press day – We Are Movie Geeks

RACE Tells The Incredible True Story of The First Worldwide Superstar, Jesse Owens

By Gary Salem

Opening in theaters nationwide this Friday, February 19th, is the new film, RACE.

Based on the incredible true story of Jesse Owens, the legendary athletic superstar whose quest to become the greatest track and field athlete in history thrusts him onto the world stage of the 1936 Olympics, where he faces off against Adolf Hitler’s vision of Aryan supremacy. Race is an enthralling film about courage, determination, tolerance, and friendship, and an inspiring drama about one man’s fight to become an Olympic legend.

RACE tracks the journey of James Cleveland “Jesse” Owens (portrayed by Stephan James of Selma). As a student and athlete in Depression-era America, Jesse bears the weight of family expectations, racial tension at his college Ohio State University, and his own high standards for competition.

At Ohio State University, Jesse finds a savvy coach and stalwart friend in Larry Snyder (Jason Sudeikis) – who is unafraid to push the young man to his limits. Bolstered by the love and support of Ruth Solomon (Shanice Banton), with whom he has a young daughter, Jesse’s winning ways in intercollegiate competitions earn him a place on the U.S. Olympics team…

…if there is to be a team going to the 1936 Olympics at all; the American Olympic committee weighs a boycott in protest against Hitler with committee president Jeremiah Mahoney (Academy Award winner William Hurt) and millionaire industrialist Avery Brundage (Academy Award winner Jeremy Irons) debating the issue. Once Brundage prevails with the committee and U.S. participation is confirmed, Jesse enters a new racial and political minefield after he arrives in Berlin with his fellow athletes.

As filmmaker Leni Riefenstahl (Carice van Houten of Game of Thrones) readies her cameras to record the Games under the steely gaze of Nazi officials, Jesse reaffirms his determination to compete with excellence and honor. With the world watching, he will place in sharp relief his own country’s history of racism as well as the Hitler regime’s oppressiveness. Forever defining what an athlete can accomplish, Jesse Owens races into history as an inspiration to millions, then and now.

The director, Stephen Hopkins and the stars of the film, Stephan James and Jason Sudeikis gave thoughtful and thought-provoking answers at the press junket:

Hopkins felt the story had a Forrest Gump quality because Owens just wants to run but he ends up turning the Nazi Olympics into the Jesse Owens Olympics. He said track is ideal for a film because it’s an explosive sport and a race takes only ten seconds. He also addressed the question of “What is he running for?” For himself? Or his country with its institutional racism that forced him to sail to Germany in steerage while white athletes traveled in first class?

Hopkins also talked about how the 1936 Olympics were the first corporate branding of a sporting event that originated the modern games we know today. The Nazis invented the opening ceremony with a torch relay and release of doves. They filmed everything with the intention of proving the Aryan race was superior and instead turned a black athlete into the world’s first worldwide superstar.

During breaks while filming Selma, Stephan trained extensively to learn Owen’s running style and spent a lot of time with Owens’ daughters who were instrumental in getting the film made. Although he felt a little intimidated playing an iconic, larger-than-life figure, he wanted to help them carry on their father’s legacy as a man, a father and a humanitarian whose love of his sport made a huge impact on the world.

Jason said the best information he had about Larry Snyder was a quote from Jesse Owens in which he said Snyder was an “accidental non-racist” who believed athletic performance and hard work were the only things that mattered. Snyder’s refusal to judge people based on the color of their skin was his way of dealing with societal pressure and that indirectly sparked a new dialogue about segregation in America.

The connection between Owens and Snyder is a crucial part of the story and Jason said drama and comedy are the same because regardless of the situation, you have to make it feel real and honest. He knew he was involved in telling this “amazing…hopeful…international human story” because the film was independently financed. The major studios were not interested in a complicated period piece about sports featuring a young, unknown actor. He also shared a fun fact: He had his first experience in a period film when his family played extras in the Paul Newman-Joanne Woodward film Mr. and Mrs. Bridge.

Visit the movie’s official site: racethefilm.com

Purchase tickets HERE.

WAMG Rides Shotgun With Dom And Team At Universal Studios’ Fast & Furious Supercharged

Contributed by Melissa Thompson and Gary Salem

WAMG was among members of the media and invited guests to witness the Grand Opening of Fast and Furious Supercharged, the latest movie-themed attraction at Universal Studios Hollywood. The presentation treated everyone to an extensive display of cars from the movies, a dance performance, speeches by top Universal execs and L.A.’s mayor, all topped off by an exciting assortment of live car stunts including a 90-foot jump through a billboard that caught us by surprise.

