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“The Hunt” Hits The Bullseye At Cannes
Cannes iPhone Review: Rust & Bone
Cannes iPhone Review: Moonrise Kingdom
Weekend Estimates by 50% Klady
Friday Estimates by Hawkeye Klady
Steamy Hot Sexy Pitt Clooney American Idol Voice Depp Trailer: The Campaign
DP/30: Romeo & Juliet In Yiddish, writer/director Eve Annenberg
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MT @JonathanRomney: Last night's dinner: largely comprised of bafflement over Kiarostami (and griping about damp socks). #cannes2012
RT @alaindebotton: It's now impossible to write a sentence that won't offend someone.
RT @guyadams: John Travolta could make so many problems go away by simply refusing to hire masseurs called John Doe
DP: What's more stupid than Lindsay Lohan as Liz Taylor. NYT scraping bottom of barrel to cover it.
DP: Thinking over the day, I must say... Haneke's "Amour" is mesmerizing & unforgettable, like a great sad song you can't get out of your head
“I’m in Locarno, my movie is premiering for 1,000 people, which is nuts. A huge-ass screening, second day of the festival, 7:30pm in the sidebar competition. It’s comparable to Un Certain Regard or Director’s Fortnight. Every movie I saw in that section was fun, brilliant movies from around the world. The main competition was like Aza Jacobs and Mia Hansen-Løve, people who have been around. And I was like, “This is crazy. What am I doing inside the bloodstream of this establishment? I’m 27. I don’t belong here.” Every person I talked to there couldn’t believe what the movie cost, and then couldn’t believe when I told them what other American movies cost. We were the cheapest movie there by 65%. The next cheapest movie cost I think three times as much as we did. And they were just like, “You can’t make movies for what you’re telling us your movie cost.” And I told them, “Well, I can, I’m here, I’m in the same section as you are, so you are wrong. People think I’m lying when I tell them my budget. And also everyone likes it. I’m having a great time and people are being very responsive. Maurice Pialat’s widow was like, “I heard your movie’s good, I want a copy of it.” I’m like, “Well this is f**kin’ crazy.” Pedro Costa saw it there and really liked it and I’m like, What am I doing? I had gone in two months from screening at BAM for a lot of friends to Pedro Costa? This is the exact sentence: “Pedro Costa saw your movie. He’s a huge Jerry Lewis fan. He wants to talk to you about your movie and also Jerry Lewis.” And I thought, “I’m out of my element. I cannot have that conversation because that’s ridiculous.” Because his retrospective was happening at Anthology when I worked at Kim’s, and his Criterion box set came out when I was working at Kim’s. He can’t want to talk to me. That’s not possible. That’s not allowed. There is no world where that makes any sense!” Or like when you wrote me to say that David Gordon Green wrote you to say, “I’m watching The Color Wheel and then I’m going to see Tree of Life.” There is no world where this is allowed! Again, somebody whose DVDs I was putting on the shelf, as, like, a hero. And it’s just like, “Oh, I’ll watch this movie.” There’s just a very fuzzy area in the middle there and it happened very quickly and I don’t understand why. I still have a voice-mail from Sean [Price Williams, cinematographer]. I wish he was here to talk about it, but the voice-mail is a long pause and he’s just like, “I don’t want to tell you this, because it’s gonna make you so insufferable. I hate having to tell you this, but Leos Carax watched your movie and he really loves it, and he wants to meet you when he comes to New York.” I can’t live in a world where Leos Carax knows who I am, watches my movie, likes it, and thinks, “I wanna meet that guy.”
~ It’s Alex Ross Perry’s World
“I don’t know. It’s been a lot harder than I thought it was going to be to make the films I really dream of making. I was in Italy a few years ago scouting for this very beautiful film I wanted to make with Richard Linklater. We worked really hard on the script for a couple of years and couldn’t get the money together. It was an expensive idea. It’s heartbreaking when that happens over and over again and then the movies that do get made are ones that have lots of women being beaten up or zombies being killed. It’s all fine, it’s all okay, but it’s hard. I remember when River Phoenix died, he was ahead of me on this curve. He kind of realized how hard it was to make serious movies. People like Sidney Lumet figured out how to walk that line, but it’s hard. And it requires patience. It’s a life’s work and I wonder if I’m up to the task.”
~ Weary, Wary Ethan Hawke

I wonder how much money Fox Searchlight is passing up by not going wider today with The Descendants.
Joe… think you’re overestimating the sure bet of that movie’s grosses. They have to convince people other than critics before they start making bank on this one.
Lillard is FANTASTIC in Descendants. He’s always been a good actor but plays such goofballs, and usually in proudly dumb movies, that it’s exhilarating when a great director goes with an off-kilter choice like that and it turns out so well. Like, who would have thought to cast Matthew Lillard opposite George Clooney, yet in one big scene he hits so many precise notes so well.
the best part of the entire dp/30 is Beau Bridges poem near the end.
It would have been nice if (thinking) adult audiences had a real choice at the multiplex this holiday weekend. (“Hugo” seems to be benefitting from the slim–at least for anyone over the age of 12–’plex pickings right now. Not surprisingly, its core demographic opening day was adults who traditionally patronize “prestige” films.)
