It’s a treat when a major movie comes along, one that looks and feels like a studio-produced movie yet has the intelligence and creativity of an independently film. Not since, say… THE FOUNTAIN, have I experienced such an event. That is until I saw CLOUD ATLAS. Not only was this in incredible eye-popping, jaw-dropping treat, it was a complete surprise, having seen this film as one of the two scheduled “secret screenings” while in attendance at Fantastic Fest 2012. And, as if that wasn’t enough to pour my affection all over like thick, rich gravy… this actually IS an independently-produced film!
THE MATRIX trilogy may be their most recognizable work, but I would contend that CLOUD ATLAS is Andy and Lana Wachowski‘s most profound, accomplished film to date. Co-directed with Tom Tykwer (RUN LOLA RUN) and based upon David Mitchell‘s award-winning novel of the same name, this science-fiction film addresses how individual lives can affect others’ lives in the past, present and future. The film contains multiples stories spanning many eras in human history, from centuries ago to centuries into the future, where the setting is a post-apocalyptic society.
CLOUD ATLAS features a line-up of talented stars rarely seen in one film. Leading the cast are Tom Hanks (CASTAWAY) and Halle Berry (MONSTER’S BALL), whose roles form the primary storyline throughout time, but are not the sole focal point of the film. Hugh Grant (ABOUT A BOY) delivers performances far outside his normal wheelhouse, delivering some truly unlikeable characters in addition to the enjoyably villainous characters delivered by Hugo Weaving (CAPTAIN AMERICA: THE FIRST AVENGER). Weaving, who you may remember as the relentless Agent Smith from THE MATRIX, is much more accustomed to these roles, but seeing Hugh Grant take on this new type of role is refreshing, especially given how well he adapts.
The cast also features veterans performing alongside relatively new faces. Jim Broadbent (THE IRON LADY) is splendid and Susan Sarandon (THE LOVELY BONES), while not prevalent in the film, still adds some seasoned texture to the overall film. Newer talent includes Jim Sturgess (ACROSS THE UNIVERSE) and Doona Bae (THE HOST) amongst others, most of whom provide varied performances for multiple characters in different stories set in different stages of time. Not only is this an impressive undertaking, its also impressively effective, if not dauntingly complex.
CLOUD ATLAS is immeasurably satisfying and uplifting, although few are likely to leave the theater having fully understood the massive scope of this enigmatic cinematic puzzle. David Mitchell’s novel followed six story lines through time, but the film takes it further, following several more story lines, attempting to connect many more lives throughout time than the book. The structure of the film jumps forward and backward in time, as does the tone and the genre, making this a truly unique and original work of daring filmmaking.
CLOUD ATLAS can be an intimidating film to take on, but only on the surface. Once engaged, the film flows surprisingly well, leaping in time from one life to another, setting the viewer up to discover one connection after the other. The whole of the film is tied together by a number of things, one being the actors playing multiple roles. I specifically refuse to point out who plays the individual roles, as part of the experience of watching this film is making those discoveries and connections on your own. The other significant element that serves as the most intoxicating adhesive is the original score from Reinhold Heil, Johnny Klimek and especially Tom Tykwer for his Cloud Atlas title piece of classically-inspired music.
For a film that cost an estimated $100 million to make, with such an enormous star-studded cast and as much high-quality CGI special effects work as CLOUD ATLAS, the fact that this is independently produced should compel even more interest. The Wachowski’s and Tykwer have created a philosophical playground on screen. The viewer’s eyes and ears will relish the feast that is CLOUD ATLAS and what the viewer witnesses is likely to stay with them indefinitely, resonating with an endless amount of food for thought as connections continually get made beyond the initial viewing.
For me, the most compelling story line takes place in the distant future, set in the post-apocalyptic society with a hint of BLADE RUNNER meets THE MATRIX, but the most engaging performances come from Tom Hanks, Jim Broadbent and Halle Berry, which should help refuel the fire in her recently faltering career. As much as I am drawn to go on for a few thousand more words, describing every last detail of the film, attempting to convey all the various themes and ideas, I would not be doing justice to CLOUD ATLAS, as much an enlightening event as it is an enjoyable film.
Overall Rating: 4.5 out of 5 stars
CLOUD ATLAS opens in theaters nationwide on Friday, October 26th, 2012.
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Written and Directed by Oscar®-winner Martin McDonagh , the comedy Seven Psychopaths follows a struggling screenwriter (Colin Farrell) who inadvertently becomesentangled in the Los Angeles criminal underworld after his oddball friends (Christopher Walken and Sam Rockwell) kidnap a gangster’s (Woody Harrelson) beloved Shih Tzu. Co-starring Abbie Cornish, Tom Waits, Olga Kurylenko and Zeljko Ivanek.
It pains me to say this, but truly scary, well-made horror films being released in theaters are few and far between these days. Such films being released during the holy horror month of October — oddly — are even more scarce. Fortunately, we have writer C. Robert Cargill‘s frightening film to thank, inspired by the persistent image of a family hanging dead from an old tree, which haunted his dreams until the day he wrote the screenplay… or, perhaps it still does.
SINISTER is Cargill’s first feature screenplay and is directed by Scott Derrickson (HELLRAISER: INFERNO). The film stars an unlikely, but familiar face in Ethan Hawke (DAYBREAKERS), an actor not known for showing up in horror films. Regardless, Hawke still delivers the same caliber of performance we’re used to seeing in his dramatic roles, playing Ellison Oswalt, a once famous now struggling writer of true crime novels. Expecting to capture inspiration for what he hopes is his second best seller, Ellison moves his family into the home of the victims he is currently writing about, a sleazy yet understandably logical strategy.
