Charlie, Rose “No Country”

A relaxed, amusing and wide-open Charlie Rose sit-down with Joel and Ethan Coen, Javier Bardem and Josh Brolin.

I was talking with Bardem, Miramax chief Daniel Battsek and some others associated with the film at the No Country party during the Toronto Film Festival, and Bardem said at one point, “We are all very lucky.” And I was immediately struck by his perfect delivery of this line. Not in a champagne-toasting, smiling, cheers-around-the-room sort of way, but with an air of relaxation and matter-of-fact acknowledgement. He wasn’t saying that good fortune was rote — he was smiling and he meant it — but he wasn’t making a huge deal out of it either.

Make a really good film that everyone loves and, of course, you’re very lucky, but we’re all luckier than we care to acknowledge. Right?

Turkey McNuggets

We all know how how some tunes seep in at odd moments — most often in the car — and sometimes hang around longer than you might expect. Some never leave. It’s strange how this one has sunk in since first hearing it a year or two ago. It has something to do with the no-discernible-lyrics aspect (due to that ancient backwards-tape trick of 35 or 40 years ago) and the way it all comes together at the very end (which, in this case, is the very beginning). On top of which susceptibility increases around the holidays. We all listen to music a bit more when things slow down. Happy Turkey McNuggets.

Stuart’s thought about four classic films

90% agreement on this Oscar-race thought from Jamie Stuart: “I’m just thinking about the ubiquitous Oscar blogging, and various ideas of what is and isn’t an Oscar film. There are four movies this year that will one day be recognized as classics that will not win Best Picture: No Country for Old Men, I’m Not There, Zodiac and There Will Be Blood.

“Only one of thse may be nominated, at best. Something to think about. 35 years ago they’d all have been nominated.” Exception: I’m not sure that There Will Be Blood would have ever been nominated, even in the early ’70s, and I’m not sure about I’m Not There either.

Nate Parker has it

I’d love to get into Denzel Washington‘s The Great Debaters, which I saw this evening, but it’s early yet. Discussions and terms await. But it’s essential to mention Nate Parker, who plays one of three African-American debaters (the other two played by Jurnee Smollett and Denzel Whitaker) from Wiley College in 1935 who wound up debating the Harvard University team, under the guidance of Washington’s Melvin B. Tolson.


Nate Parker

I’ve never seen Parker before, but he’s got it. He’s charismatic, good-looking…a “tan” Paul Newman (as Newman was in The Young Philadelphians) who looks people in the eye cool and steady, and perhaps has a slight weakness for women.

Parker has only been in the game since ’04. He’s acted only on TV and in crappy movies so far. (I missed his supporting performance in Pride, the swim-team sports movie with Terrence Howard and Bernie Mac that opened last March.) Worse, his next two are low-rent exploitation films — Tunnel Rats (directed by — yipes! — Uwe Boll) and Felon. The Great Debaters is Parker’s first and only A-level effort. He needs to build on it and move in another direction, or in five years he’ll be Dorian Harewood. It’s his call.

All I know is, Parker has a quality, a presence, a vibe. He could be another Denzel. A small group I spoke with after tonight’s screening agreed on this point, or at least that he’s Newman-esque. It’ll be intriguing to see what happens.

Miller submitting tio “G.I. Joe”

It’s a relatively rare thing for a famous actress to take a role in a film that she knows without question is going to be absolutely despised by anyone with a smidgen of taste or refinement. Such is the case with Sienna Miller, holding her nose for a total paycheck job, agreeing to star in Stephen SommersG.I. Joe. Like the immensely successful Transformers, G.I. Joe will be a live-action film based on a toy line. There is synchronicity also in Sommers being regarded, like Transformers helmer Michael Bay, as a major demonic figure. Paramount is funding, shooting begins in mid-February ’08, and the opening is set for 8.7.09.

Latest tracking

Pre-Thanksgiving tracking suggests a newbie race between Enchanted (78, 36 and 13) and Hitman (60, 35 and 13) — the latter has young males and something of an edge. August Rush will bring up the rear with 53, 34 and 9. Stephen King’s The Mist is just behind at 63, 31 and 8, and No Country for Old Men is at 49, 33 and 6. (It’s the best reviewed and most talked-about film of the last couple of weeks and a big buzz title since Cannes, and half of the Lazy-Boy potatoes contacted for the tracking survey have never heard of it.)