After the presentation concluded, we were lucky enough to go on a test-ride of the adrenalin-pumping, high-speed adventure with Dom, Hobbs and the rest of the Fast and Furious gang. Coming at the end of the famous Back-lot Tram Tour, Supercharged literally puts you smack dab in the middle of a high-flying, breakneck speed chase. The technology is pretty cool, in that with the giant 360-degree screen and 3D glasses, riders get to experience the action side by side with Dom and Leti, as they race in cars and a helicopter so close to you, you could literally touch them. Great sound and visual effects add to the experience that really makes you feel like you are in the movie! This is just downright fun and it’s a fantastic way to end the tour with a rush of adrenaline. Needless to say, we highly recommend it. 5 out of 5 stars!

Vin Diesel, Michelle Rodriguez, Tyrese Gibson and Jason Statham attended Tuesday’s red carpet premiere of Universal Studios Hollywood‘sall-new thrill ride, “Fast & Furious—Supercharged”, and were among the first to experience the attraction, which debuts as the grand finale to the world famous Studio Tour.

Also attending were Fast & Furious series filmmakers Neal H. Moritz and Chris Morgan.

After experiencing “Fast & Furious—Supercharged,” Vin Diesel reacted by saying, “Wow…wow was that cool. It’s incredible, it’s really remarkable. It’s not like anything I’ve ever seen. Everyone on the tram said, ‘Can we do it again?’ It’s super cool!”

This dynamic new ride, inspired by Universal Pictures’ blockbuster film and featuring cast members from the series, including Vin Diesel, Dwayne Johnson, Michelle Rodriguez, Tyrese Gibson and Luke Evans, is a technologically advanced mega-attraction designed to catapult guests into the high-stakes underground world of street racing at perceived speeds of 120 miles per hour.

A high-octane adventure, “Fast & Furious—Supercharged,” is conceived as a new installment to the Fast & Furious franchise that can only be experienced at the Entertainment Capital of L.A. The ride opens TODAY! (June 24, 2015)

Check out the making of the ride here.

An exciting hydraulic motion-based ride, “Fast & Furious—Supercharged” tells an original Fast & Furious story. The attraction fuses sophisticated special effects with a state-of-the-art 3D audio system and 3D-HD imagery projected onto the world’s longest and most expansive 360-degree screen. Spanning nearly 400 feet in length to encircle Studio Tour guests within a newly constructed 65,000-square-foot structure on the legendary backlot, the sprawling custom-built screen employs 34, 4K projectors and a specially configured projection system to envelop guests in unprecedented realism.

Coupled with an intense blend of thrilling visceral effects, “Fast & Furious–Supercharged” takes guests on a wild ride that begins the moment they board the Studio Tour. Exclusive interstitial content filmed with cast members is featured on the tram monitors, highlighting interactions as the cast engages guests en route to the climactic ride. Along the tram route and featured at the ride, sightings of numerous prop cars from the Fast & Furious series, including Dom’s iconic Dodge Charger, enhance the story.

“We’ve perfected an exciting new form of immersive entertainment that combines over-the-top hyper-realistic action adventure with exhilarating custom-made special effects that will transport guests into the thrilling world of Fast & Furious, said Mark Woodbury, President of Universal Creative. “Our collaboration with Universal Pictures to create an authentic experience through epic storytelling and technological breakthroughs continues to be a hallmark of Universal Studios Hollywood.”

To supercharge your ride on Universal Studios Hollywood’s new web app, visit: Fast.UniversalStudiosHollywood.com. Join the conversation and share photos using #FastFuriousRide. For all the latest, “Like” on Facebook, follow on Instagram & Twitter at @UniStudios and add on Snapchat, username: UniStudios.

The unstoppable global franchise built on speed delivers its best, biggest and boldest film yet as FURIOUS 7 blasts onto Blu-ray, DVD and On Demand on September 15, 2015 from Universal Pictures Home Entertainment. Grossing over $1.5 billion worldwide at the box office, FURIOUS 7 tears up the screen with more gravity-defying stunts, adrenaline-fueled fight scenes and pulse-pounding action than ever before. The Blu-ray features the all new extended edition with even more explosive thrills, along with the official music video of the chart-topping “See You Again” performed by Wiz Khalifa and Charlie Puth and over 90 minutes of exclusive bonus features, making an indispensable addition to the Fast franchise collection.

The entire Fast & Furious cast unites in purpose for an epic international adventure, hunted by a vengeful assassin from Abu Dhabi to London to Tokyo and the Dominican Republic as they try to retrieve a highly advanced piece of espionage technology, and rescue the gifted hacker who created it. Furious 7 also bids a touching farewell to Paul Walker, an integral member of the Fast family.

