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All week until today, films had been relatively disappointing. The flms I've seen have not knocked me out. Other than Man in the Chair, the only one that really impressed me was Little Children, and I'm not counting that as a "festival film" since it was a Special Presentation. Today I finally got what I came for. First I saw The King and the Clown, which I mentioned earlier. And tonight I saw Trade.
Check out this pedigree. Trade was written by Jose Rivera (who wrote The Motorcycle Diaries). It is based on a New York Times Magazine article. It was originally supposed to be directed by Roland Emmerich (who wrote, directed, and produced The Day After Tomorrow). But he had a conflict so he ended up producing it along with Rosilyn Heller (who produced American Heart, a favorite of mine starring Jeff Bridges and Edward Furlong). Instead, they hired Marco Kreutzpaintner to direct, a German director who had a connection to Emmerich through another producer.
It premiered last week at Sundance. It's a $12 million indie backed by German funds, Emmerich's own pockets, and Lions Gate, who will be distributing it. The only known actor in it is Kevin Kline. It's about child trafficking, in this case, from Mexico to the US. The two leads are a 13 year-old girl (Paulina Gaitan), who is stolen, and her 17 year-old brother (Cesar Ramos), who tries to rescue her.
Director Kreutzpaintner and producer Heller were there for a Q&A. I asked about the casting. He said the boy and girl were found during auditions in Mexico City. He was just the second one they saw. They kept looking, but eventually came back to him. He had never acted before. The girl had done a bit before, but not much.
It's a very moving film. It's got some Hollywood moments thrown in for commercial appeal, but is still so well done. The acting is frightening. A good part of the film is a bit of a road movie where Kline and the boy bond -- he doesn't have a father, Kline lost his daughter years earlier, you know the drill. Kline's relationship with the boy reminded me of his relationship with Hayden Christensen in Life as a House. The other part of the film focuses on the child trafficking and follows what happens to the little girl.
There are lots of "oh my God" moments. It ultimately is a "message" film in that it exposes the horrors of child trafficking, but it's also made for commercial appeal and should do well in theaters.
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Notes from the front...
On Sunday I finally saw 2:37. That was one of the films it was impossible to get tickets to at the Toronto International Film Festival where it had its World Premiere. This was the US premiere and I made it. It interested me because it's always being compared to Elephant, which is one of my favorite indies. It's partly an homage to it and partly a ripoff, depending on how you want to look at it. But it's very compelling and has a few "whoooaaaaa" moments in it.
Basically (not giving anything away here), the film opens with a suicide. But we don't know who it was. We then proceed to follow 7 kids, 4 guys and 3 girls, in a docudrama-type structure. It's similar to Elephant in that there are long shots with no edits, tracking shots from behind, and several sequences which follow different kids in action occurring at the same time as they pass off to each other (like the hallway scenes with John and Elias in Elephant). So it's more of a thriller in that all through it the viewer is trying to figure out who commits suicide at the end. It's a lot more exciting than Elephant, though, with a lot more action and drama.
I saw Little Children last night. It was a "Special Presentation" -- it only screened once and was followed by a "Conversation with...Jackie Earle Haley." It's a James Lipton-type deal. The whole program was 3 1/4 hours long.
Little Children is nominated for 3 Oscars: Kate Winslet for Best Actress, Jackie Earle Haley for Best Supporting Actor, and Best Screenplay. I think this is the first time I've actually met an Academy Award nominee in the period between the nomination and the awards ceremony. It's the best film I've seen here so far other than Man in the Chair.
Not giving anything away here -- it's a bit like Crash. Hmm...isn't everything lately? Separate storylines that intersect, who's good, who's bad, aren't we all a little of both, etc. It was quite fascinating and held my interest even though it's over 2 hours long. It's a drama with a slightly satirical bent that was very risky to try and pull off without ruining the mood. I'm not going to include it in my list of "festival films," though, and I won't write a review per se.
Interestingly, before seeing Little Children, I saw a film called Children (in the same theater). It is Iceland's entry into the Academy Awards. The lead looks like James Dean and it's a bit of Clockwork Orange.
This afternoon I saw a Korean film called The King and the Clown. It's the highest grossing film of all time in Korea. The place was packed, the first film I've been to that was sold out. It's set in the 1500's. Hard to describe but really fascinating and compelling with breathtaking costumes and sets.
Some bad news -- they pulled Glue from the schedule. It was one of my favorites from Toronto and I was looking forward to seeing it again. It was supposed to show at 11 AM tomorrow. But the good news is, it got pulled because it got picked up for distribution. But the company that bought it didn't want it shown. Hopefully we'll be able to post a release date soon. It's a very sweet, feel-good coming-of-age story from Argentina.
The sun finally came out today for the first time in 5 days but it's still only in the 50s instead of near 70 like it was supposed to be. So no shorts/beach going on. I also ate too much caramel corn last night and am paying the price today. But it was worth it.
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The official schedule for the Berlin International Film Festival was announced today. Man in the Chair, which just had its world premiere here at the Santa Barbara International Film Festival (see our review below), will have 3 screenings:
Saturday, February 10
2:30 PM
Zoo Palast 4
Monday, February 12
6:00 PM
Colosseum 1
Wednesday, February 14
11:00 AM
Zoo Palast 4
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I attended the world premiere of An American Crime at the 2007 Sundance Film Festival. Among the several decidedly downbeat films I saw this past week, this one was by far the hardest to watch. But something about it is compelling, like craning your neck to see what horrors can be spotted at the scene of a car crash. You know it can't be anything pretty, yet you can't take your eyes off it. Perhaps it was knowing that the film is, in fact, based on a true story. The opening courtroom scenes and disclaimer that "actual transcripts" were used make that clear. There's something about a "true crime" drama that triggers a desire to sit through whatever terrifying images lie ahead. And the images conjured up here are bone-chilling.
In 1965, Betty Likens (Romy Rosemont) and her husband Lester (Nick Searcy) decided it was best to leave their two daughters with a neighbor while they went off with a traveling carnival. So Sylvia Likens (Ellen Page) and her sister Jennie Fae (Hayley McFarland) settled in with the Baniszewski clan. And what a clan it was. Mother Gertrude (Catherine Keener) already had five of her own in tow, and now she added two more. What happened then, well documented in the record, is now played out for us with horrifying realism.
