approach all these people. We are constantly doing that. You cant just say April 30th youre going to be on because they want to know who they are going to be on with.
DRE: Did you follow the meltdown of the David Gest/Liza Minnelli show?
JF: Yes we are always aware of the shows that are inspired by Dinner for Five. Because we are sort of like Little Richard because we are on the Independent film Channel and not that many people are aware of us compared to basic cable. Then we hear stories about people pitching shows that are like Dinner for Five except with politicians or athletes. So its interesting to see those shows and Im glad weve stuck around.
DRE: Is food ever an issue on the show?
JF: Sometimes we just dont know. We brought Sarah Silverman to the Saddle Peak Lodge and it was a tasters menu of wild game like elk, buffalo and quail. Then we found out she was a vegetarian. That was just poor communication. But we will usually just adjust to whatever the guest needs. Ive been on the Atkins diet for a while and the chefs claim to be using Atkins friendly products but I dont really know.
DRE: Have you noticed the lack of females that are Dinner for Five?
JF: It wasnt obvious to me until I started booking the show and picking guests. What happens is that you get a list. On this list are all the people that might be right for your show. The fact is most of the list is white men, thats who is famous. There are a lot of white women who are famous but the majority of them are really young. There arent many seasoned veteran character women actors. They all say there are no good parts. That list to draw from isnt that big. Also a lot of the women actors are very famous so the few you do know are too famous for the show. Of the ones we have to choose from there arent many to choose from. Weve tried to do an all women show but its incredibly hard. Its a lot easier for a guy to eat on camera without looking like a pig. The same goes for people of different ethnicities. We reach out to everyone in the industry, it has nothing to do with sex or race or anything. Sometimes it will turn out that we will have shows of all men a few times in a row. I never realized the disparities until I saw these lists.
DRE: The look of Elf was much in the style of Tim Burton or Barry Sonnenfeld. I would have never expected that due to your previous movies. Where did that come from?
JF: I got to do a little of the stop motion and creating a visual world with special effects. That taste of it really hooked me. I used to be a cartoonist so I love drawing characters, sets and working with production designers. In independent movies you dont have that kind of stuff. Youre shooting on locations and running around trying to get your shots. Its all about dialogue. Here I want to take a little time to see if I have an affinity for all that.
DRE: Elf was so successful. Will there be a sequel?
JF: I know New Line would love to do an Elf 2 because sequels tend be guaranteed at least 60 percent of the business of the first movie. So even if it cost $100 million to make they would still turn a profit. The problem is, what story do you tell? The movie was a complete story. I think one of the reasons it worked so well is because there was a beginning, middle and an end. There was a resolution. Im sure they will figure out a way to do it but its just not obvious to me.
DRE: Do you think it will become a movie that is seen every holiday season like A Christmas Story?
JF: Elf made the headlines in the trades for the TV deal they made. They ended up splitting between a network and a basic cable company where they will alternate years for airing it. So it looks like it will be a perennial TV show even after it runs on the pay channels and on DVD. We wanted to make a movie so when the fans are my age they will have grown up watching it.
DRE: Did you ever think youd direct a movie that would make more money than any of [Swingers director] Doug Limans films?
JF: Well Bourne Identity did well.
DRE: Yes but people associate you together after Swingers and everyone assumed hed be making huge blockbusters but then you direct Elf which grossed almost $200 million.
JF: My whole generation of indie guys are becoming the mainstream. But its more a function of the fact that we dont have anything exciting or fresh to say anymore. Were all dads, I have two kids. [Richard] Linklater, Robert Rodriguez and I are all doing movies like School of Rock, Spy Kids and Elf. Its because thats what I watch with my kids. Im more comfortable with that than I am with what Michael Bay does.
DRE: Do you ever encounter issues with getting acting roles because of your weight?
JF: Its definitely an issue for me. Because I swing up and down I have two closets full of clothes depending on what Im doing. At this point in my life its really about health and being happy. I was about 40 pounds heavier directing Elf in Canada because I was eating whatever was in front of me. Kevin James turned me onto the Atkins diet so now Im pretty happy. If I have to lose it for a role then Ill do it but right now Im just a dad and a director.
DRE: What movies are you excited about this summer?
JF: I play a sports agent in a movie this summer called Wimbledon with Paul Bettany and Kirsten Dunst so Im excited about that. Also Spider-Man 2 and Kill Bill Vol. 2. If youre coming out in the summer you better bring something because youre up against all the big movies. Im not talking about the artsy movies that are going for Academy Awards but the movies that are going to break the bank.