The film reunites franchise favorites Vin Diesel, Paul Walker, Dwayne Johnson, Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Chris “Ludacris” Bridges, Elsa Pataky and Lucas Black and introduces newcomers Jason Statham (The Expendables franchise, The Transporter), Djimon Hounsou (Blood Diamond, Gladiator), Tony Jaa (Ong-bak), Nathalie Emmanuel (Game of Thrones), Ronda Rousey (The Expendables 3) and Kurt Russell (Poseidon, Escape From New York).

WAMG Takes FLIGHT At Los Angeles Press Conference

WAMG recently attended the FLIGHT press conference held at the Montage Hotel in Beverly Hills. The great thing about press conferences is that you really get a nice glimpse into the creative effort that goes into any given film. For FLIGHT, we got to hear director Robert Zemeckis, screenwriter John Gatins, star Denzel Washington, and other cast members talk about their various approaches and experiences with FLIGHT.

For Zemeckis, FLIGHT marks the return to live-action filmmaking. The innovative director has spent the past decade directing and producing films that utilize motion capture technology and indeed Zemeckis has long been on the forefront of special and visual effects technology in films. However, strong characters with compelling emotional journeys anchor all of his films, including FLIGHT.

Gatins extensively researched real-life air disasters. At that time, the legendary US Airways “Miracle on the Hudson” river landing accomplished by heroic pilot Sully Sullenberger, was still ten years away. However, with the help of the NTSB (National Transportation Safety Board) and interviews with pilots, eventually, Gatins drafted a 35-page outline of what ultimately became “Flight” – which became more than a mere disaster film when he also wove in some of his own history.

Washington also took great pains to let pilots know that the movie wasn’t an indictment of them.

“I wanted them to know that the movie was not trying to knock airlines or pilots. It’s not so much about flying as it is about addiction, at least as it relates to my character. So he could work in a post office but flying a plane is the most heightened dramatic situation.”

Ultimately, FLIGHT combines several Zemeckis touchstones – advanced film technology, big, compelling characters on life changing journeys, themes of recovery and discovery – or, as he puts it:

“My thinking is this: There’s a wonderful quote by Francois Truffaut which I subscribe to … he said that a movie that works is the perfect blend of truth and spectacle. And whenever I can find a screenplay that has both of those aspects, those are movies that I gravitate to—and I think ‘Flight’ is that kind of movie. I mean it’s a hopeful, redemptive human story that’s wrapped in this very dramatic and intense spectacle. And to me that’s what movies are all about,” Zemeckis says.

Also, listen in the audio clip as co-star Bruce Greenwood talks about a real-life air disaster that he was part of!

On a mid-Autumn morning, SouthJet 227 departs Orlando, Florida for what should be a routine trip. Captain Whip Whitaker is at the helm of the Jackson-Ridgefield 88 Passenger Jet along with his young clean-cut co-pilot and first officer Ken Evans, who is Whip’s polar opposite in every way. The flight soon encounters heavier-than-anticipated turbulence as they fly into a massive storm. Not a problem for Whip who steers the plane into the clearing, albeit in an unconventional and eyebrow raising way, to the relief of the flight’s 96 passengers and six members of the flight crew.

But that’s when things start to go really wrong. Abruptly, the pilots encounter a series of inexplicable mechanical malfunctions, causing the plane to rock and dip and shudder like a rollercoaster. As these breakdowns began to multiply, causing the plane to spiral downward and seemingly out of the pilots’ control, Whip decides that his only recourse to maintain a level altitude is to maneuver the 50-ton plane into a barrel roll and complete inversion, which will allow it to glide without its engines until he can right the plane and land it. Within minutes, unable to make it to the airport, flying the plane just a few hundred feet off the ground, Whip finds a patch of nearby land adjacent to a church where he can attempt his landing. At 140 miles per hour, he inverts the aircraft and brings it down. The impact is shattering, but Whip, in an incredible, ingenious stroke, calmly manages to land safely enough to save all but six of the one hundred and two souls on board.

For his miraculous landing, the media hails Whip as a hero. But, there are lingering questions. The cause of the crash isn’t entirely clear to his superiors and particularly to the NTSB, although Whip is quite sure had he not been in the cockpit, the plane would have nose-dived and all its passengers would surely be dead. Nonetheless an investigation ensues.