The Golden Compass opens on 12.7 (two weeks from Friday) and it’s only at 69, 24 and 4. New Line has its work cut out — this could mean trouble. I Am Legend (12.14) is three weeks out and doing much better — 65, 46 and 9. Will Smith irritates more often than not, but he’s a very bankable star.

WGA march down Hollywood Blvd.

Today’s big Writers Guild march down Hollywood Blvd. was well-attended and appropriately raucous. Sandra Oh, Akiva Goldsman, Frances Fischer, Jeanne Tripplehorn and others helped carry the lead banner with WGAW president Patrick Verrone in the point position. Alicia Keys sang two songs from a sound truck before it all began. The march was supposed to start around 1 pm, but didn’t begin, movement-wise, around 1:40 or so.


WGA marchers at Hollywood Blvd. just west of Ivar — Tuesday, 11.29.07, 1:43 pm

Button — Tuesday, 11.29.07, 1:30 pm

WGAW throng listening to Alicia Keys — 1:22 pm

Harris offers four things to remember

EW columnist Mark Harris recently ran a list of things to remember in calibrating the Oscar race, including four that apply to online columnists:

1. “Don’t trust any handicapper who’s beating a drum too loudly,” Harris warns. “In the last few years, bloggers have blurred the line between Oscar prediction and advocacy — something that has had no discernible effect on the nominations, but has lowered their batting average. Nine out of 10 bad calls are made because you love or hate a movie so intensely you’re blind to reason. Everybody relishes making an out-on-a-limb guess that pays off, but try to keep one foot on planet Earth: If you’re the only one talking up Billy Bob Thornton for Mr. Woodcock, it’s not because everybody else is an idiot.”

HE response: So beating a passionate drum for the incontestably great Zodiac ** as a Best Picture contender or Benicio del Toro or Sam Riley for Best Actor means a columnist is untrustworthy? Dispassionate pundits and finger-to-the-wind pulse-readers are a dime a dozen. Gotta feel it, gotta want it, gotta lay it on the line. “Reason” is the last thing you want to bring into a debate about movies. (Are Boston Red Sox fans “reasonable”?) Be reasonable, Mr. Prognosticator. People love Chicago, the singing and dancing make them feel good, and it’s going to win the Best Picture Oscar. Sit down and be reasonable and accept the genius of the crowd.

2. “Keep internet noise in perspective,” Harris cautions. “Remember that Oscar voters don’t follow every who’s-up/who’s-down microtwitch; they’re busy seeing (or making) movies. And bear in mind that some of those bloggers tend to get chest-thumpy about a certain type of (usually male, usually violent) film: This year, a lot of bluster is already massing around No Country for Old Men and There Will Be Blood. They’re contenders, but rhetoric doesn’t equal votes.”

HE response: Fair enough, but anyone who dismisses No Country because of its ending..forget it. That drum has been beaten enough over the last couple of days.

3. “Don’t trust lingo,” Harris cautions. “Memorize these translations: ‘Insiders tell me…’ (Meaning: I talked to a publicist.) ‘Word on the street is…’ (Meaning: I talked to a publicist.) ”The Academy screening went well.’ (Meaning: The Academy screening took place.) ‘Voters are leaning toward…’ (Meaning: I am completely making this up.)”

HE response: There’s obviously truth in what Harris says, but there is also a very real thing that I’ve described a couple of times as “intellectual dandelion pollen” — ideas, moods and intellectual currents that float and swirl around and seep into people’s ears and heads. If you have what I’ve long referred to as “insect antennae” — two invisible mood/current/state-of-the-zeitgeist detectors sticking out of the top of your head — you can feel read what’s being felt, what’s catching on or cooling off, what’s being re-assessed.

4. “Beware numerical formulas,” says Harris. “A prognosticator who tells you, ”Only four times in history has the second-place finisher in the New York Film Critics Circle also received a SAG nomination and still failed to…’ is working too hard. Math can’t trump instinct.”

HE response: Total agreement.

** The fact that safety-zone bloggers haven’t supported, much less acknowledged, Zodiac‘s greatness means it probably won’t be nominated by the Academy, but that doesn’t change what it is, how history will see it down the road, and how short-sighted those who pooh-poohed it will seem to their children and grandchildren.

