Alex Karpovsky: Homemade Success
Alex Karpovsky took this year’s Tribeca Film Festival by storm. Perhaps the most promising talent of those novice professionals roaming around the Manhattan-based festival, Karpovsky wrote, directed and starred in the psycho-sexual thrill ride Rubberneck. and, despite the film’s title, played the leading role in Daniel Schechter’s editing room dramedy, Supporting Characters . The multifaceted Boston native has continued to gain momentum in the independent film community since his 2005 debut as a filmmaker with The Whole Story and noted performance as Jed in Lena Dunham’s highly acclaimed Tiny Furniture. In Rubberneck, Karpovsky seamlessly departs from the quirky, dry witted, know-it-all type we often see him as and portrays Paul, a disturbed and reclusive scientist whose rage dangerously eats away at him. “This is a character I haven’t played before,” Karpovsky says, “and what gave me a little bit of confidence is that I grew up with scientists in my family. It’s a generalization, but scientists tend to be introverted and reflective as well as solitary in an emotional sense.”
Despite Rubberneck’s sizable feel, Karpovsky and co-writer, editor and producer, Garth Donovan, made the film on a minimal budget and gave true meaning to the phrase “Do It Yourself.” They literally pieced together funds by inventive means, including packing up a pickup truck with old aluminum windows and scraping them for a trade that made them, on average, $800-$1,000. “We wanted the film to feel large,” Donovan says. “This is a departure for Alex. He was conscious to say, ‘This is a different kind of film for me. I want to try something different. I’m interested in making a film with a larger appeal.’”
It is unusual to see a movie filmed in Boston without the heavy presence of shamrock tattoos or a Damon/Affleck dream team. Karpovsky and Donovan opted to film Rubberneck in their hometown in order to take advantage of inside connections and labor trade opportunities. “Because we grew up in Boston, there are just a ton of hook-ups that made this movie bigger than its budget would have normally allowed,” Karpovsky explains. “We had a really great deal with a rental house that gave us their trailer for a huge discount with lenses, gear and lights. So that was able to give a nice little polish on a low budget.”
The use of “hook ups” in order to make the film feel grander worked. Without giving too much away, there’s an aerial shot in particular that depicts Karpovsky’s character running for a long period of time which, to filmmakers, may trigger visions of massive cranes and floating dollar signs. “There’s a helicopter rental place near us in Boston. We went in and a couple minutes later I said well we’ll paint your house but you have to bring us up for two hours,” Donovan explains. “So we got a small window of time to go up in the helicopter in exchange for some work.”