Jason Bateman makes his feature film directorial debut with the hysterically foul-mouthed Bad Words, in which he also stars as Guy Trilby, a forty-something disgruntled middle-school drop out who exploits a loophole in the rules guiding a national spelling bee in order to participate in the contest — but why? There’s more than meets the eye in this black comedy, and I sat down with Mr. Bateman to discuss how Bad Words came to be…along with some other fun stuff while witnessing firsthand his trademark dry humor:
Alexis Denisof and Amy Acker in Much Ado About Nothing
Amy Acker and Alexis Denisof, well known for their remarkable acting within the many works of storytelling mastermind Joss Whedon, take center stage in the director’s intimate retelling of Shakespeare’s classic tale Much Ado About Nothing. Playing the respective roles of Beatrice and Benedick, the pair move with an electrifying and gorgeous chemistry that helps to shape the world around them. We caught up with the duo after the premiere showing of the film at the San Francisco International Film Festival, and got some delightful insights into the creative process behind this moving, marvelously graceful and wonderfully funny film.
While the echoes of Shakespeare and his work can be felt in the backbones of modern storytelling for the past few centuries, there is really nothing like the actual stories themselves, and they make for timeless tales that can be endlessly re-performed and re-interpreted. The mostly-blank canvas of a play allows for a great deal of re-imagination, and in today’s world of film and television, who better to take up such a task than a director who is known for his marvelous creativity and his own original work? Thus was born Joss Whedon’s modern take on the Bard’s well-loved tale, Much Ado About Nothing, a play highly regarded for its delicate balance of tragedy and comedy and much lauded for its look at relationships and roles of gender. The movie itself has been given a rather arduous task — doing justice to a modern interpretation of Shakespearean play is a concept often wrought with tribulation — but it succeeds magnificently, and is spellbinding in its blend of wry and somewhat slapstick humor, deeply-moving dramatic moments, and the ever-intriguing firecracker romance of its lead characters, Beatrice (Amy Acker) and Benedick (Alexis Denisof).
They said it couldn’t be done: a movie version of Yann Martel’s bestselling novel Life of Pi, an intensely visual parable that consists almost entirely of a teenaged Indian boy named Pi lost at sea on a tiny rowboat with a wild tiger as his only companion? Bah, said some. Blergh, exclaimed others. Bloop, said NeNe Leakes. But clearly the naysayers hadn’t considered the possibility that Ang Lee, the Oscar-winning 58-year-old director of such contemporary classics as Crouching Tiger, Hidden Dragon and Brokeback Mountain, would consider taking the helm. But take it he did, choosing the spiritual allegory as his follow-up to the modestly received Taking Woodstock.
Joe Wright and Keira Knightley on the set of ANNA KARENINA
“I cannot believe that I am less important than Tyra Banks!” Joe Wright exclaims with mock-indignation. He has every reason to be nonplussed. Through a bizarre chain of last-minute developments, I have found myself with a direct conflict to our scheduled interview time: the opportunity to ask Tyra Banks a question over the phone for a rare pre-taped episode of Bravo’s Watch What Happens Live. The call had originally been scheduled over an hour prior to my interview with Wright, but TyTy took her sweet-ass time arriving to the taping; so now here I am, sitting at the Ritz-Carlton with my iPhone flattened against my ear, waiting anxiously for my Tyra cue while Wright, the British director of such Oscar-nominated dramas as Pride and Prejudice and Atonement, paces in front of me with an unlit cigarette. I am fully aware that I am showing questionable judgment and hope that Wright’s next interviewer will show up so that we might reshuffle our schedule, but the next interviewer is nowhere to be found, and I am now personally responsible for keeping Joe Wright waiting.
