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David Poland

By David Poland

Trailering Firth/Rickman/Diaz/Coens/Hoffman “Gambit”

Michael Hoffman is one of the few American directors who actually knows how to shoot a farce. The Coens certainly know how to write one. Is this going to be the True Romance-type match-up that creates a “forever” movie? We’ll see…

4 Responses to “Trailering Firth/Rickman/Diaz/Coens/Hoffman “Gambit””

  1. movieman says:

    I love Hoffman’s “Some Girls.”
    Montreal has never looked more inviting on film.
    And “One Fine Day,” “Restoration” and “Soap Dish” are very good, too.

    I don’t remember anything about the Caine/MacLaine “Gambit.”
    But does anyone 46 years later? It’s not like it’s a “classic” or anything.
    Which definitely bodes well for this one since it’s basically starting from scratch.
    I hadn’t even realized the Coens wrote it. Hip-hip-hooray.

  2. storymark says:

    I had never even heard of Gambit a few months ago, but was lucky enough to catch it while it was Netflix instant, and found it fairly entertaining.

    This trailer doesn’t look much like the original anyway. I am curious if the remake keeps the first act structural trick the original utilized, but otherwise Im not terribly interested.

  3. The Pope says:

    Yes, the first act of the original Gambit works because the trick takes so long to kick. But after that, it’s a mundane 60s heist. This version seems utterly lame. DIaz seems miscast and the old British gag of walking around without your trousers is crudely topped by sitting at your desk and showing your knackers to your employee. It says a lot that the Coens wrote this over a decade ago and have shown no interest in ever making it themselves… or even being part of the press-kit. Speaking of which, when does it is open? The UK is November 2012 and the some places around Europe in 2013. But west of the Atlantic… bupkis.

  4. Krillian says:

    Gambit’s scheduled to open February 22 in the US, last I saw.

    Looks kinda fun. Never saw the original. I’d heard it was on Netflix but by the time I got around to go see it, it was gone again.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

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MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé