Tribeca Film Festival Review “Take this Waltz”

Directed by: Sarah Polley
Producers: Susan Cavan, Sarah Polley
Starring: Michelle Williams, Seth Rogen, Luke Kirby
Tribeca Film Festival
Running Time: 116 minutes

Our Score: 2.5 out of 5 stars

In Sarah Polley’s Take This Waltz, Michelle Williams is Margot, a young married woman who is terrified to discover the hot guy she shared a seat row, and flirtatious conversation with on a homebound flight is in fact her new across-the-street neighbor David (Luke Kirby). He’s stirred something within her and she starts to question her comfortable five year marriage to cookbook author, Lou (Seth Rogen).

What follows is a very, very long string of will-they, won’t-they encounters between David and Margot. The more scenes they share, the clearer it becomes that they have more serious chemistry than Margot does with husband Lou. Married at 23, it appears that Margot and Lou have not matured past baby-talking each other. When the married couple speak in hypotheticals, it’s to play who can gross the other out more (threats include “I’m going to skin you with a potato peeler!”). When Margot and David speak in hypotheticals, it involves David describing what he would do to her body given the chance. Strong scenes like these between the illicit couple make the audience restless for Margot to either run away from Lou or completely stop David’s everything-short-of-physical advances. Her indecision is seemingly endless and the more encounters she herself arranges with David only to eventually shut him down, border on making Margot unlikeable and David weak. When Margot does make her decision, the film goes into an unexpected overtime exploring all the implications of it when the audience was really just waiting for her to make a choice.

There also are many leaps of faith one has to take when watching this film. Obviously, the odds of neighbors David and Margot’s meeting on the plane seem very slight but it’s necessary for the whole setup. However, there’s many other elements about these characters’ lives that come off as unrealistic and they pile up. Everyone seems to live impossibly outside of their means given their occupations (Margot, a wannabe writer. David, secret artist/rickshaw driver. Both, occupying large, quirky, suburban homes). For such young characters it is also odd that outside their immediate families, we don’t see them with any friends. Are Lou and Margot so repellant they can’t hang out with other couples? David especially seems to exist purely to interact with Margot and if he weren’t so perfect really, you’d call him a stalker.

If their lives seem improbable, fortunately the actors bring authentic emotion to their characters. As proven in last year’s 50/50, Seth Rogen can be amazing in more dramatic roles. Lou really has no reason to suspect anything is wrong in his marriage, so when Margot combusts in front of him while he’s cooking, his plea of “I was just trying to make chicken” is strong and heartbreaking. Michelle Williams continues to do amazing work especially so when she’s left to her own devices as on a carnival scrambler ride with David where we see her go from joyous to terrified and back. And set to The Buggles “Video Killed the Radio Star” of all songs. As David, Luke Kirby is suitably sexy and so appealing it’s hard not to root for him. If only there was more to David than an object of Margot, and this film’s, fantasy life.

Upcoming TFF Screenings of Take this Waltz
Mon. 4/23 – 7:00pm, AMC Loews Village 7-2
Thu. 4/26 – 1:00pm, AMC Loews Village 7-2

Read Complete Article
Filed Under: Movies Tagged With: festival, film, review, tribeca, waltz

Tribeca Film Festival Review “Downeast”

Directed by: David Redmon and Ashley Sabin
Tribeca Film Festival
MPAA Rating: Not Rated
Running time: 76 minutes

Our Score: 2.5 out of 5 stars

Downeast tells the story of the aftermath of the closing of the United States’ last sardine canning factory in Gouldsboro, Maine. With the factory’s workforce unemployed–and because of many of their advanced ages, unemployable– an Italian immigrant arrives with the goal of turning the old facility into a lobster processing plant and putting them back to work.

There’s a lot at stake in David Redmon and Ashley Sabin’s documentary for these Maine townspeople and yet unfortunately they are oddly lost in the shuffle. Instead the focus is on Italian businessman, Antonio Bussone’s fight against the town elders (would-be lobster competitors) and the red tape preventing him from access to federal funding to keep his factory afloat. This often times translates to many scenes of him doing deals over the phone in his office or scrolling through bank accounts on his computer. This is not very interesting to watch and even confusing as he laments negative balances while the factory is still up and operating. One wonders if he ever clued his rehired employees into how badly off he was.

Where the film shines is when it focuses on the lifelong employees of the Stinson sardine cannery. You sense a real camaraderie between, for example, three ladies sitting together comparing how many years each worked there (all thirty years or more). There’s a wonderful scene where three elderly ladies, adjusting from the shift of canning already-dead sardines to starting with live lobsters, debate whether or not the lobsters feel much pain in the process. It’s charming, if slightly macabre. We also get to meet a salty old lobster fisherman named Sherman who doesn’t care for town politics and only cares who will pay him the most for his catch. These are all great personalities I wish the film would have stayed with longer instead of the businessman.