This is Keener and Page's film, despite the large ensemble cast assembled for the story. And both actors create frighteningly devastating portrayals of characters we still can't quite believe really endured these horrors. Mommie Dearest doesn't hold a candle to Keener's Gertrude, and Page is as heartbreaking as any victim I've seen in modern cinema. Both turn in award-winning performances that left me with chills.
In addition to the numerous family members, an assortment of school chums has the opportunity to get involved in some way. Coy Hubbard (Jeremy Sumpter) is the boyfriend of one of the Baniszewski brood. Known to most from 2003's Peter Pan, we can't help but feel that he will be the hero here. Teddy Lewis (Michael Welch), is an enigma from the start. One of our most prolific yet underrated young actors today, Welch is perfectly cast as the boy whose blood runs hot or cold depending on the prevailing winds. Other notables include The West Wing's Bradley Whitford as prosecutor Leroy K. New.
This is a period piece set in the mid-60s, and the costumes, sets, and palette of colors effectively evokes that era to a T. Much of the film's look can be attributed to the cinematography of Byron Shah, who had two films here at Sundance (his The Go-Getter was one of my favorite film' at this year's festival).
An American Crime is not for everyone. It's a horror film that isn't a work of fiction. If it was from the hand of Stephen King it would be scary and delicious. Instead it's scary and nauseating. Yet it deserves the label "important," because the subject matter is worthy of discussion. And that's because the horrors exposed in this film are still occurring today. That's the real crime.
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The weather here has been partly to mostly sucky. The original forecast called for a sunny week with highs near 70. Instead we had rain all day Saturday, Sunday, and Monday morning, with highs in the 50s since I arrived. On the one hand, this means that I've been unable to experience the delights of Santa Barbara. On the other hand, this is a film festival, and theoretically one wouldn't want to be sitting in movie theaters all day when it's nice out anyway. So I guess it's just as well. I'm also just a 5 minute walk from the theater where I've seen all but one film so far, so it's a piece of cake going back and forth from the theater to my hotel if need be.
I did walk down State Street towards the ocean on Sunday morning, which is just 10 minutes away. There is a pier called Stearn's Wharf which extends from State Street out over the Pacific, and it has lots of restaurants and shops on it. There were some wonderful sea birds and the view looking back landward from out on the pier was spectacular. Here are some pictures I took from Stearn's Wharf.
Click the thumbnails to enlarge pictures
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I attended the World Premiere of Man in the Chair at the Santa Barbara International Film Festival. Good films should be bold and provocative. Yet no director creates a genre out of whole cloth. There's a basic dichotomy there and it's the challenge of the filmmaker to put a new spin on an old theme. Man in the Chair is, on the face of it, an intergenerational coming-of-age drama. You know the drill -- young buck meets old codger, ice meets flame, and water flows happily ever after. Some commonality brings each halfway towards the other and there are likely a few laughs as well as tears along the way. But something takes place here that is unexpected. Questions are raised which have not been addressed in contemporary cinema. This is a movie with a message, and in a politically correct world where feature filmmakers feel that it's not their place to rock the boat, Man in the Chair dares to tackle major social issues in a surprisingly entertaining fashion.
The young buck in this case is Cameron Kincaid (Michael Angarano), a high school kid with a passion for classic movies. The old codger is Glenn "Flash" Madden (Christopher Plummer), the last living crew member of Citizen Kane. Cameron is a good kid. He just happens to do bad things. Flash is surly to bed and surly to rise, which makes him, well, surly. The two meet in a darkened theater while both while away the hours to pre-Technicolor gems of days gone by, one lamenting his past and the other dreaming of his future. But the kid has a sense of purpose -- an opportunity to win a scholarship to film school by shooting a 10 minute short. And thus begins the dance. Will the two forge a working relationship? Will it become something else? And what will be the subject of the student film, and what wonders will be discovered along the way? Those are just a few of the questions to be answered. Perhaps more important, though, are the questions raised by Man in the Chair -- are there people who don't matter? If there are wrongs to be made right, can anyone do it? Should we? That's a tall order for a filmmaker and writer/director Michael Schroeder accepts the challenge.
The legendary Christopher Plummer shows how he got to be so. His portrayal of the aging old gaffer, whose only joys in life are Cuban cigars and Wild Turkey, is daring and heartbreaking. How the Motion Picture Academy could have overlooked him all these years is a mystery, but that could change in a "Flash," and should. It's hard to imagine how an actor as young as Michael Angarano could hold the screen with him from start to finish and have it all look so real. The fact that he does so with such ease is testament to the fact he is arguably the most sought after teenage actor in America.
The Motion Picture Retirement Home is the setting for a good portion of the film (the first time a camera crew has ever been allowed to film there), where an ensemble of other Hollywood veterans put their hearts and souls into this, and it shows. M. Emmett Walsh is a standout in this and almost steals the film. I was stunned when he first appeared onscreen. What he did was about the bravest thing any actor can do, particularly at his age, and his performance is breathtaking. In fact, as Schroeder explained in the Q&A, other actors turned it down because it would have broken their hearts to do the role.
Man in the Chair has the look and feel of a cutting edge indie, with a surprisingly rockin' soundtrack that left me wanting more and dazzling visuals. Cinematographer Dana Gonzales used quadruple exposure and hand crank camera to create a look that says "special effects" but is actually all "in-camera." What you see is what was captured on film and not created digitally in a studio. To do otherwise wouldn't be true to the very subject matter, and these techniques are a tip of the hat to the first filmmakers who had nothing but their cameras and lenses to create what we see onscreen. There were more than a few "whoa" moments in the theater. I sat in wonder at the creativity of this team.
It's hard to imagine anyone of any age not being able to relate to this film and be moved by it. Man in the Chair is so groundbreaking that it has the potential to be a modern-day Grapes of Wrath. The storyline exposes the ills of society without being preachy or heavy-handed. It tugs at the emotions like few films I've seen in recent memory. If you're not surly to bed and surly to rise you'll surely walk out with a tear in your eye. And even if you are, maybe, just maybe, you'll have a change of heart.
