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When Samuel L. Jackson first read the script of "187," the
character of Trevor was white, yet Jackson immediately connected with the
story. He discussed his feelings that the movie would be more interesting
if the main character's race changed. "I thought if the teacher were
ethnic, dealing with ethnic students, and being attacked the same way that
we commonly see white teachers attacked, it would say this has nothing to
do with race, but more with authority figures," recalls Jackson of
the preliminary meetings.
Jackson related that he had come from a family where teaching was a respected
profession, as his aunt was a teacher when he was growing up. "I looked
at the character of Trevor as being an old-time teacher, someone who's always
wanted to be a teacher because he wants to make a difference. My aunt was
the same way," says Jackson.
Reynolds relates, "Sam's got such charisma and dignity. He's the kind
of person you just look at and respect, and that's what the character of
Trevor is. Because of his upbringing, he understood the world of the teacher
and their dilemmas."
To round out the cast, the filmmakers brought in respected actor John Heard
and lauded Canadian actress Kelly Rowan to play fellow teachers Dave Childress
and Ellen Henry. Young actors Clifton Gonzalez Gonzalez, Karina Arroyave,
Jonah Rooney and Lobo Sebastian were hired to play some of the troubled
students in Trevor's classroom.
Even before cameras began rolling on "187," the director was
at work with his crew to construct Trevor's world. Recalls Reynolds, "I
didn't want to simply put a camera down in the classroom and just record.
I walked through some high schools and noticed that, visually, they're
sterile and boring. So I wanted to give each scene a different visual style
that accentuates what we're trying to say."
Reynolds worked with director of photography Ericson Core to create a style
that would force the viewer to look at the movie from a non-traditional
point of view. Core brought his visual sense from the dozens of music videos
on which he had worked. They decided to incorporate different color palettes
between the scenes in New York and Los Angeles as well as mixing media.
To represent the urban feel of the story, the 35mm film is accented with
interspersed scenes shot on video; also, the film or video has been visually
altered by pixilation in some scenes, which gives a purposefully grainy
or pointillistic look.
Additionally, Reynolds wanted to establish the setting and mood with music.
He had met Chris Douridas, music director of the National Public Radio
affiliate KCRW-FM in Santa Monica, California, and host of the weekday music
program "Morning Becomes Eclectic," on the set of "Waterworld."
The two had discussed collaborating on Reynolds' next project and, for
"187," they decided to build a soundtrack using cutting-edge music,
urban-oriented songs by artists that would serve the film as a score.
Douridas says, "A large portion of the music was chosen even before
filming began. We set out to try and essentially 'score' the film with
found pieces of music, knowing that we may have to hire a composer in the
end to link things together. But ultimately that never happened. We ended
up using no composer."
Reynolds needed a base sound from which to build, and he found that in the
song "Spying Glass" by the Bristol-based band Massive Attack.
The sound can best be described as 'trip-hop,' the urban sound of hip-hop
played by bands out of England; 'trip-hop' features elements of rap and
drum-and-bass sampling, combined with influences from soul and reggae music.
With the 'trip-hop' sound as their cornerstone, Douridas and Reynolds branched
out into other styles with subsequent song choices, painting a varied urban
portrait. The director played the soundtrack selections on the set during
filming to convey the emotional thrust of the scene to his actors and to
motivate the crew while setting lights and camera angles.
The emotional world of "187" deepened with the addition of the
music, according to Douridas. "The songs transport the film to a more
universal place. In a way, they lift it out of being Los Angeles-specific
and make it a more universal message. There's an integral marriage of the
music and image that comes forward as one distinctive voice. Essentially,
we've created a progressive urban landscape with a global perspective."
In addition to Massive Attack, other recording artists that appear on the
soundtrack of "187" include Galliano, Method Man remixed by Prodigy,
DJ Shadow, Everything But The Girl, Undercover Agent, Miles Davis, Bang
Bang, David Darling, Madredeus and V-Love.
"187" was shot on location in Los Angeles over the summer of
1996. The company filmed for two days in New York in October for the prologue
scenes preceding Trevor's move to the West Coast.
Verdugo Hills High School was utilized for the high school where Trevor
teaches after recovering from his stabbing. Marshall High in Pasadena posed
for the Brooklyn school where the attack takes place. Other locations included
Pacoima, Boyle Heights, under the Pomona freeway and at the Los Angeles
river bed, all reflecting the parts of Los Angeles not proudly displayed
to visitors but very real to the thousands of residents whose day-to-day
existence is a tooth-and-nail struggle.
The gritty surroundings contrasted with many of the filmmakers' and actors'
own experiences while in school, and brought the harsh reality of "187"
into perspective.
Recalls Kelly Rowan, "I felt very fortunate that I went to school in
Canada. It made me realize what a profound effect teachers have on people's
lives. Most instructors start out with a passion for education, but in
places like this, that passion deteriorates. They start out loving what
they do, but they end up doing it in anarchy. So it's like a fall from
grace."
Scott Yagemann comments, "There's a euphoria that comes from teaching,
when you're connecting with the kids. You actually get a high. But in
some cases, the system doesn't support that connection, and the teacher
is burnt out and destroyed by the environment. Trevor's classroom is his
sanctuary and once it's destroyed, everyone has to deal with the consequences."
What the filmmakers ultimately discovered was that teachers today are like
soldiers in the trenches who are suffering from battle fatigue. "You
see it in their eyes," says Reynolds. "They're worn down, and
the tragedy of all this is that these were people who were enthusiastic
about teaching but are put into a system that doesn't work. They get ground
down and just hang in to collect a paycheck. They just want to survive."
As Yagemann points out, the problems in schools today are inevitable due
to an unofficial dictate he heard from more than one school principal: "I
was told more than once, 'You have to first earn their respect.' And I said,
'Wait, shouldn't I have to earn their disrespect? I should be respected
the minute I walk in the classroom.' It's a whole different set of rules
from when today's adults went to school."
"When I went to school," says Samuel L. Jackson, "teachers
had reputations, not students."
"This movie is going to challenge and unsettle some people, but some
people need to be challenged and unsettled," the director concludes.
"Kids understand how dangerous the world of public schools is -- parents
just don't get it."
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