It is also often in these scenes where the film is most interesting visually. The seemingly endless supply of shiny red lobster shells is shuffled through the plant hypnotically while the workers go at an amazing pace. It’s a great contrast from Bussone’s sterile office dealings. Unfortunately that office is really where the success of this factory project lives or dies and in the end the fate of the workers is left sadly unresolved.

Upcoming TFF Screenings of “Downeast”:
Sat. 4/21 – 1pm, AMC Loews Village 7-2
Tues. 4/24 – 7:30pm, Clearview Cinemas Chelsea 9
Sat. 4/28 – 9:45pm, Clearview Cinemas Chelsea 8

Read Complete Article
Filed Under: Movies Tagged With: downeast, festival, film, review, tribeca

Tribeca Film Festival Review “Side by Side”

Directed by: Chris Keneally
Producers: Chris Keneally, Keanu Reeves
Featuring: Keanu Reeves, Martin Scorsese, Christopher Nolan, David Fincher, James Cameron, George Lucas
Tribeca Film Festival
Running time: 99 minutes

Our Score: 4 out of 5 stars

Film lovers may or may not know that as of October 2011 the major manufacturers of cameras for motion pictures–Arri, Panavision, Aaton– stopped making new film cameras. In January of this year Eastman Kodak filed for bankruptcy in the face of insurmountable digital competitors. So is celluloid film dead?

This is the central question up for debate in Side by Side, an in depth documentary produced by Keanu Reeves and directed by Chris Keneally, which takes a look at the digital revolution which has been picking up steam in Hollywood since the turn of the millennium. The doc is making its stateside debut at this week’s Tribeca Film Fest with a planned release in August.

Reeves and Keneally have rounded up an impressive roster of interviewees who fall on all sides of the digital-versus-film argument and come from every step in the production and post-production process. In this corner we have director Christopher Nolan and his cinematographer Wally Pfister maintaining they’ll be the last people shooting on film, and in this corner we have digital proponents such as George Lucas and Robert Rodriguez swearing off celluloid for good. Occupying the middle ground are heavy hitters like David Fincher, David Lynch, Steven Soderbergh and Martin Scorsese (fresh off the digitally-shot “Hugo”).

The documentary itself never takes a side which makes the debate that much more engaging and I found myself shifting allegiance throughout. Additionally, on-screen interviewer Reeves is great at getting honest, candid reactions from his insider interviewees. Furthermore Keneally takes the time to explain the mechanics behind much of the debate’s technical aspects, a step which may cause digital-saavy folk to become a little bored, but it certainly makes the doc more accessible to the average movie goer.

In the end the most startling thing about Side by Side is how rapidly this technological change is occurring. In 1999, for the debut of The Phantom Menace, only four theatres in the country had digital projectors, four years later–in time for Attack of the Clones–there were 150. Statistics like this made me grateful that these filmmakers have been there to record, in whatever form they choose, this massive shift in cinema.

Upcoming TFF Screenings of Side by Side:
Tues. 4/24 – 8:30pm, SVA Theater 2 Beatrice
Thu. 4/26 – 7:00pm, AMC Loews Village 7-2
Fri. 4/27 – 2:30pm, AMC Loews Village 7-3
Sat. 4/28 – 4:00pm, AMC Loews Village 7-2
Sun. 4/29 – 2:30pm, SVA Theater 2 Beatrice

Read Complete Article
Filed Under: Movies Tagged With: festival, film, review, side, tribeca

MouseTrap Films Snaps up Four Pix for the Launch of Film Festival Flix & Redefines Indie Film Distribution

First appearing on the scene at the 2011 Toronto International Film Festival, newly launched MouseTrap Films has been rapidly snapping up films for distribution via its FILM FESTIVAL FLIX monthly theatrical series and ancillaries. Acquisitions include “Face to Face,” “The Calling,” “The Holy Land of Tyrol,” and “Rancid.” MouseTrap President / CEO, Benjamin Oberman, has teamed up with VP of Theatrical Distribution, Jill Gray Savarese, to roll out the films theatrically.

Los Angeles, CA (PRWEB) February 29, 2012
First appearing on the scene at the 2011 Toronto International Film Festival, newly launched MouseTrap Films has been rapidly snapping up films for distribution via its FILM FESTIVAL FLIX monthly theatrical series and ancillaries. MouseTrap President / CEO, Benjamin Oberman, has teamed up with VP of Theatrical Distribution, Jill Gray Savarese, to roll out the films theatrically.

Early acquisitions include Michael Rymer’s (QUEEN OF THE DAMNED, BATTLESTAR GALLACTICA) “Face to Face” which won the Panavision Spirit Award at the Santa Barbara International Film Festival, and Best Director, Best Actor, and Best Actress at the Newport Beach International Film Festival. The film, which is based upon a play by Australian Playwright, David Williamson, is frequently compared to “12 Angry Men.” Awarded Best of Fest at the Edinburgh International Film Festival, Jan Dunn’s “The Calling” stars Oscar®-nominated actress Brenda Blethyn and was the last film of Oscar®-nominee Susannah York. “The Holy Land of Tyrol” (aka “Mountain Blood”) is a visually stunning German foreign language film by director, Philipp J. Pamer. Alastair Orr’s “Rancid” is a highly-anticipated sci/fi horror film. An additional 10 films are in negotiations and expected to close soon.