As the query drags on, Whip is literally grounded as he struggles with his considerable demons. Convinced that his actions saved the passengers on-board, he is equally certain that his personal issues are not all that extraordinary and certainly had no bearing on the crash. Old and new allies rally around him. His friend and union representative Charlie Anderson takes on his case, as does the canny, sincere lawyer Hugh Lang. Whip’s droll pal Harling Mays is also around for support, if not always the moral kind. Along the way, Whip meets a kindred spirit, Nicole. A down-on-her-luck photographer and recovering substance abuser, Nicole may be just what Whip needs. If only Whip could figure out exactly what that is.

FLIGHT tells a harrowing story about one man’s amazing, heroic feat and how, in the process of defending himself, he discovers his true grace and valor.

FLIGHT will land in theaters November 2, 2012.

Paramount Pictures presents FLIGHT, directed by Robert Zemeckis. Produced by Parkes/MacDonald Production’s Walter F. Parkes and Laurie MacDonald, and ImageMovers’ Robert Zemeckis, Steve Starkey, and Jack Rapke. The executive producer is Cherylanne Martin. Original screenplay by John Gatins. Director of Photography is Don Burgess, ASC. Production Designer is Nelson Coates. Costume Designer is Louise Frogley. Special Effects Supervisor is Michael Lantieri. Visual Effects Supervisor is Kevin Baillie. Edited by Jeremiah O’Driscoll.

Like it on Facebook: http://www.Facebook.com/FlightMovie
Visit the official movie site: http://www.Paramount.com/Flight

@ParamountPics #FlightMovie

WAMG At The KILLER JOE Press Day

On Wednesday, July 18th, WAMG attended the press day for the totally twisted, deep-fried, Texas redneck, Billy Friedkin-directed, NC-17-rated, trailer park murder story KILLER JOE at the Four Seasons Hotel Los Angeles at Beverly Hills. In attendance were Matthew McConaughey, Gina Gershon, Juno Temple, and Emile Hirsch, and we have the round tables for you below.

KILLER JOE Press Day W/ Matthew McConaughey & Emile Hirsch

KILLER JOE Press Day W/ Juno Temple & Gina Gershon

When 22-year-old Chris (Emile Hirsch) finds himself in debt to a drug lord, he hires a hit man to dispatch his mother, whose $50,000 life insurance policy benefits his sister Dottie (Juno Temple). Chris finds Joe Cooper (Matthew McConaughey), a creepy, crazy Dallas cop who moonlights as a contract killer. When Chris can’t pay Joe upfront, Joe set his sight on Dottie as collateral for the job. The contract killer and his hostage develop an unusual bond. Like from a modern-day, twisted fairy tale, “Killer Joe” Cooper becomes the prince to Dottie’s Cinderella. Based on the play by Pulitzer and Tony Award winner Tracy Letts, “Killer Joe” is a garish, provocative black comedy from Academy Award-winning director William Friedkin (The Exorcist, The French Connection) and stars Emile Hirsch, Matthew McConaughey, Juno Temple, Thomas Haden Church, and Gina Gershon.

Directed by William Friedkin

Starring Matthew McConaughey, Emile Hirsch, Gina Gershon, Juno Temple and Thomas Haden Church

FOR MORE INFORMATION:

FACEBOOK: https://www.facebook.com/KillerJoeTheMovie

WEBSITE: http://killerjoethemovie.com/

KILLER JOE comes to select theaters JULY 27th

St. Louis August 10th

Diablo Cody, Patton Oswalt & Charlize Theron talk YOUNG ADULT

Last weekend YOUNG ADULT opened on 8 screens with a solid $40k per screen average. Today it expands to theaters nationwide. I recently attended a press junket for the film written by Diablo Cody & directed by Jason Reitman. Below are the highlights from the press conference with Diablo Cody, Charlize Therom & Patton Oswalt. (Check out highlights from the Jason Reitman press conference right HERE)

DIABLO CODY on YA novels: Well, I’ve been an avid consumer of young adult literature since I was one. And I think some people leave that stuff behind when they become old adults, but I never did. And I was always interested in the fantasy world created in those novels, and that I think is the kind of thing we see reflected in pop culture more now than ever, with reality shows and these weird, fully made-up people living these fake fairytale lives on camera. And I think the idea of somebody whose priorities were completely screwed up, who wanted to live in that world, even though it’s completely unattainable, that was intriguing to me.

DIABLO CODY on research: You know, I actually, I didn’t talk to anybody, which is probably pretty lazy of me. But the feedback I’ve gotten has been really interesting. I actually, since we’ve started showing the film, I’ve heard from a couple people who are not only young adult writers, but are in the position that Mavis is in, where they are writing books that are credited to another person or to a creator. And they were very enthusiastic about the movie, and said that I nailed it, which felt good.

