In the films Take Shelter and Mud director Jeff Nichols explored themes of social anxiety caused by fear of the unknown. When I suggest that his new movie, Midnight Special, a sci fi road film about a father and a son with special powers, continues that examination he agrees, but only to a point.
“I certainly think you could make that statement and it would be fair,” he says, “but it doesn’t exactly line up with what I was thinking.
“I was thinking about what it is to be a parent. I think being a parent is to have faith in the unknown. You don’t know what your children are going to grow up to be. You don’t know what’s going to happen to them. You don’t know if they are going to make it all the way. You have to have faith in who they can be, who they are developing into. Who they are currently. I think that is what parenthood is and I think that is why there is so much fear and anxiety that comes from being a parent.”
Nichols says he originally came up with the idea for a “sci fi government chase film,” but adds, “That could be really silly so I think it is up to me as a filmmaker to apply these kind of personal feelings I have and my relationships to the locations and to the world at large to try and ground this film and give it some kind of actual purpose.”
To complete the picture Nichols cast Michael Shannon as the father. A frequent collaborator, Shannon has starred in all Nichols’s films, including the upcoming Loving.
“I think he makes me a better writer, especially in a film like Midnight Special where I’m trying to reduce the need for backstory to be delivered through monologues. When you have a person like Mike he fills all the spaces between the lines with all that subtext. He carries it on his face, in his continence. He is the complete story and he doesn’t even have to say a word.”
Midnight Special is the extraordinary kind of sci fi movie that teases out the information bit by bit. We learn enough to stay involved and are treated to several spectacular and exciting scenes along the way, but when it comes time to put a period on the story, Nichols instead uses an ellipsis in a metaphysical ending that will mean different things to different people. It owes a nod to his old hero Stephen Spielberg but feels distinctly like a Jeff Nichols film.
“If you look at ET and the bicycle flying and all these other moments that are classic moments in Spielberg films, they are wonderful. I don’t do that. For better and for worse I don’t do that. Maybe it’s because I live in the modern age and am a bit more of a pessimist. I don’t consider myself a cynic. I like films that ultimately are hopeful but there is a different kind of conclusions in my films than his films. I think my films point toward hope but don’t fully embrace it. I think that is the difference. It could also be the difference between a blockbuster and whatever this is going to be, but that is who I am as a person.”
Richard Linklater’s new film Everybody Wants Some!! is set in that sweet spot between Saturday Night Fever and the Reagan Years. Ripe with feathered hair, bell bottom pants and milk crates used as LP storage, it’s the story of college life over the course of one weekend in 1980 set to the throbbing beat of disco and new wave music.
“It was a raunchy time,” says Linklater. “It was pretty hedonistic. Sex, drugs and rock and roll. I had to impose that back on my cast. Disco was sex. Dancing was foreplay. You were hoping to keep it going and that it would get personal. The humour was really raunchy. It was not innocent but there was a certain kind of playfulness to it.”
The fifty-five year old director calls the 1980s “a good time for me. A good time to be in your twenties. I was that guy who took his album collection and his music and his speakers off to college. My entire net worth at that age was in music.”
“You do a movie to examine your feelings or what you think,” he says. “I thought a lot about my own life at that time and also the culture. It’s my little anthropological look [at 1980]. I came out of it thinking that was the end of something. The eighties got much more serious. There was the AIDS epidemic but also there was the cultural backlash. There was the Reagan administration, Pat Robertson, [Jerry] Falwell and it kind of a war and not only a war on drugs. They were trying to move the culture back to the fifties or some mythical past before all this corruption, i.e. the freedoms of the sixties, women’s liberation. That was really in full gear by 82, 83 so I look at this and think, this was the last time there was that unabashed, raunchy hedonistic pure fun. I look at it and go, that was a good time to be young because that was all going to change.”
The Texas born filmmaker says he spent his 80s college years underground, immersed in punk rock. “It was getting kind of ugly in accepted culture so I zoned out a lot of it.” Since then he has made a career chronicling contemporary suburban culture in films like Slacker, Dazed and Confused and most recently in the twelve-years-in-the-making Boyhood. Along the way he’s learned a thing or two about how society is changing.
