In the time frame of the film, we've tried to capture both. You're not sure how to define life for yourself. I think Emma uses her drinking to anchor herself and eventually she'll see that that's not working. I began to have not just curiosity, but a kind of sympathy for these young people who were living this somewhat brutal lifestyle. In order to capture the discrepancies, Cristofer chose to take down the fourth wall and have the characters talk directly to the camera. It was one of the things that originally attracted me to the project. In reality, Los Angeles is an all-too-unforgiving Mecca to the thousands of young people who journey looking for the brass ring. They need something and they need it more, or more intensely than the others do.
They tend to reinforce their own opinions and it creates this illusion of knowledge. You're not sure how to define life for yourself. Some of the behavior in this film is such that I felt if the characters were in their thirties, they would have needed a good kick in the ass. But there is just a little too much right below the surface of both these characters. Maybe they're true and maybe they're not and that's what is great about this film? I'd just come off of working with a young cast in SCREAM 2 and really wanted to work with a group of people my age again. There's no sense that you'll run into someone walking down the street like you might in New York. As an audience member, I am more forgiving of people who make mistakes at that age. They're all telling stories because they don't quite remember. But that was an illusion because individually it was apparent that there was great loneliness going on with each of these kids. I didn't want to do a picture like that. Fueled by the need for love and intimacy, the evening takes them on a crash course through the turbulent world of sex and dating. I saw a sadness in the story, in their lives. I think Emma uses her drinking to anchor herself and eventually she'll see that that's not working. We wanted to use the camera to illustrate the isolation that each of them feels, even within a group of people. It's fashionable to feel that way when you're in your twenties. She's a little sharper, a little more intelligent and sometimes seems strangely detached from the group as if she's taking it all in. There are positive depictions of sex as well as some problematic ones. No one seems to be able to find the heart of the city, or its soul for that matter. They want to come together with another person and it simply backfires. Then you start putting a story together because it makes you feel better; it makes you feel safe. I think you care for these kids because they're younger and you hope for them. When you think you know something and you really don't, you set the stage for trouble. But for some reason when we were casting the film, I kept thinking she'd be the one who'd change next. The wider format and the use of bold angles also helped them avoid making the interview sequences look too much like television. Then, I got to the second half of the story and I realized it wasn't a comedy but it was actually quite dramatic.
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