DIABLO CODY on Francine Pascal: You know, I’ve – kind of working with Francine right now. I wrote the “Sweet Valley High” movie that is currently progressing toward production, I hope. So I was kind of inspired by that world – the idea of anonymity behind art.

PATTON OSWALT: And you did like a Hard “R” “Sweet Valley High”, too, which I thought was really courageous of you.

DIABLO CODY: We’re hoping for the Hard “R”.

CHARLIZE THERON on Mavis Gary: I’ve never been a fan of labels, you knowI just, I think it’s very easy to kind of look at somebody and just kind of throw a label on them, they’re crazy or they’re – you know. And I’m not a big fan of overly justifying bad behavior, or why people are the way they are. I think that it’s a cop-out. And I don’t have a lot of empathy for that. So I didn’t really think of her – I thought the things that she did were pretty despicable; but then again, not like to the point where I was like disgusted by her. I never had a hard time not liking her I would love to go and have a beer with her. I mean, I would never let her hang out with my boyfriend. But I would love to hang out with her. I think she, you know, she’s entertaining about all of her stuff

DIABLO CODY on women behaving badly: I’m certainly not going to call it a step back, because that would be the opposite of what I’m trying to do as a writer, and also as a female. I feel like maybe – it’s funny, when people talk about “Bridesmaids”, they always talk about, “Oh, we’re seeing raunchy women.” And I say, “No, you’re just seeing women.” Like that’s what feels fresh about this, is you’re actually seeing women in complicated, funny situations where you would normally see male characters. So I don’t really see it as – seeing women behaving badly so much as just seeing more multi-faceted female characters. And I hope there will be more of that, because I’m enjoying it.

PATTON OSWALT on women behaving badly: You have finally made progress as a group if you can be depicted as fully – as the full spectrum. Usually, any kind of sub-group or smaller group in a movie goes from being made fun of and victimized. And then it swings too hard the other way, where they’re like amazing and always positive, which is just as dehumanizing. And then you finally like, “Hey, a single individual can be a hero and a villain and funny and an asshole at – well, just like we all are every second of the day. So you know, that’s definitely progress, too.

CHARLIZE THERON on a possible Academy nod: I know it sounds so unbelievably cliché, but I haven’t worked in three years. And to have the opportunity to come back and do something like this, with Diablo and with Patton, with Jason, who I really, really wanted to work with, and this kind of material – and to see people respond to it, has been the greatest gift. And so I can’t, I can’t even like think beyond anything like that. It’s just really nice to have people come up to me and have these little tiny anecdotes with like what they connected with in the movie. And the movie kind of puts them in this, a little bit of a Mavis mood, so they feel like really free to kind of, you know, admit that they’ve done things like Mavis – which is just so endearing. And I love it so much because I just feel like that is proof that we all kind of set out to do the thing that we wanted to do, and that we succeeded in that. And so that is really the greatest gift for me. Plus, I have an Oscar, so – [LAUGHTER] That was such an asshole thing to say.

PATTON OSWALT: Keep in mind, you don’t have an Oscar for the “Guest House”, so just keep that in mind.

CHARLIZE THERON: True, that.

DIABLO CODY on music selection: That’s what was so fun about it, was getting to sit down with Jason, and – Jason and I are the exact same age, so we were able to say, “Do you remember this one?” “Do you remember that one?” And when characters enter a space in this movie, a lot of this time, there’s like music playing, and it’s almost always a song from the 90’s, which was Jason’s wink at the genre. But yeah, it was – in fact, I was just thinking about that Teenage Fan Club song that Mavis is totally obsessed with and listens to in her car. And like that was probably my favorite song when I was 19 or 20, and I was a college radio DJ, and I would just play it constantly. Plus, it’s like six minutes long, so you could go to the bathroom.

PATTON OSWALT on his high school mix tape: I’ve got to say my high school mix tape would be, for me, when I was growing up, would be just the Repo Man soundtrack, because that is – that is such a mix tape for safe, suburban rebellion. And also for me, that was ten years behind punk, and I got to spend the summer of ’84 letting people in on, “You’ve got to listen to these punk bands.” Like, “Patton, we know, we – it’s been around since ’79.” “No, you don’t know, man, there’s this band called Black Flag.” “Yes, we know. Patton, they’ve already broken up.” “No, listen.” So it was just that kind of – that was my high school experience, is being ten years behind everything. That’s my mix tape right there.

DIABLO CODY on getting the film made: I really don’t think this film would have ever come into existence if it weren’t for, you know, the combined power of Jason Reitman and Charlize, and Patton. And –

PATTON OSWALT: I had no – trust me, – what, my Twitter followers helped get this thing made?

