The vibrant, individualistic and take-charge attitude of the residents of New York City is one of the main driving forces that makes America’s largest metropolis so unique and alluring. In modern society, they often maintain their commanding and dynamic facades in part by keeping up with the latest technological advances that are supposed to shorten distances, but actually end up isolating them even further. That intriguing and insightful inspection into how many people, even in such a thriving city as New York, are actually losing their vibrancy and connection to other people is powerfully explored in the new independent drama, ‘Anesthesia.’ Writer-director-producer-actor Tim Blake Nelson grippingly and thought-provokingly explored the subject through several connected and relatable characters in the thriller, which IFC Films will distribute tomorrow in theaters and On Demand.

‘Anesthesia,’ which is set in New York City, pieces together the puzzle of a man’s life just before it changes forever. On a snowy night, a beloved and popular Columbia University philosophy professor, Walter Zarrow (Sam Waterston), is violently attacked on the street as he’s returning home. The story then chronicles the domino effect of events that led up to the teacher’s life during the week before the seemingly senseless assault. Walter’s son, Adam (Nelson), has just revealed daunting news that has made him realize its time to retire and concentrate on enjoying his golden years with his loving wife, Marcia (Glenn Close). Along the way, hidden connections between a seemingly diverse group of people—including a self-destructive student, Sophie (Kristen Stewart), a hard-drinking suburban housewife, Sarah (Gretchen Mol), and a desperate junkie, Joe (K. Todd Freeman)-emerge, forming a complex, engrossing mosaic of lost souls united by tragedy.

Nelson generously took the time recently to talk about writing, directing, producing and starring in ‘Anesthesia’ over the phone during an exclusive interview. Among other things, the filmmaker and actor discussed how he has wanted to write a dramatic story that chronicles the current social climate in New York since he moved to the city a quarter of a century ago. The director also spoke about how there are fewer dramas that are currently being made, as the studios are less interested in making them now. So like with all of his previous movies, he knew that if penned a distinct script for the drama that had really interesting roles that would captivate the studios, the chances of casting the actors he wanted would be stronger.

ShockYa (SY): You wrote the script for the new thriller, ‘Anesthesia,’ which shows how multiple lives intersect in the aftermath of the violent mugging of a Columbia University philosophy professor. What was your motivation in writing the script for the drama, and what was the experience of penning the script?

Tim Blake Nelson (TBN): I wanted to write a film about what’s happening in New York City right now. I have wanted to write this type of film for decades, but I just never felt ready before. But after leaving here for 25 years, I thought that maybe I finally had enough insight on what the city really is like to be able to take this project on.

So as a starting-off point, I went back to an idea I had when I first moved here. The idea was to begin a narrative with somebody witnessing violence through an intercom in a walk-up. So the story unfolded from there as I was writing it.

This professor gets mugged, and another character hears it over an intercom. They come down to try to help, and that essentially brings us into the event. The story then explores why and how it happened, who was involved and what occurs in the immediate aftermath. Again, this was a way for us to explore New York City.

SY: Besides writing the screenplay for the movie, you also served as the director. How did scribing the script influence the way you approached your directorial duties as you began shooting the film?

TBN: Well, it takes so much to write a script, and I love directing so much. So when I write a film, I also want to direct it. So I usually direct the movies I write, unless I have been hired just to write the script, which has happened a few times. But generally, if I’m writing a script that’s my idea and I will direct, I write scenes that will inform the way the overall movie is going to look.

SY: ‘Anesthesia’ features a diverse cast, including Sam Waterston as the professor, Walter Zarrow; Glenn Close as his wife, Marcia; as well as Kristen Stewart, Corey Stoll and Gretchen Mol. With such a diverse ensemble group of actors, how did you decide who you wanted to cast in the thriller?

TBN: Well, it wasn’t as difficult as you might imagine. There are fewer dramas being made these days, as the studios are less interested in them now. So if you have a script with really interesting roles, the chances of you getting actors to join are actually pretty strong.

