Interviews

Kevin Costner in DRAFT DAY

Meatballs, Stripes, Ghostbusters and Dave are four of Ivan Reitman‘s films that have stood the test of time. When Reitman was on top of his game, the now 67-year-old filmmaker hit grand slams. I’m not using these sports metaphors because his latest film, Draft Day, includes the NFL Draft, but because, like athletes, some directors have hot streaks and cold streaks. For an array of reasons, slumps happen. Reitman’s lasted 18 years. After Dave he directed Junior, Father’s Day, Evolution, My Super Ex-Girlfriend, and Six Days, Seven Nights. A few of those films had glimmers of hope that Reitman hadn’t lost his touch, but during those years, only as a producer was he making quality movies. People generally focus on the films that proceeded Dave, not Old School, Up in the Air,  I Love You, Man and Private Parts, and one of those acclaimed films he came close to directing. “It was stupid,” Reitman says, on why he didn’t direct Private Parts himself. “I was doing three movies at once: Space Jam, which I was sort of directing, but I wasn’t officially directing; Father’s Day, which I shouldn’t have directed, because we never got the script right; and Private Parts. Private Parts was the one I gave up, and I shouldn’t have.”

read more...

Richard Shepard and Jude Law on set of DOM HEMINGWAY

Director Richard Shepard makes tonally risky choices. The Matador and The Hunting Party are broad comedies, but they also focus on characters with serious problems. Shepard doesn’t play those personal conflicts as jokes, either. He takes their predicaments very seriously, no matter how goofy his characters may act. These three dramatic comedies, including his latest film, Dom Hemingway, are driven by the loss of a loved one. In the case of Dom Hemingway, the narrative is also propelled by a potbellied, foul mouth, unhinged and egotistical safe-cracker named Dom Hemingway (Jude Law). This is a man who loves his name, himself, and, of course, his cock. You read that last part right. The film opens with Dom discussing what a wonderful piece of equipment he has. Needless to say, he’s a magnetic character who is, maybe not a good person, but someone you root for, if only because he knows how to talk about himself to exhaustive lengths. We discussed with writer-director Shepard how he made this incredibly flawed protagonist so damn appealing:

read more...

Captain America: The Winter Soldier

Captain America has had a tough life. Steve Rogers, created over 73 years ago by Joe Simon and Jack Kirby, has been put through the wringer time and time again. Sure, he made a hell of an introduction by punching Adolf Hitler in his first issue ever, but his luck soon ran out. He went to hell, fought communists for Joseph McCarthy, and, at his lowest and most desperate, worked as a History professor. As we all know, teaching history is far worse a gig than having to fight Nazi Werewolves. Now things are on the up for Captain America, at least for his public image. In 2011 he got his own movie — let’s just pretend the 1990 version never happened — and it was the top dog of Marvel’s Phase I. Now that the studio has successfully moved into Phase II, Director Joe Johnston‘s Captain America: The First Avenger has managed to remain the best of the bunch. Its sequel, Captain America: Winter Soldier, is a close second. Captain America (Chris Evans) faces his greatest threat yet: his best friend, Bucky Barnes (Sebastian Stan), a.k.a. The Winter Soldier. The world may have been threatened in The Avengers, but global annihilation doesn’t match the personal stakes that come from having to fight your BFF, who’s been turned into an unstoppable killing machine with a shiny metal arm. This isn’t just Captain America taking on some power hungry villain, but Steve Rogers having to confront a friend. The personal stakes aren’t all Captain America: The Winter […]

read more...

Scarlett Johansson in Under the Skin

No one could ever accuse Jonathan Glazer of opting for quantity over quality. The British filmmaker has made only three movies in the span of 14 years, including his latest, Under the Skin. During that time, and before he made his feature debut in 2000 with Sexy Beast, Glazer directed music videos for Radiohead, UNKLE, Massive Attack, Nick Cave and the Bad Seeds and more of your favorite bands. He also has done commercials for Nike, Audi, Guinness and Motorola. Glazer has a résumé to brag about. He’s done well for himself, which is probably why our interview with him is at the Chateau Marmont, which smells of money. Maybe it’s all the 20-year-olds coming in and out with their Rolls-Royces that gives it that scent. Still, the rather cozy and surprisingly low-key hotel is an ideal place to speak with Glazer. And the 49-year-old director is in good spirits when we meet him. He’s proud of a very important fact: whether you like Under the Skin or not, he made the movie he wanted to make.

read more...

