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By DP30 david@thehotbuttonl.com

DP/30: Zero Dark Thirty, actor Jessica Chastain

3 Responses to “DP/30: Zero Dark Thirty, actor Jessica Chastain”

  1. Sam says:

    Loved this interview. Jessica Chastain is a great conversationalist, and I like what she has to say about how she works. And I like how down to earth she is, despite having every reason not to be.

  2. jon says:

    She’s great.

  3. Djiggs says:

    The best Actress Oscar goes to Jessica Chastain this year & I think handily over Jennifer Lawrence.
    -the other 3 likely candidates Cotilliard, Riva, Weisz/Knightley are into pictures that are even more uncompromising in their artistic viewpoints than even ZD30 (not necessarily more successful story wise than ZD30 but definitely less appealing to an average moviegoer & academy member)
    -historical drama against screwball romantic comedy
    -sending praise to Obama’s administration approach to handling terrorists (e.g. Good detective work vs evil Cheney torture tactics)
    -Factoring along with their performances are Chastain’s career & Lawrence’s career in Oscar voters … Which I theorize will be like how the AL MVP went to Cabrera over Trout…Lawrence is still a young skyrocket with bigger mountains to climb while Chastain is hitting the beginning of her prime acting years after 10 plus years not having any substantial recognition until past two years
    -the biggest factors are screen time & how much each actor is carrying their film’s narrative; Lawrence is in a more defined ensemble movie & is not the character that is the audience’s narrative marker…Bradley Cooper is & Lawrence is the most important supporting but still a supporting player. Chastain’s Maya is the viewer ‘s prism into the world of ZD30. I think that this is the primary reason Streep was chosen over Davis…because she was in almost every single scene in her movie.

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“When Bay keeps these absurd plot-gears spinning, he’s displaying his skill as a slick, professional entertainer. But then there are the images of motion—I hesitate to say, of things in motion, because it’s not clear how many things there are in the movie, instead of mere digital simulations of things. It doesn’t matter. What matters is that there’s a car chase through London, seen from the level of tires, that could have gone on for an hour, um, tirelessly. What matters is that the defenestrated Cade saves himself by leaping from drone to drone in midair like a frog skipping among lotus pads; that he and Vivian slide along the colossal, polished expanses of sharply tilting age-old fields of metal like luge Olympians. What matters is that, when this heroic duo find themselves thrust out into the void of inner space from a collapsing planet, it has a terrifyingly vast emptiness that Bay doesn’t dare hold for more than an instant lest he become the nightmare-master. What matters is that the enormous thing hurtling toward Earth is composed in a fanatical detail that would repay slow-motion viewing with near-geological patience. Bay has an authentic sense of the gigantic; beside the playful enormity of his Transformerized universe, the ostensibly heroic dimensions of Ridley Scott’s and Christopher Nolan’s massive visions seem like petulant vanities.”
~ Michael Bay Gives Richard Brody A Tingle

How do you see film evolving in this age of Netflix?

I thought the swing would be quicker and more violent. There have been two landmark moments in the history of French film. First in 1946, with the creation of the CNC under the aegis of Malraux. He saved French cinema by establishing the advance on receipts and support fund mechanisms. We’re all children of this political invention. Americans think that the State gives money to French films, but they’re wrong. Through this system, films fund themselves!

The other great turning point came by the hand of Jack Lang in the 1980s, after the creation of Canal+. While television was getting ready to become the nemesis of film, he created the decoder, and a specific broadcasting space between film and television, using new investments for film. That once again saved French film.

These political decisions are important. We’re once again facing big change. If our political masters don’t take control of the situation and new stakeholders like Netflix, Google and Amazon, we’re headed for disaster. We need to create obligations for Internet service providers. They can’t always be against film. They used to allow piracy, but now that they’ve become producers themselves, they’re starting to see things in a different light. This is a moment of transition, a strong political act needs to be put forward. And it can’t just be at national level, it has to happen at European level.

Filmmaker Cédric Klapisch