Ellison is not a bad man, by nature, but merely a good man who has lost his way and now is driven — unbeknownst to himself — by the powerful allure of fame and fortune. Focused entirely on his own success, excusing it as his answer to giving his family a better life, Ellison allows himself to blindly pursue a path much darker than he had ever imagined when he discovers a mysterious box of super-8 films in the attic of their new house. Wearing an awful grey sweater vest, Hawke supplies Ellison with the appropriate blend of being a loving family man and an obsessed, reckless fame monster… sort of like Mister Rogers meets Stephen King.
Juliet Rylance is commendable as Ellison’s concerned, yet supportive wife Tracy, who is oblivious to the truth about her new home for much of the film. Giving Ellison the space he needs and the freedom to pursue his craft, Tracy provides the counter-balance to a town unfriendly and bitter toward Ellison’s work. This is most readily illustrated by the sharp, unwelcoming yet witty exchange that takes place between Ellison and the town’s Sheriff (Fred Dalton Thompson) upon their first meeting. What Tracy does not realize — nor does Ellison, at first — is that her husband’s research is gravely endangering the lives of his entire family.
SINISTER not only builds with an intensely slow burn, it creates the first truly creepy horror villain that isn’t just a slasher, but is a humanoid monster of sorts… since, well, let’s say JEEPERS CREEPERS, but that’s not the best example. In an age where most horror is predicated on mean, violent humans doing very bad things, SINISTER is a breath of fresh foul air. The baddy in SINISTER is kept at a distance, just out of reach, making him that much more frightening. Derrickson employes the same tactic that worked so well for Spielberg’s JAWS, in that what we don’t see is far more unnerving than what we do see.
As Ellison continues to dig deeper into the increasingly disturbing home movies, gradually piecing together the mystery of the family’s death and their connection to other similar murders across the country, the Oswalt family begin to find themselves subject to some very unfortunate side effects to Ellison’s new project. What SINISTER does so well is to capitalize on terror in the unknown, the fear of the dark and the inherent creepiness of waiting for the inevitable to occur. Derrickson creates a canvas in many of his shots, giving the audience so much visual information to take in that its difficult to pinpoint exactly where in frame, when or how the scare will occur, but we know its coming and can’t do a damn thing about it. Making this ever more effective, Derrickson allows himself to linger on these shots, creating even more tension for a greater scare once the inevitable occurs.
SINISTER plays on our basic fears, more than the visual shock of blood and gore, but that’s not to say this film isn’t graphic. There is plenty of blood and a fair amount of gore, but Derrickson takes the high road and chooses to imply most of the more gruesome events in the film, rather than putting them front and center as an outright spectacle. Nonetheless, the contents of this film are far from mild and not for an audience unaccustomed to some seriously demented content. Hawke succeeds at capturing the emotional range of his character, convincing the viewer of Ellison’s transformation through fear.
With all this evil menacing and bloody terror, one might expect the film to be an unbearably grueling ordeal to sit through, but SINISTER is actually a carefully considered, well-written story with a solid structure. Cargill provides just enough comic relief — but, not too much — to ease our troubled minds and weary souls when things get to be a bit too much for us to carry on. In fact, one of the most enjoyable scenes in the film occurs when Ellison and the Deputy Sheriff (James Ransone) — and fan — he has befriended discuss the validity of paranormal activity in the house of a murdered family. I, for one, did not expect to laugh so heartily in such a film, but it works and is welcome.
SINISTER is easily one of the best horror films I’ve seen in recent years. The only complaint I have about the film, albeit minor in scope, is that I personally felt the ending could have been tightened up a tad, shortened by ending in a more clean-cut space. Instead, the film meanders beyond this point to divulge some additional creative story details that ultimately work, but in the end aren’t terribly necessary. If you’re seeking out some fresh new horror to chew on this Halloween, I’d have to say you won’t find a better specimen than this.
Overall Rating: 4 out of 5 stars
SINISTER opens in theaters nationwide on Friday, October 12th, 2012.
With the release of FRANKENWEENIE just a few days away, I was invited to Disneyland in Anaheim, CA to talk with stars Catherine O’Hara (voice of “Susan Frankenstein”, “Weird Girl”, and “Gym Teacher”) and Martin Short (voice of “Ben Frankenstein”, “Mr. Bergermeister”, and “Nassor”).
From creative genius Tim Burton (“Alice in Wonderland”, “The Nightmare Before Christmas”) comes FRANKENWEENIE, a heartwarming tale about a boy and his dog. After unexpectedly losing his beloved dog Sparky, young Victor harnesses the power of science to bring his best friend back to life with just a few minor adjustments. He tries to hide his home-sewn creation, but when Sparky gets out, Victor’s fellow students, teachers and the entire town all learn that getting a new leash on life can be monstrous.
Myself, along with several members of the press sat down with both Catherine O’Hara and Martin Short to speak with them about their film. Since the two have been friends for many years, the room was filled with fun! Check out the roundtable discussion here.
Did you guys get to record your man and wife parts together on this one?
CATHERINE O’HARA: Yes we did.
MARTIN SHORT: Yes.
Not your usual experience on an animated movie.
MARTIN SHORT: Yeah.
CATHERINE O’HARA: But smart on Tim’s part.
MARTIN SHORT: Yes. And… But we did. What was great is that we, usually in animation you do it by yourself, and we did scenes together.
