Excerpts from a very good interview with Christian Bale
You once described what you did for The Machinist—starving off a third of your body—as "calming." Can you elaborate?
I guess you just sort of have to focus on other…pleasures than food. So you focus on things of the mind. It really is almost mind control. And I found that very calming. Usually, you're getting nervous energy from what you're taking into your body. Since I wasn't putting anything in, I was left in a low-energy state. I didn't even have the energy to sleep much at all, if that doesn't sound too strange. But that absence of energy was replaced with an ability to focus in a very slow and steady way for hours and hours. Physically, I was incredibly relaxed—I really didn't have a choice—but mentally very acute. It was very nice to be in that state while it lasted. My family enjoyed that one as well, after they got over the horror of looking at me.
So……outside of your roles, do you have a history of putting yourself in situations where you have to test yourself physically or even court danger?
Definitely. Though the one that stands out to me wasn't physically demanding or dangerous. One of the places where we lived when I was growing up had this big wood out the back. And starting when I was about 8, I used to enjoy just walking alone through the wood late. Eleven p.m. Midnight. Later. Deep into the woods. It was terrifying. And I wasn't allowed to look behind me, no matter what noises I heard. That was the point. That thing. The fear. To go into some deep place, a well of fear, that you've never been to before and that you didn't know the way out of. Not looking behind, not turning around, just going deeper and deeper into those woods. I always enjoyed that.
GQ: A Nice Quiet Chat with Christian Bale (June 2009)
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Sunday, November 8, 2009
Christian Bale: "That was the point. That thing. The fear"
Friday, October 2, 2009
An hour with Battlestar Galactica's Ronald D. Moore
Ronald D.Moore's Creative Keynote at the 2009 New York Television Festival last weekend
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Thursday, June 18, 2009
Interview: Harold Ramis
Below, there's an interesting excerpt from a recent interview, which Harold Ramis (Groundhog Day, Caddyshack, Analyze this, Ghostbusters, this year's Year One) gave to Cinematical.
Ramis: Yeah, that's one of them. That one is... No one likes existential comedy. People like a nice happy ending, and I didn't have any happy endings for my psych ward experience. The movie was really about suffering on three levels. I was doing that job while the Vietnam War was raging, and I had gotten involved with my first wife at that time who was really -- she suffered deeply, both personally and for the world. She had a great kind of, I heard the phrase once, "altruistic panic." People who are so distressed with the human condition that it puts them in a frenzy or makes them terribly sad. So there was the global suffering represented by the war, and then the suffering of these patients that I had to deal with eight hours a day or more, sometimes two shifts. And I was put on suicide prevention one on one with people who had made sincere attempts, and spending eight hours a day protecting someone's life, you know, you can't not talk to them. And I'm not a therapist; I was 21 years old, 22, trying to tell them why they should live from my point of view, from the perspective of a 22-year-old. It's ridiculous. I had nothing but platitudes and false hope and no real help.
And it sounds like a movie, but the woman I spent the most time with was beautiful and in her later 20's, had a child, and seemingly everything to live for, but she kept making attempts and then wanted me to get more personally involved in her life. And that's where the screenplay went.
For the full interview:
Interview: 'Year One' Director Harold Ramis Read more!
Sunday, March 29, 2009
The Tudors Season 3 Trailer-Cast Interview
After the jump cast interview
Cast Interview Part 1
Cast Interview Part 2
Uploaded by CatherineSuffolk
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Friday, January 23, 2009
Danny Boyle & Darren Aronofsky; On Writing and Development
Directors Danny Boyle (Slumdog Millionaire, Trainspotting) and Darren Aronofsky (The Wrestler, Requiem For A Dream) discuss their processes for writing and developing new film projects.
This is the seventh part of the interview,for the other parts check FoxSearchlight (YouTube Channel)
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Sunday, December 14, 2008
Stephanie Jacobsen Interview
American audiences were first introduced to Australian actress Stephanie Jacobsen via her strong performance in Battlestar Galactica: Razor, the TV-Movie in which she played the lead character, Kendra Shaw. Now, Jacobsen is back on TV with a new role on Terminator: The Sarah Connor Chronicles.
Jacobsen plays Jesse,a resistance fighter from the future with close ties to Derek Reese (Brian Austin Green).After the jump there are excerpts from a recent IGN interview.
By Eric Goldman,IGN
October 31,2008
IGN: How would you describe Jesse?
Jacobsen: Jesse, Jesse, Jesse… [Laughs] I would describe her I guess, first and foremost, as independent. She's strong willed. She is very devoted. She is a person with a great deal of conviction and a great deal of passion.
IGN: The show has a pretty dense mythology. Did you have to do a lot of catching up on who everyone was when you came onboard?
Jacobsen: I had seen some of the first season, so I just watched a few of the episodes that I felt would be pertinent to my character and a little bit more detailed; I.e., the ones that contained heavy portions of flash forwards.
IGN: You are part of two big sci-fi franchises now, with Battlestar Galactica and Terminator.
Jacobsen: I grew up with sci-fi always sort of in the background – like the background noise was always sci-fi, because my father was a big sci-fi fan. So I always kind of felt at home with it, if that makes any sense. And now, as an actor, I love the scope of sci-fi. I love playing with the sets and the guns and the aliens and the robots and all of that stuff. I love that. And it makes it feel like a play! I mean really, who goes to work and runs up and down a hallway with an M-14, dressed as a futuristic freedom fighter. It's great fun! Who wouldn't want to do that? It beats the heck out of running along a beach in a sundress.
GN: Razor seems like it must have been a bit unusual, because you were a guest star on one hand, yet still the lead in this TV-Movie.
Jacobsen: Right, right. Yes, that was interesting. I booked that from Australia and I flew out on literally 48 hours notice. I was reading the script on the plane and then kind of rolled off on set jet lagged. It was an awesome experience though. Talk about making your stripes! That was a lot of fun. But I didn't feel like a stranger there, much in the way I didn't really feel like a stranger or too much of a newcomer once I started on Sarah Connor, thanks to the people I've been working with.
IGN: Talking to you, it occurs to me that both Kendra and Jesse basically both had their society wiped out by killer robots.
