'Thelma': In Trier's Latest, Sexuality Conjures the Supernatural
A good film is often hard to describe. Like a powerful work of art, the connection one has to the picture can be unexplainable, but at the same time, undeniable.
So to say that Joachim Trier's latest film, Thelma, left me breathless would be pretty accurate. Following his American-set drama Louder Than Bombs (which made my top 10 favorite films of 2016), Trier sets the stage in his native country of Norway (Oslo to be exact). With his proven artistic and sensitive eye, the seemingly ordinary story of a young woman coming of age turns into something extraordinary– dabbling in the supernatural, repressed sexuality, and family secrets. Thelma, which is also Norway’s official foreign-language Oscar submission, is an unwavering, head-on look at the human desire for connection and the need to be understood.
Do you remember the moment you fell in love for the very first time? The rush of adrenaline pulsating throughout your body made you feel as if you were floating, and you welcomed this loss of control because you were happy. For the reserved first-year college student Thelma (Eili Harboe), this experience also included the heavy burden of shame and guilt because these feelings involved another woman, fellow student Anja (Kaya Wilkins). Thelma’s strict religious background forced upon her by her parents not only alienates her from her peers, but her history of being predisposed to epileptic fits makes it difficult to live confidently in her own skin.
Anja reciprocates Thelma's growing romantic feelings but even that isn't enough for Thelma to overcome her sexual discomfort and confusion. This suppression eventually leads to a literal bursting of supernatural powers, taking shape in the form of wild creatures and nightmarish situations. The tangled themes of simultaneously experiencing grief and love are universal feelings although, for Thelma, her internal struggle has existential implications.
Without sounding cliché, Trier has given us the true definition of a cinematic experience in 'Thelma.'
A relative newcomer to the big screen, Eili Harboe delivers a fearless, gut-wrenching, and award-winning performance that will surely be talked about in the coming months. Aside from demanding physical stunts, Harboe gives many dimensions to her character– she is complex in that she can be both vulnerable and strong at the same time. For Kaya Wilkins, Thelma marks her acting debut and it is her doe-eyed innocence in front of the camera that makes Anja a deeply sympathetic character. I venture to say that we can expect both of these names to be recognizable ones very, very soon.
The character-driven storyline is one that Joachim Trier has come to perfect throughout his career, but what sets Thelma apart from the rest of his filmography is this film's dip into the supernatural in an otherwise straightforward story of dealing with the human desire and struggle for self-acceptance. Ultimately, Thelma embodies the great pursuit of love, told in an allegorical way that ruminates in silence and a sense of foreboding.
At this point in his career, Trier is developing a recognizable "look" that washes over his films. A tightly crafted script with help from frequent co-writer and longtime friend, Eskil Vogt, and a brooding musical composition complement Thelma's sobering color palette. The cool temperature is juxtaposed between the characters' emotional warmth, evoking a visual style all it's own.
Thelma is a genre film with intellect. Trier pushes his audience to imagine what cinema can be beyond the constraints of sequels and re-boots. His imaginative and ambitious storytelling results in stunning films that feel timeless in both their visual style and subject matter. Without sounding cliché, Trier has given us the true definition of a cinematic experience in Thelma.
'Thelma' is not rated. 116 minutes. Opening in select Los Angeles theaters this Friday.
The Best Way To Fest: AFI Film Festival
Cheers to another amazing time at the 2017 AFI Film Festival!
The fest wrapped up yesterday and let me tell you, it was one for the record books. Ryan beat out the rest of us by watching four movies in one day. Four movies! Our reviews will be trickling in throughout next week, so be sure to check back for the latest.
While team Cinemacy was busy movie-watching, I took to the Hollywood streets to show you my favorite things do at AFI, which includes a tour of the press lounge at The Hollywood Roosevelt Hotel and a red carpet interview with the cast of the indie film Mr. Roosevelt: Noël Wells, Nick Thune, and Britt Lower.
Check out our vid below and if you're feeling generous on this fine Friday, give it a 
Our Highlights (So Far) From the 2017 AFI Film Festival
The 2017 AFI Film Festival kicked off last week, taking over the Egyptian and TCL Chinese Theaters in the heart of Hollywood.