CATHERINE O’HARA: Yeah. Especially for the parents because the tone was set for the movie. And it… and it helped us get the intimacy that we needed.
Was it anything like in the old days when you guys did a lot of scenes together?
CATHERINE O’HARA: Oh it always is. But I’m fortunate enough to see Marty a lot in life. And we live not far from each other, so.
MARTIN SHORT: And we have cottages in uh north of Toronto near each other.
CATHERINE O’HARA: So we goof off all the time.
MARTIN SHORT: Yes. This is no… this is no uh big uh revolutionary world.
On the first day you guys got together, even though you see each other a lot, did it bring back memories?
CATHERINE O’HARA: Oh yeah. Well it scared me. Because…
MARTIN SHORT: Hahaha! It scared you.
CATHERINE O’HARA: The few times that we’ve worked together we don’t behave well. [LAUGHS]
MARTIN SHORT: Yeah. We have uh, we have an unfortunate history.
CATHERINE O’HARA: We did a CBC pilot.
MARTIN SHORT: We did a CBC pilot in seventy-eight. Bit different.
CATHERINE O’HARA: [LAUGHING] Don’t even give the name! We were so bad.
MARTIN SHORT: I mean, I can’t remember the…
CATHERINE O’HARA: They found a copy … He found a copy of it and gave it to me this year. I was like uhh (SCOFF) oh my Lord, no wonder we got bad reviews. We were just like, we were kinda cute actually.
MARTIN SHORT: You know what? I thought…Yeah I thought we were kinda cute.
CATHERINE O’HARA: So I do, yeah I do uh, yesterday to impress junket. [SOUND LIKE] I just spend way too much time laughing and being kinda foul-mouthed with Marty. [LAUGHS] But this is our first one today so you’ll get the clean version.
MARTIN SHORT: We’re recharged with our elegance.
CATHERINE O’HARA: But Tim kept us in line.
Have you guys seen sketches of your characters? And sketches of the environment you’d be working in before you do your work?
CATHERINE O’HARA: Absolutely.
MARTIN SHORT: Yeah the process uh, I think…w… what’s amazingly rewarding for an actor to work with Tim is that he, you know obviously he’s hired you. So it’s… he… the buck stops with him and starts with him. So he’s saying, you know you-you see a sketch and then for the first session or two he wants to hear how you see it. And when he starts laughing, um, then you know you’re on the right track. I mean he… And not necessarily laughing out of something’s funny been said, but laughing because now it’s fitting in to how he saw it.
MARTIN SHORT: I mean he had images… Burgemeister would be an example of someone he didn’t know what he would sound like, but he knew he should be disturbing, weird, odd, and uh… I remember at one point I said uh, what if he just had been a four packs a day smoker but had recently quit. With Tim just that’s the kind of thing. [LAUGHTER]
CATHERINE O’HARA: Yeah. They uh, they had these drawings on easels in the first recording session. I mean we went individually at that time. But that—on—these beautiful drawings of these characters that you see in the movie and then they tell you a bit of the story and-and I find with that kinda work, when you have such a beautiful thing to work from – these images, that um…that it is of course…
MARTIN SHORT: Did you say from or with?
CATHERINE O’HARA: I’m working from it.
MARTIN SHORT: I thought you were talking about me again.
[LAUGHTER]
CATHERINE O’HARA: No. That um, that you wanna honor that. Because first of all you did the short film twenty years ago, so that’s been in his head, and then people are imagining that this is a more personal story for Tim than some of his other movies. So I felt a great responsibility and also a great, you know, honor to be able to voice those characters that had been in his head. Because then we get to collaborate with him and actually… well how are these people actually… he knows them but how are they gunna sound? And-and-and we get to be a part of that
That’s where I’m told as a Boris Karloff character… have you ever done Boris before?
MARTIN SHORT: I haven’t. And what I would do, uh, again there’s no real idea of what these characters are going to be, but then the suggestion of Boris Karloff. And so before each take, I said this in the beginning, I would you tube the old TV series Thriller. It’s going to be a thriller. And then this voice became a little more like a lisp. And so I’d have to get like… oh and let’s do it! ‘Cause my retention is not good.
Both of you have worked with Tim before, so how did he approach you for these roles? And because you’re doing voice acting as opposed to live action acting, how different was it working with him as a director?
CATHERINE O’HARA: Uh, well I got a call from my agent saying Tim wants you to come in and do three voices. I went really? Yes they’re Mother, Weird Girl, and Gym Teacher. I was like, Weird Girl?! Okay that’s great. And, but I thought um, oh I guess he’s giving me a shot at three voices. I did not for a second assume I was gunna be playing all three characters. And each time I went in at the beginning I thought… Oh actually each time I went in and every time I thought, oh I’m still doing three voices! I’m still doing three characters! Alright I’m still doing it.
CATHERINE O’HARA (Cont): But when you see him again, he’s just the same as he was for me on the set of Beetle Juice. Really fun and loose and – but absolutely knows what he wants, but is there, you know he’s so confident about knowing that he’s going to achieve what he wants, that he’s so playful and let’s you do whatever and offer whatever. And when you first open your voice I think it’s scary, whether it’s live action or recording but especially if it’s voice. And-and uh he makes you feel safe. So you just sort of jump in and start playing and have fun with him. He’s the same guy that way.
MARTIN SHORT: Yeah I find that, you know, I worked with him on a film called Mars Attacks and I wasn’t sure what it would be like to work with Tim Burton you know. And um, and right away you’re struck by… he’s just like a funny guy who wants to laugh and… and isn’t uh, particularly dark at all. But just joyful and really enthusiastic. And very much wants to hear what your take on it… even a scene. I remember we were doing a scene in Mars Attacks, which was complicated blocking.
