Ralph Fiennes on 'The Invisible Woman'
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He may be known as "Lord Voldemort" to the younger generation, but Ralph Fiennes is so much more than just playing the bad guy. Growing up he studied Shakespeare and performed in the Royal National Theater and has since developed into quite the chameleon actor. In The Invisible Woman, Ralph finds himself playing the role of Charles Dickens as well as directing the project. No doubt, he was a busy man on set. I sit down with Ralph, looking sharp in a crisp button down shirt, and talk about making the project and his feelings towards the late Charles Dickens. We begin:
DID YOU CHOOSE TO STAR IN WHAT YOU'RE DIRECTING BECAUSE THAT WAY YOU DON'T HAVE TO ARGUE WITH THE DIRECTOR, OR IS THAT HOW YOU GOT THE FILM MADE?
No, I was reluctant, not because it was a bad part but it’s hard. How do you do justice to your own performance while making sure everyone else is taken care of, I was really under pressure… [The BBC said] if you want to play Dickens we would be happy and I said, ‘no, I don’t think I could’ but then I was saying to myself, ‘oh it’s a great part.
[Laughter]
I did approach another actor, but I got the sense that they didn’t like the fact that Dickens might be unlikeable, which is actually what I like about him… If I do direct again, which I’d like to, I won’t act in it- just direct.
BEING THE ACTOR AND DIRECTOR, WHAT WAS THE MOST STRESSFUL PART OF THE ENTIRE FILM?
The most stressful part has got to be the shooting; I probably shoot quite a lot of takes and this is a performance driven film. Great actors are in this film and they come prepared but I know from myself that you come ready, but you want to find this place where the bit of you that’s not prepared bursts out and there’s little moments of this weird thing called ‘The Truthful Thing’ where suddenly the actor/actress finds another level, and that takes time. And when you use up time, suddenly at the end of the day you’re going ‘oh, fuck, I’ve only got half an hour to shoot these three close-ups.’ That becomes stressful, but also kind of addictive.
SO HOW WAS "ACTOR" RALPH FIENNES AT TAKING DIRECTION FROM "DIRECTOR" RALPH FIENNES?
I tend to be quite fussy and a perfectionist about it. It’s never right, it can always be better. I really depended on my script supervisors [to speed me along].
ONE OF THE GREAT ASPECTS OF THIS FILM IS ROB HARDY'S CINEMATOGRAPHY; HOW DID YOU AND ROB GO ABOUT DEVELOPING YOUR VISUAL TONE THAT REALLY CREATES ITS OWN STORY?
My starting point was that this was a story of intimacy; I was seeing a lot of scenes of people in rooms, relatively static. It seems to me that what goes on in the face of Felicity, essentially, but also Dickens, is that the subtext is really important… There’s an observational quality about the camera that allows itself to watch, and to me that made me think about how you frame so that the frame itself is rich; it has a compositional consideration to it.
WHAT IMPRESSED YOU THE MOST ABOUT CHARLES DICKENS' LIFE?
What impresses me is his furious work ethic and energy. He was a man of crazy energy. He would walk these crazy distances, and then he would write, and not only would he write the installments for his book but he would then write in his journal. I’ve discovered him quite late; I didn’t know much Charles Dickens. I had somehow sort of blanked him as being an area I wasn’t going to be interested.
Review: 'Wrong Cops'
Leave it to Quentin Dupieux to bring together dubstep and comedy to create a film so off the beaten path, it feels more "performance art" than "arthouse." In Dupieux's latest low-budget sideshow film Wrong Cops, the French auteurist combines further elements, with an ensemble cast of seasoned comedians and one gothic rock star that gives the film a special seasoning of the absurd. Though it is immediately easy to pick up on the film's humorous tone, it takes a bit longer to acclimate to its weirdness. Though when both are combined, the result is another bonkers Dupieux classic.The film centers on a group of cops that are greedy, corrupt, and childish. Officer Duke (Mark Burnham) is the ringleader of the force, and whose problems are far worse than that of his colleagues'. Making side money by selling pot-stuffed dead rats to kids (the rats are meant to be inconspicuous), abusing brace-faced high school nerd David Delores Frank (Marilyn Manson), and accidentally shooting his neighbor (Daniel Quinn) in the neck are but a few of the crackpot events that make this character so deliciously weird.
