Film Review: “Mary Queen of Scots”

MARY QUEEN OF SCOTS
Starring: Saoirse Ronan, Margot Robbie, Guy Pearce, Joe Allwyn, Jack Lowden
Directed by: Josie Rourke
Rated: R
Running Time: 124 minutes
Focus Features

By many accounts Mary Queen of Scots had a tragic life. The monarch was widowed at eighteen and eventually beheaded decades later only after nineteen years in captivity in England. She can easily be seen as a victim of the machinations of the men who surrounded her. The film version of her life however, from lauded stage director Josie Rourke and scripted by “House of Cards” creator Beau Willimon, would not have you simplify it as such. Instead, the film Mary Queen of Scots, presents an intimate portrayal of a passionate young woman navigating the troubled political waters of both Scotland and England. Although at times it can be hard to keep track of everyone in play, Rourke delivers a strong, richly designed film lead by a confident Saoirse Ronan.

Rourke’s take on Mary benefits heavily by opening up its scope to include the simultaneously eventful reign of Queen Elizabeth I (Margot Robbie). From the opening of the film, we know both that Mary’s very existence threatened Elizabeth’s claim to her throne and that Mary would be condemned to die by that same cousin. Yet, with this is mind, the film never quite pits them against each other. Instead Rourke is able to take a more modern look at how each of them faced no-win choices when being challenged by contemporaries frowning upon female rulers. Elizabeth for her part is always wary of taking a husband or providing the heir that her privy council demands while Mary is viewed as a harlot for doing exactly that—but the wrong husband. This dichotomy of the spinster and the slut stereotypes is keenly observed by Rourke and never too on the nose.

Among the menfolk in this story is where I found some difficulty keeping up. It’s a little difficult at first to grasp onto which lord or musician giving Meaningful Looks from the shadows will evolve into an actual relationship for these women. They can be a bit of a blur of beards. Often times when they were talked about while off screen, I regretted not doing a quick wikipedia read of Mary to get a handle on which of them really warranted attention. Still, David Tennant as a vicious Scot priest set firmly against Mary is a snarly delight in this crowd. Buoying every performance, it cannot be understated, is some truly beautiful costume design by Alexandra Byrne .

Finally of course though, the film rests heavy upon its titular monarch and even though she shares much of the marketing with Robbie, this is Ronan’s film. She is by turns steely and vulnerable, whether on the battlefield or in the private company of her lifelong handmaidens. Rourke’s film shines when it spends more intimate time with Mary than many period films usually do with their subjects. Meanwhile, Ronan seizes her titular responsibility with relish and infuses Mary with such conviction that I was rooting for her even as I knew she was doomed. 

Film Review: “Beautiful Boy”

BEAUTIFUL BOY
Starring: Steve Carell, Timothee Chalamet, Amy Ryan, Maura Tierney
Directed by: Felix Groeningen
Rated: R
Running Time:  2 Hours
Amazon Studios

Felix Van Groeningen spins a pair of true life father and son memoirs about the latter’s struggle with drug addiction into two really touching turns from both Steve Carell and Timothee Chalamet in Beautiful Boy. The film opens in limited release today and despite some heavy-handed technical choices, succeeds on the authenticity of Carell and Chalamet’s performances.

Steve Carell is instantly sympathetic as David Sheff, who we meet in the midst of his son Nic being missing for a few days—a not unusual occurrence as it turns out. I was relieved when early on his wife (Maura Tierney, bringing a lot to a smaller role) gave him a hug because you can just read on his face such a high level of fragility. He’s worn down by Nic’s habits and tired but also terrified and barely holding it together, he needs that hug! Meanwhile Chalamet suppresses any temptation to overact Nic’s drug addled tics. Instead he keeps all the manic energy behind his eyes and in his slightly unbalanced physicality. Some of the strongest scenes come when Nic is desperately trying to deny that he’s relapsed to get money from an unbelieving David. The film’s greatest strength is resisting the temptation to come down hard on either side of this struggle. “Relapse is part of recovery” becomes David’s mantra when Nic disappoints but that doesn’t mean he’s wrong when he needs to refuse Nic for his own sake. At these moments Carell is almost painfully affecting (frankly, I wanted to hug him too) and I felt my heart racing at times when he, understandably, has to snap and really argue with Chalamet.

There are number of choices Van Groeningen makes however that jar you right out of the story in drastic ways. The music over the opening of the film when we’re introduced to Dave and young Nic’s relationship is so overwrought I felt as though we’d dove right into the climax instead of the titles. These heavy-handed musical interludes occur over and over either in instrumental or lyrical form but I only felt emotionally touched—because how can you not be?—by the titular John Lennon tune which Carrell sweetly sings to young Nic as he tucks him in.

And while I’m discussing Young Nic, besides Chalamet—who, at most is meant to play Nic in his twenties—not just one, but three other boys are deployed to play a younger Nic in flashbacks. It’s distracting not only for the quantity of actors but because the first young Nic is none other than It‘s Jack Dylan Glazer. Glazer himself is fast becoming as recognizable A Name as Chalamet, so when he also gets replaced by still younger models it starts not to feel like the same character. More like props for David. The film is a vital story for a time when America is seeing an epidemic of young people overdosing but in these odd choices, the film gets in the way of itself. When it backs off and let’s the actors take control, A Beautiful Boy shines.

Positron’s Voyager VR Chair Takes Off with First Man

Positron CEO Jeffrey Travis

It’s safe to say I will try anything when it comes to new theatrical experiences. I’ve always loved Lincoln Square’s IMAX screenings, I’ve seen entire Broadway plays done in binaural audio (that’s “3D” sound) and even shelled out extra ticket money to see a favorite film in 4DX once or twice. So I was excited to try out Positron’s Voyager Chair, a VR experience which is being deployed to several theater celebrating the release of Universal’s First Man. Guests heading out to several AMC locations across the nation have not only the chance to just see the Damian Chazelle film, which is released on October 12th, but to take a small excursion to the moon themselves.

I got to try out the Voyager chair on Tuesday both with the First Man VR experience as well as a seasonally-appropriate horror short called “Night Night” and was really impressed with the level of immersion, from the spatial audio to truly being able to look in all directions within my headset. My First Man mission even had an animated co-pilot! Best of all, the Voyager chair itself, whose design looks straight out of Men In Black, was actually pretty comfortable and even after these two shorts I felt no sort of motion sickness, which I was wary of considering 3D films can give me a headache.

Positron’s CEO Jeffrey Travis was in New York this week with the Voyager to talk about the potential that this technology presents to cinematic VR experiences.

Lauren Damon: Was this pod created just for First Man?

Jeffrey Travis: No, we created this to be a platform for cinematic VR in general. So the first kind of wider public experience was we did The Mummy with Universal. So we’ve done three experiences with Universal–The Mummy, Jurassic World and First Man. It was all really cool. But there’s a lot of other studios and places that we use these with. The idea is to create ultimately VR cinemas.

LD: Is the goal here to get whole theaters of these?

JT: Yeah! So we can do theaters with this. Mini ones of twos or threes and we actually set that up here at Pod hotels here in Brooklyn. It’s open to the public. We have pairs of chairs at AMC theaters here in New York at Lincoln Square, San Francisco, DC, LA, but eventually we’re going to be putting this in permanent installations and creating VR theaters of 30-40 chairs and people could buy a ticket and come for an experience that’s either like something of what you’ve just experienced or longer. Somewhere from a half hour to an hour.

LD: Yeah because how long can you view it without feeling it too much?

JT: Yeah we talk about that. I think the ideal length is about half an hour for cinematic VR. I think longer than that, the headsets can get a little heavy on some people. But those are being made by companies like Facebook and Samsung and Microsoft and HP and they’re getting better all the time. So I think we will be able to have 90 minute VR experiences. But right now a half hour feels like a very full meal.

LD: What would the price point be in terms of ticketing?

JT: So probably around—it depends on experience—but probably averaging around $30.

LD: That price is actually similar to they have those “4D[x]” theaters here, what are your thoughts on those?