Jacobsen: Yeah, I seem to have been typecast like that, don't I? [Laughs] "World as she knows it is wiped out by killer robots and she then goes forth to fight them." Yeah, if you're going to be pigeonholed, might as well be that! A couple of people have commented on that to me, but to me they're such different characters. They're two completely different people, so I guess that doesn't creep into my consciousness too much when I'm working. But yeah, there are definitely similarities there and I guess it's just, for me, about exploring different dimensions of a military woman. Different kinds of military minds; that kind of thing.
IGN: On both Battlestar and Terminator, you've been allowed to use your natural Australian accent. Was that a surprise?
Jacobsen: Both times, yes. And I think that my natural accent has served the same purpose on both productions and I believe that has been to just kind of highlight the universal scope of the disasters that have happened to bring about the basis of the stories. For example, with The Sarah Connor Chronicles, the idea is that okay, now we can see that once the robots take over, it's the whole world rallying against them. It's a global effort. It's a global fight.
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Friday, November 14, 2008
Quantum of Solace Video Interviews:Daniel Craig,Olga Kurylenko and Marc Forster
Interviews from CNN's The Screening Room
Daniel Craig
Olga Kurylenko
Marc Forster
Source:CNN
http://cnn.com/screeningroom
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Sunday, September 7, 2008
'The Wrestler' wins Venice's Golden Lion-VIDEO
By Eric J. Lyman,Hollywood Reporter
September 6,2008
ROME – Darren Aronofsky's "The Wrestler," which set the Venice Lido abuzz after its world premiere Friday, won the festival's top prize Saturday.
Mickey Rourke, considered by many a favorite for the festival's best actor prize for his interpretation of an aging pro wrestler struggling to come to terms with the end of his career. The film, which may have sealed Rourke's acting comeback, had been a dark horse for the overall Golden Lion prize, however.
"Darren Aronofsky came here a couple of years ago and fell on his ass," Rourke told a packed Sala Grande crowd after the award was announced, referring to Aronofsky's "The Fountain," which flopped in Venice in 2006. "I'm glad he had the balls to come back. I don't think he wanted to come back but I told him, "You have to come back' and he did."
Source: AssociatedPress
Wednesday, August 27, 2008
Wednesday, July 23, 2008
X-Files:I Want To Believe Interviews
David Duchovny and Gillian Anderson
Chris Carter
Source:The Vegas Film Critic
9News Interviews
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Thursday, July 17, 2008
The Dark Knight Interviews:Michael Caine,Morgan Freeman and Gary Oldman
Micheal Caine and Morgan Freeman (The Today Show)
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Gary Oldman Interview Excerpts
Uploaded by babyklisa
Wednesday, July 16, 2008
Saturday, May 24, 2008
Interviews: Indiana Jones's Harrison Ford and Karen Allen
27 years after Raiders of the Lost Ark burst onto movie screens, Indiana Jones and the Kingdom of the Crystal Skull brings Harrison Ford's Indiana Jones and Karen Allen's Marion Ravenwood back to the big screen: Reunited, as the song says, and it feels so good. What felt less good was the timing of the press interviews for Kingdom of the Crystal Skull; Paramount scheduled their Cannes publicity interviews the day before the press screening of the film. (Call me a traditionalist, but normally I like to see the actual movie before talking to the actors in it; I'm just funny that way.) Still, Ford and Allen were funny and disarming -- they seemed a little amused by the hypothetical questions and broad general inquiries the chain of events required -- and Cinematical was there to learn about Harrison Ford's take on the best part sof playing Indy, Karen Allen's musings on Marion Ravenwood's sex life and much more;
I'm just wondering how your own excitement level is, returning to the Indiana Jones character?
Harrison Ford: Well, I'm very excited to bring another one of these spectacular adventures to the screen, and to work with Steven and George again. For the last twenty years or so, these films have continued to appeal to an audience, and young kids, as it becomes age-appropriate, have been introduced to the films on DVD by their parents, and to have the opportunity for them to see it full-scale in a movie theatre, with a big screen and big sound, in the dark with a bunch of strangers, and have this common visceral experience is a brilliant opportunity, so I'm delighted to be a part of it again.
You've always resisted having a favorite character. I was wondering if you'd say that Indiana is now your favorite.
HF: Well, you've worn me down: Indiana Jones is now my favorite character. No, all I insist on is that the pleasure of the process for me as a professional is the work itself, and I don't have a favorite character. You have favorite characters. You're the viewer, the buyer, a customer if you will, and it's perfectly natural for you to have favorites. But for me, it's about the experience, it's about the process, it's about the challenge of it all, so regardless of whether or not it's highly successful or moderately successful or not successful at all, it's not about having favorites.
What about coming back to Indiana Jones ... you've been talking about it for years and kept saying, "Well, they're working on a script, we'll see ..."; Was there ever...
HF: Well, of course they were lying; they just made it up two weeks before we started. No, it was a long slog, it was a complicated process, it was, as it has always been. George works on the germination of the idea, he and Steven work with a writer they have agreed on, there are adjustments to be made – by the way, these guys, they're a little busy, they do other things, other than Indiana Jones movies – so it's not a full-time job to get one of these scripts together. But when it's ready, and we all agree, when they do their process, it comes to me, and I have my little say about it, and the recipe is adjusted. It's a meal for three, so maybe a touch more of this or a little too much salt ... we work it all out amongst us until we're all confident that we have something of the quality that we've done in the past.
And did you think it was always going to happen, that you'd come back for a fourth time?
HF: I didn't think about it much at all, until I read the script, a script that finally engaged me and I thought was a challenge and an opportunity.
Based on the trailer, it looks like you handle the age question with humor ...
HF: We don't handle the age question, we ignore it. Obviously, we've moved twenty years deeper into history, we're no longer dealing with Nazis but with Russian villains. It's 1957, the Cold War and the era of McCarthyism in the United States, a very interesting resonance to modern times that might engage us a little bit. And the character: the hair's a little gray – a lot gray – and...
And some of the stunts go a little awry, based on the trailer... in the sense that you can be more clumsy than you were in 1981.
HF: I beg your pardon. (Laughs) You're getting a little bit more clumsy too.
Yeah, I am.
HF: No, age has its virtues and it has its disadvantages, and I think we embrace the reality of the passage of twenty years of time. We're not coy about it, you know, constantly commenting on it, but the guy is twenty years older.
Did you ever worry that they might be waiting so long that they'd have another Indiana Jones come in and you couldn't do it?
HF: Oh, yeah, I was desperate about that. No, I was just hoping that Brad (Pitt) wouldn't be available.
You mentioned a couple of times about the challenges of doing this. What were the challenges?
