Movies-by-Mills MAY 2013
*Déborah François *SUNDANCE LONDON –MUD REVIEW *FILM FEST FOLLOWER –PREVIEWING CANNES *ARTHOUSE AMBIANCE THE ELECTRIC NOTTING HILL *PLEASE RELEASE ME GAZZARA DOCUMENTARY *Q & A: JOSEPH REZWIN*FILM OF THE MONTH- POPULAIRE *Q & A: WITH ROMAIN DURIS, Déborah François, REGIS ROINSARD *PRIZE QUIZ COMPETITION*
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“ W ONDER FUL . . . T H I S G ENER ATION’S S TA ND BY ME”
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EVEREST ENTERTAINMENT PRESENTS A BRACE COVE/FILMNATION PRODUCTION MATTHEW MCCONAUGHEY “MUD” TYE SHERIDAN SAM SHEPARD MICHAEL SHANNON JOE DON BAKER R DIRECTOR OF DESIGNER RICHARD A. WRIGHT PHOTOGRAPHY A SARAH PAULSON PAUL SPARKS JACOB LOFLAND AND REESE WITHERSPOON MUSICORIGINALBY DAVID WINGO CASTINGBY FRANCINE MAISLER EDITEDBY JULIE MONROE PRODUCTION EXECUTIVE PRODUCED WRITTEN AND PRODUCERS TOM HELLER GARETH SMITH GLEN BASNER MICHAEL FLYNN BY SARAH GREEN AARON RYDER LISA MARIA FALCONE DIRECTED BY JEFF NICHOLS
12A CONTAINSAND SEXMODERATEREFERENCESVIOLENCE TyE SHERIDAN
S A M S H E pA R D
REESE WITHERSpOON
EVEREST ENTERTAINMENT PRESENTS A BRACE COVE/FILMNATION PRODUCTION MATTHEW MCCONAUGHEY “MUD” TYE SHERIDAN SAM SHEPARD MICHAEL SHANNON JOE DON BAKER RAY MCKINNON DIRECTOR OF DESIGNER RICHARD A. WRIGHT PHOTOGRAPHY ADAM STONE SARAH PAULSON PAUL SPARKS JACOB LOFLAND AND REESE WITHERSPOON MUSICORIGINALBY DAVID WINGO CASTINGBY FRANCINE MAISLER EDITEDBY JULIE MONROE PRODUCTION EXECUTIVE PRODUCED WRITTEN AND PRODUCERS TOM HELLER GARETH SMITH GLEN BASNER MICHAEL FLYNN BY SARAH GREEN AARON RYDER LISA MARIA FALCONE DIRECTED BY JEFF NICHOLS
12A CONTAINSAND SEXMODERATEREFERENCESVIOLENCE
SUNDANCE LONDON
Sundance returned to London for four days last month at the 02 Arena. Headed by the president and founder, Robert Redford, and the festival’s director, John Cooper, the festival offered a varied mix of some of the films that were originally screened in Utah in January. It offered Londoners a chance to see independent films made by new and emerging filmmakers. Among its highlights: Emanuel and The Truth About Fishes, In A World, In Fear, Mud, Upstream Color. Sundance Film Festival, which started in 1986 and is now along with Toronto, Cannes, Berlin and Venice, one of the major film festivals of the year. In the States the festival is devoted entirely to films, while in London it is a film and music festival.
