Archive for the ‘Cinema’ Category
Tom Hardy as Oliver Reed
Emma Stone plays Lindsay Lohan
Amy Adams plays Nicole Kidman
Updated 1.1.17 & 7.1.17 – put to bed 10.1.17
Manchester by the Sea
The Nice Guys
Casey Affleck – Manchester by the Sea
Ben Affleck – The Accountant
Tom Hanks – Sully
Shia LaBeouf – American Honey
Chris Pine – Hell or High Water
Brad Pitt – Allied
Ryan Gosling – The Nice Guys
Sasha Lane – American Honey
Rebecca Hall – Christine
Marion Cotillard – Allied
Dakota Fanning – American Pastoral
Meryl Streep – Florence Foster Jenkins
Amy Adams – Arrival
Jack Reynor – Sing Street
Hugh Grant – Florence Foster Jenkins
Aaron Taylor-Johnson – Nocturnal Animals
Tom Wilkinson – Denial
Jeff Bridges – Hell or High Water
Michelle Williams – Manchester by the Sea
Hayley Squires – I, Daniel Blake
Jennifer Connelly – American Pastoral
Riley Keough – American Honey
Margot Robbie – Suicide Squad
Kenneth Lonergan – Manchester by the Sea
Andrea Arnold – American Honey
Ewan McGregor – American Pastoral
John Carney – Sing Street
Tom Ford – Nocturnal Animals
Woody Allen – Cafe Society
Kenneth Lonergan – Manchester by the Sea
John Carney – Sing Street
Andrea Arnold – American Honey
Tom Ford – Nocturnal Animals
Eric Heisserer – Arrival
Joe Walker – Arrival
Jennifer Lame – Manchester by the Sea
Vittorio Storaro – Cafe Society
Rodrigo Prieto – Silence
In Tiburon – Van Morrison
Blackstar – David Bowie
Keep Me Singing – Van Morrison
Imagining Ireland – Friday 29 April 2016 at Festival Hall
Bruce Springsteen – Wembley stadium
Fela Kuti tribute – Bukky Leo & Black Egypt (Jazz Cafe)
Carole King – Tapestry (Hyde Park)
Jesus Christ Superstar (Regent’s Park)
Things I Know to be True – Andrew Bovell (Lyric, Hammersmith)
How the Other Half Loves – Alan Aykborn (Haymarket)
You Say You Want a Revolution? (V&A)
Georgia O’Keeffe (Tate Modern)
opening day of the Design Museum, Kensington
Russell-Cotes gallery, Bournemouth
Graves gallery, Sheffield
Neue Pinakothek, Munich
The Sellout – Paul Beatty
Judas – Amos Oz
Read This Year:
All Fall Down – James Leo Herlihy
The Night Manager
Long Lost Family
Ireland beating New Zealand at rugby in Chicago
Jack Laugher and Chris Mears winning diving gold at Rio Olympics
Commemorating the Easter Rising at the GPO in Dublin (100 years to the minute after, right on the spot)
David Bowie trip to Berlin with Noah
Just back from the Aesthetica Short Film Festival in York where I had my first official Sell Out as far as I can recall.
I was doing a Masterclass on factual/unscripted short form video. In the Green Room after I met Dr Melanie Williams of UEA where she is Head of Film, Television and Media Studies. She specialises in post-war cinema and has written a monograph on David Lean (very appropriate in that I’m writing this in BAFTA which Lean founded and which Aesthetica feeds into via the Short Film category in the Film Awards). As we chatted the subject of Christine Keeler’s 60s movie came up – see Chairman of the Board below. Well it turns out one of her colleagues at the University of East Anglia has a particular interest in ‘The Keeler Affair’ movie (1963) and in fact (contrary to what I had read) it was made but was never granted a BBFC certificate in the UK, so it only played abroad. Lewis Morley, the photographer who photographed Keeler in That Chair, refers slightly erroneously to: “an intended film which never saw the light of day”.
It also seems to have another title, ‘The Christine Keeler Story‘, and it turns out that Keeler doesn’t exclusively play herself despite posing for the publicity photos – Yvonne Buckingham plays her although Keeler is also listed as “Herself”. Same for Mandy-Rice Davies who both plays herself and is played by Alicia Brandet. I’ve yet to find out how Buckingham & Keeler and Brandet & Rice Davies squared that circle though there are some clues in the clip I found below.
In the synopsis Keeler is referred to as a “teenage prostitute” which seems both harsh and not entirely accurate. I like the term “good-time girl” which is often used to hedge bets in this type of context.
And here’s the bit I found. Quite intriguing. A disco ball in the courtroom… like it.