HF: The challenge is always – ladies and gentlemen, Karen Allen – the challenge is the same as it always is, to bring a character and the situations to life, to manipulate and express the ideas of a story. Every scene's got a reason to be there. There's a germ of the story, there's a character opportunity, there's a relationship opportunity in every scene, and the actor does the best he can to give that life and expression and fiber for the audience.
Is it more or less of a challenge, doing a fourth?
HF: It's the same job, and I don't think it's more of a challenge. If you feel that you're equipped with a script which gives you the opportunity to do your best work – and certainly, everyone had that ambition – then you just go ahead and do it. You don't sit and think, "Oh, this is gonna be a challenge," you know? It's work, and it's fun, by the way; I hate to spoil everyone's enjoyment of their own job, but... this is a better job. It's really fun. I get to work with really smart people who are amongst the best in the world at what they do, including this young lady. ...
What was it like going back twenty-six years after the first one, after you first worked together?
HF: I was delighted that Karen could rejoin us. She's the original relationship for Indiana Jones. We know Indiana Jones through the character that Karen played in the original film, and we learn more about him.
Karen Allen: Well, they have a history even before the film begins. We know that they've known each other, which comes forward right away, when she socks him in the jaw, we know that there's some history that never gets filled in, but they go back a long way.
HF: That's how we progress the relationship, in the understanding of the characters through the relationships that they have.
When you were talking about the script, you mentioned the McCarthy era and hinted on contemporary resonance, and I wondered if you could expand on that, and does this film have some kind of message or is it pure entertainment?
HF: No, it's not a message. Every bit of history has an opportunity for resonance to current times, and it was a period of time in American history when academia was under a real challenge for the freedom that makes people who are part of the academic process flourish, and so, well, I think we'll leave it at that and let you draw what you will from the film, but it's not a message and it's not a pointed sort of reference to the current day, but everything is the past is an opportunity to learn from the past and deal with the present.
You've just been named to the board, in Boston, of the Archaeological Society there?
HF: Yeah, I've just accepted...
The board of directors?
HF: Honorary, I think, board of directors.
Isn't this because you've been playing Indiana Jones, or is it something with your personal life as well that...?
HF: No, it's because Indiana Jones is the only archaeologist in current film history, and it has been good for archeology to have a contemporary representative of that profession on the screen.
Cinematical: Ms. Allen, Mr. Ford, have the scope and nature of the filming experience changed significantly from the first one? Were you just able to go back into working relationships with people, or was it different on a technical level, on a resource level, or even on a level of expectation?
HF: You mean, were the trailers bigger?
Cinematical: Not necessarily, but if that's what comes to mind...
HF: They were a little bigger, yeah...
KA: When we made Raiders of the Lost Ark, Steven was working with a lot of people for the first time, and my impression coming onto this set in the very beginning was, they have an amazing kind of team. Janusz Kaminski and all the people that Steven works with, it just felt so seamless, just like a well-oiled team of people, so there was something in that that felt really great to me, you know. They almost don't even have to speak; they make hand signs to each other across the room and people are moving and doing things, and that felt kind of different, because I remember Doug Slocombe, who was doing the first one... everybody was kinda trying to learn everybody's language. One thing that was so extraordinary to me coming onto a film like this for the first time, in London at Elmstree [Studios] when we were shooting Raiders, was just the extraordinary craft of the building of the sets, which just blew my mind. I'd never seen anything like that before, and I have to say that the craft of the sets in this film also blew my mind, almost on a daily basis. You'd walk into these sets that were being built, and I felt just like a little kid a lot of times. It was just like, "Wow! How'd they do this, and aren't we lucky to be working on these sets?" So those are the things that jump to mind...
Did you two stay in touch since Raiders? Have you seen each other at all in the last twenty years, or was it just on the set, like you picked up where you left off before?
KA: We'd seen each other a couple of times, when we did a promotion for when they came out with the box set of the films together. They brought Kate Capshaw and myself and Alison Doody together, and Harrison came by, and I saw him...
HF: We ran into each other on the streets of New York one time, but we haven't really... Karen lives in New York, I live in California, we haven't worked together, obviously, since then. We have different lives in different regions of the world, so we haven't really seen much of each other.
KA: But it felt very seamless. When I walked on the set to do the camera test in Los Angeles, and Harrison knocked on my door, and I opened the door, and suddenly, we're standing there, talking to each other as though weeks had gone by. It just felt very easy to me.
Ms. Allen, a couple of years ago (in an interview), you told me that you were utterly convinced that Marion and Indy had had a child together.
KA: No, I didn't tell you that. (Laughs)
You did tell me that.
KA: Years ago, I told you that?
Two years ago.
KA: I don't remember this conversation. What did it have ... In reference to what?
A phone interview for the New York Post.
KA: Oh, was I just making things up?
Yeah, you were making things up. (Laughs)
KA: There was a funny moment a couple of years ago when they did a couple of special screenings at the Paris Theatre in New York, and I hadn't seen the film in several years, and I was watching the film on the big screen for the first time in a really long time, and I remember the scene when we're on the submarine, and I wake up, and you're gone, and I remember noticing in this particular screening, my character reaches up and grabs her nightgown, and I thought, "gosh, I don't remember that!" I was thinking, I didn't remember that they had had a moment, like a romantic moment. In my mind, I was thinking of the missed kiss – you fall asleep, and there's that missed kiss – but then I forgot about the moment of her grabbing the... So I may have been making a joke about that moment or something...
Harrison, it seems like your attitude to the press process has changed; you used to seem as if doing interviews is worse than a root canal. Now, you seem...
HF: I've had a lot of root canals. (Laughs) I've got a mouthful of 'em. Of course, it's something you become somewhat more ... inured to. I recognize the value of the process, and hopefully, I'm not as ... impatient with it as I might have been. That's one of the virtues of the age, is becoming a little bit more graceful.
Does it help when it's talking about a film, or a series of films, that has become a part of popular culture? I mean, the impact of Indy goes beyond the individual installments of it. It just seems that it's a reference point now certainly in American popular culture, and also in world culture.
HF: Well, of course it's easier to talk about a film that you have the expectations and it's been admired rather than picked apart at the seams. But, of course, I have great confidence in this film on account of the people who are involved, which is not to say that any other people that I've worked with, I had less confidence in during the process. But this is a film that's made for the audience to enjoy, the pure pleasure of the moviegoing experience, and it's a huge, huge engine. We've seen the movie, and I think we have a degree of confidence that it'll be... an experience that people will enjoy.
