May 31, 2017, 7:00 P.M.
The Ray Stark Family Theatre, SCA 108, George Lucas Building, USC School of Cinematic Arts Complex, 900 W. 34th Street, Los Angeles, CA 90007
Outside the Box [Office] and IFC Films invite you and a guest to a special preview screening of
Written & Directed by Zoe Lister-Jones
Produced by Zoe Lister-Jones and Natalia Anderson
Followed by a Q&A with Zoe Lister-Jones
7:00 P.M. on Wednesday, May 31st, 2017
The Ray Stark Family Theatre, SCA 108
900 W. 34th Street, Los Angeles, CA 90007
FREE ADMISSION. OPEN TO THE PUBLIC. RSVPs REQUIRED.
Official Selection: 2017 Sundance Film Festival.
Opens in Los Angeles on Friday, June 2nd and on VOD beginning Friday, June 9th, 2017.
About Band Aid
Band Aid, the refreshingly raw, real, and hilarious feature debut from Zoe Lister-Jones, is the story of a couple, Anna (Zoe Lister-Jones) and Ben (Adam Pally), who can't stop fighting. Advised by their therapist to try and work through their grief unconventionally, they are reminded of their shared love of music. In a last-ditch effort to save their marriage, they decide to turn all their fights into song, and with the help of their neighbor Dave (Fred Armisen), they start a band. A story of love, loss, and rock and roll, Band Aid is a witty and perceptive view of modern love, with some seriously catchy pop hooks to boot.
Provided courtesy of IFC Films. Not rated. Running time: 94 minutes.
Visit the Official Website: http://www.ifcfilms.com/films/band-aid
I began writing Band Aid first and foremost because I was interested in exploring gender dynamics within a long term relationship. There seemed to be consistencies in the battles waged behind closed doors among my married friends. Many were chronic, and almost all were banalities rooted in something much deeper. There was freedom in learning that the squabbles that sometimes defined a marriage were not individualistic. In my discussions, I began to think, perhaps there was a code waiting to be cracked; or at the very least, an opportunity to quantify our differences as a means to bridge them.
Having written lyrics for songs since I was a teenager and then writing lyrics for the all original soundtrack to Breaking Upwards, music was something I was habitually drawn to, and had, as of late, felt was missing in my life. The idea of exploring a couple's domestic strife through song immediately compelled me, and thus, Band Aid was born.
I decided to make the protagonists, Anna and Ben, artists because I was equally interested in the story of failed artists learning to make art precisely out of that sense of failure, both individual and shared. How couples overcome loss, in all of its many forms, was a thread that I wanted to unravel, interweaving the personal with the professional and all of the indecipherable mess that lies in between.
Tonally, I set out with a question: what would it look like if Cassavetes made a comedy? Could one achieve the raw immediacy, the nuanced unpredictability, through a comedic lens? My favorite comedies were able to weave seamlessly between moments of elation and anguish. I strove to achieve that elasticity, through dialogue, my incredible cast and my fearless crew, made up entirely of women.
Hiring an all-female production crew was deliberate- I wanted to give opportunities to women in departments that they otherwise may not be given. I also felt that women in a collective might engender a different sense of confidence, and a uniquely collaborative energy, within the creative process.
I began by collaborating with my producer, Natalia Anderson. Our first hire was cinematographer Hillary Spera, whose work I admired and in whom I immediately found a kindred spirit. I was interested in shooting entirely handheld, to emphasize the intimacy of the narrative, ultimately creating a dynamic in which the camera at times felt voyeuristic. Hillary's shooting style was a perfect fit. We decided to shoot two cameras, to further be able to capture intimacy on its rawest level, on the Arri Amira, with Cooke vintage lenses.
I was lucky enough to find two actors, both deeply funny and funnily deep, who happened to know how to play instruments. Adam Pally played guitar in high school bands, and Fred Armisen was a professional drummer in a punk band for many years before he came to his SNL fame. This was essential, because I insisted we play all of the music in the film live. I had seen too many movies in which live performances were clearly pre-recorded and, to me, it sacrificed authenticity. I wanted the audience to see and hear our imperfections, to feel the electricity of live performance captured on screen.