I went from BAFTA in Piccadilly round the corner to the May Fair Hotel for a BAFTA Film Awards screening of ‘American Pastoral’ with leading man and director Ewan McGregor in attendance. It is a striking and original film, directed with amazing aplomb for a first movie (this is McGregor’s directorial debut). It is a thoughtful interpretation of Philip Roth’s novel, not spoonfeeding the audience and concluding with an uncompromisingly enigmatic end. McGregor spoke with great articulacy and clarity about his method as an actor-director. What came across strongly is that this is an actors’ film – the rehearsal and shooting process, as well as the framing and camera movement, were all focused on enabling the actors to do their thing in an imaginative and fresh way.
So far the best of the BAFTA fare. Also very striking is the disturbing poster – the best I’ve seen in a long while – which takes the all-American idealism of Wyeth and Hopper (the first half of the film derives its colour palette from Hopper), takes the all-American idealism of Wyeth and Hopper – and shakes it the fuck up, torching the Dream.
Tomorrow sees the UK release of Woody Allen’s latest movie, Café Society, starring Jesse Eisenberg (The Social Network, Holy Rollers, Batman v Superman), Kristen Stewart (Twilight, On The Road) and Steve Carell (The Big Short, Foxcatcher). Here are 4 reasons why it is not to be missed…
1. Vittorio Storaro’s coffee-coloured cinematography
Now into his late 70s, Storaro is the man who photographed Apocalypse Now, The Last Emperor and Bulworth (the first and last of these being among my very favourite films). In this movie he paints 30s Hollywood and New York in a palette of yellows and browns which is as delicious as a cup of Jamaican Blue Mountain with a dash of cream, making it the most beautiful looking film you’re likely to see this year. He is already working on Woody Allen’s next.
Rose: Too bad Jews don’t have an after-life – they’d get a lot more customers.
2. Woody Allen’s masterful writing
Phil: Two time Academy Award winner.
Bobby: Wow, congratulations.
Hollywood Writer: Thank you. You’ve never heard of me, I’m a writer.
Having written nearly 80 films, Woody has gotten pretty darn good at it. Café Society has absolute economy – you see what you need to see, you hear what you need to hear, you linger when you’d like to linger, you catch fleeting words and moments that delight. You get the laughs, you get the philosophy, your heart-strings get tugged, all leading to a bitter-sweet moment that doesn’t even need any words.
3. Santo Loquasto’s Production Design
Woody’s Production Designer since 1987’s Radio Days, Loquasto delivers again – a golden LA at the height of the studio years contrasts with a darkened NYC of clubs, cramped apartments and alleyways. The film opens on a luxurious poolside party beside a bright white Deco mansion – Hockney meets Gatsby – and sets the tone: this is a world to which we’re going to enjoy every minute of our visit.
Party Guest: [to Bobby] Unrequited love kills more people a year than tuberculosis.
4. Unique Story-telling
No-one in the movies tells a story quite like Woody Allen in his elder statesman years. It’s thoroughly American. Profoundly Jewish. Shot through with European. Café Society has the voice-over of the early faux-documentary films (e.g. Take the Money and Run), performed by the ageing voice of the writer-director, rich and literary but still restrained and judicious. It has that distinctive Allen thing of having a young Woody avatar – there’s an aspect of Eisenberg’s performance which is reproducing Woody’s screen persona – much like Owen Wilson’s excellent performance in that other fabulous late bloom that was Midnight in Paris – yet he transcends it to produce a poignant and memorable lead character living a poignant and terrible love.
Narrator: Life is a comedy written by a sadistic comedy writer.
Emilio Estevez / Andrew Clark
He followed up with the Brat Pack vehicle St Elmo’s Fire. Then some Hollywood fodder like Young Guns and Stake-out in the late 80s. And fades. Two momentary re-emergences: in 2006 when he wrote and directed the RFK movie Bobby and then again when he directed his dad in the low key The Way in 2010. The Breakfast Club was his finest moment. In latter years he hooked up with Macedonian model Sonja Magdevski and they grew pinot noir grapes together in their very own Malibu vineyard.
Anthony Michael Hall / Brian Johnson
Follows up with another (inferior) John Hughes – Weird Science. Then it’s death by TV, with just occasional small movie re-appearances such as The Dark Knight and Foxcatcher. He never married.
Judd Nelson / John Bender
The same Brat Pack move – St Elmo’s Fire. Transformers in 1986. Then a descent into TV movie hell and Stuff You’ve Never Heard Of. It was his finest moment too, untranscendable.
