In For A Good Time, Call…, Ari Graynor and Lauren Anne Miller star as Katie and Lauren, sworn enemies forced to become roommates out of financial necessity. Fun-time Katie has been occupying her grandmother’s gorgeous rent-controlled Gramercy Park apartment since she semi-recently passed away, but the rent control is about to expire and her handful of odd jobs (including working for a phone sex line) won’t cover the new rent. Meanwhile, conservative Lauren finds herself unexpectedly homeless and in desperate need of housing. Their mutual gay best friend, Jesse (Justin Long), suggests they get over their long-standing feud and move into Katie’s apartment together, and the two begrudgingly agree. But when Lauren discovers that Katie has been doing freelance phone sex work, she has a business-minded brainstorm: wouldn’t it be much more profitable if they just started their own phone sex company?
Category: Interviews
Spinning Platters Interview: Rashida Jones and Will McCormack on “Celeste and Jesse Forever”
As if her skyrocketing acting career, Harvard education, impeccable comic timing, exquisite beauty, and legendary lineage weren’t threatening enough, Rashida Jones comes one step closer to total world domination with the release of Celeste and Jesse Forever. In addition to being her largest film role to date, Celeste and Jesse marks Jones’ screenwriting debut; she co-wrote the film with actor Will McCormack, who also appears in the film, and whom Jones briefly dated in the late ’90s before jointly realizing they were better as friends. Sadly, that kind of relationship decision-making wisdom eludes the title characters in their film, Celeste (Jones) and Jesse (Andy Samberg), an LA couple attempting to navigate a divorce while remaining best friends. Needless to say, these good intentions merely end up paving the freeway to heartache hell in this disarmingly intelligent, emotionally honest alternative to the usual rom-com fluff.
Spinning Platters Interview: William Friedkin on “Killer Joe”
“Fire away. Anything. Don’t be polite.” William Friedkin is feeling pretty candid these days. Maybe it’s because after nearly six decades in the business, the Academy Award-winning director of such classics as The French Connection and The Exorcist has nothing left to prove. Maybe it’s because he’s been working on his memoirs, due next year from HarperCollins, and is still in confessional mode. Or maybe he’s just well past the age where you stop giving a fuck what anyone thinks about you (he turns 77 this month). The night before our conversation, Spinning Platters attended a screening of his gleefully sadistic new movie, the NC-17-rated Killer Joe, followed by a moderated Q&A with Friedkin that quickly turned into a rowdy one-man show. Refusing to be seated, Friedkin stood in front of the jam-packed theater for nearly an hour and pontificated at length about his career, the controversy over Killer Joe, and anything the audience wanted to talk about. He even volunteered questions he figured we were too sheepish to ask (“Who wants to hear how I discovered Linda Blair?”). When he was informed that the theater needed him to wrap up, he was unfazed. “Why, what are they gonna play? Isn’t it too late to start a movie?”
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10 Quick Questions with Scott Aukerman
Scott Aukerman first came onto the national radar as a writer and occasional performer on Mr Show. In the year’s since Mr Show’s cancellation, he’s probably most famous for his Comedy Death Ray show, which later evolved into the excellent podcast Comedy Bang Bang. He also has created his own network of podcasts under the banner Earwolf.com. Recently, IFC has opted to pick up Comedy Bang Bang as a TV show. He is also bringing Comedy Bang Bang on the road, and he will be doing the show with guests Paul F Thomkins, James Adomian, and opener Kurt Braunohler at The Herbst Theater in San Francisco on August 3rd. Tickets are available here!
SpinningPlatters had the opportunity to ask Mr Aukerman a few questions about his career, his future, and learning that he might not remember every minute bit of every sketch he’s ever written. Continue reading “10 Quick Questions with Scott Aukerman”
Spinning Platters Interview: Cillian Murphy and Rodrigo Cortés on “Red Lights”
In the dramatic thriller Red Lights, Cillian Murphy and Sigourney Weaver star as the world’s foremost investigators of paranormal phenomena. Professional skeptics, they have debunked dozens of fraudulent mind readers, ghost hunters, and faith healers by detecting “red lights”, subtle clues to the trickery behind each of these “supernatural” occurrences. But when a world-renowned psychic (Robert De Niro) suddenly resurfaces after a lengthy exile — and the death of his biggest critic — they begin to investigate him, despite increasingly bizarre and dangerous incidents the closer they get. Co-starring Elizabeth Olsen and Joely Richardson, Red Lights is the second English-language film by Spanish writer/director Rodrigo Cortés, who previously created the acclaimed Ryan Reynolds thriller Buried. Below, Spinning Platters talks with Murphy and Cortés about manipulating the human brain, Murphy’s reflections on 28 Days Later and Inception, and how profoundly unamused he is by my phone’s autocorrect.
