Director Michael Rossato-Bennett & Dan Cohen on 'Alive Inside'
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Music is an important part of my life, as I'm sure it is yours. Every day, we're influenced by the type of music we listen to and fortunately, most of us are able to recall those special memories associated with those songs. Unlocking that inner being is what Director Michael Rossato-Bennett set out to do while filming Alive Inside. With a genius idea from social worker Dan Cohen to incorporate personalized music in nursing homes, Rossato-Bennett is able to capture the "a-ha" moments of senior citizens living with dementia, where recalling any sort of memory is virtually impossible. An award-winning documentary, Alive Inside is an uplifting and inspirational film, which made my exclusive interview with Michael and Dan all the more special, even offering up a touching moment from Michael as he talks about his reasons for choosing the film's end song, Edward Sharpe and The Magnetic Zeros' "Man on Fire," which you can hear in the Soundcloud clip above. We begin:
DID YOU KNOW WHAT YOU WANTED THIS FILM TO BE WHEN YOU BEGAN FILMING, OR DID IT SURPRISE YOU ALONG THE WAY?
MICHAEL ROSSATO-BENNETT: Absolutely surprised me. It started out as a simple job- just creating video clips for a website for Dan [Cohen]. I just saw, lined up against the hallway, literally one hundred people in wheelchairs just sitting there- they looked like they were dead. That's what Henry was like when he was wheeled in, his head was against his chest. When I filmed Henry reacting to the music that had formed him, I saw this man literally be resurrected. That was the moment for me- tears came to my eyes, I felt it.
Whenever a human being suffers being treated like an object, it's an assault to the self. If it happens every day for 10 years, you just slip away, you fade away into nothingness. What Dan is doing with this project is throwing them a lifeline, he's giving them a piece of their self and it's the most profound piece of the self that anyone can have. Music that made us when we were young, it lives in us in a phenomenally powerful way.
I learned something very powerful; these people don't have their memory, there is a lot of functionality they don't have. When I first started this project, I saw them as dead. But what I learned, and music was the teacher…is that there's a life inside each of those people. There's a movie that plays inside each of their heads that will disappear when they go. I never thought about these things until this project.
DID YOU FIND THAT SOME OF THE SENIORS WERE NOT RECEPTIVE TO THE TECHNOLOGY AT FIRST?
DAN COHEN: I don't think it's so much "the technology," it's really just the music. That's part of the reason why nobody really thought of this, if it's technology we just think, 'Oh, [seniors] aren't going to want to do it.' It does work most of the time.
HOW DID YOU NARROW DOWN WHAT STORIES TO FOLLOW IN THE FILM?
MRB: This whole endeavor is seeking and following emotion. That's what Dan is doing, he's saying 'What song touches your emotions the deepest' and then he's just trying to find them and give them to these people. That's it. It's so simple. As a filmmaker, that's what I do. I just watched, and looked, and if it touched me emotionally, it ended up in the film.
I HEARD THERE'S TALK OF AN "ALIVE INSIDE" APP...
MRB: Yes, I was in a conference call today. We're getting very close. This is not going to be the "be all and end all" of apps, it's just a tool to support a connection between the young and the old. We wanna do a reach into schools and churches that will aid a conversation about the themes in this film... We have no conversation about the wisdom that comes with age. It's a taboo subject in our culture. It's called the Alive Inside app, and it'll be out very soon.
WHAT MUSIC WOULD YOU HAVE ON YOUR PLAYLISTS?
DC: 60's music. Beatles, Stones, Led Zeppelin, James Taylor, Peter, Paul & Mary, and the Beach Boys.
MRB: My taste goes from Philip Glass to Joanna Newsom to Pavarotti, to Bach. Jeff Buckley to Björk. I don't know if I'm gonna be 95 and listening to Björk, but I'll certainly be listening to Johnny Cash and Willie Nelson. And The Beatles, I'll never not listen to The Beatles.
THE EDWARD SHARPE AT THE END, WAS THAT A PERSONAL PREFERENCE OR DID YOU HAVE A REASON FOR CHOOSING THAT?
MRB: Absolutely, there's a line in the film that says, 'Everybody wants safety but not me, I'm a man on fire.' I'm a little overcome here. I think nursing homes are our attempt at safety. Nursing homes are amazing, we could let our elders and our sick elders just die on the streets like Elizabethan England, but we don't. It comes from our desire to create safety for these people, and it's just a little misguided. Drugs are not the safety for these people, their deep selves are the safety and that's why Edward Sharpe is in there, because he says it. He says, 'I'm a man on fire,' and fire burns and you have to be willing to stand up to the flame to really change.
WHAT WAS YOUR SUNDANCE EXPERIENCE LIKE?
MRB: I wasn't eve going to submit it. [The registration fee] was $100 and I didn't have $100 at that time. My wife made me do it and we go it, and I thought that was the end of the story. I thought it was the greatest victory. 12,000 films were submitted, and they pick 16 for competition in American Documentaries. The numbers were against us, but the experience was amazing. Sitting in a room with 800 people and seeing grown men literally weeping, not for sadness, but from some sort of connection that they were feeling. To win, that means that we were the film that people had the most emotional reaction to. It told us that people are interested in this story.
Review: 'Alive Inside'
It's no surprise that music does something to us- whether it brings back happy memories like Fleetwood Mac's "Gypsy" does for me, or stirs up feelings of sadness, there is no denying that music's ability to make us feel any emotion is quite profound. It's been proven that the brain lights up when exposed to music, and interestingly, the part of the brain that processes both music and memories is last to be affected by Alzheimer's or dementia. With these facts in mind, social worker Dan Cohen set out to revitalize patients in nursing homes and awaken their memories with one simple thing: an iPod. The outcome of his efforts is incredible, and the subject of director Michael Rossato-Bennett's award-winning documentary, Alive Inside.
As the film points out, the ratio of doctors to patients is overwhelmingly skewed in nursing homes, and not in the patients favor, so personalized attention is nearly impossible. Cohen leads the audience to a main room of the center, where seniors are sitting in wheelchairs, watching TV; basically, just existing.
One man in particular, 94-year-old Henry, has been a resident for 10 years and every day, he sits with his eyes shut and head down in his chair. A nurse explains that Henry has never been an animated personality, and prefers to sit alone. It's a tragic scene, heartbreaking really, knowing that this is the way many seniors are living out their final days. However, as Cohen explains, this doesn't have to be the case.
Not only is Alive Inside a tightly executed film, its' screening at this year's Sundance Film Festival took home the Audience Award in the Documentary Category.
As soon as Cohen places the headphones over Henry's ears and pushes play on the iPod, it's as if Henry falls into a trance. With his eyes open wide, he lifts his head, and miraculously, begins to sing. This is just one moment out of many shared in the film, which walks a fine line between documentary and educational.
This is director Michael Rossato-Bennett's first feature film, and his passion for the subject matter is obvious. Not only is Alive Inside a tightly executed film, its' screening at this year's Sundance Film Festival took home the Audience Award in the documentary category.
We are all made to age, but unfortunately, our culture tries to defy it at any cost. Instead of embracing this stage of life, many disregard it or write it off as "the end." But who's to say that "the end" shouldn't be full of memories as well? Cohen's introduction to individual music players as a form of healthcare will forever be a life-enhancing resource, just as Alive Inside will enhance the lives of the audience. One thing's for sure, it will give new meaning to your personal playlists.
https://www.youtube.com/watch?v=IaB5Egej0TQ
Colin Firth & The Cast on 'Magic In The Moonlight'
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"Ms. Stone would like to be here today, but she's making a Woody Allen film," Jacki Weaver giggles to us at the start of our press conference. "That's the only way to get out of doing press," exclaims Colin Firth, who himself is sporting Allen-esque black hipster glasses. From my left to right sit Firth, Weaver, Hamish Linklater, and Simon McBurney, stars of the much anticipated film, Magic In The Moonlight. Though it may sound cliché, this press day really was magical, or at the very least mesmerizing, as I sit in the front row, ready to listen to this incredible group of actors who brought this romantic comedy about mysticism and the supernatural to life. We begin:
WHAT DO YOU TAKE AWAY FROM YOUR EXPERIENCE WORKING WITH WOODY ALLEN?
