Filmmaker and actor Jim Cummings, known for his independent productions like “Thunder Road” and “The Wolf of Snow Hollow,” brings his expertise to “The Last Stop in Yuma County.” In this film, Cummings focuses on his on-screen performance, balancing the thrilling aspects of the story with the character’s vulnerability. Cummings worked with writer/director Francis Galluppi to realize his vision, honoring the narrative’s excitement while emphasizing the character’s depth. “The Last Stop in Yuma County” releases in theaters and Digital on May 10th.
While stranded at a desolate Arizona rest stop awaiting a fuel truck, a young traveling knife salesman finds himself thrust into a perilous situation. Two bank robbers, also stranded, arrive and seize control, taking hostages and resorting to brutality to safeguard their stolen treasure.
ComicBook spoke with Cummings about preparing for the new film, the challenges of filming, and working with the cast.
This film deftly navigates various themes and tones, transitioning from drama to thriller to neo-noir. As a first-time feature director, Francis’ vision captivated me due to its ability to seamlessly blend these genres.
Francis reached out after Scott recommended him for the lead role. Cummings, intrigued by the script’s dry and serious nature, saw it as a throwback to classic films. After a four-hour conversation about “South Park,” which revealed Francis’s humor, Cummings was confident about the project.
We discussed Criterion movies, noir and Western history. As fellow cinephiles, we spent most of our time discussing film history. Knowing I was in good hands, I signed on. He had directed short films, but expressed a desire to do something different, create a large, enjoyable feature film, and felt ready for it. Having transitioned from short to feature films myself, I recognized his ambition and was drawn to the project. Additionally, we operate a lab to assist filmmakers with this transition, and his ambition was evident to me.
Speaking of acting and comedy, this neo-noir thriller is tense, yet it incorporates lighthearted, comedic moments. Your character in particular occupies a tonally intriguing space.
I acknowledge my mistakes and shortcomings in this film.
That’s my point. I wasn’t asking a question; I was merely expressing my perspective.
<p>”You came across like an idiot.”</p>
“Please understand that I hold a different perspective on the matter. I believe that addressing this issue directly would have allowed for a more constructive dialogue.”
Thank you, Patrick.
How do you balance portraying a character authentically while allowing the filmmaker to shape the tone? Do you approach all characters similarly, regardless of genre, and rely on the filmmaker’s interpretation? Alternatively, do you consciously exaggerate your reactions and bewilderment to enhance the intended tone?
Francis and I discussed filmmaking as a comprehensive endeavor, where a feature film resembles an equation. It’s not merely an assortment of scenes thrown together; it’s a carefully crafted journey that aims to captivate the audience’s attention from beginning to end.
“If you don’t make jokes throughout your films, your audiences will.” Fostered by critical friends, I aimed to create bulletproof films to avoid their mockery. Similarly, Francis shared this experience. Amidst serious performances, like Richard Brake’s, we integrate moments of my cowardice to evoke laughter from the audience. Effective storytelling engages multiple aspects of the brain, bringing depth and entertainment.
Bong Joon-ho’s films are notable for their genre-fluidity, encompassing elements of romance, horror, noir, and thrillers. By embracing this approach, they aim to connect with media-literate audiences who crave diversity in their cinematic experiences. The filmmakers believe that incorporating tonal shifts and subtle references, such as Faizon Love’s partial utterance of the movie’s title, engages the audience and prevents boredom.
When it comes to your own career, projects like “Wolf of Snow Hollow” involve not only acting but directing, and require a significant personal investment to bring the story to life. In this case, a collaborative effort was essential, with numerous characters sharing the same space throughout the film. Describe the collaborative process and how you approached it, whether it involved complete trust in the director or a more nuanced approach.
Francis is an exceptional ensemble director. My previous films primarily focused on a central character in every scene, unlike this project. In an ensemble, characters interact dynamically, unlocking new perspectives in various locations. It resembles a thrilling Hitchcockian film, with multiple conversations unraveling in confined spaces while tension builds. Working on this project was a pleasure since I didn’t carry the burden of managing the ensemble.
Francis meticulously measured the coffee in the pot with production designer Charlie Texter to track Charlotte’s pours. While it may seem insignificant, Francis’s attention to detail and characterization was remarkable compared to his own filmmaking approach, where characters primarily serve the plot. Francis’s intricate and complex storytelling, which he describes as a “clusterf-ck,” required immense effort to write and direct while juggling numerous elements.
While we discussed the collaborative nature of the film, it’s notable that your character often occupies a solitary position at a table for much of the film.
For most of the film, I received the script and agreed to sit in a booth for three weeks. The outfit I wore was intentionally the ugliest and hottest possible. In fact, the only improvisation I suggested was ripping the jacket off at the end because I couldn’t wait to remove that suit after a month in the desert.
You make a great point. As a performer, I empathized with you throughout that experience. Watching Jocelin [Donahue] and Richard engage in tense encounters while you remained idle must have been challenging. How did you manage to stay focused and invested every day? Despite the compelling performances, how did you avoid becoming absorbed in their dynamic?
Constantly, there was jealousy and Nick Logan’s antics, adding humor to the set. Despite the fun, ensuring continuity required collaboration between me and the art director. For three weeks, I mainly observed and reacted to events, making it manageable. As the plot progressed, the intensity heightened, and I became more physically involved.
The filming process involved interspersed action scenes, requiring me to remain active throughout. Despite being confined to a booth, the high tension maintained my energy levels. The presence of Richard Brake with a gun on set kept me on edge. Francis would encourage fitness by asking me to do pushups, creating a sweaty and stressful atmosphere in the diner booth. Throughout the production, we employed various methods to maintain the intensity of the performance.
As a genre film enthusiast, you have been involved in significant projects such as “Snow Hollow” and “Halloween Kills.” With your upcoming role in “Evil Dead,” what film franchise would you like to explore next, either as Francis’ Ash Williams or behind the camera?
I’m flattered by the comparison. I enjoy the *Alien* films. My wife Julia is a filmmaker, and we watch them as soon as they’re released. The franchise excels in creating a rollercoaster experience. Ridley Scott’s directorial skills are evident in the recent installment, *Alien: Covenant,* which I prefer to the previous two. Michael Fassbender’s exceptional performance adds to the film’s appeal. I’m drawn to performance-driven horror.
I genuinely appreciate original work. My affinity for “Alien” stems from its originality, as does my admiration for Francis. While Francis is now helming “Evil Dead,” his deep connection with the franchise makes him the ideal choice. He’s practically an expert on the “Necronomicon.” I believe this project aligns perfectly with his interests and would be a dream come true. Sam and Bruce concur with his suitability.
However, I currently find immense fulfillment in creating original content. I recognize its inherent creative and personal value. Audiences appreciate it as well. Therefore, I intend to continue my focus on originality for the foreseeable future.
Mark your calendars for May 10th, as “The Last Stop in Yuma County” arrives in theaters and on Digital.
This interview has been edited for clarity and brevity. You can contact Patrick Cavanaugh directly on Twitter.