In the Blood
Show business is the family (and friend) business for filmmaker AARON HARNICK. Leslie (Hoban) Blake reports.
A year later, he was hired by the Friends team of Bright/Kaufman/Crane as a staff writer for the Pamela Reed show, Family Album. From there it was just a short hop to selling a few (unproduced) pilots of his own before writing for The Drew Carey Show. And just this year, he was seen on screen in Judy Berlin, as director Eric Mendelsohn's alter-ego in the acclaimed semi-autobiographical debut film, co-starring Edie Falco, the late Madeline Kahn, Bob Dishy and his mom, Barbara.
For 30 Days, Harnick's own first feature as a writer/director, he followed Mendelsohn's lead and wrote a film that was both highly personal and a true ensemble
piece. Harnick cast his film with cross-over New York stage and indie film actors, starting with the central character of Jordan played by Ben Shenkman, a youthful veteran of The Roundabout, Playwright's Horizons, and The Public, as well as Darren Aronofsky's indie hit Pi. Jordan also works in his family's business, a liquor store owned by dad (character actor Jerry Adler of Soprano fame, currently on Broadway in Taller Than a Dwarf) and fretted over by mom (Barbara Barrie, returning to the New York stage soon in David Marshall Grant's Current Events). The conflict comes when dad decides to sell the store and retire. One of Jordan's responses is to propose to Sarah (Arija Bareikis, The Last Night of Ballyhoo).
"Having my mom meant that I could write jokes knowing she could deliver. [Casting against her usual patrician type, Barrie plays an Upper West Side yenta.] She brought an elegance to the set, and she's such a pro, she could always match her action in every take, which is so important in low budget filmmaking. That's how we got Jerry [Adler]. He said, 'As long as Barbara's my wife, I'm in.'"
For Harnick, finding a producer was easier than finding a cast. "I've sent everything I've ever written to my buddy, Mike Rego." They were roommates at Syracuse, and Rego and his brother Matthew are currently two-thirds of the Araca Group (30 Days' Unger is the other third). Araca previously produced The Adobe Company hit-transfer Duet, James Naughton: Street of Dreams, Eve Ensler's Vagina Monlogues, and most recently, Manhattan Theater Club's The Wild Party (just nominated for 13 Drama Desk, three Lucille Lortel, and five Outer Critics Circle Awards). They've joined forces with fellow theater producer Arielle Tepper (Freak, De La Guarda, The Dead), to make 30 Days, which is Araca's first film venture.
The Regos were kid actors in their native Cleveland, where they first teamed up with Unger. They all met Tepper through Harnick. Sitting in Araca's West 44th Street office, Mike says, "We brought theatrical rules to filmmaking." As Matt points out, "There's an obvious synergy between theater and indie film. Basicially, it requires getting a lot of people to do something for very little money in very little time." Tepper explains, "Theater producers have to trust their own judgment while movie producers always have to listen to all the others involved." Mike concludes, "Making theater happens faster: you read a script, you like it, and you become your own distributor." Case that makes Araca's point: 30 Days was shot in only 20 days, but the release date comes a full two years after the start of pre-production. However, their next theatrical production, The Laramie Project opens in New York (after a run at the Denver Theatre Center) just a year and a half after the Tectonic Theatre Project's collective process began.