Congrats again to Tyrannosaur‘s Olivia Colman for winning the Best Actress award at the British Independent Film Award ceremony the other night, and apologies for never getting around to posting our chat at L.A.’s Hotel Standard, which happened on 11.18. Time flies and I’m sorry, but here it is.
Please listen to this There Will Be Blood-like dialogue between New Yorker critic David Denby and The Girl With The Dragon Tattoo producer Scott Rudin. It’s on a site called Oscar Speak Podcast. The actors are Ryan Santor and Brian Ariotti.
The only weak part is when co-host Karen Nagle hesitates and slightly stumbles while saying Denby and Rudin’s names, suggesting that she doesn’t know who they are.
No time to comment due to my impending Gary Oldman interview but here are the Sundance 2012 premieres and premiere docs, which were sent out a few minutes ago.
PREMIERES:
A showcase of some of the most highly anticipated dramatic films of the coming year from new and established directors. Presented by Entertainment Weekly. Each is a world premiere.
2 Days in New York / France (Director: Julie Delpy, Screenwriters: Julie Delpy, Alexia Landeau) — Marion has broken up with Jack and now lives in New York with their child. A visit from her family, the different cultural background of her new boyfriend, her sister’s ex-boyfriend, and her upcoming photo exhibition make for an explosive mix. Cast: Julie Delpy, Chris Rock, Albert Delpy, Alexia Landeau, Alex Nahon.
Arbitrage / U.S.A. (Director, screenwriter: Nicholas Jarecki) — A hedge-fund magnate is in over his head, desperately trying to complete the sale of his trading empire before the depths of his fraud are revealed. An unexpected, bloody error forces him to turn to the most unlikely corner for help. Cast: Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Nate Parker.
Bachelorette / U.S.A. (Director and screenwriter: Leslye Headland) — Unresolved issues between four high school friends come roaring back to life when the least popular of them gets engaged to one of the most eligible bachelors in New York City and asks the others to be bridesmaids in her wedding. Cast: Kirsten Dunst, Isla Fisher, Lizzy Caplan, James Marsden, Adam Scott, Kyle Bornheimer.
California Solo / U.S.A. (Director, screenwriter: Marshall Lewy) — A former Britpop rocker has long settled for an unfettered life working on a farm outside of L.A. When he’s caught driving drunk and faces deportation, he must confront past and current demons in his life to stay in the country. Cast: Robert Carlyle, Alexia Rasmussen, Kathleen Wilhoite, A Martinez, Danny Masterson.
Celeste and Jesse Forever / U.S.A. (Director: Lee Toland Krieger, Screenwriters: Rashida Jones, Will McCormack) — Celeste and Jesse met in high school, married young, and at 30, decide to get divorced but remain best friends while pursuing other relationships. Cast: Rashida Jones, Andy Samberg, Ari Graynor, Chris Messina, Elijah Wood, Emma Roberts.
For A Good Time, Call… / U.S.A. (Director: Jamie Travis. Screenwriters: Katie Anne Naylon & Lauren Anne Miller) — Lauren and Katie move in together after a loss of a relationship and a loss of a rent controlled home, respectively. When Lauren learns what Katie does for a living the two enter into a wildly unconventional business venture. Cast: Ari Graynor, Lauren Anne Miller, Justin Long, Mark Webber, James Wolk.
Goats / U.S.A. (Director: Christopher Neil. Screenwriter: Mark Jude Poirier) — Ellis leaves his unconventional desert home to attend the disciplined and structured Gates Academy. There, he re-connects with his estranged father and for the first time questions the family dynamics. Cast: David Duchovny, Vera Farmiga, Graham Phillips, Justin Kirk, Ty Burrell.
Lay The Favorite / U.S.A. (Director: Stephen Frears, Screenwriter: D.V. Devincintis) — An adventurous young woman gets involved with a group of geeky older men who have found a way to work the sportsbook system in Las Vegas to their advantage. Cast: Bruce Willis, Catherine Zeta-Jones, Rebecca Hall.