MARTIN SHORT: He said well just go and try it. And then when you think of it, as I said earlier, he has hired you. So that’s been his first decision. Um, and, but I found that he was the exact same now ten years later, or fifteen years later. Um, on this he’s joyful, playful, what do you wanna do? Let’s try it. And then as you… as it narrows down he gets specific as to what he hears. He likes this, he wants that. Um, and I don’t find that he was particularly different. It was a new piece of art that he was creating.
CATHERINE O’HARA: I’ve had to… when you look at the drawings like that you don’t—I don’t take it as personally. Except times when you show up on a set for live action… or not show up but you start talking about the movie, you start working out what they’re gunna look like and how they’re gunna present themselves… and I find… I take that very personally and I wanna have a hand in it. I wanna help make decisions about what my character looks like. But in this case, that character is there. And-and so much is given to you already that-that uh, you just kinda wanna, uh… do it with respect. You know? Treat it with respect.
Do you find that it’s either more or less difficult to communicate emotion with just your voice? ‘Cause you’ve got a tool that you can’t use, you know, your facial expressions and such.
CATHERINE O’HARA: That’s a relief. For me [LAUGHS]. Mine moves too much.
MARTIN SHORT: I think that it’s just a different muscle. Uh, it’s like saying is it different to work on film than in theater. And… and it is a little different. If you’re doing a play, you have to…you can’t just talk to someone like this. You have to get the director to make sure that you might convey the same thought while going down stage to tie up your shoe. Because the audience is right there. And when you do…
MARTIN SHORT: Voice, you are just working with your voice. So you can… you can [MAKES GROWLING NOISE], you can create sounds. But if you were being filmed you wouldn’t perform that way. You’d make it organic and one. But that… this is one in that case and you uh follow that. So it’s just a different exercise for an actor.
CATHERINE O’HARA: And very focused. Very focused. And I think most people I know uh, kinda freak when they hear their own voice. For the first time. You think you sound like something and then you hear yourself and on the recording and go, what? And um, you know in a recording session you’ve got the headphones on [LAUGHS] so your voice is just really big and you hear every breath and [CLEARS THROAT] and if you haven’t swallowed properly you’re hearing that and you’re hearing everything in your lungs.
CATHERINE O’HARA: You know. So it’s just, it’s so focused. On the set with live action, everybody is in the scene, you know? And the set is in the scene. But when you’re recording, in that moment, it’s just your voice.
MARTIN SHORT: And you don’t have to do a shade and you don’t have to…
CATHERINE O’HARA: Oh no. Don’t dress.
MARTIN SHORT: And I’ve always felt that I have a face for animation.
You’ve both worked with him before, have you seen a growth in him?
CATHERINE O’HARA: Well his work is, I think, ever-growing and ever-changing and although he certainly has great consistency in taking care of his characters and his visuals and, um, but he seems like the same guy to work with.
He was considerably younger then.
CATHERINE O’HARA: Yeah he was. And I remember I think they were waiting to see how Peewee, uh Herman was going to do Peewee’s Big Adventure… before they would give more money for Beetle Juice or give it a release date, I remember there was talk about this movie Peewee. It was…everything was rested on how that was going to do. ‘Cause he’d done that before Beetle Juice, right? Yeah. So, that was kinda hanging over like we’ll see, we’ll see. And then that came and I was like wow. Well that’s who this guy is.
CATHERINE O’HARA: Um. But he – But just – You know. When you spend time with him he’s the same guy.
I hear that dog lovers love this movie. After best in show this could be like… [LAUGHTER]
CATHERINE O’HARA: I’m the dog-whispering actor. Yeah but well I don’t think I was, I don’t know if you, but I was not aware that it was… that that’s why we called it as almost kind of we were people in Tim’s life. Kind of a theme…for this movie. Yeah! And Martin Landau. Of course. Done a lot with him. The kids are new. And they’re good, aren’t they? Wow.
Was there more of a need to exaggerate and embellish the characters in a work like this than it might be in Beetlejuice or Mars Attacks?
CATHERINE O’HARA: Uh, I think they’re supposed to be real though.
MARTIN SHORT: I think it… it, you know, Peewee is a perfect example. Uh, what was brilliant that I thought about Peewee’s big adventure is that he took Peewee Herman, which was a broader than life character, but then he created the world to be as odd as Peewee, and then the equal equation was that it was all normal. So, I mean we live in a world where you go to the market and there’s a guy selling fish and he’s, you know, wearing uh kulots on his legs, and uh you know one of those bad shirts that are cut here and it guts out. And he’s not trying to do a sketch on Saturday Night Live. This is, he’s sincere. And that’s why it’s funny. So I think that you look at a sketch like uh, Burgemeister and you… or Massor in my case… and you wouldn’t necessarily say oh I know how he speaks. Hello I’m Burgemeister. No, you have to create something that fits that and that’s… And you start in a void and you start experimenting, experimenting, especially the first session. And then like all things you just – We were talking earlier that when we did SCTV, sometimes we wouldn’t particularly know what a character was gunna sound like. But you’d sit in the makeup chair, they’d put a wig on you, you’d look in the mirror, and then something connects.
Obviously you guys have seen sketches and read the script, so when the movie was completed sometime after you’d done your voiceover work and you saw it, was there anything different about the film that you weren’t expecting to see? Given that you’d had access to all those materials ahead of time.