Spanning seven days, the festival has become infamous for showcasing heartfelt indie films, groundbreaking foreign features, and highly anticipated future Academy Award contenders. Despite the late lineup change (the Kevin Spacey-starring flick All the Money in the World was pulled from its slot as the closing night film due to the actor’s sexual misconduct allegations), AFI Fest provided another electrifying run as a mecca for film fans to explore the wonderful world of cinema. Below, the Cinemacy team shares their personal highlights from this year’s festival.
Morgan- Mr. Roosevelt
First-time writer/director Noël Wells brought her crowd pleaser, Mr. Roosevelt, to the big screen after a successful premiere during this year’s SXSW Film Festival. The indie centers around Emily (Wells), a struggling comedian who is forced to return home to Austin, TX, and face her ex-boyfriend and his new girlfriend after a death unites them. Cue the awkward boundary issues, uncomfortable situations, and feelings of hopelessness that one would experience while having to stay in close quarters with an ex. Proving that laughter really is the best medicine, Wells brings the perfect amount of heart and humor to this hipster comedy, which should be celebrated for its originality and killer soundtrack. And not to be missed is our red carpet video interview with the cast of Mr. Roosevelt, coming soon to Cinemacy.
Ryan- The Shape of Water
Imagine Beauty and the Beast set in 1960s Cold War America and the beast is an amphibian-man wanted for use as a weapon by both U.S. and Russian intelligence. This is essentially Guillermo Del Toro's latest film, The Shape of Water. You have the outline, however, the special ingredient to this magical film is that it's an unapologetic fantasy romance, lush and loving in a way that Del Toro hasn’t done before. Sally Hawkins stars as the mute janitor Elisa who falls in love with "the asset," the other-worldly Amphibian Man (Doug Jones). She plots to help him escape past the head of security, agent Richard Strickland (Michael Shannon), so that the two kindred souls can be together in love. With its gorgeous cinematography and wholly imaginative story, The Shape of Water will certainly be a film to 
see when it hits theaters this December.
Nelson- Sweet Country
In this Australian western from director Warwick Thornton, white frontiersmen and the indigenous Aboriginal people of the Outback grapple with the tensions felt between both cultures. Familiar faces (including Sam Neill, Jurassic Park) are cast against a mostly unknown ensemble of Australian actors to tell a gripping story of the aftermath of a murder. Shot on film in the gorgeous and sometimes bleak Aussie landscape, Sweet Country employs a unique story structure (being made from an international perspective) that arrives as a fresh take on America’s most archetypal film genre. In the film's preceding Q&A, Thornton revealed that the script was written by his longtime sound editor David Tranter – an Aboriginal man himself – who adapted the story from his grandfather (and who the character of 11-year old Philomac was based on).
Jasper- Sammy Davis Jr.: I've Gotta Be Me
There’s a line in Sammy Davis Jr.: I’ve Gotta Be Me, that hails Davis as “showbiz.” The true definition of an entertainer. If Sam Pollard’s documentary proves nothing else, it’s that. Playing it fairly straight in telling Davis’ story, this is a reverent documentary, but honest. Pollard presents a complicated man and a pioneering American figure who can be found both singing on the stage and marching in the streets. A figure as multidimensional as Davis is deserving of a film as comprehensive as I’ve Gotta Be Me and, much like his own impeccable rhythm, not a beat is missed.
'The Killing of a Sacred Deer' Review: A Twisted Journey of Revenge From Visionary Yorgos Lanthimos
Yorgos Lanthimos set the bar high after the 2015 release of his dystopian romance/drama The Lobster.
Landing on multiple "Best Of" lists (including my own) and considered a worldwide phenomenon for its originality and satirical tones, the Greek-born director takes the audience down a darker path in The Killing of a Sacred Deer. Rejoining forces with Colin Farrell, Sacred Deer is a destructive psychological thriller born out of revenge– showing just how easily one's life can turn upside down when put in uncontrollable and desperate situations.
The film opens on an extreme close-up of an open heart surgery and a blinding whiteness from the sterile environment as a slow zoom out reveals Dr. Steven Murphy (Farrell) dressed in full-body scrubs. The renowned cardiovascular surgeon is meticulous about his work, both professionally and in his suburban home life. He criticizes his son Bob (Sunny Suljic) about the length of his hair and sets social restrictions for his daughter Kim (Raffey Cassidy) while admiring the perfection of his ophthalmologist wife, Anna (Nicole Kidman). All in all, life is good for the Murphys.