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Michael Angarano did a Q&A after today's screening of "Man in the Chair," which had its world premiere here at the 22nd Santa Barbara International Film Festival.
Here he explains how he got the role and why he decided to do it.
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I attended the world premiere of Man in the Chair at the 22nd Santa Barbara International Film Festival. Here are some pictures I took during the Q&A.
Click the thumbnails to enlarge pictures
Executive Producer Sarah Schroeder, Michael Angarano (Cameron Kincaid), Writer/director Michael Schroeder
Michael Angarano and Michael Schroeder
Michael Angarano
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I just saw the World Premiere of "Man in the Chair" here at the Santa Barbara International Film Festival. First off, I have to say that the legendary Christopher Plummer shows how he got to be so, and it's hard to imagine how an actor as young as Michael Angarano could hold the screen with him from start to finish and have it all look so real. An ensemble of other Hollywood veterans put their hearts and souls into this, and it shows.
I will definitely write up a bit more and I hope to post a review as soon as I can, but I just wanted to say what a great night it was and what a moving, powerful film this is. I had read a bit about the film and followed its progress over the past year but just knowing the story doesn't equate with the experience of seeing it in a theater.
It really has the look of a cutting edge indie, with a great soundtrack and dazzling visual effects, but with the performances of the old classics. I sat in wonder at the creativity of this team.
Writer/director Michael Schroeder was there for the Q&A along with cinematographer Dana Gonzales. A number of the cast and crew were there, and it was a lot of fun meeting them afterward.
I videotaped the Q&A and hope to have that up at some point. Angarano was not able to make it but I hear that he may be at the 2nd screening tomorrow. I'll be there and will definitely report on that as well.
The film goes on to play Berlin after this, and it should spark some more interest from distributors. I can't imagine anyone of any age not being able to relate to this film and be moved by it. I was.
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I attended the world premiere of Clubland at the 2007 Sundance Film Festival. Here are some pictures I took during the Q&A.
NOTE: Immediately following the screening on Sunday, it was announced that Warner Independent Pictures paid $4 million for U.S., U.K. and German rights to Clubland.
Click the thumbnails to enlarge pictures
Director Cherie Nowlan and cast members
Writer Keth Thompson
Cast members
Emma Booth (Jill)
Brenda Blethyn (Jean)
Khan Chittenden (Tim)
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Hello from sunny Southern California! Boy, talk about extremes. I literally just left the Sundance Film Festival in frigid Park City, Utah for the Santa Barbara Film Festival here on the Pacific coast. The first think I noticed when I stepped off the plane was that this town is also surrounded by mountains. They are big, like the ones I just left behind. But these don't have snow on them.
This really is a small town. Generally, one gets a map of the festival venues and everything looks nice and close. "Walking distance," they say. Ya, right. "A few blocks away" turns into a 20 minute hike. You know the drill. So when I looked at the map of the downtown here and the locations of the theaters, I was prepared to get a good workout. After all, everything always looks closer on the map, right? Wrong! Much to my surprise, what looked like a few short blocks really is a few short blocks. The theater that is supposed to be "about 10 minutes away" from my hotel is actually more like 5 minutes away. Who knew?
The weather can't be beat. It's only in the 60s here, but it's an odd humid tropical breeze that blows in from the ocean, making it feel warmer than it is. It's not necessarily beach weather but State Street in Santa Barbara is a far cry from Main Street in Park City.
I'm surrounded by eateries. All the architecture is Spanish Mission style, all stucco and red tiles and arches. Kind of like Taco Bell but the real thing. Right around the corner is Chilango's. It's a no-frills Mexican eat in or take out joint. There are many here, to be sure, but this came highly recommended. And deservedly so. If you ever make it over here, try the paella burrito. It's grilled shrimp and mahi mahi with cilantro rice and beans in a tortilla. Yum.
Tomorrow I start seeing movies. It's hard to imagine a better location for a film festival.
Salt Lake City -- Big mountains with snow.
Santa Barbara -- Big mountains, no snow.
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I attended the world premiere of "Weapons" at the 2007 Sundance Film Festival. For some reason, several films here have had some unusual similarities. I saw three in a row which I would characterize as being "hard to watch." That's not necessarily a bad thing -- the difficulty stemmed not from a lack of quality of the material but from the subject matter. In this case, well, the title is a pretty good tipoff. I also saw three films which open with a gunshot. In two cases, we don't know who or what has been the target. In the case of "Weapons," though, we know from the moment the film rolls. Nick Cannon's head is blown off. Literally. As writer/director Adam Bhala Lough so eloquently explained in the Q&A afterward, pineapples make a great substitute and some fancy optical effects do the rest. But it sure looks real, and signals what is to come -- the viewer is about to find out how we got to this point. We know the ending, now we go back to the beginning. In this case, several storylines are told in flashback, start to finish, start to finish, independently of each other. It's a structure we've seen before, and it can be a pretty effective technique in a crime drama. It works here, largely on the strength of performances by some of today's most talented yet underrated actors.
Sean (Mark Webber) arrives home from college to find his buddies, Chris (Paul Dano) and Jason (Riley Smith), ready to whip out the drugs and celebrate. But something is amiss, and before the first joint makes it to a roach there is a score to settle. Meanwhile, across town, Reggie (Nick Cannon) is preparing for a job interview when little sister Sabrina (Regine Nehy) walks in. Something is amiss, and there is a score to settle. And so it begins. Along the way Webber will be the reluctant accomplice, a man with a conscience. Dano will be the clueless fop who documents it all, annoyingly, with his camcorder. And Smith will march headlong into mayhem. On the other side of town, Cannon will go postal, becoming a madman reminiscent of Ben Foster's Jake in "Alpha Dog," another crime drama which premiered at Sundance last year and which opened several weeks ago. James (Brandon Smith), Sabrina's boyfriend, will accompany him on his mission to right the perceived wrong that is at the heart of the imminent confrontation.