And do you allow yourself to take pleasure in the idea that this has become a part of the popular culture?
HF: You know, it doesn't occur to me to think that way. It's my job, it's what I do for a living, and I'm really pleased when it's successful, when it brings pleasure to the audience, and it advantages me in the pursuit of my profession.
Obviously, you both used to work with each other. How did you both find working with Shia, and do you have any memorable moments in the filming with him?
KA: Shia's just a delight, as far as I'm concerned. He's very, very funny and – I don't know how much I can describe particular scenes in the film – but there's some moments where Shia has some quite challenging tasks he had to perform in the film, and there's just some very, very, very funny, wonderful moments with Shia where he was just above and beyond the call of duty. He's an incredibly talented young actor, I find him very eloquent as an actor. With his face, he says a lot... he's remarkable. I'm really very impressed with him, and I had an awfully good time with him.
HF: Me too. He's very professional, he works really hard. He had some very sort of arcane skills to acquire, and he worked really hard. He was an enormous pleasure to be around, and I really enjoy him a lot.
Did you teach him anything on set?
HF: I taught him how to act. (Laughs) Because nobody understands that except me... I didn't teach him anything; he taught me. He's been an actor for ten years or something, and he has an enormous talent. He's gonna be around for a long, long time.
You were talking it when it becomes age-appropriate to show the DVDs to our children. My six-year-old son watches the first three movies, which probably makes me a bad parent, but when did you let your kids see the movies, and the second part is, the violence in the movies isn't very graphic, it's somewhat old-fashioned, and do you think that's a good alternative, because, increasingly, we see really violent movies for kids out there.
KA: I think a little bit depends on the kid. My son, who's seventeen now, was very, very sensitive to violence in films. I mean, he would get extremely upset over things that wouldn't dawn on me as to find too violent, but he's just a kid who got very absorbed in whatever was on the screen in front of him, and he could get frightened very easily. So I waited, I don't think he saw Raiders of the Lost Ark until he was maybe 8 or 9, but I certainly know other kids who saw it at a much younger age, and the melting heads and things just didn't seem to bother them at all.
HF: Yeah, I agree absolutely. We have a seven-year-old at home, and I think he self-censors in a way. He's very much like Karen described her boy; it's not what he's looking for, and when he has an experience with a movie, he's really not ready for physical contest because it's not something that's part of his experience. So, in his case, in Liam's case, I think it would be another year or so before I let him see this film. This film, with the possible exception of ripping out hearts ...in The Temple of Doom, which, as you know, established the PG-13 rating, I think we're gonna have a film that the entire family can enjoy together.
How do you feel about showing it in Cannes, which is probably in front of the toughest crowd in the world?
HF: I'm really eager to see the train leave the station... and I think it'll be just fine.
Cinematical.com,22/5/2008,written by James Rocchi
Interviews: Indiana Jones's George Lucas, Shia LaBeouf and Cate Blanchett
In the Carleton Hotel at Cannes, a small group of journalists have navigated the maze-like hallways, made it through a series of security checkpoints and eventually brought to a suite to sit in rows and hear Cate Blanchett, Shia LaBeouf and George Lucas talk about the making of Indiana Jones and the Kingdom of the Crystal Skull. Despite the bizarre timing of the interviews -- Paramount scheduled the press day before the press screening of the film -- rendering the experience slghtly awkward, LaBeouf, Blanchett and Lucas were relaxed and charming as they took hypothetical questions, general inquiries and wild guesses about the film. Cinematical was there to hear George Lucas talk about the politics of Indy, LaBeouf explain why his switchblade skills needed work and Blanchett talk about being directed by her children, and much more
George, was it really important to have the space alien element to the story? The legend about this movie is that it was held up because you wanted to have the Area 51 segment in there. Is that true, and why is it so important to have the aliens in there?
George Lucas: Well, these movies don't work without an object that they're going after that is supernatural and that is a real object that people believe in – whether it's actually true or not true – whether it's the Ark of the Covenant, whether it's the Holy Grail, these are things that are mythological artifacts that have real mythology. It's not made-up Hollywood, by me or by anyone else, it's the real deal. So I had to have something that would be the real deal. When we finished the third film, we didn't know if we were gonna make (a next) movie. ...
George Lucas (continued): We signed on for three movies, we did our three movies, and that was the end of it. It was especially true for me, because I was the one who had to come up with the next story, and we'd struggled so hard with the last one, and even the second one. The only one we had a really good MacGuffin on, so to speak, was the first one. So I said, "well, don't worry, we'll never do another one of these unless we come up with something." When I thought about the fact that we would have to deal with Harrison in a later age, you know, he'd have to be in the fifties in order for the whole thing to work and for his age to be appropriate, and then I started thinking, "Well, gee, the obvious thing to go after is a film that's sort of... we were in the action-adventure serials of the thirties when he was in the thirties, so he would be in the B-movies of the fifties, which were kind of science-fiction movies." That was really how that thing grew. I came up with that and the idea that something from that genre, it seemed to me that was a really good idea for a MacGuffin. And, of course, the others said, "We're not doing alien movies." So we discussed that for about ten years... (Laughs) Ironically, I went off and did ten years on my alien movie, Steve went off and did War of the Worlds and his alien movies, and so, while we were all off doing alien movies, saying we weren't gonna do another alien movie, we finally came together and found something that was different, that wasn't quite what my original idea had been, a modified version that everyone seemed to get excited about.
There's no movie without Harrison Ford, I think, so did you have to arm-wrestle him back into this? Was he reluctant?
GL: No, Harrison was the impetus, he was the one that kinda wanted to do it... Steven was the one who sorta didn't want to do it, and I was the one that said, "Well, I can't think of anything to do," so we were caught in that. Harrison's saying, "I wanna go out and do something," and I'm saying, "I can't think of anything to do," and Steve's saying, "I wanna stay home and watch television so I can be with my kids." So, you know, that was kind of the way we went for quite a while, and then there was the fact that we couldn't get our schedules together in order to do it, it was hard.
We haven't seen the movie yet, but I've always just assumed that Shia's going to be playing Indy's son in this movie. Is that true?
Shia LaBeouf: That's an assumption.
GL: That is an assumption. That's an assumption, sir.
So talk a little bit about coming onto this project, then.