It's no surprise then that with his clout and status, Steven is happy to mentor and befriend Martin (Barry Keoghan), a teenager being raised by a single mother (Alicia Silverstone), who has shown interest in becoming a doctor. Martin's oddness comes across through awkward social skills but his intentions seem pure. Martin begins to infiltrate Dr. Murphy's life; after showing up at his work announced, showing interest in his daughter, and a string of questionable acts, Steven begins to have reservations about his relationship with Martin. Only by that point, it's too late.
In true Lanthamos fashion, however, mystery provides a thick veil and situations are downplayed on the surface, which results in a pulsating fear at the film's climax.
Lanthimos has an artful way of examining complicated relationships in his films, and The Killing of a Sacred Deer pulls no punches when it comes to graphic and unsettling visuals. He subtly pushes the boundaries of reality until you realize the absurdity of the situation we find the characters in. Adding to the eerie surrealism are sweeping one takes and an observational style of filmmaking that his longtime collaborator, cinematographer Thimios Bakatakis, has perfected.
Colin Farrell makes an exciting return to the big screen in Sacred Deer as Dr. Murphy. His level-headedness as the protagonist living the picturesque American Dream does a complete 180 at the end of the film, and that transformation is mesmerizing. Acting opposite Farrell is Barry Keoghan, whose slow-boil performance as the brooding Martin is one of the most unsettling and villainous performances of the year. In true Lanthamos fashion, however, mystery provides a thick veil and situations are downplayed on the surface, which results in a pulsating fear at the film's climax.
Winner of the Best Screenplay Award at this years' Cannes Film Festival, The Killing of a Sacred Deer is a twisted journey through the mind of modern-day visionary Yorgos Lanthimos. It is fantastical and darkly absurd, an uncomfortably hilarious and thoughtful look at relationships and the sacrifice one makes under impossible circumstances. While it may be difficult to overshadow the success of The Lobster, Sacred Deer will have no trouble solidifying itself as a successful entry in Lanthimos' expanding canon.
'The Killing of a Sacred Deer' is rated R for disturbing violent and sexual content, some graphic nudity and language. 116 minutes. Opening this Friday at the ArcLight Hollywood and The Landmark.
'Jane' is an Intimate and Immersive Cinematic Experience
When I was young, I wanted to be Jane Goodall.
My love of monkeys aside, I was inspired by the strong and confident woman who appeared on the covers of magazines, championing women's independence and respect in leadership roles. The genesis of Goodall's expansive and colorful career is explored in Jane, the new film from famed documentarian Brett Morgen (Kurt Cobain: Montage of Heck, The Kid Stays in The Picture). The movie is cinematic in its aesthetic (including a powerful and enchanting score from Philip Glass) while keeping to Morgen's minimalist style. Jane is a powerhouse film that not only sheds light on this incredible woman but serves as a reminder to stop and appreciate the natural wonders and beauty in our surroundings.
I was fortunate enough to catch a screening of 'Jane' at the Hollywood Bowl, in which the film was to be accompanied by a live orchestra. The energy flowed through the thousands of seats as soon as the first violin string was played. The love for the woman onscreen was apparent and I have to insist that this film should be seen on the big screen to achieve its maximum effect.
Yes, there have been a number of films chronicling the life and times of Jane Goodall, who is most widely known for her study of chimpanzees and their behavior in the wild, but this is not just another documentary. Jane was comprised of footage shot by notable wildlife photographer (and her eventual husband) Hugo van Lawick during her assignment in Gombe, Tanzania in the 1960s. What truly makes this film special is the fact that this archived footage– 140 hours of 16mm color footage to be exact– was only recently discovered by National Geographic. Upon finding this treasure trove of material, Nat Geo called upon Brett Morgen to piece together a story that would serve as the definitive in-depth portrait of Goodall’s life, and the result is nothing short of transfixing.
The film is told in a linear format aided by the present-day interviews from Jane herself, which are interwoven sporadically throughout. As she talks about traveling to Tanzania at the age of 26 with no formal college training, images of a vibrant young Jane hiking through the wilderness in high top converse and her khaki jungle uniform fill the screen. Here we see a self-proclaimed "naive" young girl braving the Gombe Stream alone and coming face to face with a group of chimpanzees, whose trust would take many months to earn.