Most of the film is shot with handheld cameras, which can be powerful when the situation calls for it. The film is also characterized by long shots, sparing the jump cut editing so common in films whose demographic's attention span is coddled by music videos and Xbox. Many may find this uncomfortable. It's a daring style which signals Adam Bhala Lough as a director to be reckoned with -- it defies convention. The story is compelling enough to hold the viewer's interest despite the slow pace.
Theirs is a world of sex and drugs and violence. Surely some will see a political message in the availability of guns. Then again, Cannon's Reggie is so frightening, so out of control, that "guns don't kill people..." might be equally apt here. The title of the film says it all. "Weapons" is unapologetic, bold, and challenging. It will hit you over the head. This is one powerful film.
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Although I'm still trying to tie up some loose ends from my trip to the 2007 Sundance Film Festival, I'm off to California. As the action in Park City cools down, the focus shifts to the Santa Barbara International Film Festival where I'll be setting up shop for the next 8 days. Santa Barbara is decidedly a bit more laid back than its loud, brassy counterpart to the east. The celebs show up, yes, but they're a bit more relaxed. The acquisition frenzy slows down a bit and the films themselves take on more importance than what exec attends them. For those of us who go for the cinema experience, it couldn't come sooner. As exciting as Sundance was, I'm looking forward to a slightly less hectic pace. For one thing, all the venues are within walking distance and I'm staying at the historic Hotel Virginia, right in the heart of Santa Barbara. The theaters and festival headquarters are within blocks. Eliminating hours of travel time and wading through crowds, as well as waiting on lines, should allow me to report in real time, which was virtually impossible in Utah.
Snow Angels' star Michael Angarano has yet another world premiere here, the second in a week, with Man in the Chair on Saturday. I'm also excited about the world premiere of Joel Schumacher's The Number 23, with Jim Carrey and Virginia Madsen. In addition to the requisite world premieres, there will be special presentations of new classics like The Queen, Half Nelson, and Little Miss Sunshine. I haven't yet made up my schedule, but I'm especially looking forward to the unexpected surprises -- films I choose somehwat randomly to fill gaps in my day which may turn out to be among the best. That's part of the excitement of film festivals. You never know what you'll find.
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I attended the world premiere of Weapons at the 2007 Sundance Film Festival. Here are some pictures I took during the Q&A.
NOTE: Late Tuesday, it was announced that Weapons has been picked up for distribution by After Dark Films, a unit of Lionsgate.
Click the thumbnails to enlarge pictures
Writer/director Adam Bhala Lough
Cast & crew
Brandon Smith, Paul Dano, Mark Webber, Amy Ferguson
Paul, Mark, Amy
Paul Dano
Mark Webber
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You can now watch the first 5 minutes of "Cashback" for free.
It's the first one on the left. Enjoy!!!
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Stop the presses! I didn't think that any piece of news could redirect my attention away from covering the Sundance Film Festival, but I have heard a rumor from a reliable source that Cashback will be released in the US this summer, possibly in June.
I don't normally post "rumors," but I have a feeling this one is a good bet.
Cashback was my #1 pick of over 30 films I saw at the 2006 Toronto International Film Festival, and readers of this blog know that we have been following the progress of this gem ever since. We even got a little slap on the wrist for posting an "unapproved" trailer. OOpsy. It's all for the art!
Hopefully this will turn into a bonafide news item and an official announcement will follow.
Cashback opened in France last week and made it to a respectable #7 at the box office there. It goes to Israel next week and other countries to follow.
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After not much consideration (it was pretty easy, actually), here are my top picks from the 2007 Sundance Film Festival. Every one of these was a world premiere, and most have actually been picked up for distribution since I saw them.
Snow Angels
Clubland
The Go-Getter
Teeth
The Good Life
An American Crime
Weapons
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I attended the world premiere of The Good Life at the 2007 Sundance Film Festival. Here are some pictures I took during the Q&A.
Click the thumbnails to enlarge pictures
Patrick, Mark, Zooey, Chris
Patrick, Mark, Zooey
Mark, Chris, Zooey
Patrick and Zooey
Patrick and Chris
Patrick and Mark
Stephen Berra and Mark
Mark
Zooey
Chris
Patrick
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I attended the world premiere of "The Go-Getter" at the 2007 Sundance Film Festival. I'm not quite sure why, but this year's lineup seems to be heavy on heavy. I like a dark, moody melodrama as much as anybody, but whatever happened to the good old-fashioned road movie? I found the answer with "The Go-Getter." This film is all that and more. One part sweet love story, one part romantic comedy, and one part coming-of-age tale, "The Go-Getter" takes it all on the road and drives home a winning combination that will leave you smiling.
Lou Taylor Pucci (Mercer) is a good kid, but one day he decides to chuck his bike and steal a car. I don't like to post spoilers, so I won't divulge more details other than to say that the trip on which he embarks will take him on a journey that would make "Priscilla, Queen of the Desert" blush.
Like any good road movie, he encounters one motley crew after another, a cast of characters all of whom get him just one step closer to the goal he seeks. But like a treasure hunt whose map takes him to places enticing enough to have him abandon his quest, he needs to keep his wandering eye on the prize. And oh, the temptresses who cause that eye to wander.
Jena Malone is Joely, a sultry vixen (quite the change for Ms. Malone) who is determined to pop Mercer's cherry. What a breath of fresh air to see this versatile young actress take on such an empowering role. Women's Lib ain't over yet. Zooey Deschanel is Kate. It's her car he stole. And she is determined to get it back -- or is she? The "indie darling" gets her chance to shine here, and the tension that builds towards a possible reunion of car and owner holds this story together like a rope ties down a trunk when the lock is broken. We're never quite sure if it'll hold.
And Lou Taylor Pucci has never been better in his role as the determined yet naive youth whose trusting nature and sense of wonder left me wanting to roll back the years to a time when everything was fresh and new. Pucci's sense of comedic timing and natural delivery is second to none, and while some of his dialog was indeed improvised, I was shocked to learn that the scenes which felt the most unscripted were, in fact, from the pen of writer/director Martin Hynes.