MBM RECOMMENDS
MUD
*spoiler alert
Writer and director Jeff Nichols is proud of this movie and so he should be – it is brilliant. The idea of the story came from a picture he saw in a public library of a river diver with fantastical head gear in a book. “I began thinking of what kind of character this was, where he lived, and what his life was like.” In MUD that idea became Galen, played by Michael Shannon, diving for oysters and wearing extraordinary welded underwater gear. Galen lives with his nephew Neckbone, Jacob Lofland, who is making his film debut after fitting the characteristics that were advertised in a paper and winning the role. Neckbone and his friend Ellis, Tye Sheridan, Tree of Life, are the teenagers of the story and like their neighbours live on houseboats on an island on the Mississippi River. They find a man living on a boat in a tree that they had thought was theirs. His name is Mud, Matthew McConaughey in a part that he was born to play. He promises the boys that once the woman he loves, Juniper (Reese Witherspoon) comes for him he will leave and the boat will be theirs again. Ellis is searching for love because his parents are divorcing and Mud’s story about his love for Juniper touches him and he and Neckbone help him. Ellis brings him food and takes his notes to Juniper, who Ellis discovers in town and tracks down her address; and love is really what this film is all about; Ellis wants to see proof that love really works and he will grab at every chance he
gets to do that. Nichols says: “Ellis came from a series of high school heartbreaks; I am a big believer that love, when you’re a teenager, is probably fiercer than it ever will be for the rest of your life. That doesn’t mean it’s deeper or more sincere, it just means it’s more intense. When you’re in love, it’s this feverish thing, and when your heart is broken, it’s just as painful. And that really, for me, is what I wanted Ellis to be like. If I could express in a film that polarization and that intensity in love out of a young kid, I feel
like it’s a story worth telling.” The inspiration of Mark Twain is obvious and the American Southern writers, and it was literature that Nichols looked to rather than films, but having admitted that, there is undoubtedly an influence of Terrence Malick in the beautiful panoramic vistas of the Mississippi River and sunsets and of Sam Peckinpath in the climatic shootout.
There is a very telling line when Mud says to Ellis that he is like him, and we can see that. Mud is a man who believes in love. He has loved Juniper since he was fourteen, when she saved his life and has never stopped loving her no matter what. His surrogate dad, Tom Blankenship (Sam Shepard) tells Ellis that Juniper has been Mud’s downfall, but Ellis does not believe him because it goes against his belief of love. The supporting players are perfectly cast: Sarah Paulson as Ellis’s mother Mary Lee who takes the responsibility of killing her boy’s dream. Ray McKinnon as Senior, Ellis’s father who is the one who tells him that that the river authorities will come after his mother leaves to dismantle their home. Paul Sparks, the sinister bounty hunter Carver who is convincingly hateable. Sam Shepard, a seasoned and highly respected actor and writer was so impressed with the script that he told Nichols not to change a word MUD is a rarity of such a high standard that once seen you will want to turn around and walk back into the theatre and see it again. May 10 release.
This is a magazine for discerning moviegoers that passionately celebrates the art of cinema. Our cover girl is the lovely Déborah François star of the French romantic comedy Populaire. SUNDANCE LONDON takes a look at the four day festival and gives five stars recommendation and review of MUD. . ARTHOUSE AMBIANCE spotlights an art house cinema: the luxurious Electric Notting Hill. FILM FEST FOLLOWER devotes itself to the Cannes Film Festival, selecting nine films that MbM believes will be among the best of the year. PLEASE RELEASE ME champions films that have not had theatrical distribution despite screenings at film festivals – Gazzara a documentary on one of America’s greatest actors, Ben Gazzara, and a Q & A with its director –Joseph Rezwin. MbM’s Film of the Month Review is Populaire followed by a Q & A with its stars: Romain Duris and Déborah François and its director, Regis Roinsard; all of this in 30 pages that strips away the hype and guides you to the best in cinema. Oh, yes there is a quiz too: I Know That where you can win two tickets to The Electric Cinema. Movies-by-Mills is an online magazine that aims to be a quality page turner.
