list http://www.spout.com/ Recent community activity around Philadelphia on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Philadelphia/81014/default.aspx Title: Philadelphia
Year: 1993
Director: Jonathan Demme
Plot: At the time of its release, Jonathan Demme's Philadelphia was the first big-budget Hollywood film to tackle the medical, political, and social issues of AIDS. Tom Hanks, in his first Academy Award-winning performance, plays Andrew Beckett, a talented lawyer at a stodgy Philadelphia law firm. The homosexual Andrew has contracted AIDS but fears informing his firm about the disease. The firm's senior partner, Charles Wheeler (Jason Robards), assigns Andrew a case involving their most important client. Andrew begins diligently working on the case, but soon the lesions associated with AIDS are visible on his face. Wheeler abruptly removes Andrew from the case and fires him from the firm. Andrew believes he has been fired because of his illness and plans to fight the firm in court. But because of the firm's reputation, no lawyer in Philadelphia will risk handling his case. In desperation, Andrew hires Joe Miller (Denzel Washington), a black lawyer who advertises on television, mainly handling personal injury cases. Miller dislikes homosexuals but agrees to take the case for the money and exposure. As Miller prepares for the courtroom battle against one of the law firm's key litigators, Belinda Conine (Mary Steenburgen), Miller begins to realize the discrimination practiced against Andrew is no different from the discrimination Miller himself has to battle against. The cast also includes Antonio Banderas as Andrew's partner, Joanne Woodward as Andrew's mother, and Stephanie Roth as Joe's wife. ~ Paul Brenner, All Movie Guide
Times Tagged: 18
Number of Lists: 17
Number of blog posts: 6
Number of discussion threads: 1
SpoutRating: 3
]]>Sat, 11 Jul 2009 05:50:28 GMTPhiladelphia1993Jonathan DemmeAt the time of its release, <a href="/players/P____87470/default.aspx" style='text-decoration:underline'>Jonathan Demme</a>'s Philadelphia was the first big-budget Hollywood film to tackle the medical, political, and social issues of AIDS. <a href="/players/P____93341/default.aspx" style='text-decoration:underline'>Tom Hanks</a>, in his first Academy Award-winning performance, plays Andrew Beckett, a talented lawyer at a stodgy Philadelphia law firm. The homosexual Andrew has contracted AIDS but fears informing his firm about the disease. The firm's senior partner, Charles Wheeler (Jason Robards), assigns Andrew a case involving their most important client. Andrew begins diligently working on the case, but soon the lesions associated with AIDS are visible on his face. Wheeler abruptly removes Andrew from the case and fires him from the firm. Andrew believes he has been fired because of his illness and plans to fight the firm in court. But because of the firm's reputation, no lawyer in Philadelphia will risk handling his case. In desperation, Andrew hires Joe Miller (<a href="/players/P____74843/default.aspx" style='text-decoration:underline'>Denzel Washington</a>), a black lawyer who advertises on television, mainly handling personal injury cases. Miller dislikes homosexuals but agrees to take the case for the money and exposure. As Miller prepares for the courtroom battle against one of the law firm's key litigators, Belinda Conine (<a href="/players/P____67856/default.aspx" style='text-decoration:underline'>Mary Steenburgen</a>), Miller begins to realize the discrimination practiced against Andrew is no different from the discrimination Miller himself has to battle against. The cast also includes <a href="/players/P_____3682/default.aspx" style='text-decoration:underline'>Antonio Banderas</a> as Andrew's partner, <a href="/players/P___117305/default.aspx" style='text-decoration:underline'>Joanne Woodward</a> as Andrew's mother, and Stephanie Roth as Joe's wife. ~ Paul Brenner, All Movie Guide18Tag Target (>10)17613http://www.spout.com/ProductImages/t52797vnae0.jpghttp://www.spout.com/films/Philadelphia/81014/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/12/2/37861.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/2/2008 4:01:04 PM
Body: It’s already been called the most important civil rights film of the decade, but only time will tell if Milk has any real impact on the gay marriage issue or any other related civil rights matter. Obviously the film, which is set thirty years in the past, can be appropriated by the campaign to overturn Proposition 8, but if that campaign is successful, it will be difficult to prove with certainty Milk contributed to the end result. The Birth of a Nation may have inspired a reformation of the Ku Klux Klan and Guess Who’s Coming to Dinner may have opened some minds to wider acceptance of interracial marriage (which had just recently been legalized). However, as Time magazine reported earlier this year, it’s quite rare for cinema to really change the world. A movie like Philadelphia easily gets moviegoers thinking about AIDS and discrimination, for instance, and Sicko exposes some of the supposed benefits of universal health care, yet most of these kinds of message films preach primarily to the choir. But at least five films have made an actual difference, either on a local or national level. Will Milk join the small group of movies detailed below? Victim (1961) Long before Milk, Philadelphia or even Cruising, this British thriller became the first motion picture in history to feature the word “homosexual.” At the time, same-sex acts were illegal in the UK, and so, even though the laws weren’t strictly enforced, the film was quite controversial (and it was banned in the U.S.). Still, this story of a closeted bisexual lawyer who becomes the target of an anti-gay extortion ring had a deep, lasting effect on the people in Britain, and it’s unofficially yet widely considered to have influenced both general acceptance of homosexuality and the 1967 Sexual Offenses Act, which legalized consensual same-sex relations across the pond (anti-sodomy laws in the States, on the other hand, were not completely eliminated until 2003). I Am Curious (Yellow) (1967) It may seem extremely tame by today’s standards (in the recent words of John Waters, it’s nothing more than a “limp dick and some ugly women naked.”), but this warmer-titled of Vilgot Sjoman’s I Am Curious films became infamous for its depiction of full frontal nudity and an oral sex act that could barely be called fellatio. After being banned in Massachusetts, where it was labeled pornography, it became the subject of an obscenity case that went all the way to the U.S. Supreme Court, where it was ultimately determined not to be obscene. Once it could be freely distributed, it became a must-see, though many were disappointed with it, and it held the record for highest grossing foreign film in the U.S. for more than twenty years. More importantly, the Supreme Court decision was groundbreaking in terms of obscenity law, and the multi-billion dollar pornographic film industry of the 70s was able to happen as a result of this one little Swedish art film. The Thin Blue Line (1988) This Errol Morris film is considered one of the most influential documentaries of all time, for a couple of reasons. In addition to being significant to the craft of nonfiction cinema, it also had a direct effect on the freedom of one man. Rather than merely present the story of Randall Dale Adams, who was tried and convicted of murdering a Dallas police officer, Morris also investigates the case, with enough detail to convince viewers of Adams’ innocence. Following the release of the film, Adams was able to get his conviction overturned and eventually was released from prison. While rescuing one individual may not be the same as changing the world, The Thin Blue Line is considered one of the only motion pictures to be directly influential in bringing about some kind of change. JFK (1991) Oliver Stone’s controversial look at the Kennedy assassination didn’t exactly tell us who killed the president. It didn’t even convince everyone that Oswald wasn’t responsible. But despite all the controversy and negative reviews, JFK went on to be a landmark film for its cause, because it led to the passage of The President John F. Kennedy Assassination Records Act of 1992 (aka the JFK Act) and the formation of the U.S. Assassination Records Review Board. Officially, Congress was more annoyed by the conclusions of JFK than inspired by the film, but the result just goes to show (and Michael Moore likely was paying attention) that being a burden can be as worthwhile as being convincing. An Inconvenient Truth (2006) Davis Guggenheim’s film of Al Gore’s Global Warming presentation didn’t bring about a lot of change or legislation in the U.S., but it did have a significant effect in terms of breaking ground on discussion of the issue. However, it was apparently instrumental in the passing of a law to curb greenhouse gases in California. Meanwhile, elsewhere, it has been employed in school curriculum and it certainly helped Gore win the Nobel Peace Prize. Because not all films can be as direct and quickly effect as The Thin Blue Line and JFK, though, we’ll need more than the past two years to fully see the difference made by this one. Originally posted on:SpoutBlog
]]>Tue, 02 Dec 2008 21:01:04 GMTSpoutBlogSpoutBlog on spout.com12/2/2008 4:01:04 PMIt’s already been called the most important civil rights film of the decade, but only time will tell if Milk has any real impact on the gay marriage issue or any other related civil rights matter. Obviously the film, which is set thirty years in the past, can be appropriated by the campaign to overturn Proposition 8, but if that campaign is successful, it will be difficult to prove with certainty Milk contributed to the end result. The Birth of a Nation may have inspired a reformation of the Ku Klux Klan and Guess Who’s Coming to Dinner may have opened some minds to wider acceptance of interracial marriage (which had just recently been legalized). However, as Time magazine reported earlier this year, it’s quite rare for cinema to really change the world. A movie like Philadelphia easily gets moviegoers thinking about AIDS and discrimination, for instance, and Sicko exposes some of the supposed benefits of universal health care, yet most of these kinds of message films preach primarily to the choir. But at least five films have made an actual difference, either on a local or national level. Will Milk join the small group of movies detailed below? Victim (1961) Long before Milk, Philadelphia or even Cruising, this British thriller became the first motion picture in history to feature the word “homosexual.” At the time, same-sex acts were illegal in the UK, and so, even though the laws weren’t strictly enforced, the film was quite controversial (and it was banned in the U.S.). Still, this story of a closeted bisexual lawyer who becomes the target of an anti-gay extortion ring had a deep, lasting effect on the people in Britain, and it’s unofficially yet widely considered to have influenced both general acceptance of homosexuality and the 1967 Sexual Offenses Act, which legalized consensual same-sex relations across the pond (anti-sodomy laws in the States, on the other hand, were not completely eliminated until 2003). I Am Curious (Yellow) (1967) It may seem extremely tame by today’s standards (in the recent words of John Waters, it’s nothing more than a “limp dick and some ugly women naked.”), but this warmer-titled of Vilgot Sjoman’s I Am Curious films became infamous for its depiction of full frontal nudity and an oral sex act that could barely be called fellatio. After being banned in Massachusetts, where it was labeled pornography, it became the subject of an obscenity case that went all the way to the U.S. Supreme Court, where it was ultimately determined not to be obscene. Once it could be freely distributed, it became a must-see, though many were disappointed with it, and it held the record for highest grossing foreign film in the U.S. for more than twenty years. More importantly, the Supreme Court decision was groundbreaking in terms of obscenity law, and the multi-billion dollar pornographic film industry of the 70s was able to happen as a result of this one little Swedish art film. The Thin Blue Line (1988) This Errol Morris film is considered one of the most influential documentaries of all time, for a couple of reasons. In addition to being significant to the craft of nonfiction cinema, it also had a direct effect on the freedom of one man. Rather than merely present the story of Randall Dale Adams, who was tried and convicted of murdering a Dallas police officer, Morris also investigates the case, with enough detail to convince viewers of Adams’ innocence. Following the release of the film, Adams was able to get his conviction overturned and eventually was released from prison. While rescuing one individual may not be the same as changing the world, The Thin Blue Line is considered one of the only motion pictures to be directly influential in bringing about some kind of change. JFK (1991) Oliver Stone’s controversial look at the Kennedy assassination didn’t exactly tell us who killed the president. It didn’t even convince everyone that Oswald wasn’t responsible. But despite all the controversy and negative reviews, JFK went on to be a landmark film for its cause, because it led to the passage of The President John F. Kennedy Assassination Records Act of 1992 (aka the JFK Act) and the formation of the U.S. Assassination Records Review Board. Officially, Congress was more annoyed by the conclusions of JFK than inspired by the film, but the result just goes to show (and Michael Moore likely was paying attention) that being a burden can be as worthwhile as being convincing. An Inconvenient Truth (2006) Davis Guggenheim’s film of Al Gore’s Global Warming presentation didn’t bring about a lot of change or legislation in the U.S., but it did have a significant effect in terms of breaking ground on discussion of the issue. However, it was apparently instrumental in the passing of a law to curb greenhouse gases in California. Meanwhile, elsewhere, it has been employed in school curriculum and it certainly helped Gore win the Nobel Peace Prize. Because not all films can be as direct and quickly effect as The Thin Blue Line and JFK, though, we’ll need more than the past two years to fully see the difference made by this one. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/10/27/36709.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/27/2008 7:00:43 PM