SIMON McBURNEY: It was a very curious experience for me because I had no idea I was even being considered for this movie. I was at home with my kids and my wife and my agent rang up and said 'Could you just film yourself in your kitchen, cause Woody Allen wants to see you for his next movie.' I think I filmed myself 40 different times… I sent if off and though it was never going to happen. And then it did happen… to get the part was extremely surreal.
HAMISH LINKLATER: I got the call to come meet Woody… and I got the part. There were two sentences spoken, he was like, 'We're considering you for this movie,' and then the next one was 'Well, we'll see you in France.' And then I went outside and sat down, and cried. His place is on the upper East Side on Central Park and I found a bench, and yeah, I had a weep.
COLIN FIRTH: It's like the end of Blue Jasmine.
[Laughter]
JACKI WEAVER: My manager said, 'Woody Allen wants to see you,' and that was it. I went to the office, he said said ' I really want you to be in my next film,' and I said, 'Awe, thanks!' And he said, 'You have to be honest, if you hate it tell me and I'll find another project we can do together.' [After reading the script] I said, 'I'd like to play all these women's roles,' and he said, 'You can't, you can only play Grace.'… The rumor that I heard was that he saw me on The Ellen DeGeneres Show, which I think is a lovely idea not just if that's true, but also the fact of Woody Allen watching Ellen DeGeneres.
[Laughter]
CF: I was the one who didn't get a meeting. I heard rumblings that [Woody] was inquiring about my availability...Suddenly the script was upon me… [the script] had to be entrusted to a trustworthy person who had to travel a long car journey, and then that person had to wait while I read the whole thing. I'm not a fast reader, and there's nothing like having the intensity of being offered something by somebody like [Woody]. There was a note from Woody Allen saying nice things about how I was right for it...
JW: [To Colin] You're being modest, he said 'I wrote it for you.'
CF: Well he didn't write that in the note, that would've appeared flirtatious.
[Laughter]
DO YOU REMEMBER THE LAST SCENE THAT YOU SHOT, AND WHAT WAS THE EMOTION LEAVING THIS FILM?
HL: The big ball, that was the end of it for us, and it was super sad and really late at night. Woody came up to me, privately, and said, 'Hamish, I don't know if you're going to like the movie when you see it, but I know you'll like your work in it.' And then he came up to Jacki, privately, and said, 'I don't know if you're going to like the movie...'
[Laughter]
HL: We both went home with this private secret after the last day, that Woody had really loved our work individually in the picture. Later that night, when we were talking, we revealed it, haha! Our secret!
SM: The best things about the last day was the elephant… when I finished, [Woody] gave me a very beautiful present...
JW: The elephant?
SM: Haha, well Woody's very fascinated by magic… he gave me a little box. There's a museum of magic in Paris, and he bought me an original 1920's magician's wand. It's very, very beautiful, and a very powerful thing to get.
CF: Looking back on that day, it's hard to believe that it was one day. After Simon wrapped around 6 or 7pm, I had another seven or eight hours to go and one of the most challenging scenes was deep into the night- the big tirade when I first speak backstage, taking off the makeup. Trying to remember it- getting all the moves and the dialogue right all in that one shot, timing that piece of theater is quite a challenge. And it had occurred to me that the last line of the last word I uttered on that entire shoot was: "sodomy."
[Laughter]
CF: I can speak to Emma Stone's last day, my last day with her in fact, was a mirror image of our first day because it was a re-shoot, which didn't make it into the final cut of the film. So it was bookended by scenes that you will not see.
FOR HAMISH, YOU'RE HALF NAKED, AND YOU'RE SINGING- WHAT WAS THAT LIKE FOR YOU WHEN WOODY APPROACHED YOU TO DO THAT SCENE?
SM: It was terrible for us…
HL: Turns out that was a question for the rest of the table.
[Laughter]
HL: I was like, 'As long as that swimsuit is belted, Mr. Allen.' I think it's all to the credit of Emma Stone for making me feel so comfortable all through that scene, she was a really wonderful scene partner, unlike the rest of these shenanigans I'm sitting with right now.
HOW MUCH DID THE LOCATION AND THE PERIOD HELP YOUR PERFORMANCES AS THESE CHARACTERS?
JW: I would say the costumes certianly enhanced the performances. Of course, the glorious mansions we were shooting in the South of France, it all enforces what you're doing… In the ballroom scene I was wearing 2.9 million dollars worth of diamonds!
SM: Oh, there were two absolutely massive guys [guarding the jewelry].
CF: They were like, in the shot- they wanted to be as close as they could to the jewelry.
SM: They stood on the edge of the set and they watched her neck.
Magic In The Moonlight opens in theaters Friday, July 25th.
Composer Nathan Whitehead of 'The Purge: Anarchy'
Composer Nathan Whitehead has always been fascinated with music. From composing for video games, to television, and feature films, his range of work is expanding vastly. This time around, Nathan talks exclusively to CINEMACY about his experience working on the just-released thriller The Purge: Anarchy. We begin:
HAS MUSIC ALWAYS BEEN A FASCINATION TO YOU?
Yeah, it has always been a fascination. Fascination really feels like the right word too. I remember listening to my parents' records and poking around on our piano and thinking about how exciting and mysterious the idea of creating music was. I didn't always know I wanted to be a film composer but I was fascinated by music as far back as I can remember and I think the fascination and curiosity is as strong as ever today. It still feels mysterious.
HOW IMPORTANT IS A COMPOSER'S JOB IN RELATION TO THE FILM AS A WHOLE?
I think the composer's job is somewhat unique in that we are providing this element to the film that is usually outside of the literal narrative. When we're watching a movie we don't say "hey, where's that orchestra that's playing?" We just usually accept the score as part of the film, in many cases we might not even notice it but we feel it. I think the composer has the unique opportunity to have this direct emotional input into a film and I think that's very important. At the same time, I love the collaborative nature of filmmaking and the score is just one element. I think the composer's job is critical but so is the writing and acting and directing and all the other departments. The amazing part is seeing it all come together.
WHAT WAS YOUR INSPIRATION GOING INTO THE COMPOSITION FOR THE PURGE 2?
We talked a lot about the madness of the night. That was something I kept in mind a lot, how could this music speak to all the madness that erupts on Purge night. Also, I think the city of Los Angeles and all it’s grit and beauty and sprawl provided inspiration. This film expands and takes place all over the city. There are these beautiful aerial shots of L.A. with the skyline and this sea of lights and it feels big and expansive. Then there are sequences where we are in the bowels of the city and it’s dark and we have all these urban sounds and textures closing in on us. This was all really cool inspiration. It provided a great canvas to create a score that felt larger in scope and then we dive into these intense, violent situations that are unfolding all over the city. It called for much more range in the score I think.
This film is really a sort of hybrid action-dystopian-thriller movie. It feels like it exists in between some of these genres rather than being a straight horror movie or action movie. Because of this we were always steering away from music that felt too traditionally action or too traditionally horror. We focused a lot on sounds and textures and paid a lot of attention to the emotional content of sounds. There are melodic motifs but finding sounds or textures that contained something intangible that felt like the world of The Purge was a big part of writing this score. So I tried to focus a lot on creating this unique vocabulary that would hopefully work between all these genres but still deliver the pacing and tension and emotion that we needed. It was really tricky at times because I couldn't reach for some of my go-to tools or techniques but it was also a lot of fun creating all these textural and electronic elements.