Welcome to Movies-by-Mills Brian Mills
ARTHOUSE AMBIANCE ELECTRIC NOTTING HILL
Cinema going has changed considerably over the years but none more so than at the present time. Potential patrons are faced with a multitude of choices of seeing a film: mobile phones, iPads, video on demand, streaming, home cinema, television, DVDs. To entice audiences to leave their homes, cinema owners must offer them something that is better than the alternative way of viewing and that is luxury aimed at a discerning audience who have deserted the multiplexes for arthouse ambiance: donuts instead of popcorn, cocktails instead of coke. Nothing epitomises this change as much as the Electric Cinema in Notting Hill. Situated in Portobello Road, the Electric offers armchair comfort and even double beds in the front row. There is an American style donut bar in the foyer. The Grade II listed building has had a ÂŁ5 million refurbishment and adjacent to it is the Electric House, a Chicago influenced diner. Both are owned by Soho House. Going to the Electric is the ultimate luxury for the serious filmgoer and a multi-sensory experience that you will not forget. Advance booking is advised due to its popularity.
FILMFEST FOLLOWER CANNES MbM Recommends LA GRANDE BELLEZZA
DIRECTED BY PAOLO SORRENTINO Starring: Toni Servillo, Carlo Verdone, Sabrina Ferilli The story of an aging writer who bitterly recollects his passionate, lost youth.
JEUNE & JOLIE
DIRECTED BY FRANCOIS OZON Starring:Marine Vacth, Charlotte Rampling. The portrait of a 17 years old girl in 4 seasons and 4 songs.
THE IMMIGRANT
DIRECTED BY JAMES GRAY Starring: Jeremy Renner* Joaquin Phoenix*Marion Cotillard An innocent immigrant woman is tricked into a life of burlesque and vaudeville until a magician tries to save her.
LE PASSE
DIRECTED BY ASGHAR FARHADI Starring: Bérénice Bejo*Tahir Rahim After four years of separation, Ahmad arrives in Paris from Tehran at the request of his French wife, Marie, to carry out the formalities of their divorce and discovers an adversarial relationship that she has with her daughter.
UN CHATEAU EN ITALIE
DIRECTED BY VALERIA BRUNI-TEDESCHI Starring :Louis Garrel, Valeria Bruni Tedeschi, Xavier Beauvois. A family is forced to sell their Italian home.
BLOOD TIES
DIRECTED BY GUILLAUME CANET Starring: Clive Owen, Billy Crudup, Zoe Saldana, Mila Kunis, Marion Cotillard. Two brothers, on either side of the law, face off organised crime in Brooklyn.
THE BLING RING
DIRECTED BY SOFIA COPPOLA. Starring: Emma Watson.Isabel Broussard. A group of fame-obsessed teenagers use the internet to track celebrities’ whereabouts in order to rob their homes.
GRAND CENTRAL
DIRECTED BY REBECCA ZLOTOWSKI Starring: Lea Seydoux. Tahar Rahim. A complicated love story set in France’s nuclear power industry.
INSIDE LLEWYN DAVIS
DIRECTED BY ELTHAN & JOEL COEN Carey Mulligan, Justin Timberlake A singer song writer navigates New York’s folk music scene during the 1960s.
PLEASE RELEASE ME In my book 101 Forgotten Films I highlighted films that were not available on DVD and in many instances had not even received a theatrical screening; that was over four years ago, fortunately many, not all, have since been released. Most films are first seen at film festivals, often meeting with critical acclaim and then totally disappearing, having not been bought by a distributor – it is these films that PLEASE RELEASE ME will examine, films which MbM has championed as being worthy of theatrical distribution. Such a film is the documentary Gazzara about one of America’s greatest actors – Ben Gazzara. The film was premiered at the Locarno International Film Festival, where it first came to my notice and prompted my enthusiasm. It has since screened at Deauville and was chosen to close the SOHO Film Festival in New York on April 12. Joseph Rezwin first met Ben on the set of John Cassavetes’s Opening Night and years later asked Ben if he would agree to him making a documentary about him. The result is Gazzara a film that is both nostalgic for the viewer and for Ben too as he revisits his Brooklyn background and tours the labyrinth of his memories on stage and on film. It also becomes a treasured legacy of a great actor who sadly passed away in February last year.
