Curio: Gus Van Sant, Painter

Alexa here. Lately James Franco has gotten a lot of press for his artistic aspirations, earning multiple degrees while he exhibits his artwork in Berlin, seemingly hosting the Oscars as an afterthought.  So also getting attention is "Unfinished", an exhibition of film and visual art by Franco and Gus Van Sant.  Most of the attention is focused on Franco, and what the show reveals about him. (For the exhibit he reedited footage from My Own Private Idaho, creating a 12-hour-long film titled My Own Private River.)  

But what I find interesting about the show, currently showing at the Gagosian Gallery in Beverly Hills, is seeing what Gus Van Sant is like as a painter. He studied film and painting at RISD, and was there at the same time as David Byrne (apparently urging Byrne to keep singing).  These watercolor portraits of young men, shown alongside Franco's film, obviously recall Mike and Scott from My Own Private Idaho, and share the film's dreamlike, loose, almost gangly quality.

more paintings after the jump...

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"Carnage" Cometh

With filming wrapped on the stage-to-screen God of Carnage excuse me Carnage (I guess they shortened the title) from Roman Polanski we get our first still of the feuding couples played by Jodie Foster & John C Reilly (what a weird combo) and Kate Winslet & Christoph Waltz.

This is either during the arrival scene or during one of the we're leaving (only no one actually leaves) scenes. I am happy to hear that they have not adjusted the main time frame. It still takes place in real time in one evening, yay. I guess Polanski is confident enough with his craft (as well he should be) and with the play's terrifically verbal bite to not worry too much about people saying it's "stagey".

Though this statement from Jodie Foster worries me a little.

Kind of like Who’s Afraid Of Virginia Woolf?, but a little funnier. There’s a lot of wit.

Foster absorbing directing tips from Polanski?

Er. I'm not sure you want to compete with Edward Albee in the wit department. Just saying. Few people seem to ever remember how hilarious Virginia Woolf is until they're watching it. It is a bit like being kicked in the stomach while you're laughing so maybe that's why people don't remember the funny ha-ha? God of Carnage... excuse me Carnage... is quite funny and biting and it's true that it bears a passing resemblance to Woolf? in that black comedy four character claustrophobic all in one night way. But it's less genius than Woolf? Woolf? minor maybe. But still Woolf? is so many millions of times better than most everything else in the world that being a minor version of it is still pretty damn hot.

If they've pulled it off expect Oscar nominations come January.

Reader of the Day: Murtada

Since yesterday's Reader o' the Day was someone I'd met, let's make it a double feature. But afterwards we go back to people I haven't met which is 99.99% of you. Today we're talking to Murtada who lives here in NYC. I've only been recognized in public (at least to my knowledge) like 6 times so I've never gotten used to it. It is... strange. Murtada was one of those (unlucky) sharp eyed people. We were at a gay bingo event of all things.

Nathaniel: I'm still so embarrassed about our meeting. My friends were so mad at me... they were all "Why were you so rude to that nice guy?" I was just shocked/disoriented. I have no idea what I even said. Can you ever forgive me?
MURTADA: Of course I forgive you……as long as you promise to come back to gay bingo. I haven’t been back since that day, have you?

Haven't been back, no. LOL. Do you remember your first moviegoing experience?
I grew up in Sudan and there were not a lot of movie theatres there. I consumed movies on VHS. But there was an outdoor summer theatre that played mostly Bollywood movies. I remember seeing a Jaws revival on a very hot summer night sometime in the 80s and hiding under the seat for most of the movie because I was so scared.

Your 3 favorite actresses. Go!
The two C/Kates, Blanchett and Winslet. I can’t get enough of either. Blanchett was love at first sight when I saw her in Elizabeth but I love her most in The Talented Mr. Ripley, so casually snobbish.. delicious. And her big grand gestures in The Good German are even better than her Hepburn. Winslet was more of a love built over time and accumulated because  she just kept getting better and making better movies. My fave of hers is probably Revolutionary Road, she was combusting with emotion in that. And recently Michelle Williams took my breath away in Blue Valentine.

I know you're an Oscar obsessive. Take away one person's Oscar and give it to someone else.
I could play this game all day: Angelina Jolie’s (Girl, Interrupted) to Toni Colette (The Sixth Sense); Phillip Seymour Hoffman’s (Capote) to Heath Ledger (Brokeback Mountain); Rachel Weiz (Constant Gardener) to Maria Bello (A History of Violence); And don't even get me started on Hooper/Fincher, the wound is still raw.

But if I was given one chance I will have to take Kevin Costner best director Oscar (Dances With Wolves) and give it to Martin Scorsese. I know, obvious. But that doesn't make it wrong. In fact it will right maybe one of the biggest wrongs in Oscar history. GoodFellas is a fantastic movie that has endured and is now a big part of movie and pop culture history. In my opinion it's Scorcese's peak as a storyteller.

Who are you really rooting for over the next few years of cinema?
I am so glad that Darren Aronofsky is not doing Wolverine and whatever his next movie becomes I hope it's an original story of his. He is the most exciting American filmmaker out there.

