En garde, worldwide enemies of France, along with all freedom-loving people! Hubert Bonisseur de La Bath AKA super-agent OSS 117 is on the case! Actually, he’s on two cases as a pair of his deadliest missions is now available in a nifty ultra-cool double BluRay gift set. Yes, I know Santa “made the scene” over a week ago, but if you’re wondering what to do with your gift cards or return credits, well…
First, let’s crack open the dossier file on this operative. The character springs from a series of novels begun by writer Jean Bruce, beating Ian Fleming’s 007 by six years. Of course, the movie studios beckoned, and a movie franchise premiered in 1957 and concluded in 1970. Ah, but you can’t keep a good spy down. Five years before they teamed on the Oscar-winning THE ARTIST, director/co-writer Michel Hazanavicius and star Jean Dujardin re-imagined the hero as a slapstick and often clueless oaf. The inspiration for the 21st-century incarnation is of course OG superspy Sean Connery’s Bond, along with touches of James Coburn’s Derek Flint and Dean Martin’s Matt Helm. However, most current audiences may compare him to Maxwell Smart (Don Adams and Steve Carell) and Mike Meyer’s Austin Powers.
The major difference from the last two agent’s exploits is the filmmaker’s expert mimicking of the look and style of the spy genre of the 60s. For instance, in the first parody flick from 2006, OSS 117: CAIRO, NEST OF SPIES, which is set in 1955, there are lots of rear-projection sequences, day-for-night photography, and bright “pulp novel” color (except for the black and white WWII flashback prologue). Dujardin is the perfect sexist equal opportunity offender in his slick-tailored suits accented by his goofball grin and expert comic timing. He’s sent to Cairo to track down the killers of an old pal. And for the romantic subplot, he’s paired with future THE ARTIST co-star Berenice Bejo as a tough Arab operative.
And on the second disc we jump ahead to swingin’ 1967 for OSS 117: LOST IN RIO, as Hubert heads to “warmer climes” to make a payoff (cash for a list of French Nazi colluders). The colors are still eye-popping reflecting the “mod” look (lots of hippies). Plus there’s a great nod to that era’s multi-image, split-screen storytelling ala THE THOMAS CROWN AFFAIR, not to mention the use of footage from a 50s classic, a Hitchcock-inspired finale, and Matt Helm himself, Dean Martin, crooning on the soundtrack. Hubert hasn’t become more enlightened with time as he clashes with another beautiful female spy, this time from Mossad, played by Louise Monot while eluding former Nazis, vengeful Asian assassins, lucha libre goons, and an American CIA contact who mumbles English language expletive-laden insults.
Now, the gorgeous BluRay transfers should be enough to satisfy any spy parody fans. Ah, but that’s not all you get! Each disc is jam-packed with fantastic extras. There are deleted and alternate scenes, bloopers, feature commentaries, photo galleries, teasers, trailers, and “making of” docs. Actually, the second disc has a bit more as we’re with the cast as they descend upon cinemas running sneak previews and has a very funny on-set profile of star Dujardin. It’s hours of sublime entertainment. And it would look great next to a heart-shaped box of Valentine’s Day candy, or it could easily fit into an Easter basket of goodies. Magnifique, Monseuir OSS 117!
THE CONNECTION owes much to the standard cops and gangster films that have come before it. This isn’t a bad thing entirely, just having seen so many crime films, there’s a familiar tone that’s hard to shake. You can only show a determined cop hunt down a criminal kingpin and his cohorts so many times without feeling like you’ve seen this chase before. THE CONNECTION doesn’t do anything we haven’t seen before but does it with confidence and style.
Inspired by real events and acting as a side-sequel to William Friedkin’s THE FRENCH CONNECTION, Cédric Jimenez’s THE CONNECTION (LE FRENCH in it’s native country) follows new police magistrate Pierre Michel as he attempts to take down the heroin trade out of Marseille. His prime target is the notorious Zappa, but figuring out a way to pin him to the crimes is harder for Pierre than he thought. As a result, both sides lose men as the fight rages from France to New York.
Jean Dujardin’s Pierre is 100% incorruptible, and yet there’s still a level of cool to his grounded demeanor so that he isn’t some annoying boy scout. On the opposite end, Gilles Lellouche gives Zappa a heavy screen presence without being an evil caricature. In fact, both characters approach their jobs in a similar fashion. Their families are extremely important to each of them, but at the end of the day they know they have a job to do. Adding to the similarity between the two men is the fact that they look strikingly similar to one another. It’s an interesting dynamic initially but is something that gets overly spotlighted throughout the 2 hour and 15 minute duration.