DRE: I would love to have dinner with Bob Odenkirk and Jeff Garlin. You also come from that Improv background. Whats it like having dinner with them?
JF: Yes that was a great one. It was Bob, Jeff, Michael McKeon and Joe Mantegna. They all had roots in either Second City or Chicago which is my upbringing. It was just great to have that group of people and talk about, not just Chicago, but that level of familiarity between them. Same sense of humor and sensibility and they are all quick as a whip. It was great show where I just stay down and enjoyed the meal.
DRE: You directed Amy Sedaris in Elf. When is she going to be on the show?
JF: We asked her but she said she would only be on as a waitress with the other guests not knowing it was her. I want her and her brother [David Sedaris] on. Its a great way to meet people, its my social life.
DRE: You also get jobs that way.
JF: Its the way other people get jobs too. I cast Ed Asner as Santa in Elf after I had him on.
DRE: Has anything ever gotten ugly?
JF: Weve had ugly moments. But mostly its moments where people say things they wish they hadnt. They start ragging on a movie that someone important is involved with so they might be up for a part in their next movie. But its rarely something that would have made the show anyway. You dont want to attack people who people have collaborated with because Hollywood is a small town and you dont want to be unfair to people. But if somebody has an opinion and theyre happy to share it then its nice.
DRE: Your wife isnt in the business. How is that?
JF: I like being married to a doctor because her work is very important compared to mine. Shes interested in what I do and Im interested in what she does. I go a lot of places and meet a lot of people so its nice to have someone by yours side who isnt just an accoutrement but is a human being who has a lot to offer the world. I think that makes for a successful marriage. I would have loved to have been a doctor. Part of the appeal is to have a Dr. Favreau in the family. But I dont have the discipline to go to medical school. Also right now Im making hay while the sun is shining but there is going to be a time when my career isnt going so well and shes going to be getting better and better and supporting us.
DRE: You are definitely the person to ask about Vince Vaughns sense of humor. Is the idea of his humor to be annoying?
JF: Part of Vinces humor is knowing how to push your buttons and how to get under yore skin. Hes so quick, funny and perceptive. Its not being annoying like doing silly voices or makes fun of you but its a matter of someone who can read you well and have insight into who you are and push those buttons you might be sensitive too.
DRE: I was so sure that Rory Cochrane and Peter Falk wanted to kill him by the end of dinners on your show.
JF: Rory is one of Vinces best friends so hes used to it.
DRE: Will you and Vince ever work together again?
JF: Were trying to get our western going. But right now Vince is on fire doing big studio comedies because of Old School and Starsky & Hutch so hes getting to be in all these movies that are more commercial than the movies we would be doing together. If Vince and I did another movie together it would be independent that made us laugh our asses off and wouldnt make a lot of money. We have to be able to be in a point in our careers where we can take time off to work together and do something thats labor of love. Im directing now which takes me off the market for a year and a half to two years.
DRE: Are you still working on Date School?
JF: Me and Drew Barrymore are both off that project. I moved on to a project called Zathura. Its based on a childrens book Chris Van Allsburg who wrote Jumanji. Its going to be a released Christmas 2005. Its a sci-fi adventure movie about two kids whose house is launched into outer space. Its been referred to as Jumanji 2 but its based on a whole different book. There is the similar device of a toy motivating the action but its not the same.
DRE: Are you more of a director who acts rather than an actor who directs?
JF: Yeah I am definitely getting more heat and I am more marketable as a director because Elf made so much money. I think its a nice progression because as a character actor Ill work forever doing my one or two movies a year. Its a tough footrace to try to be the guy on the poster who sells the tickets. Its very competitive and not necessarily the most rewarding. A lot of people in that position want to produce or direct. I get lots of scripts sent to me and because of my body of work a lot of actors want to work with me. Right now its the most creatively gratifying, the most lucrative and it gives me the most freedom. Also Im working on Zathura in Los Angeles so Im going to be able to watch my kids grow up for the next two years. Thats a huge advantage. I used all the success of Elf to say to my agents, Dont send me scripts where I have to travel out of the country to do them. Thankfully I have the leverage to do that.
by Daniel Robert Epstein
SG Username: AndersWolleck
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Pat Norton, punk rocker and star of TechTV's "The Screen Savers"
[Edited on Apr 29, 2004 by Velvetone_Fusion]