Todd Gilchrist
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Interview: Viggo Mortensen
Filed under: Fandom, The Weinstein Co., Interviews
Viggo Mortensen is a study in contradictions: rugged and undeniably virile, and yet thoroughly and irresistibly sensitive; the kind of man movie stars are made from, but seemingly more satisfied in a more subdued role in a smaller film. Appropriately, his latest film is both a post-apocalyptic epic and a profound character study; The Road is an adaptation of the acclaimed Cormac McCarthy novel of the same name, and Viggo plays its main character, a father desperately trying to protect his son from an unhospitable world, both physically and emotionally.
Cinematical recently sat down with Mortensen at the film's press day to discuss his work in the film, which was directed by John Hillcoat (The Proposition). In addition to talking about navigating an unforgiving landscape, he discussed the challenges of balancing fealty to source material and simply making a fulfilling movie, and revealed a few of his own fears and insecurities when facing the prospect of sustaining a career both as a movie star and character actor, often at the same time.
You can read our interview with director John Hillcoat over here.
Cinematical: Given the richness of the source material and the familiarity that audiences will have with it, do you make an effort to draw upon the text for your character, or do you have to divorce yourself from it and focus on what's in the script?
Making The (Up) Grade: North By Northwest
Filed under: Warner Brothers, Fandom, Home Entertainment
Initially I planned to make North by Northwest a title revisited in my "Shelf Life" column, but I decided against it when I realized that most folks just love that movie to death, including myself, so seeing whether it's still good would be purely redundant. But the new Blu-ray released by Warner Brothers also didn't seem like it warranted a question of whether or not it was superior to its predecessors thanks to a wealth of bonus content – that is, until I discovered that in fact some of it was on previous versions, no doubt leaving longtime fans with a quandary whether or not to shell out a few more shekels to see one of their favorite Alfred Hitchcock films in high-definition.
As such, North by Northwest is the overdue subject of this week's "Making The (Up) Grade," and I spare no effort examining the past, present and future of this film's home video incarnations.
What's Already Available:
Interview: 'The Road' Director John Hillcoat
Filed under: The Weinstein Co., Interviews
Outside of the established and expanding franchises for book series like Harry Potter and Twilight, there don't seem to be a whole lot of literary works that audiences are just dying to see adapted – except perhaps for The Road. Remarkably, Cormac McCarthy's remarkable 2006 story of a father and son making their way across a post-apocalyptic landscape has been successfully adapted for the screen by director John Hillcoat, who eschewed 2012-style spectacle in favor of a more harrowing and humanistic portrait of two people surviving in the harshest possible environment.
Cinematical recently spoke to Hillcoat at the film's Los Angeles press day, where he was wrapping up a long afternoon of roundtables and one-on-one interviews. Thankfully, he rallied for one more short conversation about The Road, and in addition to talking about the challenges of bringing McCarthy's words to life, he spoke about conceiving the scope of the film, and finding the right faces to fill its damaged landscape.
Cinematical: You obviously began with extremely rich source material when starting to adapt The Road. What was the thing you knew you had to get right and then everything else would sort of fall into place?
Shelf Life: Fight Club
Filed under: Fandom, Home Entertainment, Shelf Life
By all accounts, 1999 was one of the best years in film history, featuring an amazing glut of debuts and career-defining follow-ups from a rich and varied roster of directors who are steadily working some ten years later. For example American Beauty, which was also released in '99, was one of the first films revisited in our "Shelf Life" series, and it seemed most likely to lose its luster, especially given its Oscar win and almost universal critical acclaim, but thankfully the film sustained most of its initial appeal and impact.
Fight Club, meanwhile, faced markedly more polarizing reactions from audiences and critics, although like Alan Ball and Sam Mendes' film it captured a moment in the zeitgeist that made it important almost regardless of how good it was. Ten years later, Fox Home Entertainment just released the film on Blu-ray in a gorgeous new set, and after a decade of conspicuous consumption and ironic detachment, it's time to see whether the weight of its message or meaning still holds relevance.
Interview: Judd Apatow (Part Two)
Filed under: Universal, Fandom, Home Entertainment, Interviews
Read Part One of this interview right here
When Judd Apatow's latest film, Funny People, was announced, many critics and audiences hailed it – even before they saw it – not only as an evolution of the filmmaker's style, but a return to the kind of drama-laced comedy that flourished in the 1980s and early '90s thanks to folks like Cameron Crowe and James L. Brooks. When it was released, the film more than satisfied those expectations, offering an unflinching but frequently hilarious portrait of an A-list comedian rediscovering himself, but there seemed to be a sense that audiences knew themselves less well than they felt like they knew the film's main character, resulting in a less enthusiastic response than perhaps even they expected.
The film arrives on Blu-ray this week, offering what is indisputably the most complete and comprehensive look behind the scenes at a comedy ever produced, and offers audiences a second chance to check out Apatow's most meaningful and resonant work to date. Cinematical got a chance to catch up with the writer-director via telephone to discuss the contents of the expansive, 2-Disc Collector's Edition; in the second part of our chat, Apatow talks about precisely what made the movie so personal for him, and offers a few insights about its place in his growing body of work, and its potential influence on his future films (including a Harry Potter movie, maybe?).
Cinematical: With or without talking to you at the time of the film's release, people seemed to assume that this was a very personal film, I think because it was more serious than your previous work. Was it really personal, and if so in what way or why?
Interview: Jason Schwartzman
Filed under: Fox Searchlight, Interviews
Personally speaking, I've been a fan of Jason Schwartzman since he and writer-director Wes Anderson collaborated on Rushmore and created what I still think is a definitive portrait of the beautiful torment of teenage life. While of course Anderson and co-writer Owen Wilson conceived the ideas, Schwartzman fleshed them out both literally and emotionally, offering a character that was weird and idiosyncratic but also remarkably relatable, not the least of which because it seemed like the actor was going through many of the same things as his on screen counterpart.