Liberal Arts / U.S.A. (Director and screenwriter: Josh Radnor) — When 30-something Jesse is invited back to his alma mater, he falls for a 19-year-old college student and is faced with the powerful attraction that springs up between them. Cast: Josh Radnor, Elizabeth Olsen, Richard Jenkins, Allison Janney, John Magaro, Elizabeth Reaser.
Price Check / U.S.A. (Director and screenwriter: Michael Walker) — Pete is having trouble resolving a happy marriage and family life with rising debt and a job he hates. When his new boss pulls him into the maelstrom that is her life, money and opportunities come his way, but at what price? Cast: Parker Posey, Eric Mabius, Annie Parisse, Josh Pais, Cheyenne Jackson.
Red Hook Summer / U.S.A. (Director: Spike Lee, Screenwriters: James McBride, Spike Lee) — A young Atlanta boy spends his summer in Brooklyn with his grandfather, who he’s never seen before. Cast: Clark Peters, Jules Brown, Toni Lysaith, James Ransone, Thomas Jefferson Byrd.
Red Lights / U.S.A., Spain (Director and screenwriter: Rodrigo Cortes) — Psychologist Margaret Matheson and her assistant study paranormal activity, which leads them to investigate a world-renowned psychic. Cast: Cillian Murphy, Sigourney Weaver, Robert De Niro, Elizabeth Olsen, Toby Jones.
Robot and Frank / U.S.A. (Director: Jake Schreier. Screenwriter: Christopher Ford) — A curmudgeonly older dad’s grown kids install a robot as his caretaker. Cast: Frank Langella, Susan Sarandon, James Marsden, Liv Tyler. SALT LAKE CITY GALA FILM
Shadow Dancer / United Kingdom (Director: James Marsh. Screenwriter: Tom Brady) — When a widowed mother is arrested in an aborted bomb plot she must make hard choices to protect her son in this heart-wrenching thriller. Cast: Andrea Riseborough, Aiden Gillen, Domhnall Gleeson, Gillian Anderson and Clive Owen.
The Words / U.S.A. (Directors and screenwriters: Brian Klugman, Lee Sternthal) — Aspiring writer Rory Jansen finds another man’s haunting memories in a collection of lost stories and claims them as his own, propelling him to literary stardom. Cast: Bradley Cooper, Jeremy Irons, Dennis Quaid, Olivia Wilde, Zoe Saldana. CLOSING NIGHT FILM
Special event: Hit RECord at the Movies with Joseph Gordon-Levitt — Be a part of the process by joining Joseph Gordon-Levitt and the global hitRECord community for a special one-time-only interactive exploration of the power of making things together. Gordon-Levitt will showcase works that have been created from the collaborative hitRECord production company and invite the audience to engage, interact and contribute to the event using their digital devices. The event will be recorded, with footage posted on their website for all to enjoy and be inspired by. hitRECord, which launched with an installation in the New Frontier section of the 2010 Sundance Film Festival, returns to the Festival to showcase the project’s evolution and potential for creative experimentation.
DOCUMENTARY PREMIERES:
Created to highlight the growing impact and popularity of documentaries in our world today, Documentary Premieres presents eight moving new films about big subjects or by master filmmakers that showcase the power of the form. Each is a world premiere.
About Face / U.S.A. (Director: Timothy Greenfield-Sanders) — An exploration of beauty and aging through the stories of the original supermodels. Participants including Isabella Rossellini, Christie Brinkley, Beverly Johnson, Carmen Dell’Orefice, Paulina Porizkova, Jerry Hall and Christy Turlington weigh in on the fashion industry and how they reassess and redefine their own sense of beauty as their careers progress.
Bones Brigade: An Autobiography / U.S.A. (Director: Stacy Peralta) — When six teenage boys came together as a skateboarding team in the 1980s, they reinvented not only their chosen sport but themselves too – as they evolved from insecure outsiders to the most influential athletes in the field.
The D Word: Understanding Dyslexia / U.S.A. (Director: James Redford) — While following a Dyslexic high school senior struggling to achieve his dream of getting into a competitive college, The D Word exposes myths about Dyslexia and reveals cutting edge research to elucidate this widely misunderstood condition.
Ethel / U.S.A. (Director: Rory Kennedy) — This intimate, surprising portrait of Ethel Kennedy provides an insider’s view of a political dynasty, including Ethel’s life with Robert F. Kennedy and the years following his death when she raised their eleven children on her own.