Even though the film takes place in 1975, surprisingly, there are few instances of actual songs from the period – one scene that shows the burden of Pierre’s job and its psychological effects does effectively use Velvet Underground’s “I’m Set Free.” Instead, a low electronic pulse is provided by composer Guillaume Roussel. His score seems right at home with the 70’s plaid suits, vintage cars, and disco clubs. What works equally as well is the art direction. A hazy warm glow coats many of the scenes creating a fresh backdrop compared to the murky, grey underworlds we typically see in crime films. Lush seascapes and rocky cliff-side roads give the film a uniquely French look. These elements do provide a somewhat new and unique air, but all of this can only amount to so much given a story structure that feels old hat.
Unlike the gritty world of crooked cops in Friedkin’s 1971 film, THE CONNECTION tries to be something greater and… well… sort-of succeeds. It’s an amiable attempt at being an entry into the “crime epic” category – a genre popularized by Scorsese and Coppola. It’s certainly epic by design, but never truly earns that title. Nothing is blatantly wrong with the film and yet nothing truly shines either. Like the character Dujardin plays, you could say THE CONNECTION is serviceable.
Overall score: 3 out of 5
THE CONNECTION is now playing exclusively at Landmark’s Tivoli Theater in St. Louis
From Drafthouse Films comes the new trailer & poster for THE CONNECTION, the action-packed European flip side to The French Connection, starring Academy Award winner Jean Dujardin.
Directed and co-written by Cédric Jimenez, THE CONNECTION was entirely shot on 35 mm and is the European flipside to William Friedkin’s The French Connection.
A stylish, 70’s-period crime thriller inspired by true events, it tells the story of real-life Marseilles magistrate Pierre Michel (Jean Dujardin) and his relentless crusade to dismantle the most notorious drug smuggling operation in history: the French Connection.
In his crosshairs is charismatic and wealthy kingpin, Gatean “Tany” Zampa (Gilles Lellouche), who runs the largest underground heroin trade into the States. Though the fearless and tenacious Michel, aided by a task force of elite cops, will stop at nothing–including boldly orchestrated drug raids, devastating arrests, and exacting interrogations–to ensure the crime ring’s demise, Zampa’s “La French” always seems one step ahead.
As La French mounts its retaliation, Michel will be forced to make the most difficult decision of his life: to continue waging his war, or ensure his family’s safety, before it’s too late.
THE CONNECTION is director and co-writer Cédric Jimenez’ second feature film following Aux Yeux de Tous. A native of Marseilles, a city long known for its drug trafficking activities, Jimenez brings a keen knowledge of the place to his latest film.
In theaters on May 15, the film also features Céline Sallette (Rust and Bone), Mélanie Doutey (The Flower of Evil), and Benoît Magimel (The Piano Teacher).
Drafthouse Films has released the new red band trailer and poster for THE CONNECTION.
John Defore, (The Hollywood Reporter) says the film is “an exciting, epic policier with whiffs of both its American cousin and Scorsese.”
Voilà!
Directed and co-written by Cédric Jimenez, THE CONNECTION was entirely shot on 35 mm and is the European flipside to William Friedkin’s The French Connection.
A stylish, 70’s-period crime thriller inspired by true events, it tells the story of real-life Marseilles magistrate Pierre Michel (Jean Dujardin) and his relentless crusade to dismantle the most notorious drug smuggling operation in history: the French Connection.
In his crosshairs is charismatic and wealthy kingpin, Gatean “Tany” Zampa (Gilles Lellouche), who runs the largest underground heroin trade into the States. Though the fearless and tenacious Michel, aided by a task force of elite cops, will stop at nothing–including boldly orchestrated drug raids, devastating arrests, and exacting interrogations–to ensure the crime ring’s demise, Zampa’s “La French” always seems one step ahead.
As La French mounts its retaliation, Michel will be forced to make the most difficult decision of his life: to continue waging his war, or ensure his family’s safety, before it’s too late.
THE CONNECTION is director and co-writer Cédric Jimenez’ second feature film following Aux Yeux de Tous. A native of Marseilles, a city long known for its drug trafficking activities, Jimenez brings a keen knowledge of the place to his latest film.
