When Film Slate Magazine talked to cinematographer Wyatt Troll at last year’s Sundance Film Festival, he was there for the screening of “Fight for Your Right Revisited,” a short that was a continuation of the Beastie Boys’ seminal “Fight for Your Right (to Party)” video from 1986. The short starred Elijah Wood, Seth Rogen, and Danny McBride as the Beasties, and was written and directed by real life Beastie Adam “MCA” Yauch.
At this year’s edition of Sundance, Troll is attending with “Goats,” his first feature length film. Written by Mark Poirier (who also wrote the novel of the same name the film is based on), “Goats” served as the directorial debut for Christopher Neil. The film is the story of 15 year old Ellis, who is leaving his Arizona home to attend an East Coast private school, which means he must also leave behind his flighty mother as well as Goat Man, the only father figure in his life. It stars Vera Farmiga, Keri Russell, David Duchovny , and Graham Phillips (“The Good Wife,” “White Collar”) as Ellis.
During his nearly 20 year career in the industry, Troll has worked on a variety of projects across multiple genres. His credits include the short “Our Deal” directed by Drew Barrymore, documentaries about Kurt Cobain and Brian Wilson, and music videos from the Yeah Yeah Yeahs, the White Stripes, and Patti Smith, to name a few.
Troll took time out of his Sundance ramp-up to talk about “Goats” and the eclectic nature of his career.
Film Slate Magazine: How did you become attached to this project?
Wyatt Troll: I'd been working with Chris throughout the years on different projects, but never with him as the director. Through one of the producers we met about ‘Goats’ – I was immediately attracted to the subject matter and Chris's direction.
FSM: When you are working on something that has source material, such as a novel, do you and the director ever discuss how to try and capture the book’s atmosphere, or do you strive for something completely of your own making? Or does it fall somewhere in the middle?
WT: I think we kept pretty close to the source material, even in the same city. The Southwest oozes a certain atmosphere – it’s impossible not to be influenced by turquoise and peach. That said we did bring our own parameters and framework to the adaptation.
FSM: This was Christopher Neil’s first feature as a director. What was it like working with him, and also being the DP on a first time director’s film?
WT: It is awesome working with Chris. He has an instinct from being around so many sets and his dedication to the film – even more so to the actors – is enviable. It being the first time for both of us was a creative joy, the best occasions bringing us to the edge of creativity and the precipice of emotion.
FSM: What was the pre-production process like? Was everything—the blocking, the shooting script, the look of the film—worked out well in advance? Was there anything that you and the director came up with as you shot?
WT: Pre-production was loosely specific: we blocked the movie with a still camera so we could get rid of all our bad ideas early. This allowed us to return to set and either have something to fall back on or grow from.
FSM: As a DP, what do you feel is your greatest strength that you bring to a project?
WT: Being able to continually stay on track and refine the director’s vision. To capture spontaneous moments and not let them fall or run away.
FSM: You’ve worked on some eclectic projects. Is there any style of film or video that you prefer working on? Or do you try and take into consideration the uniqueness of every project?
WT: What’s exciting for me is how every different director wants to attack and/or massage a project – and how the story is really the master of the project. We try to capture the uniqueness as it's flitting by.
FSM: What was the shooting schedule like?
WT: The process was brutal. 23 days over three states and two and a half months. We had a bit of time for prep, but then again even with the prep, some days ya just don't win.
FSM: Were there any scenes that you shot that turned out completely different than you planned or thought?
WT: Not really. I'm proud that what was intended is there in the film.
FSM: As somebody who has been to Sundance before, what are you looking forward to in this year’s festival?
WT: I have been before, but not with a feature. Previously I attended with documentaries and shorts…so I'm extremely excited to return with this film!