Molly Ringwald / Claire Standish
A worthy John Hughes follow-up in Pretty in Pink. Then mostly TV mush. In 2013 she published a young-adult novel, When It Happens to You, and released a jazz record, Except Sometimes, on which the final track is a cover of Don’t You (Forget About Me), the Simple Minds’ theme tune for TBC. She’s had 3 children.
Ally Sheedy / Allison Reynolds
Ditto regarding St Elmo’s Fire. Then John Badham’s Short Circuit. Then movies you’ve never heard of and some telly. High Art in 1998 was by all accounts a notable exception. In the 1990s she was treated for sleeping pill addiction. She moved home to New York and teaches high school kids acting stuff.
It was all their finest moment and the stuff of our hopes and dreams.
I’m starting a movie project later this morning for Channel 4 /All 4 short form so what better way to get in the mood than comparing my votes for the British Academy Awards (BAFTAs) with the actual winners tonight for the American Academy Awards (Oscars). While I’m at it, I’m going to do head-to-head on the (acting) categories which are artificially split into genders – will they combine these one day or do a head-to-head given there’s no physical difference between the sexes in this regard?
AG: The Big Short
AG & Academy: Brie Larson, Room
AG: Eddie Redmayne, The Danish Girl
Leonardo diCaprio, The Revenant
AG: Adam McKay, The Big Short
Alejandro Gonzalez Inarritu, The Revenant
Best original screenplay
AG: The Hateful Eight
Best original score
AG & Academy: The Hateful Eight – Ennio Morricone
Best adapted screenplay
AG & Academy: The Big Short
Best supporting actress
AG: Jennifer Jason Leigh, The Hateful Eight
Alicia Vikander, The Danish Girl
Best supporting actor
AG & Academy: Mark Rylance, Bridge of Spies
Best costume design
AG: Carol – Sandy Powell
Mad Max Fury Road – Jenny Beavan
Best animated film
AG & Academy: Inside Out
AG & Academy: Amy
AG & Academy: The Revenant – Emmanuel Lubezki
Best make-up and hair
AG: Carol [not nominated]
Mad Max: Fury Road
Best visual effects
AG & Academy: Ex Machina
Best sound editing
AG & Academy: Mad Max: Fury Road
Best sound mixing
AG & Academy: Mad Max: Fury Road
AG: The Big Short – Hank Corwin [he was robbed!]
Mad Max Fury Road – Margeret Sixel
BEST ACTOR/ACTRESS: Brie Larson, Room
BEST SUPPORTING ACTOR/ACTRESS: Mark Rylance, Bridge of Spies
Tying some Oscar loose ends including why I don’t reckon The Revenant
To round off on this special day – being 29th of February, leap year day – I’d like to celebrate the considerable success of the UK film industry. I heard we had nominations in 21 of 24 categories (I haven’t counted them up to check). We had winners in 6:
- Best supporting actor: Mark Rylance, Bridge of Spies – in a league of his own
- Best visual effects: Ex Machina – an amazing follow-up to Gravity’s success
- Best documentary: Amy – masterfully realised by Asif Kapadia, fellow East Finchley resident
- Best song: Sam Smith – raw youth
- Best short: Stutterer – Anglo-Irish triumph
- Best costume: Mad Max Fury Road
As an antidote to Anton Corbijn’s terrible film ‘Life’ which I’ve just been watching (stijck to the stijlls Anton) here are a couple of photos/stills of James Dean by Dennis Stock and others to help me remember why he seared…
So it’s getting to that time in the year when various movie awards stuff needs tidying up. The BAFTA Film Awards take place tomorrow night, the Silver Surfer to the Oscars’ Galactus.
Let’s start with this race issue: my take on it is that it should have rung an alarm last year when our own academy (BAFTA) failed to recognise the excellent Selma and in particular our very own Brit David Oyelowo as Martin Luther King, not to mention the director Ava DuVernay. I was on their case within minutes of the nominations announcement on Radio 5, both on my own SurrealThing Twitter account and in conversation with other friends&associates:
The total absence of Selma stuck out like a dark deed in …something very pure and white. A bag of cotton wool. A bowl of vanilla ice-cream. A cloud. The North Pole. Dulux Pure Brilliant White. “Their” (case) – I mean “our” – for the first time I felt embarrassment with regard to BAFTA. Actually the second time …but that’s another post. Today the Chief Executive of BAFTA was reported saying: “It would be inappropriate for me to say that we’ve done a better job than the Oscars. I admire their stance. They’ve said that they’re going to make changes. They know it isn’t good enough. I don’t want to gloat and say we’ve done better, because it could have gone the other way.” Memories can be short. Selma got 0 nominations at last year’s BAFTAs whilst it was a Best Motion Picture of the Year nominee at the Oscars a month later. The reason offered was: ““The film wasn’t delivered until the end of November and there were only three screenings before the voting started.” Well I remember not only going to one of the screenings but also getting a DVD Screener through the door in good time for Christmas, the intense viewing period for BAFTA voter members, and for the first round of voting.
