Custom image from Zanda Rice of Logan Marshall-Green looking at the camera in a suit for Reverse the Curse
The Big Picture Based on the book Bucky F*cking Dent by David Duchovny, the indie dramedy Reverse the Curse follows Ted , adrift in his life without a career to speak of and a father whose already ill health worsens whenever the Red Sox lose a baseball game. To keep Marty’s spirits up, Teddy decides to lead him to believe that the Sox are on a winning streak, which actually brings them closer together and results in a bond the two have never really shared.
Related 'Reverse the Curse' Review: The Truth Is out There for David Duchovny The writer, director, and star just can't find that emotional honesty. MARSHALL-GREEN: The character was built by myself, but it was guided by David’s book and his screenplay. The book definitely gives you a much more specific sense of who Teddy is, right off the bat. That was very important for me when I was signing on, and I made sure David understood that. The only thing I asked was that he allowed me to disappear and take the dive through the character. A lot of people don’t wanna see that.
MARSHALL-GREEN: Yes. I sent David a lot of reference photos. There was a John Lennon photo where he had these amazing muttons. I didn’t have long hair, but we wanted him to have long hair. Half the budget was on the two wigs, which were made by a beautiful wigmaker in Los Angeles. We put the wig on in David’s apartment on day zero, which was the day before we started shooting. We were just trying to steal some scenes around New York in Central Park West.
Logan Marshall-Green Admires the Approach of Fellow Actor/Director David Duchovny As an actor who’s directed a movie yourself, which you also wrote, what was it like to see how David Duchovny worked on this? Did you see any similarities in the way that you like to approach that sort of thing? Did you get any tips from him that you would carry over into anything you might do in the future?
MARSHALL-GREEN: I had really planned to direct something I’d written before I’d written Adopt a Highway. If anything, I made Adopt a Highway to try to make this other film. I’ve learned that it’s a timing thing for me. I don’t know how to direct other people’s visions yet. It’s more appealing to direct my own writing and not to necessarily be in them. I have noticed that it strikes a very fine balance because directing takes up at least a year of your career and your life.
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