Preparing to play Kym, the fresh-from-rehab prodigal daughter in Jonathan Demme's Rachel Getting Married, Anne Hathaway didn't see the possibility of the Oscar nomination buzz and critical raves she's been receiving since the film's debut at the Venice and Toronto Film Festivals. She saw a human being: "My heart broke for her, and I wanted to tell her story ... People were talking like 'Oh, you get to play a bad girl ...' and I said 'No, Kym's a great girl ...' She's not perfect; she's totally nuts. But she's honest. " Hathaway spoke with Cinematical in Los Angeles about working with Demme, her co-stars Bill Irwin and Rosmarie DeWitt, which Elliot Smith song she found a key to her character in and more. ...
Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
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In a true example of life imitating art, British author Toby Young managed to offend an Oscar-nominated director, a few producers and even the leading lady on the set of the movie adaptation of his novel How to Lose Friends & Alienate People.
But Young -- who can't help but laugh when rehashing outlandish stories about hiring a stripper for the office on Take Your Daughter to Work Day and, ultimately, being tossed aside after Vanity Fair was no longer amused with him -- still maintains that he's actually a very charming guy.
Young talked to us about getting kicked off the movie based on the book he wrote about his life, who he'd cast to play himself if he could choose anyone and why Kirsten Dunst thinks he's a demented stalker.
(Note: The following interview ran earlier this month during the Toronto International Film Festival. We're re-running it now in anticipation of the film's theatrical release this week.)
By: James Rocchi
Even after debuting Religulous, his new docu-comedy about faith in the modern world directed by Larry Charles (Borat), Bill Maher still has plenty of questions of his own:"I was saying to Larry in the car on the way over here: I suddenly realized that I don't know the relationship between the Devil and the Antichrist. Do you? I mean, we both know those terms, but they're not the same guy, I don't think. I'm not sure if the Devil works for the Antichrist? Or the Antichrist for the Devil? Or is it like the Joker and the Riddler -- neither of them work for each other, but they gang up on Batman ...?" Maher spoke with Cinematical in Toronto about the difference between 'changing your mind' and 'flip-flopping,' what wound up on the cutting-room floor, getting in harm's way for the sake of a great scene, why it's doubtful he'll follow Religulous with another feature film and much more.
Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
In Miracle at St. Anna, four African-American soldiers are trapped behind enemy lines in Italy near the end of World War II; caught between indifferent leadership and hostile troops, the four fight to survive -- and protect the Italian villagers they've come to know during their exile. Director Spike Lee spoke with Cinematical from New York about the challenges of film financing in modern Hollywood ("it's hard to get stuff made today that's not superhero, comic-book, TV show, sequel stuff. ..."), shooting in an 800-year-old Italian town (" ... all we had to do was take down the satellite dishes ...") and the challenges his new film faces (" ... historically, women do not run to see, or even walk to see, or even crawl to see World War II films ..."), The Wire ("'Omar's Coming!'"), sequel possibilities for Inside Man and more.
Lee even touched on politics and race in the here-and-now: "I'm optimistic. We're going to have a Black president. The 44th President of the United States is going to be a Black man ... I think this is a definite indication of how far America has moved in how it views race. ..."
Cinematical: I was very curious if you could talk a little bit about the genesis of what brought you specifically to Miracle at St. Anna as a film?
Spike Lee: I needed something to read; I went into my wife's office; looked up on her shelf upon shelf of books (laughs) and the spirit told me to go to this one book -- all the time my head is twisted to the side, trying to read the titles -- read this title, Miracle at St. Anna; that sounds interesting; take the book off the shelf, see the cover of a Black soldier with a young Italian kid, World War II, said "Let me read this. ..." After the first chapter, I said "I want to make this into a film, called up James McBride, we met ... and here we are. That's the abbreviated version. ...
Although Gary Cole had a big shoot-'em-up summer playing a drug lord in Pineapple Express, you probably still know him best as Lumbergh, the droning, officious boss in Office Space.
His latest movie, Forever Strong, puts him in a more dramatic light. Cole plays real-life rugby coach Larry Gelwix, whose unconventional training and character building methods have proven successful for his Highland Rugby team for years.
We asked Cole whaaaat's happening (couldn't resist), and he gave us the scoop on his heartthrob male co-stars, his take on Office Space vs. Pineapple Express and his rivalry with Gary Coleman.
