Forum Replies Created
May 14, 2020 at 8:02 pm #1203482046
A Room with a View and it’s not even close in my opinion.May 12, 2020 at 5:46 pm #1203478786
I gotta be honest, I don’t care about who they cast as Hercules as long as he’s decent and has chemistry with who they cast as Meg. And I still think that Maisie Williams would be perfect. She is a brilliant actress. She can do the vulnerability, and the sass that is required. She can sing, and if they want Meg to do any dancing for the Muses sing-along numbers, well, she has years of dance training. She’s also insanely charismatic and way, way more than just Arya Stark. I think she’d be perfect.May 12, 2020 at 7:28 am #1203477657
Based on the people involved I would say experimental – Carax and Sparks aren’t exactly known for being conventional. And it’s sung through which I don’t think I’ve seen from an original musical for a long time. In an interview from the end of last year Driver described it as ‘an opera’. That said Sparks have also described it as a ‘romantic musical’ which might mean it has more conventional story elements than we think. They have a new album out on Friday so we may start to learn more or see clips of the film as part of that promo – even though it’s release date is up in the air. I think they’re aiming for Venice or Toronto if they happen. The announced cast on IMDB seems to be mostly background people so we can presume it’s very much centered around Driver/Cotillard/the daughter (though there’s actually no cast listing for a character called Annette)
He may have done that, but Sparks has also made it very clear that they told Adam to sing the songs in a more pop style. There was also this interesting bit about filming from the movie from an article in the New Yorker on Adam Driver.
In September, I met Driver in Brussels, where he was shooting “Annette” on a soundstage. He plays a failing comedian; his wife, played by Marion Cotillard, is an opera singer on the rise. To ease the resulting tension, they take a sailing holiday with their baby, Annette, and get caught in a storm. That day’s scenes took place during the squall. In one corner of the studio, half of a life-size sailboat was mounted ten feet high on a gimbal, a mechanism that would toss and turn the boat like a mechanical bull, while a cyclorama projected a tempestuous curved backdrop around it. Sprinklers would unleash rain and fog, while water cannons spewed waves. Also, the film is a musical, so there would be singing.
Carax, the director, smoked a cigarette in his sunglasses, as Driver and Cotillard emerged from a pair of black makeup tents. They rehearsed the scene in which Driver draws Cotillard into a drunken waltz on the sailboat’s deck. He mocks her theatrics (“Bowing, bowing, bowing”), and she pleads with him in song (“We’re gonna fall, gonna die”), before he flings her offscreen. The film’s co-writers, Ron and Russell Mael, known from the seventies band Sparks, watched on a monitor. “We spoke very briefly to Adam about three years ago, just about the style of his singing,” Ron whispered to me. “We didn’t want it to be Broadway, you know?”
Driver, wearing a fake mustache, measured the exact distance to spin before accelerating in the final moment. “If I’m throwing her, I don’t want to wing it,” he said. There was little leeway for benign rebellion. Driver later told me, of Carax, “His movies to me feel very much like freedom—like captured chaos—but they’re very, like, ‘Turn here, move left here.’ So it’s like doing math, but then not making it look like we’re executing choreography.”
A crew member yelled, “Silence, s’il vous plaît,” and in came rain, thunder, lightning, and waves. Between takes, Cotillard sang her lines to herself, while Driver stretched his legs on the railing of the boat, like a dancer at a barre. During one take, they slipped and fell. “Are you O.K.?” Driver said, helping her up, then asked the gimbal operators if the device was turned on too high: “We did this all yesterday, and we didn’t slip once.”[…]
After Driver and Cotillard had been soaked half a dozen times, Carax called a twenty-minute break. “Let’s do a tight twenty minutes,” Driver requested. He dried himself off for the next scene, in which the comedian wanders the ship alone, pummelled by waves and singing an ambiguous mantra, “There’s so little I can do.” By the end, he is crouched on the deck, his palms pressed to his ears.
They tried it again, and again. “Our timing was off,” Driver said after one take, wringing water from his black T-shirt. He and Carax went over the timeline of waves, music, boat rocking, and drunken stumbling. By now, Driver had been singing in a fake thunderstorm for five hours, and he was drenched. But he wanted more. “It doesn’t match up to the music,” he said of the boat movements, leaning over the railing.
Carax suggested that they had what they needed. “If you already have it, then fine,” Driver said, sounding agitated. “I’m trying to move on, but I don’t understand. And the timing is wrong.” He listened for a moment. “All right, then. I’m fine moving on. It’s just unsatisfying.”
Then they had a revelation: the boat choreography didn’t need to match the underscoring. They did the scene one more time, a cappella. Finally, for safety, they recorded a clean audio track of Driver’s singing. Wrapped in a towel, he sang his line repeatedly into a boom mike, alternately braying and mumbling, and then trailing off into a near-whisper. “There’s so little I can do,” he sang, dripping and determined. “There’s so little I can do. There’s so little I can do. There’s so little I can do. There’s so little I can do. There’s so little I can do. There’s so little I can do. There’s so little I can do.” Source: The New YorkerMay 12, 2020 at 5:31 am #1203477499
Hercules – Tom Holland
Megara – Maisie Williams
Hades – Ralph FiennesMay 8, 2020 at 8:06 pm #1203472451
https://www.indiewire.com/2020/04/adam-driver-jeff-nichols-yankee-comandante-1202228457/ Literally everything is cancelled and Adam Driver is still getting cast in things
I laughed way too long and way too hard at this, but damn, this was funny!
If it’s widely seen enough I can definitely see him threepeating with Annette – an original sung through musical might be a hard sell but the fact it’s wildly different from anything we’ve seen him do so far – and probably very challenging – could work in his favour. And Russell Mael from Sparks (who did the songs) says he’s ‘spectacular’ in it.
