Nashville: Chatting with Sam Jaeger and Sarah Hagan

I'm back in NYC, yo. So let's wrap up Nashville coverage with some odds and ends, starting with two familiar television actors who had movies in the festival, Sarah Hagan and Sam Jaeger.

Sam Jaeger, you may recognize as "Joel" from Parenthood or series regular stints on short-lived series like Eli Stone and Girls Club. We spoke in the late afternoon on a day when the VIP tent was strangely empty. Without competition for attention (his world premiere was the next evening and he'd just arrived) I yanked him my way, verbally. He was super amiable, funny and made no attempt to escape the conversation. (Ha! See, I always wonder if actors dread the constant need to be "on" while they talk to press, fans, or industry types.) We talked about his directorial feature debut Take Me Home, which is about a down on his luck photographer who ends up on an emotional roadtrip with a stranger in his part time gig as a cab driver. I revealed my surprise to him that when I got to the end of the screener I was surprised to see his name everywhere: writing, directing, producing in addition to acting. (The best thing about festivals for me is seeing films without any buzz, hype or information clouding the experience.) He had a self-deprecating sense of humor and revealed that he figured no one else would star in it with the amount of money he was planning on paying the lead. Heh.

From there we talked about Parenthood and I told him about my skeptical initial reaction to his character: 'oh i know exactly where this is going. TV is so conservative and the stay-at-home dad always morphs into a cheating villain' (see Brothers and Sisters for a recent cliche example). To my great surprise his character didn't turn out like that at all. He was not suddenly a "recurring" character instead of a regular. He laughed...

I'm glad they didn't fire me, too!

Parenthood is still awaiting word on renewal for its third season but he says he's feeling confident that they're getting picked up. If you watch Parenthood, you should read this piece at Vulture about what it does right and a few areas where it needs more work. I rarely agree so whole heartedly with an indepth analysis such as that. (Though I fear any attempt to "complicate" the Joel & Julia characters would result in some clichéd cheating that I have no interest in seeing as a plot development.)

Sarah Hagen I didn't recognize quite as immediately. But when she walked past me I did one of those 'I know this person' double takes. It took me a few seconds before I was like "Slayerette! Millie!" Though she's always a welcome small screen presence she is one of those actors who looks quite different offscreen, more traditionally glamorous and pretty than she ever is in onscreen since she's often playing "geeks" (hence: Freaks and Geeks).

Sarah Hagan in (fromt left to right): Buffy, Freaks & Geeks, and Jess+Moss

After we chatted briefly she walked me over to meet her director Clay Jeter, who is originally from Tennessee (hence the "Spirit of Tennessee" award announced yesterday). I congratulated him on Jess+Moss's recent festival win (Dallas) and asked if they'd found distribution yet. They hadn't but the awards notice and reviews had them feeling positive about a pickup. Her director wanted to know how I'd recognized her. I told him Buffy the Vampire Slayer and he said that's the number two response but he hears Freaks and Geeks most often. That was the clincher, I tell him, a one-two punch. And only two of the best television series of all time, lucky girl! Hagan, who turns 27 next month, plays Jess, a recent high school graduate in a memory piece film about a shared summer with her cousin Moss (Austin Vickers).  I asked her if she's eager to move on from the mental association we have of her as a highschooler. "Play young as long as you can, right?" she says with a smile and shrug and I guess that's true for actors of all ages. Unfortunately I was unable to fit a screening in before I had to catch my plane back so Jess+Moss remains unseen... for now. But it certainly looks intriguing in stills and was apparently shot on degraded film stock.

Hit Me With Your Best Shot: "THE CIRCUS"

In the weekly "Hit Me With Your Best Shot" series, we select what we view as the best shot from a pre-selected movie. Everyone who does the same gets linked up! This week's film is Charlie Chaplin's somewhat underappreciated slapstick comedy The Circus (1928).

Don't you love it when a movie character is so iconic that you only have to see their backside as intro? The movie's plot kicks into gear when a pickpocket puts his catch into the Tramp's pocket to prove his innocent. Comedic complications ensue.

In truth, I have never quite understand the Little Tramp's appeal being mostly a Buster Keaton man. With Water For Elephants coming out on Friday, I thought a circus movie was in order and why not give Chaplin a second chance... or a fifth. In the past I've found his films a touch too saccharine -- it's a personal taste thing -- but it turned out that The Circus was just what I needed since it went light on the "awwwww" and sniffly pity and leaned into its gags with something in the general vicinity of wicked glee. I was super drepressed and ended up laughing for two hours. Win!

The best illustration of the naughty comic touch might be the late in the film when the Tramp, who usually squirms from delight, reveals that his squirming while watching a tight rope walker (his rival for the love object's affection) is actually something like physical exertion to telekinetically will the walker into falling and I laughed heartily at an early variation on that old saying "stealing candy from a baby" as he devours an entire pastry from the hands of an infant.

But in the end I kept going back to this very simple shot near the beginning which is much much funnier in context.

It's part of the perfectly judged opening slapstick theft with hilarious confusions and plot consequences. Both the Tramp and the thief have been running from the cops and from each other and they suddenly enter the frame looking like partners in crime; Chaplin's hat tip at the tail end of the run is a super funny nod to this odd turn of events (they'll be enemies again in a second).