Drafthouse Films has acquired the US distribution rights to Cédric Jimenez’s period crime thriller LA FRENCH starring Jean Dujardin. A dazzling eight minute promo reel debuted at this week’s Cannes Film Festival, resulting in a prebuy bidding war for distribution rights in multiple territories. This deal marks the first collaboration between Gaumont and Drafthouse Films.
Marseille. 1975. Pierre Michel, a young magistrate with a wife and children, has just been transferred to help in the crackdown on organized crime. He decides to take on the French Connection, a mafia-run operation that exports heroin the world over. Paying heed to no one’s warnings, he leads a one-man campaign against mafia kingpin Gaetan Zampa, the most untouchable godfather of them all. The European flipside to William Friedkin’s The French Connection, Cédric Jimenez’s La French is also based on a true story.
LA FRENCH was produced by Alain Goldman and Legende Films, was directed by Cédric Jimenez and stars Jean Dujardin as Pierre Michel opposite Gilles Lellouche as mob boss Gaetan Zempa.
While in Cannes to promote the movie, Dujardin told Variety LA FRENCH was the first film he decided to do after winning an Oscar for “The Artist.”
“One of our goals is to get young audiences excited about foreign language film,” says Drafthouse Films founder and CEO Tim League. “We combed the market and devoured the official selections. Nothing excited us more than LA FRENCH.”
“I am proud that La French is going to be released by Drafthouse,” said director Cédric Jimenez. “They defend “cinema de qualité” with passion and talent. We are extremely excited to work with them.”
The movie was shot on 35mm and will be screened theatrically in select venues in 35mm along with a collection of vintage 35mm classic crime trailers curated by Cédric Jimenez (DCPs will also be available). Drafthouse Films also plans a limited edition VHS release for the film in addition to traditional DVD, Bluray and digital formats.
The deal was negotiated by Cecile Gaget and Yohann Comte from Gaumont International and James Shapiro and Tim League from Drafthouse Films.
Once again World War II provides Hollywood with another tale of bravery and sacrifice that was somewhat overlooked in the shadow of the great battles (like D-Day) and the dropping of the atomic bomb. A couple of years ago the story of the Tuskegee airmen got the full blockbuster treatment with RED TAILS. There have also been many stories concerning the efforts to save the lives of those targeted for extinction by Nazi Germany such as last year’s THE BOOK THIEF. Now George Clooney brings us the true tale of the special forces group charged with rescuing…art. Yes, paintings and sculptures, not people. Seems that Hitler went on quite the art-acquiring binge. Many felt that this pursuit to protect these piece was frivolous. But these curators and historians believed that these works were the culture if not the soul of their native lands. That’s why they proudly dubbed themselves THE MONUMENTS MEN.
As the film opens we see a group of priests taking down and wrapping up several painting in an effort to transport them away from the approaching Axis troops. Meanwhile in Paris, museum curator Claire Simone (Cate Blanchett) begrudgingly catalogs art treasures for the occupying German officers. But someone in the states is aware of these events. Frank Stokes (Clooney) conducts a slide show for President Roosevelt detailing Hitler’s plans to steal (or destroy) art from all its occupied countries. Stokes suggest forming a team to track down and return these pieces is approved by FDR and quickly the art historian contacts and enlists other like-minded scholars and curators (Bill Murray, Matt Damon, John Goodman, Bob Balaban, Hugh Bonneville, and Jean Dujardin). After a brief stint of basic training the men split up in order to pursue leads as to the storage places of the stolen art with James Granger (Damon) sent to Paris where he enlists a distrusting Simone (she’s jailed as a collaborator after the Nazis flee the city) for help. As the war begins to wind down the team re-assembles when a memo from Hitler is leaked. In the event of his death, capture, or surrender, all the art is to be destroyed. The Monuments Men race against the clock (and another allied country that wants the pieces for themselves) to save and return Europe’s greatest cultural treasures.