We shot entirely in Los Angeles, which, though raised in Brooklyn, I now call home. Band Aid is a film about a home, and what it takes to cultivate that sacred and often fragile space. It's a film about art, and love, and rock and roll. And how we find light amidst the dark.
-- Zoe Lister-Jones
About the Guest
ZOE LISTER JONES (Writer, Producer, Director, Actor)
Zoe Lister-Jones grew up in Brooklyn, New York. As the only child of two artists, she was exposed to the New York art scene at an early age, eventually leading her to the NYU Tisch School of the Arts and the Royal Academy of Dramatic Arts in London.
Lister-Jones is an actor, director, writer, and producer who is currently starring opposite Colin Hanks on CBS’ Life in Pieces. She recently co-starred in Rick Famuyiwa’s Confirmation for HBO, about the controversial confirmation hearing of Supreme Court nominee Clarence Thomas. She portrays Carolyn Hart, an aide to then Senator Biden (played by Greg Kinnear).
Most recently, Lister-Jones made her directorial debut with Band Aid, which she also wrote, produced, and starred in, opposite Adam Pally and Fred Armisen. The film, which premieres at this year’s Sundance Film Festival, follows a couple who, in the wake of a miscarriage, decide to turn all their fights into songs and start a band. In addition, Lister-Jones hired an all female production crew.
While living and working in NY, Zoe Lister-Jones' career as a multi-hyphenate kicked off with critically acclaimed indie comedy, Breaking Upwards, a film for which she starred in, co-wrote, and produced. Lister-Jones subsequently co-wrote and starred in the Fox Searchlight feature Lola Versus. In 2015, Lister-Jones co-wrote and produced Consumed, where she stars opposite Danny Glover and Victor Garber — a dramatic thriller set in the complex world of GMOs.
Additional feature film credits include The Other Guys, Salt, State of Play, Shadows and Lies, Stuck Between Stations, Armless, and Arranged. Lister-Jones’ past television credits include co-starring roles in Friends with Better Lives, Whitney, Delocated, and guest appearances in The Good Wife, The Class, Bored to Death, and Kidnapped. She most recently had a recurring role on New Girl as Councilwoman Fawn Moscato.
In addition to her screen credits, Lister-Jones starred on Broadway opposite Jeff Goldblum in Seminar, and opposite Johnny Galecki in The Little Dog Laughed, a role which she originated at New York's Second Stage Theater. Her off-Broadway credits include, in The Marriage of Bette and Boo, The Accomplices, and her one-woman show Codependence is a Four Letter Word, which she produced, wrote and starred in, and was a New York Times Critics Pick.
Lister-Jones now resides in Los Angeles.
About Outside the Box [Office]
Outside the Box [Office] is a weekly showcase for upcoming releases highlighting world cinema, documentary and independent film titles. Recognizing a need for greater diversity on campus, the series will draw from around the globe to present movies that may challenge, inspire or simply entertain.
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Check-In & Reservations
This screening is free of charge and open to the public. Please bring a valid USC ID or print out of your reservation confirmation, which will automatically be sent to your e-mail account upon successfully making an RSVP through this website. Doors will open at 6:30 P.M.
All SCA screenings are OVERBOOKED to ensure seating capacity in the theater, therefore seating is not guaranteed based on RSVPs. The RSVP list will be checked in on a first-come, first-served basis until the theater is full. Once the theater has reached capacity, we will no longer be able to admit guests, regardless of RSVP status.
The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles, CA 90007. Parking passes may be purchased for $12.00 at USC Entrance Gate #5, located at the intersection of W. Jefferson Blvd. & McClintock Ave. We recommend Parking Structure D, at the far end of 34th Street. Metered street parking is also available along Jefferson Blvd.
Name: Alessandro Ago