SL: It's terrifying and exciting, and even if you're welcomed, the scope of it, it's daunting. You get past that, the fact that George Lucas is George, and Cate Blanchett is Cate, and Harrison Ford is Harrison, and... it's very scary. You can giggle, because you're George Lucas, but it was very scary for me, and it eased up in the first couple of weeks. The way that we started with the schedule, we sort of jumped right into stunts, and then you find this mutual respect with Harrison, who isn't warm immediately, so once we developed a friendship type of thing, everything became easier.
Cinematical: I'm very curious, Mr. LaBeouf, Ms. Blanchett, what your greatest moment of anxiety was in the process but also what your greatest moment of unexpected joy was as well? When were you the most scared and when were you the most happy?
Cate Blanchett: I was most terrified or worried about how I could do all these action sequences and keep my hairdo completely neat. (Laughs) I became obsessed with the neatness and the line of the hair, and I did manage to do it mostly.
Was that hairdo an homage to somebody specifically in the fifties?
CB: Well, Vidal Sassoon. ...
GL: I'm a big fan of Louise Brooks, a big fan of the bob, and I couldn't resist. I just had to get that in a movie.
CB: I didn't resist.
GL: Just something that had to happen.
Mr. Lucas, you've been in this place before, in the sense that you've had this original, fantastically successful trilogy and then went again with a later one. I'm not gonna say you're gonna do three more, or two more of these after this, but does this sort of make you nervous in any way because of the reaction to your second Star Wars trilogy... was not that great at the beginning?
GL: Well, it wasn't, and I explained to Steven when we set out on this one, I said, you know, and I've gotten in trouble for saying it, which is, when you do a film that's this anticipated, people have a tendency to believe it's going to be the Second Coming, and no matter what you give them, they're going to be disappointed, until ILM can come up with a way of presenting the Second Coming that's believable. You're gonna get, especially in the new twenty-first century communications reality of the internet and everything, it's just a whole different world and people have very strong opinions and they express them. Part of that was also, with Star Wars and Indiana Jones, has not been reviewed in a superlative fashion most of the time, these aren't the movies that end up winning Academy Awards or anything, so you come to expect the fact that ... we knew that going in. There's a reason for us to do this, we certainly don't need the money and we're only gonna get sort of ... people are gonna throw tomatoes at us. But it's a fun movie to make, we love it, we like to see 'em, and in the end, this one turned out fantastic, so for us, it was all worthwhile, and I'm sure there'll be some people who'll be disappointed. Anybody who loves the old movies I'm sure will love this film, because I've seen it, and it's fantastic. It's everything the old ones were and more, which ... You know, The Phantom Menace ended up the most successful worldwide movie of the Star Wars series, even though everybody seemed to hate it. I don't know how that happened, but it worked out.
Will there possibly be an Indy 5 then?
GL: What I said, which I've been saying all day... (Laughs) What I said before, to somebody at a party, which is, Harrison and Steven and I have talked about it, but we can't do it unless we come up with a good idea, which I haven't. It took me twenty years to figure out... well, it didn't take me twenty years last time, but it took me five or six years to figure it out, and the next question on that one was, will it star Shia? And I said, well, you can't do an Indiana Jones film without Harrison Ford, because he's Indiana Jones, which somebody then made an assumption that Shia was Harrison's son, and that Harrison would then turn into the Sean Connery character, which is quite an assumption, considering I don't have a story yet... or may never have a story.
Cinematical: This is for the actors, were there any specific period materials or films or documents or photos that you were asked to look at? Were there things that you looked at to get a feel for the period in the film?
SL: Yeah, I was given a homework packet – Red River, The Wild One, Rebel [Without a Cause], Blackboard Jungle, Sidney Poitier, that was a big one, that was the main one...
Cinematical: You got Juvenile Delinquent 101.
SL: Yeah.
GL: The biggest part of the packet was... the first ten years of Playboy magazine.
Is that true?
GL : No.
Cinematical: And Ms. Blanchett, did you have a similar document or series of documents to look at, or no?
CB: Yeah, I did, obviously, because I play someone working in the Russian military, and they were working with suggest-ology and ESP and telepathy and ... am I gonna be shot for talking about all this? (Laughs) It was a huge fat document that was sort of the documentation of all the research that was done and it was utterly fascinating. It was treated like a science, and it was about how you could dominate the world through mind power without military hardware. So it was quite an incredible thing, so...
But you had to learn swordplay too, though?
CB: Yes, I've always wanted to fence. It's a very fine art.
Between playing a version of Bob Dylan and doing this, it's almost hard to believe these are in the same kind of medium, it's almost like very different worlds. Which is the more challenging, the more difficult, the more sort of ... forbidding?
CB: I think you said it. I think films are a very elastic medium, and people can get real literal about it, and to place something that... really, this is not a sequel, I just always think of Indiana Jones, the next Indiana Jones film, as being another chapter in an adventure story, whereas the Bob Dylan film was just exploding a linear narrative, it didn't have a linear narrative, and now I'm sounding like Bob Dylan. (Laughs) So it was a very different experience. Obviously, this has got a huge epic trajectory that's all adrenaline-based, and the Dylan experience was very different, but this is what the film demands of you.
Could you talk about Indiana Jones in Bob Dylan's voice for us?
CB: No, that'd be really schizophrenic.
GL: You can't assume that Bob Dylan is a Russian spy who believes in parapsychology. We don't get to make that assumption.
CB: That's why I was hired.
So here we are at Cannes, you've been at Cannes before, you've presented films many times at Cannes, and so has Steven Spielberg, obviously, going back to E.T. What is it about Cannes that works for this particular franchise?
GL: Well, it's always fun to come to Cannes. It's a nice place, when it's not raining, and... for us, it's a chance to sort of bring it out and have it open on a very big stage, and in a place where everybody loves movies, which is also great. It's also, in terms of a practical level, a place where all the media meet, so you get to do this part of it in a convenient way that you wouldn't... because otherwise, we'd have to go traveling all around the world, which we are gonna have to do a little bit of, but at the same time, it cuts down on that, and it's a festive and fun way of handling that whole drama.
Is it low-risk?
GL: I think it's probably, in terms of what we were talking about before with those people who write about movies, it's probably a higher risk, but in terms of... let's just have a good time and just let it be out there and let everyone enjoy it, it's good because it... You have the choice of premiering it here or in London or New York or L.A., so why not here where it's that much more fun?
