The Yes Men have been causing havoc posing as the World Trade Organization all over the world but have yet to reach a wide audience that could appreciate them. So when the Yes Men asked American Movie director, Chris Smith, to make a movie about them, we were lucky he didnt say no.
The Yes Men first started getting mistaken for the World Trade Organization when they designed a website that was making fun of WTO. When they started getting invited to lectures they decided to humiliate the organization by giving complicated lectures suggesting outlandish acts such as giving third world countries shit shaped like burgers as food and corporations monitoring their workers with the use of a giant penis with a television on it.
The Yes Men opens September 24, 2004
Daniel Robert Epstein: How did you hook up with the Yes Men?
Chris Smith: I met Mike [Bonanno] a number of years ago when he was traveling through Milwaukee and through a friend of a friend we ended up hooking up. Over the years weve stayed in touch and weve said that we should do something together but it took a lot longer than we expected. Six years after we met he called me up and told me that he had done a lecture in Austria and asked me if I would be interested in filming the next lecture they are doing.
DRE: While the Yes Men are very charismatic and do interesting things what made you think they would work in a movie?
CS: I thought that was the challenge of it. Filming lectures doesnt sound very entertaining but I thought we should try to capture the spirit of what they were doing and still keep it interesting to an audience.
DRE: I know that since American Movie you did one other movie called Home Movie. Did you get a lot of opportunities after American Movie?
CS: American Movie did fine for what it was. No one made a lot of money off of it. We were happy with it creatively which is important. Yes Men just came about because they called me and I thought it was great. I wasnt out trying to make a film about the World Trade Organization.
DRE: Do you think there is a thematic link between Yes Men and American Movie?
CS: No. I kind of take a step back after a film and try to see what seems interesting to me. This seemed interesting but I wasnt trying to further a lineage of film by making a comprehensive statement about culture. Do you see a connection between the two?
DRE: Its about fringe people the way good documentaries are.
Did you have any trouble finding a story for the film within what the Yes Men do?
CS: I saw their approach evolving while I was working with them. Nothing was planned though. I was just trying to see what worked. It was really just an opportunity to try something and see if there was anything there. Thats what happened with American Movie. Mark [Borchardt] was going up to the Toronto Film Festival to try to raise money for his feature with his mom. I was only planning on going for a weekend to see what happened. Then it slowly evolved into something else.
DRE: How is Mark doing?
CS: He is doing great. Hes doing another horror film called Scare Me with the same crew. Hes kind of back to where I found him and he seems happier than ever. He even stopped drinking. I think a lot of the attention from American Movie has died so hes gotten back to what he wanted to do which is to be left alone in the northwest side of Milwaukee making films.
DRE: Do you see yourself doing anything else with the Yes Men?
CS: Yes and no, one of the other directors Dan [Ollman] has been filming them for the last month or so for another project more related to American politics. Ive been sort of peripherally involved. After the film comes out I will be definitely be moving on to something else.
DRE: You were the cinematographer on The Big One so do you know if Michael Moore saw your film?
CS: We gave him a tape a couple of months but I dont think he has had a minute to see it. He was gracious enough to give us an interview for the film. I dont mean that in a negative way at all. Im probably a fraction as busy as he is and I havent had time to see a movie in three months.
DRE: Did you see Fahrenheit 9/11
CS: I did. I guess I was wrong [laughs]. I thought it was great.
DRE: Did you think that a big hit like that was bound to happen for Moore eventually?
CS: No I think it was just the right film at the right time. Im really happy for him but Id be shocked if another documentary was able to do that anytime soon. It was sort of random.
DRE: How has the documentary boom affected you?
CS: Ask me in a month [laughs]. Its hard to say. Ive been really happy with the ones that have come out this year like Fog of War, Super Size Me, The Corporation and Control Room. I had a positive experience seeing those films. I feel like its a great time for documentaries.
DRE: What did you shoot Yes Men on?
CS: DV Cam.
DRE: Just one?
CS: It was the three directors shooting. In certain places it might have been one or two of us but for the lecture we would use all three.
DRE: How was it working with two other directors?
CS: Sarah [Price] and I worked on American Movie together and Dan has been working with us for about five years so it worked out great. Weve all had different projects going on over the last few years so it was great to finally get together.
DRE: American Movie is a Michael Moorish type film. Do you want to be taken like that?