Body: It’s been more than 100 years since the Philadelphia Quakers changed their name to the Philadelphia Philadelphians, which was thankfully shortened to “Phillies” very quickly, probably by printers who were afraid of using up all of their ‘P’s in the printing press. Since being founded in 1883, they’ve been one of the most tenacious teams in baseball, winning six pennants, and the World Series in 1980. In fact, in all of American sports (not just baseball), the Phillies are the team that’s been in one city with one name for the longest time. They’re one game away from another World Series win tonight, despite being the Major League team with the most losses in history. We celebrate their scrappiness with a list of quintessential Philadelphia movies. Check them out after the break. Rocky When most people think about Philadelphia and movies, the first thing that springs to mind is the iconic shot of Rocky Balboa running up the stairs to the Philadelphia Museum of Art and triumphantly pumping his fists to the sky from Rocky. City Commerce Director Dick Doran said Sylvester Stallone and the movie did more for Philadelphia’s image than Ben Franklin,  and that scene has probably been recreated by thousands of people that visit the city. In fact, the closing credits of Rocky Balboa is a long montage of images of people imitating his famous run, and there are countless fan recreations on YouTube. The Philadelphia Story Even though it’s set entirely on a Hollywood soundstage, this 1940 film skewers Philadelphia high society  in a comedy of errors. It also features Katherine Hepburn, Jimmy Stewart, and Cary Grant at the top of their game, with Stewart winning an Oscar for Best Actor for his role. Katherine Hepburn had previously starred in the Broadway play the film is based on, and eccentric billionaire Howard Hughes bought the film rights for the play and gave them to her as a gift. Which was somewhat ironic, since Philip Barry had written the play for her in an effort to bring her back to Broadway. It’s still one of the best-written romantic comedies of all time, and the city of brotherly love is probably proud of the fact that its name is in the title. Mannequin Set in the famous Wanamaker’s department store in downtown Philadelphia, this is one of those quintessential 1980s movies that critics hated, but audiences adored. Although this story about window display mannequin come to life might not hold up well today, it has grossed over $42 million dollars and was considered such a success that they made a sequel in 1991 called Mannequin Too: On The Move. That one didn’t do quite so well. The original featured both Andrew McCarthy during his rise in the Brat Pack, and Kim Cattrall in her pre-pre-pre Sex and the City days. Besides giving us Starship’s “Nothing’s Gonna Stop Us Now,” the film has become iconically linked with Philadelphia through Wanamaker’s, now a Macy’s, which was the first department store in Philly and one of the first in the United States in 1876. Philadelphia This movie provided the one-two punch of a powerful performance from Tom Hanks along with Bruce Springsteen’s “Streets of Philadelphia” song, both of which netted Oscars. This film not only addressed AIDS and gay issues in a straightforward manner that was extremely new for Hollywood, it helped open the door for future films and even television series in the sexually conservative (at least in gay and lesbian terms) entertainment industry. It also was shot in key locations around the city, including the courtroom scenes which were filmed in an actual court in Philadelphia. Ironically, Denzel Washington’s character says he prays that the Phillies will win the pennant, and when this film came out in 1993 they did just that. The Sixth Sense M. Night Shyamalan famously shoots all of his movies in or around Philadelphia, and this is easily his most famous. Shymalan goes out of his way to show that the film is set in his hometown, including in the opening scene where Bruce Willis and Olivia Williams are looking at a citation Willis has just received from the mayor. The camera pans all the way down to show the words “of Philadelphia.” The film also features several key locations in South Philadelphia. The filmmaker has continued to show love for the city, although audiences haven’t been loving his movies. The Sixth Sense grossed over $600 million at the worldwide box office, but his latest, The Happening, has only pulled in $163 million. Dawn of the Dead Although most of this film takes place in a shopping mall in Monroeville, PA, the action starts in Philadelphia with the main characters fleeing from pandemonium in the city via helicopter. The entire city has become overrun with zombies, which is probably high time to leave any city. The Philadelphia S.W.A.T. team responds to an apartment building full of zombies, which doesn’t turn out so well for them since zombie attack from your reanimated dead loved one probably isn’t in the training manual. Romero shot the film in and around Philadelphia for around $650,000 dollars in 1978, and it still stands as one of the best horror movies of all time and the strongest in his zombie trilogy which includes Night of the Living Dead and Day of the Dead. National Treasure Right on the heels of the success of The Da Vinci Code came this Nicolas Cage starrer with historic clues to lost treasure hidden in Philadelphia. The central clue in the film is the Declaration of Independence, which leads the main characters to Independence Hall (where the Declaration was signed) in Philadelphia where they find a pair of special glasses hidden by Philadelphia’s most famous historical resident, Benjamin Franklin. Although the treasure ends up being underneath an old church in Boston, the scenes in Philadelphia with the secret brick and Franklin’s glasses are one of the most interesting homages to Indiana Jones’ headpiece to the Staff of Ra in Raiders of the Lost Ark. Nicolas Cage’s character is also named Benjamin Franklin Gates, so they had to show some Philly love. Trading Places This comedic version of the prince and the pauper tale is set in an affluent neighborhood in Philadelphia, and in the offices of a commodity brokerage downtown. It’s a double rags to riches tale, with Winthorpe and Billy Ray (Dan Ackroyd and Eddie Murphy) swapping places before they turn the tables on the Duke brothers and bankrupt them as well. Winthorpe’s mansion is actually a real location in a ritzy part of town, and many of the downtown scenes key Philadelphia locations and even local television reporters as extras. Although Randolph and Mortimer return briefly in Murphy’s Coming to America, they’re seen as bums in New York, and not Philadelphia. Witness Ironically, most of this key Philadelphia movie doesn’t take place in the city at all, but rather in the Amish communities of nearby rural Lancaster County. The film opens with a very young Lukas Haas witnessing a murder, which leads to a conspiracy within the city’s police department. Police Captain John Book, played by Harrison Ford, is shot while discovering this, and takes Haas back home to protect him. However, he collapses from his bullet wound, and is nursed back to health by a bonnet-wearing Kelly McGillis. He stays on to protect the boy, and is eventually accepted by the community before offing the bad guys and returning to the big city. 12 Monkeys While this Terry Gilliam post-apocalyptic film is set mostly in modern-day Baltimore and Philadelphia, it’s the shots of the virus ravaged Philly that are the most haunting. Bruce Willis roams the future devastated landscape in his steampunk environmental suit while encountering wild animals and looking for clues that can help the human race repopulate and return to the surface. The iconic ending sequence in the airport was actually shot inside the Philadelphia Convention Center, and the asylum where Willis is a patient is the Eastern State Penitentiary, which is the one of two things Charles Dickens wanted to see when he visited the U.S. The other was Niagara Falls. Originally posted on:SpoutBlog
]]>Mon, 27 Oct 2008 23:00:43 GMTSpoutBlogSpoutBlog on spout.com10/27/2008 7:00:43 PMIt’s been more than 100 years since the Philadelphia Quakers changed their name to the Philadelphia Philadelphians, which was thankfully shortened to “Phillies” very quickly, probably by printers who were afraid of using up all of their ‘P’s in the printing press. Since being founded in 1883, they’ve been one of the most tenacious teams in baseball, winning six pennants, and the World Series in 1980. In fact, in all of American sports (not just baseball), the Phillies are the team that’s been in one city with one name for the longest time. They’re one game away from another World Series win tonight, despite being the Major League team with the most losses in history. We celebrate their scrappiness with a list of quintessential Philadelphia movies. Check them out after the break. Rocky When most people think about Philadelphia and movies, the first thing that springs to mind is the iconic shot of Rocky Balboa running up the stairs to the Philadelphia Museum of Art and triumphantly pumping his fists to the sky from Rocky. City Commerce Director Dick Doran said Sylvester Stallone and the movie did more for Philadelphia’s image than Ben Franklin,  and that scene has probably been recreated by thousands of people that visit the city. In fact, the closing credits of Rocky Balboa is a long montage of images of people imitating his famous run, and there are countless fan recreations on YouTube. The Philadelphia Story Even though it’s set entirely on a Hollywood soundstage, this 1940 film skewers Philadelphia high society  in a comedy of errors. It also features Katherine Hepburn, Jimmy Stewart, and Cary Grant at the top of their game, with Stewart winning an Oscar for Best Actor for his role. Katherine Hepburn had previously starred in the Broadway play the film is based on, and eccentric billionaire Howard Hughes bought the film rights for the play and gave them to her as a gift. Which was somewhat ironic, since Philip Barry had written the play for her in an effort to bring her back to Broadway. It’s still one of the best-written romantic comedies of all time, and the city of brotherly love is probably proud of the fact that its name is in the title. Mannequin Set in the famous Wanamaker’s department store in downtown Philadelphia, this is one of those quintessential 1980s movies that critics hated, but audiences adored. Although this story about window display mannequin come to life might not hold up well today, it has grossed over $42 million dollars and was considered such a success that they made a sequel in 1991 called Mannequin Too: On The Move. That one didn’t do quite so well. The original featured both Andrew McCarthy during his rise in the Brat Pack, and Kim Cattrall in her pre-pre-pre Sex and the City days. Besides giving us Starship’s “Nothing’s Gonna Stop Us Now,” the film has become iconically linked with Philadelphia through Wanamaker’s, now a Macy’s, which was the first department store in Philly and one of the first in the United States in 1876. Philadelphia This movie provided the one-two punch of a powerful performance from Tom Hanks along with Bruce Springsteen’s “Streets of Philadelphia” song, both of which netted Oscars. This film not only addressed AIDS and gay issues in a straightforward manner that was extremely new for Hollywood, it helped open the door for future films and even television series in the sexually conservative (at least in gay and lesbian terms) entertainment industry. It also was shot in key locations around the city, including the courtroom scenes which were filmed in an actual court in Philadelphia. Ironically, Denzel Washington’s character says