JT: We do get asked about that. I think it’s still fundamentally different. You know, to me the 4D movie theater, you’re adding some sensory effects that compliment the 2D screen experience. Which is fine and good, but what we’re trying to do here is really bring VR to where you forget about the screen, you even forget about the motion…So it’s almost like you don’t notice it’s happening. You should just feel like you’re actually in the story. That’s kind of the goal, not just a little enhancement but something that’s integrated.

LD: How much testing goes into something like this? How much time does it take to produce?

JT: It really depends on the piece but it goes through a lot of testing. Several months. This next piece that we’re working on is called “Shady Friend,” a VR comedy starring Weird Al Yankovic. It’s a psychedelic comedy that uses scent as well and it’s about a guy that accidentally takes this latest designer drug and goes on this crazy LSD trip. So we’re using motion, haptics and scent and it’s in post-production right now, we shot in July, and it will probably be ready by January. About six months.

LD: When did you start working on this particular First Man experience?

JT: First Man, so that was produced by Ryot and CreateVR and they started actually just two months ago. It was a very accelerated schedule. Which is a little more unusual.

LD: Was all that footage created for this VR?

JT: So obviously the stuff you’re seeing in Mission Control and on the screens is from the film, but then everything else for the VR experience had to be created from scratch. The films assets are mostly 2D and we needed to create these 3D volumetric environments like the moon.

LD: Are you going to get Ryan Gosling to try this out?

JT: I hope so! We had them at the premiere of First Man in the space there. So he was there, I didn’t get a word whether he did it or not. I know the producers of First Man got in there.

LD: There’s definitely a push to add more to theaters considering how much is available for home streaming, do you see this as adding to that?

JT: That’s the idea. I think that movies are certainly in the US and North America, struggling with people going to the box office because they’d often rather stay at home and stream on Netflix. So I think part if the appeal for this is that hey, this is an experience you really can’t get at home. At least not yet. And this brings people out to the movies or at least out to our locations and experiences.

LD: What other films will be having similar tie-in experiences like this?

JT: I mean there’s some coming we can’t really talk about, because they’re not really announced yet. But we’re working working with several other studios besides Universal on some titles and we’ll be announcing as we can.

Positron’s Voyager Chair is offering First Man experiences through October 14th at AMC Theaters in NY’s Lincoln Square, DC’s Georgetown 14, San Francisco’s Metreon 16 and LA’s Universal Citywalk locations

“CGI just doesn’t cut it for me, man!” Blindspot’s Heidi Schnappauf Speaks About Stunt Work

Heidi Schnappauf at Sword Class NYC

When Blindspot enters its fourth season this Friday on NBC, it will of course be bringing the action that has garnered the series multiple Emmy nominations for Outstanding Stunt Coordination. While last year burst onto the scene with, amongst other things, Jane Doe and Co in a tank, this year’s premiere has taken Jane (Jaimie Alexander) to Tokyo where she engages in some impressive swordplay with a new adversary. Behind Jane’s hardest hits is Alexander’s stunt double, Heidi Schnappauf, who has been with the show from the first season. Speaking with me at New York Comic Con*, Jaimie Alexander said of Heidi: “Just the hits she takes, the body slams…I don’t know how she’s OK. Half the time I’m terrified for her because she does a lot of the heavy lifting in the fights…And she’s just incredible, she’s an incredible lady.”

Besides Blindspot Schnappauf has an impressive credits list that includes Marvel’s Jessica Jones, Broad City and Orange is the New Black. I was lucky enough to speak with Heidi about her action-packed job this past weekend when Warner Brothers sent us along with her and Jaimie to, fittingly, a beginner Kendo sword lesson!

Lauren Damon: How long have you been with the show?

Heidi Schnappauf: I’ve been with the show all the four seasons, however, I came in toward the end of the first season. I think episode twenty. So right at the end kind of filling in for her old double [Ky Furneaux].

LD: What are your favorite types of stunts?

HS: I love to fight. My main background was fighting. This, sword fighting, was not something I grew up with, but definitely something I picked up on the way and trained a little bit. But fighting, which includes all the falling that we do—getting thrown around—I started at such a young age that I got thrown around a lot when I was in karate as a kid, moving into college years. But I really do love all the hard hits and driving. I’ve been doing stunts driving now for about eight years. So yeah, anything where I’m maybe flying through some glass or getting thrown out of a car, I totally dig it! Any of that.

LD: Have you ever had any major injuries?

HS: I’ve had a few. Biggest injury was not on Blindspot, actually it was right before I got on Blindspot. I was recovering from my biggest injury which was I was doing a high fall and there was faulty landing equipment, it was nobody’s fault, just a one in a billion chance I ended up injuring my neck pretty badly. I was out for about ten months from work, which was a really big bummer actually. And the doctor—I was in the ER from that injury and with you know, on morphine and valium and a neck brace and tears coming out of my eyes—the doctor’s like ‘Oh I guess this is gonna put a damper on your career’ and I’m like ‘Yeah, I really know what I’m going to do next time so I don’t hurt myself’ and he’s like ‘Next time?! Are you nuts?!’…I’m like ‘Well, yeah, I’m just bummed that it’s gonna be a while!’ So that was my most devastating injury. Everyone wanted to cut me open, everyone wanted to do surgery, they wanted to replace my disc, or fuse my spine and all this stuff…I kind of basically talked to doctors until I got the answer I wanted and then I found more doctors to support that.

LD: As a viewer, what are some of your favorite films or tv shows for stunts?

HS: Um…Blindspot? [laughs]…Oh, I really like Supergirl, is that WB? I do like Supergirl. I’m not gonna lie, I don’t watch a lot of TV because I work and I sleep and I try to watch Blindspot. But I do, actually, this new season of Iron Fist is probably my favorite bit of action on tv or Netflix…Blacklist, I love Blacklist. They just have such a variety of stunts on that show. And Game of Thrones. Come on, man, you can’t deny that setting like seventy five stunt people on fire is NOT cool. From a DRAGON. It’s insane.

LD: There’s a faction out there that is pushing for a Best Stunts category at the Academy Awards, how do you feel about that?

HS: I think that’s a good idea since like every other category is out there. I mean, I don’t know how you’d delegate that but I think that’s a good start to just recognizing it. I don’t do stunts, obviously, to be recognized. I love it because I get to kind of be the magician of the action world of film and tv. You don’t really want to give your tricks away, you want to make it an illusion…most, some people I know anyway, don’t do it for the glory. It’s not really about that. It’s about making good work. I would love to see it so it’s recognized as an art and as you know, that magical things that happens isn’t actually magic. It’s people that are putting their bodies and their lives on the line to bring everyone a cool product. CGI just doesn’t cut it for me, man!

Blindspot season 4 premieres Friday October 12th at 8pm on NBC.

*Check back here this weekend to see our full chats with Blindspot stars Jaimie Alexander and Sullivan Stapleton!

Film Review: The Sisters Brothers

THE SISTERS BROTHERS
Starring: John C Reilly, Joaquin Phoenix, Jake Gyllenhaal, Riz Ahmed
Directed by Jacques Audiard
Runtime: 121mins
Rated R
Annapurna Pictures

Jacques Audiard’s The Sisters Brothers opens up with its  many company credits appearing from the bottom of the screen and appearing upwards. It’s an off-kilter way to read them but absolutely fitting when what follows is a distinctly off-kilter western. Set in 1851 during the US gold rush, Audiard’s film has all the pieces of a traditional western–the horses, the saloons, the canned beans– but through its four strong leads is able to explore so much more.

Ostensibly The Sisters Brothers is about Eli (Reilly) and Charlie (Phoenix) Sisters, a pair of assassins in the old west who are on a hit job on behalf of their wealthy client, the Commodore (a blink-and-you’ll-miss-him Rutger Hauer). The Commodore is after a gold seeker, Hermann Warm (Ahmed), whose chemical formula reveals gold just by pouring it into the water. A game changer for treasure hunters. Jake Gyllenhaal’s John Morris has been tailing Warm as he makes his way to San Francisco and leaving breadcrumbs for the Sisters to follow. Trouble is Hermann and Morris turn out to be oddly kindred spirits and Morris’s designs on Warm’s death start to wane. While Morris wrestles with his duties to the Sisters and Warm’s idealism, the Sisters cope with their own infighting. Eli is grasping at a world where they are free of needing to take on this dirty work to survive while Charlie can see no other purpose for himself than drinking and killing. The setup is relatively simple but in campfire chats and detours, mines a deep well of complex themes at play in this unforgiving environment. There’s an air of tragedy around all the leads that undercuts the masculine bravado that so often drives gunslingers in westerns.

