Tilda, Stan & Ollie

“Gathering several hundred participants [yesterday] under the shadow of Edinburgh Castle, Tilda Swinton led them in a soft-shoe shuffle originally performed by Laurel and Hardy,” reports The Scotsman‘s Emma Cowing. “It was part of an effort to create a ‘flash mob dance’, where a group suddenly and spontaneously starts dancing in a public place.

“The instructions, disseminated online, were simple: watch the Laurel and Hardy clip, turn up at 11am and give it a whirl. The reason, declared Swinton, was “in pure unabashed celebration of doing something as a group and looking like dafties”.

Time Out

Word Theatre, my favorite non-Broadway theatrical experience, is having another show tomorrow night at Soho HouseMonday, 6.28, at 6:30 pm. Jason Butler Harner (Changeling, The Taking of Pelham 123) and Sarah Paulson (Broadway’s Collected Stories, Serenity) will read from Rick Moody‘s “Modern Lovers”, and Vincent Piazza (Boardwalk Empire, Rescue Me) will read from Michael Cunningham‘s “White Angel.” Founder/director Cedering Fox will introduce and handle the q & a.

Game Heats Up

On June 8th I observed that with the super-sized Inception and Salt opening 7 days apart (on 7.16 and 7.23, respectively), it appeared that Inception has “managed a better job of pre-selling itself to ubers and early adopters…my sense of things right now is that Inception is regarded as something people have to see, and that Salt is something that might be pretty good.”

Over the last few days that view has shifted to one in which Chris Nolan‘s boldly imaginative mind-fucker is being talked about as possibly too smart for the room while the word-of-mouth on Phillip Noyce’s spy thriller is getting hotter and hotter. I’m hearing things here and there and sensing this with my insect-antennae. A few days ago a SAG member who’d attended a recent research screening told a journalist pal it’s an audience-friendly wowser. “It’s really good…Angelina meets Bourne,” the guy said.

The shift began after a 6.23 review excerpt from Peter TraversRolling Stone review implying that Inception may not reach Joe and Jane Popcorn on their levels. “Trusting the intelligence of the audience can cost Nolan at the box office,” he wrote. “How to cope with a grand-scale epic…that turns your head around six ways from Sunday? Dive in and drive yourself crazy, that’s how.”

Two days later a piece on filmsactu, the French entertainment website, ran a piece by Arnaud Mangin that seemed to echo the Travers meme. The headline read “Inception: un film trop intelligent pour le public?” A translated passage reads that “one finds [in the film] more the Christopher Nolan of Memento than of Batman Begins. Memento is an excellent film, therefore so much the better, but it’s not famous for the simplicity of its intrigue and whose commercial stakes were definitely less important.”

Sorry, but that sounds pretty good to me. Being a huge fan of Memento, I’d be delighted if Inception delivers along similar lines.

What’s changed in three weeks? Inception is still the movie that everyone has to see — figure a $70 million opening weekend — but the word on Salt is building into “very good,” “really works,” “yeah!” and so on.

Waffle Iron

At the tail end of her 6.25 story about the convulsing fortunes of MGM, Lionsgate, the Weinstein Co. and Apparition, Indiewire‘s Anne Thompson dropped a grenade blast: “Terrence Malick‘s The Tree of Life may not make it to the Venice Film Festival after all, I hear.”

Another delay?

After being buzzed for Cannes 2010 and then dropping off that radar screen four or five weeks before the festival began? Despite having begun filming in the spring of ’08 and Malick having been in editing for…what, at least 20 months? Despite assurances last April from a post-production source that Malick had recently “screened it to an audience of about thirty, and it’s literally 97% done…our boss was able to see it, and called it the best film of [Malick’s] since Badlands” and that “it will not make Cannes [because] the visual effects aren’t done…the reason for the delay in post is because of the amount of detail [that] IMAX 70 mm requires.”