It's hard to imagine for the few exhausted stragglers still going from film to film, but the end is in sight for the 2008 Toronto International Film Festival. Joining us this week on The Rocchi Review is critic, journalist, analyst and man-about-town David Poland, best known for his work at Movie City News and The Hot Blog, as well as his "Lunch with David" videocasts. Which films got a boost out of Toronto? What's it like to work at the Festival as a journalist? How crazy is it to feel 'behind' in covering movies that may not open for at least another three months? And what classic graphic novel did David dream of finally seeing adapted for the big screen after catching Waltz with Bashir? We talk about all those topics, Che, Slumdog Millionaire, Rachel Getting Married and much much more this week, all live from the 2008 Toronto International Film Festival. Cinematical's podcast is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
The Hurt Locker sees director Kathryn Bigelow craft a big, booming tale of tension based on journalist Mark Boal's experiences and interviews with bomb disposal experts in the streets of Iraq. Toronto didn't just see The Hurt Locker earn raves from many critics; it also saw the film get picked up by Summit Entertainment for distribution. Cinematical spoke with Bigelow and Boal in Toronto about breaking the audience's unconscious link between an actor's salary and a character's destiny, whether or not their film is really apolitical, the fun and excitement of blowing things up on-set, how making the movie yourself is the best way to be sure you make the movie you want to and much more.Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
On a bright Toronto Morning, The Wrestler's director Darren Aronofsky still can't quite wrap his head around his past week: "It's been wild. Look, we started shooting in January; we finished the film five days ago. I was in Venice four days ago, with no buzz; three days ago, we won the Golden Lion out of nowhere, and two days ago, we showed it at Toronto and sold it to Fox Searchlight, so everything changed in five days. ..." Cinematical spoke with Aronofsky about the world of '80s wrestling, the unique possibilities and challenges inherent in working with Mickey Rourke, custom-crafting an old-school Nintendo game on an indie budget, punching up political commentary in post-production and more. ...
Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
Appearing in Toronto with The Brothers Bloom, actress Rachel Weisz plays Penelope, a lonely orphaned heiress who, targeted to be taken for a ride by the title con artists (Adrian Brody and Mark Ruffalo) discovers a brand new sense of joy in the world, even as she's being fleeced. "I had wanted to do something funny for a long time, and I think when I read The Brothers Bloom, I thought "This is one of the funniest things I've ever read. ..." Weisz spoke with Cinematical in Toronto about her character's journey, learning how to play the harp for a throwaway comedy bit, co-starring with Brody and Ruffalo and much, much more.
Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
After years of turning down any and all parties who inquired after the film rights for his novel Blindness, Nobel Prize-winning novelist Jose Saramago finally relented to the director-writer team of Fernando Meirelles and Don McKellar after years of cajoling and convincing. McKellar also has a part in the final film, a sprawling story of ruin and redemption that spanned the globe in its production that's been significantly re-cut -- and significiantly improved -- from the version first unveilled in Cannes in May. McKellar spoke with Cinematical in Toronto about the re-cut version of the film, the secret thread between his brilliant directorial debut Last Night and Blindness (" ... my paranoia about the apocalypse hadn't been resolved yet ..."), how Hurricane Katrina influenced the look of Blindness, the need for humor at the end of the world and much more. ...
Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
Even after debuting Religulous, his new docu-comedy about faith in the modern world directed by Larry Charles (Borat), Bill Maher still has plenty of questions of his own:"I was saying to Larry in the car on the way over here: I suddenly realized that I don't know the relationship between the Devil and the Antichrist. Do you? I mean, we both know those terms, but they're not the same guy, I don't think. I'm not sure if the Devil works for the Antichrist? Or the Antichrist for the Devil? Or is it like the Joker and the Riddler -- neither of them work for each other, but they gang up on Batman ...?" Maher spoke with Cinematical in Toronto about the difference between 'changing your mind' and 'flip-flopping,' what wound up on the cutting-room floor, getting in harm's way for the sake of a great scene, why it's doubtful he'll follow Religulous with another feature film and much more.
Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
As the director, co-screenwriter and star of Appaloosa, Ed Harris follows up his Oscar-nominated work as an actor-director in 2000's Pollockwith an adaptation of Robert B. Parker's novel, revolving around two old friends and partners (Harris and Viggo Mortensen) in 1882 New Mexico trying to enforce the rule of law in a town threatened by a corrupt power-broker (Jeremy Irons). Harris spoke with Cinematical in Toronto about working on Appaloosa, adapting Parker's novel, co-starring opposite Mortensen and how hard it was to find financing for a traditional Western like Appaloosa: "Pretty hard. I mean, it was very interesting; people really responded to the script, and if the budget for it had been half of what it was, we probably could have got it made pretty easily. ... But we needed the budget to serve the production values; it called for that. I didn't want to make a little intimate art-house film. I wanted to make something that respected the space that it took place in ... it deserves it; it calls for it; so, it was pretty tough; it was a real battle."
