When the coming age film “Sisterhood in the traveling pants“Released in 2005, it quickly became a favorite among young audiences thanks to its thought -provoking perspective on teenage issues and an impeccably cast ensemble of newcomers (Blake lively In its first role and America Ferrera Coming from “real women has curves) and rising TV stars (Amber Tamblyn, Alexis Bedel). During the years since the film’s cult has only grown, and when” sisterhood “was shown on American movieThe Aero Theater last week to honor the 20th anniversary, the theater was full of devoted fans.
Director Ken KwapisActor Jenna Boyd, producer Christine Sacani and executive producer Kira Davis participated in a question and answers after screening and talked about the film’s creation and inheritance. Kwapis admitted that when he was first contacted to direct “sisterhood”, it did not sound like a promising job. “I was sent the script of Warner Bros. With a one-line description, “he said.” “This is a story about four girls sharing a pair of pants.” And I thought, “Okay, this is what my career has come about.”
When Kwapis read the book, however, he became “knocked out” by its emotional range and saw a way to make a movie in the tradition of one of his favorites all the time. “I remember my first pitch meeting with Warner Bros.,” Kwapis said. “I said,” I’m not a teenage girl, but I feel linked to each of the four characters in a deep way. “I compared” sisterhood “with a movie that is very important to me,” American Graffiti. ”
Kwapis saw similarities between how each story followed four friends (teenage boys in “graffiti”, girls in “sisterhood”) and in their structures, where most of the time were seen in separate stories. He also believed that, like “American graffiti”, “Sisterhood of the Travel Pants” could give teens a movie that treated their problems seriously and empathically, without sacrificing healthy doses of comedy.
The tricky tone balance is exemplified in Boyd’s performance as a leukemia friend of Tamblys character, Tibby. Despite the potential for Mawkishness, the story never loses its humor and does not strike excessive feeling, something that Boyd said came from Kwapi’s direction. “Ken would constantly tell me to call it back,” she said. “I always felt a little self -conscious that it would not be enough, but he could see that a more muted performance would be more powerful.”
Boyd also credited the script by Elizabeth Chandler and Delia Ephron by making part of the heavy lift when it came to the film’s emotional effects. “Writing was a huge gift,” she said. “The words on the page were so powerful that I felt my job became quite easier. How can you say things without it being touching and delightful?”
According to Kwapis, Casting was largely an intuitive process where it quickly became obvious who was right for the film – even though her resume was completely empty when the director turned over her head shot to see what she had done. “Blake had never had a paying job in his life before this movie,” Kwapis said. The big challenge for the director was to take these four actors who had never met and would not have much repetition time and make them convincing on the screen as lifelong friends.
“I created exercises for them, one of which was to send them out shopping in character,” Kwapis said. “We gave each actor a hundred dollars, and their job was to go to a frugal shop and buy something in character and advise the others. They spent several hours together and developed a brevity, and I felt it was more valuable than trying to read scenes together.”
One thing that stands out about “sisterhood” 20 years after it is released is how much scale it has -the film passes several countries and has a visual style (with permission of “Mishima” and “American Gigolo” -Kinematographer John Bailey, an often Kwapis collaboration) who serves Kwapis’ intention to treat their young people with the same degree of movie Young people with the same degree of film, an often Kwapis collaboration) who serve Kwapi’s intention to treat their young people with the same degree of film, an often Kwapis collaboration) that works. Sacani said that, from a production point of view, globetotter constituted many challenges, as did the scheduling requirements from a film that juggles with four protagonists of equal importance.
“Blake lively was still in high school, and I remember I had to run the start of a cheerleading competition,” Sacani said. “We started in Greece and then went to Vancouver, which was the main place, and then we ended in Mexico.” Production designer Gae Buckley hired full art departments in each local community, which Sacani considered each section gave her own distinct and authentic appearance – she also said that the fact that production could only afford to bring a small group of department managers to each country meant the core herd in “sisterhood” formed an unusual intensive bond.
A similar band was developed between Boyd and Tambly, with which Boyd played most of his scenes. “I remember she didn’t treat me like a child at all,” said Boyd, who was 12 years old at the time of photography. “She just jumped in the deep end with me, and I felt very adult.” Boyd added that her friendship with Tamblyn intensified as they shot the documentary that is seen in pieces throughout the film. “We actually filmed a documentary. We went out and interviewed people and put it on film, and it really strengthened our dynamics.”
When it came to releasing and marketing “The Sisterhood of the Travel Pants,” Davis said the studio leaned into the film’s forces. “The basic concept of friendship was universal, and that was really the basis for it,” she said. “I think the reason it has had this stay of residence for so long. It is not a movie that is typical of young girls; it has a certain tragedy in itself. To deal with loss of virginity, suicide … It was unusual during that time, and it was not a fluff movie. But I think the subject and Ken’s nuanced works and their talent sold the girls and their talent sold the girls.
Kwapis and Sacani’s IMDB pages list a third “sisterhood” film as a future project. (“The Sisterhood of the Travel Pants 2” was released in 2008 and directed by Sanaa Hamri.) Kwapis confirmed that he hopes to do so, even though he said that the story has been difficult for an obvious reason. “The four actors are now much older than the characters in the last book in Ann Brashere’s series,” Kwapis said. “So it has been a real challenge to find out a story that really works for these characters in the middle to the end of the thirties while he is still trying to honor what Anne created. I would say it’s a bit on pause, but no one gives up. I’m hopeful.”
“The Sisterhood of the Travel Pants” now flows on all digital platforms.