he prays that the Phillies will win the pennant, and when this film came out in 1993 they did just that. The Sixth Sense M. Night Shyamalan famously shoots all of his movies in or around Philadelphia, and this is easily his most famous. Shymalan goes out of his way to show that the film is set in his hometown, including in the opening scene where Bruce Willis and Olivia Williams are looking at a citation Willis has just received from the mayor. The camera pans all the way down to show the words “of Philadelphia.” The film also features several key locations in South Philadelphia. The filmmaker has continued to show love for the city, although audiences haven’t been loving his movies. The Sixth Sense grossed over $600 million at the worldwide box office, but his latest, The Happening, has only pulled in $163 million. Dawn of the Dead Although most of this film takes place in a shopping mall in Monroeville, PA, the action starts in Philadelphia with the main characters fleeing from pandemonium in the city via helicopter. The entire city has become overrun with zombies, which is probably high time to leave any city. The Philadelphia S.W.A.T. team responds to an apartment building full of zombies, which doesn’t turn out so well for them since zombie attack from your reanimated dead loved one probably isn’t in the training manual. Romero shot the film in and around Philadelphia for around $650,000 dollars in 1978, and it still stands as one of the best horror movies of all time and the strongest in his zombie trilogy which includes Night of the Living Dead and Day of the Dead. National Treasure Right on the heels of the success of The Da Vinci Code came this Nicolas Cage starrer with historic clues to lost treasure hidden in Philadelphia. The central clue in the film is the Declaration of Independence, which leads the main characters to Independence Hall (where the Declaration was signed) in Philadelphia where they find a pair of special glasses hidden by Philadelphia’s most famous historical resident, Benjamin Franklin. Although the treasure ends up being underneath an old church in Boston, the scenes in Philadelphia with the secret brick and Franklin’s glasses are one of the most interesting homages to Indiana Jones’ headpiece to the Staff of Ra in Raiders of the Lost Ark. Nicolas Cage’s character is also named Benjamin Franklin Gates, so they had to show some Philly love. Trading Places This comedic version of the prince and the pauper tale is set in an affluent neighborhood in Philadelphia, and in the offices of a commodity brokerage downtown. It’s a double rags to riches tale, with Winthorpe and Billy Ray (Dan Ackroyd and Eddie Murphy) swapping places before they turn the tables on the Duke brothers and bankrupt them as well. Winthorpe’s mansion is actually a real location in a ritzy part of town, and many of the downtown scenes key Philadelphia locations and even local television reporters as extras. Although Randolph and Mortimer return briefly in Murphy’s Coming to America, they’re seen as bums in New York, and not Philadelphia. Witness Ironically, most of this key Philadelphia movie doesn’t take place in the city at all, but rather in the Amish communities of nearby rural Lancaster County. The film opens with a very young Lukas Haas witnessing a murder, which leads to a conspiracy within the city’s police department. Police Captain John Book, played by Harrison Ford, is shot while discovering this, and takes Haas back home to protect him. However, he collapses from his bullet wound, and is nursed back to health by a bonnet-wearing Kelly McGillis. He stays on to protect the boy, and is eventually accepted by the community before offing the bad guys and returning to the big city. 12 Monkeys While this Terry Gilliam post-apocalyptic film is set mostly in modern-day Baltimore and Philadelphia, it’s the shots of the virus ravaged Philly that are the most haunting. Bruce Willis roams the future devastated landscape in his steampunk environmental suit while encountering wild animals and looking for clues that can help the human race repopulate and return to the surface. The iconic ending sequence in the airport was actually shot inside the Philadelphia Convention Center, and the asylum where Willis is a patient is the Eastern State Penitentiary, which is the one of two things Charles Dickens wanted to see when he visited the U.S. The other was Niagara Falls. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/10/13/36265.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/13/2008 4:00:59 PM
Body: In a crowded year for Best Actress contention, Anne Hathaway could be the only first-timer to receive an Oscar nomination in the lead category, possibly going up against mainstays such as her Devil Wears Prada costar Meryl Streep and Kate Winslet, as well as the less-nominated vets Nicole Kidman and Kristen Scott Thomas. Her main competition for the outsider, dark horse position is Frozen River’s Melissa Leo (who may benefit from her film’s initiatory screener campaign even though River’s theatrical release was early and hardly noticed), and Happy-Go-Lucky’s Sally Hawkins, whose film just debuted to favorable reviews citing her brilliant (as in talented and bright) performance. But Hathaway is sure to be the victor –– even though her performance in Rachel Getting Married is hardly deserving of such an honor. The Oscar buzz for Hathaway has been high for weeks now, enough that the actress apparently joked about it in her Saturday Night Live monologue earlier this month (I thought of it as less a current-year expectation than a general career goal, but it’s made Risky Biz Blog’s Steven Zeitchik compare Hathaway to Catherine O’Hara’s buzz-afflicted character in For Your Consideration). The fact that she’s a well-known movie star should make Hathaway’s buzz continually more reportable by the press and more noticeable by both the public and the voters, which gives her some advantage over Leo and Hawkins in terms of cultural consciousness. As much as the Academy loves Streep and Winslet (and Kidman and Cate Blanchett), and as much as voters like an Oscar comeback from a relatively M.I.A. past nominee like Scott Thomas (see Julie Christie, Sissy Spacek, Ellen Burstyn, etc.), the Academy really seems to have a thing for young, pretty, popular actresses who suddenly find their (probably once-in-a-lifetime) Oscar-worthy role. Hathaway will follow the likes of Gwyneth Paltrow, Winona Ryder, Elizabeth Shue, Helen Hunt, Renee Zellweger, Reese Witherspoon, Ellen Page, Charlize Theron and Keira Knightley (not to mention all of those in the Supporting Actress category), some of who have actually gone on to more nominations and therefore proven themselves deserving of their original transition into Oscar territory. However, for Hathaway it isn’t simply about box office beauties who take a pay cut and/or go bad (or at least more adult), as Tom O’Neill claims. If it were that easy, Hathaway should have been nominated for Havoc or Brokeback Mountain. Instead it’s more to do with the Oscar-favored tradition of recognizing the serious turn from the beauty-stripped Hollywood princess. And it helps Hathaway that Rachel Getting Married is additionally a strong film with countless strong performances, among which she stands out the most. But does she stand out because she’s that much better or because she’s that much more famous? To call Hathaway’s costars in Rachel comparative unknowns is a bit of an understatement. Plus, there’s the matter of Hathaway standing out because her character selfishly butts her way into attention-seeking situations. Yet despite this trait in her character and the basic plot of the film, a less-celebrated actress might have seemed more a part of the ensemble while still being the focal point of the story. It’s easy to notice Hathaway’s performance when you’re constantly reminded, thanks to star status, that it’s Hathaway as you’ve never seen her before. The sudden display of Oscar-worthy talent is what needs to be questioned, because oftentimes a surprisingly great turn by an otherwise fine actress is more the handiwork of the director than the actor or actress. Rachel helmer Jonathan Demme has a long history of nudging merely decent actors toward a nomination. Some of his one-hit-wonders include Mary Steenburgen (Melvin and Howard), Christine Lahti (Swing Shift) and Dean Stockwell (Married to the Mob), and, of course, he’s the guy who first really convinced us that Tom Hanks could be a serious actor with Philadelphia. Demme shows his talent as an actor’s director best with Rachel, as the majority of the film’s cast could just as well receive Oscar buzz if only they had more familiar names or faces. Even Oscar vet Debra Winger might have had a better shot at another nomination if she were more recognizable (seeing Rachel at a matinee filled with old folks had me hearing the “is that…?” question almost as much as I heard it during Tropic Thunder). It’s actually a bit of a shock that relative newcomer Rosemarie DeWitt, who plays the film’s titular role, appears to be gaining heat in the Supporting Actress race, though that category’s major contenders include a number of unfamiliar names, according to In Contention’s Oscar Prediction Chart. Without Demme’s direction, Hathaway might not have delivered the goods, as possibly evidenced in her lack of Oscar notice for Brokeback Mountain. Ang Lee is hardly an actor’s director, and yet Hathaway’s three main costars in that film (Heath Ledger, Jake Gyllenhaal and Michelle Williams) were each nominated by the Academy. Hathaway also stood out in that film, mostly as miscast and out-of-her-element, but she was extremely overshadowed performance-wise. A year later, she was upstaged in Prada by Streep, who went on to receive her 14th nomination. Now, with Rachel, she’s the upstager, but it’ll only be enough to get her into the pool of nominees.  Up against Streep and the other more experienced contenders, her celebrity alone won’t help her actually win. Originally posted on:SpoutBlog
]]>Mon, 13 Oct 2008 20:00:59 GMTSpoutBlogSpoutBlog on spout.com10/13/2008 4:00:59 PMIn a crowded year for Best Actress contention, Anne Hathaway could be the only first-timer to receive an Oscar nomination in the lead category, possibly going up against mainstays such as her Devil Wears Prada costar Meryl Streep and Kate Winslet, as well as the less-nominated vets Nicole Kidman and Kristen Scott Thomas. Her main competition for the outsider, dark horse position is Frozen River’s Melissa Leo (who may benefit from her film’s initiatory screener campaign even though River’s theatrical release was early and hardly noticed), and Happy-Go-Lucky’s Sally Hawkins, whose film just debuted to favorable reviews citing her brilliant (as in talented and bright) performance. But Hathaway is sure to be the victor –– even though her performance in Rachel Getting Married is hardly deserving of such an honor. The Oscar buzz for Hathaway has been high for weeks now, enough that the actress apparently joked about it in her Saturday Night Live monologue earlier this month (I thought of it as less a current-year expectation than a general career goal, but it’s made Risky Biz Blog’s Steven Zeitchik compare Hathaway to Catherine O’Hara’s buzz-afflicted character in For Your Consideration). The fact that she’s a well-known movie star should make Hathaway’s buzz continually more reportable by the press and more noticeable by both the public and the voters, which gives her some advantage over Leo and Hawkins in terms of cultural consciousness. As much as the Academy loves Streep and Winslet (and Kidman and Cate Blanchett), and as much as voters like an Oscar comeback from a relatively M.I.A. past nominee like Scott Thomas (see Julie Christie, Sissy Spacek, Ellen Burstyn, etc.), the Academy really seems to have a thing for young, pretty, popular actresses who suddenly find their (probably once-in-a-lifetime) Oscar-worthy role. Hathaway will follow the likes of Gwyneth Paltrow, Winona Ryder, Elizabeth Shue, Helen Hunt, Renee Zellweger, Reese Witherspoon, Ellen Page, Charlize Theron and Keira Knightley (not to mention all of those in the Supporting Actress category), some of who have actually gone on to more nominations and therefore proven themselves deserving of their original transition into Oscar territory. However, for Hathaway it isn’t simply about box office beauties who take a pay cut and/or go bad (or at least more adult), as Tom O’Neill claims. If it were that easy, Hathaway should have been nominated for Havoc or Brokeback Mountain. Instead it’s more to do with the Oscar-favored tradition of recognizing the serious turn from the beauty-stripped Hollywood princess. And it helps Hathaway that Rachel Getting Married is additionally a strong film with countless strong performances, among which she stands out the most. But does she stand out because she’s that much better or because she’s that much more famous? To call Hathaway’s costars in Rachel comparative unknowns is a bit of an understatement. Plus, there’s the matter of Hathaway standing out because her character selfishly butts her way into attention-seeking situations. Yet despite this