“I think the culture has actually changed less and less,” he says. “I observed that on Boyhood. I thought the world would look a lot different in those twelve years. If you take 1969 to 1981 you got a lot of different looks, cars, everything. In Boyhood nothing changed. The phones changed but the cars all looked the same, the hairstyles. I think we’ve hit a wall. Technology is so quick moving that it satisfies that desire in us for change. Punk comes out of [the idea] that I want something new. I don’t think humans don’t feel that deep need for demonstrable rejection of the old and embracing of the new because they feel there is so much being satisfied technologically. Whatever urge that was to stick a safety pin in your cheek and go create a new dance, you don’t see that anymore.”
Superhero geeks need not fear, this column will contain no spoilers.
In Batman v Superman: Dawn of Justice, the world’s two most famous caped crime fighters throw down, wrestling literally and figuratively to determine what kind of hero is best suited to serve the world’s needs.
The story picks up after the action in Man of Steel, which saw Superman (the square-jawed Henry Cavill) protect the planet by destroying half of Metropolis in an epic battle with the evil General Zod (Michael Shannon).
Batman (Ben Affleck), unimpressed with the collateral damage, joins the contingent of folks who see the Last Son of Krypton not as a champion but an alien threat. A battle ensues.
Who will win? Other than Kryptonite, Superman has no known weaknesses, so this would seem like a fairly one-sided fight, but Batman has skills as well, so who knows?
To get to the bottom of the matter I held a highly unscientific Facebook Batman v Superman poll to determine a winner. It drew mixed results.
“Brains over brawn,” wrote one FB friend, “Batman for the win!”
“Superman could basically fly down at super speed striking Batman before he could even sense he was coming and turn the Bat into vapour,” wrote a Superman fan.
Another wasn’t so sure. “Both seem to wear their underwear over their pants… it is a tough call.” Whatever the outcome, expect a wild showdown. But that’s on screen. It’s make-believe. What about Reel Life v Real Life?
The Caped Crusader and Supes have been duking it out for decades at the box office but Batman, specifically the Christian Bale era, comes out on top. The Dark Knight Rises and The Dark Knight KO the competition, with the 1978 Superman, the first Tim Burton Batman and the recent Man of Steel rounding out the top five.
Batman also brings in the lion’s share of the marketing money. According to comicbookmovie.com Batman sells almost two-to-one to Superman products.
That means more parents dress their kids as Batman than Superman at Halloween and that includes Ben Affleck and Christian Bale who met at a costume store last year as they shopped for Batman outfits for their kids.
What about prestige? Again Batman is victorious, with three Academy Award winners — Affleck, Bale and George Clooney — playing the Bat at one time or another.
As for the Metropolis Marvel, Oscar winners Robert Redford and Clint Eastwood both turned down the role as did best actor nominee James Caan who said, “There’s no way I’m wearing that silly suit.” Oscar winner Nic Cage wore the suit but his Superman story never made it before the cameras.
So far my Reel Life v Real Life look at Batman v Superman favours the Dark Knight, but Clark Kent’s alter ego is still a formidable foe.
Keep in mind, without Superman there may never have been a Batman.
Predating the Caped Crusader, the Man of Steel is a pioneer whose popularity helped create the superhero genre. Since then he’s been ubiquitous, inspiring an American Sign Language symbol, movie serials, TV shows, comic strips, pop songs — (Wish I Could Fly Like) Superman by The Kinks among many others — and even a Broadway musical called It’s a Bird…It’s a Plane…It’s Superman.
Finally, as one of my Facebook friends pointed out, Superman has at least one insurmountable advantage over Batman: “If Superman loses the fight he can fly back in time to fight again.”