Eleven years later, Schwartzman has matured into one of the most versatile and interesting actors in Hollywood, even if, as he himself puts it, he isn't yet able to "get a part like someone can order a pizza." His latest film reunites him with Anderson for the fourth time, playing another kid who's growing up way too fast in Fantastic Mr. Fox. In addition to talking about tackling another coming of age story, Schwartzman discusses his own Hollywood story, and offers a few insights about the interesting filmmakers with whom he works so frequently, and so closely.
Cinematical: You've worked with a number of filmmakers, such as Sofia Coppola and David O. Russell, who have very specific visions for their films. How is Wes different, whether it was just on Fantastic Mr. Fox or in general, that makes your collaboration more satisfying?
Making The (Up) Grade: Rocky
Filed under: United Artists, Fandom, 20th Century Fox, Home Entertainment
While new Blu-rays of old movies are sometimes dubious replacements for prior editions (hence the need for this column), box sets released in the high-definition format have thus far been fairly helpful, at least in terms of shelf space: many or most of them forego a lot of the frills and flourishes of their standard-definition iterations in favor of more streamlined packaging. Unfortunately, that's also sometimes extended to their extras, thanks in no small part to the legal entanglements of transferring commentaries and bonus content from one format to another.
Both Warner Brothers and Fox have faced this challenge a couple of times thanks to their ownership/ adoption of the libraries of MGM and United Artists, which until a few years ago issued their own releases. Rocky, which is one of United Artists' premier franchises, was recently released on Blu-ray in The Undisputed Collection, a set that contains all six of the films in the series, but it remains to be seen whether complete also means comprehensive in this particular case.
What's Already Available:
Interview: Judd Apatow (Part One)
Filed under: Universal, Fandom, Home Entertainment, Interviews
Funny People was the latest in Judd Apatow's ongoing series of summer comedies, but it was anything but a typical summer comedy: following a successful comedian (played by Apatow's longtime friend Adam Sandler) who reflects on his life after discovering he's going to die, the film offered lots of humor but with decidedly heavier themes lurking beneath the yuks. The film debuts on Blu-ray in a 2-Disc Collector's Edition next week, and the contents are amazing, showing how Apatow combined lighthearted fare with more serious ideas in the service of exploring something substantive.
Cinematical was lucky enough to catch up with Apatow via telephone one recent morning to discuss the process of putting together the film's home video iteration. In addition to discussing the bonus materials, extras, featurettes, and a documentary that's the most thorough and thoughtful ever produced about a comedy production, Apatow talked about finding the right ending for his magnum opus, discovering and deconstructing the process of producing laughs, and front-loading the film's universe with outside content about the supporting characters.
Cinematical: One of the ideas highlighted in the Blu-ray bonus materials was the fact that you knew this was going in a different direction than your previous films. Even knowing that while you were making it, were you surprised by the reactions of audiences and critics when it was released? Or does it matter?
Review: The Twilight Saga: New Moon
Filed under: Drama, Sci-Fi & Fantasy, New Releases, Theatrical Reviews
Even the most egocentric or self-important film critic realizes that his opinions and insights aren't going to be agreed with or respected by everyone, but movies like New Moon offer a special challenge in both honesty and humility. Like with any other beloved literary franchise brought to the silver screen, there's already an impassioned fan base eager to see it realized regardless of its quality, and there's also an inherent distrust among them of nonfans who will eventually be analyzing the object of their affection. In which case, a critic must not only manage his own response to the film, perhaps filtering it through some designated demographic or specific audience that's potentially different than him, but gauge the reaction he'll get when he puts pen to paper, if only to be aware of the relevance of his reaction to what the filmmakers were trying to achieve and what those fans really want. Even if he's also got to be completely honest and unmerciful, too.
By virtually all technical measures, The Twilight Saga: New Moon is a superior effort to its predecessor – well-shot, efficiently told, and by all accounts faithful in tone and execution to its source material. But what filmmaker Chris Weitz makes up for in directorial proficiency he lacks in conveying emotional authenticity, which is why it fulfills the expectations of fans and followers of the franchise but nevertheless still falls short of forming something transcendent and meaningful to everyone else.
Shelf Life: The Professional
Filed under: Fandom, Home Entertainment, Shelf Life
This week, Sony Pictures Home Entertainment released Leon: The Professional on Blu-ray, and because I have the best job in the world, I got to watch it for this column. The truth is that this was a formative movie for me, not only augmenting my budding cinephilia in terms of attention to and interest in strongly visual filmmakers, but in understanding the technical and artistic value of widescreen cinema. Before the film was released on widescreen VHS and later, DVD, I watched the pan-and-scan version when it was first released on video and almost got sick from the cropping and scanning of director Luc Besson's balletic camerawork.
Thankfully, I never have to watch it via that sort of butchered presentation again, and even if you don't think the movie is a masterpiece, at the very least, SPHE's new Blu-ray offers a gorgeously rich transfer that fully celebrates Besson's cinematography. But even though this is a film I've revisited several times since its original release in 1994, I was curious to see how well The Professional would hold up some 15 years later – which brings us to this week's "Shelf Life."
Jeremy Renner Wants To Be An Avenger
Directors We Love: Jim Jarmusch
Indie Roundup: 'Sweetgrass,' 'Clarkworld,' 'Broken Embraces'
Shelf Life: Fight Club_thumbnail.jpg)
Watch: Famous 'Matrix' Scene Re-Created with LEGOs
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