CATHERINE O’HARA: Oh yeah, everything. Oh I was blown away. By the stop frame animation. You totally appreciate it as a story and you care about the characters and it’s just a beautiful, touch, funny, great movie. But it’s almost impossible to appreciate the work. The meticulous millisecond by millisecond handling of the characters in the set that goes into the flow. When you see that dog Sparky in the movie and the way he moves and jumps around, the little ball, it’s just so real and so alive. I can’t imagine what [STAMMERS]. You need to watch a six-month making of to appreciate [LAUGHING]. I mean six months solid. [LAUGHS AND LAUGHTER FROM OTHERS] Non-stop watching it. Yeah, you’re on the toilet and there’s food brought to you. [LAUGHTER] Not thinking about moving! I went there again.
MARTIN SHORT: You did. I agree and what’s… I think is kind of endearing about this project particularly you know Tim is a wealthy, successful man. So when he takes on a project, particularly something this personal, his agenda is to make it as good as possible. There’s no like ‘uh yeah whatever I gotta go to dinner.’ It-it-it’s a real work of love and art here. So, so I think sometimes you uh lend your voice to an animated movie and you see it, you kind of go:
MARTIN SHORT: Oh! And you… but you hear yourself a lot. And you kinda go: Oh I wish they’d, I seemed a little flat, I wish they’d done that. In this you just get completely lost because you’re such a small part of the wheel.
When you did see the movie, was there any one scene that popped out at you that you weren’t expecting at all?
CATHERINE O’HARA: Well the dog blew me away. I don’t know why. Just, it, well its such an important character in the movie. But just the way it moved. It’s little bum and then the tail. Uhh, I just, I can’t imitate it but you know…
Oh go ahead. [LAUGHTER]
CATHERINE O’HARA: I’m trying and it’s pathetic. Um…that and uh for our scenes as the parent’s with Victor I was really happy with how lovely they felt to me watching it. And I loved how they looked, and Charlie’s voice is so lovely as Victor. And those moments I think it felt better than live action [LAUGHS].
MARTIN SHORT: Well I think it was a great deal of… I was surprised with the amount of emotion. Sometimes, again in animation, emotion is… we’re told to feel emotion. The score sores, the teardrops. This is a little more sincere than that.
CATHERINE O’HARA: Oh and I’m sorry. And the cat changing. The cat whiskers transition is insane. Can you imagine? What is that? Six months? That is six months of stop frame animation. That is crazy. It’s like you see every atom in its body change. Oh it’s just madness.
Weird Girl is not an analogatated voice, Karloff or Peter Lorrie or anybody. It’s just…
CATHERINE O’HARA: Yeah I wonder. It’s probably a kid that Tim went to school with. ‘Cause I know I went to school with some weird girls [LAUGHS].
You had to pretty much flesh her out.
CATHERINE O’HARA: Yeah. Yeah. Well before I got…
Did you access an inner weird girl?
CATHERINE O’HARA: Well I… Yeah. You wanna go, you know for the first session I really wanted to show up with something to offer and um, and I remember just trying to think of people that I went to school with that you try to avoid and say oh please don’t let me be made partners with them. But I’m sure p… I don’t mean to say this meanly about anybody else ‘cause I’m sure people felt this about me too. But yes! Definitely. But um, but you know the… and I think they have to have a soft way about them, because if they don’t sneak up on ya, you’ll… you’ll see them coming and they won’t getcha. So, they have to have this soft way that’s her way to… I felt it was gunna be soft and-and then I… we basically stole John Candy’s um, uh the, swallowing and not being able to get a thought out, John Candy… dear soul… did it in SCTV. He was doing a version to our makeup artist on, in a scene that I wrote. He was playing a kid. So I feel like, I wrote this scene so it’s okay. John wouldn’t mind. Um…
MARTIN SHORT: OOO HOO HOO!!! [LAUGHTER]
CATHERINE O’HARA: Thank you Johnny. [LAUGHS] Um, that-the softness and the sneaking up kind of and of course it was written that she takes herself so seriously as a lot of those weird kids in class do. It’s like really? I’ve gotta listen to this? You know. And the poo. That the poo…[LAUGHTER] and the first time I saw that in her hand I was like what?! That was great.
One last question. Given that this is a personal film, did he discuss when he was screening the 1984 short film? Was there any discussion about that?
MARTIN SHORT: There wasn’t with me.
CATHERINE O’HARA: No. No. And we’d seen it.
MARTIN SHORT: I mean I’d seen it too but I don’t think that he was saying okay now listen, part of your homework. You know again, to reiterate with Tim, which makes, I think when you are as successful as Tim you can be this way. Which is you don’t have to prove anything. You don’t have to walk into the set and say now look I’m the most important person here.
CATHERINE O’HARA: I’ve been living with this for twenty years.
MARTIN SHORT: Yeah. There’s none of that because we already know it. Everyone knows it. So he’s had so much success, he’s been so vindicated, that he couldn’t sit in a place… although he was like this-and he’d been successful-but he was like this in 96 when I worked with him.
CATHERINE O’HARA: Yeah he was. I don’t think… it’s almost sounding, and I know you don’t mean this at all-that he takes it for granted and he doesn’t either.
MARTIN SHORT: No, I think that he’s just walking in a saying I’m thrilled that… that… to be working with you, what…what… what… how do you see this? He’s not coming in and saying well first of all let me tell you about my journey.