A Fierce Green Fire / U.S.A. (Director: Mark Kitchell) — A definitive history of one of the most important movements of the 20th century, A Fierce Green Fire chronicles the environmental movement’s fascinating evolution from the 1960s to the present.
Something From Nothing: The Art of Rap / United Kingdom (Director: Ice-T. Co-Director: Andy Baybutt) — Through conversations with Rap’s most influential artists – among them Chuck D, Snoop Dogg, Dr. Dre, Eminem, MC Lyte, Mos Def, and Kanye West – Ice-T explores the roots and history of Rap and reveals the creative process behind this now dominant art form.
Untitled Paul Simon Project / U.S.A. (Director: Joe Berlinger) — Paul Simon returns to South Africa to explore the incredible journey of his historic Graceland album, including the political backlash he sparked for allegedly breaking the UN cultural boycott of South Africa, designed to end Apartheid.
West of Memphis / U.S.A. (Director: Amy Berg) — Three teenage boys are incarcerated for the murders of three 8-year-old boys in West Memphis, Arkansas. 19 years later, new evidence calls into question the convictions and raises issues of judicial, prosecutorial and jury misconduct – showing that the first casualty of a corrupt justice system is the truth.
I’ve watched this early ’80s High Point coffee commercial four times over the last half-hour. I find it mesmerizing in a “so bizarre it’s great” sense, but it’s easy to look back on old ads and snicker. I have all this work to do and an interview with Gary Oldman in 65 minutes and I’m looking at this over and over. There’s something wrong with me.
High Point coffee, advertised as “97% caffeine-free,” was discontinued in 1993.
Gena Rowlands‘ performance in A Woman Under The Influence was an early influence upon Kristen Stewart. So when exactly is she going to deliver a tour de force like that? Because she really needs to do something difficult and noteworthy to counterbalance the Twilight onslaught of the last three years plus her Snow White and the Huntsman role….a medieval CG paycheck role with a sword, a shield and a chestplate.
I used to think KStew might be evolving into Sean Penn. Now I’m not so sure.
That said I’ve admired her work in The Runaways, Welcome to the Rileys and Adventureland. And I’m looking forward to her reportedly upfront Marylou performance in Walter Salles‘ On the Road.
Indiewire‘s Anne Thompson has posted a very tangy and candid q & a with Young Adult director Jason Reitman. It very precisely articulates the nature and character of Young Adult. Here’s my favorite part:
Anne Thompson: “Diablo Cody has a very strong voice. Did you ever want to mute or delete or say, ‘you went too far here?’ Or did you say, ‘let’s go for it?'”
Jason Reitman: “No, no. I love Diablo’s voice and I love how gutsy she is in her writing. It’s gutsy to sit down and write this script. The script is basically un-makeable. You know what I mean?”
AT: “Yes! A normal studio, ordinarily, would say, ‘forget this.'”
JR: “Yeah. And she knows this business now. If you were completely naive, maybe you’d write this and you wouldn’t know any better. But she knows better. She knows how un-makeable the film is, particularly the way it ends. And she wrote it. And she wrote the character without compromising, from start to end, on who she was. She never tried to excuse her behavior, she said, ‘no, this is a broken, traumatized human being who wants to be loved and makes horrible mistakes and treats people horribly,’ and that’s why I loved it. And that’s why Charlize loved it.”
AT: “Mavis looks back to her glory days in high school as the prom queen, and still manipulates people with her beauty. She’s twisted about it.”
JR: “[Charlize] took this character which could so easily be a caricature, just a mean woman who is nasty — you see actors do this all the time. They play a really mean character and they overdo it just enough to let you know, ‘I’m doing a character, I’m not really like this,’ but she is able not only to do it without compromise but to show how broken she is the entire time without using dialogue, without clothes, without body language. There’s nothing that she does where she’s signaling to you, ‘by the way I’m a broken human being.’ She does it with her nature. Very few actors know how to do that, and she does it just effortlessly.”
AT: “I got angry at a friend of mine because he walked out of the movie.”