LIKE GOOD EDITING, THE BEST JOBS OFTEN GO UNNOTICED. IT'S SUBTLE, YET MAKES A HUGE IMPACT ON A FILM'S OVERALL RECEPTION. IS THIS SOMETHING YOU ACKNOWLEDGE IN YOUR WORK?
Absolutely, and I think it's fine to go unnoticed. My goal is to help make the best film that we can and do my part to help tell the story. If someone watches a film I scored and it makes a connection with them one way or another, that is awesome and I think it's successful whether they specifically noticed the music or not.
YOU'VE WORKED ON A VARIETY OF PROJECTS, LIKE TRANSFORMERS: DARK SIDE OF THE MOON TO DESPERATE HOUSEWIVES; WHAT WAS THE MOST FUN YOU HAD WORKING ON A FILM?
Both the Purge films are at the top of the list in terms of having the most fun. The schedules were short (especially the first one) but it was a great experience working with James DeMonaco and the rest of the team. It felt very collaborative and I had a lot of freedom to explore ideas. I think James is a great director in that regard, he manages to create space for you to cultivate ideas and experiment, even on a crazy deadline, and he’s genuinely interested in what everyone is bringing to a project. Another really fun project was working with Sarah Smick and Ian Michaels on Friended to Death. The reasons are pretty much the same, we were able to have a great dialog and an openness to exploring ideas. To me, that collaboration is really fun and I think it usually results in better work from everyone.
WHO ARE A COUPLE OF YOUR FAVORITE ARTISTS, PAST AND PRESENT?
Wow, there are so many inspiring artists but to pick a couple I would say Jon Brion and Arvo Part. I think Jon Brion is incredibly diverse. I love his score for Magnolia andStep Brothers. He is also a fantastic song writer and has great production chops. It seems to me that he pays a lot of attention to both the sounds and the notes and combining composition and production, treating them almost as the same process, is an approach that makes a lot of sense to me and I'm impressed how well he does all these things. I think Arvo Part's music is uniquely amazing in the way he can create sparse, minimal compositions with incredible depth and subtlety. Simple ideas are always so hard to pull off and I think are usually the most effective. I love how evocative and emotional Für Alina is for example. It's this sparse piano piece but it's so powerful.
I think I do my best work in my studio. It’s my laboratory. I try to make my studio an inspiring environment, sort of protect that space and try to use it only for writing. I think it’s really valuable to be able to have this dedicated space where I can lock myself away from distractions and just experiment freely. To me it’s a combination of this space to work in and also allowing the time to focus and not be interrupted. Time to just get lost in the process. That’s the ideal situation anyway, I don’t always have a nice big chunk of time but I do my best to build that in to my routine.
AS WELL AS SUCCESSFULLY WORKING AS A HOLLYWOOD COMPOSER, I HEAR YOU ALSO MAKE AWARD-WINNING CORNBREAD. WHAT'S NEXT ON YOUR LIST OF THINGS TO EXCEL AT?
Ha! Well, overall I think I just want to keep learning new things. I recently went fishing with my brother-in-law in Montana and I think I would like to learn to fly fish. I would also love to learn to play the cello.
Review: 'Happy Christmas'
Joe Swanberg of Drinking Buddies fame is back with another rambling comedy about a twentysomething's identity crisis and the subsequent effect on her friends and family in the dramedy, Happy Christmas. Almost immediately, the desperation stemming from the film's protagonist Jenny (Anna Kendrick) will polarize audiences into either finding this mumblecore movie charming or not; I seemed to agree with the later.
Kendrick plays Jenny, who, broken-hearted after a nasty breakup, decides to move in with her married brother and his family. She arrives in Chicago and seems to have put the past behind her as she cheerfully greets her brother Jeff (played by the film's writer/director, Swanberg), his wife Kelly (Melanie Lynskey) and their adorable son Jude (Jude Swanberg), Joe's own son (who also gave the best performance).
Dependability and trustworthiness are not Jenny's strong suits, as she soon flakes on her babysitting obligations, stays up late drinking, and almost sets the house on fire. These moments, although intentionally comical, I found slightly agitating. If we as the audience are supposed to sympathize with Jenny or care about her well-being in the least, her blasé attitude certainly doesn't help us do so. The mess she makes both literally and figuratively far outweigh the repercussions she faces, leading to my biggest critique, being that there are no apparent consequences to these scenarios- Jenny gets let off the hook far too easy for almost starting a fire that would have destroyed a family and Christmas.
The formula plays out much the same as it did in Drinking Buddies, lots of stuttering, careless attitudes from the female leads, and ultimately, no real punch or weight.
The supporting roles feel organic to the film- for example, the queen of the genre Lena Dunham plays Jenny's best friend Carson. Her natural comedic timing and rapport with Kendrick make for enjoyable scenes, although, for those hoping to see Dunham play something other than her Hannah Horvath (Girls) persona, it's a letdown. We see her as " the actor Lena Dunham," not as Carson, which proves challenging to give in to the suspension of disbelief, of which these types of films only barely ask you to do.
In true Swanberg form, the low-budget aesthetic and hand-held camera work is consistent with his previous films. The formula plays out much the same as it did in Drinking Buddies, lots of stuttering, careless attitudes from the female leads, and ultimately, no real punch or weight that defines "movies" as "movies."
As a whole, Happy Christmas is a lighthearted film whose existence will be recognized by fans of Swanberg, but most likely overlooked by the rest. As I left the theater, I felt as if I had just witnessed an inside joke playing out on screen that I and the audience weren't a part of, but we laughed politely and nodded our heads in acknowledgement anyways. Although there is no denying that little Jude Swanberg is worth the price of this ticket. All of the laughs generated from the film came from this two year old baby, and as I re-read my notes after the film, I realized I jotted down "Give that kid an Oscar!" Amidst all of the film's kerfuffle, I still stand behind that.
https://www.youtube.com/watch?v=7VaaYbraOrQ
Director Dave Green talks 'Earth to Echo'
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A debut feature film is a huge feat for any director. For Dave Green, the stakes were higher, but the reward is sweeter, as the director unveiled his film Earth To Echo yesterday. Coming from the world of music videos and short films, Green is paving the way for young directors by staying true to his unique style. I had the chance to talk to Green (on the day of the film's release, no less) about his experience working on a high-budget studio film, as well as his hilarious reaction to finding out he was going to direct it. We begin:
WHAT WAS THE TRANSITION LIKE, GOING FROM MAKING SHORT FILMS TO YOUR FIRST FEATURE?
I think the transition, from making shorts to making this movie, was interesting for me. Because even though this was a feature film, there were things that got scheduled a little bit differently than even on a short film or a music video- where you can spend a lot of time on one shot, just like you had planned, and you kind of cross it off the list.
Because this movie was shot in twenty eight days and it was kind of made at a break-neck speed, there were certain cases where you'd have even less time to spend on a particular thing. So I'd say that part of the learning curve for me was having to actually let go of certain things. For example, I had storyboarded something in a particular scene, and letting go of the idea that it had to be done exactly [was difficult], which is usually my M.O..
Also, walking into the production as a "young director," I wanted to be sure I was clear in my communication to my crew. So something that I did for better or worse, was I kind of, I like to stay on message, I was like, "I want to run this movie like the first Obama campaign," which is like, incredibly on-message all the time. I didn't want to waiver from what I originally told people when we were walking the scene.