Special NYC “Zodiac” screening

Zodiac isn’t “just about a serial killer — it feels like it was made by one as well…for my money one of the finest films of the decade…host Kent Jones wasn’t the only one confessing to having seen the movie five times or more…one man prefaced his question with such ecstatic praise that [director] David Fincher interrupted him before he could even get to the question: ‘Thank God for you, sir.” — from Vadim Rizov‘s Reeler coverage of Monday night’s screening of the slightly longer Zodiac director’s cut at NYC’s Walter Reade theatre.

Question: No pictures of Fincher and Jones on stage. What’s the big difficulty in taking a photo of an event and posting it along with the article?

Beale on watered-down entertainment journalism

“The term ‘entertainment journalism’ has practically become an oxymoron, often uttered derisively,” writes The Reeler‘s Lewis Beale in an 11.20 posting. “It has become more and more difficult to pitch stories with any kind of depth. Except for a handful of publications — the New York Times, L.A. Times, Washington Post and occasionally Entertainment Weekly — almost no one is covering the film industry as an industry anymore, and even fewer are dealing with it as a cultural force whose images influence billions of people around the globe.”

Which is one more reason why print — excluding the above publications and the work of ink-stained critic-essayists like Shawn Levy, Peter Howell, Phil Villarreal, Scott Foundas and a few others — is slowly coming to an end, and internet punditry and criticism are the wave of the now and forever-after.

The tendency of print editors to sidestep adult-level content and dilute and dumb stories down “is, needless to add, shortchanging you, the reader,” Beale writes, with “a steady diet of warmed-over, surface-thin interviews — gossip disguised as news and cheerleading pretending to be criticism. Editors assume this is what you want, so they regurgitate the same tired stories about film openings, celebrity bad behavior, features that read like ad copy and stories about why such-and-such [insert term here] is the latest cutting-edge [insert additional term here].

“Can anything be done about this? Probably not, given the craven state of entertainment coverage these days, but I do have at least two suggestions, naive though they might seem.

“First, film journalists can refuse to do business the way flacks want them to. If just a few major outlets took a principled stand — no, we won’t sign your disclaimers; no, we won’t guarantee a cover — publicists would eventually get the message. If nothing else, the studios and distributors, who are not the villains here (most studio publicists will confess off the record how much they despise the personal publicists), would confront the personal publicists about changing their ways.

“More importantly, editors must stop assuming their readers are idiots. Just because US Weekly and InTouch sell millions of copies doesn’t mean that’s all anyone wants to read about showbiz. I know this from experience: The most reader feedback I’ve ever gotten was not from any celebrity interview I’ve ever done, but from in-depth feature stories that probed topical Hollywood issues. (Remember what happened last year on this site when I called out the sycophantic press corps covering Borat?) Readers actually like, and respond to, provocative reporting — same as it ever was.”

“No one ever went broke underestimating the intelligence of the American public.” — H.L. Mencken.

Corliss damns “Charlie”

With two lines and one fell swoop, Time‘s Richard Corliss has simultaneously given Charlie Wilson’s War a nice pat on the back and damned its Oscar chances with faint praise. Death quote #1: “It could be the one war film people will enjoy seeing.” Death quote #2: “Audiences should have a great time watching it.”

Corliss is saying the film has a decent shot with the “leave-us-aloners” who’ve avoided all the Middle Eastern sand movies thus far. He’s not saying it’s a lock with this crowd — words like “should” and “could” in this context are obviously fraught with qualification — but he’s obviously implying that a moviegoer who enjoys going to Disneyworld one week may also have a good time with Charlie Wilson’s War the next.

Mike Nichols‘ film is about a good-time Texas Congressman (Tom Hanks), a Houston socialtie (Julia Roberts) and a CIA guy (Philip Seymour Hoffman) helping to surreptitiously funnel arms to Afgahnistan’s mujahdin in their early ’80s battle against the Soviet invaders. Corliss is calling it “at heart a can-do comedy about a wheeler-dealer having a good time doing good.”

Obama ahead fo Clinton

Barack Obama is finally whipping Hillary Clinton‘s ass in Iowa. A just-out ABC News/Washington Post poll is reporting that the Illinois senator has the allegiance of 30% of likely Democratic caucus-goers in Iowa, compared with 26% for Clinton, 22% for former senator John Edwards and 11% for New Mexico Gov. Bill Richardson. “Significant signs of progress for Obama and harbingers of concern for Clinton,” a Post story declares.