GAZZARA
DIRECTED BY JOSEPH REZWIN The first time I became aware of this film was when I was scanning the screening schedule of the Locarno International Film Festival and I immediately e-mailed Joe that this film had to be distributed world-wide as a tribute to Ben Gazzara. The documentary allows us the viewer to eavesdrop on an absorbing conversation between Joe and Ben as they walk together, a fan and his muse. The film is a candid portrait of the man by a man who admired him from a distance after they first met on the set of Cassavetes’ Opening Night. Gazzara’s life, on and off screen, was as rich and deep as his voice. Here we shadow Ben and Joe’s steps as they retrace some of the actor’s favourite haunts from his early beginnings: the influence of the Actor’s Studio, visiting the magnificent Radio City Music Hall. Interspersed are clips of some of Ben’s movies that resonated a lot with me having screened many as a projectionist. But what really stood out were the unexpected interruptions by passers-by on the street that stopped Ben to shake his hand and tell him how they loved him...those memories, like this movie, are priceless. Thanks Ben for the memory. Thanks Joe for capturing it I never got to meet Ben Gazzara but I felt I knew him like a brother. Our relationship was via the silver screen, treasured moments of time. He died on February 3rd the same date as his dearest friend John Cassavetes. One could imagine the laughter and tears that reunion would have brought in a starry heaven.
From his meteoric debut as Jocko De Paris, the sadistic military cadet sergeant in The Strange One, his silver screen lineage has been impressive: Anatomy of a Murder opposite James Stewart where he played army Lieutenant Frederick Manion charged with murdering the rapist of his seductive wife. He was behind bars again in Convicts 4, a film that had not been released on video until only a few years ago. Ben was memorable as John Resko, a convicted murderer who became an artist. His supporting players were Sammy Davis Junior and Rod Steiger. Ten years later Ben made the first of three films with John Cassavetes, Husbands was about three friends, away from their wives. The film, because of money difficulties, nearly never happened but John’s ingenuity convinced backers. It formed a strong relationship between Ben and John off screen and on, The Killing of a Chinese Bookie and Opening Night followed. Ben also was memorable in Saint Jack and They All Laughed both directed by Peter Bogdanovich. Whatever part he played Ben had style.
Q & A Joseph Rezwin, director of Gazzara. Q: Prior to meeting Ben on the set of Opening Night I should imagine that your relationship with him would have been as a moviegoer? What films had you seen of his before you met him?
A: As a child, I knew who Ben was from, Anatomy of
a Murder; Run For Your Life, his TV series, but I didn’t really discover him until I became aware of Cassavetes’ films. Prior to working on Opening Night in 1976 where I first met Ben, I had seen Faces, A Woman Under The Influence and Husbands which is where I really became aware of who he was. Later, I saw him in The Killing of a Chinese Bookie. But I think that was after I had met him on Opening Night. Q: Did Ben take a lot of persuading to make the documentary on him? If so, what were his objections?
A: Not at all. I called him one day from Paris
while he was driving somewhere in Italy and I proposed the idea of a film to be shot in New York about him, but also about him and me, visiting important places that had been significant in his life and career and meeting people who were also important to him. I told him that I wasn’t interested in making a “classic bio-documentary” at all, but that I also wanted the film to be about my personal relationship with him and Cassavetes and how he and John had affected my life.
I told him that I had no money but had friends in New York who had some equipment; Ben accepted to do the film over the phone saying, “It could be interesting. Let’s do it.” Q: Were there questions that in retrospect you wished that you had asked him? A: Not really. I am not a journalist or a documentary filmmaker. I asked him questions that were important to me; subjects that I was curious about but questions which I thought many people might ask. Q: What are your hopes for your film and what have you learnt from making it? A: I want the film to be seen by as many people all over the world. I really believe that there is a huge international audience for Gazzara and that word of mouth, especially “electronic word of mouth” will create interest in the film and encourage people to want to see it. Q: How did you prepare for the film? Did you read his autobiography or meet and talk with any of his friends or acquaintances? A: I read Ben’s book, In The Moment which is loaded with facts and anecdotes about his life and career. That helped me to understand what I didn’t need to examine in the film. I wasn’t interested in repeating what was in his book. Other than that I simply reflected a lot and approached the film as any film I was preparing to shoot. Q: Did Ben ever hint at his favourite movie or movies?