I also don’t go out with a script until it’s really ready. That way, I’m confident that if people turn it down, it’s going to be difficult for them to do so. More than likely, they’re going to want to play the role they’ve been offered. Luckily, that has been true with all of the movies I have made so far, and it was certainly true with ‘Anesthesia.’

SY: Since ‘Anesthesia’ not only focuses on how Walter’s attack influences his own life, but also the lives of the people around him, were you able to have rehearsal time with the rest of the cast before you began filming? How important was it for you, as both the director and an actor, to connect with the rest of the cast before you began shooting the drama?

TBN: I love rehearsal, and we certainly rehearsed on the days we shot. But this was not the type of production that we were able to afford a lot of rehearsal time. While I was able to cast actors like Sam, Kristen and Glenn, getting them to come in for a week of rehearsals first wasn’t in the cards.

SY: Since ‘Anesthesia’ is based in New York, and the ensemble cast is comprised almost exclusively of New York-based actors, what was your experience of shooting the movie entirely in the city, including finding the locations where you filmed?

TBN: The best way to find locations is meticulously. A lot of the director’s work while selecting a location involves figuring out if a place is going to look interesting on screen. Often times, they have to look more geographically or scenically intricate than the spaces might actually be. You can’t just choose boxes to film in, because people don’t go to the movies to see actors in boxes; they want the acting and writing aesthetics to come together.

So we spent a long of time choosing the locations. It was important to me to get ourselves into the neighborhoods where the movie takes place, and by and large, we did that. It’s very much an Upper West Side story, and we shot most of the film there. The only violation of the locations we had was that Westchester County stood in for New Jersey.

SY: Besides writing, directing and starring in the thriller, you also served as one of the producers. Why did you decide to also produce the film? Did your duties as a producer also influence your directorial duties on the set once you began filming?

TBN: I like to think as a producer, because it makes me a more responsible director. But I also like having other producers with me. This film has two wonderful producers-Julie Buck and Josh Hetzler. The three of us produced it together, and each of us brought a particular strength. Once we started shooting, I could take that producer hat off. Julie and Josh were making sure the engines were running everyday.

SY: IFC Films (will release) the drama On Demand and in theaters (tomorrow). Do you feel the VOD platform is beneficial for independent films like ‘Anesthesia?’ Why was it important for you to secure the theatrical distribution, as well?

TBN: I think the VOD platform is beneficial now. But I can’t say that I lie away at night, dreaming that my films appear On Demand simultaneous to their theatrical release. But it is the new model for small art films, so I’m engaging in it wholeheartedly.

SY: What was your experience of shooting ‘Anesthesia’ independently in New York, particularly as the director and as one of the producers? Did it pose any challenges while you were filming, or did you embrace the process?

TBN: I would say it’s a combination. Filming in New York, or in any city, is really difficult, particularly if you have a small crew. There is a tremendous amount of noise, and there are pedestrians everywhere. (laughs) The smaller the crew you have, the less control you have over things like that.

Instead of owning an entire block, you only have control over a quarter of a block. So you can’t replace lights all the way down the block. So that means you also can’t replace lights any place on the block, because the lights would be different outside of the immediate area where you’re filming. So the production challenges of filming in New York City are big.

But with that being said, for this type of movie, we really wanted to show New York how it is. So a lot of the scenes are lit by the city itself. So even though we had a lot of our own equipment in the night scenes, when we had wider shots in the film, you’re seeing New York for how it is; it’s not lit by a film set. I really appreciate that about the film.

SY: The drama had its World Premiere at last year’s Tribeca Film Festival in New York City. What was the experience of bringing the movie back to New York to premiere it?

TBN: Well, I really hoped that we would screen either at Tribeca or (the) New York (Film Festival). So I’m not only grateful that Tribeca not only screened the film, but also really supported it. We had an incredible event for our World Premiere. The phenomenon of the audience being able to leave the theater, and immediately see the world they just encountered on screen, was really beneficial for the film.

Written by: Karen Benardello