One glorious night. An ensemble cast of sexy unknowns. Music, youth, romance. If it sounds like ”American Graffiti,” it’s supposed to. A Sundance smash gobbled up by Sony Pictures Classics for $1.5 million, ”Groove” is a cybernetic, techno-fueled update of that pop-zeitgeist classic. Which doesn’t mean ”Groove” – which follows a bunch of characters as they collide at a San Francisco rave – was a party to put together.
Working with a slim six-figure budget, Harrison had to cope with thieves who sabotaged the set, an earthquake, and Hollywood suits who wanted to fiddle with his light, joyous script. ”They all asked ‘Can we add a gun?’ and ‘Can someone die?’ We said, ‘No. No one can die.’ That was not the film we were making.” Harrison kept his script – and his independence – intact by funding and filming ”Groove” far from the studios: True to San Francisco’s freewheeling spirit, he and producer Danielle Renfrew raised cash from the city’s newly minted dot-com millionaires.