Bart Layton – American Animals

June 22, 2018 by  
Filed under Interviews

In his 2012 documentary “The Imposter,” filmmaker Bart Layton added reenactments to support the interviews he conducted with the film’s real-life subjects to tell the story of a French con artist who impersonated a missing boy from San Antonio in the late 90s. He flips the format with “American Animals,” the first feature narrative of his career, by enhancing the film with documentary elements.

“American Animals” follows four college students who plan a heist to steal an assortment of rare books and manuscripts from inside their university’s library.

I caught up with Layton last week to talk about his new film, the legwork it took earn the trust of the main players and why he decided to tell this story in a way no one has ever really tried to tell a true-life story before.


How did you come across this story in the first place?

Initially, I read about it in a magazine. I was intrigued by the story. It was extraordinary and already sounded like it was a movie instead of reality. The more I read about it, the more bizarre it became. The perpetrators weren’t the usual suspects. They were fairly well educated, smart young men from good families.

How did you connect with the young men to see if they’d be interested in having a film made about what they did?

I wrote to them while they were in prison trying to understand more about their motivation for doing it. I already thought it was a great story, but I wasn’t sure it was a story that warranted being turned into a film or something that I wanted to spend a couple of years of my life doing. But when I received letters back from them and they talked about their motivation and their misguided search for answers, I realized that it was a more personal story.

Were you surprised that you received responses from them?

I was confident that we would get to them and that they would respond favorably. At that point, we were just making conversation. I began this very unusual pen pal relationship with all four of them. I knew they had all done very stupid and self-destructive things, but I was really surprised by the people I met through these letters.

Why did you decide to include documentary elements in the film? Was there precedent for a narrative like this?

No, there really wasn’t a precedent. That’s why it was so exciting to me. There’s not a template for something like this. The reason I wanted to do it like this was because it was an extraordinary true story, but if you turn it into a narrative, it becomes a more disposable story. You have that suspicion that everything has been adapted with a very healthy dose of artistic license. With [“American Animals”], I wanted people to be constantly reminded that it is a true story with real people. When you invest in them and the story, you engage in a slightly different way. I think it was important to see who you are dealing with – the real people. Most of us come out of the cinema after seeing “I, Tonya” or “Molly’s Game” and immediately we start Googling the real people wondering, “What do they really look like?” and “What do they really sound like?” With [“American Animals”], the intention was to make sure you felt like you really connected to the characters.

Do you think it takes away from a film that is based on true events when you find out the characters aren’t like the people in real life and that more artistic license was taken in those aspects?

In my opinion, it really does. If you’re watching something that is supposed to be a true story and you’ve invested in it for that reason and then you realize you’ve been given a Hollywoodized version of it, it certainly takes away from it. Don’t you think?

Yeah, I think certain aspects of a story can definitely be overdone by studios. Did you find yourself having to make those kinds of decisions with “American Animals?” Is anything Hollywoodized?

That’s what was the amazing thing about the story. You really didn’t need a whole lot of exaggeration or embellishment. Of course, I wrote it and in doing so you have to condense a couple of years into two hours, but I was very keen to the accuracy of [the story].

I agree with you on the overall outcome of the film. I think the most Hollywoodized part of it was done on purpose where the guys fantasize about what a perfect heist would look like. Was it fun shooting your own short “Ocean’s 11” movie for that scene?

It was absolutely great fun. That was exactly the idea of it. At that point, they’ve gotten so far into the movie, they’ve become unattached to reality. That was one way to illustrate that.

Do you think your documentary “The Imposter” could’ve been shot in the same style as “American Animals” or do you think that the film’s main character was just too bizarre to not have him on screen for most of the film?

Yeah, I think you’re right. I also think that [“The Imposter”] was so preposterous of a story and so unbelievable on so many levels. When that film came out, there was a bidding war for the remake rights. Of course, no one has figured out how to do it as a fictional version because it’s so hard to believe. So much of it is about ambiguity and what people believe. A lot of it is about self-perception.

As you move forward in your career, do you think these stranger-than-fiction type narratives are going to continue to be the ones that resonate with you the most or would you like to branch out into something else?

I think probably, but the next thing I’m doing is not a true story. It does exist in a similar space. There is this sense of moral confusion with the central character. For me, I want to find a story that is a real page-turner that you desperately have to know what happens next. At the same time and more importantly, I want something that takes you to an interesting conversation about the culture and how we live. [“American Animals”] is a story about how we have to leave a mark on the world and how we have to be special and do something remarkable or you may as well not exist.

American Animals

June 22, 2018 by  
Filed under Kiko, Reviews

Starring: Evan Peters, Barry Keoghan, Jared Abrahamson
Directed by: Bart Layton (“The Imposter”)
Written by: Bart Layton (debut)

In the 2012 true-crime documentary “The Imposter,” filmmaker Bart Layton tells the bizarre story of a French conman who manages to infiltrate the life of a San Antonio family by making them believe he is their kidnapped son. It’s one of those stranger-than-fiction yarns that is as baffling as it is fascinating. Now, with “American Animals,” Layton’s first feature narrative of his career, the director/writer identifies another unusual, headline-worthy tale and constructs an unprecedented type of film that blends genres in an extremely effective way.