Clooney proves to be a terrific leader behind the camera as well as in front playing the leader, or if you will, the Lee Marvin guiding the not-so DIRTY DOZEN (or for you comic book geeks, Sgt. Fury to these middle-aged high-cultured commandos). He keeps his cool inspiring his team while knowing that their task is daunting. This doesn’t prevent him from being moved by the beauty of the rescued items or from turning up the heat on a captured officer in one of the film’s best scenes. Damon is full of enthusiasm as he treks through France, mangling their language in his wake (in a funny reoccurring bit, the natives sternly suggest they speak English). And once again, the actor has a charming rapport with his leading lady, the formidable Blanchett. She brings a quiet strength to Simone, who must appear meek before her country’s invaders while keeping hidden records that would certainly put her in a hangman’s noose. After the liberation she is convinced that this American will also whisk away France’s treasures until trust is slowly established and her heart finally begins to soften. Several of the actors are paired up for different missions for great effect. The best team may be Murray and Balaban. Murray turns down the snarky attitude, but still enjoys needling the diminutive Balaban like an older brother. Balaban’s character actually seems to relish the chance to get out of stuffy theatres, and fervently hopes he’ll get to take a shot at ole’ Adolph. But for all the barbs, these en have a real affection for each other as is shown in a touching scene at Christmas-time when Murray gets a special gift from the states. The other team is the jovial Goodman and the gregarious Dujardin. The husky Goodman makes for an unusual sight at basic training (“You they weren’t shooting blanks?!”), but gets right in the thick of action with the charming Frenchman (imagine Chevalier at the frontlines). This film proves that their great chemistry in THE ARTIST was no fluke. Bonneville brings a more serious edge as the teammate who flies solo, perhaps trying to redeem himself from a disgraceful episode from his own combat past. We never find out the details, but his sadness speaks volumes.
The film does invoke memories of the classic “men on a mission” films made during Hollywood’s Golden Age. The real well-known people involved (generals, presidents, even Hitler) are shown in long shots, from behind or in the shadows (ala’ FDR in YANKEE DOODLE DANDY) and composer Alexandre Desplat gives the action a rousing march of a theme (reminding one of Alan Silvestri’s CAPTAIN AMERICA: THE FIRST AVENGER work). MEN’s main problems are the film’s pace which lags a bit until the “Nero memo” appears (and the other Allied force leaps into the fray) and a major debate that’s never really fully resolved about whether art rescue should cost a lives. Audiences used to the raucous irreverence of INGLOURIOUS BASTERDS may be put off the sincere tone of MEN. And the Damon/ Blanchett subplot has a weak conclusion. But there’s good uses of European locales and Clooney knows when to crank up the suspense (there’s danger lurking down every road and these “mature” soldiers may not be prepared). Be warned that they go through countless cartons of cigarettes, but it’s historically correct for the pre-warning-label time period. This flick isn’t quite up to DIRTY DOZEN or THE GREAT ESCAPE World War II thrills, but this cast seems to be having a great time (and often it’s infectious), so if you’re in the mood for taking a trip through an almost unknown area of the “big one” then you hop in the jeep (mind the wrapped paintings) and ride along with THE MONUMENTS MEN.
THE MONUMENTS MEN, an all new action drama directed by George Clooney is about to hit theaters. Recently, WAMG attended THE MONUMENTS MEN press day where George Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Bob Balaban, Hugh Bonneville, Cate Blanchett and co-writer Grant Heslov sat down with press to talk about the film… as well as a prank that George Clooney played on Matt Damon. Check it out below.
Based on the true story of the greatest treasure hunt in history, THE MONUMENTS MEN is an action drama focusing on an unlikely World War II platoon, tasked by FDR with going into Germany to rescue artistic masterpieces from Nazi thieves and returning them to their rightful owners. It would be an impossible mission : with the art trapped behind enemy lines, and wight the German army under orders to destroy everything as the Reich fell, how could these guys – seven museum directors, curators, and art historians, all more familiar with Michelangelo than the M-1 – possibly hope to succeed? But as the Monuments Men, as they were called, found themselves in a race against time to avoid the destruction of 1000 years of culture, they would risk their lives to protect and defend mankind’s greatest achievements.
The movie deals with a heavy subject matter, but it does so in a light, fun, whimsical way but it’s quite heavy. Was there any desire in the beginning to make this story appropriate for a broader age audience?
George Clooney: Yes. We wanted to make an entertaining film. We like the story, we’re not all that familiar with the actual story, which is rare for a World War II film. Usually you think you know all the stories, and we wanted it to be accessible. We liked, and I like sort of those John Sturgees films. We thought it was sort of a mix of Kelly’s Heroes and The Train. We wanted to talk about a very serious subject that’s ongoing still and we also wanted to make it entertaining. That was the goal.
I was wondering if you could talk about what drew you to this role, what appealed to you about playing this character and how it was for you to be a part of this production.
Bill Murray: Well George told me the story that he was going to do about a year before, and I thought gosh, that really sounds like fun. I wasn’t invited to be in the movie the year before, and I just thought that would be really great. Suddenly, about a year later, he asked if I wanted to be in this film. I thought about it for a whole year. So I said yes and the story is so fascinating, and as they say untold, most people don’t know this story, and to do it with this group of people was not just ennoble, because everyone’s so good, everyone is such a good actor, but they’re so much fun. I watched the movie for the first time last night, and a number of occasions I went oh yea, we got this shot, and then we sat down and we laughed for about 40 minutes after that. Oh yea, we stopped there and then we started cracking wise and laughed for about 40 minutes right there. It was like that. George and Grant take great care of everyone on the job. I’ve never been so well taken care of on the job. I’ve never felt so protected and covered and all of us as actors, everyone had great scenes to do. Everyone had a chance to have a turn to do a wonderful piece of work. Everyone had great scenes and we got to see a wonderful story unfold. We got to go to great places. We got to eat well, we laughed a lot and I think we’d all do it again tomorrow if we had to start again tomorrow.
What is the difference now between George Clooney as a director on Confessions of a Dangerous Mind and you directing now?
George Clooney: Well, George Clooney has learned to speak about himself in the third person. The timing for directing is usually because it takes about that long to develop a piece and then do pre-production and then post-production. It usually takes about a couple of years. I preferred directing to doing other things. Directing and writing I think, they seem to be infinitely more creative. As far as how I’ve changed, all you’re trying to do is learn from people that you’ve worked with. I’ve worked with the Coen brothers and [Steven] Soderbergh, Alexander Payne. I’ve worked with really great directors over the years and you just try to see what they’re doing and just steal it. That’s the theory. Oh I like that, I’m going to do it that way. The truth is, your development you hope is the same way as everything, which is you succeed some, you fail some and you keep slugging away at it. I really enjoy it, it’s fun and I like it more than acting now. It’s tricky directing yourself, obviously, but…
Matt Damon: But since you’re speaking to yourself in the third person…
George Clooney: I go George, you’re really good! George Clooney. So anyways, I enjoy directing and I don’t know whether it’s improving or not but it’s certainly evolving in different directions.
To George [Clooney] and Cate [Blanchett], the two of you have had great years. Do you have some sort of confidence going into a project like this, or do you still contain some self-doubt?
Cate Blanchett: Look, projects like this don’t come along very often with ensembles like this. For me, the power of the story is it shines a light and a perspective on what we thought were previously well-known facts. There’s a shot in the film, my children saw it last night even though they’re clearly not the demographic, but even when they find the barrel full of wedding rings and gold fillings, we’ve seen those horrendous pictures, and the power of cinema is that it draws on that collective history. I feel like the film harnesses our understanding of the second World War, but yet opens a door into a very particular and noble and quirky bunch of guys and girl who really changed where we are now and what we understand our contemporary culture to be. Am I confident? Never. I should have just said yes. Yes.
George Clooney: I have no doubts.
Can you tell us about the process of casting and scenes like the Christmas scene, everybody is great, can you explain to us how you worked with scenes like that?
George Clooney: The Christmas scene we wrote specifically knowing we were going to use that specific piece of music. A good friend of mine, his daughter, his 16-year-old daughter is just an insanely talented singer. I had her record that at her school, she recorded that song, and we just used it. It’s spectacular. She’s a real talent. But we knew all along that we wanted to overlap and tell a little bit of a nonlinear piece of storytelling. Casting was fun. We couldn’t get Brad so we got Matt. [laughs] It was really fun. I think, pretty much, Grant [Heslov] and I, when we sat down and we were writing it, we hadn’t thought of Bob yet and we went to a party, an Argo party and we saw Bob and we had this part and we knew that we wanted Bill [Murray] in it and we kept thinking who are we going to put opposite Bill that Bill can give a really hard time to? And then there was this party with Bob, and I looked over and I was like oh, it’s perfect. And so we called Bob up the next day, but the rest of the gang, we wrote it with them in mind so it helps a little bit when you’re writing. Don’t you think it makes a big difference?
Bob Balaban: Oh it’s terrible. Now I have to go to all parities now. I can’t stay home anymore.
Were there any pranks that happened on set?
Matt Damon: I read somewhere that he took some of my wardrobe and kept shrinking it about an 8th of an inch every other day.
George Clooney: Every other day I had the wardrobe department…
Matt Damon: I think he did that because he knew I was trying to lose weight. So this was a job I would go back to New York, where I was living with my family, and then I’d come back for two weeks, and then I would go back to New York. Every time I came back, the pants were tighter. I was like this is weird. I’ve been going to the gym…
George Clooney: He’s eating like a grape and I’m doing this.
Matt Damon: So it’s nice having friends like that.
George Clooney: Yeah… I’m just looking out for you. I didn’t do too.. I was busy. I didn’t have a whole lot of… there wasn’t a lot of goofing around.
Mr. Goodman, could you talk a bit about what it was like working with Jean Durjardin?
John Goodman: Working with Jean was great. He spoke English this time, and I still refuse to learn French. It was probably my happiest filmmaking experience, this last year doing this film. It was just wonderful.
Grant Heslov: It was better than Argo? Better than Argo?
John Goodman: Almost!
George Clooney: Jean is such a… he’s really fun and he’s really funny and he really loves what he does. Everybody gets it. The minute he walks into the room, he’s just funny. Every single prop, he can do something hysterical with.
Grant Heslov: He’s like the French George. They’re like twins.
When it comes to motivation and inspiration, do you feel it’s changed from when you first started out as an actor, and can you tell me a little bit about what it is?
George Clooney: Well, when you start out as an actor you’re just trying to get a job. I wasn’t really motivated to be the 6th banana on The Facts of Life, but I was thrilled to have the job. So things just change as time goes on, and Grant and I have been partners for a long time and have been interested in trying to find stories that are unique and also stories that aren’t necessarily slam dunks for the studio to make, which will require us to sort of pick up and carry in. This one, as the cast grew, it became a lot easier to swallow, but it’s hard to make films like this. It was hard to get Argo made. It took us a long time to get Argo made. It was hard to get Good Night, Good Luck. I had to mortgage my house for it. There’s a bunch of… we’re just trying to do films that aren’t necessarily… that you wouldn’t necessarily walk in and say oh yea, that’s an easy one. Sometimes they’re successful, and sometimes they aren’t, but they’re the ones that we want to make. I think all of our inspiration in general is to try to get stories made, that if we didn’t go after them they probably wouldn’t get made. The others are going to get made anyway, so that’s what we’re trying to do.
There was such a quietly intense but brutal scene, the one where they discover the barrels of gold teeth. I wanted to ask you what inspired you to write this scene, which touches upon the Holocaust, and how important it was to show that aspect.
George Clooney: It’s in the book though, isn’t it? That scene. They found barrels of teeth, the Monuments Men did when they found all the gold and the wedding rings.
Grant Heslov: We actually, in reality they found barrels and barrels of stuff. We talked about the idea of somehow making it smaller, but making it more impactful and personal. Not only did George direct that sequence brilliantly but when they’re all going up in the elevator, and Matt’s reaction when they saw… it’s a beautifully done piece of work, but it’s also… we talked about the idea, this was a balancing act because this isn’t a movie about the Holocaust, but you can’t not address it. This was our way of addressing it without getting too far off-track of the story we’re trying to tell.
What is it about art that inspires you still today?
Bob Balaban: One of the things that attracted me to this is that I’ve always known about the stealing of the art but never really the extent of it. The question that the movie poses specifically, and I thought it was great that George, your character has said this a couple of times in the movie, why is it so important that you should kill so many people, but try to eradicate their culture is so significant. It’s something very hard to get across in another piece of art, in a movie. I thought the script and then the movie did it beautifully. I think the question that we all are struggling with all the time is it just pretty? What does art do for us? How does it represent us? It’s our whole inner life out there for people to see. It’s subtle but I think it’s very hard to depict but I thought the movie did it very well.
John Goodman, do you go and research the real-life counterpart for your character, fill in the back story of yourself? We find a little bit about these guys as the film goes on. Do you research the character and then have it all in your head when you’re playing the part?
John Goodman: Oddly enough, the guy my character was based on was from my hometown in St. Louis, Missouri. He did a sculpture in downtown St. Louis that I would drive by on the city bus every time I went downtown with my mother. To me, that was very remarkable and it touched something in me and grounded me in that way. I used from what I knew from the gentlemen in the book, among other things that were written about him, and the script tied everything together for me.
Matt, your good buddy George, what’s it like working for him as a director? And for Cate, compared to Woody Allen, how is George as a director?
George Clooney: Oh easy, easy!
Matt Damon: Working with George was very similar with working with Soderbergh, which makes sense because they worked so much together over the years and had a company together for a long time. George is obscenely talented as a director, I have to say. It can be a little annoying being his pal because it’s kind of like God said maybe this time I’ll just give one of them everything. How about let’s make him handsome. I’ll tell you what; as he gets older, he’ll look even better. In closing, honest to God this was one of the best experiences I’ve had. I’ve had better experiences that I could ever have asked for. I’ve worked with the very best directors around and he belongs in that company, or even ahead of it.