Oberman, who founded MouseTrap says, “MouseTrap Films was started to find the film festival gems that regularly fall through the cracks. The FILM FESTIVAL FLIX platform was created as a solution to the traditional challenge of marketing and branding a great film that lacks star power or other elements associated with a traditional campaign. We present great films and the film festival experience, monthly in your community, and make the films available to independent film enthusiasts on multiple platforms.”

The FILM FESTIVAL FLIX series will host actors and filmmakers for Q&A in 25 theaters nationwide, while simulcasting the events in up to 200 more. In an unprecedented move, filmmakers and actors may earn the right to screen their 5- minute short films theatrically before the features. Rewarding one local artist who coordinates the event-screening in their community, MouseTrap will screen their short film in that venue. The winner of the monthly online nationwide contest will be screened in all FFF theaters and distributed online at http://www.FilmFestivalFlix.com.

According to Savarese, who will establish and head-up the theatrical division, “My belief is that we, as distributors, can strengthen the reach of independent films by giving merit-based opportunities to new filmmakers and actors and by supporting the small exhibitors. To that end, we will strive to make our films available to even the smallest venues (including those without digital conversion) and offer them cross-promotional and grassroots marketing support.”

Branching out into film distribution is a natural progression for Oberman after 7 years of producing films, documentaries, and commercials. Savarese, who was a child performer and had a long career as an actor and producer on stage and film is also at home here. A curiosity that some don’t know, however, is the “consultant” parallel between them. Oberman, a former professional pairs figure skater who performed in the 2002 Olympic Games Opening & Closing Ceremonies, was a Figure Skating Consultant on Paramount / Dreamworks’ “Blades of Glory.” Savarese, a political interpreter who interpreted for President Bill Clinton and Prime Minister Tony Blair, was the Sign Language Consultant on the Fox Searchlight film, “The East.”

About Mousetrap Films:
MouseTrap Films offers an alternative releasing strategy, with FILM FESTIVAL FLIX functioning as a powerful new platform to launch and distribute Independent films. MouseTrap, via FILM FESTIVAL FLIX, plans to release 3 films a month in theaters across the US with day and date VOD/DVD. The films will be available for DVD Purchase, Download to Own, and Streaming Rental through the soon-to-be launched website http://www.FilmFestivalFlix.com and through additional partnerships and platforms.

Read Complete Article
Filed Under: Film Headlines Tagged With: distribution, festival, film, films, flix, indie, ...

Book Review “A Perfect Haze: The Illustrated History of the Monterey International Pop Festival”

Author(s): Harvey Kubernik, Kenneth Kubernik
Hardcover: 288 pages
Publisher: Santa Monica Press
Release Date: November 1, 2011

Our Score: 3.5 out of 5 stars

Before Woodstock, the summer of 1967 brought us the Monterey International Pop Festival. It was the first festival where thousands of hippies went to experience the summer of love. The book provides a really great insight into the event where you feel like you were there. There are such detailed documents including copies of telegrams, contracts, newspaper clippings, line-up posters, and other rare memorabilia from the festival. If you are fan of such music icons, such as Grateful Dead, Jimi Hendrix, Janis Joplin, The Who, Jefferson Airplane, and Otis Redding…than this is definitely a book for you, no question.

Besides all the amazing rare photos provided a great behind the scenes look at the festival, there are also many new interviews with musicians like Pete Townshend, Roger Daltrey and some members of the Jefferson Airplane and more! The book is split into seven chapters. What I enjoyed most is that it is a chronicle of each act that performed at the event. It is not just the authors telling us about the events. The first takes us through the preparation and leading up the event. The second chapter takes us through the events of the first night on Friday, which features music from Simon and Garfunkel and Lou Rawls. Chapter three focuses on Saturday afternoon with Canned Heat and The Steve Miller Band as a few of the acts giving their comments on the festival. Chapter 4 focuses on Saturday night with The Byrds and Jefferson Airplane for example. Chapter 5 takes us through the events of Sunday afternoon with detailed accounts from Ravi Shankar. Sunday night, the last night, is covered with biggest names like Buffalo Springfield, The Who, Grateful Dead and Jimi Hendrix. The last chapter takes us through “Monterey Pop: The Movie” and follows D.A. Pennebaker’s account of the festival and working on the film.

The photos in the book really captures the essence of this truly amazing event. I feel that the personal account of each night really draw you into the book and if you close you eyes you can see the bands and here there music. I think that is probably the goal for a book like this one. Whether you were there at the Monterey International Pop Festival that June 16-18, 1967 or whether you weren’t even born, this book is a great tribute to the event. It is a must purchase for fans of this era of music.

Read Complete Article
Filed Under: Book Reviews Tagged With: book, festival, haze, history, illustrated, international, ...

Orlando Calling Festival Comes to Town November 12-13th

The Orlando Calling event is shaping up to be on the biggest tours that the Orlando area has seen in quite a while.  It is a two day festival, spanning from Nov 12-13th will include 60 bands planned to perform.  We are hoping to cover this event and be sure to get some excellent coverage and interviews from the bands.  If you would like to get tickets for this event you can do so by clicking here.

The full Orlando Calling lineup includes:

Saturday, Nov. 12: The Killers, The Pixies, Avett Brothers, The Roots, The Raconteurs, O.A.R., Gavin DeGraw, Iron and Wine, Pete Yorn, Jenny & Johnny, Civil Twilight, Lucero, Dr. Dog, Justin Townes Earle, Felice Brothers, Ben Solee, Renee & the Translators

Sunday, Nov. 13: Bob Seger & The Silver Bullet Band, Kid Rock & Twisted Brown Trucker, Blake Shelton, Doobie Brothers, Buddy Guy, the Warren Haynes Band, Chris Isaak, Dwight Yoakam, Robert Randolph & the Family Band, Flatlanders, Los Lonely Boys, Blues Traveler, Brandi Carlile, the David Mayfield Parade, Michelle Branch, the Supervillains

 

wp_flash_img_show will display here (config: OrlandoCalling)

 

Day Ticket prices for Saturday / Sunday:
Stage 1 Field Access – $87.50 + $5.75 tax + Fees
General Admission Field Access for Stage 1
General Admission Field Access for Stages 2, 3 and 4

Stage 1 Reserved – $87.50 + $5.75 tax + Fees
Reserved Seating for Stage 1
General Admission Field Access for Stages 2, 3 and 4

Weekend Ticket prices for Saturday / Sunday:
Stage 1 Field Access – $160 + $10.50 Tax + Fees
General Admission Field Access for Stage 1
General Admission Field Access for Stages 2, 3 and 4

Stage 1 Reserved – $160 + $10.50 Tax + Fees
Reserved Seating for Stage 1
General Admission Field Access for Stages 2, 3 and 4

Also available are VIP tickets for each day, weekend packages and ultimate VIP packages.  Click here to find out more info on how to purchase tickets.

Be sure to follow Orlando Calling on Facebook and Twitter.  Here is a link to their official website: http://orlandocalling.com

Read Complete Article
Filed Under: Featured, Music Headlines Tagged With: 1213th, calling, festival, november, orlando, town, ...

Concert Review: iMatter Festival 2011

iMatter Festival 2011
Date: Friday, September 2nd Saturday, September 3rd, Sunday, September 4th 2011
Venue: Eldridge Park, Elmira, NY

Our Score: 4 out of 5 stars

Check out our interviews with Texas In July, Emery and August Burns Red.

iMatter Festival an event held annually for the past 2 years at Eldridge Park in Elmira, NY kicked off on September 2 and ran through September 4th.  The festival is the brain child of Elmira Pastor Scott Lowmaster and is a 3 day event aimed at eliminating suicide among teens in the Upstate NY area. Though the festival sports a faith based theme there is something for everyone at the festival.

I had never gone to iMatter festival prior to this year as I was a bit skeptical about the faith based themes that were present though out the 3 day event. I don’t think there is anything wrong with those themes however it generally is not my scene. This year’s line-up which featured, Emery, Texas in July and August Burns Red to name just a few was enough to put those worries aside and take in the event. Though it was extremely hot as temperatures reach almost 95 degrees the festival was a great experience. All the staff working the various locations throughout the festival grounds were very courteous and friendly. It seemed as though great lengths were taken to ensure a safe and fun event for all those who attended. Each band that performed on Saturday really brought their A game in my opinion. Some highlight performances of the day were put on by The Great Commission, Texas in July, August Burns Red and Emery who even though being stopped mid performance 3 different times due to lightning still put on a solid performance.

I really can’t say enough good things about iMatter Festival and the people who put it on each year. Everyone involved does a really great job providing a safe environment to watch a concert. Combine that with getting some real top notch bands to perform every year and you have iMatter Festival. I will tell you that if you are uncertain about the festival and its thoughts or ideas I say put those aside and come out to the next iMatter Festival. You will not be disappointed!

I would like to send out a big thank you to Scott and Lauren Lowmaster for allowing MediaMikes.com to cover the event.

Friday Line Up: Benjah, Flame, Trip Lee, Oceans and Vessels, The Ember Days

Saturday Line Up: As Hell Retreats, My Heart To Fear, Gideon, To Speak Of Wolves, The Great Commission, Hundreth,

I, The Breather, Life In Your Way, Texas In July, Impending Doom, A Plea For Purging, Emery, August Burns Red, The Ember Days

Sunday Line Up: The Ember Days

 

Related Content

Read Complete Article
Filed Under: Concert Reviews Tagged With: 2011, festival, imatter, review

Interview with Jesse Dayton

Jesse Dayton is a name still relatively new to the film industry. Jesse’s first on screen performance was in Rob Zombie’s “Halloween II” as the lead singer of Captain Clegg and the Night Creatures. Jesse however has been a staple in the music industry for quite some time playing with countless acts and releasing his own albums. Jesse recently spoke with Movie Mikes about his music career and how it led him to doing movies.