A: He told me that he was very proud of the work he had done with Cassavetes, particularly, The Killing of a Chinese Bookie. As far as other films in which he did not appear, I know that he had always admired Gary Cooper as a great film actor. Of course he had admired Marlon Brando who he had met in the 1950’s in New York. Q: What sort of reaction have you had from the audience at the screenings of Gazzara? A: Audiences who have seen Gazzara screened at film festivals in Europe and recently in New York aged 18 to 80 from varied cultures and backgrounds have adored the film. They are moved, some to tears, telling me afterwards that they found the film very touching and human; they say that they fall in love with Ben Gazzara. Some say they feel transformed after seeing the film and how refreshing it is to see a film that is so honest. They also laugh their heads off during the screenings as the audiences find the film very funny, which I believe it is as well. The younger people who didn’t know Ben very well before they saw the film told me afterwards that they wanted to discover more about him and were fascinated by this extraordinary man and that they regret that he is no longer with us. Q: At the end of the movie Ben advised you to get on with your own life. Have you taken his advice and if so how? A: I would love to get on with my life. We shot this film in November 2010 and I am still trying to get it distributed and out there in the world. It’s a long process especially when you have limited means and few people to help.
In my head, I’ve moved on to developing and working on other projects but the film, Gazzara has not yet detached itself from my daily life or from my “being�. But I did learn and grow from this project and that is what one hopes for with every film otherwise the process remains an empty experience and that is really depressing. Making movies is hell most of the time, it is exhausting, painful and frustrating with intermittent moments of joy that are mostly far and few between. But in the end, if audiences are moved and feel that they have lived through something after seeing the film as they say they do after seeing Gazzara; then for the filmmaker it almost seems worth it all; and for some ridiculous, masochistic reason we want to go through it again and make another film. . .
MBM RECOMMENDS
POPULAIRE
*spoiler alert Once again France provides a romantic charmer that captivates from the opening with its 50’s music to its closing embrace; and if there were ever a ‘huggable’ film, this is it. It has the charm of a Hollywood Doris Day movie and the get-off-your seat thrill of competitiveness.
Rose Pamphyle works in her father’s small-town shop where her own typewriter is displayed in the window. Her father has designs of her marrying a local businessman but Rose hates her life and its dull prospects. She decides to leave home for Normandy and applies for the job of a secretary to Louis Echard an insurance agent. She fails to impress him with her blundering errors and ineptitude but her one saving grace is typing – she is incredibly fast, though only using two fingers to hit the keys. Louis will employ her if she agrees to move into his house; an invitation which she immediately rejects and storms out of his office in disgust. Chasing after her, Louis explains his intentions are honourable and shows her a handbill of a national typewriting competition which he wants her to enter. He will train her to be the best but she must work at it every day and be under his scrutiny which is why she must live in his house. He is a hard taskmaster and is coaching her to be a champion which he never achieved in sport. Gradually through their constant togetherness Rose starts to fall in love with Louis but he rejects her because of his extreme fear of commitment: his memories of guilt and irresponsibility when he was in the French Resistance and he failed to save his friend’s lives, as well as losing his childhood sweetheart Marie to his best friend Bob. He must focus on winning the championships for Rose and that he promises he will do.