Cheap Thrills

Director E.L. Katz‘s Cheap Thrills was the first movie to get picked up for distribution at this year’s South by Southwest, and it’s also the third movie in a row actor Pat Healy has had at the festival, following Compliance and The Innkeepers. All three movies have featured Healy in a starring role, but, according to Healy, that doesn’t mean he still isn’t crashing on people’s couches to make it to a film festival.

read more...

Grand Budapest Hotel Cast

Wes Anderson‘s The Grand Budapest Hotel is his most ambitious film to date. Filled with locations, costumes, and set pieces, there is quite a bit going on in almost every frame including some well-crafted action. Anderson has proved himself as a capable action director over the past few years, what with the chases in The Fantastic Mr. Fox and, of course, Steve Zissou’s toe-to-toe battle with pirates. While Paramount may not be calling him to helm the next Transformers – not yet, anyway — he continues to show a real knack for action. Even though The Grand Budapest Hotel has a relentless pace, it’s still a character-driven story for Wes Anderson. It’s kind of a buddy comedy, following Monsieur Gustave H. (Ralph Fiennes) and his lobby boy, Zero (Tony Revolori), as they try to prove Gustave’s innocence in a murder case. That synopsis is reductive, but it’s the main focus of the story, which Anderson worked on with his buddy Hugo Guinness. Anderson has collaborated with other screenwriters on all his films, from Owen Wilson to Noah Baumbach to Roman Coppola, but this is his first solo credit. Our discussion with Anderson began with his penchant for not writing alone. Here’s what he had to say about his process, from his scripts to making commercials, at SXSW:

read more...

We

This summer marks a very special anniversary. It’s fair to say we all remembered what took place on August 4, 2000. On that most likely quiet and peaceful summer day, one film dominated the cultural conversation, a true game changer unlike any other film of its kind. For years people had been asking, “What is this Coyote Ugly? Is it more than just some bar at the New York, New York hotel in Las Vegas, Nevada?” Kangaroo Jack director David McNally finally answered that question with his unconventional story of a small town girl trying to make it in the big city with Coyote Ugly. That picture co-starred Melanie Lynskey as Gloria, the young girl’s best friend. Needless to say, it’s not Lynskey’s best film — that honor goes to The Informant, which is her personal favorite as well — but it was the last film I watched of Lynskey’s before speaking with her at SXSW, so why not discuss it? Lynskey wasn’t at the festival to promote the upcoming 14th anniversary of Coyote Ugly, though. Instead she was down for We’ll Never Have Paris, Simon Helberg and Jocelyn Towne‘s romantic comedy starring Lynskey as a woman whose relationship is thrown off track by her boyfriend’s selfish neurosis. Since I hadn’t seen the film when I spoke with Lynskey, we mostly discussed other topics, including Coyote Ugly and never wanting to take a paycheck for something she doesn’t believe in. Check out our conversation below.

read more...

imogen poots in need for speed

Imogen Poots‘s face is everywhere this year. She was recently seen in That Awkward Moment, has Need for Speed opening this weekend, Filth hits the states this summer, and maybe we’ll be lucky enough to see her in Terrence Malick’s Knight of Cups before 2015. Another movie Poots co-stars in this year is writer-director John Ridley‘s Jimi: All Is by My Side. She plays the incredibly suave Linda Keith, a supporter and close friend of Jimi Hendrix (André Benjamin) in the film. Speaking with Poots at SXSW this week, I learned she clearly admires Ridley’s strict focus on their relationship as well. She spoke fondly of Jimi: All Is by My Side and, of course, a terrific French bakery in Los Angeles. Our conversation touched on plenty of other relevant subjects, too. If you’re curious about how beautiful Charlestown, West Virginia, really is, for example, read what she has to say about it below.

read more...

Oliver Platt in X-Men First Class

It’s a scientific fact that if you add Oliver Platt to anything it gets 34% better. There are numerous examples of Platt elevating films even with his smallest of appearances. However, this week he took off his actor’s hat and served as a narrative feature juror member for SXSW. He also has a role as a food critic in Jon Favreau‘s Chef, which premiered at the festival, but Platt was in attendance to be a part of the festival, not to promote a film. And yet, he made the time to speak with us. Platt was my final interview of the festival, and it couldn’t have been a better note to end on. Interviews can be tough during SXSW. Sometimes you’re lucky to have more than 10 minutes with whomever you’re interviewing. In many cases, it’s never done in a helpful setting, either. Too often you’re in a small room or restaurant packed with people speaking at an excessively high volume. Or, in one instance, you’re on a stage under a spotlight in some darkly lit bar being watched by 15 strangers. Thankfully, that wasn’t the case with Platt. At the last minute, an interview slot opened up and we met him in his hotel lobby the following day for a lengthy conversation. It was an all around ideal situation, and we used it to explore the overriding theme of the festival.

read more...

