Kyle Patrick Alvarez Biography
Kyle Patrick Alvarez is an American film director and screenwriter. He was born on May 19. 1983 in Miami, Florida, USA. He is a producer and director, known for The Stanford Prison Experiment (2015), Easier with Practice “2009” and C.O.G. “2013”.
currently based in Los Angeles. In 2010, he won the “Someone to Watch Award” at the Independent Spirit Awards for his writing and directorial debut Easier with Practice.
In 2015, The Stanford Prison Experiment, his third feature film, was released theatrically by IFC Films after it premiered at the Sundance Film Festival where it won the Alfred P. Sloan Feature Film Prize and the Waldo Salt Screenwriting Award.
Kyle Patrick Alvarez Age
He was born on May 19. 1983 in Miami, FL. He is 35 years old as of 2018. He studied at the University of Miami.
Kyle Patrick Alvarez Parents
He was born and raised in Miami by his Cuban parents and is now living in Los Angeles. More details about his family relationship are still under research and it will be updated in the soonest of time.
Kyle Patrick Alvarez Married
He lives in Los Angeles and He is openly gay.
Kyle Patrick Alvarez Career
Patrick first film, “Easier with Practice”, was based on a GQ article by Davy Rothbart. Alvarez then adapted a short story by David Sedaris into the film C.O.G., which premiered at the 2013 Sundance Film Festival, and was released later that year.
Alvarez’s third film, The Stanford Prison Experiment, a thriller dramatizing the 1971 experiment of the same name, premiered at the 2015 Sundance Film Festival, where it received the Alfred P. Sloan Prize. It received positive reviews and was distributed by IFC Films. He has also directed four episodes of the Netflix series 13 Reasons Why.
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Kyle Patrick Alvarez 13 Reasons Why
Kyle Patrick Alvarez (’13 Reasons Why’ director) on shooting controversial suicide scene.
It was about showing the truth of things and what teens go through,” says Kyle Patrick Alvarez, who directed three episodes of the Netflix drama “13 Reasons Why,” including the controversial season finale that depicts the suicide of its central character, Hannah Baker (Katherine Langford). Because the show is so “forthright” about the experiences of teenagers, Alvarez feels the graphics scene was not only justifiable but necessary.
If you avoid that scene, “you’re doing more damage because you’re holding something back … It’s violent for a reason, to not romanticize it.” Watch our exclusive video interview with Alvarez above.
“13 Reasons Why,” tells the story of Hannah, who leaves behind a series of audio cassettes that serve as an extended suicide note. Those cassettes focus on different classmates and how they contributed to the hostile environment that led to her death.
It’s based on a 2007 novel by Jay Asher, which Alvarez had been interested in adapting for years before it officially went forward as a series on Netflix. He initially directed episodes five and six of the series (titled “Tape 3, Side A” and “Tape 3, Side B”) before he was tapped to direct the finale. “I was so excited to get to go back up there,” he says, “and then a second later my heart fell” because it dawned on him how much responsibility was on his shoulders.
“13 Reasons Why” has been the subject of much debate over whether it’s helpful or harmful to young viewers in its depiction not only of suicide but also sexual assault, which is also a prominent theme in the series. “It’s less about whether the show is appropriate for teens or not — we’re well past that,” says Alvarez about the show’s impact on young viewers. “What’s way more important to talk about is why has it spoken to them so much … They needed this way more than I even realized while working on it.”
Kyle Patrick Alvarez Movies
- 13 Reasons Why (Tv series)
- Easier with Practice
- Tales of the City (TV Series)
- The Stanford Prison Experiment
- Charlie Rose
Openly Gay Writer/Director Kyle Patrick Alvarez Talks About His Latest Film: C.O.G.
The first film adapted from the work of David Sedaris, C.O.G.—the title means Child of God, not Capable of Genocide—has many vivid moments, such as David (Jonathan Groff) sleeping on the floor of a bus and waking up in his drool, or David attempting a Sisyphean task of carrying a tank filled with butane for miles. The story has David (who renames himself as Samuel) trying to “find himself” by working at an apple orchard in the Pacific Northwest.
He befriends Curly (Corey Stoll), a forklift operator, and finds a mentor in Joe (Denis O’Hare), an alcoholic Jesus freak who teaches him about God and how to make jade clocks in the shape of the state of Oregon.