Adam Lawton: Can you tell us how you first started working with Rob Zombie?
Jesse Dayton: I was going to a show one night and on my way there I received a call from Rob. Rob told me that he had heard one of my records and wanted to know if I would be interested in making a fake Banjo and Sullivan record for his film “Devils Rejects.” I didn’t fully understand what Rob was looking for until I got to Los Angeles. Lew Temple and I got together and wrote a bunch of songs. We played them for Rob one day in his production office and he fell out of his seat once he heard them. This was actually the first time I had met.

AL: Was this the first time you had met Lew Temple as well?
JD: I have actually known Lew for a long time. Lew used to come out to all of my shows when he was still a baseball scout for the Astros. We just got to be really good friends and we spent a lot of time together. Lew is the guy who passed my work onto Rob.

AL: How did your role as Captain Clegg in “Halloween II” come about?
JD: A little while after I finished the Banjo and Sullivan record I did some song for Rob’s “The Haunted World of El Super Beasto”. After that he contacted me about doing the album for Captain Clegg as well as being in the film. It really has just snowed balled from doing that Banjo and Sullivan record. After Halloween II was released I went out on the road with Captain Clegg opening forty shows for Rob and Alice Cooper which was just great!

AL: Were you a fan of the horror genre prior to working with Rob?
JD: Yeah I’m a fan. I am a huge film geek! I probably watch anywhere from six to ten movies a weeks. I have always been really into films. I was really proud of “Devils Rejects” when it came. I think Rob brought exploitation film back even before Tarantino or Rodriguez. The characters in that film are just great. Rob really puts a lot into not only the onscreen story of his characters but also the back stories as well.

AL: Has there been any talk about being in his new film “The Lords of Salem”?
JD: We have emailed back a fourth a few times but I don’t really presume that I have been officially asked to be a part of the film. We will have to wait and see. Rob likes to keep me in the loop.

AL: Can you tell us about “The Sinner” which you produced and have a roll in?
JD: We showed that film at the South by South West festival in Austin, Texas and were immediately contacted by some business people who asked us not to release the film. The idea is to make the film into a television show. We currently are in talks with some really big networks to put this out as a series. Aside from being a producer on the film I also play Reverend Roy who is a corrupt drug lord from New Orleans. The role really worked for me especially with my accent.

AL: What can you tell us about your upcoming film “Zombex”?
JD: We set up the production office last week and we are currently still getting all the cast nailed down. We plan to start shooting around May 3rd in New Orleans. I’m really excited about every aspect of this film. I wish I could tell you more about it however we are being very quiet till we have everything set to go.

AL: You just finished up a stage play correct?
JD: Yes I did. It was a play about Kinky Freidman. I had gotten a call from a play write in New York who had previously written a play about Patsy Klein. This play is actually the follow up to that entitled “Becoming Kinky”. I had heard about the casting for this play through some New York friends of mine and was able to get in touch with the right people. They actually came down to Texas so I could audition. After the audition they gave me the part on the spot. I had no idea how much work it was. The plan is to take the play to New York next which will be really great.

For more information on Jesse check out www.JesseDayton.com

Also be checking back for part 2 of our interview with Jesse when we check in with him from the set of “Zombex”

Read Complete Article
Filed Under: Film Interviews Tagged With: festival, film, florida, happy, poet, review, ...

Interview with Alastair Fothergill

Alastair Fothergill is one of the co-directors of Disneynature’s latest film “African Cats”. Alastair also worked with Disneynature on their first film “Earth”. “Earth” was actually shot simultaneously with BBC’s “Planet Earth”, in which Alastair executive produced.  Movie Mikes had a chance to chat with Alastair about working on “African Cats” and what it was like shooting in the Maasai Mara Nature Reserve.

Mike Gencarelli: How much planning went into “African Cats” before shooting started?
Alastair Fothergill: A lot of planning. We chose to film in the Maasai Mara Nature Reserve because we know it very well and have worked there for over then years. We know the lions and cheetahs very well and as individuals actually. One of the key decisions was to find out who our stars were going to be. We really wanted to make a really emotionally gauging story. We didn’t want to make a documentary. Choosing the stars was very important and also a difficult decision. It was relatively easy with the cheetah because we found a cheetah we knew who was a good mother and just had five tiny cubs. We knew all of those cubs would not survive, so that was an immediately easy decision. Choosing the right lion was probably harder. There are twenty or thirty prides in the Maasai Mara. We finally choose the pride we ended with because we knew Fang was on the way out, he was a single old guy who didn’t have any supporters. We reckoned that within the two or three years we had for filming something dramatic was going to happen. In the same pride we find Layla, who was the oldest lioness and already in the beginning of our filming she was limping and she had a perfectly aged six month old cub. We knew that their would be something happening there. Those where the big decisions.  Then we also had to do other logistical things like setting up the camera, camps and vehicles, but we do that all that time. The main challenge was choosing the stars before filming.