“The human spirit is a great thing,” says director Spike Lee on what he learned while doing research for his new film. The director spent six months in Southside Chicago, ‘talking to people, meeting people, getting the lay of the land,” before shooting a single frame of his anti gang violence movie Chi-Raq. “It was very important, not just meeting people, but people becoming comfortable with me. People opening up to me.”
The movie draws its story about a neighbourhood woman who convinces the wives and girlfriends of gang members to withhold sex from their men until the guys agree to put down their weapons from a Greek play first performed in 411 BC. but details the very modern problem of gun violence.
“At the end of the movie in that scene where everybody is dressed in white,” says Lee, “those women are not actresses. Those women are members of a group called Pain Over Purpose. They are mothers whose children, whose sons and daughters, have been shot down in the streets of Chicago. Those pictures they are holding up are pictures of their loved ones.
“The pain of a parent who has lost a child in any circumstance is something that no parent should have to go through. They all say that there is a hole in their spirit, in their soul that will never be replaced. Many of those mothers have tried to commit suicide and had various other problems since then but they are holding strong.”
The cycle of violence portrayed in the film, and acted out for real on the streets–during Chi-Raq’s thirty-eight day filming schedule 331 people were wounded and shot, 65 people were murdered in Chicago—was personal for one of the movie’s stars.
“Do you know Jennifer Hudson’s history?” asks Lee. “It is known knowledge that Jennifer’s mother, brother and nephew were murdered in Chicago. I think that’s extra gravitas that you have with Jennifer Hudson in this film. This is not an act for her. She got hit directly by gun violence on the Southside of Chicago.
“I didn’t want her to think that I was exploiting her. I knew I wanted her for the part but there was some length of time before I got the courage to approach her. Also when we did meet I was babbling. She said, ‘Spike, I know why you want me to do this film, so just stop. I’ll do it.’ I was trying to be sensitive and I turned out to just beat around the bush. I said, ‘I’ll just shut up and say thank you.’“
Lee is fearless in his handling of the material, taking chances narratively—the entire film is presented in verse—and visually, to tell the timely and hot button story of a “self-inflicted genocide.” Finding the mix of heartfelt storytelling and satire, says Lee, was crucial to the success of the film.
“It is not an easy thing to do,” he says. “I will make the great leap and say that if Stanley Kubrick was alive he would say it was hard to do it on Strangelove. I’d say the same thing for Kazan in A Face in the Crowd. I would say the same thing for Sidney Lumet for Network. It’s hard to do but it’s a great way to deal with serious subject matter.”
In Born to Be Blue, a stylish new biopic about the turbulent life of My Funny Valentine trumpeter Chet Baker, Miles Davis tells the horn player, “You haven’t lived enough” to be a great musician.
When I ask Hawke if great art can be created without life experience, he says, “My take is that there are no rules, but you don’t become Nelson Mandela without suffering. There is a huge myth around Mozart that he was just divinely inspired, in truth he worked really hard. He was obsessed with music from a very young age.
“You could make the case that Michael Jackson suffered immensely and that is part of what drove him. I think the service of the artistic community is to translate our lives back to us and hopefully to lend some understanding. You need to participate in life and feel life to be able to do that. But you know lots of people suffer without a gift or talent to translate it into a beautiful painting.”
Baker took Davis’s comment to heart and set off on a life long self-destructive bender that saw him fall into drug addiction, even pawning his instruments to support his drug habit.
“In the arts, self destruction is a real enemy,” Hawke says. “If you eliminate self-destruction, if you get out of your own way, give yourself permission to have respect for yourself and treat yourself like someone that you love, your chances of success quadruple. That’s really hard.
“It sounds so simple. The documentary I made [Seymour: An Introduction] is all about how hard that is. The joys of life are actually really simple. We think they are going to be, ‘Oh I’ll be happy if this, that and the other thing [happen].’ In truth it is pretty awesome that the sun comes up and if you stay focussed on that things go OK. As soon as you take your eye off that, life gets really weird and tricky.”