Like the crowd-pleasing The Artist it comes gift wrapped in nostalgia plus there are so many magical sequences to savour: the unexpected impromptu dance when Louis takes Rose to the centre of the floor which in turn encourages others to dance; when Rose falls off her bicycle and Louis rushes to help her and see that her hands are not injured; Marie embracing Louis after such a long time; the moment when Rose walks into the room wearing a beautiful pink dress and looking stunningly lovely, a scene which reminded me of when William Holden gazed at Kim Novak as she danced towards him while the music played Moonglow in the film Picnic. And then what always raises the film to a new level for me when a scene can give me an emotional shudder and that came when Bob calls out to Rose that his money is on her to win and she winks her approval. My money is on Populaire being the best feel good film of the year. It is not surprising that Harvey Weinstein has bought the American distribution rights. The cast and direction is impeccable. Regis Roinsard has directed his first feature and this will be a hard act to follow for his next. The editing is superb. Romain Duris as Louis, who shone so brightly in The Beat My Heart Skipped and Heartbreaker is on another winner with Populaire. Déborah François who debuted in The Child has the ability of mixing emotions from humour to sadness effortlessly. But please directors remember that she longs to be cast as someone who can speak English. Don’t go away, a Q & A follows with the stars & director. May 31 Release.
Q & A The following interviews with Regis Roinsard. Déborah François and Romain Duris took place at The Sofitel Hotel, London on Friday 5th April 2013. REGIS ROINSARD is the director of Populaire and it is his first feature film. He was inspired to make the film after watching a television programme that had an item on a speed typewriting contest and thought it sounded crazy, but he did some research on the contests that were held in France during the fifties, and met some past champions. It was a real sport. Companies were promoting their brands of typewriters. So he decided to do a romantic comedy which he likes from the fifties and add the competitive sport. He knew that it would be hard to sell a film about typewriting but thought that the competitive angle would be its strong card. He is a total cinephile and loves the romantic comedies of the fifties and the music used in the film is a mixture from his own collection of soundtracks. There is a scene in the film that pays homage to Hitchcock’s Vertigo when Rose and Louis are in Paris. Q: Congratulations on a wonderful feel-good movie which looks like being this year’s Untouchable and prior to that The Artist. Regis, I thought typewriting is a strange subject for a film but the French can do this. A: But then English are good at comedies and we can’t do that. When we began to write the script we wrote the dialogue in English to get a sense of the American humour. You mentioned feel-good but we don’t make many feel-good movies like the English. The first audience for your movie is the crew and when we were shooting the first typing competition, they were laughing and crying and cheering.
Q: I loved the music at the beginning of the film and knew that I was going to love this film. Whose idea was that? A: It was a mixture from my own vinyl collection. The very first theme, The Rose Theme it is an English composer. I wanted to use it for the typewriting but it didn’t work, so I rearranged it. I love music in films. My parents had a large vinyl collection of soundtracks so I listened to them before I had seen the films and imagined what the films would be like. Q: When you started filming did you show your cast what you were trying to do by showing certain films to them? A: No, because I am a cinephile and I see a lot of movies, so we don’t do a parody of something. But like we have a love scene in Paris and when we shot, we thought that is Vertigo, So can we stop or embrace it. But we love Hitchcock so we embrace it. Déborah François plays Rose Pamphyle. Her film career started by starring in in the Dardennes brother’s L’Enfant as Sonia, a young mother trying to keep her baby which her immature boyfriend does not want to keep. Déborah has won the Cesar Award three times for Most Promising Actress for L’Enfant, The Page Turner and The First Day of the Rest of Your Life. Q: Déborah, what attracted you to the role of Rose and did you see anything in her character that is in you? A: I find her charming, funny. I really like her because she is unusual. She is far from perfect, but she has this great gift and she does something about it and she loves competitions. I love the
story of this small town girl going to the big city and trying to make it and finally and eventually succeeding. And what it really means to be famous and we can handle competition and love it. Q: You can relate to that? A: I love competition but I never did sport not real sport but I am a really bad loser. I love winning; I mean even if we were shooting I really wanted to beat the other typist. I want to be the best like I am sure people are going to notice if I am losing. It is really important to me. Q: Did you have sore fingers at the end of the day? A: Yes. Sometimes where we shot the championships it took a few days and was difficult particularly at the end of the first day and the beginning of the second. Q: Was there a moment when you were making the film that you thought, I know this is going to be very good? A: I can only have a sense of that in very small details. One frame of the camera and I think wow, this looks fantastic, this has to be in the movie and people are going to say that this looks fantastic! When it’s good and you see it...you know it’s good. Beautiful, you know? Sometimes when you act, when you play, sometimes you are like at the end of a scene and you are like... this particular word, this sentence I got it right! And the director says, “Yes, okay.” “No no, from this word to this word exactly, it lasted three seconds but it was amazing. Wasn’t I?” And you are really happy with yourself and maybe, you know it is really subjective in relationship to your work. Sometimes you feel it’s really bad and you go “Sorry.”