Those who see Jane will no doubt walk away with newfound respect and admiration for her unassuming feminism and her contribution to the world.
These never before seen moments of Jane’s initial bonding with chimpanzees and the relationship she would develop with them over time are priceless. One of the first times Jane witnesses a chimp use a tool to extract bugs from a hole for food is caught on camera. It is then when she realizes that similarities between humans and chimpanzees exist in much more than genetic make-up, but also in emotion, intelligence, and the hierarchy of relationships. These findings catapulted Jane to international acclaim as she brought controversial observations to the forefront of science.
Jane highlights the substantial impact Goodall has made on this planet, as well as encourages exploration and environmental conservation. But perhaps the most refreshing reason to be grateful for this archived footage is its timeliness, given the string of recent cultural events. Jane was a pioneer for women in science and a trailblazer for those who pursued their passion instead of just being satisfied with society's expectations. Those who see Jane will no doubt walk away with newfound respect and admiration for her unassuming feminism and her contribution to the world.
'Una' Review: Sexual Abuse Victim Won't Let Go of Fantasy Life With Abuser
In the midst of uncovering one of Hollywood's most shocking and disgusting allegations of sexual abuse by movie honcho (and ex-co-chairman of The Weinstein Company) Harvey Weinstein, the oppressed voices of women at the hands of older, powerful men are being heard louder than ever.
These current events serve as a timely and fitting backdrop for Benedict Andrews' feature film debut, Una, which centers around one woman's mission to confront the man who sexually abused her as a child. Adapted from David Harrower's Tony award-winning play 'Blackbird,' Una opens at the ArcLight Hollywood and the Landmark Regent this Friday.
It's clear from the beginning that something is not right with 27-year-old Una (Rooney Mara). When we are introduced to her, she has just gotten back from a night out at a club where she had engaged in casual sex (her attitude leads us to believe this isn't the first time). Withdrawn from her family, she seems distracted by her own thoughts. One day, on a whim, Una picks up and drives away. She finally arrives at a nondescript workplace hours from her home. Her emotions begin to cause her physical discomfort, she stops to throw up near the building's shrubbery. She finally walks into the building. She sees him, Ray (Ben Mendelsohn) – the man who molested her when she was 13-years-old.
The confrontation is not a typical one. After serving four years in jail, Una has sought Ray out to continue the fantasy of what was 14 years prior. She loved him and, in a disturbed way, she still loves him. Flashbacks pinpoint moments when Una and Ray's relationship went from friendly to inappropriate, describing in graphic detail the sexual acts that occurred. But Ray has moved on with no interest in reliving the mistake that nearly cost him his life. Una, though, won't let him off the hook that easily.
Una's tragic flaw is the attempt to sympathize with an abuser while hinting that the abused may be mentally unstable or in some way troubled.
Rooney Mara brings a composed brooding element to 'Una' while keeping her doe-eyed childhood innocence intact. Mara takes on an emotional weight in this role and gives many dimensions to Una's backstory, especially her confusion of still loving her abuser. Ben Mendelsohn as the pedophile Ray lingers in the uncomfortableness of the situation he finds himself in with Una, perhaps in an effort to prove that he is not a total monster, just a man with a dirty past who may never be able to outrun the consequences of his lack of judgment. Riz Ahmed plays the role of Scott, an employee at the company who befriends Una after a particularly disturbing conversation with Ray. Ahmed is compassionate and generous, although that seems to be the extent of his character development.
Una is without a doubt a heavy film, pulling similar vibes from David Fincher's Gone Girl and Adrian Lyne's Lolita. It offers an unconventional perspective on sexual abuse from the eyes of the abused, however, I believe it could have championed women's causes in this situation more strongly. The hardest thing to understand, especially given current events, is why Ray isn't villainized more harshly. The physical and emotional scars he gave Una will never be forgotten, and the fact that he can move on so (seemingly) nonchalantly is extremely frustrating. It shouldn't matter whether or not Una still has "feelings" for Ray, that is not the crime here. The real crime is that she was taken advantage of as a child by a man who was old enough to be her father– who clearly knew right vs wrong, legal vs illegal– and that should never be written as anything other than purely disgusting. Una's tragic flaw is the attempt to sympathize with an abuser while hinting that the abused may be mentally unstable or in some way troubled. Adaptation or not, the story of Una is not the narrative we should be continuing to tell.