Hawke shares Baker’s rough-hewn good looks and does a convincing job of imitating the fragile beauty of his singing voice. More importantly he apes the addict’s temperament. Charming one minute, petulant and or incoherent the next, he plays Baker as a talented train wreck; a man whose tragic life experience fed his art. Unsure which of his proclivities are his angels and which are his devils, he’s a conflicted guy who tries to do well by those around him but often fails. Hawke may resemble the musician but the similarity is only physical. He is comfortable in his skin in a way Baker never dreamed of.
“It’s strange, I’m turning forty-five this year,” he says, “and I have been professionally acting for thirty years. When I was young I was really afraid that I wouldn’t get to do it. That was a big part of my identity as a young person. Even if a movie did well that I would think, ‘Is it over?’ Will I ever get to do it again? It’s how I imagine baseball players and professional athletes feel. Do they ever really know when their last game is? With acting, I’m working on my King Lear now. I’ll be able to do this until I am old no use to people anymore. In athletics it’s not that way.”
Los Angeles is a sun-dappled utopia with a Mediterranean climate, palm trees as far as the eye can see and only 35 days of precipitation annually. It’s a sprawling Garden of Eden, with pockets of paradise connected by an interweaving series of freeways. Think year-round sun tans, flip-flops and driving the convertible with the top down.
So why, when such natural beauty surrounds it, does Hollywood seem obsessed with stories about the end of the world? Could it be it’s because they live above the San Andreas Fault, an inner earth rupture that issues occasional rumblings that threaten to drop much of Southern California into the Pacific Ocean? Perhaps it’s because it’s the home of Kim, Kourtney and Khloé, an alliterative television family who seem to be a harbinger for the dissolution of society.
Whatever the reason, in movie after movie Hollywood hands us terrifying visions of what the world will look like when the Kardashians are done with it.
This weekend 10 Cloverfield Lane, which producer J.J. Abrams calls a “blood relative” but not a sequel to his 2008 monster flick Cloverfield, sees Michelle (Mary Elizabeth Winstead) trapped in an underground bunker with a sinister survivalist played by John Goodman. Outside, he says, an attack is about to leave the world uninhabitable. “Something’s coming,” he hisses.
What exactly is happening outside the bunker’s walls is unclear. Whether it’s nuclear fallout, an unexpected ice age or a zombie holocaust that brings about the end, the post apocalyptic feel of 10 Cloverfield Lane is just the latest attempt by the film biz to tap into the world’s general feeling of unease.
In 1959 bright and sunshiny Hollywood offered up a scary story that set the date for the end of the world just after World War III in 1964. In On the Beach, nuclear war has destroyed all life on the planet save for a small enclave in Australia, but even they will succumb once the radiation clouds drift by. As doomsday dramas go this one is particularly depressing — for example people gobble up “suicide pills”— but its Cold War commentary led one writer to label it “the most important film of our time.”
Not all end-of-the-world scenarios are as grim as that, however. Seeking a Friend for the End of the World’s set up sounds bleak but it’s actually amusing and inventive.
Three weeks before a giant asteroid is scheduled to collide with earth, Dodge (Steve Carell) and his flaky downstairs neighbour (Keira Knightley) head out of town, looking for meaning in a world that soon won’t exist. It’s a low-key movie that could have been a broad comedy, but instead chooses for a more modest, heartfelt approach.
Sometimes the end of the world is appealing; cute even. WALL-E, the story of a lonely, but adorable, robot who inadvertently gives humankind a second chance, is aimed at kids but doesn’t look like any other kid’s movie you’ve seen. Don’t expect the same old from Pixar. It’s ambitious and beautiful like 2001: A Space Odyssey for children.
With such a range of dystopian stories to mine it seems sunny Hollywood just might produce dark visions of our planet until the end of the world comes for real.
Last week as I fought traffic en route to a London Has Fallen screening, I tweeted from the back of a cab, “Out of my way people! I’m running late for a Gerard Butler movie!” It was a silly little joke, a comment to kill time as we idled in the morning rush hour.
The first response came in right away: “said no one, ever,” followed by a torrent of unexpected Butler hate.
