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By DP30 david@thehotbuttonl.com

DP/30 Emmywatch ’12: Mad Men, actor Christina Hendricks

One Response to “DP/30 Emmywatch ’12: Mad Men, actor Christina Hendricks”

  1. anghus says:

    Easily her best season on Mad Men. In a show that is often about compromise and the struggle to find substance in a world obsessed with surface, Joan became the personification of that struggle.

    Don Draper had always been the centerpiece of that struggle. A man who considered himself to be morally sound in spite of his many failings. The other supporting characters were all at different places on the moral compass. Every year compromise seems to find one of them as each character gets their hands dirty.

    This year we saw Lane cross that line, one that cost him his life. And while Lane had the saddest and most damning arc, it was Joan that had to live with her choice. She had always been the beautiful, seductive icon of this ore-fab time. And even though she had her share of flings, they were always of her choosing. When the firm asks her to do the unthinkable, the choice she makes never feels obvious. And that fantastic scene between Hendricks and John Hamm where he tells her she doesn’t have to do it… and the subsequent scene in the boardroom where he realizes she already had… it’s just brilliant. The entire season was fantastic, but those final few episodes with the Jaguar campaign. As Ginsburg spins that pitch to Don: “At last, something beautiful you can truly own”, and you realize that Joan has now sold her soul for financial security… it’s the kind of writing and acting you’re only going to find on a show like Mad Men.

    On a show with so many good actors, Hendericks really killed it this year. I hope she wins.

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“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

“I was having issues with my script for It’s All About Love, so I called Ingmar Bergman and we ended up talking about everything but the script. He said, “Well, Festen is a masterpiece, so what are you going to do now?” At that point, I had not decided if I was going to make It’s All About Love, so I answered, “Hmmm, I don’t know. Maybe this, maybe that.” There was just a long pause, and then he said, “You’re fucked.” I said, “Well, how can you know?” “Well, Thomas, you always have to decide your next movie before the movie you’re doing presently opens.” And I said, “Why is that?” “Well, two things can happen. One thing is that you fail, and then you’ll feel scared and humiliated. It’ll get into your head. Second, and even worse, you have success, and then you’ll want more of it, or you’ll want to maintain it. But if you decide on your next film while you’re in the middle of editing, it becomes a very nonchalant choice. And then it’s shorter from the heart to the hand.”
~ Thomas Vinterberg

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