94 minutes. 'Una' is rated R for strong sexual content, nudity, and language. Opening this Friday at the Landmark Regent and ArcLight Hollywood.
'Lucky' Review: Harry Dean Stanton Smiles in the Face of Mortality in this Bittersweet Drama
On September 15th, the film industry lost one of its shining stars.
Harry Dean Stanton, best known for his roles in Paris, Texas and Alien, had passed away at the age of 91 said his agent John S. Kelly in a shocking announcement. The news shook everyone who admired the character actor's impressive repertoire and many talents (he was also a reputable musician and singer). His final starring role in a film, Lucky, is appropriately titled as we truly are lucky to see Stanton in a role as a man who, ironically, questions permanence and the mystery of death.
Stanton plays the role of Lucky, a retired Navy veteran, atheist, and all-around crabby senior citizen. He lives alone in an unspecified pioneer-like desert town, passing his days by sticking to a routine of light exercise, trying his hand at a crossword puzzle at the local diner, and watching game shows. Everyone in the town is on a first name basis with Lucky, whose cranky demeanor doesn't stop them from initiating conversations on how he should quit his pack-a-day smoking habit, or how his morning is going.
A health scare draws Lucky into an even more introspective state when he is forced to face his impending mortality. He is getting older, his gaunt face and fragile bones showing a life slowing down, but well-lived. His conversations with friends Paulie (James Darren), Elaine (Beth Grant), and Howard (David Lynch) become more philosophical. Lucky talks about the difference between being lonely and being alone. Paulie talks about his special relationship with Elaine. Howard imparts wisdom after the disappearance of his tortoise, President Roosevelt, "Think of the burden a tortoise carries on his back. Yes, [his shell] is for protection, but ultimately its the coffin he's going to get buried in. And he has to drag it around his entire life."
Meditative and self-reflective, "Lucky" is a touching posthumous tribute to Stanton.
Recent events seem to certainly have affected John Carroll Lynch's directorial debut; while it may be a bit morbid to admit, the death of Stanton makes the film feel even more special. It is such a poignant piece of work that embodies spiritualism and realism with great empathy. The cast, which includes Ron Livingston as Bobby Lawrence, is phenomenal. They might as well be directly talking to the audience when they give life advice to Lucky– sharing wisdom that offers a sense of security and trust.
The film may take place in a stuffy desert town, but the vibe is anything but suffocating. Actor turned director John Carroll Lynch gives the characters room to breathe with fluid dialogue and subtle movements that compliment the environment. There are things in this universe that are bigger than us, Lucky so calmly recites, and this film is a gentle reminder of this. Meditative and self-reflective, Lucky is a touching posthumous tribute to Stanton. In the film, he says he smiles at the impermanence of life. Wherever he is now, I hope he is still smiling.
'Lucky' is not rated. 88 minutes. Opend this Friday at The Landmark and the Laemmle Pasadena.
11 Secrets Billie Jean King, Sara Bareilles and More Share From 'Battle of the Sexes'
Now playing in select theaters, with a wide release scheduled for this Friday, "Battle of the Sexes" has certainly made its mark as a film of strength and courage.
In conjunction with the growing momentum of female empowerment, 21st Century Fox donated $0.79 for every ticket sold during the film's opening weekend to the Women's Sports Foundation. The sports biography details the infamous and legendary tennis match between Billie Jean King and Bobby Riggs. King, always a social activist, was determined to change the world views through tennis and it's clear how far reaching her impact has had on her peers, fellow athletes, and society as a whole. We talked to King, as well as Bill Pullman, Eric Christian Olsen, Sara Bareilles, Elisabeth Shue, and Nicholas Britell about their experience working on "Battle of the Sexes."
Billie Jean King considers this a blessing
Billie Jean King: To me, everything that happens is a blessing. Holly Hunter did the TV movie ["When Billie Beat Bobby"]... but I never thought [there would be] a movie movie! People would come to us about it over the years, but this one was perfect... I must tell you if we're talking sports terms, this cast is an amazing team. They're really good to each other and it's been an unbelievable experience.