The idea was for The Tree of Life to have its preem at the Venice Film Festival and then the Toronto Film Festival, followed by a theatrical debut in November. And now there’s a possibility that Malick may blow off the early September film festival triumvirate of Venice, Telluride and Toronto? Doesn’t a possibly challenging film like this (a dysfunctional domestic drama mixed with a dinosaur sequence) need the acclaim of film festival critics to start the ball rolling? They can’t just open it with trailers and TV ads and hope for the best.

Ten months ago I wrote the following:

“I was talking about the dino aspect with a journalist friend a couple of weeks ago, and we were both shaking our heads and acknowledging what a bizarre mind-fuck Tree of Life sounds like. On paper at least. And it’s not like I’m blowing the dinosaur thing out of proportion because there’s some kind of Tree of Life-related IMAX dinosaur movie due in 2010 that will augment or expand on some theme that’s expressed within the parameters of the Sean Penn-Brad Pitt story. Right? I’m just trying to sound like I have a clue.

“All I know is that it’s one hell of a transition to go from a story of angry, pained, frustrated people in the 1950s as well as the present and then to somehow disengage the spacecraft and travel into another realm entirely (like Keir Dullea did in 2001: A Space Odyssey when he soared through Jupiter space), and somehow float into a world that is pre-historical and pre-human, and have this time-trip somehow add to our understanding and feeling for the sad/angry/bitter people in the Pitt-Penn realm.

“I mean, if someone like me is scratching his head and going ‘what the fuck…?’ over the unusualness of a ’50s domestic drama mixed with footage of prehistoric beasts , imagine what Joe Popcorn is going to think or say. Don’t even talk about the Eloi.”

Slight Uptick

Two days ago I under-estimated the five-day haul for Knight and Day. I feared that the three-day weekend figure might be less than $15 million, but fortune wasn’t so cruel. It wound up taking in $20.5 million Friday-to-Sunday and earning $27.8 million for the five days.

Still nothing to write home about — a fairly crappy figure, all things considered — but it’s no Jonah Hex.

Toy Story 3 led the weekend with $59 million — a very significant haul for a film in its second weekend of release — and Adam Sandler and Dennis Dugan‘s Grown-Ups pulling down $41 million…Jesus!

Reflections of Bad Seed

We all know about the black sheep syndrome — the brother or uncle or cousin who took a weird turn in life and wound up destitute or dead or in jail. (Like my younger brother Tony, who lived a marginal existence before suddenly dying last year.) And no one thinks this is a reflection upon anyone but the person who took those turns. And yet the sordid saga of Matthew Nolan, the older brother of Inception director Chris Nolan and screenwriter Jonathan Nolan, seems to contain echoes of the films that his siblings have made, or vice versa.


The photo being held by Batman in this doctored photo may or may not be a likeness of Matthew Nolan

Matthew Nolan’s story — financial scams, check-kiting schemes, an attempted jailbreak, an accusation of murder — has been hashed over in a 6.27 London Sunday Times piece by Christopher Goodwin .

At the end of the article Goodwin writes about “how eerily the mystery about Matthew Nolan’s true identity, and his descent into a paranoid world of aliases, crime and murder, mirrors his brothers’ dark and bloody filmmaking obsessions.”

Goodwin also notes that the actions of Leonardo DiCaprio‘s character in Inception seem to contain reflections of Matthew Nolan’s misadventures.

DiCaprio “plays a conman who steals valuable secrets from people’s minds while they sleep,” he reports. “When he is embroiled in a deadly blackmailing scheme, he becomes an international fugitive whose dangerous secret life costs him everything he has ever loved. The film’s disturbing catch-line is: ‘Your mind is the scene of the crime.'”

On top of which is was pretty hard not to think of the jailed-Joker plotline when it was reported last November that Mathew Nolan had attempted to break out of Chicago’s Metropolitan Correctional Center using “31 feet of rope made from bed sheets, a body harness, a clip that would have been used to unlock handcuffs and a razor.”

Goodwin reports that “although the Nolan brothers’ late father, Brendan Nolan, who worked in advertising, was British, the Nolan brothers spent much of their childhood in Chicago because their mother, Christina, is from there.

