We get the full-length trailer to Paul Thomas Anderson’s The Master (Oct. 12), which not only looks like a top 10 must-see but also plays like a companion piece to There Will Be Blood. Read more
We get the full-length trailer to Paul Thomas Anderson’s The Master (Oct. 12), which not only looks like a top 10 must-see but also plays like a companion piece to There Will Be Blood. Read more
This year’s Best Picture Oscar winner, The Artist, has arrived on Blu-ray (Sony Pictures Home Ent.) looking just as dazzling at home in all its retro glory. It’s still an amazing achievement and what an underdog story: a black and white silent ode to Hollywood made by a French director with two French stars up against the best that our current film industry has to offer. We needed to look back before moving forward in these uncertain times; and somewhere the ghosts of the silent era were smiling as well. Read more
The great cinematographer Caleb Deschanel talks about heightened reality and working digitally and in 3-D on Abraham Lincoln: Vampire Hunter in my latest TOH/Indiewire column. Read more
Sherlock Holmes: A Game of Shadows came out this week on Blu-ray (Warner Home Video), and guess what? It’s better than the first film. Read more
In honor of Memorial Day, Fox has not only released a new greenband trailer for Abraham Lincoln: Vampire Hunter, but has also announced that Benjamin Walker, who portrays the 16th President in the upcoming summer thriller, will visit the sailors serving aboard the USS Abraham Lincoln Naval aircraft carrier in June with fellow cast and crew members. Read more
Criterion’s indispensable new David Lean Directs Noel Coward Blu-ray box set allows us to revisit their great wartime collaboration in HD: In Which We Serve, This Happy Breed, Blithe Spirit, and Brief Encounter. What a revelation!
First of all, the BFI National Archive’s restorations (in association with ITV Global Studios Ent. and StudioCanal) return their visual luster in both black and white and Technicolor, allowing us to experience these very precious and intimate movies in all their glory. The cinematography of Ronald Neame and Robert Krasker (Brief Encounter) can now be better enjoyed and appreciated.
But more than that, the combination of Lean and Coward captures the anxieties and fears, hopes and regrets of Britain in the ’40s in a very different way than, say, Powell and Pressburger. Understandably, there is a restless sense of urgency and individual expression at odds with the need for family and stability — a fascinating tug of war. Lean was learning the craft of direction; Coward was at the top of his game as a writer and actor. There is something very noble and timeless about these four movies.
Steven Spielberg’s War Horse is now on Blu-ray (Disney Home Ent.), where it absolutely shines in HD for its old-fashioned virtues, combining elements of John Ford with Gone with the Wind and Paths of Glory. Spielberg’s joyous experience making The Adventures of Tintin seems to have carried over to this love story about a boy and his horse in the trenches of World War I.
“The reason I made the movie, beyond the fact that the play moved me so deeply when I saw it in the West End of London, was that here we have an animal that brings human beings together,” Spielberg told me last year, “at least in a détente of sorts, and the idea that an animal has the power to be able to bring these two warring sides together for a brief respite. And I also felt that it was very, very important to show the lengths to which a young man will travel in order to retrieve an animal that has meant so much to him and his family, that has basically saved the lives of his family by saving their farm, and that there had to be a happy conclusion.”
War Horse even brought out a warm, sentimental side to cinematographer Janusz Kaminski. His imagery has never been so elegiac, as in the early Quiet Man-like moments. Even the détente-like moment with the barbed wire in “No Man’s Land” is memorable for its transcendent humanity.
War Horse was also the latest in a personal journey for production designer Rick Carter, who’s made a series of war-themed films since 9/11 (mostly with Spielberg). He calls it “the nature of conscience and the Goya-esque disasters of war.” According to Carter, “some of them are light and have a joyous, wish-fulfillment to them. But there’s also a darkness that has to be overcome and so [Spielberg's] touching quite a wide range of movies, and, as I get older, I admire that.”
Their latest journey into the nature of conscience is Lincoln. I can’t wait to delve into how they built a movie around the extraordinary Daniel Day Lewis.
The recent press conference for The Avengers (opening May 4) was noteworthy for some of the following comments:
Mark Ruffalo on being The Hulk:
I met with Joss Whedon, and he said he really liked The Incredible Hulk TV show and what Bill Bixby did with him. So I rented those with my 10-year-old son. And after the third episode, he turned to me and said, “Papa, he’s so misunderstood.” And I basically based my character entirely on my 10-year-old boy, who has all of the force of nature, like, screaming out of his body while at the same time having everyone around him telling him to fucking control himself.
Robert Downey Jr. on where Iron Man fits in with the group:
Um, well, that he didn’t really set out to do anything noble, but, uh, so he’s kind of in transition. And so there’s something kind of a little more Han Solo than, uh, than Luke. And also the fact that he can pull off wearing a Black Sabbath T-shirt for the better part of the film.
Samuel L. Jackson on the importance of The Avengers:
I just like the fact that Nick Fury believes that these unique individuals deserve the love and admiration of the world, who, uh, we pretty much owe everything to because there are things out there greater than us.
Joss Whedon on tracking information that’s important:
You want some things to be inferred. It’s fun to see a movie that has texture beyond what you understand necessarily that you know. Like, when I watched Wall Street, I didn’t know what they were talking about, but I was very compelled by it. It clearly mattered a lot. Or if I watch any film about sports, I feel the same way. [If] you feel that there’s a life outside the frame, then, you know, you feel good about it, so you don’t necessarily have to lay everything out, but organizing that was the most exhausting part of the film because the stuff between the character, that’s just candy. That’s just booze and candy all day.
Joss Whedon on the Harry Dean Stanton cameo (SPOILER ALERT):
Seamus [McGarvey], our DP, was actually shooting a documentary about Harry Dean and spending a lot of time with him, and I sort of got him stuck in my head and I was like who is more accepting than Harry Dean Stanton? And, so I got to write this weird little scene, which when I wrote it was not little, it was about 12 pages long, and I was like, oh, this is great. Bruce Banner falls into a Coen brothers movie, and the fact that they even let me keep that concept and that we actually landed Harry Dean to play it was very exciting. But the idea was to put him in a slightly surreal situation with somebody who clearly had no problem with what he was, just to make that little transition without milking it too much. And, besides, you know, to work with Harry Dean and to quiz him about Alien and The Missouri Breaks, what a privilege.
The latest Skyfall videoblog from 007.com focuses on the exotic second unit work in Shanghai with comments from second unit director Alexander Witt, first assistant director Michael Lerman,and production manager Angus More Gordon. Of particular interest are the blue neon-lit highways and skyscrapers, which provide an ultra-modern vibe to the action-centric drama helmed by Sam Mendes and digitally shot with Arri Alexa by Roger Deakins.
Meanwhile, Activision announced the autumn release of the 007 Legends video game on PS3 and Xbox 360, which ties together six classic plot lines (including Skyfall) in honor of the 50th anniversary. Touts new maps, weapons, and characters and a multi-player experience.