Wrong Cops is the type of film you might expect to see playing on the after hours drug-laced TV channel "Adult Swim," but with more traditional odes to its B-rated grindhouse genre
Quentin Dupieux was a busy man on the set. Not only did he write and direct the feature, he also produced it and (once again) provided the original score under his Electronica-DJ'ing music alias Mr. Oizo. Before turning his career as director Dupieux was a big name in the French electronic music scene and is still very much active with the moniker today. The synth-gone-mad score here successfully influences the tone of Wrong Cops, felt right down to its hipster soaked dialogue and its overall composition.
After premiering at Sundance earlier this year, IFC Midnight picked up Wrong Cops and scheduled its theatrical release for December 20th. While it's certainly not a traditional holiday movie to watch with the family, its timely release and cult impressions could make for one very unforgettable, and one very Wrong, Christmas experience nonetheless.
Director Quentin Dupieux on 'Wrong Cops'
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After seeing Wrong Cops at the Vista theater, I knew that my interview with Quentin Dupieux would be a good time. His quirky directing style and effortless "coolness" is present in his latest directorial feature about a group of hilariously awful cops who break more laws than they prevent. As well as directing, Dupieux also produced, wrote, and edited the film. The music was composed under his stage name, Mr. Oizo, and rounded out the indie film's vibe. I sit down in an office on the 10th floor on Sunset & Vine as I wait for Quentin, and can't help but laugh at the fake hand covered in blood on the otherwise empty desk. He walks in a few minutes later, with his trademark button down shirt halfway undone, says hello and sits down. We begin:
I SAW THE FILM LAST NIGHT AT THE VISTA (IN SILVER LAKE), AND IT WAS AWESOME, VERY WELL RECEIVED...
Yeah, last night I felt a great energy in the room… I said I was going to pee my pants during the movie.
WHEN YOU STARTED TO MAKE THIS MOVIE, DID YOU INTEND TO DIRECT, PRODUCE, WRITE, COMPOSE IT... PRETTY MUCH DO EVERYTHING?
No, that’s just the way I’m doing movies now. “Rubber” was the first movie I edited myself. For my first feature I was working with a DP and an editor, but being in the editing room with someone else and trying to get what I want felt frustrating to me. I needed to do it myself. To me, that’s the best part, editing a movie.
SINCE THIS WAS AN INDIE I'M SURE THE BUDGET WAS PRETTY SMALL, WHAT WAS YOUR PRIORITY WITH THE MONEY YOU HAD?
[The budget] is really cheap, so I have to operate the camera, I have to edit myself, I have to do the music, because otherwise, the movie doesn’t exist. I like to use my music because it’s more personal, more my vibe. For this specific project, my goal was to get something funny on-screen every single day. The days are so compressed because we’d shoot 4-5 scenes a day so the only thing I’d think about is “Is this really funny?”
YOU HAD A GREAT ENSEMBLE CAST WHERE ANYTHING THEY DO IS FUNNY. HOW DID YOU GET THEM ALL TOGETHER?
Well I just loved Steve Little from “Eastbound and Down” and I offered him a part in the movie I did before [“Wrong”] and I loved working with him. I think he enjoyed working with me too so he came back for this one. I actually wrote the part for him. I was trying to get Eric Wareheim for the previous movie I did but he was busy, so I insisted for this one and he came.
I WAS REALLY SURPRISED TO SEE MARILYN MANSON, HE WAS THE PERFECT CHOICE. KIND OF SHOCKING TO SEE HIM IN THAT ROLE BECAUSE HE WAS REALLY GOOD!
