A producer at his first experience as a director, Olmo Schnabel is the son of artist and director Julian Schnabel. He worked with his father on feature film At Eternity’s Gate and produced Grear Patterson’s Giants Being Lonely in 2019. Both films passed at the Venice Film Festival. Now it’s his turn with Pet Shop Days in Horizons Extra.
Jack Ivr is my oldest friend; we grew up together since we were ten years old. When we turned thirteen, we decided to become best friends, and we kept that promise. He was working on the script in school because he was taking a screenwriting class. When I finished the movie that I produced, Giants Being Lonely, I asked him to send me the script, and I was completely blown away by this crazy adventure he had created. I thought, “This is something I would like to direct.” So, for two years, I begged him to let me direct the movie, and finally, I convinced him. Then we started sharing ideas. Jack is the mastermind behind the story, but we had to make it more grounded. We had to simplify instead of adding complexity, so we had many possibilities and directions to explore. We worked on it for three years together with Galen Core, who is also part of Twin Productions, the production company we co-founded.
The main characters of the film are Alejandro and Jack. They are very different from each other, but both equally trapped in their solitudes. Is this also a film about a generation?
They are indeed different, but there are also similarities because both of them are isolated from their families. The reason all of these chaotic events are happening is that anything different from what they come from is appealing, but they are not wise enough, and they lose control. And obviously, Alejandro manipulates Jack very much. The movie delves into themes of adolescence, desire, impulsiveness, and making extreme mistakes. But actually everyone in the film is broken, except for the little sister Lucy. She is the wisest and most grounded person despite being a teenager. She defies the generalization of teenagers and is the strongest character among them all. Everyone else, including the adults, is completely lost. We’re dealing with broken people in this context, and their privilege doesn’t bring them happiness.
Wayward Alejandro ran from home, fled Mexico, and arrived in New York. Here, he falls in love with Jack, a young man aged merely 20 who worked in a pet shop. Alejandro takes Jack on a journey into the New York underground scene. In a large, stimulating city, the two live their...
Wayward Alejandro ran from home, fled Mexico, and arrived in New York. Here, he falls in love with Jack, a young man aged merely 20 who worked in a pet shop. Alejandro takes Jack on a journey into the New York underground scene...
You’ve lived in Manhattan and then moved to Mexico. You mentioned that you could only describe New York from a distance. Why is that, and what New York are you portraying in your film?
The city I’m portraying in the movie is a place where adventure awaits around every corner, where endless possibilities exist, and you can quickly find yourself in unique situations. I lived in New York my entire life; I’m a true New Yorker. However, in my mid-20s, I lost the sense of wonder and excitement I once had for the city. I stopped dreaming, and I wasn’t feeling inspired anymore. I wanted to reignite that inspiration, so I decided to go to Mexico, believing there was much more to discover. It was there that I met my girlfriend, who is also Italian, Ludovica Quaretesi. She is also the co-producer of the movie and played a crucial role in the entire process. My goal was to create a timeless version of New York, my own New York. I spent two months driving around on a scooter during the summer, exploring every corner of the city. I didn’t want to depict New York in 2023; instead, I aimed for an atmosphere reminiscent of the ’80s. I didn’t strive for complete historical accuracy; rather, I wanted to stimulate people’s imaginations and create a fantasy. It had to be New York – a place where you’re constantly meeting new people and where there’s no time for reflection, much like Jack at the end of the movie. He learns and grows through the worst-case scenario, given a second chance. When Alejandro meets Jack, he doesn’t immediately know who he is, and that’s just a coincidence of meeting someone. That’s life. So, I believe there are many emotions, ideas, and feelings in the movie, and I’m open to a dialogue because it makes the experience more enjoyable and artistic.
You already mentioned Jack, but can you tell us how you chose Dario Yazbek for the role of Alejandro?
Dario is also a friend of mine; we met when I was a little kid. He’s a bit older than me. When I was ten years old he used to babysit me. After that, we didn’t see each other for about 20 years or so. Then, we happened to run into each other in New York. I shared the script with him. Dario loved the script, and he convinced me that he was the right person for the role. About three to four months before we were set to start production, we made the decision, and I’m extremely happy with the choice. Dario brought his wealth of experience to the set, and when the crew saw that such a strong actor was among them, he motivated everyone. He became a symbol of hope for the film, and he made my job much easier. One of the interesting aspects of working with friends is that it blurs the line between work and fun, and we thoroughly enjoy ourselves.
Can you tell us about the composer of the film score, Eli Keszler?
When I met Eli, I immediately felt that he was the right person for the movie. We seemed to speak the same language. I didn’t have much experience communicating with composers, although I have a deep love for music, of course. Galen knew who he was and wanted to work with him. We met for a burger at a corner bistro in New York, and we talked for an hour, about everything and nothing at the same time. I was completely convinced that he was the right fit. I thought he was incredibly sensitive. He truly elevated the film with his work. The feeling and the score are both alive in the film. The score almost becomes another character in the movie.
Is there an artistic influence you feel you bring with you from your father, Julian Schnabel, in your work?
My father and I have a really strong artistic and emotional relationship within our family. He’s an artist and a painter, and he’s been incredibly helpful when it comes to discussing creativity. It’s amazing to have an ongoing dialogue about art, and I consider myself extremely privileged to have this connection with him. He’s always been open-minded and willing to engage in discussions about art with me. There’s always room for conversation, something to explore, and questions to be raised. He has seen the film, and he’s coming here to see it as well. We have other projects we’re working on together. When I was young, I used to be afraid to pursue my dreams and do what I wanted. He was always supportive, believing in my potential as an artist and that I was capable of achieving my goals. I feel very comfortable talking about him because our relationship is great, and I’m proud of where I come from. Growing up around the arts has been beneficial for me as an artist, and I absorbed a lot of influences unconsciously. Many things that happened probably shaped me.
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