In the Q&A after the screening here, I was fascinated to hear that a deliberate attempt was made to cast against type. As each of the three leads has a rabid following, Hynes' script was meant to give each actor's fan base something they had never seen before: Malone as Woman, Deschanel as glamour girl, and Pucci as, well, he got his hair cut, anyway. Hope and Crosby must be smiling at this winning team.
M. Ward wrote the score, with original songs that left me wanting more. Licensing source material is pricey for an indie, but who needs hit singles when you have someone as talented as this brilliant composer? What a coup to bring him into this project. Byron Shah shot two films here at Sundance, "An American Crime" (which I saw as well) and "The Go-Getter." That alone says a lot about his eye for capturing this kind of character-driven story so well. Between Shah's photography, David Birdsell's editing, and Hynes' talent for allowing his actors to tell the story, "The Go-Getter" never wanders into pretentious indie territory. It stays accessible, which is why audiences will embrace this film wholeheartedly.
"The Go-Getter" gets it right. It's warm and funny and sweet, and at this festival of doom and gloom, what a joy it was to to travel down this road.
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I attended the world premiere of Snow Angels Friday night at the Sundance Film Festival. See my posts below for an extensive review and more about the film and premiere. It is my #1 pick from this year's Sundance Film Festival and I believe it will be picked up for distribution shortly.
Click the thumbnails to enlarge pictures
Sam Rockwell, Michael Angarano, Olivia Thirlby
Michael and Olivia
Michael and Sam
Michael
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I attended the world premiere of The Go-Getter Monday night at the Sundance Film Festival. The audience loved it, myself included, and I have little doubt that distributors will feel the same way. I expect it to get picked up and released in theaters so that all can partake of the pleasure of this sweet road picture penned and directed by Martin Hynes.
Zooey Deschanel and Jena Malone are absolutely fantastic in their scenes with Lou Taylor Pucci. It all felt so natural, and some of it was improvised. But even the scripted lines felt spontaneous. That's a tribute to these wonderful actors' abilities.
Most of the cast & crew were there and held a lively and exciting Q&A session afterward.
Click the thumbnails to enlarge pictures
Jena Malone (Joely), Zooey Deschanel (Kate), and Lou Taylor Pucci (Mercer)
Zooey and Lou
Lou Taylor Pucci
Jena Malone
Composer M.Ward
Lou and me
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In the Q&A after the world premiere of Snow Angels on Friday night, writer/director David Gordon Green discussed at length how much the film differs from the book. A good deal of the film is from his hand. In fact, he brings no script to the set. For example, in the film, Arthur (Michael Angarano) and Annie (Kate Beckinsale) both work in the kitchen of the same restaurant. They see each other constantly. There are many scenes with them together. As it turns out, they were all essentially improvised. Green basically tells them what is happening, and they come up with the dialog themselves. It is rehearsed, of course, so it's not necessarily "impromptu," but much of the film was not in the book and was not even in a script. Unlike the book, there are no scenes of Annie babysitting Arthur when he was young. It is often referenced in the dialogs between them, though.
I wrote quite an extensive review. But it's been so hard keeping up with the external ones. It's impossible for me to follow everything the way I normally do, and ironically when you're surrounded by journalists all day you actually see less of what they are writing about than if you're at home! I have been talking about Snow Angels constantly, since almost every single person I come into contact with asks what I've seen and liked. I've spent so much time talking about it. I'm just waiting for the acquisition deal to close.
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"Snow Angels" is a glimpse in time of several relationships, some simmering and ready to boil, others cooling down, and at least one whose flame has yet to be lit. It's also a thriller, with a gunshot that is heard as the film opens. The narrative is linear but writer/director David Gordon Green, adapting the novel by Stewart O'Nan, takes the couples' stories and interweaves them in such a way that we never quite know all the secrets at the heart of the mystery. The film flashes back as we try to see how we got from there to here. First off, I have to say that it is a hard film to watch. As a rule I never post spoilers, so I won't get into too many details, but I think it's safe to say that it's a very sad story. In many ways the overriding theme deals with the promise of what once was versus the reality of what could have been. The "reality" is embodied in the relationships which are falling apart, as evident in the older couples. The "promise" is represented by the young couple whose lives are just beginning.
At the heart of the film is the relationship, tenuous as it is, between Sam Rockwell as Glenn and Kate Beckinsale as Annie. Glenn is, to put it mildly, one "wild and crazy guy." We watch him almost literally disintegrating before our eyes as he tries to get a grip on who he is and why his marriage is failing. Glenn is one of the most frightening characters I've seen outside of horror films. Rockwell turns in one of those rare performances that, as the film enters its final act, screams "award." Kate Beckinsale's Annie is breathtaking, in every sense of the word. We bear witness to a life in free fall as everything and everyone she loves seems just out of reach. You know those dreams where you can't quite get to where you want? You try to touch it but it stays at arm's length? That's Annie's world. Beckinsale has little to smile about in this film and her performance is heartbreaking. We so painfully watch as the madness around her takes its toll, and she weathers the way rain erodes rich topsoil, leaving little but rocky dirt underneath. Amy Sedaris is Annie's best friend Barb. She has her own marital fires to put out, and the relationship between Annie and Barb runs hot and cold as their own love lives intertwine in a way nobody can imagine. She is a joy to watch.
But In the midst of the darkness there are some lighter moments in it as well, and Michael Angarano (Arthur Parkinson), Olivia Thirlby (Lila Raybern), and Connor Paolo (Warren Hardesky) have the lion's share of them. Or maybe it's best put this way -- all the older characters have the occasional break in the somber mood, but almost all of the younger trio's scenes are a joy to watch. They are essentially the light in the darkness that surrounds the rest of the film.
It should be no surprise to fans of Angarano that writer/director David Gordon Green would have chosen him to play Arthur Parkinson. He's not yet comfortable in his own skin, a trait which could describe most adolescents. He's a bit shy, nervous, and even nerdy, yet he is charming enough that everyone else seems drawn to him even though he doesn't seem to be aware of it. As Arthur's muse, Olivia Thirlby's Lila is the female representation of those awkward teenage years and an almost equal counterpart to Michael's Arthur. Their tender tiptoeing around each other is one of the most touching depictions of first love I've seen in cinema. Their onscreen chemistry is nothing short of magical. And in a film that is decidedly down, Connor, as Arthur's best friend Warren, provides some of the much needed comic relief. Every scene he was in elicited laughter from the audience, so much so that as soon as he would appear onscreen the folks around me would smile. He is something of a smartass whose ego often backfires. He is funny and not quite as smart as he thinks he is, and it's especially endearing because I think we all knew someone like him in high school. Or maybe it was you.