Billie Jean King and Bobby Riggs smile during a news conference in New York to publicize their upcoming match at the Houston Astrodome, July 11, 1973. (AP Photo)
George Foreman bet on Billie Jean to beat Bobby
Billie Jean King: It was incredible [watching Sloane Stephens win the U.S. Open and $3.7 million]. And she's a woman of color. That's one of the things we were trying to do- did you notice in "Battle of the Sexes" how 'white' everything is? I think we had two people of color in the audience, Jim Brown, the NFL football player and Geroge Foreman, the great boxer. George bet on me and of course, I knew Jim would vote for Bobby. George actually ended up being a security guard, we had no security guards in those days.
An obituary humanized the friendly misogynist, Jack Kramer
Bill Pullman (Jack Kramer): He was such an institutional man. He has a book called The Game: My 40 Years in Tennis (Bobby has a book called Tennis is my Racket). He was the #1 player [in the sport], his obituary is full of great praise and how he lit up the room whenever he walked in.
The secret to Priscilla’s endless patience with Bobby
Elisabeth Shue (Priscilla Wheelan): Steve’s portrayal of Bobby was so human and ultimately so complicated and what I loved about him was his sheer desperation to be liked. Priscilla recognized how vulnerable he was and that allowed her to really love him and want to take care of him.
Steve Carell and Eric Christian Olsen in the film BATTLE OF THE SEXES. Photo by Melinda Sue Gordon. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved
Playing a Bobby Riggs wingman requires short-shorts
Eric Christian Olsen (Lornie Kuhle): I get a lot of Instagram comments about the short shorts. That’s really going to help at the box office between Steve’s sideburns and my short shorts. Lornie Kuhle is a big part of the movie, he was there when we filmed a lot of the scenes. He’s 73 years old now, he’s amazing. I played him one day at lunch and he beat the crap out of me. I got like, 1 point out of him. He hustled me for $20. He’s a remarkable man and I wanted to make sure I captured some of that cool swagger that he has in this relationship that dates back so far. Working with Steve, I’ve been a huge fan for 20 years so I was just excited to show up for work.
Billie Jean's other passion is dancing
Billie Jean King: My parents danced a lot so I loved dancing. I love ballet, modern dance, hip-hop, everything. It's all about movement, I love how you shape time and space [by dancing]. But I think tennis came easier to me than dancing. I never pursued [dancing] but I think it would've been fun.
Uncovering similar qualities of characters in family members
Elisabeth Shue: I think my mom was pretty similar to Priscilla in that she was trapped in her circumstances because of the way society saw her. She never had a career, never had those aspirations. Priscilla never had a dream of her own, and I felt that really strongly.
Theme Song: "If I Dare"
Using her own voice to build a wall of female vocals
Sara Bareilles (Composer, Theme music “If I Dare”): Well, it’s cheaper than hiring background singers. I wanted something that felt innately feminine but also strong and powerful. It was so cool to be building off of Nick’s score. There was something really melodic and lyrical about the music anyway. And then you have Billie Jean as an inspiration. I wanted to speak to her spirit and her fire.
This is the only thing harder than scoring an award-winning Grammy album or a film
Sara Bareilles (Composer, Theme music “If I Dare”): They’re challenging in different ways. This is my first experience with a film project. What I think is the most challenging but also the most rewarding is a musical because of the collaborative effort that’s required. You’re trying to make so many people happy. Writing music for an album is very insular. The musical was also harder because there were more songs. In order, it goes the musical, the film, the record.
(From L-R): Natalie Morales, Ashley Weingold, Bridey Elliott, Martha MacIsaac, Emma Stone and Mickey Summer in the film BATTLE OF THE SEXES. Photo by Melinda Sue Gordon. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved
Getting the vintage vibe with this piece of musical equipment
Nicholas Britell (Conductor, Orchestrator): When you’re doing something that’s set in 1973, you want to figure out a way to approach that in a fresh and unique way without being overtly 70s. All the orchestra sessions were recorded with vintage microphones. I’d also apply analog tape to some of the recordings just to give it a subconscious feeling of the era. One of the first ideas I had was to write classical music but played it on 70s rock band instruments. The sound evolved from there.
This is the most important takeaway from "Battle of the Sexes"
Nicholas Britell (Conductor, orchestrator): A feeling of empowerment is something that I take away from it. For me, movies are all about the feelings that are generated which you get to live with for that two-hour period.
Bill Pullman (Jack Kramer): That sense of generosity of spirit, which was so much a part of Billie Jean.