“All three brothers — Matt, now 41, Chris, 39 and Jonathan, 34, known as Jonah — were privately educated and have dual British and American citizenship. [But] Matt, despite his English accent, is the only Nolan brother to have settled in Chicago . He has been living there with his American wife, Erika, and their two young boys in a $650,000, three-storey house in an upper-middle-class neighbourhood, not far from where the Obamas lived before moving to Washington.


(l. ) Chris and Jonathan Nolan; (r.) an alleged photo of Matthew Nolan and (apparently) one of his children.

“Matt is the most charismatic, likeable and engaging of the three brothers, say people who know the family. Chris, the director and the most famous, comes across as very English — stiff, formal, private and weirdly obsessive: he keeps both his passports on him at all times in case of emergency. ‘He’s a cold guy who makes cold films,’ one producer recently said.

“Matt inherited his father’s gift as a storyteller. After their father died last year, Jonah Nolan recalled of him: ‘He would make up stories, most of the time on the spot. He had an amazing ability to spin a yarn, which he did right up to the end.’

“With those easy charms, Matt might have been expected to be the one to become the successful filmmaker. Brendan Nolan gave his children an 8mm camera when they were very young, and he and Chris and their friends made little films together. But Matt and Chris drifted apart over the years and now it’s Chris and Jonah who are friends and collaborators, despite their greater age difference.

“Chris and Jonah first worked together a decade ago on Memento, a paranoid psychological thriller, told in reverse, about a man with amnesia who desperately tries to find out who murdered his wife.

“The Nolan brothers’ nightmarish and bloody vision and their obsessive fascination with the criminal mind, the boundaries of psychological identity and social transgression, have since made them among the most successful filmmakers in the history of cinema.”

A friend of Matthew Nolan’s named Tom Sedlacek is said to have “often wondered whether sibling jealousy over Chris and Jonah Nolan’s extraordinary success in Hollywood may have pushed Matt, the oldest and most charismatic brother, to try to find his own fast-track to wealth.”

It was reported a year ago last March that Matthew Nolan had been arrested in Chicago on suspicion of murder, in connection with a 2005 killing in Costa Rica of Florida businessman Robert Cohen. “According to reports, Nolan and alleged accomplice Douglas Mejia went to Costa Rica to try to reclaim a 5 million pound debt that Cohen owed to another businessman,” one account said.

Nolan “had been under investigation by Chicago Police in a $700,000 bank-fraud (or check-kiting) scheme when FBI agents here nabbed him over the Cohen killing.

“Nolan pretended he was interested in doing business in Costa Rica when the two met in a hotel. But his real mission was to recover $7 million (U.S.) Cohen owed another Florida man, authorities said. An accomplice kidnapped Cohen and the men tried to extort the money from Cohen’s family; but when that failed, they killed Cohen, Costa Rican authorities said.”

A Wall Street Journal headline last fall read “Holy Bat Brother!” with the subhead “Was Director’s Kin Plotting Escape?”

“Matthew Nolan intended to do what no one has ever done — escape from the high-rise downtown Metropolitan Correctional Center,” a Chicago Tribune story reported. “The MCC is no Blackgate Penitentiary — one of the prisons in the Batman comics — but a Bureau of Prisons spokeswoman said its records show no one has ever escaped from the jail where gang leaders, mobsters and higher-lever drug dealers await trial. ”

"Nothing Left"

In her 6.17 N.Y. Times review of Brett Easton Ellis‘s just-published Imperial Bedrooms , Erica Wagner laments the numbing effect of reading books (and, she might have also said, watching movies and cable TV shows) that are saturated with flash and brutality. “The reader has to wonder what Ellis is trying to prove,” Wagner writes. “That people numbed by the poison of a society based solely on money, fame and beauty are capable of practically anything?

“If that’s not news to us it’s thanks, in large part, to Bret Easton Ellis. But what purpose can simple repetition serve?

“We, the modern audience for novels like this, have gotten over being shocked. There’s nothing left. From A Clockwork Orange to Antichrist and with American Psycho along the way, we’ve seen it all. We too have been poisoned, so that when we see pictures from Haiti or from Abu Ghraib, they appall us, perhaps, but not for long. They are part of the landscape: they are what we expect to see, and we must blunt ourselves to their power if we are to survive as feeling human beings.