But at the same time, there were all these people around me who had dozens of years of film experience above me, and who had been in the business for so long. That was also part of my 'letting go' process- just looking at those people on the set, saying "Hey, they know what they're doing, I'm gonna let go, and let them do their thing," and the result is always much better, so I learned from them.
WHAT WAS YOUR REACTION TO FINDING OUT YOU WERE GOING TO MAKE THIS FILM?
(Laughter) Well, ok. Henry [Gayden, Screenwriter] and I, we pitched the studio the movie, and that was pretty cool, but at the same time, we were kind of used to, not in a negative way, but we're totally used to hearing people say "no," which is totally cool, it's just the nature of the game. So, you pitch, you pitch, you pitch, you pitch, and you don't expect "yes," you never expect it...
So Henry and I had done the pitch, and without even thinking about it, we're like, "OK, well that's not gonna happen, there's no question." So we had ordered some sandwiches, we were ready to kind of wind down from the pitch and just kind of spend the rest of the afternoon working on other projects, cause we were like, "Yeah, of course, that's not gonna happen," like every project doesn't happen. And we were on the way to eat and we got a call, like, ten minutes after the pitch. And the producer called us into his office, and we sat down, and he's like, "So, they said 'yes'." And we were very confused, so we were immediately terrified. And then like, I was very scared. I was like, "Oh shit, now we have to actually go and make this." This is terrifying.
And then we had a couple of weeks where we were literally thought that it wasn't real, like they were joking, where you know, they would knock on our office door a couples days later and just like come in and be like, "Hey sike! This is not for real."
DID YOU WATCH ANY MOVIES FOR VISUAL OR DIRECTORIAL INSPIRATION?
Well, I know Henry watched basically every first person movie there is. He watched REC, he watched all the Paranormal Activity's... I didn't really dive into those movies very deeply. But I do remember a couple things- Like one, I was watching Stand By Me at the New Beverly [Theater] when we were very close to the pitch stage on this movie, and we watched a double feature of The Princess Bride and Stand By Me, and I was like, "Oh, this is a great time."
But, I think it's more like accessing that hard-drive in my brain; little pieces of production design and little pieces of fine art photography, or little pieces of reference from all over. I had this wall in my office that was big- I asked to get this material called 'celotex' which makes your wall a huge bulletin board. And for the first, five days, on the movie I was just- I had a color printer in my office, and I was just printing out stills from anything that made sense for the movie, just kind of throwing them up on this wall. Some of the images were from photographer Gregory Crewdson who does all the Spielburg-ian neighborhood shots, and some of them were this guy named Joel Sternfeld, who is this other fine art photographer, he takes pictures of like, Americana. And then we had robot references that were from Wall-E, and yeah, there were production design pieces from Close Encounters (of the Third Kind), and all these things kind of went up on the wall, and I could just kind of stare at them whenever...and it was easy when I had production designers and DP's that I was meeting, because they would just go into the room and they were like, "Oh, yeah, ok. We see what you want it to look like."
WHAT DO YOU THINK OF THE FILM BEING COMPARED TO ET ?
Well, it's always very humbling to be mentioned in the same sentence, because obviously E.T. is a masterpiece, even though certain people aren't bringing it up as an equal comparison...I mean, E.T. is a movie that is about a friendship between one boy and one alien, and it's like a love affair. And it takes place over two or three weeks, and they fall deeply for each other, and they depart from each other. And our movie is about a group of four friends who are, ebbing and flowing from each other. And the fact that they find this little alien is kind of- these kids could've easily found a baby bird [ in place of Echo] on their last night, which is something that one of my friends said when he saw the movie, and I was like, "Oh yeah, that's true." This is a story about the friendship between the kids. And yeah, it's flattering to be mentioned in the same sentence, and if it's giving people even a smidge of those vibes, than that feels great.
WERE THERE ANY CHARACTERS IN THE FILM THAT YOU PERSONALLY RELATE TO?
Yeah, for sure. Henry came up with all the characters and pitched them to me, all comes from him. There are pieces of him in all of them too- like if you asked him, he would say that he relates most closely to Munch because Munch is like the actualization of all of Henry's insecurities in one little guy.
But yeah, I connect to each of the kids in a different way. You know, even if you're a twelve year old boy and you see the way Emma's parents are treating her in the movie, even though you're not a girl, you can take the leap and put yourself in those shoes and feel the things that she's feeling. At like twelve, thirteen years old I was a lot like Tuck. Meaning, I was the one with the video camera, pressuring my friends to do a short film, or you know, get covered in fake blood or something. So as the kid with the camera who's basically the group motivator, I guess I would be the closest to him.
DRIVING AROUND L.A., I MYSELF HAVE SEEN THE FILM'S POSTERS EVERYWHERE. DO YOU HAVE A FAVORITE BILLBOARD THAT YOU'VE SEEN AROUND TOWN?
Oh yeah, it was super weird! I was out of town doing press in Arizona and when I left there was nothing up, no billboards up in L.A. When I came back, like three days later, I was in my car coming from the airport, and it was like somebody painted the town with these things, and it was completely surreal. It almost feels like when I drive down the street I'm like, "Oh, there's that movie that someone else made." It feels a little out-of-body.
But yeah, my friend actually sent me a photo the other day of graffiti art that someone did, that's beautiful graffiti art, all over an Echo billboard he found in North Hollywood, and when I saw that I was so stoked! I've seen graffiti artists do that on Transformers billboards, and Godzilla billboards, and stuff like that. I don't know if it's one guy, or if it's a couple guys who do this, but they manage to blend in the graffiti to the key art of the poster in a way that makes it feel like, "Oh, we're not tagging this billboard, we're actually just making a cool piece of art that actually integrates with the poster design," which is so cool. So it's just this kind of awesome, elaborate, just beautiful lettering that kind of just envelops Echo. As soon as I sat that I was just like, "I need to go there! That's amazing!"
Review: 'Life Itself'
Up until the very end of his accomplished life, Roger Ebert had a smile on his face and something to say. He may have lost his ability to speak, but ironically, he was talking more than ever- contributing his thoughts on film through social media and his website, www.rogerebert.com. The life and times of legendary film journalist Roger Ebert is beautifully captured in the documentary Life Itself, directed by Steve James.
James, whose biopic Hoop Dreams was nominated for an Academy Award in 1995, gives the audience the opportunity to feel a bevy of emotions and say one last farewell to a truly gifted man. The film intercuts between the past and present; from Ebert's hospital bed, he talks about his childhood and getting his start as the movie critic at The Chicago Sun-Times (a position he didn't even apply for). His fellow journalists and peers talk with James about Ebert's wild young adult years, his struggle with alcoholism and his ultimate happiness when he met his wife, Chaz.
Ebert remains self aware throughout the film, acknowledging this is his "third act" and probably wouldn't be around to witness the film's release. Unfortunately, in 2013, he was right.
The hot/cold relationship with Gene Siskel is explored in the film and serves as an anchor in the story as well as comedic relief. Archival footage from their PBS TV show Sneak Previews shows two film journalists from competing newspapers (The Chicago Sun-Times and The Chicago Tribune) who utterly despised each other, try to play nice when the cameras were on. While this charade was forced in the beginning, Siskel and Ebert began to develop a close relationship- exemplified by resurfaced outtakes from their show. Belittling and berating each other in their signature way makes for a pretty good laugh.
For all the heartwarming moments in the film, there is a fair share of uncomfortable ones. From hospital visits to forced insertions of feeding tubes, James doesn't shield the audience from unsettling situations. This was Ebert's life, his reality; however hard it was to deal with on a daily basis, his strength shines through all of these bleak circumstances. Ebert remains self-aware throughout the film, acknowledging this is his "third act" and probably wouldn't be around to witness the film's release. Unfortunately, in 2013, he was right.