trait in her character and the basic plot of the film, a less-celebrated actress might have seemed more a part of the ensemble while still being the focal point of the story. It’s easy to notice Hathaway’s performance when you’re constantly reminded, thanks to star status, that it’s Hathaway as you’ve never seen her before. The sudden display of Oscar-worthy talent is what needs to be questioned, because oftentimes a surprisingly great turn by an otherwise fine actress is more the handiwork of the director than the actor or actress. Rachel helmer Jonathan Demme has a long history of nudging merely decent actors toward a nomination. Some of his one-hit-wonders include Mary Steenburgen (Melvin and Howard), Christine Lahti (Swing Shift) and Dean Stockwell (Married to the Mob), and, of course, he’s the guy who first really convinced us that Tom Hanks could be a serious actor with Philadelphia. Demme shows his talent as an actor’s director best with Rachel, as the majority of the film’s cast could just as well receive Oscar buzz if only they had more familiar names or faces. Even Oscar vet Debra Winger might have had a better shot at another nomination if she were more recognizable (seeing Rachel at a matinee filled with old folks had me hearing the “is that…?” question almost as much as I heard it during Tropic Thunder). It’s actually a bit of a shock that relative newcomer Rosemarie DeWitt, who plays the film’s titular role, appears to be gaining heat in the Supporting Actress race, though that category’s major contenders include a number of unfamiliar names, according to In Contention’s Oscar Prediction Chart. Without Demme’s direction, Hathaway might not have delivered the goods, as possibly evidenced in her lack of Oscar notice for Brokeback Mountain. Ang Lee is hardly an actor’s director, and yet Hathaway’s three main costars in that film (Heath Ledger, Jake Gyllenhaal and Michelle Williams) were each nominated by the Academy. Hathaway also stood out in that film, mostly as miscast and out-of-her-element, but she was extremely overshadowed performance-wise. A year later, she was upstaged in Prada by Streep, who went on to receive her 14th nomination. Now, with Rachel, she’s the upstager, but it’ll only be enough to get her into the pool of nominees.  Up against Streep and the other more experienced contenders, her celebrity alone won’t help her actually win. Originally posted on:SpoutBlog http://www.spout.com/groups/Forever_Young/Re_Top_5_Films_of_the_90s/85/35726/1/ShowPost.aspx Post By: pippin06
Post To: Forever Young
Post Date: 9/30/2008 4:56:32 PM
Body: [quote user="filmgal81"] ( Originally posted on the 80s Movies board, but i think it fits better here) Picking up where Seely left off, I'd like to start a list of the Top 5 Films of the 90s. Again, not necessarily cinematic genius, but films that epitomize how you remember the 90s ( or a particular part of the 90s). Here's mine: 1) Edward Scissorhands - does anything scream 90s like this film? Early Johnny Depp, the Rebel Without a Cause like angst of the early 90s personified in Tim Burton's creation about a man forever on the outside of the "perfect" world ( a theme that also reverberates throughout many of his later films) 2) Singles - A film complete with long hair, plaid shirts, and the Seattle grunge music scene- classic! 3) House Party- on the lighter side, there was this fun film featuring a very popular rap duo named Kid n Play. The fashion, the music, the dancing, blatant sexual references...also classic! 4)Dances with Wolves - & 5) Wyatt Earp - 90s actors of the moment paying tribute to our frontier past. [/quote] Ah, thank you for posting! This group has been sleepy lately, so it's nice to know people are still interested. And a good topic...but... I have a question: are we talking our five fave films in general from the 90s? Or our five fave teen flicks? Since this is the group devoted to those guilty pleasures we call the teen movie, I'll approach it from both vantage points, but if you like Top 5's, the Top 5 group is the best place to play this game. Still, we're open to all here - So: top 5 teen flicks from the 90s (not as good as from the 80s...but yeah). 1. 10 Things I Hate About You - I admit it. I like it. I mostly like Heath before his superstardom, but the whole massively guilty pleasure is just fun to watch. Even when you're sick! 2. Clueless - As if! Whatever happened to what's her name? You know, the star? 3. Never Been Kissed - Is Drew Barrymore believable as Josie Grossie? Hard to say, but another massively guilty pleasure. 4. Election - Overachiever hell by Reese Witherspoon. 5. Now and Then - The female version of Stand By Me for the 90s! Now, to pick my favorite movies of the 90s. That's considerably harder - I mean, it was a good decade and all, but I don't think my favoritest films include many from the decade. I'm trying to think back to my movie collection; ironically, it dances around the 90s quite dramatically. Let's see if I can pick five... 1. Forrest Gump / Apollo 13 - I put these Tom Hanks movies together because this was during the Tom Hanks era, when he couldn't escape a year without an Oscar nod. I like Philadelphia too, but I liked these movies more. Forrest sees it all - it's funny and touching and yes, he's not a smart man, but he knows what love is! And Apollo 13 still tenses me up, and I already know the outcome (I have seen it a few times, after all, in addition to, well, history). 2. Schindler's List - It's hard to watch, but it's the artistic pinnacle of the decade without question. 3. Pulp Fiction - QT exploded onto the map with this quintessential film, and John Travolta had a second coming. It's violent, profane, and overtly sexual (not to mention the unadulterated cocaine use), but it's one of the best told yarns on film. 4. American Beauty / The Usual Suspects - Two of my favorite movies starring one of my favorite actors. Kevin Spacey, playing the duplicitous Verbal Kint or hysterically sardonic Lester Burnham, pretty much rocked my world, and I've watched these movies multiple times and own them both too. 5. The Sixth Sense - Shyamalan seems to offend many nowadays, but no one can deny the thrills and chills factor of this, his very first film, about seeing dead people. And for good measure, my top 5 honorable mentions for the decade: Wayne's World / Austin Powers - It was Mike Myers' decade, after all. Toy Story - A masterpiece but oddly not my favorite Pixar anymore. The Mask / The Truman Show - It was Jim Carrey's decade too, and these two films exemplify his wacky acting schizophrenia. The Silence of the Lambs - Almost made my top 5, but I can't watch it repeatedly. Hannibal scares me. And he should. Titanic - Oh shut up. You know you loved it the first time you saw it. It was only after Celine Dion's painfully worded ballad and James Cameron's self-indulgent "I'm the king of the world" nod that you decided you were too cool to like it. Besides, the production values on the film are astounding. I get cold just watching those poor people drown in the icy Atlantic.
]]>Tue, 30 Sep 2008 20:56:32 GMTpippin06Forever Young9/30/2008 4:56:32 PM[quote user="filmgal81"] ( Originally posted on the 80s Movies board, but i think it fits better here) Picking up where Seely left off, I'd like to start a list of the Top 5 Films of the 90s. Again, not necessarily cinematic genius, but films that epitomize how you remember the 90s ( or a particular part of the 90s). Here's mine: 1) Edward Scissorhands - does anything scream 90s like this film? Early Johnny Depp, the Rebel Without a Cause like angst of the early 90s personified in Tim Burton's creation about a man forever on the outside of the "perfect" world ( a theme that also reverberates throughout many of his later films) 2) Singles - A film complete with long hair, plaid shirts, and the Seattle grunge music scene- classic! 3) House Party- on the lighter side, there was this fun film featuring a very popular rap duo named Kid n Play. The fashion, the music, the dancing, blatant sexual references...also classic! 4)Dances with Wolves - &amp; 5) Wyatt Earp - 90s actors of the moment paying tribute to our frontier past. [/quote] Ah, thank you for posting! This group has been sleepy lately, so it's nice to know people are still interested. And a good topic...but... I have a question: are we talking our five fave films in general from the 90s? Or our five fave teen flicks? Since this is the group devoted to those guilty pleasures we call the teen movie, I'll approach it from both vantage points, but if you like Top 5's, the Top 5 group is the best place to play this game. Still, we're open to all here - So: top 5 teen flicks from the 90s (not as good as from the 80s...but yeah). 1. 10 Things I Hate About You - I admit it. I like it. I mostly like Heath before his superstardom, but the whole massively guilty pleasure is just fun to watch. Even when you're sick! 2. Clueless - As if! Whatever happened to what's her name? You know, the star? 3. Never Been Kissed - Is Drew Barrymore believable as Josie Grossie? Hard to say, but another massively guilty pleasure. 4. Election - Overachiever hell by Reese Witherspoon. 5. Now and Then - The female version of Stand By Me for the 90s! Now, to pick my favorite movies of the 90s. That's considerably harder - I mean, it was a good decade and all, but I don't think my favoritest films include many from the decade. I'm trying to think back to my movie collection; ironically, it dances around the 90s quite dramatically. Let's see if I can pick five... 1. Forrest Gump / Apollo 13 - I put these Tom Hanks movies together because this was during the Tom Hanks era, when he couldn't escape a year without an Oscar nod. I like Philadelphia too, but I liked these movies more. Forrest sees it all - it's funny and touching and yes, he's not a smart man, but he knows what love is! And Apollo 13 still tenses me up, and I already know the outcome (I have seen it a few times, after all, in addition to, well, history). 2. Schindler's List - It's hard to watch, but it's the artistic pinnacle of the decade without question. 3. Pulp Fiction - QT exploded onto the map with this quintessential film, and John Travolta had a second coming. It's violent, profane, and overtly sexual (not to mention the unadulterated cocaine use), but it's one of the best told yarns on film. 4. American Beauty / The Usual Suspects - Two of my favorite movies starring one of my favorite actors. Kevin Spacey, playing the duplicitous Verbal Kint or hysterically sardonic Lester Burnham, pretty much rocked my world, and I've watched these movies multiple times and own them both too. 5. The Sixth Sense - Shyamalan seems to offend many nowadays, but no one can deny the thrills and chills factor of this, his very first film, about seeing dead people. And for good measure, my top 5 honorable mentions for the decade: Wayne's World / Austin Powers - It was Mike Myers' decade, after all. Toy Story - A masterpiece but oddly not my favorite Pixar anymore. The Mask / The Truman Show - It was Jim Carrey's decade too, and these two films exemplify his wacky acting schizophrenia. The Silence of the Lambs - Almost made my top 5, but I can't watch it repeatedly. Hannibal scares me. And he should. Titanic - Oh shut up. You know you loved it the first time you saw it. It was only after Celine Dion's painfully worded ballad and James Cameron's self-indulgent "I'm the king of the world" nod that you decided you were too cool to like it. Besides, the production values on the film are astounding. I get cold just watching those poor people drown in the icy Atlantic. http://www.spout.com/blogs/spoutblog/archive/2008/9/17/35244.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/17/2008 12:01:21 PM
Body: Jonathan Demme has had an extremely successful career ever since directing Caged Heat in 1974. He won the Oscar for Best Director in 1992 with Silence of the Lambs, and helped Tom Hanks act his way to a Best Actor Oscar for Philadelphia. He’s also directed things as varied as a Saturday Night Live episode in 1980, the Talking Heads documentary Stop Making Sense, and Neil Young: Heart of Gold, with a new Young movie on the way in next year’s Trunk Show. Rachel Getting Married represents another big change for him, as the film was shot completely handheld, features a lot of improvised dialogue, and uses ambient music from musicians actually on the set. It’s about as close to a Dogma film as you can get these days. We sat down with Jonathan in Toronto, and read on to find out what inspirations he drew on for this film, why he wanted to cast director Paul Thomas Anderson as the male lead, and how he came to work with Anne Hathaway. This film seems to be a big change or a challenge in your career. What was your biggest challenge doing this film, which is completely different for you? Well, the big challenge and in a way the only challenge that I really felt was the same old challenge, you know, to try to make a good movie, to wind up the movie that worked and kind of delivered on the potential that I perceived in the script to be emotionally strong and also be funny and shed light on different stuff maybe if we got really lucky.