Among other standout performances is Griffin Dunne (Don) as Arthur's flighty dad. Or should we say father, not really the "Dad" that Arthur wants or needs him to be, but the boy clings to him in this critical time of life when he is most in need of a male role model. But he won't find one here. In fact, it's this failure to connect which climaxes in an exchange between Michael and Griffin that gave me chills. It was literally a jaw-dropping moment for me in a film that has many. The two have worked together before (2006's "The Bondage") and their onscreen chemistry is palpable.
The audience laughed during the funny moments, and there was dead silence in the theater when things turned dark. So much of it is frightening that, as Green said in the Q&A afterward, he had to find actors who could infuse some humor into their characters, otherwise it would be too heavy. Just the right balance was achieved, in my opinion. It's a drama all the way, but the characters are real, and real people do have lighthearted moments even under the worst of circumstances. All around me were glistening eyes and tissues wiping away tears. At its heart it is a sad story and the audience was hushed at the end. As at most film festival premieres, there was the requisite applause, but being a very dark tale most just seemed stunned.
Many have wondered how much of the film is David Gordon Green's adaptation as opposed to the Stewart O'Nan novel on which it is based. Green did discuss this at length in the Q&A. He actually opened with a fairly detailed explanation of how the film came about. After reading the book, he knew he had to make it into a film. But he also immediately knew that it would have to be heavily adapted. He began writing, and found that he did so in bursts. The more he wrote the more he realized just how much would really have to come from his own hand. The impression I got was that what we see on screen is much more David's work than maybe even he had initially anticipated. For example, one obvious change was the time period. Rather than having it set in the mid-70's, Green moved the film up to a more indistinct time. He explained that the cost of doing a period piece is prohibitive, and it wasn't really so essential to telling the story that they be faithful to that time period. He was more interested in simply telling the story than doing a period piece with its inherent dependence on costumes, props, etc. I agree that it might have been a distraction.
Jeff McIlwain and David Wingo's score is haunting, as is the film. It is used sparsely, only to punctuate the dramatic moments, as the subject matter is weighty enough that it didn't need much augmentation. It's used efficiently and effectively. The music that Arthur's marching band plays is another story, but audiences will get a kick out of that. The film is visually stunning. No surprise here, as it was shot by Green's longtime collaborator Tim Orr. His work is unmistakable -- gutters dripping, swings on a swing set, clouds, contrails, aluminum siding -- you can always tell his work. He sees language in shapes and movement of inanimate objects. He then connects them to the action in the story, often with a wink and a nod. Blink and you might miss it. I love symbolism so to me it's like candy. He is very much the painter here. The beautiful winter landscape of Nova Scotia (standing in for rural Pennsylvania) gives him a palette from which he can choose many colors. The juxtaposition of Orr's beautiful photography with the horrors David Gordon Green exposes us to in "Snow Angels" is nothing short of genius.
This is a true work of art, to which many filmmakers aspire. Few hit the mark. I'm not sure if that's what David Gordon Green was trying to do here, but he did it nonetheless. There is little doubt in my mind that this is a film will make you think about the innocence of youth and how fleeting it is, and make you wonder if it has to be that way.
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Michael Angarano is arguably the most sought-after teenage actor in America, and we've been following the progress of the five independent films he did in the last two years has which have yet to be released. It was such a pleasure to be able to post "new" pictures of him, since he had not been "seen" and photographed publicly in close to a year. But many others turned up at sites like WireImage this past weekend. That's one of the cool things about Sundance -- the paparazzi follow the actors around everywhere, and the professional photographers set up photo shoots in all sorts of locations.
Many actors never have any pictures posted online except the ones from Sundance, so to those actors it may be the only time people see what they look outside of their movies. It's a big big deal for many actors. The last time there were public pictures on WireImage of Michael was from Tribeca last April. So it's cool that it gives everyone the chance to "see" him. The main difference between all those and mine is that theirs are all posed while mine are almost all candids. I hope that, between the two, fans get to see two different sides of these actors.
It's been an interesting few days for Michael, to say the least. Although this is the third world premiere of one of his films in a year (all of which I've attended and reported on here), it's by far the biggest, if only because it's Sundance. I was very happy he was able to be there, and hopefully so were all the fans and moviegoers. He even went to two screenings of his film, the first one on Friday night and then another on Sunday morning. He participated in a lot of other events as well. He is definitely a pro. I think that's a great word to describe him. I know this past week must have been hectic -- Sundance is so different from every other festival. I saw him several times, and to me it looked like he was having a lot of fun.
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Michael Angarano got onstage at the Q&A after the World Premiere of Snow Angels tonight at Sundance.
To put it in context, Sam Rockwell's character is something of a "Born Again Christian" in the film, and he was asked how he managed to make it so convincing. He said that he had done a lot of research. Then Michael stepped up. The first line is, "I too did a lot of Born Again research."
FYI: The "David" he refers to is director David Gordon Green. "Olivia" is Olivia Thirlby, his onscreen love interest. "Kate" is Kate Beckinsale, who plays Sam Rockwell's wife and Michael's ex-babysitter. "Arthur" is the name of Michael's character.
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Monday was an odd day. I actually saw Zooey Deschanel in two films in a row, The Good Life and The Go-Getter. I'm sure it was a bit unusual for her as well. I don't think I've ever had that happen before, and I saw over 90 films at 10 festivals in the last year. I did see Mark Webber in two films this past weekend but they were a couple of days apart.
Zooey was a joy to meet. She is very unaffected by all the attention. She isn't shy at all, like many actors, and loves getting on mike and talking to the audience at the Q&As. I saw her at two in a row. She's very funny and sincere. In the Q&A after The Go-Getter, a comment was made that "her people" wanted her to stop doing so many quirky indies. The basic idea was that they didn't want her to do this film, I think. But I don't think she cares so much about her image or has an agenda. I think she just wants to do good work and enjoy it.