John Goodman: It’s like an emotional strip club.
Cate Blanchett: Working with Woody [Allen] is like working in an emotional strip club without the cash. I’m very happy to be working with these fellas.
Are there any Monuments Men still with us? And have you had any feedback from them?
George Clooney: Harry Ettlinger, who is the young German man in the film, the real guy is coming to the premiere, and he’s written us some really lovely notes. He really was at 13 he fled his bar mitzvah and ended up in New Jersey. The whole Rembrandt thing, you can actually see him in the photo in the end credits holding up the Rembrandt that he wasn’t allowed to see that was in his hometown. And he got to find it. There are a few of them still alive, they’re the younger ones obviously because most of these guys…
Grant Heslov: We’ve got a lot of people, a lot of families who have reached out to us, saying that my grandfather was in the Monuments Men, here are some pictures. In fact, I got a letter from one woman the other day who didn’t know anything about this book, and through the press of the film saw the cover of the book and the photo of the cover of the book, her grandfather was on that photo. She was over the moon so she’s going to come to the premiere.
… and George I wanted to ask you about the nomination of the film Gravity.
Grant Heslov: What one?
George Clooney: Gravity, it’s an astronaut film. I thought the film fell apart about half an hour into it.
Matt Damon: Oh, the Sandra Bullock movie! Oh fantastic.
George Clooney: Alfonso Cuaron is, again, one of the great geniuses in the game. He really is a genius. He hasn’t made a bad film. He has great love of what he does. I can’t tell you what an honor it was to work with him and see what he was doing, and man, I was telling you, we had no idea what was going on because it was two years of post production finishing that film. They were doing stuff that they hadn’t had even invented yet in terms of CGI and stuff like that. It was great working with him and fun.
From director George Clooney, THE MONUMENTS MEN stars George Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Bob Balaban, Hugh Bonneville, and Cate Blanchette. The screenplay is by George Clooney and Grant Heslov, based on the book by Robery M. Edsel with Bret Witter. Produced by Grant Heslov and George Clooney.
Check out the sneak peek clip from this Thursday night’s episode of “Jimmy Kimmel Live” featuring the cast of director/actor George Clooney’s new film, THE MONUMENTS MEN, including Clooney, Bill Murray, John Goodman, Bob Balaban, Cate Blanchett, and even Kimmel’s arch-enemy, Matt Damon.
The episode also includes a new edition of “Jimmy Kimmel Live’s” famed “Mean Tweets” segment, featuring all six members of “The Monuments Men” cast reading horrible comments from social media about themselves.
5-time Oscar nominee Alexandre Desplat (THE KING’S SPEECH, ARGO) composed the score for the film. As with many of his previous works, Desplat’s music takes the viewer on an exciting journey in the same way Frank De Vol did with THE DIRTY DOZEN and Elmer Bernstein did in THE GREAT ESCAPE. He totally captures the rousing themes of an old-time, big Hollywood World War II movie.
Listen to clips from the soundtrack.
Based on the true story of the greatest treasure hunt in history, THE MONUMENTS MEN is an action drama focusing on seven over-the-hill, out-of-shape museum directors, artists, architects, curators, and art historians who went to the front lines of WWII to rescue the world’s artistic masterpieces from Nazi thieves and return them to their rightful owners.
With the art hidden behind enemy lines, how could these guys hope to succeed? But as the Monuments Men found themselves in a race against time to avoid the destruction of 1000 years of culture, they would risk their lives to protect and defend mankind’s greatest achievements.
From director George Clooney, the film stars George Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Bob Balaban, Hugh Bonneville, and Cate Blanchett. The screenplay is by George Clooney & Grant Heslov, based on the book by Robert M. Edsel with Bret Witter. Produced by Grant Heslov and George Clooney.
Catch the film in theaters this Friday, February 7.
In anticipation of the nationwide release of THE MONUMENTS MEN, the new film from director George Clooney based on the true story of the race to save 1000 years of culture, moviegoers can visit SupportTheMonumentsMen.com, where they will find resources and information about the ways we all can continue the search for landmark works that were stolen or taken as souvenirs during World War II and are still missing today.
The film, which is written by George Clooney & Grant Heslov, will be released on February 7, 2014.