Oh yeah he is really good. It was pretty shocking to see him without the makeup. Manson came to me because he was a fan of my movie “Rubber.” He sent me an email saying that the movie was his favorite of the year. He’s a nice guy, very funny and smart. He’s a really strong actor, I shot something new with him about two weeks ago.
HAS "WRONG COPS" SCREENED IN FRANCE?
Yeah, it’s coming out in the U.S. first but we’ve screened it in a few festivals in France, which was a different [experience]. It’s the same movie of course, but it’s subtitled and a different vibe, even for me! You don’t laugh at the same moments.
Review: 'Narco Cultura'
The term "narcocorridos" may not sound like a familiar genre of music to many, yet it stands to be among the most popular with Latinos and Mexicans. The sound is accordion and guitar heavy, with upbeat rhythms and extremely graphic lyrics. The uptempo nature of the narco corridos harshly contrasts the imagery of the lyrics, telling the story of guns, drugs, and murder. These lyrics come directly from the Narco culture in Juarez, Mexico, where the drug cartel rules the town. Director Shaul Schwarz brings this underground culture to mainstream attention in his provocative documentary "Narco Cultura."
"Narco Cultura" is a harrowing look at two very interesting sides of the Narco Culture; one shows the desperation stemming from civilians and the Mexican DEA, whose lives are in danger every day. They live in fear of the drug cartel, who send their messages through the decapitation of rival gangs, then leave body parts scattered across town. Director Shaul Schwarz doesn't hold back from showing murdered bodies, bullet holes to the head, or blood running down the city streets. Stray dogs wander as policemen, wearing black masks for identity protection, investigate the crime scene. Schwarz makes it clear that this is not a random occurrence, but an unfortunate look at everyday life in the city of Juarez. Just to put it into perspective, one of the hard-hitting facts plastered across the screen reads, "In 2010, the police processed 3,622 murders."
Just to put it into perspective, one of the hard-hitting facts plastered across the screen reads, "In 2010, the police processed 3,622 murders."
The other side of the story focuses on Los Angeles-based Edgar Quintero, the leader of the popular narco corrido band "Los Buknas de Culiacan." The group draws inspiration for their folksy ballads from the cartels in Mexico, and at one point in the film, Quintero expresses his desire to travel to these crime-ridden towns for new inspiration. His glorified view of the cartels, who have been described as modern-day Robin Hoods, is what makes "Los Buknas" so popular. In fact, it's not unusual to see them play a show with a fake bazooka or gun in hand.
It's a film that is hard to watch, knowing that this type of violence exists today and the corridos only help propel the criminal behavior., especially when Edgar and his band are treated like royalty, and their fan base is loyal and growing. Schwartz does a good job of not making Edgar seem like the bad guy, we root for him but also want to shake him and wake him up to the severity of his actions. "Narco Cultura" is not for the weak of stomach, but if you can get past all the blood and dead bodies, it is one of the most eye-opening and critically disturbing films of 2013.
https://www.youtube.com/watch?v=KiqzVnA5uLE
Review: 'Neighboring Sounds'
Neighboring Sounds offers a glimpse into the world of the upper middle class in the town of Recife, Brazil in director Kleber Mendonca Filho's narrative feature debut. Part drama and part thriller, the sleepy town on the coast of Brazil is awoken to a series of petty crimes, which results in a security team being stationed on the city streets 24/7. While the guards do their best to reassure the town's sense of safety, their overly aggressive actions cause the residents to suffer anxiety and fear. It's an interesting film, spoken in Portuguese with English subtitles, which is sure to leave audiences in awe of its realism and visually suspenseful cinematography.
For Kleber, Neighboring Sounds is a special film for many reasons, one being the simple fact that this is his narrative debut. His journey towards being a director is quite unique, he entered the film world as a journalist, “I started to write as a journalist and then as a film critic,” he says. “Two years ago I stopped writing as a critic because I just couldn’t do it anymore, it got to be too much, and I had to make this film… I quit to make this film, and, of course, I miss it, but I’m very happy that I quit also because it’s like getting rid of one gigabyte in your hard drive. I was—you know, a normal week I could write two reviews or maybe five. The exercise of going to the films and coming back and having to write—I was already thinking of making this film—it was just too much. And I quit. Now, I’m working for my film, and my films.”