Q: What about the music in the film, because the moment the film started, I knew I was going to love this movie. I just loved the music? A: I love it! That is Rose’s Theme. I loved it too. ROMAIN DURIS plays Louis Echard, Rose’s boss in Populaire. He really became noticed in The Beat That My Heart Skipped as a young man who is faced with the choice of following a life of crime like his father or following his dream of becoming a pianist. It was in Heartbreaker opposite Vanessa Paradis that he captured many women’s hearts as the scheming lover hired by her father. Populaire sees his return to another rom-com. Q: What was your main attraction for this character? A: I like how he is complexed. He is frustrated about love. He has this frustrated thing about being a champion. I think he had a difficult education. I like to play this kind of guy we can understand during the movie but not at the first look. He is macho. He is cold. But he warms. I like that. Q: And typing. I know it’s not his world but he loves it. He wants to win. It is very now, we have computers and this is a very archaic world. A: I love that...I love the discipline. If it was books or tennis...it would not be so interesting. The discipline was part of my decision to get this made...the subject matter. Q: You are very much an underdog fighting to win: in a way it reminded me of a modern day Frank Capra. I think because when you came of a Capra movie you had learnt a lesson but at the same time you felt good, like in this.
So Capra was very much about the underdog striving to win and that is what I got from this film that your character wanted her to win. A: Yes, you are right. It was this kind of cinema Q: And that came across so much..... A: But you know I didn’t think a lot about that. I saw the American comedies from the fifties when I was younger. For me I was more focused on what happened in France in the real life. I needed to see some French movies from this period. Like a witness of what happens but not so much in cinema...more in the streets, just observing. Q: Do you find that in your own career that as an actor you have had to fight to get a part? A: No. It’s strange. I don’t have any moment where...I am more. Sometimes I was preparing for doing tests. At the beginning you do some castings. So I think I am ambitious. I am more like if it’s for me I will have it and if it’s not
EXTRAS
DVD OF THE MONTH
THE IMPOSSIBLE
Directed by Juan Antonio Bayona. Starring: Naomi Watts. Ewan McGregor.
FILM **** The film shows the courage and fortitude of one family separated by the natural disaster that fell upon the holiday resort of Phuket in Thailand, who are united by belief and love. The Impossible will be a hard film to watch for those survivors who lost loved ones and the experience will probably be too much to bear, but for the rest of us, it should not be missed.
EXTRAS **** Audio Commentary with director, J. A. Bayona, writer Sergio G. Sanchez, producer Belen Atienza and Maria Belon. Casting The Impossible - Featurette. Realizing The Impossible - Featurette. Deleted Scenes.
I KNOW THAT The MbM Quiz Answer this question and win a voucher for 2
tickets for THE ELECTRIC CINEMA Notting Hill. What is the name of the actress who was in The Artist and is in Populaire? Send your answer to: brian@movies-by-mills.com Make sure to include your name and full postal address and write ‘competition’ in the subject bar. The winner will be announced in the next issue of Movies-by-Mills.