Robert Zemeckis and Denzel Washington on the set of FLIGHT
François Truffaut once said that a great movie is the perfect blend of truth and spectacle. This is one of Robert Zemeckis’ favorite quotes, and as evidenced by his staggering filmography, a guiding principle in his work. From his 1984 action-comedy Romancing the Stone onward, he has displayed an virtuosic ability to craft culture-defining megahits that use cutting-edge technology to tell unforgettable stories. Comedic VFX-driven comedies like the Back to the Future films, Who Framed Roger Rabbit, and Death Becomes Her led to such powerfully soul-searching dramas as Forrest Gump (which won him the Oscar for Best Director), Contact, and Cast Away (which came out a few months after his deliciously sinister suspense flick, What Lies Beneath). Zemeckis’ interest in new filmmaking technology then led him on a decade-long detour into animation, and for a time, it seemed like we may have lost the visionary who so radically broadened the horizons of live-action film. But now, twelve years after his last non-animated movie, he is back with Flight.
Jackson Rathbone in THE TWILIGHT SAGA: BREAKING DAWN – PART TWO
How will civilization sustain itself without a Twilight movie to look forward to every fall? I for one will miss my annual trip to the theater each November to watch a Morrissey-looking vampire and shirtless werewolf fight for the love of an unhappy lesbian. One person with an even more personal take on the conclusion of the series is X-Men enthusiast, Civil War buff, and Twilight actor Jackson Rathbone (he plays Jasper Hale, neither the Morrissey-looking vampire nor the shirtless werewolf ), whom I spoke to during a recent press junket. Looking less pale and significantly less blond than he does in the films (Rathbone had to dye his naturally dark hair blond to match the character description in the books) the charming Texan talked about his illustrious ancestry, his action figures and what might be next now that Breaking Dawn has broken.
If you think you’ve seen every possible narrative variation on a man trying to lose his virginity, then allow me to introduce you to The Sessions. A cheerful film of irrepressible optimism and remarkable sexual frankness, it is the true story of Mark O’Brien (John Hawkes), a man who was left near-paralyzed following a childhood bout with polio. Having attained local fame for graduating from Berkeley by attending classes on a motorized gurney, Mark now spends the majority of his days in an iron lung. His physical movement is limited to a 90-degree rotation of his neck, which he doesn’t let prevent him from pursuing work as a writer and freelance journalist (and what have you done lately?). When a magazine assigns him a story on sex and the disabled, his research leads him to “sex surrogate” Cheryl Cohen-Greene (Helen Hunt), essentially a physical therapist with an emphasis on sex. Yes, her vocation involves having sex with her clients. With great trepidation, Mark (still a virgin at 36) decides to undergo a series of therapy sessions with Cheryl to see if he is indeed capable of performing sexually.
Matthew Lillard (far right) on the set of his directorial debut FAT KID RULES THE WORLD
“Oh, that’s just semen.” Matthew Lillard is trying to put me at ease about a mysterious glob on the chair I’m about to sit in. As I express my comfort with this substance and take a seat, I stare across the table and look directly into one of the most unforgettable faces of my teen years. Between Serial Mom, Hackers, and Scream alone, Lillard is arguably one of the key cult actors of that greatest of decades. Throw in SLC Punk!, She’s All That, Mad Love, and even If These Walls Could Talk, and we’re talking about a bona fide generational icon. By the time he hit paydirt with his uncanny embodiment of Shaggy in the 2002 blockbuster Scooby Doo and its 2004 sequel, Lillard seemed unstoppable. Then, after a decade of steady and successful work, Lillard entered a lengthy fallow period that tested his personal and professional resolve. But with two high-profile acting gigs over the last year and the victorious release of his long-gestating directorial debut, Fat Kid Rules the World, Lillard is back on the scene in a big way.
Colin Farrell, Christopher Walken, and Sam Rockwell in SEVEN PSYCHOPATHS
Seven Psychopaths may only be the second feature-length film from writer/director Martin McDonagh (In Bruges), but it appears that he’s already having his 8 1/2 moment. A fragmented and bizarre but explosively funny crime comedy, it is ostensibly the story of Marty (Colin Farrell), a screenwriter attempting to write his next script, titled…Seven Psychopaths. There’s just one problem: despite the title, Marty has only thought of one psychopath. But when his friend Billy (Sam Rockwell), an aspiring actor and serial dognapper, and his dognapping partner Hans (Christopher Walken), unwittingly steal Bonny, the beloved shih tzu of vicious L.A. gangster Charlie (Woody Harrelson), Marty begins to realize that he may actually be surrounded by psychopaths.