If there are John C Reilly-philes out there–and really, why wouldn’t there be?–these next couple months will be providing them with a wealth of his screen time. Obviously there’s the big Disney sequel with Ralph Breaks the Internet, the more familiar comedy pairing with Will Ferrell in Holmes and Watson and soon after that the UK will see him in the biopic Stan & Ollie. But I will go out on a limb and say that his work here for Jacques Audiard’s contains his most interesting performance of the bunch.  As the older brother Eli, he is the more physically imposing presence of the two but continually reveals more and more layers of sensitivity as the film goes on. He has a token of a past romance in the form of a shawl he treats with reverence, he’s open to trying these newfangled tooth brushes that are going around. Most of all he carries the weight of having to take care of his damaged younger brother who would likely drink himself into oblivion without Eli nearby—not least of all because of their shared troubled childhood. It’s by far the quietest performance of the quartet but it’s extremely touching. The long and winding road that this small family unit takes is at every point unpredictable and where Audiard ultimately goes was unexpectedly affecting. A beautiful and unique entry into the genre.

Film Review: “Lizzie”

Starring: Chloë Sevigny, Kristen Stewart, Jamey Sheridan, Fiona Shaw, Denis O’Hare
Directed By: Craig William Macneill
Rated: R
Running Time: 1hr. 45mins.
Roadside Attractions

In many ways, this is the perfect time of year to release Lizzie. As we enter the fall, the movie theaters turn to smaller dramas while basic cable crams its schedules with true crime and hauntings in the run up to Halloween. The axe murders of Abby and Andrew Borden have always figured heavily into the latter. So much so, it occurred to me while watching Craig William Macneill’s carefully crafted depiction of Lizzie Borden that I had never seen a version of this story that wasn’t hyper campy. A quick search on Youtube turns up ample “dramatic re-enactments” and even a Dance Moms routine. Perhaps anticipating that audience, director Macneill serves up Abby’s body mere moments into his film before rewinding back at the investigator’s prompt to Lizzie, “Did your father have any enemies?” Did he ever. What follows is a drama that simmers with tension between its small cast led commandingly by Chloë Sevigny and Kristen Stewart.

In 1892, Lizzie shares a modest Massachusetts house with her father Andrew (Jamey Sheridan), stepmother Abby (Fiona Shaw) and sister Emma (Kim Dickens). Lizzie is old for being unmarried and her community—but her father most of all—isn’t shy about treating her as a pariah. Lizzie having a seizure (or “spell” if you’re old timey) in public only adds fuel to the case for sheltering her. Into their home comes an Irish maid, Bridget Sullivan (Stewart), who Lizzie forms a connection with. Before you can say steamy pizza rolls, they are passing notes and rendezvousing in the family shed.

As far as I can tell, the theory for Lizzie’s sexuality being a part of this case, aside from her never marrying, comes from a later in life “crush” on an actress of the time. Whether or not you buy into this particular take really isn’t the concern of this film which draws strength from the bond between Sevigny and Stewart. When Andrew turns predatory towards Bridget, Lizzie’s anger towards him is stoked as is her motivation to sabotage his affairs. Affairs which include compromising Lizzie’s inheritance. Likewise when Lizzie’s uncle (a snarling Denis O’hare, always a welcome addition) tries to intimidate her, Bridget makes her presence known and he sees himself out. Though their society is rigidly patriarchal, under this roof the men are outnumbered and Macneill makes great use of the confined space to reinforce that. The soundtrack remains sparse, giving dominance instead to the ambient sounds of the household. The creaking wood of the stairs and bedrooms might as well be a character unto itself, and gives the whole piece an extra level of claustrophobia. It works really well for this story which is essentially a slowly escalating war between father and daughter.

As we march on through the final acts, the story does slow down with some time jumps between the murders and the aftermath. It’s as though to let us see how an obviously guilty (in this telling of it anyway) Lizzie might sell her innocence to investigators when really that could have wrapped up more strongly with their credible—if still sensational— take on this infamous case.

Film Review: “The Little Stranger”

THE LITTLE STRANGER
Starring Domhnall Gleeson, Ruth Wilson, Charlotte Rampling and Will Poulter
Directed By Lenny Abrahamson
Rated R
Runtime: 1hr. 51mins.
Focus Features
The pitfall of turning a gothic tale into a feature film seems to be Hollywood’s tendency to sell it as a horror film. As most trailers do, they cram the most exciting visuals or scares into two minute bites hoping to draw that genre’s audience while never considering the ill will they’re potentially engendering with such a mischaracterization. It fascinates me as far as choices go in this age of Cinescore post-screening chatter although I can’t begrudge the trailer makers for their need to get butts in seats. I say this all up front because that is the case with Lenny Abrahamson’s The Little Stranger, an adaptation of the 2009 novel by Sarah Waters. What they really have is a carefully crafted and, critically, a glacially slow paced period drama where the “big” bloody moments are few and far between. To be clear, I actually am more of an ideal audience member for English period drama than horror but even my limits were tested. The talented cast languishes in beautiful atmosphere and effective sound design that amounts to a pile of supernatural McGuffins.
The year is 1949 and Dr. Faraday (Domhnall Gleeson) is summoned to Hundreds Hall to check in on the Ayres family’s young maid, Betty (Liv Hill). Betty isn’t sick so much as she’d like a doctor’s excuse to send her back home. The drafty house’s halls don’t sit well with Betty. This uneasiness is chalked up to youth and inexperience but as the doctor learns, her line of thinking isn’t isolated among the inhabitants. Roderick (Will Poulter), the man of the house and brutally scarred up WW2 vet, also swears by a malevolent presence that’s out for his family. Again, dismissed by the rational doctor as well as Roderick’s caretaker sister Caroline (Ruth Wilson). To complicate things, Faraday has a kind of reverence for the place having been enchanted by being brought there as a child in 1919 with his mother, then a member of the house’s full staff. Over all of this lies the spectre of Caroline and Roderick’s dead sister whom the young Faraday had a brief encounter with during that long ago visit. Faraday’s love for the estate drives him to grow closer to the Ayreses, Caroline in particular.

I was excited to check out The Little Stranger, being a fan of Abrahamson’s previous three films (all also adaptations) as well as Domhnall Gleeson who is consistently reliable. The trouble is The Little Stranger can’t quite decide what it wants to be. The awkward romance between Faraday and Caroline occupies far too much screentime for where it ultimately goes while the horror and supernatural aspects of the story pretty much plateau rather than ramping up to a satisfying conclusion. I couldn’t tell if said conclusion was actually meant to be a twist or not because I had connected the dots so so long before the story wended its way to meeting me there and when it arrived, did not add anything exciting. I suspect Waters’s novel made much of the turmoil the Ayres family finds themselves in in Hundreds Hall but the film leans too heavily on its production design to fill in the gaps of its stilted characters.

The Miseducation of Cameron Post Red Carpet Interviews

Desiree Ahkavan’s new film, The Miseducation of Cameron Post hits theaters this week after both winning the Grand Jury prize for drama at Sundance Film Fest and screening at the Tribeca Film Festival earlier this year. The film, an adaptation of Emily Danforth’s 2012 novel, stars Chloe Grace Moretz as Cameron Post, a high school girl who is caught making out with another girl on prom night. Cameron is subsequently sent to a religious gay “conversion therapy” camp called God’s Promise by her conservative American family. From there, Ahkavan’s touching and honest film follows Cameron as she encounters her fellow campers coping with their sexualities and the camp counselors (Jennifer Ehle and John Gallagher Jr.) who may have their own inner reservations about the work that they do. It is a challenging film for its young stars that’s deftly led by Moretz with support from Sasha Lane, and Forrest Goodluck.
I got to speak with some of this talented cast at their Tribeca red carpet premiere about how they came to be in the film and the message believers in these controversial camps could take away from Cameron’s story.