It got me to thinking about why slapstick is mostly dead in the movies. We don't have any Tatis or Chaplins or anyone left anymore and it's not because it's 2011 or because comedy is dead or because [cue nostalgic violins] "they don't make it like they use to" or  because the movies found sound. It's because the currently preferred style of rapid cutting and the absolute manic attachment to closeups --even in scenes without heavy emotional components -- prevents the longform comedy of careful set-up and physical punchline; it's tough to maximize the humor of a pratfall or a surprise twist in the action when you can't see the entirety of a comedian's body in motion. The modern musical has the same problem in finding its voice, if you will. If you can't see the choreography it's awfully tough to join in the dancing.

Other Tramps

• Movies Kick Ass "You're supposed to be funny" Chaplin's resistance to sound.
• Awww, the Movies! ♥  Strike a pose, Charlie.
• Serious Film "The Keaton Man's Guide To Loving Chaplin"
• Ahora the sorrow of circuses and Chaplin's hall of mirrors

The complete index of "Hit Me" episodes

UPDATE. We were supposed to do Sofia Coppola's Somewhere next. But we keep running into snags with this series. I know the majority of you rent from Netflix (as do I) and for some reason though the movie is out on DVD and Blu-Ray it is strangely not available on Netflix for another month. Perhaps this is some new contract problem between studios and Netflix? SIGH.

So next Wednesday no episode. But stay tuned for more news on this series.

Links: Tim Hetherington (RIP), Batman Year One, Gaga Saga

Tribeca Film RIP Tim Hetherington. This is so sad.The just Oscar nominated co-director of the fine documentary Restrepo and an amazing war photographer has been killed in Libya. He had just recently released a book of photography called Infidel which had a section called "Sleeping Soldiers" --not your typical war photography.

You can listen to a lengthy talk by him about his work at "Foto 8" The site also has an accompanying gallery to watch while listening.

Movie|Line 3-D reboot of softcore Chinese movie Sex & Zen (I don't know whether or not to admit that I've seen the original. Whoops) breaks records in Hong Kong. American produced 3-D porn is also on the way. Ruh-roh.
Hollywood Reporter Batman Year One, an animated film igoing straight to DVD, casts Eliza Dushku as Catwoman. That works, her being a frisky kitty and all.
TOH Anne Thompson thinks Jennifer Lawrence looks terrible as Mystique in X-Men: First Class. I'd agree. I don't understand why they had to give her that abnormal forehead thing again. Shake up the look a little.

Weird Al explains what happened with Lady Gaga. She's disrupted his album release plans by rejecting his "Born This Way" parody "Perform This Way"
Playbill Been missing the awesome of Jonathan Groff or the bliss of Kristin Chenoweth on Glee? They return very very soon.

Antonio Banderas in The Skin I Live In (2011)

Vulture Margaret Lyons has a very astute article on what's right and wrong with NBC's "Parenthood". (I met one of its stars and I'll tell you about that tomorrow morning.)
Very Small Array has a horrifying chart about the quality slide in box office hits. Thanks to Awards Daily for pointing it out.
In Contention starts a series on the Cannes offering beginning with Almodóvar's The Skin I Live In.
Cinema Blend Jacki Weaver joins the Judd Apatow comedy Five Year Engagement. Go get those post-Oscar roles, Jacki! 

Ryan O'Neal 70th's Birthday

Alex aka BBats here. It’s Ryan O’Neal’s 70^th birthday today! He’s always been one of my favorite actors. In a few great movies, he showed incredible range and unbelieveable charisma.  After a few years of doing guest roles on television, O’Neal became a bankable star after Peyton Place's popular run. The Big Bounce (1969) was his first starring role in a film, but he’ll be remembered as bursting through to superstardom for Love Story (1970). 

Everyone’s seen Paper Moon (1973) and everyone should watch it again. (Its streaming on Instant Netflix, so no excuses!)  His collaborations with Peter Bogdonavich coincide with the peak of his career.  Look at his filmography in the 1970’s. It is an amazing assembly of films!  

I must confess that I still haven’t seen Stanley Kubrick's Barry Lyndon (1975).  I have a firm belief that one day some repertoire movie theater will screen it in 70mm (a man can dream, can’t he?). 

poll by twiigs.com

Go watch The Big Bounce, The Driver, What’s up Doc?, Nickelodeon, Wild Rovers, or any of his films. 

Nashville Awards: Andrew Haigh's "Weekend" and More...

Jury Deliberations. Most festivals have separate jurors for each of the major sections. Cannes is the one people are most familiar with it being the festival of festivals. The competition slate is the main focus but they don't actually decide each of the awards you hear about. There are other juries gathered to decide things like the Camera D'Or (best first film) and the short film prizes. Nashville has five juries and they're also an AMPAS qualifying festival so if, for instance, a short film wins "best" in category here it becomes eligible for Oscar consideration. I was on the Narrative Competition jury this year. The running joke at the table became "this doesn't leave the table..." so...end of story!

Let it suffice to say that it's always usually enjoyable to discuss movies with other creative types and in this case it was extra enjoyable as my fellow jurors Dan Butler (previous discussed) and Joe Leydon (a Texas based film critic who also writes for Variety) were both fun passionate movie-loving guys.

After we decided our prizes, I scampered over to the Music Film jury when I saw them wrapping up to thank the gorgeous Kimberly Reed for her Prodigal Sons film the one I kept raving about to y'all a couple of years back. She told me about a new percolating project of hers but she's actually still trekking around the country with her breakthrough film years later. Oprah's interest in her story really made a huge impact -- Oprah really does control the world, doesn't she? -- but that kind of sustained interest couldn't have happened to a better documentary or to a more articulate champion for the transgendered community.

BEST OF THE 2011 NASHVILLE INTERNATIONAL FILM FESTIVAL

Read on to find out which films each jury loved as well as a few notes on the films.

Click to read more ...