MG: Since the film is referred to as a “true life adventure”, did you find it difficult to tell a story with the wild life animals?
AF: We have been very specific in suggesting to Disney what subjects we were going for. I think that there are only a few animals stories that are strong enough for the cinema. A lot of things in our film are very hard to film and do not happen that often. Lions do very little most of the time to be quite honest. We wrote a classic movie script, a forty to fifty page script, on what we hoped would happen. We were constantly rewriting the script to make sure we were coming up with a really strong story line.

MG: What was it like shooting in Kenya at the Maasai Mara National Reserve?
AF: It is a tough place if you do not know what to do. We are very experienced in it. We had specially adapted vehicles that had jacks so we were able keep them up in storms, they had doors that were able to be taken off for the cameras. We also had special rain covers. There are a lot of things to do when working in that place. The main thing is patience. These guys were out dawn to dusk, dawn to dusk, dawn to dusk for two years.  The moment when Carly and his sons attack Fang was a half an hour in two years of filming. If you missed that half an hour we would have missed one of the main dramas in our movie. A lot of patience I would say was critical.

MG: How long did it take to complete shooting?
AF: It was just over two years of filming, but it was spread over three crews. We had one crew with the lions the whole time, We had one crew with the cheetahs the whole time and a third crew coming in and doing other work. So overall it could have been more like five years of filming.

MG: What was the most exciting moment during the shoot?
AF: I think the two attacks of the lions were very dramatic. Lions very rarely actually fight. They usually roar at each other and decide by the power of the roar who is the boss. Those moments are very special. Equally for me though, some of the tender moments are amazing. I love the moment when Layla handed over Mara, that amazed me. I love the moment when the cheetah cubs where in the rain. All of the cheetah drama amazed us. We knew that the cheetahs would have problems with the hyenas but we did not expect them to be attacked by the lions. Even more, we did not know when the cheetah cubs grew up that they would try and beat up the lions themselves [laughs]. That was truly foolish and did not last very long. The two male lions crossing the river and being almost eaten by a crocodile…that has never been filmed before. Even us who have spent years and years working there were delighted. One of the good things about having a movie budget is you have the time to really spend and wait.

MG: Where you every nervous of getting too close during the filming?
AF: To be honest with you, if we get into danger that means we disturbed the animals. You get out of the vehicle you get eaten by a lion, you know? [laughs] We had tricky moments with the weather and the vehicles got stuck. We had one occasion when an elephant came into our camp and turned over one of the vehicles. Our job though is to keep out of danger, if you are in danger you are not doing your job.

MG: How does this film compare to working on “Earth”?
AF: “Earth” was a very different movie. Not sure if you are aware or not but “Earth” came out of the TV series “Planet Earth”. I made “Planet Earth” and in parallel I was shooting the movie “Earth”. “African Cats” is different since there was no TV series. We were shooting just for the movie. We were going for a stronger storyline. “Earth” is a fantastic spectacle movie but it doesn’t have anything like the strength of storyline like “African Cats”.

MG: What made you get Samuel L. Jackson to narrate?
AF: That was suggested to us by Disney. We were very pleased with the choice. We knew he had a powerful voice and we knew he would do the baddies well. What we were most delighted with was how well he did the soft parts. This film is really about mothers. I think he really captured the soft moments and the emotional moments with cheetahs very well. He just has such a great voice. You know also, he really loved doing it. He has been to Africa and has seen the lions before. You only have so much time with a guy like Jackson. He turned up and was really fired up for this. I think he did a really great job.

MG: Tell us about your next film with Disneynature “Chimpanzee”?
AF: Chimps are really fantastic animals. They share 99% of our genes. If you look into the eyes of a chimpanzee [laughs] you cannot help but get emotionally engaged. It is a great story. We have been filming a little guy named Oscar. We started when he was one year old and he is nearly four now. There has been some real dramas in his life. I think “African Cats” is an action movie and “Chimpanzee” is a domestic comedy. It is really intimate and very funny.  I know Disney wanted to release a film every Earth day, but I think it is important that every time people go to one of these that is a completely different experience. I think personally chimps are more engaging than big cats but they don’t do as much. It is filmed in a jungle and is much more different world than the Savannah.

Read Complete Article
Filed Under: Film Interviews Tagged With: festival, film, florida, happy, poet, review, ...

Interview with Steven R. Monroe

Steven R. Monroe is known best for recently directing the 2010 remake of “I Spit on Your Grave”. Steven has also directed a number of films for Syfy Channel i.e. “Ice Twisters” and “Mongolian Death Worth”. Movie Mikes had a chance to chat with Steven to ask him a few questions about his latest work as well and his past films.