Cinematical: Shia, you were in Transformers, which was a very large computer-effects-driven film. Was it different being on a slightly more analog set: more stunts, more props, more physical objects, and not just staring where a robot's supposed to be? Was it a different filming experience despite the scale of the film?
SL: Absolutely. Yeah, it's learning a whole new skill set. Transformers, a lot of it is reactionary, where you're not part of the physical action, and this is very different. It's acquiring skill sets that take time to learn. There's no way to trick yourself into learning them, you have to learn them.
Like, what did you have to learn?
SL: Motorcycle riding, sword fighting. It was four-and-a-half months prep. The knife took time. These are physical skill sets that I... I don't have a switchblade, I'm a Jewish kid from Echo Park. (Laughs) So those things are very different.
Is there much more CGI ... compared to the other three?
GL: No. Steven really wanted to do this the old-fashioned way. We did a little bit, but not very much. It's mostly matte paintings and things.
Shia, you've got another movie (Eagle Eye) coming out before the end of the summer?
SL: Yeah, September, I think.
And you're doing the Transformers sequel?
SL: Right.
How do you see your career now? Are you gonna be the new action go-to guy?
SL: Today, I'm in Indiana Jones, and that's okay. Just one day at a time. I take movies that I like to watch and I like to make. I don't think it's that strategic, I don't think I'm plotting and planning like that. Opportunities come up and then you take 'em, a play-it-by-ear type of thing.
Cinematical: There are very large heroic paintings of both of you on the front of this building, very high. Are you kind of inured to that, or is it still a little... either exhilarating or awkward to go by those?
CB: It was in my contract. (Laughs)
... Which speaks to something that fascinates me, because Indy is now, it's beyond the individual successes of the first three movies. It's now popular culture. Indiana Jones is actually a brand, it's an idea. Harrison Ford is now on the board of some archeological museum because he's Indiana Jones...
CB: That's really cool.
That is kind of cool, so ... you helped create it. What is it that you see in this that's parallel to your experience on Star Wars that's made this into the kind of pop cultural phenomenon that it is now?
GL: It's hard to really discuss how it happened, but once it has happened, I mean, I do have sort of two cultural icons. Fortunately, they're both positive and they both, especially Indiana Jones, has done a job of highlighting archeology and the social sciences around history, archeology, anthropology, all these sorts of searching for our past kinds of endeavors, and making them more interesting, especially to young people, that there is something to be said for digging up the past and sort of going through it and seeing what you can see and applying that to your current situation, which is what I'm a big fan of. It was my obsession. You talk to any archeologist now and they say, "oh, I was the original Indiana Jones" or "I got into this because of Indiana Jones", and it's not that exciting. It's exciting in an intellectual way, not in a physical way, although you do have to sit out in the sun for ten hours a day and bake, which is what the most real thing about this science is. ... The history's exciting. The whole thing is a way of sort of enlightening at least a younger generation and even an older generation to our past, exploring our past, and it helps that Indy gets on the board of museums and stuff so people will say "Hey, this isn't just an old place where they store old stuff, archeological stuff is a cool idea, let's go look at this stuff," and it does relate to an actual event. It's hard for a lot of people to take that thing that's in a museum and relate it to a person, and even if you're doing it through a fake person who's in between, the archeologist who actually does have to go out and dig the thing up, then you can understand that and you can understand how that begins to fit and go back further and further.
Is that why you financed these extraordinary '92 documentaries for the Young Indy box sets?
GL: Well, I'm a bit of a history maniac, and I always have been. It was my major in high school, and it was my major in college, and I really think that people should have a good clear picture of the past, and I think it is important to science and math and the other things that get pushed in the technological world to make us richer, to be able to build better things. It's also important for us to look back and see the psychological mistakes that were made or pressures that people were under and the good decisions that were made under horrendous conditions, and hopefully to learn from that, because we don't seem to be able to do that.
Harrison Ford was saying how McCarthyism comes up and how that's an example of what you've just been talking about. Is that a fair comment, the right to academic freedom?
GL: Yeah, fear, fear of the unknown, fear of not wanting to change, ultimately. That's a period of time that was interesting to me because of when I grew up, but at the same time, when there is a truly paranoid attitude toward Communism in particular, Russia or the Soviet Union, that was all created by – dare I say it – an unwillingness to talk to each other and sit down and try to settle the problems without rattling the sabers, and in that particular case, it became an economic war that, one side ran out of money before the other side did, although that other side ran out of money too, which we will soon find out, and it's like, when do you sort of get to the point where you sit down and realize there's this thing called diplomacy that, if you actually use it, it actually is a nice tool for human beings to sit down and come to a civil agreement rather than shooting each other in the head. I just wanted to say: this is history, learn from it. This is just a little piece from the beginning of the twentieth century.
Could we hear the actors talk about their favorite or the best memory you got from making this movie?
CB: I have to say, as a now mother of three, on the mushy side, I was just so amazed by what a tight-knit family you all are, I mean culturally as well as individuals. You've all grown up together, and how embracing you are, and my kids were so welcome on the set – in fact, Steven even let them direct me one day, they were highly critical. (Laughs) They would call "action," and he was highly welcoming to my family, and so that was really pretty special.
SL: I think the last day was powerful. Everybody seemed to be pretty tearful. I've never seen that in another movie before. It was powerful, it was a long time coming, and we'd gone through a lot, and that last day was... it was a powerful day. At that point, we'd already gone through the adventure, and just how warm everybody was, crew included, I mean everybody was really tight. Like Cate said, it was a tight-knit group.
GL: We started this movie to have a good time because we had a good time a long time ago doing the first three, and the three of us really enjoyed it and the most fun I ever had making movies was making Raiders of the Lost Ark, and that sort of set the tone for the whole reason we did this in the first place is, one: yes, we too wanted to see another Indiana Jones film, and we have the power to actually make it happen, we can see another one, and we love to watch them. We love this one, so, on top of that, we actually love making them. I mean, they're hard, and they've got their problems, but generally speaking, everybody has a great time. There's not a lot of crazy stress or anything. Everybody's very professional, working very hard, but also enjoying themselves, and it is sad when it ends. You say, gosh, it doesn't happen all the time on a picture. There are times where things are a little less than perfect. ...
Shia, has Harrison given you any advice on how to deal with all the added attention you're gonna get after this film, after Indiana Jones, and especially from the ladies?