JR: “Dick!” (Laughter)
AT: “And I said, ‘you’re excoriating this movie, you’re going on and on about how uncomfortable you feel, and I’m not going to argue with you but you didn’t stay to see the resolution. That’s what makes the whole thing pay off.'”
JR: “I find that people’s attitude about the movie changes 24, 48 hours after they see it. Because at first it’s a smack in the face, and some people get smacked. But a day later, maybe you start to look at it and think, ‘well I haven’t had that kind of theatrical experience in a while, maybe there’s something about that I can relate to.’ Diablo once said that this is our horror film.”
AT: “It is. You’re putting people through a kind of social torture, because all of us are anxious about social situations where we might do the wrong thing or humiliating ourselves in front of someone you love. It’s always excruciating. That’s what you show.”
JR: “And the monster’s alive at the end. Like a horror film! Like you think she’s killed, but she’s back. Patton has all sorts of theories about how this is a horror film. Like the wine stain is a blood stain on her dress. So I do think this is my horror film.”
I have to insert one nagging observation. Reitman calling YA a horror film and Charlize’s Mavis being a monster sent my mind into an association that has nothing to do with Young Adult and everything to do with Reitman’s undercurrent and appearance when you see him at events and screenings. He’s a very straight shooter and a tough hombre, but he always gives me this look that says, “Aaahh, you again…look, no offense but talk to someone else, okay?’ And that’s cool. I don’t need everyone to like me. I just have to be as honest and skillful with my HE writings as possible and let the chips fall, etc.
Maybe Reitman didn’t like this piece I did about why he lost the Best Screenplay Oscar. Or this January 2010 piece about the real meaning of The Insider, which Reitman felt meant “smoking bad! tobacco companies bad!”
Anyway, the Reitman association I have is that with the anger (which is pretty much an essential ingredient for any serious artist) and the beard and the long graying hair, Reitman is a kind of werewolf. A Hollywood werewolf who puts on his Lawrence Talbot face to the industry and interviewers, but who has this other side when the moon is full and you run into him at parties.
The first portion of this clip (up until 1:14) contains John Wayne‘s best scene ever. The resolve mixed with fatigue and resignation, the perfect phrasing, the way he turns to Montgomery Clift when he says “one time you’ll turn around and I’ll be there” and then turns away for the final line: “I’m gonna kill ya, Matt.” God, he was good when he was good! And then Dimitri Tiomkin‘s music kicks in with just the right feeling and emphasis.
I don’t care how many people follow David Denby into the abyss of expediency and post their Girl With The Dragon Tattoo reviews today or tomorrow or whatever. I will not because I pledged in writing that I would not, and that’s that. The “olly olly in come free” is only seven days from now. Yes, I’d like to re-post that thing I wrote (and then took down) about Rooney Mara being in the Best Actress race now, but that piece didn’t convey any views whatsoever about the film so it’s a different deal.
In his The Girl With The Dragon Tattoo review, David Denby says that Rooney Mara‘s performance as Lisbeth Salander is mesmerizing, and that she basically owns the film and that costar Daniel Craig is okay with that — he lets her carry the ball. Another interesting point in the review is that while David Fincher‘s Tattoo says that everything can be discovered if you drill deeply enough, Zodiac, Fincher’s masterpiece, says pretty much the opposite.
The Playlist has posted an e-mail exchange between New Yorker critic David Denby and The Girl With The Dragon Tattoo producer Scott Rudin about the ethics and motives behind Denby and his editors breaking the 12.13 Tattoo embargo by posting Denby’s review today.
Denby says he regrets breaking his word but he and his editors felt they had to review Tattoo now because almost all of the good films are jammed into December, and to cover them all would necessitate mini-reviews in the New Yorker‘s year-end double issue. But he felt more or less okay with running it, he adds, because the review is positive.
Rudin tells Denby that breaking his word isn’t cool or honorable regardless of his review being thumbs-up or the practical considerations behind publishing it. He says he “could not in good conscience invite you to see another movie of mine again, [Extremely Loud & Incredibly Close] or otherwise”, and that Denby’s action “will now cause ALL of the other reviews to run a month before the release of the movie.”