Mike Gencarelli: What was the most difficult task in directing “I Spit on Your Grave” remake?
Steven R. Monroe: During the production the most difficult task was making the sure the film was dark, disturbing, raw, upsetting and bleak as it should be for the fans of the original.  Then also trying to address possible new fans, trying to make sure both sides of the audience that would see this film would get what they wanted and then some.  Lastly also trying to be sure I was delivering the film the producers and distributors needed and wanted. Once the film was finished and people were seeing it, the most difficult thing was dealing with people that didn’t get the film at all and probably should never have seen it in the first place and then listening to them making judgments on me personally because they were offended. I don’t care if people take issue with what I have done as a filmmaker, I’ve been at it a long time and you get thick skin, but when people make personal attacks when they know nothing about me or who I am, it can be pretty aggravating and more difficult to just brush off.

MG: Did you feel any pressure to live up to the original?
SR: Yes, absolutely. There are very passionate fans out there of the original and it was my responsibility to do everything I could to be sure they got what they were hoping for or not hoping for. The original stirred up a lot of emotion and a lot of anger, it’s a handful, but a welcome one to try and deliver something that lives up to all that. It’s both a blessing and a curse.

MG: What was your process for casting the lead of Jennifer?
SR: I just wanted someone that was not a name first and foremost. And I wanted someone with a natural beauty, a bit of naivety, a bit of strength. I wanted certain resemblance’s to Camille Keaton in our new Jennifer. As an actress she needed to be fearless and to understand the magnitude of what we were doing and be able to handle what would come at her down the road. Sarah Butler had all of those. She was perfect no matter what anyone says about her, I know the right choice was made to cast her.

MG: Tell us about your film “Complacent”, which you wrote, produced and directed?
SR: “Complacent” is very close to me not only because it is the only film out of 15 that I have directed that I directed, wrote, and produced but also because there are many elements of that film that were inspired by both my life and my wife’s. The film is a study of my perspectives of different events of our lives some that happened together and many that happened to me before we met. A lot of it is very close to her and a lot is very close to me and I wanted to put it all in a dark, sad, funny at times somewhat satirical bag and shake it up together. Most people that have seen it have said to me that they saw part of themselves in the film within at least one of the characters. The cast was amazing and brought all these suburban white Americans to life big time for me. We did the film for literally no money and it was all passion that got it done. I am indebted to everyone that worked on that project.

MG: You have worked with Cerina Vincent on three films now, how did this relationship start?
SR: Cerina is now a very dear friend. My wife and I love her very much. We first met about seven years ago when I was directing a horror film for Stephen J. Cannell and we were trying to cast the lead. He came in the office and said, how about Cerina Vincent from “Cabin Fever”… Without thinking I said “yes”. We hit it off on that shoot, became friends and then she did a Syfy film for me “Devil On The Mountain” (which Syfy changed the title to “Sasquatch Mountain”) then we did “Complacent together”. She is a very underestimated actor, drama or comedy, horror or action or thriller she can do it all.

MG: You have worked with Syfy Channel on quite a few films now i.e. “Ice Twisters” and “Mongolian Death Worth”, tell us about working on those films?
SR: The TV movie world is very different than feature films. For the most part people do not understand that in television directors do not have a whole lot of say in a whole lot of things. Even though I am seriously poked fun at all over the internet for doing TV movies and then “I Spit On Your Grave”, I don’t care because I am actually very fortunate to be able to jump formats like that and shooting a Syfy movie is like being eight years old again and making my sci fi and action films with my super 8 camera. You have creatures, stunts, guns, blood… Come on, it’s a blast. Funny thing with internet critique is that if the people that were goofing on me for the TV movies I did before “I Spit” actually did a moment of research they would see that I have also done six other feature films.

Read Complete Article
Filed Under: Film Interviews Tagged With: 25th, anniversary, bluray, edition, festival, film, ...

Interview with Candy Clark

Candy Clark has always been a free spirit. Born in Norman, Oklahoma, the family moved to Fort Worth, Texas, where she graduated high school and then headed to New York City. After scoring a small role in the John Huston directed film “Fat City,” she won the part that she will forever be remembered for, slightly ditzy Debbie Dunham in George Lucas’ look back to 1962 “American Graffiti.” For her performance, Ms. Clark was nominated for an Academy Award as Best Supporting Actress. She finished the decade of the 1970s with roles in such television shows as “Banacek” and “The New Dick Van Dyke Show” while appearing in such films as “The Man Who Fell to Earth” with David Bowie, “The Big Sleep” with Robert Mitchum and Jonathan Demme’s “Handle With Care” (also known as “Citizen’s Band”) which reunited her with her “Graffiti” co-star Paul Le Mat. The two joined forces again for the underseen sequel “More American Graffiti.” In 1983 she appeared opposite Roy Scheider in “Blue Thunder.” Other notable films include “Cat’s Eye,” “At Close Range,” “Radioland Murders” and David Fincher’s “Zodiac.” On television she has appeared in such shows as “Magnum P.I.,” “St. Elsewhere,” “Matlock” and “Buffy the Vampire Slayer,” where she played Buffy’s mom.

I had the extreme pleasure of meeting Ms. Clark a few years ago at a celebrity event where she very graciously signed a few items for me and shared some stories about her past. I recently had the pleasure of speaking with her again for MovieMikes.