“That’s not a call for a return to the past — for the veil of doubt cast over Tess Durbeyfield as she lies in a wood at Alec’s mercy. Nor for the stark moralism Dickens suggests with the death of Bill Sikes, even his poor dog’s brains dashed out in despair. But a skilled novelist, one who wants to examine the way we live and why, needs to move the conversation forward. The obligation is even greater if he’s returning to a world he’s depicted before.

“‘History repeats the old conceits, the glib replies, the same defeats,’ runs one of this novel’s epigraphs, a line from Elvis Costello. So it may, but fiction doesn’t have to: that’s the point. Let’s hope Ellis figures that out.”

Way Back

This is ancient, I realize (having appeared four months before Barack Obama’s election), so yeah, I’m late to the table. Obviously. And there are dozens of talented Tom Cruise imitators out there, but this guy really has the voice and body language down. This is episode #2 in “Tom Cruise is a Cock Block,” a YouTube mini-series. Here are episodes #1 and #3.

If this video were re-done today there’d have to be some kind of Les Grossman bit thrown in, I suppose.

This November 2009 “Tom Cruise auditioning for the Edward Cullen role in Twilight” video isn’t half bad either.

J-Law

LexG attended last night’s Jennifer Lawrence‘s q & a at the Arclight following a screening of Winter’s Bone. Pete Hammond conducted the interview; costar Dale Dickey also attended. Here’s what LexG sent along, minus the usual hormonal stuff:

“Lights go down, movie starts up and I’m sitting there watching it, and out rolls this backwoods teenaged girl with puffy cheeks, and at first I’m like, er, ‘Wait a minute, is this the new Megan Fox I paid 16 bucks to see in person? It’s like some rural chick in acid-washed jeans or something. Shouldn’t she be glazed in an orange sheen and bent over a motorcycle?’

“But the movie goes on, and seriously, no joke, you are watching the absolute real-deal, star-of-tomorrow, ‘holy shit is this chick incredible?’ performance of 2010! From two minutes in, I forgot I was supposed to be checking out some new hyped It Girl, and was just riveted by the movie’s no-bullshit milieu and integrity and gritty, tense undercurrent with Lawrence rolling through every scene like a dogged, reluctant investigator a la Gone Baby Gone or Cutter’s Way but transplanted to the dour, drab, blue-sheened backwoods world of Missouri meth cooks and scary associates.

“Ultimately, the movie probably succeeds more as a mood piece, character study, and a strong woman’s vehicle than as a 1-2-3 connect-the-dots potboiler. It’s one of those movies where you’re there in the moment from the jump, then around the 85-minute mark it dawns on you that the ‘plot’ specifics aren’t going to be resolved and half the threads unravel into vagueries. But Jennifer Lawrence is a force of nature in it.

“So the end credits roll, lights come up, and by now I’m expecting this chipmunk-cheeked, unassuming bad-ass underaged avenger chick from the movie. Out rolls Pete Hammond to run the q & a. First out of the gate is Dale Dickey, who is incredible as the Lady MacBeth-y Merab in the movie, and who some may remember from her white-trash turns in Domino and Breaking Bad. Cool actress, mega-talented.

“Then out comes the lanky, statuesque Lawrence in a purply ruffled top and jeans, and (yes!) giant high heels with her cute toes poking out. A Star is Born, people! Not remotely the naturaltough-chick hero from the movie, but a genuine movie star who captivates from the get-go, answering questions and generally being awesome.

“This was one of the rare times in life I wish I had an actual good phone instead of a 2002 7-11 pay-as-you-go phone, or I’d have some pics of this stunning, A-list-ready, ‘next big thing’ pro a mere twenty feet away. No idea why her likely most-seen credit thus far has been The Bill Engvall Show because we’re talking mega-stardom on the horizon.

“Hammond and the audience asked some pretty straightforward questions about…. about…something. Like where Lawrence and Dickey grew up (both in the South), their process, rehearsals, who in the cast was a real actor and who were locals (big tip o’ the hat to the audience member who apparently thought veteran actor John Hawkes from Deadwood and Miami Vice was just some local yokel.