Akira Redux

You've heard that they're making a live action American version of Katsuhiro Otomo's Akira (1988), right? That's the sci-fi cartoon that really opened the Anime floodgates here in the States. I have a faint memory of seeing the movie in the theater when it arrived in the States -- I think 1990? -- and that memory involves two things: my jaw was mostly open throughout from the epic violent craziness, and my best friend at the time who I went to every movie with (hi Kevan!) turned to me during the climactic battle when Tetsuo transforms hideously into this blob like creature and said something silly like "quivering mounds of blubbery goo" in a dramatic but silly voice. We started giggling and a rather, um, large patron in front of us turned around to give us hateful looks. Embarrassing! But we were just reacting to the visuals on screen, I promise.

For those of you who are unfamiliar, the film is about a gang member biker Kaneda and his efforts to stop his powerful psychic friend Tetsuo from destroying Neo-Tokyo, an artificial city of sorts built after the destruction of the real Tokyo by another psychic boy named Akira who is still alive but imprisoned. (It takes place in 2019.) The new version will be directed by Albert Hughes (The Book of Eli) and the adaptation was done by Steve Kloves (The Fabulous Baker Boys, the Harry Potter franchise).

Though it was to be expected that the American remake would Americanize the story (it'll now take place in a futuristic New York City. Will they call it "New New York"?), some of us were stupid enough to hope that they'd realize that America does not equal caucasian. When your movie is based on a famous Japanese movie, it's not like you couldn't win lots of street cred and fan favor by casting Japanese Americans in the lead roles. Hell, even just Asian Americans of any type would win you non-racist points, as you'd still be acknowledging that people of color should maybe lead properties that are non-white in origin. Oh sure, you can say "there are no bankable Asian American actors" but how will there ever be if they're never given opportunities? And here's a thing Hollywood often forgets in their risk averse decisions: remakes of famous movies as well as virtually all genre titles, are sold primarily on their brand awareness and on their genre. This may be an unpopular theory but even something like Inception. Consider: What sold more opening weekend tickets? The folding city in the trailer or Leonardo DiCaprio's name in the trailer. The latter cost them 8 figures. This is why I've never understood why Batman in his multiple incarnations always requires an expensive leading man; BATMAN IS THE STAR, not the actor. Movie producers used to understand this. Christopher Reeves was not famous when he signed on for Superman and it sure didn't hurt that film's box office. District 9's box office wasn't hurt by using an (excellent) unknown in the lead role. With certain genres (mostly the "geek" genres: superhero, sci-fi, horror) the genre and the concept is the star.

My points is this. New York City is not lacking for diversity. I am white and I am most definitely a minority in my neighborhood. So why do movies set in NYC always seem lily white? And surprise: Actors come in all nationalities and skin colors, not just American/British/Australian and white.

illustration by taka0801

The actors being discussed for the lead roles of Kaneda and Tetsuo, who'll obviously have to be renamed Ken and Todd, are the following: Robert Pattinson, Andrew Garfield, James McAvoy, Garrett Hedlund, Michael Fassbender, Chris Pine, Justin Timberlake and Joaquin Phoenix. That's a lot of different acting styles and accomplishments and types and even ages. So basically, once again, we see that casting has nothing to do with what's required for roles or what tone a film is aiming for, it's just "whoever is on the studio's lips" each time. Sad. Casting is an artform, too. I really wish we'd see some acknowledgement that it is.

If The Film Experience were a massive site with millions of readers I'd demand a casting call right here. I'd be asking for all unknown or 20to30something Asian actors with excellent English skills, physical action film aptitude, and movie star good looks to send in their headshots and reels and I'd be packaging it all up with the top 20 and sending it Warner Bros way. Freelance casting director for hire!

Daniel Henney, Won Bin, Chang Chen, Masahiro Motoki, Takeshi Kaneshiro, Dennis Oh, Matsuyami Kenichi and Hiroshi Tamaki

Seriously, I don't understand why I can spend (literally only) 15 minutes brainstorming and come up with a couple of handfuls of Asian actors that might be cool to think about / test / consider for these roles (even allowing for the studio's random age ranges and no discernable "type") if they spoke English well -- surely some of them do, especially the American ones! ;)  -- but Hollywood studios with all of their casting resources and their budgets and their months of pre-production work don't ever even consider meeting with any of them? Do they even look at headshots? Do they even know that male actors of Asian descent exist? I'm beginning to wonder.

I suppose the most we can hope for at this point is that they deign to let Ken's (née Kaneda) love-interest Kei keep her Asian-ness. Every once in awhile the studios will let an Asian actress play a girlfriend. But Asian men? Forget about it. Shame.

Need More Akira? We'll be celebrating again in April in our "Hit Me With Your Best Shot" series. It's collaborative so join in.

Are you a new reader? Welcome. Please consider subscribing or bookmarking - some more pieces on animated films and Asian cinema coming up. We've been in the mood.

Another article addressing this problem -- though not Akira related:
Asia Pacific Arts "Hot Asian Actors Hollywood Doesn't Yet Realize It Needs"

First and Last, Sky Shots

the first and last images from motion pictures. So many movies begin with a sky shot. But do you know which movie this is?

another clue: the first and last lines of dialogue

first: [screaming]
last: It's not too late.

Can you guess the movie?

check your answer after the jump.

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