It's the little moments captured in the film, though, that makes it a touching biopic as opposed to just another "biographical documentary." His white Lexus with the "MOVIES" license plate. His peer's comments that Ebert had the worst taste in women. Even the film's title, Life Itself, is taken from Ebert's bestselling memoir of the same name. These little-buried treasures humanize Ebert to an audience that may not be familiar with his personal life. Just as Ebert wrote his articles for the movie audience at large, Life Itself makes it easy for anyone to connect and relate to him.
Life Itself left me inspired, as I'm sure it did every single person in the theater. How it can be both sympathetic and courageous is a testament to the work of director Steve James; his ability to unbiasedly shed light on the late Roger Ebert's life is what makes this documentary a great piece of film journalism and cultural entertainment. Being a journalist myself, I knew this would be a difficult yet gratifying piece to write and can't help but personally hold this review to the highest of standards.
https://www.youtube.com/watch?v=z4SgwBRq-fU
Director Ryan McGarry of 'Code Black'
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The Code Black press day was held in one of the most unique places I’ve ever conducted an interview. Sitting among gurneys and medical supplies, I had the chance to talk to doctor-turned-director Ryan McGarry about his debut documentary Code Black at the Los Angeles County Hospital. One of the main focal points of the film is the importance of the infamous “C-Booth,” where it’s a close call between life & death, and that’s exactly where we’re sitting now. With a history that is both eerie and gratifying, it's the perfect spot to talk. We begin:
BEING IN “C-BOOTH” RIGHT NOW IS AWESOME. SINCE YOU’VE UPGRADED HOSPITAL BUILDINGS AND NO LONGER WORK HERE, WHAT’S BECOME OF THIS SPACE?
RYAN MCGARRY: Yeah, this is a fairly expensive state-of-the art training facility. All these mannequins [he points to a dummy on a gurney] are like robots and they can, like, throw up on you.
OH…
Yeah there’s a whole jug of blood over there.
CAN YOU REMEMBER THE FIRST TIME YOU WERE HERE? WHAT WAS THAT MOMENT LIKE FOR YOU?
Oh I almost shit my pants! I was a new, I was a rotating medical student and people are always shocked like when you join a team in medicine... there isn’t much “corporate” orientation. You would expect there to be this four-week long [training period], like ‘here’s every nob and button.’ Nope! You just get thrown in! Normally, that’s already pretty tough, but in this environment, that was insane.
To give you an idea, this base would have six beds. For a typical emergency department, one of these patients over one shift would be a big deal. Here, you’d have six of them pretty much every hour. Right off the bat I was visually overtaken by it all.
AFTER GOING THROUGH THE PROCESS OF MAKING CODE BLACK, WHAT WOULD YOU SAY IS HARDER- BEING A DOCTOR OR BEING A DIRECTOR?
Wow… I think they’re eerily, exactly the same. Thank goodness, I think there’s some overlap. I will say in directing if your crew, editor, producers, etc., sense that you’re creatively cornered, you don’t know the answer, they know that and you can tell right away that your team is starting to doubt. Same thing with your nursing staff, if you’re running a case and you’re in a rock and a hard place and you don’t know the way out of that, you can’t let people know that. You have to be able to negotiate that problem solving internally without letting that guard down and I think that’s an incredible, eerily weird exact similarity between the two.
HOW DID YOU FIND THE DOCTORS YOU PROFILE?
They’re my friends. There is no lack of characters here; I could have cast the film five different ways. Here, you have a pretty unique set of physicians who really know that they’re taking a harder path than they have to. There are easier places to train and work, so it’s already a unique question of ‘wait, why are you doing this?’ ‘Why are you choosing to make this 100 times harder than it has to be?’
I’M SURE YOU’VE BEEN ASKED THIS QUESTION A LOT, BUT WHAT WAS THE REASON FOR MAKING THIS FILM IN THE FIRST PLACE?
There’s no simple answer to that because it kind of grew up with me. When I first was here [at L.A.C.H.] it was shock and awe. I thought this would be an amazing thing to capture because it’s so intense. And then the question of ‘why does intensity matter’ became the real reason for the film.
WERE YOU WORKING AND SIMULTANEOUSLY MAKING THIS FILM?
Yeah…
WERE YOU SLEEPING?
No. Haha, I’m still kind of digging out of that. I had no vacation; any time that I had off went to the film or to the edit room. I was already working a lot and then obviously a film is a pretty big undertaking as well.
OH I’M SURE. IT DID REALLY WELL AT FESTIVALS!
Yeah! It won the jury prize for best documentary [Los Angeles Film Festival 2013] and then we were fairly undefeated following that in festivals around the country.
DID YOU EXPECT THAT?
No! No I thought it was going to be a disaster. I thought I was going to be the a**hole who made this film as he’s graduating residency about a hospital that already takes its’ share of knocks in the press.
YOU WORK AN INTENSE JOB; DO YOU HAVE A MORNING MANTRA?
I do try to remind myself that I am very lucky to be in this role. The problem is, sometimes you’re exhausted, you’re working every night, and sometimes there are things that are frustrating about the process… I think the battle for every physician in that kind of environment is getting some sort of renewal. I chose to make a film, and that’s [renewal] for me. I think that when I feel myself coming away from that humanity moment, I go, ‘wait a second, I did make a film about this.’
DO YOU HAVE ANY PLANS FOR ANOTHER FILM?
Yes! Code Black has been auctioned for a TV series, a narrative fiction series, so that’s in development. My co-writer, Josh Altman, and I have a few other projects in the pipeline and in the meantime I’m directing commercials.
ALL THAT, PLUS BEING A DOCTOR?
Yeah.
WOW!
Yeah, actively working!
Review: 'Code Black'
One of the most unapologetic documentaries to grace the screen this year comes from doctor-turned-director Ryan McGarry, who takes audiences behind the scenes of Los Angeles County Hospital and opens our eyes to the real life struggles and constant chaos of the emergency room in Code Black. The winner of “Best Documentary” at the 2013 Los Angeles Film Festival, Code Black is finally getting its’ Los Angeles release this Friday.
It may be difficult to think of doctors as “regular” people- after all, we do trust them with our lives and naively want to think they are superhuman. McGarry does a great job of not only humanizing the young doctors-in-training that he interviews but gives them a chance to share their personal stories; Why these people got into the field of medicine and how they continue to press on despite the grueling hours and mounds of paperwork is dedication and motivating to see.
Code Black is not for the weak of stomach (or those with phobias of blood), as it pushes the boundaries of investigative journalism to the limit, while remaining grounded in its sympathetic nature.
McGarry doesn’t hesitate to show the reality of how the current healthcare system is not working for the doctors and patients at LA County Hospital. A number ranking system that determines when patients are seen is the last resort for doctors, who sympathize with patients, some of whom have to wait an upwards of 20 hours to be seen. This is what doctors call “Code Black,” the worst-case scenario, the busiest of days. Unfortunately, McGarry points out that “Code Blacks” are all too common nowadays.
Politics play a large role in the film, especially focusing on how America’s current healthcare system is failing. Due to the tough work environment and low wages, we learn that in a four-month span, fifteen nurses quit LACH. The impact of their absence only adds further frustration to the situation and the tension is made extremely clear in the film.
Code Black is not for the weak of stomach (or those with phobias of blood), as it pushes the boundaries of investigative journalism to the limit while remaining grounded in its sympathetic nature. Nothing is included for “shock” and “awe,” but for driving its’ passionate point home. Although, there is a lot of blood (don’t say I didn’t warn you.) The camerawork adds to the film’s intensity- we view operations as if we were standing right behind the doctors, providing a high-energy experience.