I was cocky about this movie, I trusted Jenny’s script, it moved me so much and I thought it was so fresh and it excited me, because I felt we have the potential here of making a movie that will be absolutely satisfying, justify wherever you watch it, it is watching it and we can get there in a different way. Part of what can be entertaining about this movie can be its very differences. So, there was that. There was a script, there was Anne and this wonderful cast we put together; Declan Quinn, he is our cinematographer. Declan was a gigantic part of my confidence on this movie because Declan not only does very beautiful lighting and he has a fantastic eye anyway. I worked with him, this is our fourth film together, but the others have all been documentaries. So, I have gotten very used to seeing the beautiful cinematography that Declan does when he shoots reality. And I thought, Jenny’s script feels so loose and it aspires to being, you are there, things are going to happen. So, I thought, ‘well if Declan is willing to operate this himself, then we can do a film that will hopefully really be terrific to watch and be very very unique,’ and he is going to shoot it like a documentary. We never rehearsed anything ever. We didn’t design shots beforehand. There was no such thing as Anne’s closeup or over Bill’s shoulder, never that.

 The whole point was that even Declan didn’t know shot by shot what was going to happen the next time the actors started acting. And I mean well, I am in my director’s chair in the other room, watching the monitor, the monitors are really good now, they used to be horrible, you get a really good image there. So, I’d sit there and like wonder what Declan is going to do and it is like “OK action” and then see it.

