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By DP30 david@thehotbuttonl.com

Rabbit Hole, actor/producer Nicole Kidman

9 Responses to “Rabbit Hole, actor/producer Nicole Kidman”

  1. Enjoyed this very much. Especially interesting to hear her share about her choices that challenge her, and stretch her artistically.

  2. Highwayroller says:

    Whoa… Whoa. I am absolutely hypnotized. I mean, there’s a lot of fine actors in the world, but she is just a standout, she will fascinate people her whole carierre. Just look at this interview… Thank you very much.

  3. John says:

    She’s amazing. And brilliant.

  4. Glenn says:

    Amazing woman and an amazing interview.

  5. AJ says:

    Is it sad that I’ve been waiting for a Nicole Kidman interview to pop up here? Ugh, an hour and a half unbroken shot of this legend–heaven.

  6. Debra S says:

    Incredible interview. Nicole is simply fascinating. Such good things coming her way and she deserves it.

  7. Dan says:

    What a nice interview, David. Nicole seemed so open and engaged. I love listening to her because it’s like a breath of fresh air. She’s the most fascinating actress right now, indeed.

  8. Gab says:

    I love love love Nicole and this totally made my day. She is so honest and sweet, I can imagine how amazing it was interviewing her. Thanks for posting!

  9. movieman says:

    ….so I guess Nic IS in the new Sandler movie after all.
    Hooray!!!!
    I’m still trying to figure out why Sony has made it their mission to hide her in any of the film’s trailers. Hell, if I had Nicole Kidman in my new Adam Sandler/Jennifer Aniston comedy, I’d shout it from the mountaintop.

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Aloha is the movie equivalent of a man in a donkey suit with a tree branch growing out of his forehead. I don’t know what the fuck this movie is. It feels like Cameron Crowe tried to make some Pynchonesque contemporary riff on Casablanca, then either or he or the studio chickened out halfway through and tried to turn it back into Jerry Maguire. But don’t confuse Aloha with hackwork. It’s more like a mad scientist had 10 beakers bubbling, and instead of unlocking cold fusion, he blew up his lab and melted an ear. I swear, this movie is like some bastard offspring of Casablanca, Inherent Vice, ‘Goosebumps,’ and ‘Baywatch Hawaii.’ My takeaway? Making movies is hard, yo.”
~ Vince Mancini

“We don’t defy the laws of physics: There are no flying men or cars in this movie. So it made sense to do it old-school: real vehicles and real human beings in the desert. We shot the movie more or less in continuity, because the cars and the characters get really banged up along the way. The biggest benefit of digital technology for me was that the cameras were smaller and much more agile, so you could put them anywhere. We also spent a huge amount of time on spatial awareness—making sure the viewer could follow the action and understand what was happening. There has to be a strong causal connection from one shot to the next, just the same way that in music, there has to be a connection from one note to the next. Otherwise it’s just noise. Too often, if you just cram a lot of stuff into the frame, you get the illusion of a fast pace. But there’s no coherence. It doesn’t flow. It comes off as headbanging music, and it can be exhausting. We storyboarded the movie before we had a script: We had 3,500 boards, which helps the cast and crew understand how everything is going to fit together. Movies are getting faster and faster. The Road Warrior had 1,200 cuts. This one has 2,700 cuts. You have to treat it like a symphony.”
~ George Miller

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