Based on true and possibly true events, “American Animals” follows four college students who planned to carry out a high-dollar heist inside the library of their school, Transylvania University in Lexington, Kentucky. The score: an assortment of rare books and manuscripts, including John James Audubon’s “Birds of America” and Charles Darwin’s “On the Origin of Species.” The players: Warren Lipka (Evan Peters) and Spencer Reinhard (Barry Keoghan), two friends who are dissatisfied with their lives and want to do something to flip the script. When Warren and Spencer realize the job is bigger than a two-man operation, they recruit fellow students Eric Borsuk (Jared Abrahamson) and Chas Allen (Blake Jenner) to round out what they, in their eyes, see as a foolproof scheme.

While this might sound like your run-of-the-mill heist movie, Layton makes sure it is not by formatting the picture in a way that hasn’t been done since 2003’s “American Splendor” experimented with the idea. Along with recreating the story, he also includes interviews with the real people who were involved with the crime and gets into their heads. Layton even injects his real-life subjects into the film alongside the actors who are playing them. In one scene, Peters, playing Warren, turns to the real Warren and asks, “So, this is how you remember it?”

These documentary elements work perfectly as we watch the boys attempt to meticulously plan out the robbery like they actually know what they were doing. There’s one fun scene where Layton depicts what it would be like if the guys actually pulled off the caper without a hitch — a slick, “Ocean’s 11”-style theft where books slide across countertops and everyone does their job flawlessly while Elvis Presley’s “A Little Less Conversation” plays in the background.

The conversations Layton is having with the real Warren, Spencer, Eric and Chas, however, are what make “American Animals” stand out in a film genre that can be diluted at times. Without the documentary components, the film would still be more enjoyable than a lot of movies where Hollywood assembles a crack team of beautiful misfits to steal a bag of bling. With them, Layton has discovered a new and extraordinary way of storytelling.

The Imposter

August 17, 2012 by  
Filed under Kiko, Reviews

Starring: Adam O’Brian, Frédéric Bourdin, Carey Gibson
Directed by: Bart Layton (TV’s “Locked Up Abroad”)

Stare deep into the eyes of French-Algerian criminal Frédéric Bourdin and it is evident he has no conscience. His matter-of-fact answers and weasel-like expressions during interviews with director Bart Layton for the documentary “The Imposter” are unsettling to say the least. Bourdin didn’t murder or maim anyone. He isn’t a child molester or serial rapist. It would be easy to label him a madman, but that would only suggest he didn’t know the pain he was causing. The chilling composure he maintains while talking about the way he misled a San Antonio family into believing he was their missing teenage son is enough to make anyone question what else human beings are capable of doing. In his first feature documentary, Layton is able to capture exactly who Bourdin is through a unique blend of real-life footage, seemingly candid interviews, and stylish reenactments. It’s all fashioned together into one gut-wrenching, suspenseful, and often bizarre crime docudrama that is the creepiest true story to hit the big screen since 2010’s “Catfish.”

The cinematic approach Latyon takes to fill in the holes and puzzle the full narrative might not sit well with documentary purists, but his direction and the in-depth examination of Bourdin’s stated intentions create a nightmarish scenario that would tear any family to its core. In many ways, Bourdin is like the nonfiction version of the character Keyser Söze from “The Usual Suspects,” a film that carries the tagline, “The greatest trick the devil ever pulled was to convince the world he didn’t exist.” Bourdin’s greatest trick has been to convince the world he does exist — in many forms.

“For as long as I remember, I wanted to be someone else — someone who was acceptable,” Bourdin admits at the start of the film. It’s safe to say that, in “The Imposter,” he is only able to make the first half of that wish come true.

Bart Layton – The Imposter

August 17, 2012 by  
Filed under Interviews

Getting to the truth wasn’t going to come easy for director Bart Layton. He knew this even before he turned on the video camera and gave serial imposter Frédéric Bourdin a platform to do what he does best. “He is a master manipulator,” Layton told me during an interview to discuss his documentary “The Imposter.” “I was aware I was being manipulated. I mean, I introduced myself to this guy and the first thing he told me was that he is a liar. Yet, I willingly went on this journey with him.”

Layton had already seen Bourdin’s rap sheet. He had read the list of fake aliases he had used over the last 20 years to deceive people into believing he was someone else. He knew sitting face to face with the man known as “The Chameleon” would make him a vulnerable target for more deception. Still, one particular story involving Bourdin was much too fascinating for Layton not to pursue as a filmmaker.

“I got to a point in his story that just became so unusual,” Layton said. “If it was the plot to a movie it would’ve seemed farfetched. I was immediately drawn to this very human story — a story you can’t really relate to on any level.”

In “The Imposter,” Layton revisits Bourdin’s 1997 transformation into Nicholas Barclay, a 16-year-old kid from San Antonio who went missing three years prior only to resurface in Spain as Bourdin. Bourdin was able to convince Nicholas’s family he was their lost son and was welcomed with open arms despite some overlooked evidence suggesting he was not, in fact, the young boy.

“The idea that a family could mistake someone like this for their child was incredibly compelling,” Layton said. “It simply wasn’t a story about this imposter. It was a story about grief and the desperate need to believe.”

Layton’s first impression of Bourdin was multilayered. He hoped he could reflect those feelings in the film through the one-on-one interviews he conducted. “There were times when I felt quite sympathetic towards him and times when I felt completely repulsed by him,” Layton said. “I wanted the viewer to experience that — being on the receiving end of what he is like.”

In the end, Layton learned Bourdin is a man who simply can’t differentiate between fact and fiction. “I’m not sure he believes the lies he creates,” Layton said. “But I definitely think he wants to keep rewriting his story.”