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All film festivals are the same. All film festivals are different. Conflicted, you say? Well, no, not really. The general experience is the same -- you just have to fill in the blanks. You arrive, get to the hotel, and plan your first day. You find the best route to the festival location, the best place to park (if you have a car), and the best way to get around from venue to venue. You attend your first film, and learn the modus operandi for waiting in line, entering the theater, and finding the best seat to view both the Q&A as well as the film equally well (not always as easy as it sounds). This may vary from venue to venue, so with each successive film at each "new" venue the process is repeated. Eventually you will, hopefully, get to know the staffers so well that they greet you by name when you arrive. Maybe they even have your seat saved. Maybe a warm scone. Well, that's never happened, but one can hope. This is assuming the same people work the same venue each day, which is usually the case. That's one of the best things about festivals. Of course, perhaps even more important, you need to know where to go for sustenance -- coffee, food (well, energy bars, usually), and other (ahem) personal needs. It only takes about a day or so to have your routine down to a science. Then you just sit back, relax, and enjoy the ride.
Sundance is no exception. But there is one difference. Sundance is a film festival on steroids. Everything is bigger and bolder. The venues are bigger, the films are bigger, the "stars" are bigger, and all the world's press descends on Park City, Utah to write as many words and take as many pictures as they are physically able. Of course, there is a basic conflict there. Attending films does not lend itself to posting reports online (unless you bring a large staff -- it's just me, yo). And there's the rub. I had precious little time here to blog the way I would normally like, so don't let the lack of reporting on my part be any indication of lack of activity. In fact, just the opposite is true. That said, I did have time to take pictures, video, and write reviews for several of the films I attended. I'll be posting them here as soon as I can.
That said, I'll fill in some blanks. The best route (the only one, really) was Interstate 80. Unlike the Northeast Corridor cities I'm accustomed to traveling, this highway winds its way through mountains. Big ones. Very big ones. The kind we don't have East of the Mississippi. Also unlike the East - unlike anywhere else in the United States, in fact - there is no traffic. Ever. I'm not sure why. Someone told me it has something to do with the Mormons. I think everything here has something to do with the Mormons. We don't have Mormons in the East. Not too many, anyway. Not enough to clog the roads, anyway. This made for a zippy trip to and from the festival once or twice a day. It's a pretty breathtaking drive, as well. Half the way you don't need to step on the gas. Gravity does that for you.
The best place to park was the huge China Bridge parking structure just off Main Street. I think it was built for the 1992 Winter Olympics. That event transformed the road and transportation system here, lending itself to easy access. Occasionally the garage would fill up, but I usually pulled in early enough each day that I had no problem finding the exact same spot. It was the one closest to the shuttle bus terminal, about a 40 second walk away.
Which brings us to the best way to get from venue to venue - the shuttle bus system. It is literally a fleet which could serve many small cities. There were several routes, and whatever bus I needed was often waiting to pull out or about to pull in, no more than a 10 minute wait at most. Festival volunteers, numbering in the hundreds, were never more than a few feet away, offering assistance of every kind. Sundance is the single most organized festival I've attended, and I've been to 10 in the last year. It doesn't take long to get to know them as you go about your day, and all were as friendly and helpful as could be. Props out to them.
And the best place to go for sustenance? Well, in my case, it was the Java Cow, hands down. Or hooves, as the case may be. Once I discovered this little wonder on Main Street, it became my refuge, and I stopped in two or three times a day. You can't miss it. Just look for the large, life-sized Bessie out front. There are two sides to the place - a hot side and a cold side. The hot side has the coffee bar - cappuccinos and such, along with magnificent baked goods and sandwiches and salads and other edibles. The scones are to die for and became my regular daily breakfast. The cold side has cold drinks and cold food and ice cream. You'll have to ask what some of the flavors mean, like Ripple Cowrunch and Moolicious Delight. Some items are available on both sides, so one does not need to visit both to get some of the best stuff - like the killer tuna sandwiches which provided my daily lunch. They also have everything bovine from shirts to toys to, well, everything but actual cows. Try the cow chip chocolates. Yum. The lines were always long on the hot side, especially when P. Diddy came in, but I had a big mug of coffee in my room every morning so I had no waiting. For what it's worth, the place was usually filled with actors and filmmakers, if you're into that sort of thing. Sit there long enough and you may even wind up being interviewed on camera for one of the thousands of media outlets represented here. Java Cow was usually my destination between films if I had time. It was always my last stop of the day to pick up a scone for the morning. No offense to the Sheraton.
Then I'd head over to the AOL Cyber Lodge. My festival materials said that HP and Adobe had free wireless internet at their lounges in the Kimball Art Center, but I soon learned that this was a bit deceptive. They wanted you to use their laptops to learn about and play with their wonderful photo and imaging software, and if you needed to post a review or send emails, you were unceremoniously kicked out after 15 minutes. Bad HP and Adobe. Good AOL. They provided free unlimited wireless internet in a very cushy lounge which was kept toasty and comfy, and the staffers were superstars. It was also used as a shooting location for AOL interviews, so stars walked in regularly. Props out to AOL.
There was also a Filmmakers Lodge which had wireless and a cafe with food and drinks. They also had copies of all the trade papers and movie magazines for the taking. But it was usually crowded and noisy and it was hard to find a seat. It was a nice place to overhear deals going down, though. There were also seminars and panel discussions there. They were always packed as well.
Main Street is like a festival in itself. Nowhere else can one show up and still have a blast without even seeing any films. Which many people do. They come to shop and stargaze. Most of the actors and filmmakers make their way up and down the street and in and out of the shops, and you can usually tell when an A-lister is around by the flock of fans and hordes of paparazzi following them around. Sometimes a crowd would gather around someone, and I'd walk over and ask, "who's in there?" More often than not the answer was, "I don't know." That happened with Screech. Poor guy. But many people knew who he was, and he was a good sport. He probably made a deal in the process.