SL: Harrison kinda laughs it all it off. Again, his star rose in a very different time, it was less tab-worthy. He also... He laughs at the mistakes. He came in at a different age, he wasn't 21 doing this, and it came later for him, and he laughs it off. He doesn't really give me any advice, he just sorta laughs at the scenario, and... no, I'm left the loner. (Laughs)
Do you get embarrassed when girls come up and ask for your autograph?
SL: Yeah, I can't deal with it yet; I get weirded out.
Cinematical.com,22/5/2008,written by James Rocchi
Sunday, May 18, 2008
Grand Theft Auto IV’s Art Director Aaron Garbut on Copycat Games and the Public Bathrooms of Liberty City
What are some of your favorite, small NYC details?
My personal favorite is our take on the National Club in Brighton Beach. We went there as part of a research trip. Russian karaoke versions of European pop songs, jellied sturgeon under cling film, and lots and lots of vodka. When we left, one of the ex-cops who was looking after us had gotten a little drunk and emotional. He confessed that if shit went down at some point during the week, he'd only be able to save one of our lives, and we should decide amongst ourselves who that should be.
I'm fascinated by the idea of this Scottish design team building another New York.
We're not trying to be accurate. We are creating a caricature, a dream of New York. It's a New York people imagine without necessarily having ever been there, or the one they remember when they leave. Liberty is a grotesque echo of the real New York; it's all the best and worst, exaggerated and distilled into a smaller, denser, dirtier, scarier place.
What kind of research did you do?
We also had videos of various junctions throughout the day, set up to record both the changing light and the typical traffic flow, vehicles, pedestrians and the kind of things they did. We read books detailing New York's infrastructure, the sewers, subways, garbage disposal, et cetera. We used Census information to decide on the ethnic demographics for each area of the city. We used architectural plans to define the basic layouts of apartments and used satellite imagery to look at the typical ways city blocks were laid out in each area. We looked at sales figures for make and models of cars to decide what would likely be seen, we went through hundreds of thousands of images, making collections of pedestrians up for each area and we had a full-time research team based in New York that constantly fed us information or additional images and video. Most useful, though, was experiencing things first hand.
What do you remember most about your trips here?
We were in Brighton Beach one day, walking around, not hearing a single word of English being spoken. Someone saw a safe smashed open down a side street and went to check it out. There were two big guys in tracksuits standing there and, in really thick Russian accents; they asked what the fuck we were filming. Someone started joking around with them, and the situation diffused, but it made you think how quickly things can go wrong in these areas. We tried to feed this into the way the gangs work in the game. In previous games, they would just attack you; now we get them to come to you and start hassling you in the hope that you initiate a fight.
Brighton Beach, we were blown away by the vibe of the place. The accents, the way no one seemed to be smiling that morning. We wandered down to the boardwalk and went into the public toilet; inside, one guy in a string vest was shaving, and another exceptionally hairy guy had his shirt off and was washing his pits. We put the toilets into the game as a tribute to them. There's nothing like bumping into a scary guy in a string vest with a cutthroat razor in a public toilet to help set the tone. Or a bunch of us taking photos on 125th Street and being told we were going to be shot if we didn't put the cameras away. That was relaxing.
What do you think about games like Saints Row and True Crime, which are based on the GTA model?
There have been a lot of games inspired by the GTA formula. Some of them take the idea and go somewhere different with it and it progresses the medium. There are a few titles that are more cynical attempts at carbon copies. I find that reprehensible. It's a sign of how immature we are an as industry and as an art form that the kind of extreme plagiarism we're seeing is thought to be acceptable in some way. On a personal level, I think that GTA is made with real passion and has a lot of personality and soul. I couldn't imagine how soul destroying it would be to make a game by the numbers, sitting with a finished game and ripping it off.
From the outside, it's hard for us to tell what the toughest parts of developing a game really are. What would you say was the greatest challenge of GTA IV?
The biggest challenge has been to create and integrate all the detail. We have so much stuff in this game, and it doesn't exist as separate entities, it's all woven together, interrelating in various ways. I remember finding out part way through the project that the audio team were storing the amount of money in each character's pocket — each pocket, mind you, that's left and right — so that they could mix in the right amount of change-jingling noise as they walked past. At the time I thought it was crazy, and it is, but by the end of the project it pretty much fits in with the rest of the game.
New York Magazine,2/5/2008,written by Logan Hill
Saturday, May 17, 2008
Rockstar Games’ Dan Houser on Grand Theft Auto IV and Digitally Degentrifying New York
So the gaming industry has changed a lot since the last GTA ...
Yeah, fuck all this stuff about casual gaming. I think people still want games that are groundbreaking. The Wii is doing something totally different, which is fantastic. We're hopefully going to prove that there’s also a very big audience for people who want entertainment in another form, who think of games as being a narrative device that can challenge movies. We always said: We’re not going release a large number of games. They’re going to have the production values of movies. They're gonna be about themes that interest us whatever the medium, instead of the weird, special video game–only themes that too many people make — orcs and elves, or monsters, or space. We felt you could make a good game and have it be about something we could actually relate to. Or aspire to.
When it comes to designing New York, where do you even start? With the map?
It's not just getting the roads laid out sensibly, which we do, or picking all the landmarks — it's also the more subtle details of dirt, or lighting. We had people out photographing on rooftops on time-lapse cameras so we could get the lighting as close as we can. We had guys looking at Census data; this part of Queens should be more Chinese. The [pedestrians] can go up and speak to each other now, so we got them speaking Russian, Spanish, Chinese. It seemed we'd set a high bar in the past and wanted to take it to a new place, where you feel less like a video game and more like this weird digital fantasy world.
How do you do that?
We're doing things in this that other people would think is insane. Here's a simple example: pedestrians, the guys that walk around, it's a massive-scale production to do that. We ended up with 660 speaking parts. 80,000 lines of dialogue, it's ridiculous.
Can you give us an example of something in the game we wouldn't notice right away?
I think one of the things we try to capture in the game is that New York is the world leader in walking around meeting insane people. [Rockstar Games president] Sam [Houser] and I were walking home and we just met this absolutely crazy homeless guy, who was telling us how he recently killed someone, and drifted into insanity. After 30 seconds of this guy's life, we both thought — he's brilliant! [In the game] you meet freaky characters, and then you can do little random interactive things with them.
Who are a few of your favorites?