From the makers of Coraline comes the story of Norman, a boy who must use his gift of seeing and speaking with the dead to save his town from a centuries-old curse about to come true. Caught in a wild race against time, the young ghoul whisperer will find his paranormal abilities pushed to their otherworldly limits as he bravely summons up all that makes a hero – courage and compassion. Focus Features’ frightfully funny and magically emotional ParaNorman will be available on 3D Blu-ray™ Combo Pack, Blu-ray™ Combo Pack, DVD, On Demand and Digital Download on November 27, 2012 from Universal Studios Home Entertainment, just in time for the holidays!
Featuring the voice talents of Kodi Smit-McPhee (Let Me In), Tucker Albrizzi (Good Luck Charlie), Anna Kendrick (The Twilight Saga), Casey Affleck (Tower Heist,), Christopher Mintz-Plasse (How to Train Your Dragon), Leslie Mann (Knocked Up), Jeff Garlin (WALL-E), Elaine Stritch (30 Rock), Bernard Hill (Titanic), Jodelle Ferland (Silent Hill), Tempestt Bledsoe (Guys with Kids), Alex Borstein (Family Guy), and John Goodman (Monsters, Inc.), it’s a hilariously spooky adventure for the whole family in eye-popping 3D, made by LAIKA in stop-motion animation. ParaNorman is “an animated thrill ride of epic proportions” – Rachel Brodsky, Time Out New York Kids.
The ParaNorman 3D Blu-ray™ Combo Pack and Blu-ray™ Combo Pack includes a Blu-ray™, DVD and a Digital Copy of the film compatible with iPhone®, iTunes®, iPad®, iPod®, iPod® touch, Android™ and online retail partners, as well as UltraViolet™. UltraViolet™ is the revolutionary new way for consumers to collect movies and TV shows in the cloud to instantly stream and download to tablets, smartphones, computers, and TVs. Consumers can now truly enjoy ParaNorman anytime, anywhere on the platform of their choice.
BONUS FEATURES (BLU-RAY™ and DVD):
PRELIMINARY ANIMATIC SEQUENCES: With commentary from Director Sam Fell and Writer/Director Chris Butler.
PEERING THROUGH THE VEIL: A special behind-the-scenes glimpse into the creation of the weird and wonderful world of ParaNorman from building the characters to voicing them.
FEATURETTES: Seven short segments showcasing Norman and his extraordinarily unusual co-stars.
FEATURE COMMENTARY: With Director Sam Fell and Writer/Director Chris Butler.
EXCLUSIVE TO BLU-RAY™ COMBO PACK: Unleash the power of your HDTV with perfect hi-def picture and perfect hi-def sound.
UltraViolet™: The revolutionary new way for consumers to collect movies and TV shows, store them in the cloud, and instantly stream and download to tablets, smartphones, computers and TV’s. Consumers can now truly enjoy their movies and TV shows anytime, anywhere on the platform of their choice. Currently available in the United States only.
Digital Copy: Viewers can redeem a digital version of the full-length movie from a choice of retail partners to watch on an array of electronic and portable devices including computers, iPad®, iPhone®, iPod™ touch, Android™ and more!
BD-LIVETM : Access the BD-Live™ Center through your Internet-connected player to watch the latest trailers and more!
pocket BLUTMapp: The groundbreaking pocket BLU™ app uses iPad®,iPhone®, iPod® touch, Android™, PC and Mac® to work seamlessly with a network-connected Blu-ray™ player. Plus iPad® and Android™ tablet owners can enjoy a new, enhanced edition of pocket BLU™ made especially to take advantage of the tablets’ larger screen and high resolution display. Consumers will be able to browse through a library of Blu-ray™ content and watch entertaining extras on-the-go in a way that’s bigger and better than ever before. pocket BLU™ offers advanced features such as:
Advanced Remote Control: A sleek, elegant new way to operate your Blu-ray™ player. Users can navigate through menus, playback and BD-Live™ functions with ease.
Video Timeline: Users can easily bring up the video timeline, allowing them to instantly access any point in the film.
Mobile-To-Go: Users can unlock a selection of bonus content with their Blu-ray™ discs to save to their device or to stream from anywhere there is a Wi-Fi network, enabling them to enjoy content on the go, anytime, anywhere.
Browse Titles: Users will have access to a complete list of pocket BLU™-enabled titles available and coming to Blu-ray™ Hi-Def. They can view free previews and see what additional content is available to unlock on their device.
Keyboard: Entering data is fast and easy with your device’s intuitive keyboard.
uHEAR™: Never miss another line of dialogue with this innovative feature that instantly skips back a few seconds on your Blu-ray™ disc and turns on the subtitles to highlight what you missed.
TECHNICAL INFORMATION – 3D BLU-RAY™ COMBO PACK: Street Date: November 27, 2012 Copyright: 2012 Universal Studios. All Rights Reserved. Selection Number: 62123587 Running time: 1 Hour, 32 Minutes Layers: BD-50 Aspect Ratio: 2.40:1 Widescreen Rating: PG for scary action and images, thematic elements, some rude humor and language.