One person called him a “bouncer actor,” whatever that means.
Another questioned his ability to effectively disguise his native Scottish accent and many people offered me their condolences.
Why the Butler bashing?
It’s true he is a frustrating movie star. He shares the usual leading man traits that have made Brad Pitt and Leonardo DiCaprio superstars.
He’s handsome, talented and built like an action star but he’s been done in time after time by poor choices.
Pitt makes Fight Club, Butler makes Law Abiding Citizen. Leo stars in The Departed, Gerard does Machine Gun Preacher. Years ago the website Gawker placed Butler on movie star probation, calling him a “professional bad decision maker” alongside notable career fritterers Cuba Gooding Jr. and John Travolta. A look at his IMDB page suggests they were on to something.
He’s a utility player, comfortable switching genres the way most of us change our socks. One minute he’s a romantic comedy star, the next he’s choking out bad guys on screen. He’s flirted with Shakespeare and provided voices for cartoons. He’s done sci-fi flicks, musicals and even a rendering of the Anglo-Saxon epic poem Beowulf.
It’s not like he hasn’t enjoyed some very big hits. In 300 he (and his meticulously crafted six-pack) played King Leonidas, a Spartan who led 300 soldiers against the might of the Persian army. It’s the film equivalent of a heavy metal concert — loud, brutal and completely uncompromising — and it made him an action hero.
People have a soft spot for Dear Frankie, his breakout film and the one that turned him into a heartthrob with serious dramatic chops. The four-hankie U.K. tear-jerker about a single mother who resorts to trickery to keep the memory of her late husband alive in her son’s mind put Butler on the world stage.
Other box office bonanzas include playing a charming mobster in the violent Guy Ritchie flick RocknRolla and voicing Viking Stoick the Vast in How to Train Your Dragon.
It’s the other stuff that seems to rub people the wrong way. As a movie reviewer I can attest there are few English language words more terrifying than “New Gerard Butler Romantic Comedy” and I think it is those films that turned my Twitter followers against him.
He’s a good actor but his track record in the rom-com department is particularly grim. Critics hate these movies, calling the handsome Scottish actor’s attempts at mixing love and comedy, “instantly grating,” and “embarrassingly limited.”
But I come to praise Butler, not to bury him. Let’s give him another chance.
I made it to the London Has Fallen screening and can tell you it’s a pretty good action movie. Perhaps even good enough to erase the memory of The Ugly Truth or Playing for Keeps from our collective memories.
“To be a good journalist you have to be a bit of a chameleon,” says Kim Barker. “You have to be accepting of different cultures, different languages and different situations. I have always been the kind of person who feels like they can go into any situation and fit in.”
In real life, Barker is a journalist who worked at the Chicago Tribune as a reporter and volunteered to become a foreign correspondent in Afghanistan and Pakistan. In reel life, she’s played by Tina Fey in Whiskey Tango Foxtrot as an expatriate television journalist addicted to the rush of living and working in a war zone.
Whiskey Foxtrot Tango plays like Animal House with warlords, or maybe Fear and Loathing in Afghanistan, but Barker describes the reality of her time there in more poetic terms.
“In Afghanistan everything looks like a picture,” says Barker. “Everything is so beautiful. The people are beautiful. The landscape is beautiful. You are surrounded by mountains when you’re in Kabul. (The people) are very friendly, very direct with very good sense of humour. Also Afghanistan has men with long beards and pick up trucks and guns who hate the government. That is familiar to me. I grew up in Montana.”
At the beginning of her time abroad Barker was a fish out of water but soon learned to culturally adapt and love the country.
“I remember on my second trip there meeting a guy who asked if I wanted to go fishing with him. I grew up fishing but fishing in Afghanistan is a little bit different because it usually involved throwing a grenade into the lake and stunning the fish or blowing them out of the water or using generator wires to electrocute them. That just doesn’t seem very sporting to me.”
Barker’s book, The Taliban Shuffle came to Tina Fey shortly after a New York Times review mentioned Barker’s similarity to the comedic actress.