Cinematical's podcast content is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
Pack your passport and brush up your hockey small talk -- the Toronto International Film Festival is just around the corner. This week, The Rocchi Review features James chatting with Michael Lerman, a filmmaker who also programs for the Woodstock Film Festival, and blogger for IndieWire. Is it true some in the industry see Toronto's enthusiastic audiences as the "kiss of death"? How many films can you squeeze into one festival? What's the difference between watching a film as a journalist and watching one as a film festival programmer? And why is Midnight Madness, for some, the best part of the Toronto International Film Festival? Cinematical's podcast is now available through iTunes; you can subscribe at this link. Also, you can listen directly here at Cinematical by clicking below:
As ever, you can download the entire podcast right here -- and those of you with RSS Podcast readers can find all of Cinematical's podcast content at this link.
Steve Coogan, 42, is perhaps best known for his TV persona, the part-arrogant, part-clueless sports announcer Alan Partridge. And though Coogan could go on playing him forever, he has instead used his budding American film career to branch out, try different things. His collaborations with "serious" director Michael Winterbottom were a good start; 24 Hour Party People (2002) and Tristram Shandy: A Cock and Bull Story (2006) earned rave reviews here in the States. He appeared opposite big stars such as Jackie Chan (Around the World in 80 Days) and Ben Stiller (Night at the Museum, Tropic Thunder) and answered the call of a handful of cult directors, making small appearances in films by Jim Jarmusch (Coffee and Cigarettes), Sofia Coppola (Marie Antoinette) and Edgar Wright (Hot Fuzz).
His name appears alone above the title of his new film, Hamlet 2, in which he plays Dana Marschz, a washed-up American actor now teaching drama at a Tucson high school. To save his class and his career, he writes a sequel to "Hamlet" that causes a huge ruckus. (Hint: it has something to do with "Sexy Jesus.") The one connecting factor with all these movies is that Coogan's characters are more or less awful, but compulsively watchable, people. Coogan -- who is conversely very nice in person -- recently chatted with Cinematical about his new movie.
Cinematical: How did your gallery of humorously annoying characters come about?
Steve Coogan: I don't know. It just sort of happened. I'm just attracted to playing people who are ostensible unlikable. That's not to say that there's something in there that makes you care. It might be that you just find them so awful that you just can't stop watching, like a car crash. And they're not self-aware. I think somehow, whenever I see a character on screen who I feel is trying to get me to like them too much, it has the reverse effect. It kind of puts you off. It's: "Quit looking at me with those doe eyes. I want to kill you." It's not like I've thought this through. It's just, you do stuff often enough and you see patterns. You see them, and I see them too. Sometimes they're not self-conscious. I guess that's why I'm probably doing it.
"I tend to make an ass out of myself a lot. And so that's kinda the cool thing that comedy has given me -- the ability to laugh at myself." -- Anna Faris You might not know it yet, and she might not know it yet, but the female answer to Judd Apatow and Seth Rogen and all those, well, dudes, has finally arrived in the form of ... a Playboy bunny? In her latest film The House Bunny, Anna Faris plays a Playboy bunny who's kicked out of the mansion, and, in searching for a new place to crash, stumbles into the dorkiest sorority house on campus and signs up to be their house mother. It's a familiar PG-13 comedy that doesn't exactly re-invent the wheel, but if there's one reason to see the film, it's Faris. Here, at least, she proves there's definitely room for big, female-centric comedies in Hollywood.
Cinematical sat down with Faris earlier this week, where we spoke about her new film, what it's like to be on the cover of Playboy and how, exactly, she went from starring in dramatic theater productions in Seattle to landing the lead role in a little comedy called Scary Movie. Cinematical: So congrats on landing the cover of Playboy!
Anna Faris: [laughs] Thank you!
Cinematical: What's up with that? Was anyone caught by surprise or freaked out at seeing you on the cover?
AF: Yeah, I thought it was awesome -- it was rad -- and that all my ex-boyfriends would think, ya know ...
Cinematical: They'd be feverishly flipping through the pages thinking your career was over and this was a last ditch effort to do whatever ...
AF: [laughs] Probably ... but yeah, it was great. Ya know, we planned it awhile ago and just wanted it to tie into the film and all that. My parents are pretty conservative, but they were really happy and excited for me. In fact, I'm taking them to the premiere tomorrow, which the party afterwards is at the [Playboy] mansion ... so [laughs] I'm going to try to drag them up there.
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