Languages/Subtitles: English SDH, Spanish, French Sound: DTS-HD Master Audio 5.1/ DTS Surround 2.0, Dolby Digital 2.0, Spanish DTS Surround 5.1, French (Canadian) DTS Digital Surround 5.1
TECHNICAL INFORMATION – BLU-RAY™ COMBO PACK: Street Date: November 27, 2012 Copyright: 2012 Universal Studios. All Rights Reserved. Selection Number: 62123586 Running time: 1 Hour, 32 Minutes Layers: BD-50 Aspect Ratio: 2.40:1 Widescreen Rating: PG for scary action and images, thematic elements, some rude humor and language. Languages/Subtitles: English SDH, Spanish, French Sound: DTS-HD Master Audio 5.1/ DTS Surround 2.0, Dolby Digital 2.0, Spanish DTS Digital Surround 5.1, French (Canadian) DTS Digital Surround 5.1
TECHNICAL INFORMATION – DVD: Street Date: November 27, 2012 Copyright: 2012 Universal Studios. All Rights Reserved. Selection Number: 62119753 Running time: 1 Hour, 32 Minutes Layers: Dual Layer Aspect Ratio: 2.40:1 Anamorphic Widescreen Rating: PG for scary action and images, thematic elements, some rude humor and language. Languages/Subtitles: English SDH, Spanish, French Sound: Dolby Digital 5.1/ Dolby Digital 2.0, Spanish Dolby Digital 5.1, French (Canadian) Dolby Digital 5.1
Babs and Seth Rogen are Mother and Son in this first trailer for THE GUILT TRIP – oy vey!
(via Yahoo! Movies)
Looks like a great holiday movie…and who wouldn’t go on a roadtrip with Barbra Streisand?? As long as she sings the whole way!!
Andy Brewster is about to embark on the road trip of a lifetime, and who better to accompany him than his overbearing mother Joyce. After deciding to start his adventure with a quick visit at mom’s, Andy is guilted into bringing her along for the ride. Across 3,000 miles of ever-changing landscape, he is constantly aggravated by her antics, but over time he comes to realize that their lives have more in common than he originally thought. His mother’s advice might end up being exactly what he needs.
Written by Dan Fogelman and directed by Anne Fletcher (THE PROPOSAL, 27 DRESSES), THE GUILT TRIP stars Barbra Streisand, Seth Rogen, Kathy Najimy, Colin Hanks, Adam Scott and will be in theaters December 25, 2012.
THE DAY, from WWE Studios and Anchor Bay Films, comes to Blu-ray™ and DVD on November 27, 2012. A film which Variety called, “…one of the most effective horror movies made in years,” THE DAY stars Shawn Ashmore (X-Men 2&3, The Ruins, Frozen), Ashley Bell (The Last Exorcism), Cory Hardrict (Battle Los Angeles, Gran Torino), Dominic Monaghan (The Lord of the Rings trilogy, “Lost”), Shannyn Sossamon (One Missed Call, 40 Days and 40 Nights), and Michael Eklund (The Divide, Hunt to Kill). After a successful world premiere at the 2011 Toronto International Film Festival, the film was theatrically released by WWE Studios and Anchor Bay Films earlier this year. THE DAY is available as a Blu-ray™/DVD Combo for an SRP of $29.99 and on DVD for an SRP of $26.98. Pre-book is October 31st.
A group of five survivors, armed with shotguns, axes and machetes, wander the back roads of a ravaged landscape looking for refuge in THE DAY, a terrifying look into a post-apocalyptic future. As war ravages humanity, destroying civilization and most of life on earth, the survivors realize they must do whatever it takes to stay alive. Lost, starving, and exhausted, they seek shelter in a seemingly safe abandoned farmhouse. However, while searching for food and resources, they unwittingly set off a trap signaling to their ruthless predators lying in wait to begin their deadly attack. With food and ammunition dwindling, the group must make a desperate final stand—over a 24 hour period—battling for their ultimate survival.
Bonus features on THE DAY Blu-ray™/DVD Combo and DVD include audio commentary with executive producer/director Doug Aarniokoski, producer Guy A. Danella and writer Luke Passmore.
Photography by Jack English – Chester (Viggo Mortensen), Rydal (Oscar Isaac), Colette (Kirsten Dunst)
The work of author Patricia Highsmith has long been looted by filmmakers for inspiration. Her dark, psychological stories of crime and avoiding punishment, including Strangers on a Train and the Ripley series, have been made into movies by directors as revered as Hitchcock and Wim Wenders. Until now, though, her 1964 book The Two Faces of January has received comparatively little attention. That all changes now. With a great cast (Oscar Isaac seems to be one of the new “that guys,” popping up in small and large roles in a great number of recent releases) and an intriguing premise, this film is starting off with a promising pedigree. We’ll see if it comes to something worthwhile, but for now, have a look at the first promotional image released.
The Two Faces of January is a stylish international thriller starring some of the finest global acting talent working today; Academy Award nominee Viggo Mortensen (The Road, Eastern Promises, A History of Violence), Golden Globe nominee and Cannes Best Actress prize winner Kirsten Dunst (Melancholia, Marie Antoinette, Spider-Man 2 & 3) and Oscar Isaac (Drive, The Bourne Legacy and the Coens’ forthcoming Inside Llewyn Davis). The Two Faces of January is based on the novel of the same name by Patricia Highsmith adapted for the screen by Academy Award nominee Hossein Amini (Drive, Snow White and the Huntsman, The Wings of the Dove). Faces is the Directorial debut for Amini. Produced by Tom Sternberg (The Talented Mr. Ripley), Working Title’s Tim Bevan & Eric Fellner, and Robyn Slovo (Tinker Tailor Soldier Spy).
1962. A glamorous American couple, the charismatic CHESTER MACFARLAND (Mortensen) and his alluring younger wife COLETTE (Dunst), arrive in Athens by boat via the Corinthian Canal. While sightseeing at the Acropolis they encounter RYDAL (Isaac), a young, Greek-speaking American who is working as a tour guide, scamming tourists on the side. Drawn to Colette’s beauty and impressed by Chester’s wealth and sophistication, Rydal gladly accepts their invitation to dinner.