Ethical matters aside, the core problem is the New Yorker‘s cumbersome publishing policies, particularly regarding the holiday double-issue. Weekly and every-other-week print editions are obviously unable to respond to the changing day-to-day, hour-to-hour nature of everything these days. If you’re in the 2011-2012 digi-stream you’re looking for a constant outpouring of pops and re-bops and rimshots and counter-tweets, which print obviously can’t and doesn’t provide. Print is the old woman rummaging around for for her subway card at the subway turnstile and making everyone else wait.
The solution, to paraphrase Nikki Finke, is to say “fuck it” and post film reviews in the New Yorker‘s digital edition on a timely, as-they’re-seen-and-written basis. New Yorker iPad and laptop subscribers can thereby consider Denby-Lane reviews in a much more timely fashion, and for those doddering souls who only read the dead-tree version the New Yorker editors can make them available in the usual late-to-the-party fashion of 20th Century technology. Will these people care that Denby-Lane reviews in their holiday issue are appearing one or two weeks after the release date? Maybe to some degree, but if they really cared about timeliness they wouldn’t be print-only readers. Let them find their own way.
Here’s the Denby-Rudin back and forth:
“—–Original Message—–
From: Scott Rudin
Sent: Sat 12/3/2011 12:08 AM
To: Denby, David
Subject:
You’re going to break the review embargo on Dragon Tattoo? I’m stunned that you of all people would even entertain doing this. It’s a very, very damaging move and a total contravention of what you agreed. You’re an honorable man.
From: Denby, David
Sent: Saturday, December 03, 2011 11:19 AM
To: Scott Rudin
Subject: RE:
Dear Scott:
Scott, I know Fincher was working on the picture up to the last minute, but the yearly schedule is gauged to have many big movies come out at the end of the year.
The system is destructive: Grown-ups are ignored for much of the year, cast out like downsized workers, and then given eight good movies all at once in the last five weeks of the year. A magazine like “The New Yorker” has to cope as best as it can with a nutty release schedule.
It was not my intention to break the embargo, and I never would have done it with a negative review. But since I liked the movie, we came reluctantly to the decision to go with early publication for the following reasons, which I have also sent to Seth Fradkoff:
1) The jam-up of important films makes it very hard on magazines. We don’t want to run a bunch of tiny reviews at Christmas. That’s not what “The New Yorker” is about. Anthony and I don’t want to write them that way, and our readers don’t want to read them that way.
2) Like many weeklies, we do a double issue at the end of the year, at this crucial time. This exacerbates the problem.
3) The New York Film Critics Circle, in its wisdom, decided to move up its voting meeting, as you well know, to November 29, something Owen Gleiberman and I furiously opposed, getting nowhere. We thought the early date was idiotic, and we’re in favor of returning it to something like December 8 next year. In any case, the early vote forced the early screening of “Dragon Tattoo.” So we had a dilemma: What to put in the magazine on December 5? Certainly not “We Bought the Zoo,” or whatever it’s called. If we held everything serious, we would be coming out on Christmas-season movies until mid-January. We had to get something serious in the magazine. So reluctantly, we went early with “Dragon,” which I called “mesmerizing.” I apologize for the breach of the embargo. It won’t happen again. But this was a special case brought on by year-end madness.
In any case, congratulations for producing another good movie. I look forward to the Daldry.
Best, David Denby
From: Scott Rudin
Date: Sat, 3 Dec 2011 13:04:32 -0500
To: David Denby
Subject: Re:
I appreciate all of this, David, but you simply have to be good for your word. Your seeing the movie was conditional on your honoring the embargo, which you agreed to do. The needs of the magazine cannot trump your word. The fact that the review is good is immaterial, as I suspect you know. You’ve very badly damaged the movie by doing this, and I could not in good conscience invite you to see another movie of mine again, Daldry or otherwise.
I can’t ignore this, and I expect that you wouldn’t either if the situation were reversed. I’m really not interested in why you did this except that you did — and you must at least own that, purely and simply, you broke your word to us and that that is a deeply lousy and immoral thing to have done. If you weren’t prepared to honor the embargo, you should have done the honorable thing and said so before you accepted the invitation. The glut of Christmas movies is not news to you, and to pretend otherwise is simply disingenuous.