It's an interesting film... which is sure to leave audiences in awe of its realism and visually suspenseful cinematography.
Being a critic for over 14 years definitely helped shape Kleber’s style as a filmmaker, citing cinema of the 1970’s as inspiration. He was able to see what he liked and did not like and express why he felt that way through his writing. This is how, ultimately, he was able to make a film with little actual filmmaking experience.
Every scene is a vignette, which weaves through the entire film. The film is literally broken into three chapters but the decision to keep a cohesive storyline, instead of one individual story per chapter, is the right choice for this film. Every character’s story that is played throughout the film has time to develop; it is not subject to start and end within a specific "chapter." In fact, Kleber’s final run time is just over 2 hours and even then, he feels two hours isn’t enough time to delve deep into the characters. It’s a film where nothing can happen, but at the same time, everything happens.
Neighboring Sounds was released in theaters in 2012 and on DVD on May of this year and has been selected as the Brazilian entry in the Oscar foreign film race. It is an impressive first film by Kleber whose name will definitely be heard in the years to come.
https://www.youtube.com/watch?v=yeDOSDOs2X0
Review: 'Mandela: Long Walk to Freedom'
Before you discredit this film as being just another biopic, especially alongside a number of Oscar hopefuls that wishes to use their authentic "true life story" status for Academy soft-spot loving, know that Mandela: Long Walk to Freedom is not just another movie you'd see in history class. With terrific acting, cinematography so effortless it transports you into another era, and a script that stays extremely close to the actual events of the South African Apartheid, this film proves it is worth investing in, even if you've heard the story before.
Nelson Mandela left his mark in history, and the film world is no different. Morgan Freeman, Terrence Howard and Sidney Poitier have all had their turn portraying the icon, and now Idris Elba joins the ranks of their elite as he transforms into Nelson Mandela, a role which ought to bring him even more critical acclaim as an in-demand actor. With a resume including Stringer Bell on "The Wire", he's proven to be a gifted actor, and even if he doesn't physically resemble Mandela, Elba's characterization is spot on. His performance is both emotional and strong.
This film proves it is worth investing in, even if you've heard the story before.
You can't rush through the life of any man, yet alone the life of Nelson Mandela, and this film doesn't try to. Its 2 1/2 hour run time focuses on Mandela's political activism during the 1940's, summarizes the 27 years he spent in jail, and his subsequent release and pre-Presidential role. His romance with Winnie Mandela, played by Naomie Harris, doesn't get as much screen time as it deserves, although what scenes they do share are heavy. It's a lot of ground to cover, but director Justin Chadwick chooses his moments carefully; every scene, every moment has a purpose. Unlike some films, Chadwick "cuts the fat" and doesn't portray what isn't absolutely necessary to his vision.
The look and feel of Mandela is also worth noting; cinematographer Lol Crawley should be praised for his work, every shot was composed as if to exist as a beautiful photograph. The costumes are another notable characteristic of the film; the 1940's fashion scene is always a hit, you can never have enough tortoise shell horn-rimmed glasses.
For those looking for a straight history lesson, or for those looking for a time period drama, Mandela: Long Walk to Freedom is a film that meets both expectations. It's length makes watching it more of a commitment than other, but if you're willing to set aside the time, the result is worth it.
https://www.youtube.com/watch?v=GAglZjX3HOk
Review: 'The Punk Singer'
Kathleen Hanna is a badass. Beyond scrawling the message "Kurt Smells Like Teen Spirit" on the would-be Nirvana frontman's wall, inspiring the landmark single, she was a modern day visionary in the women's liberation movement. But above all, she was the lead singer of the punk groups Bikini Kill, Le Tigre, and The Julie Ruin. If there was ever an it-girl of the 1990's, Kathleen would lead the way as a pioneer of feminist activism through rock and roll music. Director Sini Anderson chats with Kathleen in her documentary The Punk Singer and uncovers the hidden pain behind her effervescent smile.