DIABLO CODY: Patton’s vast Twitter following willed this movie into being. [LAUGHTER] And so on my own, it would have been a no go. I mean, it’s a challenging movie; it’s a small movie. I feel like there has been – I have felt this pressure to write a big budget, romantic comedy, basically since I rolled into town. And I try, and it’s – it just doesn’t seem to be in my skill set. I just write small and weird. And so I did sense some resistance, but at the same time, you know, I’ve been fortunate enough to work with people who believe in me. And then when Jason gave the material his vote of confidence, that meant a lot, because he is, you know, very selective about his material, and the guy has never made a movie that’s less than great, in my opinion. So suddenly, we had a little more firepower.

CHARLIZE THERON on a high school crush: I didn’t have any boyfriends, but I had a massive crush on this guy who – this interviewer, that just did a story on me for Vogue, actually found, and –

PATTON OSWALT: What?

CHARLIZE THERON: Yeah, he found the guy that I had said – this guy did not know I existed, by the way, in school. And then he was all, like, “Yeah, tell her the crush was mutual.” Fuck that.

PATTON OSWALT: Yeah.

[LAUGHTER]

CHARLIZE THERON: The crush was so not mutual.

PATTON OSWALT: What was his name?

CHARLIZE THERON: And then he was like, “Oh, and I remember, she wore those glasses.” And I was like, “Hrrrmmmm.”

PATTON OSWALT: What was the guy’s name?

CHARLIZE THERON: Oh, I can’t do it. I’m –

PATTON OSWALT: Tell me the name.

CHARLIZE THERON: No, this guy’s gonna get hunted down.

PATTON OSWALT: Oh, okay.

CHARLIZE THERON: I can’t do it.

DIABLO CODY: It’s in Vogue; you can –

PATTON OSWALT: Oh, is it in Vogue.

CHARLIZE THERON: Hint, hint.

PATTON OSWALT: I have a subscription. It’s waiting in my house right now, I – it’s my Bible, people. I mean, look at how I’m dressed.

DIABLO CODY on UNITED STATES OF TARA cancellation: You know, it was one of those things that wasn’t a – it wasn’t shocking, because we never really had the audience that we wanted, in terms of numbers. And so I honestly was really grateful that we survived as long as we did, and really grateful to Showtime that they would support something that was that offbeat and interesting. And it was, you know, some of the most satisfying work that I’ve done. But it’s – you also have to understand that when you’re dealing in the realm of small and weird, like things don’t always survive. So you just appreciate them as long as you can, and treasure the experience, I guess… sometimes I think about the, like mythical fourth or fifth season, and where it would have gone. And I think we still had a lot of stories to tell. But I think it wrapped up nicely, considering we didn’t know that was going to be the last episode.

PATTON OSWALT on reading with Charlize: We were – we kind of got along right at the first table read. We were teasing each other and kind of, you know – we just, there was just something, a kind of a rapport there.

CHARLIZE THERON: Yeah, I don’t like rehearsal and Jason doesn’t like rehearsal, either. And I hate table reads. I hate anything where you have to say the words out loud.

PATTON OSWALT: And I can’t read.

CHARLIZE THERON: Yeah. [LAUGHTER]

PATTON OSWALT: So –

CHARLIZE THERON: That was a huge problem.

CHARLIZE THERON on the Africa Outreach Project: Thank you. It’s going great. My director is actually down there right now, looking at three new projects. And we’re just continuing to find projects that are really encouraging prevention care. And it’s just – I don’t know, I think if you do this kind of work, it’s like anything in life – if you don’t love it, you shouldn’t do it. And I just – I really love what we’re doing, and I really believe in it. I – you know, growing up in a country like that, and seeing how prevalent AIDS is, and understanding the immediate need, but feeling this kind of horrible neglect for people who just have no tools to understand how not to become HIV positive, just seemed so wrong to me. And it felt like a missed opportunity. And so we’re just really trying to encourage already existing NGOs to really support prevention care. So it’s been great.

PATTON OSWALT on comedy: Well, I mean, you were talking about how much you love Jason Reitman’s movies. And you watch his movies. And I think because you know you’re in the hands of someone that knows how to edit a film and how to edit a scene, and so when you – because we just knew, subconsciously, we were in such good hands, directing-wise, that we could relax enough. And that relaxation is what I think gets – the comedy was never needy. It was just like – we were never going for a laugh; it all came very naturally. And a lot of times, what was so great about the way that she played Mavis, was the laugh comes from her not giving me any response, and then I get more nervous, which is a really real thing, that a lot of actors really don’t have the balls to do. They don’t – like, they always want to be saying something or listening and reacting. And she was able to just go, “You know what? My character’s just not engaging in this scene at all.” And that is where the humor came from. So again, it was – you know, it came from knowing we were working with a good director. I got to play off somebody that really understood human nature, which is – that’s what’s important to comedy. Not knowing – comedy is knowing human nature. And then, so all of that kind of swirled together, and created a thing, and fade to Golden Globe. [LAUGHTER] I don’t know what I’m saying. I literally, I lost my own train of thought. But you know what I’m saying there? You asked a really smart question, and I answered it so stupidly.