As if working as a doctor full time isn’t enough stress, Ryan McGarry found the time to make not just make a film, but an award-winning one. Code Black serves as a reality check of life in a County Hospital, dealing with hot-button issues that may never fully get resolved, but it’s the planting of the seed that we, the audience, can make a difference.
http://www.youtube.com/watch?v=xSGOSwhzibw
Review: 'Yves Saint Laurent'
You don't have to be fashion savvy to recognize his name (although pronouncing it is another issue). His designs are seen on red carpets & in high fashion magazines, which deems him one of the world's most iconic fashion designers. Yves Saint Laurent is not just a man; he is a brand, a lifestyle, and evidently, one tortured artist. Director Jalil Lespert bravely chooses to shed light on a man whose public persona is much different than his private life, whose insecurities and demons are exposed in the biopic Yves Saint Laurent.
At the start of his career, Yves Saint Laurent (Pierre Niney) tirelessly works as an apprentice to one of Haute couture's most famous designers, Christian Dior. Wise beyond his years, twenty-one-year-old Laurent shows signs of great potential early on. The untimely death of Mr. Dior in 1958 brings attention to the young assistant; all eyes are on him to carry on the Dior legacy, if he is willing to accept the life-changing responsibility. Without hesitation, Laurent accepts and immediately begins working on his debut collection. Doors of opportunities open for the young Laurent immediately- his once peaceful life shifts into one of wild parties, drugs, stress, and dysfunctional love. His fateful introduction to Pierre Bergé (Guillaume Gallienne) affects Laurent both personally and professionally; their love/hate relationship exceeds throughout their lives, making for one beautiful, yet tragic story.
The lack in storytelling is made up for in the film's aesthetic... the visuals of the city and the costumes are jaw dropping.
Unfortunately, Yves Saint Laurent is not as successful as the man himself, as the film's rushed story lacks a cohesive theme or point of view. Scenes play as too contradictory with emotions ranging all over the place- specifically between Laurent and Bergé’s schizophrenic 180-degree relationship. I know there is such a thing as a “lover’s quarrel,” but in every scene? Without resolving the problem, the characters seem to just kiss-and-make-up for the sake of moving the story along. That’s another thing to note, there is a lot of kissing.
The lack in storytelling is made up for in the film's aesthetic, although that doesn't excuse the rudimentary script. However, the visuals of the city and the costumes are jaw dropping. The coloring makes the film look like the pages of a glossy magazine, an appropriate and deserving look to such a vibrant film.
Yves Saint Laurent is reminiscent of Woody Allen's Midnight in Paris; we find Laurent befriending the youthful looking Lagerfeld, Dior, and Warhol, whose characters are only on screen briefly. Having Paris as the backdrop to any film adds the subtextual element of sensuality and creativity, especially Paris in the 1960's. The atmosphere is nothing short of inspiring.
Even with its flaws, Yves Saint Laurent is a satisfying film on a purely visual level. Don’t expect an award-winning screenplay, you won’t find it here, but what you will find is a stimulating homage to one of the world’s most renowned fashion designers.
https://www.youtube.com/watch?v=TMZGEA6M8jY
Paul Haggis and Cast on 'Third Person'
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I sit in the second row at the press conference for the upcoming film Third Person, only ten feet away from some of Hollywood's most creative and respectable directors and actors. From my left sits director Paul Haggis, whose previous film Crash won him critical acclaim and many Academy Awards (including Best Picture). Next is Mila Kunis with a beautiful pregnant glow, whose confidence is inspiring. Then there's Moran Atias, the gorgeous Israeli actress who has not only starred in, but also co-developed Third Person with Haggis. Sitting on the far right is Maria Bello, the veteran of the group whose work has spanned across television and film successfully. Spirits are high as we settle into our seats to talk about this unique and ingenious film. We begin:
I'VE GOT TO CONGRATULATE ALL OF YOU; THIS IS SUCH A RICHLY TEXTURED STORY AND FILM. IN TERMS OF PLAYING A MOTHER, MARIA, IS THAT SOMETHING YOU CONSCIOUSLY CHOOSE TO DO? CHOOSE THE DEEPEST, DARKEST PARTS OF PLAYING A PARENT?
MARIA BELLO: When I read Paul's script it's about so many things, but really, it's about love. All the aspects of love, whether it's romantic love, familial love, mother and son love, and what moved me and pained me the worst was parental love... and how in the end, for me, it's the most important love of all; the love between me and my son.
WAS IT IMPORTANT THAT EACH CHARACTER BE SYMPATHETIC OR LIKE-ABLE?
PAUL HAGGIS: It was important to me that they were human. All these actors look really challenging roles, and I think that's the bravery of these actors.
MILA KUNIS: Oh I totally agree, I think sometimes being "unlikeable" makes you "likeable" and makes you human. I don't think anybody goes into a character thinking, "Oh, I can't play this character because they're not likeable." I think my character is quite sympathetic and likeable for her faults.
MILA, WE'VE SEEN YOU IN A LOT OF ROLES WHERE YOU'RE THE GIRL NEXT DOOR AND THE ROMANTIC LEAD- DID YOU ENJOY PLAYING SOMETHING A LITTLE DIFFERENT?
MK: I loved it. First of all, I wanted to work with Paul and then reading the script and having it not be a "girl next door" character was a relief, so to speak... I looked at this film as an "end to my twenties" so it was like a massive therapy session for myself and it was, selfishly, incredibly gratifying... i don't know how to explain it. I loved doing this movie because I felt like I was doing something that I loved again. You go and do a film with a director and they make you do a character every which-way because they don't trust themselves and they don't trust you and they want to ultimately do what I call "Frankenstein" you together in the edit bay, and make a character that they feel comfortable with six months later. Paul is the opposite. Paul trusts you and empowers you and gives you this great character to play with so that you live it for a little while. It was the greatest experience.
CAN YOU DESCRIBE WHAT IT WAS LIKE WORKING WITH JAMES [FRANCO]?
PH: The wonderful thing about working with really skilled actors is, you turn the camera on and you watch. You want really brave actors and actresses and that's what I have here in this cast. The scenes that you think are most difficult for an actor can be the easiest...The very first take [Mila & James fight scene] we used, and it was a mistake- James wasn't supposed to fall over- he got caught up in the carpet, and thank god I had two actors that stayed in the scene and played it and used it.
CAN YOU EXPLAIN HOW THIS SCRIPT WAS MADE?
PH: I so admired the filmmakers of the 70's who redefined cinema forever and didn't explain everything to you- they trusted the audience. They allowed the questions to be the most important thing in the film and that's what I wanted to do here, the writing process was that. From the time when Moran [Atias] came up with this idea and asked me to start playing with it until it was finally finished was a long, torturous process. I allowed the characters to lead places I didn't want to go and trust that [the script] would get there. I wanted to make a film where you were emotionally moved at the end, you felt satisfied but then you walked outside afterwards and thought 'what the hell happened?' and come up with answers for yourself days later.
I WAS GOING TO COMPLIMENT YOUR SCRIPT-
PH: I just did it myself, but thank you.
[Laughter]
PAUL, YOU MENTION THAT YOUR SCREENWRITING PROCESS WAS A "CREATIVE OBSESSION," DID YOU APPROACH THE CHARACTERS IN THE SAME WAY? OR FOR THE ACTORS, DID YOU FIND YOUR OWN CHARACTERS INDEPENDENTLY?
PH: Every actor finds their own character in their own way... Like Moran, you came out like three months early to live with gypsies, live with them, find out what it was like to live on the streets. Maria is an actress I've always wanted to work with; for ten years now we've been trying to work together. You see these two in a scene and you're like 'wow,' I can just sit in my director's chair and order a cappuccino.