“Nothing particularly revolutionary was revealed by either actress, although I liked it when J-Law said she liked to be “bossed around” (hot), and that her M.O. is dependant on the other actor in terms of whether they like lots of rehearsal, or to keep it loose and natural on set. But it was obvious that Lawrence is charming beyond all belief and is set to be a major, major, major star.

“The sea of difference between Lawrence’s Ozark movie and this stunning vision fielding questions with grace, self-deprecation and magnetism speaks well to her amazing acting prowess. Bet on it — instant contender for Best Actress at the Oscars.”

Dark Star

I’ve known Phil Spector‘s musical signature all my life — that “wall of sound” thing that gave such ecstatic echo-phonic oomph to all those early to mid ’60s hits (“Be My Baby”, “Walkin In The Rain”, “River Deep, Mountain High”) and Beatle songs he produced a few years later. But I’d never heard Spector speak or gotten to “know” him until I saw Vikram Jayanti‘s The Agony and the Ecstasy of Phil Spector, which will play the Film Forum from 6.30 to 7.13.

And he’s a fascinating man — there’s no getting around that. A brilliant, oddball X-factor “character” of the first order. I’ve known a few guys like Spector. They’re egotists and half-crazy and it’s always about them, but they’re a trip to talk to and share stories with. If you love show business, you can’t help but love how these guys are always sharp as a tack and don’t miss a trick and are always blah-blahing about their genius and their importance. Except Spector’s blah is backed up by truth. He’s a serious maestro who really did shape and inspire rock ‘n’ roll in its infancy, and who touched heaven a few times in the process.

Okay, so he probably shot Lana Clarkson, a 40 year-old, financially struggling actress, on 2.3.03 when she was visiting his home. Or maybe he threatened to shoot her and the gun accidentally went off. Or whatever. And maybe Spector telling a Daily Telegraph reporter two months before the shooting that “he had bipolar disorder and that he considered himself ‘relatively insane‘” was a factor. And maybe he deserves to be in jail for 19 years. The guy is obviously immodest and intemperate with demons galore.

But you can tell from listening to Spector that he’s some kind of bent genius — that he’s brilliant, exceptional, perceptive — and that it’s a monumental tragedy that these qualities co-exist alongside so much weirdness inside the man — all kinds of strutting-egoist behavior and his having threatened women with guns and all of that “leave me alone because I’m very special” hiding-behind-bodyguards crap. Because life is short and the kind of vision and talent that Spector has (or at least had) is incredibly rare and world-class.

That’s why Jayanti’s film is so absorbing, and why the title is exactly right. Why do so many gifted people always seem to be susceptible to baser impulses? Why do they allow bizarre psychological currents to influence their lives? What kind of a malignant asshole waves guns around in the first place? I’ll tell you what kind of guy does that. A guy who never got over hurtful traumatic stuff that happened in his childhood (like his father committing suicide), and who decided early on that he wouldn’t deal with it.


Phil Spector and the Ronettes during a 1963 Gold Star recording session in Los Angeles.

It’s another tragedy that this BBC doc, originally aired in England in 2008, is viewable on YouTube. Perhaps this will affect ticket sales at the Film Forum, or maybe it’s generally understood that you can’t absorb a doc about a music legend unless you see it as a unified big-screen thing with decent sound pumping out of the speakers.

It mainly just needs to be seen, period. Spector’s story encompasses so much and connects to so many musical echos and currents that people (okay, older people) carry around inside, and the way this history keeps colliding with what Spector probably did (despite his earnest claims to Jayanti that he’s innocent) and the Court TV footage and the evidence against him and the thought of a woman’s life being snuffed out…it’s just shattering.

I’m adding Jayanti’s film to my list of the year’s best docs. I’ve seen it twice now and I could probably see it another couple of times. Anyone who cares about ’60s pop music and understands Spector’s importance in the scheme of that decade needs to see this thing. It’s a touchstone trip and an extreme lesson about how good and evil things can exist in people at the same time.