We go for that full range of classic New York archetypes. You've got the angry sleeping-pill-popping sort of Sex and the City type woman, you know, whose looks are just beginning to fade — a career woman who works in fashion. The guy who's like, "Yo, buy my record." There's the kid who's like the overconfident cokehead, and then you see him later and he becomes a crackhead, and he's a real mess. And then you see him a while later and he's fresh out of rehab.
So all the pedestrians fit the neighborhoods?
The people in Soho are expensively dressed and into shopping and vacuous in their own way. People in Noho are slightly different, people in Harlem are different. We give them a little character, maybe a two-sentence description — usually a cynical take on a classic New York persona: an English guy living over here, who thinks he's a real hot shot, but he's a complete phony, which is why he's come to New York. If he gets pushed when he's on his cell phone, he runs away from you.
We're trying to pick up personalities that are worth of spoofing. We're not trying to go after every single black person, or every 25-year-old Hispanic kid. We’re saying, this is the neurotic guy who wants to be hard. This is the hard guy who wants to be a poet. And this is the angry guy who's trying to go to anger management class. We're just trying to get male personas and fix them to any race.
On the fashion side, we're literally doing fashion shoots and taking the photographs and turning them into the models. We have street stylists to help us dress them. It's got to look right.
How realistic did you want to go with this?
We try to get the essence of the place, not a photo-realistic, digital tourist guide. We wanted a kind of spiritual tourist guide that feels like New York, but a blown-out, larger-than-life version. We want it to feel you're the star of your own movie or TV show. We wanted an element of the classic New York of the seventies and eighties too.
It’s got a bit of that bad, good old days feel.
We’re not at all aspiring to virtual reality — what we are aspiring to is what feels like you're living in your own world, halfway between 3-D cartoon and action movies. Aaron [Gorbut] in Scotland, the art director, the thing that he's a genius at, and his main guys are brilliant at pulling off, is making the worlds look lived-in in a way no one else can. They don't just think, "How do I make a beautiful model for this house and the sidewalk?" They worry about, "How do I seam them together and put a nice dirt between them?" You never notice that as a consumer, but you do notice that it looks really believable. Other games look so rigid.
How did you pick which areas of New York to feature?
We went from maybe doing the whole of New York State. And then it was just Manhattan, then it expanded out again and was going to be a bunch of suburbs, maybe like Westchester or out to Long Island with woods so you could go bury people. We made lists of what must we keep, what can we drop, what's got to be there, what can we smash in together. Like how we don't do Staten Island and do New Jersey: we would all vote on it. We didn't want to offend anyone in Staten Island, but you get the same suburban neighborhoods in Jersey, plus some factories and stuff.
What kind of research did you do?
We started videoing a lot of neighborhoods, and then the videos were sent off to North [Rockstar's studio in Scotland, where most programming is done] and put on plasma TVs around their office, so while they worked they could look up and there was New York.
Did the guys from Scotland come over here?
In March or April of 2005 we had 60 or 70 of the guys here for a week and a half, driving around in SUVs in the rough parts of town. We'd have cops who used to work the beat driving us around Washington Heights, and saying it used to be great because it was really different then and you could shoot people all the time.
How have the radio stations in the game improved?
We went basically from about eight or nine stations in Grand Theft Auto: San Andreas to eighteen different radio stations this time. We wanted [the news station] to feel like 1010 WINS, so we got one of the main voices [John Montone] to be our news reader. Problem is, in New York now, you can't find seventeen radio stations you want to listen to. We tried to get stuff that would feel like what you would want to hear if you came to New York. Not necessarily what you do find here, but what you ought to hear if it was like the way you'd imagined it.
It seems like the video game–violence issue might finally be dying down. Do you foresee any problems with GTA IV?
If you don’t like any violent content in your entertainment, then I apologize because I do. And I’ve unfortunately been exposed to it my entire life. I agree that the world would be a greater place if all of the guns and all of the bombs disappeared, but that certainly is not in the agenda. If we equally got rid of a lot of books that talk about violence, okay. But if we don’t like these games because they've got content that we’re happy to see in movies and TV shows, then what you’re saying is you don’t like the medium because we don’t have a George Clooney type sticking his face in front of the camera. There is nothing in the game you would not see in a TV show, or a movie a hundred times over, so I don’t understand what the conversation is about. We set out to make games that felt like they could culturally exist alongside the movies we were watching and the books we were reading, and hopefully we’re getting close to those goals.
We wanted it to feel like a gangster film. And you can't do that if you can’t use bad language, or have a hooker on the corner, or a strip club, or all the other things that are part of that world.
New York Magazine,2/5/2008,written by Logan Hill
Friday, May 16, 2008
INTERVIEW: Lisa Edelstein Talks House
Below,there are excerpts from Movieweb's Lisa Edelstein interview. Lisa Edlelstein portrays Dr. Lisa Cuddy in House M.D.
Do you sense movement in Cuddy's character in recent seasons? Do you sort of see a place that she's going from here?
Lisa Edelstein: I do. I really think that her character has been filled out and that her relationship with House has become a beautiful, complicated, adult relationship filled with all kinds of subliminal messages. And it's fun to play, and even when they don't write it, I put it in.
I've always had a theory that she loves House and all of the games she has to play to keep him in line. What do you think of that theory?
Lisa Edelstein: I think that theory is right on the money. I think that she very much loves House and also lives vicariously through him because she's a very smart woman who is very successful as a doctor and has a great job and a wonderful position, but also has had less and less to do with the actual practicing of medicine as the years have gone by, so I think she's excited by what he does and how he does it and deeply frustrated by him at the same time. But as all intense people are, they're incredibly interesting and compelling, and she definitely falls victim to that.
What do you think that House thinks of Cuddy? Do you think he loves her like she loves him?
Lisa Edelstein: I think he's attracted to her. I think he likes her smarts. I'm not sure House is capable of love the way other people are. I think he's so disconnected to himself in that way that it would be impossible for him to truly be able to connect to somebody else. I mean, I think he loves Cuddy and I think he loves Wilson, but I don't know that it would be in the same way they love him.
So you said you're starting right back up again, you're still aiming for a fall premiere for season five?
Lisa Edelstein: Oh, yes. We're starting season five. As soon as we finished season four, we started season five. We're working straight through until August. Usually we have May and June off, so we work through to August, then we take a break for a few weeks, and then we come back and work through December. So, barring an actor's strike, that will be our schedule.
Movieweb,12/5/2008,written by Brian Gallagher