“Tina Fey saw it,” Barker says. “I think her people probably showed it to her or my people. I don’t really have people but my agent sent it over to her people. She read the book and within two weeks of that review coming out she pushed Paramount and Lorne Michaels (who produced the movie) to option the book and make it into a movie.
“(People) said, ‘Who’s going to play you?’ I said, ‘A smart funny woman in Hollywood,’ and everybody was like, ‘Tina Fey?’ It was everybody’s first answer.”
Barker describes having her life turned into a film as surreal.
“It’s hard to even think about,” she says, “people seeing this in a theatre. They are going to equate me with Kim Barker even though (that) Kim Barker is a version of me. It’s fictionalized.”
She says the film screenwriter Robert Carlock told her early on that they would have to “Hollywood this up.” Changes to the basic story were made, and when they sent her a final copy of the script in 2014 she couldn’t bring herself to read it. Finally her best friend read the script “to make sure it is not going to embarrass you.”
“She read it and said, ‘It’s fine. It’s good. It’s really good. You’re probably not going to like parts of it because it makes you seem more heroic than you think of yourself.’ She was absolutely right. I’m not that brave.”
Disney animator Trent Correy may be an Ottawa native, but three years of living and working in Burbank, Calif., have changed him.
“I get home about once or twice a year now,” he says. “It’s hard to go in the winter, my body has adapted to here. I tend to send my parents photos of me on the beach in February when it is -42 C back home. I have flip flops on now while we’re talking just to turn the knife a little bit.”
Ironically the sun worshipper’s breakout was helping to animate the snowman Olaf in Frozen. You’ve also seen his handiwork in Big Hero 6 and this weekend he’s back with the furry and funny film Zootopia.
Disney animator Trent Correy may be an Ottawa native, but three years of living and working in Burbank, Calif., have changed him.
“I get home about once or twice a year now,” he says. “It’s hard to go in the winter, my body has adapted to here. I tend to send my parents photos of me on the beach in February when it is -42 C back home. I have flip flops on now while we’re talking just to turn the knife a little bit.”
Ironically the sun worshipper’s breakout was helping to animate the snowman Olaf in Frozen. You’ve also seen his handiwork in Big Hero 6 and this weekend he’s back with the furry and funny film Zootopia.
“The nice part of Zootopia was working with a number of different characters,” says the Algonquin College graduate. “I worked with everything from a mouse to a sloth to an elephant. It kept the job very interesting.”
Set in an alternate universe where animals, both predator and prey, live harmoniously in a city called Zootopia, the movie’s funniest sequence involves a slow moving sloth named Flash. It was the first scene Correy helped animate. “There are a lot of challenges animating a sloth moving at that speed,” he says, “and a lot of other challenges animating a mouse or an elephant with their different weights and animal attributes.”
The 28-year-old is a rising star at Disney — he’s currently working on the mythological epic Moana — so it might come as a surprise that he didn’t take art in high school.
“I failed art,” he admits. “It was totally my fault. I wasn’t into the art history stuff at the time and I was really interested in drawing cartoons. That was looked upon as not real art so the teacher and myself had disagreements. I ended up having to take drama, and that’s fun too.
“I did always love to draw. I have to thank my mom, who is an artist, who encouraged me to draw and keep going.”
He rediscovered his passion for art after high school and now joins the rather long and impressive list of Canadians who are helping to shape the future of animation. I ask him why Canadians are so in demand as animators.
“There is a rich history of animation in Canada with the NFB and a lot of TV work in the ’80s and ’90s,” he says. “I think a lot of it has to do with work ethic. I tend to see a lot of people who come from TV animation who are faster. They have to be because they get paid per frame in a lot of places in Canada, whereas here it’s salary. So to make your money you have to be fast, you have to be efficient and you have to be economical in your choices.
“Our whole crew here is very international, we have people from all over the world. I think there is a bit of, ‘I’m coming from a different country and I’m trying to prove myself in this big place.’ It feels so far away from Ottawa.”