Jason Bateman in Bad Words

Bad Words is a really dark comedy. Its lead, Guy (Jason Bateman), is crude and selfish, and he won’t stop until he proves his point. Sometimes he goes about his plan in mean-spirited ways, but for Bateman it’s pivotal that an audience embraces the character. That’s not as difficult as it sounds. He makes the National Spelling Bee contest actual fun, so you’re already on his side from the start. Not only is Guy likable despite his edges, but he’s also empathetic. Andrew Dodge‘s script gives him the right kind of motive that never interrupts the film’s initial comedic tone. There’s just enough of Guy’s past and his twisted and sweet friendship with a kid, never too much of it to make him an unbelievable softie. There’s plenty of tonal tightropes in this movie, but Bateman, who was also in the director’s seat for the movie, was well-aware of them from the start. I spoke to Bateman at SXSW this week, and this is what he had to say about his anti-hero character, directing for the first time and more:

read more...

Only Lovers Left Alive

When a well-known actor takes a job for the cash, the final result generally comes off as little more than a paycheck for all involved. Actress Tilda Swinton is lucky, in that regard. Her work-for-hire performances have served the likes of David Fincher, Tony Gilroy, the Coen Brothers, and the perfectly fine adaptation of The Lion, The Witch, and The Wardrobe. Those pictures aren’t Swinton “selling out,” but taking on respectable gigs with people whose work she admires. What revs the actress up the most are the kind of projects that represent who she is. “That’s just the way I roll,” says Swinton on her long history of staying in the trenches with the projects and filmmakers that she deeply connects with. She’s someone that stands by her director. If you recall, when Bong Joon-Ho’s director’s cut of Snowpiercer was in danger of being chopped up for its US release, Swinton quickly came to the his aid, saying, “Maybe an effect of the film is that when one has spent two hours in the claustrophobia of this train we can leave the cinema and feel the relief that we can make life wider, so maybe it’s a sort of aversion therapy to sit in the train for two hours. That’s two hours, not one hour and forty minutes.” Clearly, Swinton is an actress you want by your side during all the trials and tribulations of filmmaking. She also went to bat for director Jim Jarmusch for this long-in-development Only Lovers Left Alive. She’s been attached to the project […]

read more...

Kathryn Hahn in Bad Words

Cinema has no shortage of great sex scenes. Just last week we saw a prime example of steamy hate sex from 300: Rise of an Empire. Eva Green’s snarling dominance over a soldier will never be forgotten. It’s up there with some of the finest sexual encounters in history: Kevin Costner going at it while driving in Revenge; Mulholland Drive‘s much talked about piece of lovemaking; the opening shot of Before the Devil Knows You’re Dead; and the orgy in Eyes Wide Shut. Someone all those scenes were seriously lacking: Kathryn Hahn. If Kubrick wanted to turn the heat up during that orgy, then he would’ve thrown Hahn into the mix. She’s proven herself as more than capable when it comes to making sex much funnier and even more awkward. Who could forget when Alice (Hahn) rode Dan (John C. Reilly) like an animal in Step Brothers? If that didn’t do it for you, then Alice’s “stay golden, pony boy” goodbye sure did. We discussed Hahn’s finer moments of acting at the Bad Words press day during SXSW. Here’s what she had to say about how awkward sex makes her career come full circle.

read more...

Karen-Gillan-in-Oculus-2013-Movie-Image

On Doctor Who, Karen Gillan played Amy Pond, known as “the girl who waited.” That label stemmed from her first episode of the British sci-fi series, in which the title character showed up in her backyard with his TARDIS — a time machine in the form of an old, blue British police box — and invited a 7-year-old Pond to be his traveling companion. But then he didn’t return to pick her up for over a decade. The actress has had better luck with her own promise of travel and adventure, starting out as a model before landing roles on UK television straight out of drama school, including that prime gig on the internationally popular Doctor Who program. From there, she didn’t have long to wait before a movie career whisked her away to Hollywood. And as it turns out, her initial means of coming to America also involved a man with something resembling an old, blue British police box. “I was in my childhood bedroom in Scotland,” she explains about her first Skype meeting with Mike Flanagan, who directed her in her first gig in the U.S., the creepy, cleverly edited new horror movie Oculus. “And he took a swig of coffee out of a TARDIS mug, which made me realize I had a good chance of getting it.”

read more...