PATTON OSWALT on choosing roles: Well, first, thank you for implying that I have any control over my career, that I get to choose projects. “Tell Spielberg to get ready to be disappointed; I’m going with Reitman on this.” I was very lucky to be offered this script. I was there at the – I got to know Jason through just, we both love film; we both own French bulldogs. So that’s kind of how we got to know each other. And then I started doing these table reads early for the script, so you know. But as far as my intentions, I just – I’m so beyond like genre, drama, comedy – I just want to do really good, interesting projects. And that can mean something like this script, which was so good when I read it, so good; or something like that little adult swim show that I just did, which was the most bizarre, but also a great script and a – just stuff that constantly rolls the dice down the felt and just goes for it. And this – man, this script went for it. So I was, you know, I – hopefully, someday, if I’m ever at a point where I have the luxury of intention, I will make the right choices. But so far I’ve been lucky enough that the choices I have been given have been really, really good.

PATTON OSWALT on meeting Jason reitman: We met at an awards ceremony and we were just gabbing about movies, and I was presenting an editor’s award. And I actually knew all the editors. Like that’s how much of a nerd, like those guys are like rock stars to me. And you could – it’s like the music geek that knows the bassist’s name, like that’s how excited I was. So then we started talking. And then he was – he saw on my phone, I had a picture of my French bulldog. And he goes, “I have a French bulldog,” and we started showing back and forth. This is – this is like the lamest.

PATTON OSWALT on getting the role: [Reitman] has these screenings at his house every Sunday. And then it just kind of led – basically, you know what, I did all the early readings, so I got this movie the way a squatter gets an apartment. I was just there. You know, like, “Ah, he’s got his mattress and his hot plate. Let him have it. He’s nice. The kids like him. He sweeps up the hall. Come on.” So, yeah.

For the final question, someone asks if the main character’s name is a reference to Lyla Garrity on FRIDAY NIGHT LIGHTS. Diablo corrects him that the name is actually Mavis Gary and not mavis Garrity.

PATTON OSWALT: Let’s have a different final question, because he kind of got the Garrity thing wrong.

CHARLIZE THERON: Yeah. Way to end this press conference, dude.

PATTON OSWALT: Wow, Dude. Her name is Mavis – her name is Mavis Vader – is that a – no, it’s not Vader. Oh, sorry.

So they allowed one more question, which lead to the most aimless & conversational answer of the night. What would you do if you could add 10 more minutes to the end of the film?

CHARLIZE THERON: I don’t know if I could add it straight on to this movie, because I like that Mavis leaves Sandra. But I do like the idea of like Sandra eventually, like in a sequel, Sandra and Mavis finding each other and taking that little fucked up Mini, on like a Thelma and Louise – Like, the two of them just like cross country driving, just damaged, just –

PATTON OSWALT: They just have an eye-rolling spree.

CHARLIZE THERON: Carnage.

PATTON OSWALT: They just –

CHARLIZE THERON: Yeah.

PATTON OSWALT: – drive, you know, and just roll their eyes at things, until the police –

CHARLIZE THERON: Yeah.

PATTON OSWALT: – kill them.

[LAUGHTER]

CHARLIZE THERON: Yeah. No – yeah. Nobody gets raped or anything like that.

PATTON OSWALT: yeah.

CHARLIZE THERON: They just like roll their eyes in the –

PATTON OSWALT: “Oh, great.”

CHARLIZE THERON: Yeah. Yeah.

PATTON OSWALT: Well, you know, every screening I’ve been to, people will come into the lobby and I’ll watch them talking. Here’s what I love about this movie, is that everyone has very specific ideas as to what happens [at the end]. They’re all completely different, and they’re all right. Like, it’s one of those movies where people keep – so – and then what – like what happens in the next scene, it makes – this is a great like, go to see the movie and then hang out and go, “What do you think she did?” “Oh, she totally is on the way down.” “Oh, I think she makes it.” Like that’s, again, that’s a testament to the writing, and to the – her performance.

CHARLIZE THERON: But seriously, Diablo, what are you going to write for the sequel?