MB: I didn't know you spent three months with gypsies?
PH: And taught herself Albanian, for Christ's sake!
MORAN ATIAS: For me, I was in a different position; nobody wanted me for this part so I had to convince a lot of people that I'm suitable for the role. So I first started researching from the U.S., reading every book, article, listening to music or watching any documentary I could about gypsies. Then I thought I'll go to Italy and try to find this character in my bones and in my skin and lived with them for a period of time. I begged for money, and that was probably the hardest thing I did because nobody wanted to give me money and it didn't matter what I was wearing or how nice I was. It was impossible to come back home with more than one Euro. Then I started washing windows with these people... all these activities just helped me be confident about how she wouldn't be apologetic for who she's become. I didn't want to victimize her. It's easy to read a character like that and think, 'oh poor woman.'
PH: One of the earliest directions I gave was when she showed up and I said 'If you have hair on your body, let it grow. Any hair you have..."
MK: That's what you told me!
[Laughter]
MK: That's right, I had like a unibrow! I totally forgot about this!
PH: Yeah, it's just a direction I give all actors.
[Laughter]
PH: Moran moved into a place where there was no electricity, no running water, and she didn't bathe, so we didn't hang out...
MA: Ok, ok, enough with the details.
I WANT TO ASK ABOUT THE EMOTIONAL IMPACT THESE ROLES HAVE...
MA: I tried to transition into... an object of disgust and when I finally glimpsed a little bit of that I felt this sense of humiliation and rejection that one can have by dressing differently. In a way, it liberated me. It was very freeing that I had to focus on something other than myself, [I had to focus on] getting my daughter back- whether she existed or not, that's for the audience to decide. But I like to stay with my characters a little bit; they help me learn things about myself.
MB: When I'm [playing a parent], I can never use my son. I can't. If I go there for a second I think I'll kill myself, right? I can't put [my son] Jackson in my brain while [I'm acting]. Most characters, I can do something really emotional and then be like, 'ok, what are we having for lunch,' don't carry it with me, but the child thing... I don't know how people function if they use their child.
MK: I will live it for those twenty minutes that I'm on set and need to live it, but it's called acting for a reason...I do a lot of homework before and then I disregard it. That's my horrible take on it, but mind you I'm not a trained actress, I didn't go to Juilliard, no one should listen to me ever.
Review: 'Whitey: United States of America v. James J. Bulger'
He survived a stint in Alcatraz. At one time, he was considered the "Second Most Wanted Man in America," Osama Bin Laden being the first. And for over a decade, he was living under the radar in a modest apartment complex in Santa Monica, California, right under the noses of the FBI, CIA, and every other unknowing citizen around him. In 2011, the notorious James "Whitey" Bulger, aged 84, was arrested and ultimately charged with two life sentences plus five years for his involvement in eleven murders, among other illegal activities. Acclaimed documentary filmmaker Joe Berlinger uncovers the fascinating rise and fall of one of history's most elusive and infamous mobsters in the new biographical film, Whitey: United States of America v. James J. Bulger.
For fans of The Sopranos or The Wire, this true story about a crime legend is so tightly packaged and emotionally charged, it's sure to keep your interest throughout the entire two hour run time. Captivating interviews from victims and their families paint a horrific picture of a soulless man who literally had a license to kill. Whitey ran Boston for thirty years, beginning as a childhood thief and ultimately befriending the "right" people in Boston's organized crime scene. His unwavering loyalty and commitment to his gang lead him to the top. As acting boss he allegedly forged mutually beneficial relationships with law enforcement, receiving tips of wire taps or busts in exchange for money.
For fans of The Sopranos or The Wire, this true story about a crime legend is so tightly packaged and emotionally charged, it's sure to keep your interest the entire 2 hour run time.
The film is effective in exposing the government's manipulation of Whitey's legal case and the entire Boston judicial system. Corrupt leaders, like Jeremiah O’Sullivan of the Department of Justice New England Organized Crime Task Force, made deals with the mob by falsifying documents and essentially aiding and abetting a criminal, and this shocking information is only the beginning. It's not the mob, but the FBI who is considered the most organized crime family.
Whitey's 15 minutes of fame won't be up for a while; director Scott Cooper (Out of the Furnace) is currently working on Bulger's biopic, Black Mass, starring Johnny Depp as the titular character. It was only a matter of time before this unbelievable story got the Hollywood treatment, but if anyone was to play the "Irish Godfather," Depp is the one to do it.
Whitey is a must-see film; socially relevant and unapologetically interesting, this documentary tells a story so surreal, it seems too crazy to be true.
https://www.youtube.com/watch?v=R2klCnCBHFA
Review: 'A Coffee In Berlin'
Although you might haven't heard of this black and white foreign drama, A Coffee In Berlin [aka Oh Boy] should be on your radar, and here's why: it swept the 2013 German Academy Awards with six wins, including Best Film, Screenplay, Director, Actor and more. A first feature from director Jan Ole Gerster, A Coffee In Berlin appeals to all those who once felt lost and have pondered life's bigger meanings, as well as those who understand and savor the importance of a good cup of coffee.
We've all been there- that point in our lives when we feel like the world is moving at a much faster pace than we are, or want to, keep up with. Some may call it "lazy," others may choose to call it "uninspired." Whatever the case, Niko (Tom Schilling- Before The Fall) is both. After a night of meaningless sex with his girlfriend, whom he seems disinterested in, Niko finds himself at his mandatory therapy appointment. After a quick and premature evaluation of his alcoholic tendencies & mental health, the doctor bans Niko from receiving his driver's license, making him a slave to public transportation for the time being. From here, his day gets worse. His debit card won't work, his father cuts off his allowance after realizing Niko hasn't been attending school for the past two years, and everywhere he goes, he finds himself in socially awkward situations.
The dry humor in the film is subtle but effective- it's easy to see why A Coffee In Berlin an academy favorite.
The film spans over the course of a single day in the life of our protagonist Niko. Every character he interacts with becomes another opportunity to display the script's intelligent writing; cunning dialogue makes this story satirical and darkly humorous. His neighbor with a terrible case of TMI (too much information), confesses he hasn't made love to his wife in five years. He blames her breast cancer for the getting in the way of his drive. Niko's childhood classmate Julika (Friederike Kempter- Pandorum) resurfaces after many years, one hundred pounds lighter but still very insecure. The girl whom Niko once called "Roly Polly Julika" can't hide her feelings towards Niko, and their relationship takes an unexpected turn over the course of the night.
Even in black and white, the city of Berlin seems electric and lively. For those who have the wanderlust itch, this film only propels the desire for exploration and adventure, portraying Berlin as a bustling cultural staple. The camerawork is not steady; the subtle shakiness of the shots add to the youthfulness of the character and the environment.
A Coffee In Berlin may have well been titled "Niko and the Terrible, Horrible, No Good, Very Bad Day." This poor guy can't catch a break- but it's these series of unfortunate events that make him relatable to audiences. The dry humor in the film is subtle but effective- it's easy to see why A Coffee In Berlin an academy favorite.
https://www.youtube.com/watch?v=oMwUSipMzFA
Review: 'Third Person'
"Watch Me."
These first words, hauntingly spoken by a young boy we never see, sets the tone for the much anticipated follow up to Oscar-winning director Paul Haggis' film Third Person. Haggis recycles and builds upon the formula which brought him success with the 2004 Academy Award winner for Best Picture, Crash- a multi-storyline formula that saw a divide between audiences. Either it was too predictable, too unrealistic, or just too confusing. However, Haggis' vision is clear in Third Person, as much more of the film is left up to audience interpretation. Is it ambitious to attempt another film in this style? Absolutely, but with an obsessively creative genius at the helm and a cast of genuine A-List actors, Third Person is a rich cinematic experience.