Grand Budapest Hotel

It’s funny to think one of the most honest movies about families stars stop-motion foxes. Then again, when you know Fantastic Mr. Fox was helmed by none other than Wes Anderson, it’s no surprise that the ins and outs of family have been explored with wit and earnestness. His newest movie, The Grand Budapest Hotel, doesn’t have any foxes voiced by George Clooney, but that doesn’t mean Anderson doesn’t strive again for the same nuance underneath the grand theatrics. The magnificence of the acclaimed filmmaker’s eighth feature film comes from both onscreen and off. Some critics have called this his most ambitious work to date, covering various time periods, a huge ensemble cast, and heavy themes reinforced by a sharp sense of humor. It’s also his bloodiest movie yet, which Anderson finds amusing. With all the fascists at this party — attended by a stellar cast too long-winded to namecheck — it makes sense there’s more blood drawn in this crime picture than any of his previous movies.

read more...

Jaume Collet-Serra Non-Stop

Some commercial directors are not filmmakers. They may be able to craft a few pretty images, but it’s a different medium. Even Steven Soderbergh once expressed befuddlement at the idea of handing over heaps of money to commercial guns-for-hire to make their first features, and last year alone we saw a few directors disappoint us in that regard. While Non-Stop director Jaume Collet-Serra didn’t set the world on fire with his leap into film, he’s gone on to carve out a strange and successful career for himself. His first film, House of Wax, was a routine teenage horror picture. At the time of its release more people were focused on Paris Hilton’s perfectly fine, non-night-vision performance than Collet-Serra’s glossily moody style, and when you have her running around in her bra, “the direction” isn’t going to dominate the conversation. Still, it’s competently made, especially in its superior first half, but it’s not the movie Collet-Serra wants to be remembered for. “For me, it was a learning experience,” Collet-Serra tells us, explaining what he dreamt for with his first feature. “My hope for House of War was to learn as much as I could and to do a good job for them, to see how it works. As I’ve had the chance to make more movies, I’ve been able to have more control.” House of Wax did decent business, but Collet-Serra wouldn’t have had the chance to make the movie today. “It was a time in Hollywood where they were giving these commercial directors, like myself, the opportunity to do these kind of big horror movies, which […]

read more...

mcg shooting 3 days to kill

Imagine a med student with orange dreadlocks down to his ass during the early 1990s. Do you have that horrifying mental image yet? Any takers on who that now-famous man might be? That’s right, it’s Joseph McGinty Nichol from Kalamazoo, Michigan. Like plenty of driven young filmmakers, Nichol one day dropped out of school, packed his things and moved to Hollywood. Without any connections, he pushed his way into the industry with the help of a pizza delivery service. He put a copy of one of his music videos in a pizza box and had it delivered to an executive, who was tickled enough to give it a watch. That box of pizza gave birth to the man we all now know as McG, the director behind Charlie’s Angels, We Are Marshall, Terminator Salvation and his newest film, 3 Days to Kill. Nichol has had that nickname ever since he was a kid. In some ways, it is representative of his career: a little silly, but self-aware and unapologetic. “It’s never been fun to critically praise a ‘McG movie,’” he jokes. “It even begins with my ridiculous name. My name is who I am. My movies seem to further that difficulty. I try for drama, humor and action and yet try to make well-rounded movies.” General audience members could care less about Nichol’s nickname, but it’s turned him into a punching bag on the Internet, for both fanboys and, sometimes, critics.

read more...

goodman

The past few years have been kind to John Goodman: Monsters University was a worthy followup to Monsters Inc.; Inside Llewyn Davis was the best film of 2013; he stole the show in Flight; he was a part of a best picture winner with Argo; and he was in two kids films that will never be forgotten: Speed Racer and ParaNorman. The fact that that list of films doesn’t begin to  cover all of Goodman’s good fortune goes to show how blessed he’s been. Really, how hard he’s worked. Settling into his fifth decade of acting, Goodman is hitting his stride. Yet it’s the actor who accredits this success to pure chance. “It’s just the luck of the draw,” Goodman explained, while discussing The Monuments Men. “It’s total luck. Boy, I’m grateful everyday for it. The last few years have been a great ride. I look forward to going to work everyday. I wouldn’t trade it.” And why would he? He’s appeared in many critical and commercial darlings, and he’s even back on a series with Amazon’s Alpha House, which, from the sound of it, he had a blast making. The same goes for his time spent on The Monuments Men.