Tony winner John Gallagher Jr. plays Reverend Rick, himself a former camper turned youth counselor who outwardly is a God’s Promise “success” story but clearly deals with suppressing his true emotions.

Lauren Damon: Your character has so much going on under the surface, how did you work on playing him?

John Gallagher Jr: Yeah! A lot of it was just trusting the script and trusting Desiree. You know it was a very complicated role who’s living right on the edge of something. And I just really looked to [Desiree] to kind of be the leader and to be my guide throughout all of it. And to just try and kind of tell the truth as we had deemed it fit for the film.

LD: What was the most difficult part of working on this?

JGJ: I think, you know living on that edge…of like really preaching something that, I think you start seeing throughout the film, that the character may or may not actually even believe. And that kind of crisis of faith, and that doubt and that second guessing. And really like the guilt that comes with that…I think he’s a guy that really is struggling to do what he believes is the right thing. And I think that his awakening in the film is that he doesn’t know what the right thing is.

LD: I watched this in an admittedly liberal NYC screening room and I think the reactions to a lot of what happens in the camp was that it was ridiculous, but both in the film, and in these real places, it’s really not…

JGJ: It’s not. There is no spin on it, that is their earnest belief. And as I can’t even fathom having that kind of opinion on matters of sexuality, that’s a very real thing. And people do have those exact kind of beliefs.

LD: What would you tell someone with these kinds of beliefs if you could speak to them?

JGJ: Gosh. I would tell them to watch this film and think it over a second time, you know?

Quinn Shephard plays the small but crucial role of Coley Taylor, the girlfriend who Moretz’s Cameron is caught with before she is sent for conversion.

LD: Your role isn’t big in terms of screentime, but it’s so pivotal to the film, how was it to know that going in?

Quinn Shephard: It was great! I was very happy to be a part of the film in any way possible. I keep saying, I just wanted to be a part of the movie because I really believed in it. I think it’s one of the best scripts I’ve ever read and I wanted to be in it. And I’m excited that I got to play this role.

LD: As in actress in this film, if you could get a message to people who believe these camps are effective, what would it be?

QS: Oh man. I think it’s like…I mean, look–Some people I think have a lot of fears and they justify things like conversion camps out of fears. But I think that if you come at something from a place of love, it’s impossible to justify. I think if you’re really someone who feels love in your heart and you challenge yourself to love someone who’s gay and imagine…putting that person through that and telling them that they’re not okay, I think it’s impossible to justify. I think people get caught up in their rhetoric and they get up in religious justification. But when it’s human and it’s in front of you, it’s very hard to agree with, you know? And I think that if somebody sits through this movie who believes in it, they’ll change their mind.

LD: How did you go about preparing for the intimate scenes between Coley and Cameron?

QS: I read the book, I read about my character…I’m somebody who’s very comfortable with who I am and it was just about creating a place in myself where I was very happy for what was happening, but at the same time very ashamed of it. I think that’s who [COLEY] is, she’s that duality and that was a difficult place for me to go. It was a very sad place. But it was something that was very important to her. There was a fragility to the relationship because she is not okay with it yet. And then I think as far as the actual intimacy of the scene, we just went into it was a sense of humor. And Desiree was very accommodating and she made us very comfortable and we had fun.

The Miseducation of Cameron Post opens in New York on August 3rd and expands to LA and other cities on August 10th.

“Cargo” Creators Discuss Their Australian Zombie Drama

The Australian-based zombie drama Cargo was released on cinemas down under this month and is currently streaming internationally on Netflix. It follows Andy (Martin Freeman, read his interview here) a father facing down a viral plague outbreak and journeying across the Australian wild to get his baby somewhere safe. Along the way he encounters both natural and human foes and joins forces with Thoomi (Simone Landers), a young indigenous girl who saw her own father taken by the virus. The film was based on a short that debuted at Australia’s Tropfest in 2013. I sat down with directors Ben Howling and Yolanda Ramke as well as producer Kristina Ceyton (The Babadook) to discuss expanding their unique zombie take to a feature.

Lauren Damon: What made you approach a zombie film from this father-daughter angle?

Yolanda Ramke: I guess, I mean for us that really was sort of the heart of the short film— was this relationship between the father and the child. And I think we felt like with the response that the short got that that was the theme, like the vibe that was really resonating with people. So we knew that that was something that we wanted to hold on to in sort of a longer form story. And then it was just a case of you know, fleshing that out. And how do you expand that from a seven minute thing to a hundred minute thing? And then also yeah, how do you bring something kind of that you feel might at least have some element of freshness to it within that genre. For us, it was going Aussie and thinking about our culture.

LD: With such a populated genre, you know, “The Walking Dead” would have already been on a couple seasons when you made the short—do you watch other content out there or try to avoid it?

Ramke: Well I think when the short kind of came out, it was maybe the “Walking Dead” was in season 2?

Ben Howling: End of season two.

Ramke: So it was still sort of like at its zenith and it was—but yeah, we were keeping tabs definitely. I think it’s good to know what other projects are doing and just to make sure that you’re conscious of that. And pushing away from it where you can.

LD: Do any of you have small children that influenced this story at all?

Ramke: We don’t, no.
Howling:No. We have fathers though!
Ramke: We have parents!

LD: Parents who would combat zombies for you?

Ramke: [laughing] Yeah, exactly. That’s it. I think they would.

Kristina Ceyton: ‘Dad, can you carry me on your back?’
Howling: We’ve actually both got fathers who are kind of like engineers, mechanic engineer types, so I guess that kind—the ingenuity of that, we’d be fine—
Ramke: Yeah, I think we both think they probably could do something like that.

Cargo Directors Ben Howling, Yolanda Ramke and producer, Kristina Ceyton

LD: Kristina, you also produced The Bababook which had that heavy mother-son theme front and center, was this project like a funny coincidence to go to a father-daughter?

Ceyton: It is. It’s funny, like initially I didn’t make that connection at all on that level because I just gravitated to the story and you know, was really moved by it. I think it is a genre movie that is surprisingly emotional and has a lot of deep layers about exactly the, you know, parent to child dynamic…but yeah, I suppose there’s parallels, but it’s a very different beast in this instance. I think it’s a lot less psychological and this is about survival and about transcending death. And I think what you would do, you know, the length you would go to to sacrifice yourself for love and family and also community on a more broader level. Yeah. I think it’s those things that really resonated.

LD: When expanding from short to feature, what was the decision making process like on how much more to reveal about the nature of this virus? Because the short was obviously very sparse on details.

Ramke: I think we were really interested in the idea of just throwing the audience in the middle of it. And just personally because we love films that do that. And that make the audience work a little bit to kind of put things together. And I think we just also felt within this genres, we’ve seen a lot of stories that were about finding the cure or that sort of thing and we just thought, ‘well that’s been done really well by other films.’ It just didn’t interest us to go there. I think we just thought, how can we carefully deal out bread crumbs and details for people to put the world together and work out what’s going on. And then just let them go on this journey with this father and this baby and this indigenous girl.

LD: Yeah, that indigenous element is very unique to this film, did you outreach to people in those communities to get their perspective?

Howling: Yeah, in script development, we brought a script consultant on, Jon Bell—who is an indigenous writer from back home and he was able to kind of walk us through. We had some ideas which we’d researched but then we’d discuss with him—‘is this feasible? Is this practical?’ Indigenous culture is very sensitive back home because you could never make a blanket statement like ‘everyone would behave like this.’ There’s all these micro-communities that have these different cultures and values and practices. So he was able to help us navigate those waters in terms of what would be the appropriate response. And then on top of that, just with his own experience. Talking about ways that you can use indigenous hunting techniques and things like that.

Ramke: And then from there, once we knew where we were shooting, which was South Australia, it was a case of conversing with local elders in those communities as well. Just to make sure that we were sort of tailoring things to that region. And giving them the script and making sure that they were comfortable with what was happening. Seeking formal permission to use language in the film. And just trying to basically approach it as respectfully as possible.