When isn’t he spectacular, though?April 29, 2020 at 9:49 am #1203453164
Not Gilbert Grape for sure. Ralph Fiennes was robbed of that Oscar.
But I think that Leo should have won lead for The Departed and The Wolf of Wall Street, and supporting for Django Unchained.April 7, 2020 at 10:41 am #1203414280
Actually, I feel the story could still be told without Hopkins. It would take out most of the impact of the film, but if anything, Buffalo Bill would be the lead male character if your talking about necessity.
Your very own statement contradicts that the story as a whole could be told without him. A story is more than plot. It’s characterization and depth and meaning, and yes, impact.
Without Lecter, Clarice’s journey, the cat and mouse game they play, the tension and the building mystery that surrounds Lecter and Bill is gone. As well as the punch of that final scene which was a perfect capper to the film.
That’s losing A LOT.
So my answer is that Hopkins was definitely lead. His is a case where category is not based solely on amount of screentime, but presence and how his character effected story and plot. Which, again, was A LOT.April 4, 2020 at 7:39 pm #1203410262
I find it so frustrating that comedy actor/actresses, directors/writers and films don’t get the respect they deserve come award season.April 4, 2020 at 7:22 pm #1203410237
I find George Clooney incredibly overrated. I think he’s average looking, has average charisma and is an average actor with average directing abilities. I have absolutely no clue why anyone goes gaga over him. The only time I found him likeable was when he had a recurring role on Facts of Life way back when. From ER on, I’ve found him kinda smarmy.March 17, 2020 at 10:06 am #1203384319
Anthony Hopkins. Can convey anything with a look, a gesture, a word. He doesn’t need to change his appearance drastically, do method acting, or anything of the like. Once it is time to inhabit the character, he turns it on he just does it. Impeccably. He’s amazing.March 13, 2020 at 10:20 pm #1203380766
Honestly, New Mutants should go to Disney+ at this point. That poor movie.
You know what really sucks? Everything I’ve heard about the film (I’ve been following it all along as Maisie Williams is my favorite actress) is that it’s actually really good. GREAT responses from the focus screenings. If it had been reviewed–and I genuinely think the reviews would have been really good–and those had gotten out, it would have at least had that buzz to build on prior to its next release instead of the misinformation that’s been floating out there.
Right now so many think it’s been pushed back because of issues with the film itself and that is simply not the case *at all.* Ah well. The film just can’t catch a break.March 13, 2020 at 12:31 pm #1203380464
So it’s pretty clear that both Last Duel and Nightmare Alley will be both 2021 releases at best. The race will be between Tenet, French Dispatch, and Dune.
Well, Ridley Scott is apparently still planning on that Dec 25th release date. The article I read said that he’s heading to the editing bay to work on all of the shooting that’s been done already. So, we’ll see. I’m looking at it from the point of view from a Driver stan. If it gets pushed back, it gets pushed back. Adam still gets an Oscar nom opportunity with Annette, and this will give him an opportunity the following year as well. (Yup, it’s all about Driver for me. My other fave ain’t doing shit right now.)March 11, 2020 at 11:15 am #1203378346
Mad Max: Fury Road did not deserve the awards buzz it got. It was just another movie. This review encapsulates my opinion: https://www.sfgate.com/movies/article/Clever-touches-enliven-two-hour-Mad-Max-6263383.php
Yes, yes, yes!! I love you for bringing that review to my attention! YES! I was so excited to watch MM:FR because I heard so many great things about and I love CT, but damn, I watched it and I was like: ‘Really? That’s it? That’s what everyone is going on about it?’ This review completely nailed it.
(I know with this unpopular opinion, I am differing greatly with a few people I normally agree quite a bit with, LOL!)March 11, 2020 at 11:08 am #1203378324
This is about best actor of the decade and Adam Driver’s work in everything he’s done is absolutely stellar. For those who think he doesn’t belong on this list and that Marriage Story and BlacKkKlansman are all his praise is for, nope. Let me throw some Driver facts your way.
2012 – Frances Ha (small, but stand-out role) Dir. Noah Baumbach
2013 – Inside Llewyn Davis (small, but stand-out role) Dir. Coen Brothers
2014 – This Is Where I Leave You (great reviews) Dir. Shawn Levy
2014 – While We’re Young (great reviews) Dir. Noah Baumbach
2014 – Hungry Hearts (outstanding reviews, nominations–including winning Venice FF Best Actor award) Dir. Saverio Costanzo
2015 – SW: The Force Awakens (great reviews)
2016 – Midnight Special (great reviews), Dir. Jeff Nichols
2016 – Silence (great reviews) Dir. Martin Scorsese
2016 – Paterson (outstanding reviews, several nominations, including winning Los Angeles Critics Award Best Actor) Dir. Jim Jarmusch
2017 – Logan Lucky (great reviews) Dir. Steven Soderbergh
2017 – SW: The Last Jedi (outstanding reviews)
2018 – BlacKkKlansman (outstanding reviews, pretty much every nomination possible, including Oscar) Dir. Spike Lee
2018 – The Man Who Killed Don Quixote (outstanding reviews) Dir. Terry Gilliam
2019 – The Report (outstanding reviews) Dir. Scott Burns
2019 – The Dead Don’t Die (great reviews) Dir. Jim Jarmusch
2019 – Marriage Story (outstanding reviews, pretty much every nomination possible, including Oscar) Dir. Noah Baumbach
2019 – SW: Rise of the Skywalker (great reviews–about the only positive consensus of the entire film)
He’s been working in film since 2011. His first big supporting role was in 2013, his first lead in 2014 and in that time he’s wracked up 94 nominations and 46 wins. I think he definitely belongs on this list.