PATTON OSWALT: Yeah, what is the sequel going to be?

DIABLO CODY: You know, I think, if I – you said specifically, I could add only ten minutes to the movie. I think I would do the Mini – either the Mini flying off a bridge and pausing in mid-air, a la Dukes of Hazard or Thelma and Louise.

PATTON OSWALT: [SOUNDS LIKE] Thank you.

DIABLO CODY: Or crazy credits.

CHARLIZE THERON: Crazy credits?

DIABLO CODY: Like funny credits for that ten –

PATTON OSWALT: Oh, nice.

DIABLO CODY: Like bloopers. Does that count for my ten minutes? Yeah, like an out take reel.

CHARLIZE THERON: That’s just lazy; you didn’t write that.

DIABLO CODY: I know. You see how I operate.

CHARLIZE THERON: You have to write it.

DIABLO CODY: Like –

PATTON OSWALT: Well, we’ll see you guys in 20 years for the Grumpy Old Adult panel. We’re very excited and we’re already working on that now.

Jerry Cavallaro – www.JerryCavallaro.com

WAMG Interview With ROGER CORMAN and ALEX STAPLETON (CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL)

Roger Corman is a Hollywood legend! Last week, WAMG got the chance to sit down with the man himself, along with Director Alex Stapleton about their new film CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL.

CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL is a tantalizing and star-studded tribute to Roger Corman, Hollywood’s most prolific writer-director producer, and seminal influencing force in modern moviemaking over the last 60 years. Featuring interviews with Hollywood icons and cinematic luminaries, some who launched their careers within Corman’s unforgettable world of filmmaking, including Paul W.S. Anderson, Peter Bogdanovich, Robert De Niro, Peter Fonda, Pam Grier, Ron Howard, Eli Roth, Martin Scorsese, William Shatner and Jack Nicholson, along with many others, this documentary chronicles how Corman created his cult film empire, one low-budget success at a time, capitalizing on undiscovered talent, and pushing the boundaries of independent filmmaking.

Check out the interview here:

Director Alex Stapleton weaves archival footage following Roger’s illustrious career: From his early days of genre-defining classics including the original Fast and Furious, the original Little Shop of Horrors, The Crybaby Killer, The Intruder, House of Usher, and The Wild Angels (which at that point in 1966 was his 100th film) – to present day video of him and his wife Julie on location, still at work as they continue to produce and distribute films outside the studio system: fast, cheap and out-of-this-world!

Distributed by Anchor Bay Films, Corman’s World: Exploits of a Hollywood Rebel is rated R for some violent images, nudity and language. Run time 90 minutes.

CORMAN’S WORLD: EXPLOITS OF A HOLLYWOOD REBEL opens in select theaters on December 16^th

Do You Have Questions About YOUNG ADULT or HUGO?

This weekend I will be attending press conferences for the films HUGO and YOUNG ADULT. To be honest, I am not a huge fan of press conferences. I much prefer 1:1 interviews since I like to have a conversation rather than just ask questions. Plus, I always get the feeling no one cares about the strange questions I come up with. That’s where you come in!

In the comments, post your questions for the cast & crew of either film. Press conferences can get pretty chaotic but I’ll try my best to get some of them answered. Check out the trailers below for some inspiration!

HUGO opens November 23rd

YOUNG ADULT opens December 16th

Jerry Cavallaro – www.JerryCavallaro.com

WAMG At The ARTHUR CHRISTMAS Party

Seasons Greetings y’all! I know it’s not Christmas yet, but it’s never to early to start spreading a little Christmas cheer… and the folks behind ARTHUR CHRISTMAS did just that on Monday with their Christmas themed party at Sony Pictures Animation Studios (Culver City, CA)! Not only did we get a first glimpse of the film, but they also had lots of fun Christmas themed activities for family and friends of the press. Hot cocoa was served, Christmas Cookies were painted, holiday pictures were taken, and they even had Christmas carolers serenading guests as they ventured around in the snow. Yes, I did say snow… in California!

SYNOPSIS:

The 3D, CG-animated family comedy Arthur Christmas, an Aardman production for Sony Pictures Animation, at last reveals the incredible, never-before seen answer to every child’s question: ‘So how does Santa deliver all those presents in one night?’ The answer: Santa’s exhilarating, ultra-high-tech operation hidden beneath the North Pole. But at the heart of the film is a story with the ingredients of a Christmas classic – a family in a state of comic dysfunction and an unlikely hero, Arthur, with an urgent mission that must be completed before Christmas morning dawns.

Ashley Jensen, voice of Bryony the elf and President of Digital Productions for Sony Pictures Entertainment Bob Osher