read more...

mann

Michael Mann‘s Thief  is like a ticking-clock thriller without an actual ticking clock. Frank (James Caan) is in a rush to make up for lost time, to achieve the life he wants, and is represented by his photo. A part of the film’s conflict is that Frank’s life of crime will lead to an inevitable blowup. As Mann would say, he’s a rat in a maze. That idea has sneaked its way into Mann’s later work, from Collateral to Public Enemies to Heat, as his characters are inexorably drawn towards an inevitable outcome for their actions. But it all started with Thief, which has now been released on Blu-ray by Criterion. From the hypnotic sounds of Tangerine Dream‘s score to the sumptuous beauty of Donald E. Thorin‘s cinematography, this 4K restoration of this landmark crime film has made Mann’s “rat in a maze” seem even more immersive. Despite his busy work on an untitled thriller (aka Cyber) Mann spoke with us about his classic directorial debut, offering his thoughts on its style, the virtues of editing as “the ultimate kind of writing” and the unparalleled intimacy of digital cinematography in a post-celluloid age.

read more...

JACK RYAN- SHADOW RECRUIT

Jack Ryan: Shadow Recruit isn’t an action movie. Sir Kenneth Branagh‘s reboot of the Tom Clancy-based franchise is a straight-up thriller, and that’s an important distinction to make. The film may have a globetrotting story, which goes from New York to Moscow, but Branagh’s set pieces are all contained, even the motorcycle chase at the very end. If you counted the amount of bullets fired in this movie, it would be drastically less than most spy thrillers. That fact likely spoke to Branagh, who was more invested in Jack Ryan’s quick thinking than the character’s skills in combat. If you asked him about Thor a few years ago, he would’ve expressed more interest in the themes of brotherhood than Thor swinging his hammer around. Branagh has always been a character-driven filmmaker. When you make a juicy four-hour version of Hamlet, you have to be. Everything from that Shakespeare adaptation to even Peter’s Friends seems to play a part in Branagh’s blockbuster filmmaking. The director and co-star (he plays the Russian villain, Viktor) recently discussed his progression towards tentpole filmmaking with us, along with the excitement and education that comes with it.

read more...

SAVING MR. BANKS

There’s plenty of heartwarming to be had with John Lee Hancock‘s Saving Mr. Banks. Tom Hanks‘s smile alone tugs at the heart strings, but underneath the picture’s cuddly side there’s a darkness to be found in the flashbacks to P.L. Travers’ (Emma Thomspon) childhood. Playing her father, Travers Goff, is Colin Farrell. Goff is an alcoholic who often hides his pain through storytelling. The parallel for Travers is obvious, but it’s also true in the case of Walt Disney, at least when it comes to the film’s take on Disney. The young Travers informs the older Travers, and the same goes for Goff. It’s a performance we haven’t seen from Farrell before, but ever since Tigerland – Joel Schumacher’s best movie — you could say that for most of his roles. He’s not an actor who repeats himself often or falls back on certain crutches, and that’s likely because, as he tells us, he tries to find roles that push him as an actor. Saving Mr. Banks certainly does just that. Here’s what Colin Farrell had to say about his wonderful time on the film, wanting his experience dictated to him, and, of course, Miami Vice:

read more...
NEXT PAGE  
Twitter button
Facebook button
Google+ button
RSS feed

published: 04.18.2014
C-
published: 04.18.2014
C
published: 04.18.2014
B+
published: 04.18.2014
A

Listen to Junkfood Cinema
Some movie websites serve the consumer. Some serve the industry. At Film School Rejects, we serve at the pleasure of the connoisseur. We provide the best reviews, interviews and features to millions of dedicated movie fans who know what they love and love what they know. Because we, like you, simply love the art of the moving picture.
SXSW 2014
Game of Thrones reviews
Got a Tip? Send it here:
editors@filmschoolrejects.com
Publisher:
Neil Miller
Managing Editor:
Scott Beggs
Associate Editors:
Rob Hunter
Kate Erbland
Christopher Campbell
All Rights Reserved © 2006-2014 Reject Media, LLC | Privacy Policy | Design & Development by Face3