LD: How did you go about casting Thoomi?

Ramke: She was a find. Our casting director Nikki Barrett had put a call out. So that had gone to a load of very regional communities across Australia and we had kids filming themselves on their phones, having their parents like read the lines off camera in these very monotone voices. It was just super cute. And yeah, we got down to four girls who we did sort of a workshop with and we just felt like Simone from day one was sort of the standout. And yeah, she really killed it.

LD: How did you get in touch for casting Martin Freeman? Had he seen the short?

Ceyton: No he didn’t so we approached his agent. It was just basically the traditional way of approaching his agent and the initial response was ‘I don’t think that Martin likes genre films’ [laughs] But luckily he read the script and really loved it and fell in love also with the story of this dual kind of father-daughter relationship and survival. And I think for him, it was never really a ‘genre film.’ So luckily he was available at that time and just all the pieces fell into place.

LD: Did his casting change anything within the film seeing as he is basically THE whole film?

Ramke: It would have been just very small things. I think at the point that he had come on we were in the process of doing another draft anyway. So just subconsciously as a writer once you know who the actor is going to be and you’re familiar with their work, you can kind of hear their voice a little bit. So when you’re writing dialogue, there’s an element of writing it with that person in mind. But I think also once we knew that we were going to be casting a British actor, which is something we had hoped to do from quite an early on—that also informs some of the more thematic threads of the story, in terms of Australia’s colonial history. And that just absolutely put more meat on the bones I guess.

LD: Can you talk more about Australia’s past in terms of this story?

Ramke: Absolutely. Just in terms of Australia obviously being, a long way back, colonized by the British and there were a lot of ramifications that kind of linger. In terms of social issues and Australia has some work to do, I think, in terms of acknowledging that past. And you know, it hasn’t been handled in a way that some other nations like, I believe, Canada and New Zealand, where there are treaties with their indigenous people. It’s all been quite overlooked. So I think there is still a lot of collective pain that exists in indigenous Australia. And we just didn’t want to ignore that, I suppose. But we also didn’t want to get too preachy about it either. So it was something we could just let sit in the story, just by nature of being English and coming into contact with this indigenous—

LD: And him requiring their assistance.

Ramke: That’s right. That’s sort of like the reversal of the sort of historical context, I guess in a way.

LD: How did you go about developing the other Australians in the film? The human villains, who weren’t present in the short.

Howling: I think in early drafts we just explored a variety of like different antagonists. And then we just kind of blended them together into one kind of more fleshed-out three dimensional kind of person…It was nice to have somebody as a bit of a contrast to the indigenous response which was to go back to the land and traditional ways. And this is somebody who is very attached to western living and can’t let go of it. So it was just in terms of creating that, that split between the two of them and learning his motivation and fleshing it out from there.

LD: When you make a zombie-apocalypse film like this, do you find yourself considering what you would do in this worst-case scenario?

Ramke: Ohhhh…have you ever thought about what you’d actually do?
[laughter]
Howling: That makes you cocky…
Ramke: No, but I think ultimately it would always come back to family though. It would always be about ‘Are my family safe? How do I re-connect with my family?’ and make sure that we’re together if this was to go down.
Howling: But what if they’re already infected??
Ramke: [Gasps] Oh! Well I just can’t even deal with that idea, that would be heartbreaking.

LD: Your zombies are unique in that they’ve got a different design, this orange slime rather than regular blood and gore, what was the thought behind that?

Ramke: Yeah, we didn’t want to do the gory bloody thing. And I think that that just came from this approach that we tried to take to the whole film which was to just to try and keep it as sort of grounded as we could. And as subtle as we could. And that idea of that design aesthetic coming out of the natural environment. The idea that this sort of toxicity in the environment and that it sort of literally affecting the land and that is spreading to the people. So the influence for that was like tree sap was like a visual reference. That more organic kind of reference.

LD: Are you excited that this film with be hitting the Netflix audience?

Ramke: Yeah we are!

LD: Are you guys the Netflix binge-watch types, do you have favorites?

Howling: Yeah, definitely.
Ramke: I loved “The OA”. “The OA”, “Stranger Things”, I feel like there’s some other really great shows that I’m completely neglecting!
Howling: There’s really not much that I don’t binge on.
Ramke: Yeah, you’re a really good binge-er.
Howling: “Dark”, “Requiem”.
Ramke: “Requiem’s” cool, yeah.
Howling: Just recently, actually just the other day I smashed out “Lost in Space.”

LD: Do you have personal favorite zombie or horror films?

Ramke: Shaun of the Dead is my favorite zombie film, actually. But I think in terms of reference points for this film, oh my goodness, we were looking at more sci-fi stuff. So like Children of Men, District 9 and I guess The Road as well is sort of comparable.

Howling: And also Frank Darabont’s “The Walking Dead” season one was out. That’s what really kind of like ignited us back into the zombie thing…he only did season one. That was like a six-part, it’s very different to the rest.

You can watch Cargo now on Netflix.

 

Related Content

Martin Freeman on Carrying Netflix’s CARGO

Martin Freeman was last seen on screen this year providing comic support to Wakandans in the blockbuster Marvel smash, Black Panther but this Friday on Netflix, he jumps to the forefront of a very different sci-fi landscape in Ben Howling and Yolanda Ramke’s Cargo. This fantastic zombie plague story sees Freeman playing Andy, the father of adorable baby Rosie, who is unfortunately bitten by zombies and is racing against the clock to carry Rosie to safety across the Australian outback.

Cargo made its stateside premiere last month at the Tribeca Film Festival, after which I got to speak with Martin by phone about working in the horror genre, and of course what tech he’d like to lift from Shuri’s lab!

Lauren Damon: Before the Tribeca premiere had you seen the film?

Martin Freeman: I had, yeah. But only a long time ago on a laptop.

LD: I imagine it was more effective with other people around…

MF: [laughs] Yeah, it went down very well actually, yeah. It was very well received. It was late and people need not hang around for questions but they did. I think it seemed very positive, yeah.

LD: With the film going to Netflix next, are you excited? Are you a big Netflix user yourself?

MF: I am a frequent Netflix user, yes, very much so. I think when you make a film initially, you always envision it having a theatrical release. But maybe generations now don’t envision that. But my generation envisions a theatrical release and it’s gets that in Australia. The rest of [the world] is on Netfilx, that platform, and you think ‘ok, well fair enough.’ But then you actually think it’s more than fair enough because way more people are going to see it on Netflix eventually than would do in a theatrical setting. Just the accessibility of it, the ease with which you could see the amount of things you could see, yeah, I’m more than happy about it.

LD: With Cargo filming mainly being outdoors and with your character carrying the baby everywhere, what was the hardest part about shooting?

MF: Probably just getting eaten alive by mosquitoes. That was pretty challenging. Holding babies on my back was kind of alright. Sort of felt like free gym work, really.

LD: So you lost weight by shooting the film?

MF: I probably did. I probably did. I ate sort of reasonably healthily…but yeah I was constantly carrying a backpack.

LD: I assume there were multiple babies to rotate through?

MF: Yeah, two sets of twins. One pair of twins turned out, quite quickly, to be the more amenable pair. And the other pair was used more for in sort of wide shots.

LD: When you’re acting in an apocalyptic film or a zombie film, do you start thinking about the choices your character is making and whether you’d agree with Andy?

MF: Yeah, I think he did everything he could really. Part of what makes it relatable for me is that his actions seem very human.

LD: Do you think about if a zombie plague broke out what you—as Martin—would do?

MF: I haven’t thought about that a lot, no. No, not a lot. I don’t really fear zombies…but when the shit really hits the fan, whatever form that’s gonna come in…No, I guess like everybody else I’d panic [laughs]. Most people just hole up…

LD: Meanwhile, you’ve also just appeared in Andy Nyman’s Ghost Stories. If you don’t fear zombies, what about ghosts and the supernatural?

MF: Not really. I mean I kind of…I’m open to belief in the supernatural if it can’t be empirically disproved or proved. But no, I haven’t ever seen a ghost. I’ve had, you know, the occasional spooky night. Once you hear something that goes bump or bang and you start making up your own narrative for it. And I’ve been rooted to the spot a few times on my stairs thinking ‘is that a ghost or is it a burglar?’ And fortunately it was neither.