Mike Smith: What led you to pursue a career as an actor?
Candy Clark: Well it was kind of given to me on a silver platter…my first job. And after that it became really difficult. But once I was in the game I got hooked. My first role was in a film called “Fat City.” I didn’t really want to be an actor…I was kind of made to do it. I was given an audition by this casting director…really all I wanted to be was an extra. But once I did that role I was hooked! I was on my own and it took me a year to get my next job. I’ve never been very good at auditioning…that’s always been my weakest point.

MS: Your next feature film was “American Graffiti.” Did you have any idea that this little film would strike such a chord with the public?
CC: I knew that it struck a chord with ME. I really identified with the characters because they were doing exactly what we were doing growing up in Ft. Worth, Texas. In high school we used to drive around…go to Carlson’s Drive In then drive to the Lone Star Drive In then back to Carlson’s then back to the Lone Star. Everyone would just go round and round all evening. It was exactly what we did. So when I read the script for “American Graffiti” I was like, “wow…I get it!” I was really happy to get a part in the film. Like I said, auditioning has always been my weakest point…I had to do a screen test for the film. I didn’t have to audition, thank God, but I did have to do a screen test where I had to memorize a scene. It was kind of a cattle call of all of these actresses. We were all in one room in a warehouse. Charles Martin Smith already had his part so when I met him I thought, “I’m not going to get this…he’s a lot shorter than me. I’m too tall.” But lo and behold I got picked…and I think our height difference made it more funny and charming…and cute.

MS: You received an Academy Award nomination for your performance as Debbie in “American Graffiti.” What was it like being recognized for your work so early in your career?
CC: I highly recommend it to everyone (laughs)….to be nominated for an Academy Award! Two weeks prior to the awards, after never having gotten patted on the back side before, it was flowers, telegrams…that was back in the day when they HAD telegrams. I was the center of attention and I really loved it. I knew I wasn’t going to win so I didn’t prepare a speech or anything. I thought for sure that an actress named Sylvia Sidney was going to win. She’s been around for a long time and she was up for a film called “Summer Wishes, Winter Dreams.” But lo and behold Tatum O’Neal took home the award. She walked away with it…a nine year old! (NOTE: Tatum O’Neal was actually ten years old when she became the youngest actor to win a competitive award for her role in “Paper Moon.” The other nominees that year were Linda Blair for “The Exorcist” and Madeline Kahn for “Paper Moon.”)

MS: So, is it really an honor just to be nominated?
CC: (laughing) I think so! I certainly didn’t mind it.

MS: Why did you wait almost three years to do your next feature (“I Will I Will…For Now”)?
CC: That was my next big role. I also had a great part in “The Man Who Fell to Earth.” But sometimes you have to take little parts here and there for money…I’ve never been averse to receiving money for work, that’s for sure.

MS: In my opinion, “More American Graffiti” is very under appreciated. Do you have any ideas why it wasn’t as well received as “American Graffiti?”
CC: I felt all along that…I did the film because I was the one that pitched George Lucas to make another “Graffiti.” I thought for sure that we would just pick up where we left off. And I think the audience was looking for that too. But the second film got very dramatic…it wasn’t as comical and fun. The Vietnam War…all of that stuff. It was just a little too off the beaten path for most fans. I think if they’d just picked it up where we left off…the film was so complicated because they kept interweaving different years AND different film styles. It became a film you really had to see more than once because it was so complicated. And in my section, it was all split screen—we were postage stamp size. In some of the shots your eyes didn’t know where to go on the screen. It was a very complicated technique they used with that movie. (NOTE: “More American Graffiti” follows the lives of several of the first film’s main characters. The film techniques Ms. Clark refers to is the way the film was shot. For the Vietnam sections featuring Charles Martin Smith’s Terry the Toad character, the film was presented like a documentary. For Ms. Clark’s section, which takes place during the hey day of psychedelic music, the majority of the action was told in multi-screen takes and very bright colors.)

MS: You co-starred with Robert Mitchum in “The Big Sleep.” Were you apprehensive about working with an actor of his, for lack of a better word, stature?
CC: Not at all. I’ve never been “wowed” by meeting or working with someone. I’ve worked with David Bowie…who was a big superstar. Roger Daltrey (lead singer of the Who) was my neighbor for a while. I’ve always approached them as people…not somebody on a pedestal. It’s just a knack that I have…it probably comes from all of the improve classes I went to. He was very nice…very down to earth. He told great stories about “old” Hollywood…back in the day. He was really a very approachable actor. Not at all intimidating.

MS: You appeared with my all time favorite actor, Roy Scheider, in “Blue Thunder.” What are your memories of him?
CC: He was another person that was very down to earth and approachable. He was very easy to work with. He wasn’t as tall as I expected him to be (laughs). He was very wiry. But when he was being filmed he had this bigger than life persona. He was very photogenic…you liked looking at him when he was on screen. He had a great face.

Read Complete Article
Filed Under: Film Interviews Tagged With: 7, asus, festival, film, happy, memo, ...
« sdf
Previous
Page 5 of 5