If anyone's deserves a documentary, it's Kathleen Hanna. From her days performing spoken word poetry in college to playing onstage with her latest band The Julie Ruin, Kathleen's story is an inspiring one with a powerful message for both women and men. Her influence on the punk scene gained supporters from all over the country; Anderson includes interviews from rock icons like Joan Jett and Carrie Brownstein to show just how many people she affected with her "Girl Power" mantra.
It's not an over-the-top, pro-feminist film; it's more of a super cool overview of the history of punk rock, told through the eyes of punk princess Kathleen Hanna.
Beyond the rebel, Anderson portrays Kathleen with all of her more humanistic qualities, showing her rise to fame with humility. Once she became a recognizable household name in the punk world, Kathleen collaborated with other like-minded women to create the online zine, "Riot grrrl." This zine ultimately turned into an underground feminist punk rock movement that empowers women and is still going strong today. Although with her accomplishments comes heartbreak; Kathleen's ongoing battle with an unknown disease is finally uncovered in "The Punk Singer," and the outcome is both shocking and sorrowful.
In true Riot grrrl fashion, Kathleen used The Punk Singer as her platform to tell the world about her battle with Lyme Disease. She, along with her husband Adam Horovitz aka Ad-Rock of the Beastie Boys, continue to struggle with treatment. Kathleen is not shy as she opens up about her experience living with the disease and how she's grateful for her "second chance."
The Punk Singer is a great documentary that should be recognized for its quality filmmaking and message. It's not an over-the-top, pro-feminist film; it's more of a super cool overview of the history of punk rock, told through the eyes of punk princess Kathleen Hanna.
https://www.youtube.com/watch?v=zMbLzaVkn2s
Review: 'Nebraska'
It's been about 2 years (2011's The Artist) since a black and white film graced the big screen. So leave it to Alexander Payne, the acclaimed director of such character-study films as Sideways and The Descendants, to create a story so quirky, it's captivating. Nebraska tells the story of Woody Grant (Bruce Dern), an aging, alcoholic senior, who believes he's won a million dollars. Early on, it's clear that Woody is confusing his "winning lottery ticket" with your average junk mail promotion. Set on claiming his prize, Woody sets out on foot from his home in Billings, Montana to Lincoln, Nebraska, and doesn't let anybody stand in his way. Afraid of his unrealistic determination, Woody's son David (Will Forte) decides to accompany his dad and the two set out on a road trip, discovering along the way more about the other and themselves.
What is interesting about Nebraska is its feel, staged more like a play than a movie, which should leave fans of Payne's pleasantly surprised.
Though Woody is a man of few words, Bruce Dern does an excellent job of portraying his character in a sympathetic way. His silent facial expressions alone are award worthy, making for a lived-in performance (Dern won the best actor award for Nebraska at this year's Cannes Film Festival). Meanwhile, Will Forte's steadier rhythms as David counterbalance those of Dern's effectively, lifting a character who might have otherwise been seen as flat. Usually known for his comedic roles, Forte keeps more of a straight face in Nebraska. Bob Odenkirk of "Breaking Bad" notoriety plays Forte's brother, Ross. He was a perfect choice for the role, although he doesn't have as much screen time as one will hope. A few characters seem like novice actors, which took me out of the film, but other than the occasional awkward line delivery, Nebraska has a neatly packaged cast.
Not necessarily a comedy, not really a drama, Nebraska delivers in its realistic look at a dysfunctional family. The black and white look is an artistic touch, although I believe the film could have benefitted from a saturated color palette. Road trip movies driving through the middle of nowhere are a little dull when they're shot in tones of gray. What is interesting about Nebraska is its feel, staged more like a play than a movie, which should leave fans of Payne's pleasantly surprised.
https://www.youtube.com/watch?v=UT5tqPojMtg