Declan’s brother if you are familiar with him is Aidan Quinn, the actor. Declan is grown up around acting. He, like me, has tremendous awe for actors. Declan is an extraordinarily gifted storyteller in his own right. He is an amazing man, amazing man. So, when Declan starts wading into those actors and they don’t know if he is going to land on them or not, he is going to come away with something much better than anything we could abstractly plan beforehand, I think. Can you about how you incorporated the music into this, it is so complicated and it sounds like it is environmental that it is part of the scene as well? Jenny had it in the script, she had written this to me wonderful startling odd thing and now the wedding party begins and Brazilian samba troupe shows up in the backyard of this [inaudible 16:43] home. And that made me think that you know, let’s make this… Their friends can be  he is a record producer, of course there would be a bunch of musicians there, and of course it is a house that is permeated with love of music. Their father, Paul, is a music business executive and the artists kind of love him, we can hear that during the toast when Donald Harrison speaks to him. So, we will have lots of instruments around.

I was very excited about the idea of… again with this idea of wanting it to be real, wanting it not only to seem real. I was hoping to try to make everything as real as possible. So, well, they’d really be a bunch of musicians and I house a lot of instruments, let’s go for it. 

And I was very excited about the possibility of doing something that I’d sort of wanted to do for a long time, which is the idea of normally what we do is we shoot the movie and than a composer comes in and there’s a composer’s response to what the actors did. And that music gets made and put on top of the movie.

 But, what if the actors  you flip it and the actors get to respond to the music that we’re hearing when we watch the picture. The music in the moment. That’s very Dogma. By the way, I know Dogma’s dead and everything, but I think the idea of dogma, which is also the idea of any documentary, which is you don’t manipulate the reality. Speaking of Dogma, Rosemarie DeWitt told us that you told the actors to watch After The Wedding. Why did you do that and what did you take away from that film? After the Wedding? Well, that was the thing about which I have also been told, by the way, is postdogma dogma. It’s feels like it would be closer to Celebration, right? Now, that’s Dogma. Celebration, we looked at that by the way, because again I wanted to, because we’re making a movie in America and we’re Americans and stuff like that. I wanted to try to remind us of what it’s like when fiction is done in an aggressively realistic way.

 So, we watched Festen, but the movie the I kept watching, and we had screenings, we got the whole cast together and watched was After the Wedding. We had the key crew people together and watched After the Wedding. Because After the Wedding, that was what my aspiration was, because I love that movie so much. And I get this very real sense that the actors, that real moments were happening, that it was spontaneous, that it seemed… we would argue, “Do you think they really  did that just happen or did they know it was going to happen?” But, whatever it was, it was great. It makes you start feeling, “Gosh, this is real.”

 And the camera in After the Wedding, it didn’t look like it had designed shots, but it felt like the camera was always lucky enough to be in the right place to capture the best perspective on what was going on.

 So, that was my thing. Let’s try as best we can to achieve this sense of freedom and spontaneity on both sides of the camera. How did you end up casting Anne Hathaway for this? Did you have a particular belief in her acting? I did always believe in her from day one and I think it is very funny because I think we tend to, anyone who like watches movies or plays and then thinks about it, we someone and we think, “They are really good at that.” And then, they do something different and they are really good at that, “We go ahhh wow! Who would have thought it,” but I think it is actually a logic that if Anne has been like in Princess Diaries, where she showed up as a teenager and I don’t want to belittle, but she showed up as a teenager and she was really obviously very gifted at doing that part, but to me, that leads me to believe that she is going to be gifted doing other parts. And I do think it is very exciting when we see someone do that, but I think it is amusing that it is surprising. Are you always trying to get something different out of your actors?? Well, you are hoping that they are going reinvent themselves, yes, in the new part, but with Anne, I had a very very simple kind of progression. I saw her first in the Princess Diaries, which by the way I saw it because I had kids that wanted to see it and I saw it at a drive-in in Bridgeton, Maine and a big success, so I was really impressed because of that, so there was that.

 And then, I was at the Golden Globes, I was one of the producers of Adaptation about probably it was… five years ago. And I had this funny director moment where I showed up on the, as everybody does, on the red carpet, walking along and there is Donald Sutherland and there is Charlize Theron and they are all like this… this crowd of celebrity and glamour and what have you, there was this young woman, about 10 yards away, who was moving in a certain kind of way and had this kind of wonderful thing about her and I was taken in. She also looked really pretty to be surface about it, looked really pretty and kind of gorgeous and wonderful and asked them, I asked “Who is… do you know who that is?” He was like “Oh that is Anne Hathaway,” “Ah! The girl from Princess Diaries.” Well, look at that man, she is really got it to put it crudely.

So, when I got, that’s a horrible thing, “she’s got it,” the camera loved it. But, I had that moment, so like the director in me was like “make a note of that, maybe I will be able to capitalize on that someday.” Maybe, I will be able to one day have a script where she can do something completely different and everything because there was this potential there. So then, when I got Jenny’s script, Anne was the only person I thought of to send the script, but I sent it to her representatives and I hadn’t taken it anywhere for finance, so it was just like kind of like, well there is a script I love and I am wondering if Anne Hathaway would be interested, actually in either of the sisters. I think, both parts are great.

And I heard back that Anne thought the script was really good, was very interested in the character of Kym and was willing to meet me. So, we met and we had a coffee in Greenwich Village for about an hour. And it was clear to me who she was and I thought oh gosh, you can see how keenly intelligent she is, how big hearted she is, how likable she is, which is going to be really important for this really maddening character that you want to like thump all the time. And we talked about it, Anne saw stuff in the script that I hadn’t appreciated enough yet and I got very very excited by the encounter and I know she’d be, longwinded, but that’s it, I knew she was going to be wonderful. Can you talk about the cultural diversity in this film? I think it’s really important, it struck me like this is the first movie of the Barack Obama, let’s hope, years. Because it had such an ease about the cultural differences and all of that. So, was that in the script or is that something you added? She wrote this four years ago. We never talked about that. To me, because we certainly wanted this to be the best wedding, to me there’s two things. One is, I like the pictures that I do to reflect the real America as it is today. And I’m a New Yorker and I can’t speak to what it’s like all over the country, but I can tell you that what we see gathered there at the wedding reflects very much what we see on the streets in New York and in workplaces all over our town.

Also, I wanted this to be the best, best, best wedding ever. And to me that meant the best crowd ever. The most exciting crowd, the most stimulating crowd. And that’s, again, what you end up with. I think a kind of a predominantly white crowd is boring. It’s just not  it doesn’t look like that.

 But, there’s an irony too, because it is an interracial marriage. We never talked about that. We never went, “Wow.” Because we all know interracial couples and stuff. All the other elements: the Indian wedding, the Brazilian dancers… Well, that’s Jenny Lumet’s fault. But, the thing I wanted to say there just in conclusion, that point that was Tunde Adebimpe who plays Sidney was the second person that I offered the part to. The first person I offered the part two was the American filmmaker who should be in movies because he’s so good looking and fabulous. And that is Paul Thomas Anderson. He came in and read the script at a table read with us. He was working on finishing up There Will Be Blood in New York. He was wonderful. And he passed the likeability test in a big way. I wanted, again because Jenny writes characters without regard to making them likable, and rooting interests and stuff. She tries to makes them real and fascinating and complicated.

We needed not only terrific actors, but I thought people in the audience would like despite their vagaries. So, Paul was adorable as Sidney. I offered him the part and he said, “Jonathan, you’ve got to be kidding me. It was fun to do the table read, but a) I’m shy, and b) I’ve got this little movie I’m trying to finish and stuff.

 So, our casting directors I asked them to please, please, our whole movie was cast from New York. And I asked our casting directors to bring in our most gifted, likable actors. And Tunde and also Mather Zickle, who plays Kieran, these are guys, they sat down across the table and I just liked them right away.

I liked being with them. I was fascinated by them. They were cute and funny and terrific. So, with Tunde, I was seduced a little bit by the fact that he’s the lead singer of a great cutting edge rock band called “TV On The Radio,” that is really wonderful. That kind of rock and roll allure.

 The other thing was I was excited by the fact that it made for an interracial marriage because that moves me. For me, and I’m the only person I can really go on, this makes it a richer and more meaningful experience, if possible.

 Now, P.S., when I saw the Obama convention, which Anne was at. And then, they did his speech, I don’t know if you all saw it, but 80,000 people. I was like, “Yo! It’s just like our movie!” So the film got such a great response in Venice and then here in Toronto, why was it rejected from Telluride? I’m not sure. All I know is that… I think the Sony guys showed it to whoever they showed it to, and they didn’t invite her to come. Wow. That seems like such an egregious mistake. Well, thank you. I’ve never been to Telluride, but we’re really happy to be here in Toronto. I imagine. The audiences seem to be too. Originally posted on:SpoutBlog
]]>Wed, 17 Sep 2008 16:01:21 GMTSpoutBlogSpoutBlog on spout.com9/17/2008 12:01:21 PM Jonathan Demme has had an extremely successful career ever since directing Caged Heat in 1974. He won the Oscar for Best Director in 1992 with Silence of the Lambs, and helped Tom Hanks act his way to a Best Actor Oscar for Philadelphia. He’s also directed things as varied as a Saturday Night Live episode in 1980, the Talking Heads documentary Stop Making Sense, and Neil Young: Heart of Gold, with a new Young movie on the way in next year’s Trunk Show. Rachel Getting Married represents another big change for him, as the film was shot completely handheld, features a lot of improvised dialogue, and uses ambient music from musicians actually on the set. It’s about as close to a Dogma film as you can get these days. We sat down with Jonathan in Toronto, and read on to find out what inspirations he drew on for this film, why he wanted to cast director Paul Thomas Anderson as the male lead, and how he came to work with Anne Hathaway. This film seems to be a big change or a challenge in your career. What was your biggest challenge doing this film, which is completely different for you? Well, the big challenge and in a way the only challenge that I really felt was the same old challenge, you know, to try to make a good movie, to wind up the movie that worked and kind of delivered on the potential that I perceived in the script to be emotionally strong and also be funny and shed light on different stuff maybe if we got really lucky.

I was cocky about this movie, I trusted Jenny’s script, it moved me so much and I thought it was so fresh and it excited me, because I felt we have the potential here of making a movie that will be absolutely satisfying, justify wherever you watch it, it is watching it and we can get there in a different way. Part of what can be entertaining about this movie can be its very differences. So, there was that. There was a script, there was Anne and this wonderful cast we put together; Declan Quinn, he is our cinematographer. Declan was a gigantic part of my confidence on this movie because Declan not only does very beautiful lighting and he has a fantastic eye anyway. I worked with him, this is our fourth film together, but the others have all been documentaries. So, I have gotten very used to seeing the beautiful cinematography that Declan does when he shoots reality. And I thought, Jenny’s script feels so loose and it aspires to being, you are there, things are going to happen. So, I thought, ‘well if Declan is willing to operate this himself, then we can do a film that will hopefully really be terrific to watch and be very very unique,’ and he is going to shoot it like a documentary. We never rehearsed anything ever. We didn’t design shots beforehand. There was no such thing as Anne’s closeup or over Bill’s shoulder, never that.

 The whole point was that even Declan didn’t know shot by shot what was going to happen the next time the actors started acting. And I mean well, I am in my director’s chair in the other room, watching the monitor, the monitors are really good now, they used to be horrible, you get a really good image there. So, I’d sit there and like wonder what Declan is going to do and it is like “OK action” and then see it.

Declan’s brother if you are familiar with him is Aidan Quinn, the actor. Declan is grown up around acting. He, like me, has tremendous awe for actors. Declan is an extraordinarily gifted storyteller in his own right. He is an amazing man, amazing man. So, when Declan starts wading into those actors and they don’t know if he is going to land on them or not, he is going to come away with something much better than anything we could abstractly plan beforehand, I think. Can you about how you incorporated the music into this, it is so complicated and it sounds like it is environmental that it is part of the scene as well? Jenny had it in the script, she had written this to me wonderful startling odd thing and now the wedding party begins and Brazilian samba troupe shows up in the backyard of this [inaudible 16:43] home. And that made me think that you know, let’s make this… Their friends can be  he is a record producer, of course there would be a bunch of musicians there, and of course it is a house that is permeated with love of music. Their father, Paul, is a music business executive and the artists kind of love him, we can hear that during the toast when Donald Harrison speaks to him. So, we will have lots of instruments around.

I was very excited about the idea of… again with this idea of wanting it to be real, wanting it not only to seem real. I was hoping to try to make everything as real as possible. So, well, they’d really be a bunch of musicians and I house a lot of instruments, let’s go for it. 

And I was very excited about the possibility of doing something that I’d sort of wanted to do for a long time, which is the idea of normally what we do is we shoot the movie and than a composer comes in and there’s a composer’s response to what the actors did. And that music gets made and put on top of the movie.

 But, what if the actors  you flip it and the actors get to respond to the music that we’re hearing when we watch the picture. The music in the moment. That’s very Dogma. By the way, I know Dogma’s dead and everything, but I think the idea of dogma, which is also the idea of any documentary, which is you don’t manipulate the reality. Speaking of Dogma, Rosemarie DeWitt told us that you told the actors to watch After The Wedding. Why did you do that and what did you take away from that film? After the Wedding? Well, that was the thing about which I have also been told, by the way, is postdogma dogma. It’s feels like it would be closer to Celebration, right? Now, that’s Dogma. Celebration, we looked at that by the way, because again I wanted to, because we’re making a movie in America and we’re Americans and stuff like that. I wanted to try to remind us of what it’s like when fiction is done in an aggressively realistic way.

 So, we watched Festen, but the movie the I kept watching, and we had screenings, we got the whole cast together and watched was After the Wedding. We had the key crew people together and watched After the Wedding. Because After the Wedding, that was what my aspiration was, because I love that movie so much. And I get this very real sense that the actors, that real moments were happening, that it was spontaneous, that it seemed… we would argue, “Do you think they really  did that just happen or did they know it was going to happen?” But, whatever it was, it was great. It makes you start feeling, “Gosh, this is real.”

 And the camera in After the Wedding, it didn’t look like it had designed shots, but it felt like the camera was always lucky enough to be in the right place to capture the best perspective on what was going on.

 So, that was my thing. Let’s try as best we can to achieve this sense of freedom and spontaneity on both sides of the camera. How did you end up casting Anne Hathaway for this? Did you have a particular belief in her acting? I did always believe in her from day one and I think it is very funny because I think we tend to, anyone who like watches movies or plays and then thinks about it, we someone and we think, “They are really good at that.” And then, they do something different and they are really good at that, “We go ahhh wow! Who would have thought it,” but I think it is actually a logic that if Anne has been like in Princess Diaries, where she showed up as a teenager and I don’t want to belittle, but she showed up as a teenager and she was really obviously very gifted at doing that part, but to me, that leads me to believe that she is going to be gifted doing other parts. And I do think it is very exciting when we see someone do that, but I think it is amusing that it is surprising. Are you always trying to get something different out of your actors?? Well, you are hoping that they are going reinvent themselves, yes, in the new part, but with Anne, I had a very very simple kind of progression. I saw her first in the Princess Diaries, which by the way I saw it because I had kids that wanted to see it and I saw it at a drive-in in Bridgeton, Maine and a big success, so I was really impressed because of that, so there was that.

 And then, I was at the Golden Globes, I was one of the producers of Adaptation about probably it was… five years ago. And I had this funny director moment where I showed up on the, as everybody does, on the red carpet, walking along and there is Donald Sutherland and there is Charlize Theron and they are all like this… this crowd of celebrity and glamour and what have you, there was this young woman, about 10 yards away, who was moving in a certain kind of way and had this kind of wonderful thing about her and I was taken in. She also looked really pretty to be surface about it, looked really pretty and kind of gorgeous and wonderful and asked them, I asked “Who is… do you know who that is?” He was like “Oh that is Anne Hathaway,” “Ah! The girl from Princess Diaries.” Well, look at that man, she is really got it to put it crudely.

So, when I got, that’s a horrible thing, “she’s got it,” the camera loved it. But, I had that moment, so like the director in me was like “make a note of that, maybe I will be able to capitalize on that someday.” Maybe, I will be able to one day have a script where she can do something completely different and everything because there was this potential there. So then, when I got Jenny’s script, Anne was the only person I thought of to send the script, but I sent it to her representatives and I hadn’t taken it anywhere for finance, so it was just like kind of like, well there is a script I love and I am wondering if Anne Hathaway would be interested, actually in either of the sisters. I think, both parts are great.

And I heard back that Anne thought the script was really good, was very interested in the character of Kym and was willing to meet me. So, we met and we had a coffee in Greenwich Village for about an hour. And it was clear to me who she was and I thought oh gosh, you can see how keenly intelligent she is, how big hearted she is, how likable she is, which is going to be really important for this really maddening character that you want to like thump all the time. And we talked about it, Anne saw stuff in the script that I hadn’t appreciated enough yet and I got very very excited by the encounter and I know she’d be, longwinded, but that’s it, I knew she was going to be wonderful. Can you talk about the cultural diversity in this film? I think it’s really important, it struck me like this is the first movie of the Barack Obama, let’s hope, years. Because it had such an ease about the cultural differences and all of that. So, was that in the script or is that something you added? She wrote this four years ago. We never talked about that. To me, because we certainly wanted this to be the best wedding, to me there’s two things. One is, I like the pictures that I do to reflect the real America as it is today. And I’m a New Yorker and I can’t speak to what it’s like all over the country, but I can tell you that what we see gathered there at the wedding reflects very much what we see on the streets in New York and in workplaces all over our town.

