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Director Interview

David Gordon Green on Prince Avalanche and throwing actors curveballs

Alex Bentley
Apr 28, 2013 | 11:47 am
David Gordon Green on Prince Avalanche and throwing actors curveballs
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UPDATE: Prince Avalanche opens in Dallas on August 16 at the Landmark Magnolia Theatre in Uptown Dallas.

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David Gordon Green's Prince Avalanche was the headliner for the opening night of the USA Film Festival in Dallas, which wraps up April 28 at Angelika Film Center. The festival honored Green, who grew up in Richardson, with a compilation of his films prior to April 24's screening of Prince Avalanche.

Below is a short review of the film followed by some insight from writer/director Green, who returned to Dallas for the festival.

Prince Avalanche mini-review

Those who don’t follow David Gordon Green’s career closely may be surprised by his latest, Prince Avalanche. The man who helmed such comedies as Pineapple Express, Your Highness and The Sitter got his start directing insightful dramas.

Prince Avalanche is a hybrid of the two, following two men (Paul Rudd and Emile Hirsch) tasked with painting lines on a back road in an area recently devastated by wildfires. The film touches on a variety of emotions — humor often being the least of them.

Rudd and Hirsch spend virtually the entire film by themselves, bantering and bickering and not really getting much work done. Green intercuts their scenes with moody atmospheric shots showing the effects fire has had on the area, shots that hit home even more knowing the film was shot in Bastrop County, Texas, which suffered through wildfires in 2011.

The film can be challenging at times, but its rewards vastly outnumber its difficulties.

David Gordon Green interview

The idea behind Prince Avalanche was a serendipitous circumstance, as Green wanted to make a movie about two guys driving around in a forest. A friend suggested he remake a little-known Icelandic movie called Either Way, which mirrored Green's idea in many ways.

That film served as more than just inspiration, as Green says he would sometimes plagiarize subtitles from the original to use in his film, which accounts for the stilted nature of lines like, “It took a great length of time to change the tire.”

“It’s just such an unnecessary way to word that that it makes me laugh,” Green says.

If you're wondering why Green cast Paul Rudd, best known for his comedic roles, that was by design.

“I look at certain actors that I really respect and admire, and I like to be the guy that takes them on a little different journey or a little different trajectory,” Green says. “I have really wanted to do something that had a little bit more dramatic resonance with him. ... Throwing curveballs to the expectation of an actor is one thing I’d really like to be known for when I die.”

Filming on location in Bastrop State Park also proved a stroke of luck.

“This seemed like a place that took advantage of the melancholy backdrop, and used the backdrop to challenge the comedy,” Green says. “Every time you’d find yourself comfortable in a laugh, there’s something that doesn’t allow that to settle in too comfortably. I find that great because it’s challenging the audience in a way a typical comedy doesn’t.”

Green wanted to impart a sort of randomness with the atmospheric shots he sprinkled throughout the film.

“People use the word ‘improvisation’ to specifically talk about music or dialogue, but I think there’s a really fun way to use that with camera and visuals as well,” he says.

Emile Hirsch and Paul Rudd in David Gordon Green's Prince Avalanche.

Emile Hirsch and Paul Rudd in David Gordon Green's Prince Avalanche
Photo courtesy of Magnolia Pictures
Emile Hirsch and Paul Rudd in David Gordon Green's Prince Avalanche.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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