LD: Do you have any favorite horror films or ghost stories?

MF: I don’t know if they count it as horror…The first one I saw as a young child was Psycho. So that was when I was about seven and that was—it really affected me a lot. That first experienced of being very very frightened.

LD: In some sequences of Ghost Stories you get to play sinister, which I’m not used to seeing you in that way, was it fun to go there?

MF: Yeah, it’s a lot of fun. I loved it. It’s just always nice to lean into another part of your personality and be able to perform in a different way. Because I think as the film goes on and what I’m doing goes on, it was allowed to get a little more heightened and theatrical. You don’t always, in front of the camera, get the license to be that theatrical and that slightly camp. Your job in front of the camera is usually to be very real and not do any acting at all. Or at least that’s the job I give myself. But to do something a little bit more arch—you know, he becomes a function of the story then, as opposed to a three dimensional character. He becomes the function of the story to do something to Professor Goodman he has to have an effect on [him]. And I really enjoyed, yeah, just having to fuck with Andy Nyman. That was really good fun, yeah.

LD: Between Ghost Stories and Cargo, you undergo some pretty heavy makeup prosthetics, is that fun to get more into it? Or something more challenging?

MF: It is a bit of both, really. It is fun, because I’ve not done loads of it so it’s still—it doesn’t feel too much like the day job for me. It isn’t boring yet to do prosthetics. But yeah, the challenges are just the time it takes and the relative discomfort of it. Just there is a layer between you and the outside world that you’re not used to. There’s a layer between you and the other actors that you’re not used to. I guess with Cargo it was meant to be uncomfortable. And as I say, where we were filming at that time was quite hot…

LD: Yeah and then I imagine being under a bunch of zombie makeup in the hot sun…

MF: Yeah, just getting eaten by mosquitoes and I didn’t get on very well with the contact lenses. I didn’t get on very well with those [laughs]

LD: It looked good!

MF: Good. Yeah, then it’s for a good cause.

LD: Between Cargo and Ghost Stories, which order did you shoot them in? Was it close together?

MF: They were quite close together actually. Yeah, I shot Cargo first and then about a month later I shot Ghost Stories. The month after I came back from Australia, I went up to northern England and shot Ghost Stories.

LD: So you were in like horror genre mode.

MF: Kind of yeah, it sort of worked out like that. And of course it, you know, as far as the actor’s concerned, that’s never The Plan. Because you very rarely have any plan at all other than, you know, be able to pay the rent. It’s just what comes to you that you respond to for whatever reason and I’ve got pretty poor taste in what I like—what I like as a viewer. And what I like doing as an artist….I guess there’s more genre around now than there was twenty years ago. There’s more genre around now. And I’m still from the old school of ‘hey it’s the story’. It has be as story that I like. That I would like to participate in totally regardless of genre. I never give a single second thought to genre.

LD: Speaking of being able to pay the rent—congratulations on being in Black Panther, only the highest US grossing movie ever right now, that’s pretty exciting!

MF: Yeah. Yeah, very exciting.

LD: I am just a giant Marvel nerd, so I’m also wondering, if you could have any of the tech from Shuri’s lab in real life, what would you pick?

MF: Hmmm. Well…anything involving the black sand so it could move around and make shit. If you can picture it, if you can envision it, then the black sand would make it to be like that, that would be very helpful.

LD: What would you use it for?

MF: I’m not sure. Probably just furniture. I like the idea of that. Furniture and shoes.

LD: Just have a nice chair to sit on when you need it…

MF: Yeah, exactly. [laughs] A very nice chair.

Cargo starts streaming on Netflix on Friday May 18th

Black Panther was just released on digital and blu-ray

Icons and Legends of Hollywood on View in NYC

This week New York film fans and prospective collectors have a unique opportunity to check out an array of props and costumes from Profiles in History’s upcoming ‘Icons & Legends of Hollywood’ auction. The auction, set to take place in Los Angeles June 5th, 6th, 7th and 8th, features over 2000 pieces dating all the way back to the silent era.

I got a chance to take a tour of this exhibit which opened yesterday to the public and will be on view through Saturday, May 19th at The Society of Illustrators located at 128 East 63rd Street.

Besides showing costumes from stars of Hollywood’s golden era such as Charlie Chaplin, Elizabeth Taylor and Groucho Marx in startlingly pristine condition, some of the props on view are among the most iconic in Sci-Fi history.

I was first shown Ripley’s spacesuit from the first Alien as well as a helmet worn by John Hurt. They were joined in this show by Ripley’s flamethrower from Aliens, apparently an actual flamethrower!

For children of the 80s and 90s however, I think the real highlights of this collection might well be Michael J Fox’s hoverboard from Back to the Future: Part II (a hole is in it of course because Marty ripped the handle bar off of it), Richard Attenborough’s amber-topped cane from Jurassic Park and a rather roughed up biker jacket from the Arnold Schwarzenegger’s arrival in The Terminator.

This show is truly just the tip of the ice berg for this massive auction which has memorabilia ranging from just a couple hundred dollars to those soaring with estimates over $100,000. However if you’re only looking to drop a couple bucks to take a look at these items up close but not take home, do not miss this show!

The exhibit will be open to the public:
On Tuesday, May 15th, 10:00 AM – 8:00 PM.
On Wednesday, May 16th, 10:00 AM – 5:00 PM.
On Thursday, May 17th, 10:00 AM – 8:00 PM.
On Friday, May 18th, 10:00 AM – 8:00 PM.
On Saturday, May 19th, 10:00 AM – 5:00 PM.
Located at The Society of Illustrators 128 East 63 Street New York, NY 10065.

More about Profiles in History: Icons & Legends of Hollywood

Related Content

Film Review – “The Death of Stalin”

THE DEATH OF STALIN
Starring:  Steve Buscemi, Simon Russell Beale, Jeffrey Tambor, Michael Palin, Andrea Risebourough, Rupert Friend and Jason Isaacs
Directed by:  Armando Iannucci
Rated:  R
Running time:  106 mins.

Our Score: 4 out of 5 stars

In the Soviet loop. Armando Iannucci brings his breakneck quips and futile power plays to Stalin’s final days in The Death of Stalin, a darkly hilarious take on a moment in history handled by a collection of top notch actors.

In 1953 Stalin (Adrian McLoughlin) sits atop a well oiled oppression machine. He doles out hit lists to his gulags on a daily basis and even among his closest confidants he wields terrifying power. Steve Buscemi’s sycophantic Khrushchev takes personal notes on what jokes bombed in his company so as not to repeat his mistakes. Inconveniently Khrushchev and company find their leader face down and on death’s door in a puddle of his own piss. With no official recourse for succession, the jockeying for power—and chewing of the considerable scenery—begins.

Filling out this Stalin’s cabinet with Buscemi is a dream team lineup of Simon Russell Beale, Michael Palin (my favorite Python!), Jeffrey Tambor and Jason Isaacs. To Iannucci’s credit none of the actors in this film are asked to adopt any sort of Russian or even any shared accent which only adds to the air of chaos in the party and likely is what frees up these actors to stay absolutely focused on the script’s fast and fierce comic timing. Additionally just when you’re getting the rhythm of this first set of yes-men, Andrea Riseborough and Rupert Friend are imported in as Stalin’s wayward offspring to inject even more manic energy into the proceedings. Friend in particular is a revelation as Vasily, a bellowing drunkard who arrives landing insults with surgical precision and more often than not, departs by being wrestled physically from the frame.

I had some hesitation going into this film being pretty much unaware of the specifics of this moment in history and wondered whether that would impact my experience however this turned out not to be the case. The themes of absolute power corrupting absolutely and the pettiness of men are always ripe for political farce especially from the likes of the man behind “Veep” and this spectacular cast.