Also, I wanted this to be the best, best, best wedding ever. And to me that meant the best crowd ever. The most exciting crowd, the most stimulating crowd. And that’s, again, what you end up with. I think a kind of a predominantly white crowd is boring. It’s just not  it doesn’t look like that.

 But, there’s an irony too, because it is an interracial marriage. We never talked about that. We never went, “Wow.” Because we all know interracial couples and stuff. All the other elements: the Indian wedding, the Brazilian dancers… Well, that’s Jenny Lumet’s fault. But, the thing I wanted to say there just in conclusion, that point that was Tunde Adebimpe who plays Sidney was the second person that I offered the part to. The first person I offered the part two was the American filmmaker who should be in movies because he’s so good looking and fabulous. And that is Paul Thomas Anderson. He came in and read the script at a table read with us. He was working on finishing up There Will Be Blood in New York. He was wonderful. And he passed the likeability test in a big way. I wanted, again because Jenny writes characters without regard to making them likable, and rooting interests and stuff. She tries to makes them real and fascinating and complicated.

We needed not only terrific actors, but I thought people in the audience would like despite their vagaries. So, Paul was adorable as Sidney. I offered him the part and he said, “Jonathan, you’ve got to be kidding me. It was fun to do the table read, but a) I’m shy, and b) I’ve got this little movie I’m trying to finish and stuff.

 So, our casting directors I asked them to please, please, our whole movie was cast from New York. And I asked our casting directors to bring in our most gifted, likable actors. And Tunde and also Mather Zickle, who plays Kieran, these are guys, they sat down across the table and I just liked them right away.

I liked being with them. I was fascinated by them. They were cute and funny and terrific. So, with Tunde, I was seduced a little bit by the fact that he’s the lead singer of a great cutting edge rock band called “TV On The Radio,” that is really wonderful. That kind of rock and roll allure.

 The other thing was I was excited by the fact that it made for an interracial marriage because that moves me. For me, and I’m the only person I can really go on, this makes it a richer and more meaningful experience, if possible.

 Now, P.S., when I saw the Obama convention, which Anne was at. And then, they did his speech, I don’t know if you all saw it, but 80,000 people. I was like, “Yo! It’s just like our movie!” So the film got such a great response in Venice and then here in Toronto, why was it rejected from Telluride? I’m not sure. All I know is that… I think the Sony guys showed it to whoever they showed it to, and they didn’t invite her to come. Wow. That seems like such an egregious mistake. Well, thank you. I’ve never been to Telluride, but we’re really happy to be here in Toronto. I imagine. The audiences seem to be too. Originally posted on:SpoutBlog http://www.spout.com/blogs/cinemarian/archive/2008/5/12/28569.aspx Post By: CinemaRian
Post To: CinemaRian Blog
Post Date: 5/12/2008 11:11:02 AM
Body: Philadelphia is an obnoxious and offensive movie that pretends to be a great liberal statement, but doesn't even have the courage of its own conviction. It's main character is a homosexual in a monogamous relationship, but the couple are never even shown holding hands. It would be awful if this supposedly liberal plea for tolerance offended the heterosexual majority. The movie is the kind of garbage that Steven Spielberg is often accused of making, but rarely does himself, but Philadelphia also lacks Spielberg's visual mastery. The director, Jonathon Demme, made the great horror film The Silence of Lambs but has struck out on other occasions, such as his pointless remake of The Manchurian Candidate and this movie. Oscar historian Charles Mathews speculated that Demme made this film as an apology to the gay community for making Silence, which had a transvestite villain. Whatever the reason, the film is a total disaster. The main character is a gay lawyer named Andrew Beckett (Tom Hanks), who has AIDS. He's given a big promotion by his law firm, but has to miss several days due to his illness and is blamed for a clerical mix-up he had nothing to do with, probably because someone suspects what exact ailment he's suffering from. His boss (Jason Robards) is also homophobic, and fires Andy as he enters the late stages of AIDS. Angered at the blatant discrimination, he sues the firm. The only person who will take his case is Joe Miller (Denzel Washington) a personal injury lawyer. Miller is homophobic, but takes on the seemingly hopeless cause when he witnesses Andy being discriminated against at a law library. Do you think that Joe will learn a life lesson before the movie is over? This movie was cleared designed to be Introduction to Homosexuality 101 for straight audiences, and goes out of its way not to offend anyone. None of Andy's friends are super gay (there are no femme guys in the movie), and his irritatingly supportive family is right out of Leave it to Beaver. Worst of all is the treatment of Andy's partner, Miguel (Antonio Banderas) who is rarely allowed to show any affection toward Andy (and certainly none physical). There is also a speech about the three ways you can get AIDS, how it is not transmissible by casual contact, about how you can't tell someone is gay by looking at them, and on and on. All homophobes (except Joe, of course) are mean-spirited, irredeemable bigots. The movie is so obvious and badly written that it made me long for the message films of Stanley Kramer, which got a didactic message across without insulting the audience. Tom Hanks won an Oscar for this movie. He is of course a great actor, but there is nothing in this script that lets him do anything out of the ordinary. I have a feeling Hanks won the award because the actor was a known straight who could convincingly play a homosexual. Now that's acting! Just one question- why don't gay actors get awards for playing straight parts? Philadelphia (1993)
]]>Mon, 12 May 2008 15:11:02 GMTCinemaRianCinemaRian Blog5/12/2008 11:11:02 AMPhiladelphia is an obnoxious and offensive movie that pretends to be a great liberal statement, but doesn't even have the courage of its own conviction. It's main character is a homosexual in a monogamous relationship, but the couple are never even shown holding hands. It would be awful if this supposedly liberal plea for tolerance offended the heterosexual majority. The movie is the kind of garbage that Steven Spielberg is often accused of making, but rarely does himself, but Philadelphia also lacks Spielberg's visual mastery. The director, Jonathon Demme, made the great horror film The Silence of Lambs but has struck out on other occasions, such as his pointless remake of The Manchurian Candidate and this movie. Oscar historian Charles Mathews speculated that Demme made this film as an apology to the gay community for making Silence, which had a transvestite villain. Whatever the reason, the film is a total disaster. The main character is a gay lawyer named Andrew Beckett (Tom Hanks), who has AIDS. He's given a big promotion by his law firm, but has to miss several days due to his illness and is blamed for a clerical mix-up he had nothing to do with, probably because someone suspects what exact ailment he's suffering from. His boss (Jason Robards) is also homophobic, and fires Andy as he enters the late stages of AIDS. Angered at the blatant discrimination, he sues the firm. The only person who will take his case is Joe Miller (Denzel Washington) a personal injury lawyer. Miller is homophobic, but takes on the seemingly hopeless cause when he witnesses Andy being discriminated against at a law library. Do you think that Joe will learn a life lesson before the movie is over? This movie was cleared designed to be Introduction to Homosexuality 101 for straight audiences, and goes out of its way not to offend anyone. None of Andy's friends are super gay (there are no femme guys in the movie), and his irritatingly supportive family is right out of Leave it to Beaver. Worst of all is the treatment of Andy's partner, Miguel (Antonio Banderas) who is rarely allowed to show any affection toward Andy (and certainly none physical). There is also a speech about the three ways you can get AIDS, how it is not transmissible by casual contact, about how you can't tell someone is gay by looking at them, and on and on. All homophobes (except Joe, of course) are mean-spirited, irredeemable bigots. The movie is so obvious and badly written that it made me long for the message films of Stanley Kramer, which got a didactic message across without insulting the audience. Tom Hanks won an Oscar for this movie. He is of course a great actor, but there is nothing in this script that lets him do anything out of the ordinary. I have a feeling Hanks won the award because the actor was a known straight who could convincingly play a homosexual. Now that's acting! Just one question- why don't gay actors get awards for playing straight parts? Philadelphia (1993) http://www.spout.com/blogs/jimbell/archive/2007/5/7/8327.aspx Post By: JimBell
Post To: JimBell Blog
Post Date: 5/7/2007 12:06:00 AM
Body: Philadelphia, starring Tom Hanks, Denzel Washington, and Mary Steenburgen, is a gripping movie. Very, very few films will I watch a second time, even with years intervening. Although I do not have any particular attachment to the AIDS issue, this movie made me entirely sympathetic by emphasizing an angle we can all identify with—injustice.
]]>Mon, 07 May 2007 04:06:00 GMTJimBellJimBell Blog5/7/2007 12:06:00 AMPhiladelphia, starring Tom Hanks, Denzel Washington, and Mary Steenburgen, is a gripping movie. Very, very few films will I watch a second time, even with years intervening. Although I do not have any particular attachment to the AIDS issue, this movie made me entirely sympathetic by emphasizing an angle we can all identify with&mdash;injustice. http://www.spout.com/members/0/tags/sad/MemberTagFilms.aspxsad
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