By Iain Blair
Director, writer and producer John Lee Hancock has carved out a successful career with his ability to tell unlikely but true stories and bring them to life on screen. In 2013, he directed Tom Hanks and Emma Thompson in Saving Mr. Banks, about the prickly relationship between Walt Disney and author P.L. Travers and the former’s quest to adapt Travers’ Mary Poppins into a film.
John Lee Hancock on set
In 2009 he made The Blind Side, based on another true story, which he both wrote and directed. The film was nominated for two Academy Awards, including Best Picture, and garnered Sandra Bullock the Best Actress Oscar.
Now Hancock has tackled another true story, albeit one with a far darker protagonist. The Founder is about the birth of McDonald’s and its rise to an international multi-billion-dollar fast food brand. The film tells the true story of how Ray Kroc (Michael Keaton), a struggling salesman from Illinois, met Mac and Dick McDonald, who were running a burger operation in 1950s Southern California. Kroc was impressed by the brothers’ speedy system of making the food and saw franchise potential, and the film details how Kroc maneuvered himself into a position to be able to pull the company from the brothers and create a billion-dollar empire.
The film also stars Laura Dern as Ray Kroc’s first wife Ethel, John Carroll Lynch as Mac McDonald, Nick Offerman as Dick McDonald, Linda Cardellini as Kroc’s second wife, Joan Smith, and B.J. Novak as Harry Sonneborn, the financial whiz whose franchising innovations led to Kroc being able to wrest control of McDonald’s from the founding brothers.
Based on an original screenplay by Robert Siegel (The Wrestler), the film’s behind-the-camera team includes longtime Hancock collaborators led by Oscar-nominated DP John Schwartzman (Jurassic World, Saving Mr. Banks), production designer Michael Corenblith (Saving Mr. Banks, The Blind Side) and editor Robert Frazen (Enough Said, Synecdoche, New York).
I talked to Hancock about making the film and his workflow.
What do you look for in a project?
I like unusual stories, and this seemed unlikely to me when I first came across it, but Rob Siegel’s a very good writer. I was very intrigued by the character of Ray Kroc and the fact that I was pulling for him for the first half of the script. Then I began to feel confused by his behavior and then actively resenting some of his actions. That’s a tricky thing to pull off in a film, but I felt it was worthwhile doing.
His motivations and character are a lot darker than the protagonists in your last films. Was that the appeal?
Absolutely. It’s interesting because it’s the story of McDonald’s first, but it starts out with Kroc and it’s told largely from his end. It’s really the flip side of Banks, in that Travers starts out as someone you’re not sure you like, and is even kind of offensive, but then as you get to know her, you realize the source of her actions and why she is who she is. It’s bittersweet at the end, but it has closure. This ends without that sort of closure and is far more ambiguous. Some people will say Kroc did what he had to do, while others will say he’s a monster.
Either way, Kroc’s another juicy role for Keaton. What did he bring to the ethically challenged Kroc?
He was the first actor I thought of for the role because Michael’s a natural born salesman himself. When he’s excited about an idea, it’s electric and infectious. He has this boyish enthusiasm, and I felt that they both shared that. He’s also a Midwesterner and values hard work, and he’s so good at going to the dark places when needed. We talked a lot about the journey the character takes, in terms of everything from dialogue and behavior to the wardrobe. Michael got it all.
The shoot must have been challenging as you didn’t have a big budget, but it required a ton of locations.
Yes, we shot mainly in Atlanta, with a day in Albuquerque, and we had to build two different McDonald’s locations — the original octagonal one in San Bernardino, California, and a Golden Arches one, and they had to not just serve as different sets but as kitchens, as we were actually cooking in them. That was a lot to deal with for production designer Michael Corenblith, but he figured it all out.
Do you like the post process?
I love it, and I’ve been blessed to work with really good editors and post crews on all my films.
Tell us about working with editor Robert Frazen.
We edited at Pivotal Post in Burbank. On every film I’m always asked, “Do you want your editor on set with you?” I always say no, because I value their opinion and objectivity, and I think sometimes you’re influenced if you’re on a location watching how the sausage is made. If it’s a really tough shot to get, there’s that sense of maybe I should keep it, even if it doesn’t work or push the story forward.
So I prefer to just talk to them a lot during the shoot, send dailies and they’ll send me cut scenes back. I don’t get too detailed in my notes either. That way, after the shoot, I can come in and watch a complete version of the film with fresh eyes, and then we start the real work. We start working on the pacing and rhythms, the order of the scenes and so on. I’d always admired Rob’s work with Nicole Holofcener, the way he digs deeper into the footage and finds little key bits of behavior, or some mistake he uses in a different way. He brought all that and more to this.
This is obviously not a VFX-driven piece but it is a period piece. How big a role did VFX play in the film?
A big role. Our VFX were done by a company called Moving Target. There’s always a lot of clean-up and removal of modern stuff. We did some of it with flashback photography, creating old photos and that feel, and there was a lot of background replacement for all the myriad restaurants, as we only had the budget to build one Golden Arches and then had to change parking, foliage, foreground and background for every different city.
We had this leaning telephone pole out front that blocked a lot of our shots, but it was going to cost $30,000 to move it and rewire it underground. Other films probably wouldn’t have blinked, but I decided to erase it in post out of the other shots and embrace it for the first location. I liked the idea that it wasn’t the best piece of property anyway, and Kroc would have to live with it the same way we were.
Can you talk about the importance of music and sound in the film?
It’s so crucial to a film, and I really love all the minutia of it. I know some directors who are not so involved in all that, but I love all the detail work. I feel that when you’re there for all the little tweaks, when you play it all back in the final mix, your brain isn’t looking for all the tiny details — you can just focus on the overall effect. We mixed at King Soundworks in Van Nuys and did the final mix at Ross 424 Inc.
Where did you do the DI?
At Company 3, with Stefan Sonnenfeld, who does all Schwartzi’s films. I’m pretty involved and John and I discussed the look at length before the shoot. Then, as he was off shooting another movie, we talked more as I did a pass, and then he’d look at it. We wanted it to have a very sunny look to start off, and then get a little darker as it went.
I have three different projects ready to go, so whichever one comes together first.
Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.