Robert Jumper

Robert Jumper Bio, Age, Wiki, Family, Girlfriend, Movies, Good Girls, Dark Night, Salary and Net Worth

Robert Jumper is an American actor best known for his appearance in Dark Night in 2016, Good Girls in 2018 and Dogblood Mouthwash in 2007.

Robert Jumper Wiki

Robert Jumper is an American actor best known for his appearance in Dark Night in 2016, Good Girls in 2018 and Dogblood Mouthwash in 2007.

Robert Jumper

Robert Jumper Biography

Robert Jumper Good Girls

The jumper was cast as Gunshot Gang Member in the American crime comedy-drama television series “Good Girls”

Robert Jumper Dark Night

Robert was cast as Jumper in the 2016 American drama film “Dark Night”

Robert Jumper Age

He is so private that he has not opened up about his birthday. We will update as soon as he shares it.

Robert Jumper Family

Information will be updated soon.

Robert Jumper Girlfriend

He is dating unpopular Lady meg Westfall. He made his relationship known through Deskgram when he posted his photo with her both holding beer with the words “Happy Valentine’s Day to my beautiful girlfriend

Robert Jumper Height

Information will be updated soon.

Robert Jumper Salary

Robert’s salary is estimated to be between $10k to $50k per year

Robert Jumper Net Worth

His net worth is estimated to be around $250k.

Robert Jumper Movies

2018; Good Girls

2017; Dogblood Mouthwash

2016; Dark Night

Dark Night of the American Soul: Tim Sutton’s Latest Feature is Beautiful, Tense and Provocative

Carlos Aguilar, MovieMaker Magazine (MM): I understand that the idea for this project emerged directly from the shooting in Aurora, but how did it develop into something as multilayered and cinematic as this film?

Tim Sutton (TS): It started for me with Aurora, because at that time it felt like an outlier of a violent incident. As it kind of grew in my head, I started looking at the shooting as not just a horrible tragedy for the people involved, obviously, and for the country as a whole… it also started dawning on me that something happened to the movie theater that day.

The movie theater no longer was safe, and a testament to that is that there was probably security outside the screening you saw the film at. That shows how clearly the movie theater has changed. As a filmmaker, I felt like I wanted to touch on those themes. At the same time, I didn’t want to make a movie that was all about violence and all about death. I also didn’t want to make a movie about the aftermath, because I think that’s what documentaries and newsfeeds are able to do much better.

What was missing was the idea of how people lived, how they spent that day, from the innocents to the shooter. That’s how this came to be a fictional account based originally on the premise of Aurora. However, as I was making the film, there were multiple other shootings, and that deepened the necessity for the film in my mind.

I felt like I was really on the right track, and that the same time I wanted to incorporate that, so later on in the film when one of the guys is in the car and the radio is playing the press conference of the 2015 Trainwreck shooting in Louisiana—that was happening while we were editing. I really wanted to make the film a living document of our time, not just about Aurora, not just about fiction, but about all of this with a hybrid sensibility.

MM: This film has a fragmented narrative structure, like your previous effort, Memphis, but the narrative here is much more complex because there are multiple characters going through what should have been a regular day.

TS: In a way, Memphis had no boundaries. The only boundary was that it was only one character. But the main boundary in Dark Night, for me, was that the film should feel like it happens in one single day.

Now, some people see it and they feel like it happens over a few days, and that’s fine with me. It had boundaries in the writing so that it felt like it started at sunrise and that it ended at midnight. Everything within that time frame doesn’t have to fit together perfectly in any kind of traditional narrative sense—they can be fragments, they can be moments that we kind of just stealing with each character.

But as you go forward, as the sun gets lower and lower, and as soon as twilight comes, is very clear that the sun is not necessarily going to rise again [in the film] and that we are now at night. This creates this tunnel effect. I do feel that it does start as pastoral—fragmented snapshots of life—but as the movie goes further and further into the night, it becomes more a tighter grip. Dramatically, I think it works because of that structure. Once the sun goes down, all the characters are headed to the same place.

MM: Did you design each character’s journey separately? Would you say the film was assembled in the editing room because of this approach?

TS: When I wrote the script, I wrote each character out individually for two reasons. One, I wanted readers to really get a sense of who each character was because they don’t cross paths a lot. They cross paths very little and in very specific ways until the end. Secondly, I knew the film would fit together because the screenplay was a blueprint, but it wasn’t locked in stone. I wanted to keep that going in production and the edit so that it could feel like you could build the day naturally. The edit was a very important part of the structural creation of the movie, but I wouldn’t say, as a lot of people do, that we wrote in the editing room. Still, I do think we left an open mind for the edit that helped shape things in an organic way.

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