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Spinning Platters Interview: Todd Solondz on “Dark Horse”
Ever since his 1995 breakout Welcome to the Dollhouse, writer/director Todd Solondz, 52, has continued to plumb the depths of soul-sick suburban alienation with equal parts open-hearted compassion and satirical ruthlessness. While he is prone to subjecting his characters to the most profoundly unsettling social and psychological horrors imaginable (this arguably reached its nadir with his notorious 1998 epic Happiness and its wrenching pedophile protagonist), it is always clear that he loves and embraces them in all their sad, desperate flailing for love and validation. And while Solondz’s protagonists have always been underdogs, his latest film both deconstructs and transcends that familiar archetype. It is titled, appropriately, Dark Horse.
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Spinning Platters Interview: Benh Zeitlin on “Beasts of the Southern Wild”
After chatting with Quvenzhané Wallis and Dwight Henry, the stars of the massively acclaimed Sundance breakout Beasts of the Southern Wild, we sat down with its writer/director: Benh Zeitlin, a 29-year-old Queens native and Wesleyan graduate who has lived in New Orleans since 2008. Beasts is Zeitlin’s first feature film; it wrapped post-production just two days before its Sundance premiere catapulted Zeitlin and his cast into the spotlight, leading immediately to months of myriad promotional duties that are unlikely to cease until the end of awards season next year. When I asked Zeitlin what day he’d arrived in San Francisco, he said he did not remember. “I stick my credit card into the machine and a new city pops up and that’s where I go,” he said wearily. Although he says he’s gotten used to his press duties, which were initially “like getting hit in the face,” his flagging energy received a Bay Area boost when he visited the ILM headquarters. “Walking down those halls was incredible,” he said reverently. “I hadn’t realized all the stuff they’d done. Like Who Framed Roger Rabbit? That was my entire childhood! Just watching that three thousand times. It’s a temple. These movies are why you do what you do.”
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Spinning Platters Interview: Quvenzhané Wallis and Dwight Henry on “Beasts of the Southern Wild”
There was once a time when we looked to the Sundance Film Festival to present us with groundbreaking independent films that challenged and changed what we understood about contemporary cinema. But as the festival became increasingly infiltrated by major studios and A-list stars over the course of the ’90s, it lost its sense of revelatory edge; at its best, Sundance now gives well-known actors the opportunity to gain prestige and acclaim by doing smaller character-based films, and can usually be depended upon to introduce us to buzzy new ingenues and precocious young auteurs. But this year, a massively ambitious yet micro-budgeted film made by a principled collective in southern Louisiana hit the festival with enough impact to shake off decades of cynical atrophy. That film is Beasts of the Southern Wild, the feature-length directorial debut of 29-year-old Benh Zeitlin, and it is the full and total realization of the Sundance dream: not only does it introduce us to the staggering talents of new actors and filmmakers, but it majestically opens the gate to an entirely new and fantastical world. It is truly unlike anything you have ever seen.
Spinning Platters Interview: Chris Pine and Alex Kurtzman on “People Like Us”
If I were to tell you that one of this summer’s most character-driven and emotionally mature dramas comes to you from the writing team responsible for three of Michael Bay’s last four films, you’d accuse me of being hopped up on bath salts and run away covering your face and screaming. And yet, such is the case with People Like Us, the directorial debut of writer/producer Alex Kurtzman. In addition to his work with Bay, Kurtzman (along with creative partner Roberto Orci) is best-known for writing action-packed episodes of TV shows like Alias, Hawaii Five-0, and Fringe, and blockbusters like Mission: Impossible III, Cowboys & Aliens, and the J.J. Abrams reboot of Star Trek (as well as its upcoming sequel). And when the time came for him to finally tell a personal story inspired by one of the most shocking chapters from his own life, he chose his dashing Star Trek leading man, Chris Pine, to play his onscreen surrogate.
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Spinning Platters Interview: Lorene Scafaria on “Seeking a Friend for the End of the World”
In the dystopian romantic comedy Seeking a Friend for the End of the World, Steve Carell and Keira Knightley star as Dodge and Penny, two strangers in the same apartment building who unexpectedly find themselves becoming close companions for the final few weeks of Earth’s existence. As the film begins, we learn that the final effort to stop a massive asteroid hurtling toward Earth has failed, meaning that the apocalypse is imminent. While everyone around him chooses to celebrate with drug-fueled orgies and looting, Dodge would rather mope in private. But then he meets the exuberant Penny, who lives just below him and has been getting his mail for years. When a dangerous riot imperils their building, Dodge and Penny embark on a road trip across a bizarro end-of-days landscape, searching for one last connection with whatever had been meaningful to them in their lives. This delightfully imaginative film comes to us from writer/director Lorene Scafaria.