“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
By Douglas Pratt Pratt@moviecitynews.com
DVD Geek: Source Code
An inspired variation of the Groundhog’s Day gimmick, Source Code, from Summit Entertainment, is about an Air Force pilot placed in the body of a teacher on a commuter train and charged with finding out who planted the bomb on the train before it explodes, and replaying the same ride again and again until he solves the puzzle. There is a romantic component to the story, naturally, and more than one life affirming, love affirming conclusion, leaving a viewer feeling both happy and satisfied, several times, after a stimulating and exciting ride. Jake Gyllenhaal stars, with Michelle Monaghan, Vera Farmiga, and Jeffrey Wright. In that the film also evokes aspects of Quantum Leap, there is a cleverly chosen cameo appearance by Scott Bakula.
The picture is presented in letterboxed format only, with an aspect ratio of about 1.78:1 and an accommodation for enhanced 16:9 playback. The opening montage of Chicago on a bright, sunny day, before the plot even gets started, is so beautifully executed it is well worth playing over several times itself. The 5.1-channel Dolby Digital sound has some reasonably good separation effects and a decent amount of power. There is an alternate Spanish audio track in 5.1 Dolby, optional English and Spanish subtitles, a generalized and sporadic trivia subtitle track, 35 minutes of passable interview featurettes with the cast and crew that effectively build in detail as they advance, and a decent 7-minute overview of the scientific and technological concepts being tweaked within the story.
There is also a fairly good commentary track featuring Gyllenhaal, director Duncan Jones and screenwriter Ben Ripley. They do talk a lot about the story, but in an informative manner, discussing everything from its ‘train of thought’ development to its metaphysics. They also speak about the performances, Jones’ challenge to make the repeated sequences not feel redundant, and the excellent production designs (Gyllenhaal: “I love searching through things, I just have to say. There is something as an actor.” Jones: “There were a lot of metal edges on this set.” Gyllenhaal: “That’s true.” Jones: “I think you cut your hands up so many…” Gyllenhaal: “That is so true. Duncan agreed to do the movie and it was 4 months later that we were making the movie and so the train, occasionally, due to the speed at which we made the movie, and really how the movie moves, too, it sort of mimics itself.” Jones: “Jake’s hands looked like sliced bacon by the end of the shoot.” Gyllenhaal: “I do grab onto a lot of really sharp edges that don’t look sharp but are. I had bloody hands.” Jones: “We had a very busy nurse on set.” Gyllenhaal: “And different hand inserts, because Duncan didn’t like the bloody hands.”).