NBC’s “Blindspot” Goes Global at NYCC

NBC’s hit show Blindspot returned this week for its third season. The second season finale certainly raised the stakes for this year by launching the story a full two years ahead, scattering the show’s main characters across the globe, and increasing the mysteries of the missing timeline. Not to mention a whole new set of glowing tattoos for main character Jane Doe (Jaimie Alexander) to unlock. In case you missed it, the premiere certainly rose to the challenge set down by that cliffhanger. Friday night’s “Back to the Grind” featured no less than a wedding, a knife fight and a boat chase through Venice while reintroducing Jane’s nemesis brother, Roman (Luke Mitchell).

I spoke to the show’s cast and creator recently at New York Comic Con about what to expect for this new season. If you head on over to the Media Mikes Facebook page you can check out the full video interviews (don’t forget to give us a “Like” while you’re there!)

For Jaimie Alexander, Jane Doe’s new set of tattoos were a complete surprise. “I get to the end of the script,” said Alexander, who hadn’t read ahead, “and I was like ‘What!? More? I have more?!'” As seen on “Back to the Grind” one new tattoo already had Tasha Zapata (Audrey Esparza) on edge, which is right in line with Roman’s schemes. “These tattoos are not only about Roman’s end goal…” said creator and executive producer, Martin Gero “but also exposing truths within the team.” Luke Mitchell was excited to take on the role of The Big Bad saying “it’s nerve-wracking and feels like a lot of responsibility.”

It’s not all about the big bad though, as Gero and crew emphasized the James Bond-like nature this new year is bringing. “The world is kind of a scary place right now and we could all use a little escape,” Gero said, “And the show–the show can be scary and serious at times, but it was really important for us this year to have a lot more fun. To bend towards more of a kind of Bond model. The show is very international this year. We shot a big part of the premiere in Italy and we’re shooting in Australia, in Barcelona, all over Africa. So like the show’s going to have a scope the likes of which you’ve never seen, I think, on a network television show before. But then on top of that it’s also just more fun. the show is a lot of fun this year. And we hope it’ll be kind of addictive and great.”

Adding to the fun is the return of fan favorite character Rich Dotcom (Ennis Esmer), who is now working on the good side, though annoying the team all the while. Esmer, who’d appeared twice last season says his return was “a complete surprise.” He joked “It still feels like someone made a mistake at some point.”

Blindspot airs Friday nights at 8pm on NBC

Full interviews are viewable on our Facebook page:
Jaimie Alexander & Luke Mitchell
Audrey Esparza & Ashley Johnson
Sullivan Stapleton & Rob Brown
Ennis Esmer & Martin Gero

Amazon Prime ‘Activates’ The Tick and Lore at NYCC

Fans looking to escape the crowded New York Comic Con show floor this past weekend were taken care of by a pair of immersive ‘activations’ presented by Amazon Prime. On site at the Jacob Javits Center, the streaming service introduced two of its newest series, The Tick and Lore, in style. I was fortunate enough to spend time exploring both experiences with some friends over the course of the con weekend and needless to say, they got me hyped to check out the shows.

My first stop was The Tick’s massive Dangerboat installation on the upper level of the con. Dangerboat is not just the headquarters to the Tick’s nemesis, Overkill, but also has a sentient artificial intelligence all its own (on the show he’s played by geek icon Alan Tudyk). In keeping with that, NYCC’s Dangerboat was also talking and fully sentient and began immediately interacting with my crew when we boarded.

Both of Amazon’s experiences were connected to an RFID wrist tag that we registered before entering. In Dangerboat the tag was used to print out our custom Aegis database ID as well as getting our own tin of FO HAM. Thankfully the tin actually contained “NEAT!” Tick pins and not canned meat. Dangerboat concluded with a fun green screen video op that with yet another swipe of wrist tags was emailed or posted wherever we chose. All told, Dangerboat took my group about a half hour to fully interact with due to the level of options on the various screens, not to mention the funny rapport we developed with a sentient boat(!) which was pretty incredible as far as con setups go. Whomever was the mind behind Dangerboat certainly captured the humor and spirit of the show itself and provided some of the best laughs of the weekend.

About The Prime Exclusive Series, The Tick:
“Bursting with scabrous original storylines that turn on a dime, The Tick is a comedy with kinetic action, a wryly inventive visual style and crisply quotable dialogue. Heroes have flown among us for decades but mild-mannered accountant Arthur Everest (GRIFFIN NEWMAN) one day finds out there are also genuine bad guys in this new Amazon Original Series. He believes he has proof that The City, where he was born and raised, is actually controlled by a global super-villain known as the Terror (JACKIE EARLE HALEY). Destiny soon brings Arthur together with an eccentric, tall, blue-suited muscleman with a mysterious past and list of superpowers: The Tick (PETER SERAFINOWICZ). The title character serves as both the conscience and the unchecked id of the story. Citing the call of destiny, the Tick procures for Arthur a moth outfit with retractable wings and insists that he suit up as his sidekick. He and Arthur are the ultimate odd couple, but may just bring out the best in each other. In their quest to take back The City, the unlikely pair of heroes quickly sees just how complex the struggle between good and evil has become.”
The Tick returns to Amazon on February 23rd 2018

Descending down a level into the Museum of Lore was yet another unique RFID experience and definitely welcome this Halloween month. Based on the hit podcast, Lore sets out to retell the true life macabre stories that inspire some of horror’s most notorious tropes. In a series of interactive rooms, my group tromped through haunted dolls, magical mirrors and werewolves as presented by a trio of delightfully over the top actors. Utilizing our RFID bands, we were rewarded with messages from The Other Side and a cool photo souvenir over a pretty twisted werewolf buffet….

About The Prime Exclusive Series, Lore:
“Sometimes the scariest stories are true. Lore is based on the global, award-winning podcast sensation from creator Aaron Mahnke, and executive produced by Ben Silverman (The Office), Howard T. Owens (The Biggest Loser), Gale Anne Hurd (The Walking Dead), Brett-Patrick Jenkins (Face Off), Glen Morgan (X-Files), Jon Halperin and Mark Mannucci (A Year in Space). Lore brings the podcast to life and tells the real life origin stories that have led to our modern day myths and legends, including vampires, changelings, werewolves, séances and possessed dolls.”
Lore is fittingly debuting on Friday October 13th.

 

 

The Cast and Director of Netflix’s Okja

Have you met Okja? The titular “super pig” is at the heart of Director Bong Joon Ho’s newest feature which is currently streaming on Netflix. The imaginative film follows Okja, a creature genetically engineered by the shady Mirando Corporation (headed by a boundlessly enthusiastic Tilda Swinton) as a source of new consumable meat product. In a longterm PR move, this super pig is farm-raised by a young girl in Korea named Mija (Seo-Hyun Ahn) until, unbeknownst to Mija, she is scheduled to make her big trip to NYC where Mirando aims to cash in on their investment. What follows is a wild journey to the city where Mija encounters a radical PETA-like eco-group, the ALF, as well as some harsh realities of this film’s version of the terrifying food industry.

Last month, cast members Tilda Swinton, Seo-Hyun Ahn, Lily Collins, Paul Dano, Steven Yeun and Giancarlo Esposito gathered in New York along with Director Bong to give their insight on making the film and its message.

Some minor spoilers

Seo-Hyun Ahn carries the film as Mija, an acting and physical feat, her and Director Bong spoke via translators about developing her performance:

Ahn: [I] was always thinking how Mija would perceive all of the things that are happening and [I] would say [I] was there as an intermediate state and Director Bong helped [me] constantly think about why would Mija do this? And what would Mija think? That sort of helped [me] in maximizing how Mija would think in the story.

Director Bong: Ahn is very experienced and she’s very energetic and focused. So She has enough energy to confront Tilda or Paul. And because of this high energy whenever we were shooting the scenic mountain scenes, [I] tried to distract Mija as best as [I] could. Whenever [Ahn] was focusing on the script, [I] would distract her by talking about catering and talking about snacks in the snack corner. [I] did [my] best to distract her as best as possible because if you try too hard then there are times that the performance doesn’t come out right. And because there are so many great actors and actresses around, she might have been pressured into giving a poor performance. [I] did [my] best to try to relax her as much as possible.