But the release pattern reminds me of a similar tactic successfully employed by Paramount 28 years ago this w-end with “Terms of Endearment.” After a “Descendants”-sized platform release at Thanksgiving, it successfully expanded on December 9th.
I just hope F-S doesn’t platform this to death and kill its momentum.
It’s happened before.
slightly related: lillard is currently on stage in ‘harbor’ at the victory theater in burbank…small space, good performances… also, looking forward to catching bridges as a song-and-dance man when he steps into ‘how to succeed…’ in january
Nothing is a sure bet. But considering this is the day when entire families have to decide which film will be acceptable to everyone…
Might want to give SPOONER a look, Lex. It’s on Netflix instant. Lillard plays a semi-retarded (or maybe just Apatovian) 30 year-old in drake doremus’ first (or second?) feature. Not a great movie by any stretch but I found Lillard really impressive and surprisingly moving in it.
Payne says he’d never seen Lillard in anything before. He got the role because he nailed the audition.
does lillard look like THAT in ‘the descendants’? i can’t even believe that’s him – like the mythbusters dude only not having swelled yet – granted i haven’t seen him in a long time and haven’t seen the descendants. (eta still sounds the same)
robert forster shoulda won an oscar for jackie brown, he was robbed (by whom i can’t even remember, but still)
i always think of lillard and jake busey together as a set for some reason. haven’s seen him in ages either come to think of it.
Lillard looks completely different in the movie, Leah. He’s got dark hair (darker than I’ve ever seen on him), and no facial hair.
I actually did roundtables with him, Seth Green and Dax Shepard back in 2004 for the uber-lame “Without a Paddle.”
He seemed like an OK guy at the time. But I never pegged him for a future Payne dramedy.
Of course, I would have never imagined “Wings” alum Thomas Haden Church costarring in “Sideways” prior to 2004 either.
I should have probably said:
After a “Descendants”-sized platform release at Thanksgiving, it successfully expanded on December 9th and the rest was history.
At this vantage point, it’s stiffest Oscar competition looks like “The Artist” and “War Horse.”
leah, it was Robin Williams in GOOD WILL HUNTING who stole Forster’s Oscar. Still can’t believe voters had Forster and Burt Reynolds (in BOOGIE NIGHTS) to choose from and went with Williams. I think it was one of those ‘career achievement’ awards, where someone who’s lost a number of times in the lead category finally gets a supporting win.
I thought it was Reynolds’ to lose and I seem to recall him giving a couple bridge-burning interviews and lining up some TNT movies that soured some voters.
Forster, it was like the nomination was reward enough for an actor resurrected from obscurity by QT.
ah, robin williams, thanks. oh well, he was really good in GWH, i guess i can’t begrudge that – maybe just a little – but if i had to give williams an oscar it would have been for his brilliant turn as ‘sy the photo guy’ in ‘one hour photo’, because he achieved the impossible: making me forget i was watching robin williams to go on a weird trip with his sad, creepy ass.
(movieman: did you know that paragon of comedy cinema ‘w/out a paddle’ was shot here? hooray. i think that’s the last time i actually saw lillard full stop, so his appearance in the interview was a bit of shock, i didn’t intend for my comment above to sound so looksist, which it did in hindsight. he wasn’t in ‘the descendants’ trailer i’d watched, but i looked it up and saw lillard looks far more ‘himself’ in the movie – himself being ‘how i remember him’ of course, more power to him looking however he darn well pleases)
Krillian: I thought Forster deserved the win, but was frankly surprised that he even got nominated. It was the film’s only nomination, and the Academy often overlooks such non-showy work, no matter how superb.
I don’t have any big beef against Robin Williams, but it does gall me that the Academy has given him so much love over the years while snubbing the best acting work of Steve Martin and Eddie Murphy (to name two).
but yancy, not that i disagree with you but just wanted to point out that ‘the academy’ notoriously does not like to validate comedic perfs – laughing must chaffe their adult nappies or something – and william’ss noms have all come for drama roles or roles with a heavy dramatic component (my memory is a shocker): ‘GWH’, dead poets society, fisher king, good morning vietnam…i may have missed out some but with the exception of ‘good morning’ none of those are overtly comedic perfs, and i can only guess that the nom for ‘vietnam’ was tied to the dramatic setting/subject matter/war element of the movie and william’s force of nature perf with lots of deadly serious moments, and quite possibly its financial success/popularity.
now i can’t remember my original point but murphy and martin for example haven’t really made many celebrated forays into ‘serious dramatic roles’ of note for the academy to fawn over
Good point, leah — because, indeed, it’s the lack of recognition for Martin and Murphy’s comedic work that ticks me off, and as you say, Williams’ nods have come for predominantly dramatic work. I guess part of my problem is that I didn’t find Williams particularly deserving for any of those nominations. I would’ve had no problem with nods for AWAKENINGS, maybe ONE HOUR PHOTO, MOSCOW ON THE HUDSON or GARP, but of course the Academy passed him over in those instances.
I vaguely remember hearing that “Paddle” was shot in NZ, Leah.
But I don’t recall any of the actors making an issue of it at the time.
And that was seven long years ago.
Lots of water (paddled?) under the bridge for me since then, lol.
In first 15 min of the interview Beau managed to say three times that he has a house in Kauai.