Robert M. Edsel, who founded and heads the Monuments Men Foundation, added, “The Monuments Men and women saved almost five million cultural objects, but so much is still missing. They could be anywhere, in your grandfather’s attic, or hiding in plain sight. I’m thrilled that with the release of the movie, there will be a way for the public to help complete these heroes’ mission. Call 1-866-WWII-ART and find out how you can help.”
At SupportTheMonumentsMen.com, moviegoers can sign a virtual petition supporting the Monuments Men’s efforts to preserve and protect great cultural works of art by encouraging members of Congress to honor the Monuments Men with the Congressional Gold Medal.
In addition, visitors will find a phone number – 1-866-WWII-ART – which will connect callers directly to the Monuments Men Foundation, where they can speak with a Monuments Men Foundation representative regarding the search for lost art.
Neuschwanstein Hall, int. Robert Edsel on the set of Columbia Pictures’ THE MONUMENTS MEN.
Also as a part of the Support the Monuments Men site, visitors will find an interactive map. On the map, moviegoers can find out local museums that will be featuring their institutions’ connection to the Monuments Men – such as personnel who participated in the campaign or rescued works of art that hang on the museums’ walls.
On the “Journey of the Monuments Men” feature, visitors can read about the history – from information about the real Monuments Men to the efforts they and others took to save landmark works during the war.
Finally, the studio has developed an educational program to engage high school and college students, families and art buffs about the story of the Monuments Men. The educational site, atwww.MonumentsMenEducation.com, features downloadable lesson plans that meet common core state standards, an interactive map, and videos to spark discussion and aid educators in building a curriculum. Students are also invited to get involved by uploading photosof local works of art that best represent their communities. The photos can be uploaded by visiting the Tumblr page at www.LocalTreasure.tumblr.com.
Based on the true story of the greatest treasure hunt in history, THE MONUMENTS MEN is an action drama focusing on seven over-the-hill, out-of-shape museum directors, artists, architects, curators, and art historians who went to the front lines of WWII to rescue the world’s artistic masterpieces from Nazi thieves and return them to their rightful owners.
With the art hidden behind enemy lines, how could these guys hope to succeed? But as the Monuments Men found themselves in a race against time to avoid the destruction of 1000 years of culture, they would risk their lives to protect and defend mankind’s greatest achievements.
From director George Clooney, the film stars George Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Bob Balaban, Hugh Bonneville, and Cate Blanchett. The screenplay is by George Clooney & Grant Heslov, based on the book by Robert M. Edsel with Bret Witter. Produced by Grant Heslov and George Clooney.
A-listers and Oscar winners star in this second trailer for THE MONUMENTS MEN.
Based on the true story of the greatest treasure hunt in history, THE MONUMENTS MEN is an action drama focusing on an unlikely World War II platoon, tasked by FDR with going into Germany to rescue artistic masterpieces from Nazi thieves and returning them to their rightful owners.
A vast improvement over the original teaser trailer. Will the film be among the Best Picture nominees in the upcoming Oscar race? We’ll find out when the nominations are announced on Thursday, January 16, 2014.
However this year’s Award Season pans out, THE MONUMENTS MEN, along with it’s star-studded cast, is akin to the old-Hollywood WWII movies THE DIRTY DOZEN, GUNS OF NAVARONE, and THE LONGEST DAY – all of which were big commercial successes and Academy Award winners.
It would be an impossible mission: with the art trapped behind enemy lines, and with the German army under orders to destroy everything as the Reich fell, how could these guys – seven museum directors, curators, and art historians, all more familiar with Michelangelo than the M-1 – possibly hope to succeed?
But as the Monuments Men, as they were called, found themselves in a race against time to avoid the destruction of 1000 years of culture, they would risk their lives to protect and defend mankind’s greatest achievements.
From director George Clooney, the film stars George Clooney, Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Bob Balaban, Hugh Bonneville, and Cate Blanchett.
The screenplay is by George Clooney & Grant Heslov, based on the book by Robert M. Edsel with Bret Witter. Produced by Grant Heslov and George Clooney.
Clooney’s crew on THE MONUMENTS MEN includes director of photography Phedon Papamichael, ASC, Oscar®-nominated production designer Jim Bissell , Academy Award®-winning editor Stephen Mirrione , A.C.E., costume designer Louise Frogley , and five-time Oscar® nominated composer Alexandre Desplat. Barbara A. Hall is executive producer.
Look for THE MONUMENTS MEN in theaters December 18, 2013.