"Watch me," the boy says, as the film opens on Liam Neeson (Taken, The Grey) sitting in solitude at a desk in his Paris hotel room. Neeson plays Michael, a former award-winning fiction author whose personal life has come crashing down around him. After leaving his wife Elaine (Kim Basinger- L.A. Confidential) he escapes to Paris to finish a book he's having trouble finishing. His affair with the sexually brash and aspiring writer Anna, played by Olivia Wilde (Rush, In Time), messes with his mind and his heart.
In Rome, an American con-man is finalizing a deal to bring copy written fashion designs back to the USA for reproduction. Scott (Adrien Brody- The Pianist) spends his last day in the city at a local bar where he meets a beautiful gypsy woman, clearly distressed. Monika (Moran Atias- The Next Three Days) tells Scott she is reuniting with her daughter, whom she hasn't seen in two years. Something about her seems off, but Scott's intrigue brings him to follow Monkia on a journey that leaves him questioning her intentions, and whether or not he is being conned himself.
Our last story takes place in New York- Julia (Mila Kunis- Black Swan) has fell from grace and is struggling to make ends meet. A former soap opera actress, Julia now works as a hotel maid to pay rent and rising legal fees, as she's currently fighting a custody battle with her ex-husband Rick (James Franco- 127 Hours) over their 6 year old son. A prior event that isn't seen in the film concludes that Julia tried to physically harm her son. Denying any wrongdoing, Julia and her lawyer Theresa (Maria Bello- A History of Violence) do what they can to reunite her with her son, but it's not without complications.
The "aha" moments aren't as spelled out as they were in Crash, forcing audiences to come to conclusions on their own as opposed to being force feed, a directing style I appreciate.
I walked away from this screening thinking "Crash meets Memento." The imagination teeters on delusion at times and much to the story's benefit, it's hard to differentiate what is in fact reality. The script is well fleshed out and does not present any conflicts that could easily arise when dealing with overlapping plots. The common threads that weave through each story- themes of love, longing, and betrayal, are equally strong. Whether in Paris, Rome or New York, every character struggles with a cat-and-mouse game these themes create. The "aha" moments aren't as spelled out as they were in Crash, forcing audiences to come to conclusions on their own as opposed to being force fed, a directing style I personally appreciate.
Michael's story is more of the focus throughout the movie. Not so much the puppeteer, but he is the driving force for the movie; He feels through the characters he creates in his stories. The other characters feel through their own personal experiences, a differentiation worth acknowledging.
The actors appearing in this film are all extremely talented and Third Person gives them the platform to explore very different roles. Liam Neeson's last films have been very physical and tough, whereas here, his dramatic acting skills are on full display. He can't and doesn't hide behind stunts. Mila Kunis is known for her girl next door, humorous roles. As Julia, Mila taps into a dark, emotionally unstable and extremely vulnerable girl who's performance is captivating. Other great performances come from Olivia Wilde as the sexual temptress, who leaves little to the imagination as she confidently bares all in more scenes than one. Maria Bello fully embodies her role as a lawyer in the same way Adrien Brody plays the caught-up tourist- both with passion and empathy.
Technically speaking, Third Person is a well executed film. The edit is seamless, editor Jo Francis cuts to the mood/ location/ action of the film in just the time it takes for us to blink our eyes. It's subtle, but extremely powerful. The score is highly cinematic, to be expected with any surreal drama.
Who is, or what is, this mysterious "third person" is never literally answered, but it's not hard to fill in the blanks with the breadcrumbs Haggis leaves throughout the film. I choose to believe this "third person" is the environment, the element in which our characters respond. Paris is the city of love, yet Michael is caught struggling to understand his feelings about the women in his life. In many successful films past, like The Talented Mr. Ripley and The Bicycle Thief, Rome is the setting that is predisposed to mystery, and Monika is an enigma to Scott. For many, the concrete jungle that is New York City creates a cold vibe- not welcoming and easily depressing. Julia has hit rock bottom and her internal woe adds to desperation and overwhelmingness of the city.
For fans of the cerebral drama, you'll find much to like in Third Person. The cast could not have been better, pushing this already intense script into very strong territory. It requires audience participation, or at least, attentiveness, to fully understand and appreciate the film, but if you're willing to put in the work, the reward is extremely gratifying.
https://www.youtube.com/watch?v=kDR5HYay2X4
Review: 'Supermensch: The Legend of Shep Gordon'
Shep Gordon is probably one of the most legendary men in Hollywood that you've never heard of. His work as a talent manager brought rocker Alice Cooper to stardom, as well as the likes of Blondie, Luther Vandross, and Raquel Welch. Not only is Gordon a natural businessman, but his infectious humor and genuine personality made him a friend of celebrities all over the world. From partying on the Sunset Strip to meditating with the Dali Lama, Shep Gordon has seen and done it all, making for a wild life story. Now, in funny man Mike Myers' (Austin Powers) directorial film debut, he turns the camera on one of the industry's most respected and insightful figures in the hilariously moving documentary SUPERMENSCH: The Legend of Shep Gordon.
A "Mensch" is the Yiddish term for a person of integrity, and that's exactly what Shep is- only more "Super." Shep recalls the moment his career took off in 1968; less than 24 hours after moving to Los Angeles, Shep finds himself staying at a hotel in the heart of Hollywood. He hears the screams of a woman, high pitched and loud, and thinking she is being attacked, Shep runs from his room down to the pool where he sees two people rough housing… or so he thinks. Turns out, it's Jimi Hendrix and Janis Joplin, and they weren't fighting (if you catch my drift). Joplin then punches Shep in the face for disturbing her and Hendrix. After clearing up the miscommunication, Hendrix and Joplin welcome Shep to LA with open arms, giving him the idea to go into talent management. The rest is Hollywood history that only the glamorous city could write.
Stories like these are just the beginning of the documentary's entertaining journey. Mike Myers' ability to capture Shep's essence on screen is reinforced with interviews from his famous friends, including Alice Cooper, Michael Douglas, Sylvester Stallone, Willie Nelson, Anne Murray, Chef Emeril Lagasse and many more.
Supermensch plays more like a tribute film than an observational one, so what it lacks in depth, it makes up for in light-heartedness and simplicity.
Kudos to Myers for creating an engaging story with eclectic antidotes while still keeping a singular narrative. The film remains cohesive throughout its entire 80-minute runtime. Because of pop-culture societies' overwhelming affection towards Shep, Supermensch plays more like a tribute film than an observational one, so what it lacks in depth, it makes up for in light-heartedness and simplicity.
With his Larry David resemblance, Shep is described as a "compassionate motherf**ker," who has remained grounded since the beginning of his career. Myers shows the glitz, and Shep talks about the glamor, but deep down we discover what really drives Shep: family, or rather, the pursuit of one. Even today in his old age, he still wants a biological child. It's heartbreaking to see a man who so seemingly has it all, except for the only thing that really matters: unconditional familial love.
However, Shep himself is the first one to say he still considers himself lucky. A particularly memorable quote is expressed towards the end of the film; reflecting on his life thus far Shep reminds himself, "Be careful what you complain about when you're damn lucky."
Even if they're not biological, Shep Gordon has certainly made a family out of his A-list friends. This is a man very deserving of a documentary and Mike Myers does a great job of bringing Shep's story to life in a truly entertaining and informative way. It's lighthearted, funny, and just the right amount of wrong to make for one memorable movie and life of Hollywood's beloved super-mensch.
https://www.youtube.com/watch?v=Zd0VOkPOrV0