Sedaris fans should appreciate this effort, which relies mainly on finding the humor in awkward situations. In a recent phone interview for the Bay Times, I spoke with openly gay writer/director Kyle Patrick Alvarez about C.O.G.
interviewer: your last film, the excellent Easier with Practice, C.O.G. is very much about a shy/lonely/lost young man who finds himself caught up in an almost surreal situation. How do you identify with and/or relate to that experience?
Kyle Patrick Alvarez: [Laughs] For me, what I’m drawn to is the complex male ego. In Easier with Practice, he is cripplingly shy. In C.O.G. David is cripplingly arrogant. They learn similar lessons but in different ways. It’s not common to see lead male characters having weaknesses. In Easier with Practice, it’s embracing sexuality; in C.O.G. it’s how his sexual and social identity kind of become the same thing.
interviewer: I like that you are a gay man telling queer stories. What prompts you to make gay films?
Kyle Patrick Alvarez: I don’t always, deliberately want to make gay films, but the films that draw me, and the themes in these stories, are specific to a certain gay experience, but also really universal. Not crossover films, but true human experiences that are queer experiences too. I had to embrace wanting to tell those stories.
interviewer: Also like Easier with Practice, C.O.G. charts some uncomfortable moments. Why do you emphasize the awkward in your work?
Kyle Patrick Alvarez: It comes from being challenged. The scenes that challenged me in C.O.G. were charting how David develops his relationship with Curly. I guess I like to make people squirm. I love feeling uncomfortable in films. You feel something. I think the best comedy comes from a place that feels a little dangerous. I’ve always been interested in making something that doesn’t go down easy. I never want to make the film that after it ends, you forget it.
interviewer: Samuel uses humor to diffuse situations and creates a laugh when he tries to fit in. How did you adapt the text and create and develop the humor in the film?
interviewer: In the case of C.O.G., some of it was there on the page. A lot of the funny moments in the printed story didn’t fit into the film, but the funny moments in the film aren’t ones Sedaris wrote. For example, when he says, “The Bible’s poorly written.” I tried to channel what Sedaris would find funny, and try to capture his spirit and do justice. The character in the film is not David, but it’s a fictional version of David’s non-fiction story. Who is this person and how does he fit in?
interviewer: Rejection seems to be something that Samuel experiences often. How did you approach the escalating level of Samuels’ despair?
Kyle Patrick Alvarez: It was always about the way to handle the darkness of the film—casting Jonathan was to always have some levity and not make it really depressing—the balance between comedy and drama. He was likable and had enough humor about himself to elevate the film so it never became too difficult to watch.
interviewer: Samuel also rejects Curly after being surprised by his “toy” collection. Curly is incredibly sexy and magnetic. Why do you think Samuel flees?
Kyle Patrick Alvarez: I never met Corey until production, and he has a real sexual energy to him. You can’t compute it. I like that he’s so hot, that folks ask: Why would you leave the room? Samuel leaves because he’s freaked out—not about penetration, but how to open Curly is, which is the opposite of Samuel, who is more civilized and insecure and thinks its improper to discuss [sex] so openly. Some folks are out loud and some want to fit in and tone down. It’s not that Samuel is closeted—he goes giddily back to Curly’s house—but in this room, he’s like “What am I doing here?” Curly is so openly sexual, and yet he has a disassociated relationship to how he approaches sex—he’s childishly proud.
interviewer: Samuel makes some very bad decisions in the film. Are you sympathetic for his character, or is he just pathetic?
Kyle Patrick Alvarez: [LAUGHS]. A little bit of both. Sedaris wrote a memoir, so looking back, he is very self-aware. And telling this story, he is removing his self-awareness and gaining it. At its core, C.O.G. is about knowing how other people see you. That’s why you follow him. There’s a naïveté, even though he’s a bit of a jerk. It’s fun to see him get cut down to size, but he doesn’t run away. His pride goes from a negative trait to a positive trait over the course of the film.
interviewer: What did you learn about apples, jade cutting, and Jesus making the film? Which do you prefer?
Kyle Patrick Alvarez: [Laughs]. Almost as much as there is to know. Making the film was the experience the character goes through—starting out in the apple fields. It was a physical struggle with little money and time. Those are physical interactions and they make Samuel grow, and so is making a film. Apple smell. Shooting those factory scenes, there was such a distinct smell, and spending 2-3 days in that smell, you never forget it. I can’t imagine working there, but every time I smell an apple, I have a sense of memory. I don’t know that I learned much about Jade.