However, all is not as it seems with the MacFarlands and Chester’s affable exterior hides darker secrets. When Rydal visits the couple at their exclusive hotel, Chester presses him to help move the body of a seemingly unconscious man who he claims attacked him. In the moment, Rydal agrees but as events take a more sinister turn he finds himself compromised and unable to pull himself free. His increasing infatuation with the vulnerable and responsive Colette gives rise to Chester’s jealousy and paranoia, leading to a tense and dangerous battle of wits between the two men. Their journey takes them from Greece to Turkey, and to a dramatic finale played out in the back alleys of Istanbul’s Grand Bazaar.
Following on “Tinker Tailor,” helmed by Swede Tomas Alfredson and Dan Mazer’s “I Give It a Year,” now in post, “The Two Faces” continues STUDIOCANAL’s new filmby-film relationship with Working Title. The film was shot in Crete, Athens, Istanbul and Ealing Studios London.
“There come a time, Kemosabe, when good man must wear mask.” So says intrepid sidekick, Tonto – Johnny Depp – who embodies the trusty scout to Armie Hammer’s John Reid in this first teaser to THE LONE RANGER. The preview of next year’s highly anticipated film was shown last night when Hammer paid a visit to NBC’s “The Tonight Show with Jay Leno.”
Looks like we’re in for a thrill ride next summer, doesn’t it? I hope to hear, just once “Hi-Ho-Silver… Away!” I can’t wait to see what Bruckheimer and Verbinski do with a Western filled with trains and cowboys.
From producer Jerry Bruckheimer and director Gore Verbinski, the filmmaking team behind the blockbuster “Pirates of the Caribbean” franchise, comes Disney/Jerry Bruckheimer Films’ THE LONE RANGER, a thrilling adventure infused with action and humor, in which the famed masked hero is brought to life through new eyes. Native American spirit warrior Tonto (Johnny Depp) recounts the untold tales that transformed John Reid (Armie Hammer), a man of the law, into a legend of justice—taking the audience on a runaway train of epic surprises and humorous friction as the two unlikely heroes must learn to work together and fight against greed and corruption.
A Disney/Jerry Bruckheimer Films presentation, THE LONE RANGER is directed by Gore Verbinski and produced by Jerry Bruckheimer and Gore Verbinski, with a screenplay by Ted Elliott & Terry Rossio and Eric Aronson and Justin Haythe. THE LONE RANGER releases in U.S. theaters on July 3, 2013.
THE LONE RANGER also stars Tom Wilkinson, William Fichtner, Barry Pepper, James Badge Dale, Ruth Wilson and Helena Bonham Carter.
Charlize Theron and Michael Fassbender Lead an Extraordinary Cast
in the Epic Sci-Fi Thriller Debuting on Blu-ray 3D, Blu-ray and DVD
10.09.12
Contains Over Seven Hours of Bonus Material Including an Alternate Opening and Ending, Deleted and Alternate Scenes and Access to Peter Weyland’s Files
Renowned director Ridley Scott takes fans on a gripping sci-fi adventure that “kicks ass so hard and often that it’s impossible not to be thrilled by it” (Peter Travers, Rolling Stone). Launching into space to discover the mysterious creators of the human race, the “genuinely epic” (Tom Long, Detroit News) film, PROMETHEUS, debuts globally on Blu-ray 3D, Blu-ray and DVD October 9 from Twentieth Century Fox Home Entertainment. An unmatched home entertainment experience, watch the highly-anticipated blockbuster hit in the format it was meant to be viewed, stunning 3D high-definition.
Written by Damon Lindelof (“Lost”) and Jon Spaihts, PROMETHEUS features outstanding performances by Academy Award® winner* Charlize Theron (Monster), Golden Globe®-nominee* Michael Fassbender (Inglourious Basterds), Guy Pearce (Memento), Noomi Rapace (The Girl with the Dragon Tattoo) and Logan Marshall-Green (Devil).
Archeologist couple Elizabeth Shaw (Rapace) and Charlie Holloway (Marshall-Green) discover a star map that they interpret as an invitation from humanity’s forerunners, the “Engineers.” Determined to find out more about them, the couple boards the scientific vessel Prometheus, created and funded by Peter Weyland (Pearce), CEO of Weyland Corporation. Lead by mission director Meredith Vickers (Theron) and monitored by Weyland’s android David (Fassbender), the team of explorers find a clue to the origins of mankind on Earth and embark on a thrilling journey to the darkest corners of the universe where they fight a terrifying battle to save the future of the human race.
For a chance to win a t-shirt, book and a copy of this amazing 4-Disc Collector’s Edition, loaded with over seven hours of bonus material including an Alternate Opening and Ending, Deleted and Alternate Scenes, access to “Peter Weyland’s Files,” commentary by directors and writers, a cutting-edge Prometheus Weyland Corp. Archive Second Screen App and more, answer this trivia question in the comments section below:
Weyland’s android David is played bywhich renowned actor?
Michael Fassbender
Edward Norton
Ethan Hawke
OFFICIAL RULES:
1. PRIZE WILL ONLY BE SHIPPED TO CANADIAN and US ADDRESSES. NO P.O. BOXES.
2. FILL OUT YOUR FULL NAME (first and last) AND EMAIL ADDRESS BELOW.
WINNERS WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES. NO PURCHASE NECESSARY. PRIZES WILL NOT BE SUBSTITUTED OR EXCHANGED.