As Lucy Mirando, and later Nancy Mirando, Tilda Swinton enjoyed working with her Snowpiercer Director Bong:

Swinton: It’s a very simple and relaxed business when working with someone like Director Bong who invites a kind of playfulness and as he just described , a kind of relaxedness in all his company, not just the performers, but in all departments. What he knows…is he wants people to be relaxed and really bring something fresh and creative. And that’s an environment that I love. It’s like a kind of playpen, it’s like a sandbox to me, it’s like kindergarten. Especially working with him, he’s my playmate.

The Mirando sisters are reminiscent in their emphatic, almost cult-leader like energy of Swinton’s Snowpiercer character Mason, she discussed their similarities:

Swinton: Yes we worked on Snowpiercer together, Director Bong and I, and we kind of whipped up this insane burlesque, Mason, who is supposed to be beyond any reality but as it happens, it seems that we were behind the curve [laughs] With this one we wanted to come at the idea of a fool-clown-villain in a slightly different way. We wanted to find different ways—the different faces of high capitalism and exploitation. And so we decided in fact to split it in fact, either into a schizophrenic—I mean I sometimes wonder whether there are two people here, whether actually there isn’t one. You know because let’s face it when Lucy fades away, Nancy appears and vice-versa. So we wanted to look at two different ways of messing the world up. So we have Nancy, who is the—she doesn’t fall far from the tree of their toxic, horrendous father. And then Lucy, who is so determined to be different. She’s driving 180 degrees away from Nancy and trying to be all user-friendly and “woke” and squeaky clean. And lovable. So it was an opportunity to look at these two different faces. But I suppose you know, especially when you’re working together and your collaboration over projects, the conversation is kind of the same conversation that just evolves and goes into a whole new area. All sorts of conversations we had about Mason just sort of moved into conversations about the Mirandos. So yeah, they are cousins of a sort. And they ALL have teeth. [Laughs]

Director Bong is no stranger to centralizing creatures as metaphors in his stories, after his successful feature The Host, and he spoke about using them in that way:

Director Bong: [I’m] always drawn into creature films and creatures. However in The Host, the creature was a monster who attacked people and in Okja the creature is a very intimate friend of the protagonist Mija. They sleep together, they have a lot of interaction, they hug each other and because of this interaction, it required a lot of cutting edge visual effects work which was [my] first challenge. So it’s a pig and now in retrospect [I’m] wondering when [I contemplate why I] chose a pig as the animal. [I think] there’s no better animal than the pig that humans associate with food. Ham, sausage, jerky, etc etc. But in reality, pigs are very delicate, sophisticated and smart and obviously clean. [I think] that the way the two perspectives we have when we look at animals are all coalesced inside a pig. Through the one perspective, we look at animals as family and friends, as pets. And the other perspective is when we look at animals as food. And [I believe] these two perspectives co-exist inside a pig. In our every day lives, people try to separate these two universes apart. We play with our pets in the day and at night, we have a steak dinner. But in this film, we try to merge those two universes together and try to create this sense of discomfort…A creature film is a very effective tool to create special commentary and to get commentary in the world that we live in.

Lily Collins and Steven Yeun are both play part of the fictional eco-group led by Paul Dano and they talked about their views of such groups and animal rights activism in light of doing the film:

Collins: I’ve always been weirdly interested in food documentaries so during the prep of this movie, I watched more and Director Bong gave us all this ALF handbook. We saw lots of really difficult images of animals and treatment and the facilities…And I’m not a red-meat eater anyway, so it wasn’t that I changed my food habits or my eating habits but I definitely became more of a conscious consumer in many other types of products. I think the great thing about this film though is that it speaks to so many different types of themes—you know, nutrition and environment, politics, love, innocence lost. There’s just so many different things to be taken from this film that I think are dealt with in a way that never tutorialized [sic], but always just prompts conversations…I think what Director Bong is amazing at is taking so many different things and presenting them to you. Never telling you how to think, but if you leave the theater thinking something, we’ve done our job right.

Yeun: …I really enjoyed working with director Bong. Mostly because he likes to just tell it to you how it is, with all the gray. And so, when you get to dive into [something] like the ALF, I know that we were playing a characterization of people that are really doing stuff like this, but I feel like one thing it sheds a light on–at least for myself–was why does an individual sign up for something like this? And they’re all different. Especially in our little subgroup of the ALF. Every single character had a different reason for being there. Or had different ethics that were willing to go far or less than the other person next to them. And I think it an interesting study in that regard because sometimes you see the ALF, as they intend, to just be this giant glob organization, or anything in that way. But when you pick apart the specific individuals that take part in something like this it’s interesting to see that not all the interests necessarily align.

Animal rights groups in real life sometimes draw criticism for their tactics and in this film we see the ALF arguing for non-violence while taking part in it, Director Bong on that contradiction:

Director Bong: There’s definitely a level of contradiction within the group ALF. Even in the film, the ALF shout that they hate violence but you can see throughout the film that they constantly inflict it. They have a very noble cause and you can understand the cause. But the film also portrays them to at times [to] look foolish and portray them making very human mistakes. Simply put, [I think] they’re humans just like us. Even Lucy Mirando. She doesn’t feel like she’s a pure villain or villainess in the pure sense. She also has flaws and a fragility. There’s a moment in the dressing room scene where Lucy talks to Frank and she raises the super pig jerky and says ‘its a shame that we have to tell these little white lies’… That was an honest moment on her part. Whether that be the Mirando Corporation or the ALF members, [I want] to embrace them within the boundaries of humanity where they have flaws or they make mistakes. Actually every character in this movie is pathetic except Mija and Okja.

Dano: And how complicated it is to put a beautiful young girl in the middle of all that contradiction, you know? it’s really one of the special things about the story….I like that the film to me, even though it has many topical issues, I don’t think it’s overly preaching. It’s too complicated for that. Even Mija eats chicken stew, or catches the fish and throws the little fish back in. That’s such an important detail for this film to be true. And even though it has a fantasy animation-comic-book-graphic-novel sort of level to it, I like the truth in the contradictions.

Finally the cast gave their initial response to this project:

Collins:…You know, you sit down with Director Bong–my first meeting with director Bong was at 11am and he orders ice cream and starts talking about this pig, and I go ‘OK, I think I know what I’m signing on for!?’ [Laughs] And I fell in love with the idea that he could see me as this character and I don’t think a lot of people would have been able to see me as someone like this. But it’s so much. It’s a love story, it’s a drama, it’s a comedy, it’s an action movie, it’s a fantasy movie. It’s kind of everything you’ve ever wanted to see in one movie. And yeah…It was a moment of enlightenment really, when you read it.

Giancarlo Esposito: For me it was in many ways a return to innocence. Odd for me to say after having played [Mirando corporation lackey] Frank Dawson, but this story is so absolutely beautiful in its very connected relationship message. It doesn’t matter what that relationship is. It could be a child with their goldfish in the tank who is their best friend, or it could be Okja. But that warmth, that sensitivity and that understanding that’s developed in that relationship, for me, guided me back to thinking about my loss of innocence. When did I grow up? And how could I unlearn that growing up and see the world in a new light? Many times we are so smart, that we are ignorant and they say that education is learned ignorance. We, as performers who fantasize about telling our stories, that will make a comment on our–a social comment, a political comment, an artistic comment– through our creativity, are gifted with our ultimate gift to still remain somewhere in our heart and soul, that beautiful child that Mija is.

Swinton: I didn’t read the script for a long time because I was privileged to be a part of the cloud of the idea before it ever came to script stage. I remember very clearly Director Bong, when we went to Seoul for the premiere of Snowpiercer, he drove us to the airport the following day and leaned over the back of the seat of the car and showed me this drawing of the pig and the girl and that was it. That was three years before there was a script. But even before that moment, I have to say that one of the bonds we share is a great love of the master Hayao Miyazaki, in particular My Neighbor Totoro, and in fact we regularly sing the Totoro theme tune. It’s a thing we do. And so, the second I saw this drawing, I saw that. I this as an opportunity to fill to that homage. But also we talked about the twin sisters in Spirited Away, which I think was the seed of the Mirando sisters. Yeah, so I was, you know, I was in before it existed. Put it that way.

Conference has been edited for length and clarity. Okja is available to stream now on Netflix.