CS: However people want to take is fine with me. I just hope people like it and get something out of it.
by Daniel Robert Epstein
SG Username: AndersWolleck
The Yes Men first started getting mistaken for the World Trade Organization when they designed a website that was making fun of WTO. When they started getting invited to lectures they decided to humiliate the organization by giving complicated lectures suggesting outlandish acts such as giving third world countries shit shaped like burgers as food and corporations monitoring their workers with the use of a giant penis with a television on it.
The Yes Men opens September 24, 2004
Daniel Robert Epstein: How did you hook up with the Yes Men?
Chris Smith: I met Mike [Bonanno] a number of years ago when he was traveling through Milwaukee and through a friend of a friend we ended up hooking up. Over the years weve stayed in touch and weve said that we should do something together but it took a lot longer than we expected. Six years after we met he called me up and told me that he had done a lecture in Austria and asked me if I would be interested in filming the next lecture they are doing.
DRE: While the Yes Men are very charismatic and do interesting things what made you think they would work in a movie?
CS: I thought that was the challenge of it. Filming lectures doesnt sound very entertaining but I thought we should try to capture the spirit of what they were doing and still keep it interesting to an audience.
DRE: I know that since American Movie you did one other movie called Home Movie. Did you get a lot of opportunities after American Movie?
CS: American Movie did fine for what it was. No one made a lot of money off of it. We were happy with it creatively which is important. Yes Men just came about because they called me and I thought it was great. I wasnt out trying to make a film about the World Trade Organization.
DRE: Do you think there is a thematic link between Yes Men and American Movie?
CS: No. I kind of take a step back after a film and try to see what seems interesting to me. This seemed interesting but I wasnt trying to further a lineage of film by making a comprehensive statement about culture. Do you see a connection between the two?
DRE: Its about fringe people the way good documentaries are.
Did you have any trouble finding a story for the film within what the Yes Men do?
CS: I saw their approach evolving while I was working with them. Nothing was planned though. I was just trying to see what worked. It was really just an opportunity to try something and see if there was anything there. Thats what happened with American Movie. Mark [Borchardt] was going up to the Toronto Film Festival to try to raise money for his feature with his mom. I was only planning on going for a weekend to see what happened. Then it slowly evolved into something else.
DRE: How is Mark doing?
CS: He is doing great. Hes doing another horror film called Scare Me with the same crew. Hes kind of back to where I found him and he seems happier than ever. He even stopped drinking. I think a lot of the attention from American Movie has died so hes gotten back to what he wanted to do which is to be left alone in the northwest side of Milwaukee making films.
DRE: Do you see yourself doing anything else with the Yes Men?
CS: Yes and no, one of the other directors Dan [Ollman] has been filming them for the last month or so for another project more related to American politics. Ive been sort of peripherally involved. After the film comes out I will be definitely be moving on to something else.
DRE: You were the cinematographer on The Big One so do you know if Michael Moore saw your film?
CS: We gave him a tape a couple of months but I dont think he has had a minute to see it. He was gracious enough to give us an interview for the film. I dont mean that in a negative way at all. Im probably a fraction as busy as he is and I havent had time to see a movie in three months.
DRE: Did you see Fahrenheit 9/11
CS: I did. I guess I was wrong [laughs]. I thought it was great.
DRE: Did you think that a big hit like that was bound to happen for Moore eventually?
CS: No I think it was just the right film at the right time. Im really happy for him but Id be shocked if another documentary was able to do that anytime soon. It was sort of random.
DRE: How has the documentary boom affected you?
CS: Ask me in a month [laughs]. Its hard to say. Ive been really happy with the ones that have come out this year like Fog of War, Super Size Me, The Corporation and Control Room. I had a positive experience seeing those films. I feel like its a great time for documentaries.
DRE: What did you shoot Yes Men on?
CS: DV Cam.
DRE: Just one?
CS: It was the three directors shooting. In certain places it might have been one or two of us but for the lecture we would use all three.
DRE: How was it working with two other directors?
CS: Sarah [Price] and I worked on American Movie together and Dan has been working with us for about five years so it worked out great. Weve all had different projects going on over the last few years so it was great to finally get together.
DRE: American Movie is a Michael Moorish type film. Do you want to be taken like that?
CS: However people want to take is fine with me. I just hope people like it and get something out of it.
by Daniel Robert Epstein
SG Username: AndersWolleck
VIEW 3 of 3 COMMENTS
walkswithbears:
this could be pretty good - i loved american movie. the format reminds me a lot of michael moore's book tour documentary, 'the big one'. lets hope they don't just stick to the lectures! 
jasechase:
Chirs is a great guy, very talented. I'm not just saying that cause he is staying over at my house right now. Go see Yes Men. 