At the same time it’s slightly pathetic that the trailer that the Film Forum site links to is so poorly sized and cropped and has no real focus or intrigue. It doesn’t represent how good the film is. Not even close.

90% of the doc alternates between interviews with the hermetic Spector, taped between his first and second murder trials, and the Court TV footage. But the arguments and testimony are sometimes…okay, often pushed aside on the soundtrack by the hits that Spector produced with the Ronettes, the Righteous Brothers, Ike and Tina Turner, the Crystals, Darlene Love, John Lennon, George Harrison, Bob B. Soxx and the Blue Jeans (that rendition they and Spector recorded of “Zip-A-Dee-Doo-Dah” in ’63). It’s the constant back and forth of beauty and darkness, beauty and rage, beauty and warped emotion — repeated over and over and over.

I never knew that the title of Spector’s “To Know Him Is To Love Him” (which he wrote and performed with the Teddy Bears in ’58) was taken from his father’s gravestone. I’d forgottten that he wrote “Spanish Harlem” — an exceptionally soulful ballad for the 1960 pop market. I never gave much thought to what “Da Doo Ron Ron” meant — I never thought it meant anything in particular — but Spector says it’s a metaphor for slurpy kisses and handjobs and fingerings at the end of a teenage date. Spector also had a good deal to do, he says, with the writing of Lennon’s “Woman Is Nigger of the World.”

There are two curious wrongos. Spector mentions that his father committed suicide when he was “five or six” — he was actually nine when that happened. (How could he not be clear on that?) Spector mentions that line about John Lennon having thanked him for “keeping rock ‘n’ roll alive for the two years when Elvis went into the Army” when in fact Spector’s big period began just after Elvis got out of the Army, starting around ’60 or thereabouts.

Spector mentions that if people like you they don’t say bad things about you, but it’s clear that if he hadn’t been such a hermit and hadn’t acted like a dick for so many years, and if he hadn’t been photographed with that ridiculous finger-in-the-wall-socket electric hairdo, and if he’d just gotten out and charmed people the way he does in the interview footage with Jayanti then…well, who knows? Maybe things might have turned out differently.

Grandpa On The Floor

Last night I finally watched the trailer for Red (Summit, 10.15), an action comedy about over-the-hill spies that someone has described as Space Cowboys meets the Bourne franchise. The director is the German-born Robert Schwentke, who makes slick, semi-diverting programmers like The Time Traveller’s Wife. An awful lot of smirking and chuckling going on. Meh.

However, I admire the fact that almost the entire cast is over 50 — Bruce Willis, Morgan Freeman, Helen Mirren, John Malkovich, Karl Urban, Julian McMahon, Ernest Borgnine, Richard Dreyfuss and Brian Cox — and the two youngest, Mary Louise Parker and John C. Reilly, are around 45. No kowtowing whatsoever to younger audiences by throwing in a couple of twentysomethings — a certain integrity in that.

"Mr. Zuckerberg…?"

The teaser tells you that David Fincher‘s The Social Network (Sony/Columbia, 10.1) has some kind of grave element going on. It says it’s not just another “this is what happened back at Harvard” whatever-dude story of ambition and greed and fucking your friends. The dialogue clips and theme titles say this initially, but the main ingredient is that ominous musical score.

It sounds like a London Symphony Orchestra arrangement that may have taken an inspiration from Bernard Herrmann‘s “Gort” music from The Day The Earth Stood Still (but without the theramin).

Trailers will sometimes use out-sourced temp music so there’s no assurance that this kind of music will be heard on the Social Network soundtrack. I checked to see who the film’s composer is and found no one.

Producer Scott Rudin informs that the teaser was created by the “very, very talented” Mark Woolen (head of the Santa Monica-based ad agency Mark Woolen Associates) “with a great deal of collaboration with Fincher.”

Incidentally: I was going to put this trailer up last night around 8 or 9 pm New York time, but I noticed right away that YouTube had removed the file due to copyright complaints, presumably from Sony attorneys. And then it re-appeared this morning. Why would anyone behind The Social Network not want this teaser to not be seen? Mystifying.