I wrote about Selma here in Simple Pleasures a couple of weeks before the embarrassing nominations announcement.
Now, thanks to the complacency and inertia of the academies, we’re in the worst of all worlds – we don’t know whether sympathy votes are being cast or corrective behaviour taking place, so when, say, Idris Elba picked up the Best Actor award at last week’s Evening Standard Film Awards or at the Screen Actors Guild awards the week before we have no idea what that means. Exaggerated by the fact that his nomination at both the BAFTAs and SAG were in the Supporting Actor category.
Moving on, in retrospect I’m glad I was also pretty swift off the mark this year with The Big Short. An absolute masterpiece of writing, acting, directing and editing. Head and shoulders the stand-out film of the season. I went to an awards screening at the Ham Yard Hotel in Soho which both actor Steve Carell and director Adam McKay attended.
In the Q&A that followed, I asked Adam McKay about the editing style and whether it had been envisioned from the off – it’s very striking and energising, as well as funny. I had a chat with Steve Carell in the bar after the event – a very warm and humble man. We talked a bit about the progression from The Wolf of Wall Street to The Big Short and about the source book for the movie. I also had a brief conversation with Adam McKay, likewise about the relationship to Scorsese’s terrific financial crash satire. Carell’s performance is outstanding – too subtle for the awards season but wonderful, with shades of Joe Pesci (Goodfellas).
This intimate gathering was a stark contrast to the BAFTA screening of The Force Awakens.
Not even the presence of a doddery Harrison Ford, fresh-faced Daisy Ridley, enthusiastic John Boyega and the wunderkind JJ Abrams could elevate Star Wars: The Force Awakens from being a just about entertaining enough 2 hours in the cinema to being much more than a pale shadow of its 1977 daddy (which I saw on release at the Dominion Tottenham Court Road and was as wowed by Dolby sound technology as anything else). The power of nostalgia is such that Pete Bradshaw (the other half of the Twitter convo above) gave it a 5* review in The Guardian! Daisy Ridley’s mum used to work at Channel 4 when my Other Half did and was shanghaied into one of the films I directed at the time. In the absence of Daisy with her C4 connections from any of the nominations lists, I really hope the film wins nothing other than technical prizes. Just to the right of JJ Abrams in the above photo – victims of the square format – is the British head of visual effects (whose name shamefully escapes me – another feather in the cap of the London Visual FX industry in the proud heritage of Framestore’s wonderful Gravity) and a hero of mine, Lawrence Kasdan, writer of the classic The Big Chill. This movie was not his finest hour.
But on a similar scale (the screening) and with another brilliant scriptwriter, a night at the Odeon Leicester Square watching The Hateful Eight in 70mm was a highlight of the season.
Quentin Tarantino, Tim Roth, Kurt Russell and Walton Goggins attended, QT his usual ebullient self, delighting in the 70mm projection in a premium auditorium, as well as the presence of Ennio Morricone in the audience. Him and the Maestro were sitting just along the row from me and shared a spectacular snowy screen experience, fabulously written, uniquely directed – wall to wall pleasure. With the added bonus of confronting race issues head on and including a decent complement of non-white faces!
Another visceral white (environment) big screen Experience with a capital E was the BAFTA screening of The Revenant. Now Birdman is high up my list of Most Hated Movies, right up there with Shirley Valentine – in this case for being cold (not in the sub-zero sense) and over-calculating.
It was evident from the Q&A that Tom Hardy also found Alejandro G. Iñárritu irritating. This over-hyped director seemed to have spent more time fussing over camera set-ups and cheating angles than worrying whether his actors had a balding notion what was actually going on in the scene, who they were talking to (since they were placed at unnatural angles) or what was in shot. Despite the logistical and physical triumph of shooting where it was shot, the ambitious movie in my eyes was let down by misjudgment of pace and story especially towards the end. Nonetheless it was a visceral cinematic experience and for that deserves recognition (of the non-awards type, apart from…) I hope it brings DiCaprio his elusive Oscar – though it’s not my favourite of his performances, it’s still as brilliant as ever.
My favourite Leonardo DiCaprio performances:
- Arnie – What’s Eating Gilbert Grape (1993 – aged 19)
- Jordan – The Wolf of Wall Street (2013)
- Romeo – Romeo & Juliet (1996)
- Candie – Django Unchained (2012)
- Toby – This Boy’s Life (1993)
- Jack – Titanic (1997)
Dontcha just love the movies…