You will now cause ALL of the other reviews to run a month before the release of the movie, and that is a deeply destructive thing to have done simply because you’re disdainful of We Bought a Zoo. Why am I meant to care about that??? Come on…that’s nonsense, and you know it.”
Paddy Considine‘s Tyrannosaur led the winners at the just-concluded Moet British Independent Film Award ceremony, taking trophies for Best Film, Best Debut Director (i.e., Considine) and — this wams my heart — Best Actress for HE’s own Olivia Colman. Wells to indifferent American moviegoers who couldn’t be bothered to see Tyrannosaur during its brief theatrical exposure: how do you feel now?
Screenwriter and film critic F.X. Feeney has written an eloquent but unusually blunt piece about the late George Hickenlooper, with whom Feeney collaborated on The Big Brass Ring, a political drama starring William Hurt. The article, in the L.A. Review of Books, appears 13 months after Hickenlooper’s death in Denver on 10.30.10.
George Hickenlooper (r.) and Kevin Spacey (l.) during filming of Casino Jack.
Whenever a collaborator of a deceased filmmaker writes a recollection piece about him/her, the tone is always admiring and warmly affectionate, and often swoony. This is not one of those, and yet Feeney is clear about the fact that he liked and admired Hickenlooper…after a fashion.
“In a world disordered by attention deficits in most people, George was (to steal a joke from Susan Sontag) afflicted with Attention Surplus Disorder,” Feeney writes. “When you had his attention, you had his whole attention.
“On the other hand when he was off and running toward some goal in which you didn’t figure, or (far more painfully) from which he’d decided to cut you loose without your consent, Good Luck. His whole attention was Elsewhere, and if you tried to pin him to some earlier agreement, you risked a solemn explosion: ‘You can’t hold me to that!!’ No explanation offered, ever, but the implication was clear. Who drives, decides: Hello, 911? Make that two stretchers.
“George and I were frank with each other. We had to be, to function. Everything I’m saying about him here I’ve either said to his face or knew it was taken for granted. Had chance gone the other way, and were he weaving memories of me into a character in his next film — for that would have been his method of bidding me good-bye — I’m confident he would have created just as loving and ambivalent a puzzle over my own odd dividedness as I’m posing here over his.
“Although he despised violence, George reveled in turbulence. Despite one very bad moment in late spring, when it came time to shoot Big Brass in the summer of 1998, he provided a chair for me next to his on the set and involved me in all of the day-to-day storytelling decisions, even delegating me to discuss options in depth with the actors. In the annals of writer-director relations, this was uniquely generous.
“And yet — typically — he was also using me diabolically as a ready fall guy if the need arose. On day three of the shoot, he asked me to represent him at a hastily arranged meeting between the producers and our cinematographer, Kramer Morgenthau. There was a fear we were falling behind schedule. I thought my purpose was simply to show up, listen in on the discussion, and report to George what was said. This was na√Øve.
“It was quickly apparent from the physical circle we formed that (whatever our intention) we were in effect ganging up on Kramer, which was absurd and unfair. George had cleverly seen to it that the many fingers of blame for the falling-behind-schedule were pointing everywhere but at himself. This was high gamesmanship. Even as I stood there feeling like a stooge and a fool, I had to admire his mastery of these politics — but our jeopardized schedule was a question of directorial dynamics and in fairness to our superb cameraman, it was George’s problem to solve.
“When I said as much to George, he blew up: ‘I feel completely betrayed by that remark!’
“‘You can’t be ‘betrayed’ by a ‘remark,’ George. Not when I’m the one making it, to your face.’
“‘Then I feel betrayed by you!!!’
“‘I’m not betraying you George, I’m opposing you. There’s a difference.’
“He looked startled. I thought I was in for another blast but he softened, and laughed. ‘That’s a great line! Can we use that?’
“‘We can try.’ I was cackling with relief. Argument over! But George was in earnest about the line: ‘We have to use that!” The man was all about use. He had a mischievous spirit, and opportunity was his copilot. What made George so particularly magnetic and productive were precisely the contradictions that could drive you so crazy at intimate range. It’s never ‘speaking ill of the dead’ to show how a raw thirst for power shapes the soul of a person who is basically putting so many other people to work.”
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