So I hope I've succeeded in giving you some color commentary and a taste of the festival experience. But for me it's all about films. After all, it is called the Sundance Film Festival, and it's what brought me here. I saw some real gems, and unlike most other festivals, all the major distributors send their acquisition people here. That means films are bought for eventual release in theaters. Many of the movies you see had their start here. For example, last year's festival favorite, Little Miss Sunshine, received an Academy Award nomination for Best Picture this morning. That's a filmmaker's ultimate dream, of course, but most are happy to even be here. To be picked up for distribution is really the goal, and I was lucky enough this year to have seen several films that were acquired within hours after the screenings I attended. I saw two films in a row on Sunday which were bought partly based on audience reaction. It's nice to be able to say that I was a small part of it. I'll be talking about those films, as well as a couple of others I saw which were being bid on for possible acquisition at the time of this writing.
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Not that I'll be at any of these, but here is the list of parties for Friday January 19 here at Sundance:
* 11:30am - 5:30pm Proctor & Gamble Gifting Lounge at Private Residence One Day Only, Invite Only.
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* 1:00pm - 7:00pm Complex Magazine and DC Shoes Lounge with special guest DJ Nick Cannon at DC Shoes Mountain Lab Invite Only.
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* 2:00pm - 5:00pm Amstel Light at Aprés-Ski Base of Park City Mt. Resort featuring Music and Complimentary Appetizers.
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* 4:00pm - 6:00pm SXSW Party Village at the Lift Main Tent on 825 Main Street.
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* 4:00pm - 7:00pm Sundance Music Café at The Star Bar on 268 Main Street Open to Festival Credential Holders.
o 4:00pm: Alexi Murdoch
o 4:40pm: Rosie Thomas
o 5:20pm: The Bird and The Bee
o 6:00pm: Chuck Prophet
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* 4:30pm - 6:00pm The Circuit and LA Studios Cocktail Reception at Café Brilliant on 333 Main St. Run by The Circuit, for more information visit thecircuitnyc.com.
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* 6:00pm Opening Night Gala in Salt Lake City at the Jeanne Wagner Theatre on 138 West Broadway. Ticket Required, Reception prior to movie screening.
o Possible Appearances from stars: Julie Christie, Gordon Pinsent, Olympia Dukakis, Kristen Thomson, Michael Murphy and writer/director Sarah Polley
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* 6:00pm - 8:00pm Delirious Premiere Party at the Premiere Lounge Riverhorse on 540 Main St. Invite Only
o Possible Appearances by stars: Steve Buscemi, Elvis Costello, Minnie Driver, Gina Gershon, Alison Lohman, Michael Pitt and director Tom DiCillo.
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* 6:00pm - 8:00pm Expired Dinner Party at the Hollywood Life House on 692 Main St Invite Only
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* 6:30pm - 8:30pm PBS Filmmakers Party at the Sundance House (Kimball Art Center) on 638 Park Ave Invite Only
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* 7:00pm RED Camera / OffHollywood Party at Private Residence Invite Only
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* 7:00pm - 11:00pm Hang 'M High Art Show at Chester's Blacksmith Shop on 613 Main St.
o Curated by Justin Giarla and Andres Guerrero of White Walls Gallery. Featuring Shepard Fairey, Gary Baseman, Sam Flores, Mike Giant, Caleb Neelon, Sylvia Ji and Anne Faith Nichols Invite Only and Select Press
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* 8:00pm - 10:00pm High Falls Premiere Party at Delta Sky Lodge / WireImage Lounge on 449 Main St. Invite Only
o Possible Appearances by stars: Waris Ahluwalia, Maggie Gyllenhaal, Ebon Moss-Bachrach, Peter Sarsgaard and director Andrew Zuckerman
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* 8:30pm Resurrecting the Champ Cast and Crew Dinner at Private Residence. Hosted by WNWN, Millstone Coffee and Bob Yari. Invite Only
o Possible Appearances by stars: Samuel L. Jackson, Josh Hartnett, Kathryn Morris, Teri Hatcher, Alan Alda, Rachel Nichols and director Rod Lurie.
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* 8:45pm - 12:30am Snow Angels Premiere Party at Premiere Lounge on 540 Main St. Invite Only
o Possible Appearances by stars: Sam Rockwell, Kate Beckinsale, Michael Angarano, Griffin Dunne, Amy Sedaris, Olivia Thirlby and director David Gordon Green
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* 9:00pm - 11:30pm The Ten Cocktail Party at the Hollywood Life House on 692 Main St Invite Only
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* 9:00pm Hotel Cafe at Celsius on 625 Main Street.
o Performing: Priscilla Ahn, Cary Brothers, Jim Bianco, Kevin Devine, Schuyler Fisk, Tim Jones, Joshua Radin, Steve Reynolds and Special guests
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* 9:00pm Weapons Premiere Party at Marquee (Harry O's Complex) on 427 Main Street Invite Only
o Possible Appearances from stars: Nick Cannon, Paul Dano, Mark Webber, Riley Smith and writer/director Adam Bhala Lough
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* 9:00pm - 1:00am Sideways Lounge presented by the owners of the Cabana Club at the Airborne Lounge (Harry O's Complex) on 427 Main Street Invite Only
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* 9:00pm - 2:00am MySpace Nights at Harry O's Complex on 427 Main Street Invite Only
o Featuring: Eagles of Death Metal, Z-Trip, Tao
* 9:00pm - 1:00am Gen Art, Quintessentially & Carbon Opening Sundance Reception at the Delta Sky Lodge / WireImage Lounge on 449 Main Street Invite Only
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* 10:00pm X-Dance and Lat 34 Opening Night Party with Burton at the SideCar Lounge on 333 Main Street (2nd Floor) Invite Only
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* 11:30pm - 2:00am An American Crime Premiere Party at Hollywood Life House on 692 Main St Invite Only
o Possible Appearances by stars: Ellen Page, Catherine Keener, James Franco, Hayley McFarland, Ari Graynor, Evan Peters, Bradley Whitford, Scout Taylor-Compton and director Tommy O'Haver
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* TBD Slipstream Dinner Party
o Possible Appearances by stars Stella Arroyave, Lisa Pepper, Michael Clarke Duncan, Christian Slater and Anthony Hopkins
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